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KF  /<?  US' a 


I 


Sartatli  eolltge  libratp. 

FROM  TUB  BBQiJEST  Or 

CHARLES     SUMNER,    LL.D., 
OF  BOSTON. 

(ClMB  Of  itjo.) 


//  A^a^ .  /i/s-  —/ai  CL.^  isyf. 


A    DICTIONAEY 


OF 


MUSIC   AND   MUSICIANS. 


4 


a 


DICTIONARY 


OF 


MUSIC    AND    MUSICIANS 


I 


(A.D.  1450—1880) 


BY   EMINENT  WRITERS,  ENGLISH  AND  FOREIGN. 


WITH    ILLUSTRATIONS    AND    WOODCUTS. 


EBITBD  BY 


GEORGE   GROVE,  D.C.L. 


IN    TWO    VOLUMES. 


VOL.    I. 


MACMILLAN    AND    CO. 

1879. 

IThe  m^t  0/  TVantlation  and  Bqvrodttciion  i§  reterved.'ji 


^'. 


'  .Jo. 


OXFOBD: 

K.  PIOKABD  BALL,  lt.A..  AHD  J.  B.  BTACT, 

punrrBBS  to  thi  mnTsitsmr. 


PREFACE. 


This  work  is  intended  to  supply  a  great  and  long  acknowledged  want, 
A  growings  demand  has  arisen  in  this  country  and  the  United  States  for 
information  on  all  matters  directly  and  indirectly  connected  with  Music, 
owing  to  the  great  spread  of  concerts,  musical  publications,  private  prac- 
tice, and  interest  in  the  subject,  and  to  the  immense  improvement  in  the 
general  position  of  music  which  has  taken  place  since  the  conmiencement 
of  the  present  century.  Music  is  now  performed,  studied,  and  listened  to 
by  a  much  larger  number  of  persons,  and  in  a  more  serious  spirit,  than 
was  the  case  at  any  previous  period  of  our  history.  It  is  rapidly  becoming 
an  essential  branch  of  education ;  the  newest  works  of  continental  musi- 
cians are  eagerly  welcomed  here  very  soon  after  their  appearance  abroad, 
and  a  strong  desire  is  felt  by  a  large,  important,  and  increasing  section 
of  the  public  to  know  something  of  the  structure  and  peculiarities  of  the 
music  which  they  hear  and  play,  of  the  nature  and  history  of  the  instru- 
ments on  which  it  is  performed,  of  the  biographies  and  characteristics  of 
its  composers — in  a  word  of  all  such  particulars  as  may  throw  light  on 
the  rise,  progress,  and  present  condition  of  an  Art  which  is  at  once  so 
prominent  and  so  eminently  progressive. 

This  desire  it  is  the  object  of  the  Dictionary  of  Music  and  Musicians 
to  meet.  It  is  designed  for  the  use  of  Professional  musicians  and  Ama- 
teurs alike.  It  contains  definitions  of  Musical  Terms;  explanations  of 
the  forms  in  which  Musical  Works  are  constructed,  and  of  the  methods 
by  which  they  are  elaborated,  as  well  as  of  the  orig^,  structure,  and 
successive  modifications  of  Instruments ;  histories  and  descriptions  of 
Societies  and  Institutions ;  notices  of  the  composition,  production,  and 
contents  of  important  works;  lists  of  the  principal  published  collections; 
biographies  of  representative  composers,  singers,  players,  and  patrons  of 
music — all  the  points,  in  short,  immediate  and  remote,  on  which  those 
interested  in  the  Art,  and  alive  to  its  many  and  far-reaching  associations, 
can  desire  to  be  informed. 

The  limit  of  the  history  has  been  fixed  at  a.  d.  1450,  as  the  most 
remote  date  to  which  the  rise  of  modem  music  can  be  carried  back.  Thus 
mere  archaeology  has  been  avoided,  while  the  connection  between  the 
mediaeval  systems  and  the  wonderAil  modem  art  to  which  they  gave 
rise  has  been  insisted  on  and  brought  out  wherever  possible.  While  the 
subjects  have  been  treated  thoroughly  and  in  a  manner  not  unworthy 
the  attention  of  the  professional  musician^  the  style  has  been  anxiously 
divested  of  technicality,  and  the  musical  illustrations  have  been  taken,  in 
most  cases,  from  classical  works  likely  to  be  familiar  to  the  amateur,  or 
within  his  reach. 

The  articles  are  based  as  far  as  possible  on  independent  sources,  and 
on  the  actual  research  of  the  writers,  and  it  is  hoped  that  in  many  cases 


vi  PREFACE. 

fresh  subjects  have  been  treated,  new  and  interesting  information  given, 
and  some  ancient  mistakes  corrected.  As  instances  of  the  kind  of  subjects 
embraced  and  the  general  mode  of  treatment  adopted,  reference  may  be 
made  to  the  larger  biographies — especially  that  of  Haydn^  which  is  crowded 
with  new  &cts ;  to  the  articles  on  Auber,  Berb'oz,  Bodenschatz^  Bull, 
Cristofori,  David,  Farinelli,  Pinck,  Proberger,  Galitzin,  Gibbons,  Hasse  ; 
on  Additional  Accompaniments,  Agr^mens,  Arpeggio,  Arrangement^  Fin- 
gering, Form^  and  Harmony ;  on  Academic  de  Musique,  Bachgesellschaft, 
Breitkopf  and  Hartel,  Bassoon,  Carmagnole,  Choral  Symphony,  Conserva- 
toire, Concerts,  Concert  Spirituel^  Copyright,  Drum,  English  Opera,  Fidelio, 
Grand  Prix  de  Bome,  Handel  and  Haydn  Society,  Handel  Festivals  and 
Commemorations,  Harpsichord,  Harmonica,  Hexachord,  and  many  others. 
The  engraved  illustrations  have  been  specially  prepared  for  the  work,  and 
will  speak  for  themselves. 

In  an  English  dictionary  it  has  been  thought  right  to  treat  English 
music  and  muacians  with  special  care,  and  to  give  their  biographies  and 
achievements  with  some  minuteness  of  detail.  On  this  point  thanks  are 
due  to  Colonel  Joseph  Lemuel  Chester  for  much  accurate  information  which 
it  would  have  been  almost  impossible  to  obtain  elsewhere,  and  which  he 
has  afforded  in  every  case  with  the  greatest  kindness  and  promptitude. 

Every  means  has  been  taken  to  procure  an  adequate  treatment  of  the 
various  topics,  and  to  bring  the  information  down  as  near  as  possible 
to  the  day  of  publication.  Notwithstanding  the  Editor's  desire,  however, 
omissions  and  errors  have  occurred.  These  will  be  rectified  in  an  Appendix 
on  the  publication  of  the  final  volume. 

The  limits  of  the  work  have  necessarily  excluded  disquisitions  on 
Acoustics,  Anatomv,  Mechanics,  and  other  branches  of  science  connected 
with  the  main  subject,  which  though  highly  important  are  not  absolutely 
requisite  in  a  book  concerned  with  practical  music.  In  the  case  of 
Acoustics,  sufficient  references  are  given  to  the  best  works  to  enable  the 
student  to  pursue  the  enquiry  for  himself,  outside  the  Dictionary. 
Similarly  all  investigations  into  the  music  of  barbarous  nations  have  been 
avoided,  unless  they  have  some  direct  bearing  on  European  music. 

The  Editor  gladly  takes  this  early  opportunity  to  express  his  deep 
obligations  to  the  writers  of  the  various  articles.  Their  names  are  in 
themselves  a  guarantee  for  the  value  of  their  contributions ;  but  the  lively 
interest  which  they  have  shown  in  the  work  and  the  care  they  have  taken 
in  the  preparation  of  their  articles,  often  involving  much  time,  and 
laborious,  disinterested  research,  demand  his  warm  acknowledgment. 

29  Bedford  Street, 

CJovENT  Garden,  London, 
April  I,  1879. 


LIST   OF   CONTRIBUTOES. 

Sib  Jultds  BsNEDict     . .  . .         . .         . .  . .  . .  B. 

Joseph  Bekkstt,  Esq.  . .         . .         . .         . .         . .  J.  B. 

J.  R.  STEfiNDALB-BEyKETT,   EsQ.  .  .  . .  . .  .  .  J.  R  S.  -B. 

David  Baptie,  Esq.,  Glasgow    . .  , .  . .         . .  D.  B. 

Mbs.  WaiiTbb  Cabr       . .  . .         . .  . .         . .  M.  C.  C. 

William  Chapfbll,  Esq.,  F.S.A.         . .  . .  . .  W.  C. 

^.  GuBTAYE  Chouquet,    Keeper  of  the   Museum  of  the  Con- 
servatoire de  Musique,  Paris      . .  . .  . .  . .  G.  C. 

Abthue  Dukb  GoLEBiDGEy  EsQ.,  Barrister-at-Law     . .  A.  D.  C. 

William  H.  CuHMiKas,  Esq.    . .         . ,  . .  . .  . .  W.  H.  C. 

Edward  DAinrBEUTHEB^  Esq . .         . .  . .  E.  D. 

Hkkk  Paul  David         P.  D. 

James  W.  Davison,  Esq.  . .         J.  W.  D. 

Edwabd  H.  Dokkin,  Esq.         . .         . .         E.  H.  D. 

H.  SUTHERLAKD  EdWABDS,  EsQ.  .  .  .  .  H.  S.  E. 

CHABLB8  Allan  Ftffe,  Esq.,  Barrister-at-Law         . .         . .  C.  A.  F. 

De.  Franz  Gehsing,  Vienna . .         . .  P.  G. 

Bey.  Thomas  Helmobe,  Master  of  the  Children  of  the  Chapels  Boyal     T.  H. 

Gboegb  Herbert,  Esq.  G.  H. 

Dr.  Ferdinand  Hilleb,  Cologne  H. 

A.  J.  HiPKiNS,  Esq , A.  J.  H. 

Edward  John  Hopkins,  Esq.,  Organist  to  the  Temple        . .  E.  J.  H. 

Rey.  T.  Percy  Hudson  T.  P.  H. 

Fbahoib  Hueffer,  Esq.  P.  H. 

JoHH  Hullah,  Esq.,  LL.D J.  H. 

William  H.  Husk,  Esq.,  librarian  to  ibe  Sacred  Harmonic  Society     W.  H.  H. 

F.  H.  Jenks,  Esq.,  Boston,  Mass.,  U.  S.  A.     . .  . .  . .  F.  H.  J. 

Herey  J.  Lincoln,  Esq.  H.  J.  L. 

Charles  Mackeson,  Esq.,  F.S.S C.  M. 


VIU 


LIST    OF   CONTRIBUTORS. 


Herr  a.  Maczbwski,  Concert-director,  Kaiserslautem 

Julian  Marshall,  Esq. 

Mrs.  Julian  Marshall 

Edwin  G.  Monk,  Esq.,  Mus.  Doc,  Organist  of  York  Cathedral 

Sir  Herbert  S.  Oakeley,  Mus.  Doc.,  Professor  of  Music  at  the 

University  of  Edinburgh 
Rev.  Sir  Frederick  A.  Gore  Ouseley,  Bart.,  Mus.  Doc,  Professor 

of  Music  in  the  University  of  Oxford    . . 
C.  Hubert  H.  Parry,  Esq. 
Herr  Ernst  Pauer 

Edward  John  Payne,  Esq.,  £arrister-at-Law. . 
Edward  H.  Pember,  Esq.,  Q.C. 
Miss  Phillimore 
Herr  C.  F.  Pohl,  Librarian  to  the  Geselkchaft  der  Musik- 

freunde,  Vienna    . . 
William  Pole,  Esq.,  F.R.S.,  Mus.  Doc. 
Victor  de  Pontigny,  Esq. 
Ebenezer  Prout,  Esq.  . . 
Rev.  William  Pulling 
Charles  H.  Purday,  Esq. 
Edward  F.  Rihbault,  Esq.,  LL.D.     . . 

W.  S.  Rockstbo,  Esq 

H.  H.  Statham,  Esq 

Sir  Robert  P.  Stewart,  Mus.  Doc,  Professor  of  Music  in  Dublin 

University  

William  H.  Stone,  Esq.,  M.D. 

Arthur  Seymour  Sullivan,  Esq.,  Mus.  Doc. 

Franklin  Taylor,  Esq.  

Alexander  W.  Thayer,  Esq.,  United  States  Consul,  Trieste, 

Author  of  the  Life  of  Beethoven 

C.  A.  W.  Troyte,  Esq.  

Colonel  H.  Ware,  Public  Library,  Boston,  Mass.,  U.  S.  A. 
The  Editor        

Bedford  Street,  Covent  Garden, 
Ajyril  i,  1879. 


A.M. 
J.  M. 
F.  A.  M. 

E.  G.  M. 

H.  S.  O. 

F.  A.  G.  O, 
C.  H.  H.  P. 
P. 

E.  J.  P. 
E.  H.  P. 
C.  M.  P. 

C.  P.  P. 
W.  P. 
V.  de  p. 
E.  P. 
W.  Pg. 
C.  H.  P. 

E.  F.  R. 
W.  S.  R 
H.  H.  S. 

R.  P.  S. 
W.  H.  S. 
S. 

F.  T. 

A.  W.  T. 
C.  A.  W.  T. 
H.  W. 
G. 


DICTIONARY 

r 

OF 

MFSIC  AND  MUSICIANS 

(A.D.  1450—1878). 

Thb  want  of  English  works  on  the  history,  theorj,  or  practice  of  Musics 
or  the  biographies  of  MusicianSy  accessible  to  the  non-professional  reader,  has 
long  been  a  subject  of  remark.  Of  '  Methods'  and  special  text-books  there  is 
no  lack,  nor  of  dictionaries  of  'musical  terms';  but  there  is  no  one  work  in 
En^^ish  from  which  an  intelligent  inquirer  can  learn,  in  small  opmpass  and 
in  mitedmical  language,  what  is  meant  by  a  Symphony  or  Sonata,  a  Fugue, 
a  Stretto,  a  Coda^  or  any  other  of  the  terms  which  necessarily  occur  in  every 
description  or  analysis  of  a  Concert  or  a  piece  of  Music,  from  which  he  can 
gain  a  readable  and  succinct  account  of  the  history  of  the  various  branches  of 
the  art,  or  of  the  rise  and  progress  of  the  Pianoforte  and  other  instruments, 
or  the  main  facts  and  characteristics  of  the  lives  of  eminent  or  representative 
Musicians,  or  the  circumstances  attending  the  origin  of  their  chief  works. 

Such  questions  are  now  constantly  occurring  to  those  who  formerly  would 
never  have  thought  of  them.  Music  in  England  has  recently  made  inunense 
progress,  and  the  number  of  persons  who  attend  Concerts  and  practise  Music 
has  very  largely  increased.  It  is  no  longer  regarded  as  a  mere  idle  amusement, 
but  is  taking  its  right  place  beside  the  other  Arts  as  an  object  of  study  and 
investigatibn.  The  demand  for  such  information  as  that  mentioned  above  is 
therefore  naturally  great.  This  demand  the  Dictjonart  of  Mttsio  is  designed 
to  meet.  It  will  contain  articles  on  musical  hbtory  and  biogpraphy;  on  the 
science  and  practice  of  composition,  and  the  nature,  construction,  and  use  of 
musical  instruments,  explanations  of  musical  terms,  and  general  information 
on  modem  Music  since  the  fifteenth  century ;  the  whole  arranged  alphabetically, 
and  so  given  as  to  be  intelligible  to  the  Amateur,  as  well  as  useful  to  the 
professional  Musician.  Special  attention  will  be  paid  to  English  Music.  Every 
effort  will  be  made  to  compress  the  articles  as  much  as  possible,  consistent  with 
their  being  intelligible  and  readable.  Illustrations  in  music  type  and  occasional 
wood-cuts  will  be  given. 


LIST    OF    COKTBIBXXTOBB. 

Sib  Julius  Bsnbdigt 

Joseph  Bennett,  Esq.    .. 

j.  £.  stebndaiie-bennett,  esq. 

^^  Caer 

W.  Chappbi^l,  Esq.,  E.S.A. 


•  * 


• . 


B. 

J.  B. 

J .  B*  S.-B. 

M.  C.  C. 

W.C. 


«  •  •  • 


•  * 


•  • 


H.   GusTATE  Chouqubt,  Keeper  of  the  Museum  of  the  Con- 
servatoire de  Musique,  Paris 

W.  H.  CuHHiNGS,  Esq.,  The  Chapel  Bojal 

E.  Dannbbuthbr*"Esq.    .. 

Heb^  Paul  David  

Jambs  W.  Dayisoit^  Esq. 

E.  H.  DoNxiK,  Esq. 

^  H.   SUTHEBLAND   EdWABDS,   EsQ. 

C.  A.  Ftppe,  Esq. 

Db.  Fbanz  Gehrino,  Vienna 

Bev.  Thomas  Helmobe,  Master  of  the  Children  of  the  Chapels  Eojral 
■^Dr.  Fbbdinand  Hilleb  ., 

A.  J.  HiPKiNS,  Esq. 

E.  J.  Hopkins,  Esq.,  Organist  to  the  Temple 

Rev.  J.  Pebot  Hxtdsok 

Fbanz  Kueffeb,  Esq. 
>^john  hullah,  esq.,  ll.d. 

Mb.  W.  K.  Husk,  Librarian  to  the  Sacred  Harmonic  Society     . 

H.  J.  LiNOOLN,  Esq 

Chables  Magkeson,  Esq. 

Herb  A.  Magzewsei,  Concert-director,  Eaiserslautem 

Jttlian  Marshall,  Esq.  . . 

Db.  E.  G.  Monk,  Organist  of  York  Cathedral . . 

NJ^EV.  Sib  Fbedebigk  A.  G.  Ouselet,  Babt.,  Professor  of  Music, 
Oxford 

C.  Hubebt  H.  Pabrt,  Esq. 

vJBebb  Ernst  Pause 

Edward  H.  Pembeb,  Esq.,  Q.C. 

Miss  Phillimobe  . . 

Hebb  C.  F.  Pohl,  Librarian  to  the  Gesellschaft  der  Musik- 
freunde,  Vienna 

William  Pole,  Esq.,  F.R.S.,  Mub.  Doc. 

V.   DE   PONTIGNV,   ESQ.       .. 

E.  Pboxjt,  Esq 

De.  Bimbault 

H.  H,  Statham,  Esq 

Db.  "W.  H.  Stone 

Abthub  Sullivan,  Esq.,  Mus.  Doc. 

Franklin  Tatlob,  Esq.  . . 

Alexandeb  W.  Thateb,  Esq.,  United  States  Consul,  Trieste, 
Author  of  the  Life  of  Beethoven 

C.  A,  W.  Tbottb,  Esq..  . . 

Colonel  H.  Ware,  Public  Library,  Boston,  U.  S. 

The  Editor  


G.  C. 
W.  H.  C. 
E.D. 
P.D, 
J.  W.  D. 

E.  H.  D. 
M.  S.  E. 
C.  A.  F. 

F.  G. 
T.H. 
H. 

A.  J.  H. 

E.  J.  M» 
J.P.  H. 

F.  H. 
J.  H. 

W.  H.  H. 
M.  J.  L. 
CM. 
A.M. 
J.  M. 

E.  G.  M. 

F.  A.  G.  O. 
0.  H.  M.  P. 

E.  H.  P. 
C.  M.  P. 

C.  F.  P. 
W.  P. 

V.  DE  P. 

E.  P. 
E.  F.  R. 
M.  M.  S. 
W.  H.  S. 
A.  S. 
F.T. 

A.  W.  T. 
C.A.W.T. 
H.W. 
G. 


DICTIONARY 


OF 


MUSIC   AND   MUSICIANS. 


A 


A. 


The  nsme-  of  the  sizih  degree  of  ihe  natmtJ 


of  G.  The  reaaon  of  its  being 
af^ed  to  the  sixth  instead  of  the  first 
degree  will  be  found  explained  in  the  article 
ALPHA.1IST.  It  represents  the  same  note  in 
Engliah  or  Getman,  and  in  French  and  Italian 
is  called  Xo. 

A  is  the  note  giren  (nsiiaU  j  by  the  oboe,  or  by 
the  Gc^gan  if  there  be  one)  for  the  orchestra  to 
tone  to,  and  it  is  also  the  note  to  which  Fren<di 
and  Goman  tuning-forks  are  set^  the  Knglish 
bang  nsuany  timed  to  G. 

In  all  stzinged  instnimenU  one  of  the  strings 
IB  toned  to  A ;  in  the  violin  it  is  the  second 
string,  in  the  viola  and  violonoello  the  finrt,  and 
in  the  oontrabasso  generally  the  third.  A  is  also 
the  key  in  which  one  of  the  clarinets  in  the 
orchestra  is  set.  In  German  the  keys  of  A 
major  and  A  minor  are  occasionally  expressed 
by  AS  and  Ab.  [F.T.] 

AABON  (oooreotly  Abov),  Phtbo,  bom  at 
Florence  in  the  latter  part  of  the  15th  century. 
A  monk  of  the  order  of  Jerusalem,  and  devoted 
to  the  study  of  counteipoint.  His  various  works 
on  the  history  and  science  of  music  (for  a  list 
of  which  see  Be^er,  'Munk  literatur,'  Leipsic, 
1856)  were  printed  at  Venice  and  Milan.  By 
Pope  Leo  X  he  was  admitted  into  the  Roman 
Cfaapd,  and  distingmshed  in  varioos  ways. 
In  or  about  1516  Aaron  founded  a  school  of 
mnsae  at  Bome^  which  obtained  much  reputa- 
tion. He  became  a  canon  of  Bimini,  and  died 
in  1533.  [C.  F.  P.] 

ABAGO,  Etabisto  FrncB  daIiL\  bom  at 
Verona*  and  renowned  as  performer  and  composer 
on  the  violin ;  in  1 7  26  conoert-meister  in  the  band 
of  the  Korlurst  Max  Emanuel  of  Bavaria.  Died 
in  1 740.  Compositions  of  his  for  church  and  cham- 
ber were  printed  at  Amsterdam.  £C.  F.  P.] 


A  BATTUTA  (Ital,  'with  the  beat*).  An 
indication,  mostly  used  hi  recitatives,  where  after 
the  free  declamation  of  the  iinger  the  strict  time 
is  resumed.     It  is  thus  equivalent  to  A  tempo. 

ABBATINI,  Airroino  Mabia,  was  bom  at 
l^emo,  or  at  Castello  (Baini),  in  1595  or 
1605,  and  died  in  1677.  Was  successively  Ma- 
estro di  Gappella  at  the  lAteran,  the  Qiurch 
of  the  Gesii,  and  San  Lorenzo  in  Damaso,  and 
three  times  held  the  like  office  at  Maria  Mag- 
giore ;  was  also,  for  a  time,  maestro  at  the 
church  of  Loreto.  Was  offered  by  Pope  Urban 
VIII  the  task  of  rewriting  the  Hymnal ;  but 
refused  to  supersede  the  music  of  Palestrina  by 
any  of  his  own.  His  published  works  consist 
of  four  books  of  P&alms  and  three  books  of 
Masses,  some  Antifone  for  twenty-four  voices 
(Mascardi,  Borne,  1630-1638,  ancl  1677),  and 
five  books  of  Mottetti  (Grignani,  Borne,  1635). 
He  is  named  by  AlLLaoch  as  the  composer  of  an 
opera  '  Del  male  in  bene.*  The  greater  part  of  his 
productions  remain  unprinted.  Some  academical 
lectures  by  him,  of  much  note  in  their  time, 
mentioned  by  Padre  Martini,  do  not  seem  to 
have  been  pieserved.  He  assiBted  Kibohxb  in 
his  '  MuBurgia.'  [£.  H.  P.] 

ABB£,  Philifpx  Piebbs  di  St.  Setin  and 
PiiBBK  DS  St.  Sevik,  two  brothers,  violoncellists, 
were  music-masters  of  the  parish  church  of  Agen 
early  in  the  last  century.  It  seems  doubtful 
whether  they  were  actually  ordained  priests,  or 
merely  in  consequence  of  their  office  had  to  wear 
the  ecclesiastical  dress.  From  this  circimastance 
however  they  received  the  name  <^  Abb4  Tain^— 
or  simply  TAbb^ — and  TAbb^  cadet,  respectively. 
They  gave  up  their  connection  with  the  church 
and  went  to  Paris,  where  they  obtained  engage- 
ments at  ihe  Grand  Op^ra.  They  were  both 
excellent  playerS|  but  the  younger  brother  seema 


2 


ABBREVIATIONS. 


to  have  been  the  more  celebrated  of  the  two, 
and  to  have  been  specially  remarkable  for  hit 
beautifal  tone.  It  is  said  to  have  been  owing 
in  great  meMure  to  the  impreeaion  produced  by 
his  playing  that  the  viola  di  gamba  more  and 
more  fell  into  disuse  and  the  violoncello  was  more 
extensively  introduced.  (Batistin.)       [T.  P.  H.] 

ABBEY,  John,  a  distinguished  organ-builder ; 
was  bom  at  Whilton,  a  Karthampton^iire  village, 
Deo.  a  a,  1785.  In  his  youth  he  was  employed 
in  the  factory  of  Davis,  and  subsequently  in  that 
of  Russell,  both  oigan-builders  of  repute  in  their 
day.  In  i8a6  Abbey  went  to  Paris,  on  the  in- 
vitation of  Sebastian  Erard,  the  celebrated  harp 
and  pianoforte  maker,  to  work  upon  an  organ 
which  Erard  had  designed,  and  which  he  sent  to 
the  Exhibition  of  the  Productions  of  National 
Industry  in  i8a7,  and  also  to  build  an  organ  for 
the  Convent  of  the  Legion  of  Honour,  at  St. 
Denis.  He  also  built  an  organ  from  Erard*s  de- 
sign for  the  chapel  of  the  Tuileries,  which,  how- 
ever, had  only  a  short  existence,  bdng  destroyed 
in  the  Revolution  of  1850.  Having  established 
himself  as  an  organ-builder  in  Paris,  Abbey  be- 
came extensively  employed  in  the  construction, 
renovation,  and  enlargement  of  organs  in  France 
and  elsewhere.  Amongst  others  he  built  choir 
organs  for  aooompanyii^  voices  for  the  cathe- 
dials  of  Rheims,  Nantes,  Versailles,  and  Evreux, 
and  for  the  churches  of  St.  Eustache,  St  Nicholas 
des  Champa,  St.  Elizabeth,  St.  Medard,  St.  Eti- 
enne  du  Mont,  and  St.  Thomas  Aquinas,  in 
Paris;  vid  large  organs  for  the  cathedrals  of 
Rochelle,  Rexmes,  Viviers,  Tulle,  Ghalons-sur- 
Mame,  Bayeux,  and  Amiens,  and  for  churches, 
convents,  and  chapels  at  St.  Denis,  Orleans,  Caen, 
Chalons,  Picpus,  and  VersaHles.  He  repaired 
and  enlarged  organs  in  the  cathedrals  of  Mende, 
Moulins,  Rheims,  Evreux,  and  Nevers,  and  in 
tile  churches  of  St.  Etienne  du  Mont,  St.  Philippe 
du  Roule,  The  Assumption,  and  St.  Louis  de  Aji- 
tin  in  Paris.  He  also  built  many  organs  for 
Chili  and  Sout}i  America.  In  1831  Abbey  was 
employed,  at  the  instance  of  Meyerbeer  (who 
had  introduced  the  instrument  into  the  score  of 
his  opera  'Robert  le  Diable,'  then  about  to  be 
produced),  to  build  an  organ  for  the  Grand  Opera 
at  Paris,  which  instrument  continued  to  be  used 
there  until  it  was  destroyed,  vnth  the  theatre,  by 
fire  in  1875.  Abbey  was  the  first  who  intro- 
duced into  French  organs  the  English  mechanism 
and  th^  bellows  invented  by  Cummins.  His  ex- 
ample was  speedily  followed  by  the  French 
builders,  and  from  that  period  may  be  dated  the 
improvements  in  organ  building  which  have 
raised  the  French  builders  to  their  present 
eminence.  His  work  was  well  finished,  and  gener- 
ally satisfactory.  He  died  at  Versailles,  Feb.  19, 
1859,  He  left  two  sons,  K  and  J.  Abbey,  who 
now  cany  on  the  business  of  organ-builders  in 
VersaiUes,  [W.  H.  H.] 

ABBREVIATIONS.  The  abbreviations  em- 
ployed in  music  are  of  two  kinds,  namely,  the 
abridgment  of  terms  relating  to  musical  ex- 
pression, and  the  true  musical  abbreviations  by  i 


ABBREVIATIONS. 

the  help  of  which  certain  passages,  chords,  etc. 
may  be  written  in  a  curtailed  form,  to  the  g^reatei 
convenience  of  both  composer  and  performer. 

Abbreviations  of  the  first  kii^d  need  receiv< 
no  special  consideration  here;  tiiey  consiBt  foi 
the  most  part  of  the  initial  letter  or  first  syUabU 
of  the  word  employed — as  for  instance,  p.  fot 
piano,  crese,  for  crescendo,  db,  for  oboe,  cello  fox 
violoncello,  fag.  for  bassoon  (fogotto),  timp.  for 
drums  (timpani) ;  and  their  meaning  is  every- 
where suffidentiy  obvious.  Those  of  musical  pas- 
sages are  indicated  by  signs,  as  follows. 

The  continued  repetition  of  a  note  or  chord 
is  expressed  by  a  stroke  or  strokes  acroBS   the 
stem,  or  above  or  below  the  note  if  it  be  a  semi- 
breve  (Ex.  i),  the  number  of  strokes  denoting 
the  subdivision  of  the  written  note  into  quavers, 
semiquavers,  etc^  unless  the  word  tremolo  or 
tremolando  is  added,  in  which  case  the  repetition 
is  as  rapid  as  possible,  without  regard  to  the 
exact  number  of  notes  played.    On  bowed   in- 
struments the  rapid  reiteration  of  a  single  note 
is  easy,  but  in  pianoforte  music  an  octave  or 
chord  becomes  necessary  to  produce  a  tremolo, 
the  manner  of  writing  and  performing  which  mm 
shown  in  Ex.  a. 

I.  Written. 


2a: 


m 


I  UJJ  LLy  y^  ^  LLk  LU  > 


ABBE»7IAnONa 

In  the  abbreyiAtion  expressed  by  strokes;  as 
iJouTBy  the  passage  to  be  abbreviated  can  of 
cMine  oontain  no  note  of  greater  length  than 
»  quaver,  Imt  it  is  possible  also  to  divide  a  long 
note  into  crotchets^  by  means  of  dots  placed  over 
it,  as  in  £z.  3.  This  is  however  sddom  done, 
as  Uke  saving  of  space  is  inconsiderable.  When 
a  Vmg  note  has  to  be  repeated  in  the  form  of 
thpl^  or  groups  of  six,  the  figore  3  or  6  is 
cosily  placed  over  it  in  addition  to  the  stroke 
across  the  stem,  and  the  note  is  sometimes^ 
tlwQgh  not  neoesaarily,  written  dotted  (Ex.  4). 


ABBREVIATIONS. 


8 


^ 


•jsz 


? 


3trjc 


Hdt 


?^g^ 


The  metition  of  a  group  of  two  notes  is  ab- 
breviated hj  two  white  notes  (minims  or  semi- 
lirevei)  connected  by  the  number  of  strokes  or^ 
dinarily  used  to  express  quavers,  semiquavers, 
etc^  aooording  to  the  rate  of  movement  intended 
(£z.  5).  The  duration  of  the  whole  passage 
shoold  be  at  least  a  minim,  since  if  a  crotchet 
WQ«  treated  in  this  manner  it  would  present  the 
appesnnce  of  two  quavers  or  semiquavers,  and 
'voold  be  unintelligible.  Nevertheless,  a  group 
of  demisemiquavers  amounting. altogether  to  the 
Taloe  of  a  crotchet  is  sometimee  found  abbreviated 
asin  Ex.  6,  the-figure  8  being  placed  above  the 
ooces  to  show  that  the  value  of  the  whole  group 
is  that  of  a  crotchety  and  not  a  quaver.  Such 
abbreviations,  though  perhaps  useful  in  certain 
cases,  are  generally  to  be  avoided  as  ambiguous. 
It  iTill  be  observed  that  a  passage  lasting  for 
the  vsloe  of  one  minim  requires  two  minims  to 
expfes  it). on  aocoont  of  the  group  consisting  of 
tvo  notes. 


A  group  of  three,  four,  or  more  notes  is  abbre- 


viated by  the  repetition  of  the  cross  strokes  with- 
out the  notes  as  many  times  as  the  group  has 
to  be  repeated  (Ex.  7) ;  or  the  notes  forming  the 
group  are  written  as  a  chord,  with  the  necessary 
number  of  strokes  across  the  stem  (Ex.  8).  In 
this  case  the  word  timUi  or  Bcgue  is  addied,  to 
show  that  the>  order  of  notes  in  the  first  group 
(which  must  be  written  out  in  fiill^  is  to  be  re- 
peated, and  to  prevent  the  possibility  of  mis- 
taking the  effect  intended  for  that  indicated  in 
Ex.  I  and.a. 

7. 


^P 


-^*- 


8. 


P 


SkidU 


Another  sign  of  abbreviation  of  a  group  con- 
sists of  an  oblique  line  with  two  dots,  one  on 
each .  side ,  (Ex.  9) ;  this  serves  to  indicate  the 
repetition  of  a  group  of  any  number  of  notes  of 
any  length,  and  even  of  a  passage  composed  of 
several  groups,  provided  such  passage  is  not  more 
than  two  ban  in  length  (Ex.  10). 


^ 


s 


■*r 


-jip- 


I 


J  .r^P 


10. 


^tfft^^fgSB'T^^'^^ 


j.ffljtf^Efin3te£^ffisi 


m 


i 


-jgijgsg^;,^jnffi^^Y^^ 


A  more  usual  method  of  abbreviating  the  re- 
petition of  a  passage  of  the  length  of  the  above 
IS  to  write  over  it  the  word  hU  (twice),  or  in 
some  cases  ier  (three  times),  or  to  endoee  it 

between  the  dots  of  an  ordinary  repeat  [:    :[  • 

Passages  intended  to  be  played  in  octaves  are 
often  written  as  single  notes  with  the  words  wn 
cttavi  or  eon  Sot  placed  above  or  below  theoi, 

Ba 


4  ABBREVIATIONS. 

aooording  as  the  upper  or  lower  octave  is  to  be 
added  (Ex.  1 1).  The  word  Sva  (or  gometimeB  Bva 
atta  or  Sva  bona)  written  above  a  pasBage  does 
not  add  octaves,  but  merely  transposes  the  paa- 
sage  an  octave  higher  or  lower :  so  also  in  clari- 
net music  the  word  chalumeau  is  used  to  signify 
that  the  passage  is  to  be  played  an  octave  lower 
than  written  (Ex.  12).  All  these  alterations, 
which  can  scarcely  be  oonsidered  abbreviatiens 
except  that  they  spare  the  use  ef  ledger-lines, 
are  counteracted,  and  the  passage  restored  to  its 
usual  position,  by  the  use  of  the  word  loco,  er  in 
clarinet  music  by  claHneUe, 

II.  ConM. 


CimSvi. 


\&rJUv'^i 


I 


I  a.  Bva. 


loco 


Bpatasia,       lote 


gr^j^'  \^  jtj^j^ji 


^^^ 


ChahtmtcM,, 


.Oat. 


^s  n^ir^^ 


ijwi]'^'  ' 


In  orchestral  music  it  often  happens  that  cer- 
tain of  the  instruments  play  in  unison ;  when  this 
is  the  case  the  parts  are  sometimes  not  all  written 
in  the  score,  but  the  lines  belonging  to  one  or 
more  of  the  instruments  are  left  blimk,  and  the 
words  cot  violini  or  col  has9o,  etc.,  are  added,  to 
indicate  that  the  instruments  in  question  have  to 
play  in  unison  with  the  violins  or  basses,  as  the 
case  may  be^  or  when  two  instruments  of  the 
same  kind,  such  as  first  and  second  violins,  have 
to  play  in  unison,  the  word  unisono  or  col  primo 
is  placed  instead  of  the  notes  in  the  line  belonging 
to  the  second. — Where  two  parts  are  written  on 
one  staff  in  a  score  the  sign  '  a  a'  denotes  that 
both  play  the  same  notes ;  and  '  a  i '  that  the 
second  of  the  two  is  resting. — ^The  indication 
*a  3'  'a  4*  at  the  head  of  fugues  indicates  the 
number  of  parts  or  voices  in  which  the  fugue  is 
written. 

An  abbreviation  which  is  often  veiy  trouble- 
some to  the  conductor  occurs  in  manuscript 
scores,  when  a  considerable  part  of  the  composi- 
tion is  repeated  without  alteration,  and  the  cor- 
rGq>onding  number  of  bars  are  left  vacant,  with 
the  remark  come  fopra  (as  above).  This  is  not 
^et  with  in  printed  scores. 


ABEL. 

Tliere  are  alio  abbreviations  relating  to  the 
theory  of  musio.  some  of  which  are  of  gre&t 
value.    In  figured  baas,  for  instance,  the  various 
chorda  are  expressed  by  figures,  and  the  authors 
of  aeversl  modem  theoretical  works  have    in- 
vented or  availed  themselves  of  varioas  methods 
•f  shortly  expressing  the  different  chorda   an<i 
intervals.    Thus  we  find  major  chorda  expreoaed 
by  laijge  Beman  numeral*,  and  ndnor  chords  by 
amall  ones,  the  particular  number  employed  de- 
noting the  degree  of  the  scale  upon  which  the 
chord  is  baaed.    Gottfried  Weber  represents  aji 
interval  by  a  number  with  one  or  two  dots  be- 
fore it  to  express  minor  or  diminished,  and  one 
er  two  after  it  for  major  or  augmented,  and 
Andr6  makes  use  of  a  triangle,  ^,  to  express  a 
common  chord,  and  a  square,  Q*  ^or  a  chord  of 
the  seventh,  the  invernons  being  indicated  by  one, 
two,  or  three  small  vertical  lines  across  their 
base,  and  the  classification  into  major,  minor, 
diminished, or  augmented  by  the  numbers  i,  2, 
3,  or  4,  placed  in  Sie  centre.  [F.  T.] 

ABRTTJjE,   Job.   Chb.    Ludwio,   bom    at 
Bayreuth  Feb.  ao,  1761,  composer,  pianist,  and 
organist.    Studied  at  Stuttgart^  and  in  1782  be- 
came a  member  of  the  private  band  of  the  Buke 
of  WtlrtembeEg.   On  Zumsteeg^s  death  in  1B02  he 
succeeded  him  aa  concert-meister,  and  was  shortly 
afterwards  made  oiganist  in  the  court  chapel 
and  director  of  the  official  munc.      In  1833, 
having  completed  a  period  of  fifty  years*  foitliful 
service,  he  received  the  royal  idd  medal  and 
a  pension,  shortly  after  which  he  died,  in   hia 
seventy-first  year.    Abeille^s  concertos  and  trioa 
for  the  harpsichord  were  much  esteemed,  but 
his   vocal   compositions   were   his   best  works. 
Amongst  them  are  several  collections  of  songs 
(e.g.  'Eight  Lieder,'  Breitkopf  and  Hartel)  which 
are  remarkable  for  simple  natural  grace,  and  a 
touching  vein  of  melody.    Some  of  these  still 
survive  in  muaac-schools.    His  Ash-Wednesday 
hymn  for  four  voices,  and  his  operettas  of  'Amor 
und  Psyche^'  'Peter  und  Annchen,'  were  well 
known  in  their  day,  and  were  published,  in  piano- 
forte scores  by  Breitkopf  and  HarteL     [C.  F.  P.] 

ABEL,  CULMOB  HxNBioH,  bom  in  West- 
phalia abeut  the  middle  of  the  17th  century, 
chamber-musician  to  the  court  of  Hanover.  His 
work  'Erstlinge  Musikalischer  Blumen*  appeared 
first  in  three  vols.  (Frankfort,  1674,  1676,  and 
1677),  afterwards  united  under  the  title  '  Drei 
opera  musioa'  (Brunswidk,  1687).        [M.  C.  €.] 

ABEL,  Kabl  Fbiidbich,  one  of  the  most 
famous  viol-dargamba  players,  bom  at  Cothen  in 
1735.  He  was  brought  up  at  the  Thomas-school 
at  Leipsic  under  Sebastian  Bach.  In  1748  he 
obtained  a  post  under  Hasse  in  the  court  baad  at 
Dresden,  where  he  remained  ten  years.  In  1759 
he  visited  London,  and  gave  lus  first  concert  on 
April  5  at  the  *  great  room  in  Dean-street,  Soho,' 
when,  in  addition  to  the  viol-da-gamba,  he  per- 
formed '  a  concerto  upon  the  harpsichord,  and  a 
piece  composed  on  purpose  for  an  instrument 
newly-invented  in  London,  and  called  the  penta- 
chord,' the  wnole  of  the  pieces  in  the  prograouQe 


ABEL. 

bosf  of  bit  own  oompomtkm.    Hu  facility  mm 
Kostkikhlo:  he  is  reported  to  ha^9  perfbimed 
laore  than  onoo  on  the  hfcni,  aa  well  aa  on  '  new 
iDstramenti  never  heard  in  public  before^   From 
the  year  1765  however  he  confined  binuelf  to 
the  viol-dargamba.     He  waa  appointed  chamber- 
moacian  to  Qneen  Charlotte,  with  a  salary  of 
£100  a-jear.    On  the  arrival  of  John  Christian 
Bftch,  in  the  antanm  of  1 76a,  Abel  joined  him ; 
tbej  lived  together,  and  jointly  conducted  Mrs. 
Coradys*   ■abocaiption    concerte.     The  first  of 
their  wriea  took  place  in  Carlisle-house,  Soho- 
tqiuue,  on  Jannnry  33,  1765,  and  they  were 
tnaintMned  tar  many  years.  The  Hanover-square 
Booms  were  opened  on  Feb.  I,  1775,  by  one  of 
thoe  ooBoerta.     Haydn's  Symphonies  were  first 
perfoimed  in  Knghtnd  at  them,  and  Wilhelm 
Cramer  the  violinist,  fiither  of  J.  B.  Cramer, 
made  his  first  appearance  there.     After  BacVs 
death  on  Jan.  1,1 783,  the  concerts  were  continued 
\ff  Abel,  but  with  indifferent  success.    In  1 783  he 
retained  to  Germany,  taking  Paris  on  the  way 
back,  ^here  he  i^pipears  to  have  begun  that  in- 
dulgence in  drink  which  eventually  caused  his 
death.    In  1785  we  find  him  again  in  London, 
aiTSiged.  in  the  newly  establiahed  '  Professional 
Ci)DcertB,'  and  in  the  'Subscription  Concerts'  of 
Mr.  Salomon  and  Mme.  Mara  at  the  Pantheon. 
At  this  time  his  compositions  were  much  per- 
i^rmed,  and  he  himself  still  played  often  in  pub- 
lic. His  last  appearance  was  at  Mrs.  Billington's 
coDfiot  on  May  31, 1787,  shortly  after  which,  on 
Jme  ao,  he  died,  after  a  leihaigy  or  sleep  of 
tliiee  days' duration.  His  death  was  much  spoken 
of  in  the  ^upen,    Abel's  symphonies,  overtures, 
<iuartett8,  concertos,  and  sonataa  were  greatly 
esteemed,  and  many  of  them  were  published  by 
Bremner  of  London  and  Hummel  of  Berlin. 
The  most  favourite  were  *  A  fifth  set  of  six  over- 
tons,  op.  14*  (Brenmer),  and  f  Six  sonatas,  op.  18.' 
Abel's  playing  was  most  remarkable  in   slow 
movements.     'On  the  viol-da-gamba,'  says  the 
'European  Magazine,'  1784,  p.  366,  'he  is  truly 
excellen^  and  no  modem  has  been  heard  to  play 
u  Adagio  with  greater  taste  and  feeling.'    Bur- 
nej  B  testimony  is  to  the  same  effect,  and  he  adda 
that  'his  musHsJ  science  and  taste  were  so  com- 
plete that  he  became  the  umpire  in  all  musical 
oostroveny,  and  was  consulted  like  an  oracle.' 
He  was  accustomed  to  call  his  instrument  '  the 
king  of  instruments,'  and  to  say  of  himself  that 
there  was  '  one  God  and  one  Abel.'    Among  his 
pnpfils  both  in  singing  and   composition  were 
i.  B.  Cramer,  GraefF,  and  Brigida  Giorgi  (Sig- 
Boia  Banti).    His  friend  Gainsborough  paint^ 
a  tfaieeH{uarter-length  portrait  of  Abel  playing 
ontheriol-dargamlMi,  distinguished  by  its  careful 
execQtion,  beauty  of  colouring,  and  deep  expres^ 
son.    It  was  bequeathed  by  Miss  Gainsborough 
to  Mr.  Brigga,  anid  was  sold  in  London  in  1866. 
^^ftinsborongh  also  exhibited  a  whole4ength  of 
Abel  at  the  Boyal  Academy  in  1777,  and  a  very 
powerfbl  portrait  of  him  by  Bobineau  is  to  be 
found  at  Hampton  Court.  [C.  F.  P.] 

ABEL,  Leopold  Attgubt,  bom  at  Cothen 
'7M>  death  unknown ;  elder  brother  of  the  pie- 


ABOS.  5 

ceding,  violmist,  and  pupil  of  Benda.  He  played 
in  the  orchestra  of  tiie  theatre  at  Brunswick,  and 
was  successively  conductor  of  the  court  band  to 
the  Prince  of  Schwarzbuiig-SonderBhausen  (i  758), 
the  Margrave  of  Schwedt  (1766),  and  the  Duke 
of  Schwerin.  He  composed  six  violin  concertos 
mentioned  in  Bohme's  catalogue,  but  never  rose 
to  the  reputation  of  his  brother.  [M.  C.  C] 

ABELL,  JoHir,  a  celebrated  alto  singer  and 
performer  on  the  lute,  was  bom  about  1660, 
and  probably  educated  in  the  choir  of  the  Chapel 
Bqyal,  of  which  establishment  he  was  sworn  a 
'gentleman  extraordinaiy'  in  1679.  He  was 
greatly  patroniBed  by  royalty,  and  between  the 
years  1079  and  1688  received  'bounty  money* 
amounting  to  no  less  than  £740.  (See  '  Moneys 
received  and  paid  for  secret  services  of  Charles  II 
and  James  II ' — Camd.  Soc.).  Charles  11  sent 
him  to  Italy  to  study,  and  after  his  return 
Evelyn  thus  describes  meeting  him :  *  Jan.  24, 
1682-3.  After  supper  came  in  the  famous 
treble,  Mr.  Abel,  newly  returned  from  Italy. 
I  never  heard  a  more  excellent  voice,  and  would 
have  sworn  it  had  been  a  woman's,  it  was  so 
high  and  so  well  and  skilfully  managed,  being 
accompanied  by  Signer  Francisco  on  we  harpsi- 
chord.' He  remained  in  the  service  of  the 
chapel  until  the  Bevel ution  of  1688,  when  he 
was  dismissed  for  his  supposed  leaning  to  the 
Romish  religion.  After  this  he  tnavellea  abroad, 
visiting  Fnmoe,  Germany,  Holland,  and  Poland, 
leading  a  vagrant  sort  of  life,  and  depending  for 
his  support  upon  his  voice  and  lute.  About  the 
latter  end  of  the  reign  of  Queen  Anne,  AbeU 
returned  to  England,  and  occupied  a  prominent 
position  on  the  stage.  Congreve,  in  a  letter 
dated  'Lond.  Decem.  10,  1700,'  says  'Abell  is 
here:  has  a  cold  at  present,  and  is  always 
whimsical,  so  that  when  he  will  sing  or  not  upon 
the  stage  are  things  very  disputable,  but  he 
certainly  sings  beyond  all  creatures  upon  earth, 
and  I  have  heard  him  very  often  both  abroad 
and  since  he  came  over.'  {LUerairy  Bdia,  1792, 
p.  3^3). 

In  1 701  Abell  published  two  works,  'A 
Collection  of  Songs  in  Several  Languages,'  which 
he  dedicated  to  William  III,  and  'A  collection 
of  Songs  in  English.'  The  latter  contains  a 
very  curious  poem  of  some  length,  addressed  to 
'All  lovers  of  Mustek,*  in  which  he  describes 
some  of  his  doings  on  the  continent.  His  death  is 
not  recorded,  but  it  was  after  1 7 16,  when  he  gave 
a  concert  at  Stationers'  Hail.  (Hawkins,  Hist, ; 
Cheque-Book  Chap,  Roy,,  etc.).  [E.  F.  B.] 

ABOS,  Geroitiho,.  bom  at  Malta  in  the  be- 
ginniij^  of  the  i8th  century,  died  at  Naples  about 
1 786,  a  composer  of  the  Neapolitan  sdiool,  and 
pupil  of  Leo  and  Durante.  He  was  a  teacher  in 
the  Conservatrio  of  '  La  Pietk '  at  Naples,  and 
trained  many  eminent  singers,  of  whom  Aprils 
was  the  most  famous.  He  visited  Rome,  Venice, 
Turin,  and,  in  1756,  London,  where  he  held  the 
post  of  maestro  al  cembalo  at  the  opera.  His 
operas  are  'La  PupiUa  e  1  Tutore,'  'La  Serva 
Padrona^'  and  '  L'Ifigenia  in  Aulide  *  (Naples^ 


6  ABOa 

'UArtaiene*  (Venioe,  1746),  'L*Aclriflcno' 
(Rome,  1750),  'Tito  Manlio/  and  'GreBO* 
(London,  1756  «nd  1758).  His  church  mugic 
indudes  seven  Massefl,  two  Kyries,  and  several 
Litanies  to  the  Virgin,  preserved  in  manuscript 
in  Naples,  Rome,  Vienna^  and  the  Conservatoire 
in  Paris.  Hie  st jle  of  his  composition  somewhat 
resembles  that  of  Jomelli.  [M.  C.  C] 

ABRAMS,  The  Misses  Hikbistta,  Thkhx)- 
BIA,  and  Eliza,  were  three  sisters,  vocalists. 
Henrietta^  the  eldest,  was  a  pupil  of  Dr.  Ame, 
and  first  appeared  in  public  at  Dnury  Lane  theatre, 
in  her  master's  musical  piece,  '  Mi^  Day,*  on  Oct. 
^8,  1775.  She  and  her  sister  l^eodoeia  sang 
at  the  opening  of  the  Concert  of  Ancient  Music 
in  1770.  Henrietta  possessed  a  soprano,  and 
Theodosia  a  contralto  voice  of  excellent  quality. 
The  youngest  sister,  Eliza,  was  accustomed  to 
join  with  her  sisters  in  the » pieces  which  were 
sung  at  the  Ladies*  Catch  and  Glee  Concerts. 
The  elder  two  sang  4^t  the  Commemoration  of 
Handel*  in  Westminster  Abbey,  in  1 784,  and  at 
the  principal  London  concerts  for  several  years 
afterwards,  when  they  retired  into  private  life. 
They  both  attained  to  an  advanced  age ;  Theo- 
dosia (then  Mrs.  Grarrow)  was  living  in  1834. 
Henrietta  Abrams  composed  several  pleasing 
songs,  two  of  which,  'The  Orphan's  Prayer* 
and  '  Crazy  Jane,*  aided  by  the  expressive  sing* 
ing  of  her  sister,  Theodosia,  became  very  popular. 
She  published,  in  1787,  'A  Collection  of  Songs,* 
and  'A  Collection  of  Scotch  Songs  harmonized 
for  three  voioesi,*  besides  other  pieces  at  later 
dates.  [W.  H.  H.] 

f  AST,  FBMLN2,  bom  at  Eilenburg  in  Prussian 
Saxony,  Dec.  22, 18 19.  His  feather  was  a  clergy- 
man, and  Franz,  though  destined  to  the  same 
profession,  received  a  seund  musical  education, 
and  was  allowed  to  pursue  both  objects  at  the 
Thomas*School  and  XJniverBity  of  Leipsic.  On 
his  £ftther*8  death  he  relinquished  the  church  as 
a  profession  and  adopted  music  entirely.  His 
first  residence  was -at  Zurich  (1841),  where  he 
acted  as  capellmeister,  occupying  himself  more 
especially  with  men*s  voices,  boSi  as  composer 
and  conductor  of  several  srxsieties.  In  1852  he 
entered  the  staff  of  the  Hof- theater  at  Brunswick, 
where  since  1855  he  has  filled' the  post  of  leading 
capellmeister. 

Abt  is  well  known  by  his  numerous  songs 
for  one  or  more  voices,  which  betray  ui  easy 
fluency  of  invention,  couched  in  pleasing  popular 
forms,  but  without  pretence  to  depth  or  indi- 
viduidity.  Many  of  his  songs,  as  for  instance 
'  When  the  swallows,*  were  at  one  time  univer- 
sally sung,  and  have  obtained  a  more  or  less 
permanent  place  in  the  popular  repertory.  Abt 
is  a  member  of  a  group  of  composers,  embracing 
his  contemporaries  Truhn,  Kiicken,  Gumbert, 
and  others,  who  stand  aloof  from  the  main  course 
taken  by  the  German  Lied  as  it  left  the  hands 
of  Schubert,  Schumann,  and  Franz,  —  which 
aims  at  the  true  and  living  expression  of  inward 
emotion.  In  reference  to  this  the  com{>osen  in 
question  are  somewhat  in  the  background.;  bat  it 


(^ 


AOADEMIE  DE  MUSIQUE. 

cannot  be  denied  that  in  many  dilettante  cixd 
Abt  is  a  prime  favourite  for  his 'elegance  and. 
easy  intelligibility.  His  greatest  suooessee  in. 
Giermany  and  Switaserland  have  been  obtained  in 
part-songs  for  men's  voices,  an  overgrown  braacbi 
of  composition  unfortunately  devoted  to  the  pux*' 
suit  of  the  mere  superficial  enjoyment  of  sweet 
sounds,  and  to  a  great  extent  identified  with  tkxa 
name. 

The  list  ef  Abt*s  compositions  is  enormous, 
and  contains  more  than  400  works,  consisting 
chiefly  ef  *  Lieder  *  of  the  most  various  kinds  for 
one,  two,  or  three  solo  voices,  as  well  as  for 
chorus,  both  female  and  mixed,  and,  as  already 
mentioned,  especially  for  men*s  voices.  Of  the 
solo  '  Lieder,*  a  collection  of  the  less-known  ones 
has  been  published  by  Peters  under  the  title  of 

*  Abt-Album.*  The  part-songs  are  to  be  found  in. 
many  colleotions.  In  the  early  part  of  his  life 
Abt  oompoeed  much  for  the  pianoforte,  chiefly 
pieces  of  light  talon  character.  These  have  never 
had  the  same  popularity  with  his  vocal  works, 
and  are  now  virtually  forgotten.  [A.  M.J 

ABYNGDON,  HaimT.  An  English  ecde- 
siastic  and  musician.  He  succeeded  John  Ber- 
nard as  subcentor  of  Wells  on  Nov.  24,  1447, 
and  held  that  post  till  his  death  on  Sept.  i» 
1497,  when  he  was  succeeded  by  Robert  Wydewe. 
(Beckynton*s  and  Oliver  King*s  registers  tkt 
Wells.)  In  addition  to  the  succentorship  at 
Wells  Abvngdon  held  the  office  of  'Master  of 
the  Song  of  the  Chapel  Boyal  in  London,  to 
which  he  was  appointed  in  May  1465  at  an 
annual  salary  of  forty  marks,  confirmed  to  'him 
by  a  subsequent  Act  of  Parliament  in  1473-4. 
(Kimbault,  '  Cheque-book  of  Chapel  Bo3ral,*  p.  4.) 
He  was  also  made  blaster  of  St.  Catherine's 
Hospital,  Bristol,  in  1478.  (CoUinson,  li.  283.) 
Two  Latin  epitaphs  on  Abyngdon  by  Sir 
Thomas  More  have  been  preserved  (Ca3rley'8 
'Life  ef  More,*  L  317),  of  which  the  English 
epitaph  quoted  by  Rimbault  frt>m  Stonyhurst 
b  an  adaptation.    In  these  he  himself  is  styled 

*  nobilis,'  and  his  office  in  London  '  cantor,' 
and  he  is  said  to  have  been  pre-eminent  both 
as  a  singer  and  an  organist : — 

'  Miliibus  in  mille  cantor  fuit  optimus  ille, 
Praeter  et  haec  ista  fuit  optimus  orgaquenista.* 

More*s  friendship  is  evidence  of  Abyngdon's 
ability  and  goodness,  but  the  acquaintance  can 
only  have  been  slight^  as  More  was  but  seventeen 
when  Abyngdon  died.  None  of  his  works  are 
known.  [6.] 

ACADEMIE  DE  MUSIQUE.  This  in- 
stitution,  which,  following  the  frequently  changed 
political  conditions  of  France  since  1791*  has 
been  called  in  turn  Roy<H>t^  NationaU,  and  Im- 

?Sriale,  has  already  entered  its  third  century, 
n  1669  royal  letters  patent  were  granted  by 
Louis  XIV  to  the  Abb^  Perrin,  Robert  Cambert, 
and  the  Marquis  de  Sourd^ac,  for  the  establish- 
ment of  an  Acad6mie  wherein  to  present  in  public 

*  operas  and  dramas  with  music,  and  in  French 
verse,*  after  the  manner  of  those  of  Italy,  for  the 
space  of  twelve  years.    Nearly  a  century  prior 


ACADEMIE  D£  MUSIQUK 

to  ibxa,  in  1570^  nmllar  pfivil^es  had  been 
aeoordtrd  by  Charles  IX  to  a  Venetian,  C.  A. 
di  Bai^  in  reepect  to  an  academy  'de  poesie  et 
<k  mosiqne,'  but  its  scheme  does  not  appear  to 
Ittve  included  dramatic  representation.  In  any 
case  it  &iled  utterly.  The  establishment  of  the 
existing  institntion  was  however  also  preceded, 
and  therefore  &ciUtated,  by  a  series  of  per- 
fonnanoea  in  Italian  by  Italian  artists^  beginning 
ia  1584  and  continned  with  little  intemiption 
tin  1652,  and  by  rarer  though  not  less  important 
ones  by  French  artists,  beginning  from  1625, 
vhen  '  Ak^bar,  n>i  du  Mogol,'  was  produced  in 
the  palaoeof  the  bishop  of  Caipentras.  This  has 
frequently  been  qwken  of  as  the  earliest  veritable 
Frokch  opotk ;  but  that  title  is  more  justly  due 
to  the  '  Pastorale  en  musique '  of  Cambsbt — ^the 
■abject  of  which  was  given  to  the  Abb4  Perrin 
bj  the  Cardinal  Legate  of  Innocent  X — first 
perionned  at  Issy  in  1 659.  Two  years  after, 
Cambert  followed  this  opera  by  '  Ariane,'  and  in 
the  following  year  by  '  Adonis.*     The  Academic 


opened  in  i67i  with  an  opera  by  the  same 
master,  'Pomone,  which  attained  an  enormous 
SQCceflB ;  having  been  repeated,  apparently  to  the 
ezdusion  of  every  other  work,  for  eight  months 
toooeadvely.  The  'strength'  of  the  company 
engaged  in  its  performance  presents  an  interesting 
contrast  with  that  of  the  existing  grand  opera, 
and  even  of  similar  establishments  of  fiur  less 
pretension.  The  troupe  consisted  of  five  male 
and  four  female  principal  performers,  fifteen 
choros- singers,  and  an  orchestra  numbering 
thirteen!  The  career  of  the  Academic  under 
these  its  first  entrepreneurs  was  brought  to  an 
end  by  the  jealousy  of  an  Italian  musician  then 
riang  in  court  fiivour,  J.  Baftistb  Ldllt,  who, 
through  his  influence  with  Mme.  de  Monteepan, 
•occeeded  in  obtaining  for  himself  the  privileges 
which  had  been  accorded  to  Perrin  and  Cambort. 
The  latter,  the  master-spirit  of  the  enterprise 
thus  wrecked,  notwithstanding  his  hospitable 
reception  by  our  Charies  II,  died  in  London 
shortly  afterwards,  at  the  age  of  forty-nine,  of 
disappointment  and  home  -  sickness.  By  this 
disreputable  proceeding  Lully  made  himself 
maiiier  of  the  situation,  remaining  to  the  time 
of  his  death,  in  1687,  the  autocrat  of  the  French 
Ijric  diamsL  In  the  course  of  these  fourteen 
yesn  he  produced,  in  concert  with  the  poet 
QciXADLT,  no  fewer  than  twenty  grand  operas, 
besides  other  works.  The  number,  success,  and, 
more  than  all,  the  merit,  of  these  entitle  Lully  to 
be  regarded  as  the  founder  of  the  school  of  which 
Meyerbeer  may  claim  to  have  proved  the  most 
distinguished  alumnus ;  though,  as  we  have  seen, 
its  foundation  had  been  foc^itated  for  him  by 
the  labours  of  others.  In  the^course  of  his 
aatocracy,  Lully  developed  considerably  musical 
form  in  its  application  to  dramatic  effect,  and 
added  considerably  to  the  resources  of  the 
orchestra;  though,  in  comparison  with  those 
of  more  recent  times,  he  left  them  still  very 
meagre.  He  is  said  to  have  first  obtained 
permission,  though  in  spite  of  great  opposition, 
£>r  the  appearance  of  women  on  the  stage ;  but 


AGADEMIE  DE  MUSIQUE.  7 

as  the  troupe  of  his  predecessor  Gsmbert  in- 
cluded four,  his  claim  to  their  first  introduction 
there  needs  qualification.  Probably  he  got 
prohibition  which  had  eeased  to  be  operative 
exchanged  for  avowed  sanction.  The  status 
of  the  theatrical  performer  at  this  epoch  would 
seem  to  have  been  higher  than  it  has  ever  been 
since ;  seeing  that,  by  a  special  court  order>  even 
nobles  were  allowed,  without  prejudice  to  their 
rank,  to  appear  as  singers  and  dancers  before 
audiences  who  paid  for  admission  to  their 
performances.  What  it  was  somewhat  lat^  may 
be  gathered  from  the  foct  that,  not  to  mention 
innumerable  less  distinguished  instances.  Christian 
biuial  was  refused  (1673)  to  Moli^  and  (1730) 
to  Adrienne  Le  Couvreur.  Lully's  scale  of  pay- 
ment to  authors,  having  regard  to  the  value  of 
money  in  his  time,  was  liberal.  The  composer 
of  a  new  opera  received  for  each  of  the  first  ten 
representations  100  livres  (about  £4  sterling), 
and  for  each  of  the  following  twenty  repre- 
sentations, 50  livres.  After  this  tne  work 
became  the  property  of  the  Academic.  The 
theatre  was  opened  for  operatic  performance 
three  times  a  week  throughout  the  year.  On 
great  festivals  concerts  of  sacred  music  were 
given.  The  composers  oontemporary  with  LuUy 
(many  of  them  his  pupils)  oould  only  obtain 
access  to  the  Academic  l^  conforming  to  his  style 
and  working  on  his  principleSk  Some  few  of 
these  however,  whose  mipatienoe  of  the  LulHan 
despotism  deprived  them  of  aU  chance  of  a  hearing 
within  its  walls,  turned  their  talents  to  account 
in  the  service  of  the  vagrant  troupes  of  the 
Foire  Saint-Germain;  and  with  such  success 
as  to  alarm  Lully  both  for  his  authority  and  his 
receipts.  He  obtained  an  order  {more  suo)  for 
the  suppression  of  this  already  dangerous  rivalry, 
which  Ikowever  proved  itself  for  too  supple  for 
legislative  manipulation.  The  'vagrants*  met 
each  new  ordonnance  with  a  new  evasion,  and 
that  of  which  they  were  the  first  practitioners, 
and  the  frequenters  of  the  Foire  the  first  patrons, 
subsequently  grew  into  the  most  delightful, 
because  the  most  truly  natural,  of  all  French 
art  products,  the  Op^ra  Gomique.  The  school 
of  composition  established  by  LuUy  did  not  die 
with  its  founder;  nor  for  many  years  was  any 
serious  violation  of  his  canons  permitted  by 
his  adopted  oountiymen.  Oharpentier  (1634- 
1702),  a  composer  formed  in  the  school  of 
Carissimi,  was  unsuccessful  in  finding  fovour 
for  the  sl^le  of  his  master:  Gampra  (i  660-1 744) 
was  somewhat  less  so ;  while  Marais,  Desmarets, 
Lacoste,  and  Montedair  were  gradually  enabled 
to  give  more  force,  variety  and  character  to 
orchestration.  The  last  of  these  (i 666-1 737) 
first  introduced  the  three-stringed  double-bass, 
on  which  he  himself  was  a  performer,  into  the 
orchestra.  But  a  condition  of  an  art  on  the 
whole  so  stagnant  as  this  was  sure  eventually 
to  become  insupportable,  if  not  to  the  public, 
to  the  few  who  at  all  times,  consdoiiBly  or 
unconsciously,  direct  or  oonfirm  its  inclinations. 
Their  impatience  found  expression  in  the  Abb^ 
Baguenet  s  '  Paialldle  des  Italiens  et  des  Francais, 


S  ACADEMIE  DE  MUSIQUE, 

60  oe  qui  regaide  la  muaiqiie  et  lea  open*  (i  7^4) » 
one  of  a  conaiderablo  number  of  easayB  which 
assiffted  in  preparing  the  way  for  a  new  style, 
should  a  composer  present  himself  of  sufficient 
genius,  culture  and  oourage,  to  introduce  it. 
Such  an  one  at  lengfth  did  present  himself  in 
Jean  Philippe  Rameau,  whose  arrival  in  Paris 
m  1721,  at  the  somewhat  mature  age  of  forty- 
two,  forms  an  epoch  in  the  history  not  merely 
of  French  opera  but  of  European  music.  In  the 
£Ekce  of  much  opposition  this  sturdy  Burgundian 
succeeded  first  in  obtaining  a  hearing  from  and 
eventually  in  winning  the  &vour — though  never 
to  the  same  extent  as  Lully  the  affections — of 
the  French  people.  Between  1737  and  1760, 
irrespective  of  other  work,  he  set  to  music  no 
less  than  twenty-four  dramas,  the  majority  of 
them  grand  operas.  The  production  of  these  at 
the  Acad^mie  he  personally  superintended ;  and 
some  idea  of  his  activity  and  influence  as  a  director 
may  be  gathered  from  the  fact  that  in  1750, 
fourteen  years  before  the  close  of  his  career,  the 
number  of  performers  engaged  at  the  Acad^mie 
bad  risen  to  149;  a  number  doubtless  to  some 
extent  rendered  necessary  by  the  increased 
craving  of  the  public  ear  for  intensity,  but  more 
by  the  varieties  of  musical  effect  of  which  he 
himself  had  been  the  inventor.  In  1763  the 
theatre  of  the  Palais  Royal,  built  by  Lemercier, 
so  long  resonant  with  the  strains  of  Lully  and 
Rameau,  was  destroyed  by  fire.  The  ten  years 
which  connected  the  death  of  Rameau  with  the 
arrival  in  Paris  of  Gldok  were  mariced  by  the 
production  of  no  work  of  more  than  secondary 
rank.  On  April  19,  1774,  the  'Iphig^nie  en 
Aulide'  of  this  master  was  heard  for  the  first 
time.  The  production  of  this  work  was  followed 
by  that  of  a  series  of  others  from  the  same  hand, 
one  and  all  characterised  by  a  direct  application 
of  musical  form  and  colour  to  dramatic  expression 
before  unknown  to  the  French  or  any  other 
theatre.  The  arrival  in  Paris  shortly  after  of  the 
admirable  Piooinni  brought  Gluck  into  relation 
with  a  master  who,  while  not  unworthy  to  cope 
with  him  as  a  musician,  was  undoubtedly  his 
inferior  as  a  diplomatist.  Between  these  two 
great  oomposers  the  parts  of  the  typical  *ru8d 
Italian '  and  the  '  simple-minded  German '  were 
interchanged.  The  latter  leti  no  means  untried 
to  mar  the  success  of  the  former,  for  whose  genius 
he  openly  professed,  and  probably  felt,  high  ad- 
miration ;  and  in  the  famous  war  of  the  Gluckists 
and  Piccinnists — whose  musical  knowledge  for 
the  most  part  was  in  inverse  ratio  to  their  literary 
skill — ^the  victory  which  fell  eventually  to  the 
former  was  the  result  no  less  of  every  species  of 
chicanery  on  the  part  of  Gluck  than  of  genius 
especially  adapted  to  captivate  a  people  always 
more  competent  to  appreciate  dramatic  than 
musical  genius.  In  1781  the  second  Palais 
Royal  theatre,  like  its  predecessor,  was  burnt 
to  the  ground.  The  Aoul^mie,  for  many  weeks 
without  a  home,  at  length  took  temporary  refuge 
in  the  Salles  des  Menus-Plaisirs.  Meanwhile 
the  architect  Lenoir  completed  the  Salle  de  la 
Porte  Saint-Martin  in  the  short  space  of  three 


ACADEMIE  DE  MUSIQX7E. 

months.    The  result  of  this  extravagant  spee^l 
was  that,  after  the  first  performance,  said    "t^r 
have  been  attended  (gratis)  by  10,000  personSy 
the  walls  were  found  to  have  '  settled '  two  incfaefl 
to  the  right  and  fifteen  lignes  to  the  left.      Ixi. 
1784  an  Eoole  Royale  de  Chant  et  de  Dedamsk- 
tion,  afterwards  developed  into  the  Conservatoire, 
was  grafted  on  to  the  Academic.    In  1787   tlie 
Acad^mie  troupe  is  said  to  have  consisted  of  250 
persons — an  increase  of  100  on  that  of  Rameati. 
The  unfortunate  Louis  XYI  took  great  interes-fe 
in  the  Acad^mie,  and  even  gave  much  persons^ 
attention  to  its   regulation.      He  reduced    tlie 
working  expenses  by  nearly  one-half;  not  at  the 
cost  of  the  working  members,  but  by  the  aboil— 
tion  of  sinecures  and  other  incumbrances    oxfc 
its  income.    In  1784  he  established  prizee  for 
libretti,     and    in    1787    issued    several    ^well- 
oonsidered  ordonnances  for   the    regulation    of 
the  establishment.    But  from  1 789  the  thoughts 
of  the  ill-starred  king  were  exclusively  occupied 
by  more  weighty  and  more  difficult  subject*. 
On  April  ao,  1791,  the  royal  &mily  attended 
the  Acad^mie  for  the  last  time.    The  opera  was 
the  '  Castor  et  Pollux  *  of  Rameau.   Shortly  aSter 
this    the    'protection,'    or    exclusive   right    of 
performance  of  grand    opera,   was  withdrawn 
from  the  Acad^mie  and  die  liberty  des  theatres 
proclaimed.    Hitherto  the  names  of  the  artists 
concerned  in  the  Acad^mie  performances   had 
never  been  published.    This  rule  was  violated 
for    the  first   time    in  the  affichu   announcing 
'L'Offrande  k  la  liberte,*   an  opera-ballet   by 
Gardel  and  Goesec.    The  history  of  the  Acad^mie 
during  the  next  few  years  is  a  part  of  the  history 
of  the  French  Revolution,  and  could  only  h& 
made  intelligible  by  details  out  of  all  proportion 
with  our  space.   The  societaires,  as  public  officers, 
were  largely  occupied  in  lending  the  chanus  of 
their  voices  and  instruments — the  only  charms 
of  which  they  were  receptive — to  'Ffites  de  la 
Raison,*    '  Sans  -  Culottides,'    aofid    more    lately 
'Hymnes  k  TEtre  Supreme,*  alike  unmeaning, 
indecent,  or  blasphemous.    In  many  of  these  the 
talents  of  the  illustrious  Cherubmi,    who   had 
taken  up  his  residence  in  Paris  in  1788,  vr&re 
employed.    The  chronological   'Notice*  of  his 
compositions,  which  he  himself  drew  up  (Paris, 
1845),  contains  the  titles  of  a  large  number  of 
productions  of  this  class — 'Hymne  k  la  Fra- 
ternity.' 'Chant  pour  le  Dix  Aout,'  'Le  Salpdtre 
R^pu  blicain/  and  the  like.   In  1 794  the  Acad^mie 
was  transferred  to  the    Rue   de  Richelieu,   a 
locality  (the  site  of  the  Hotel  Louvois)  chosen 
it  was  said  by  Henriot,  convinced  of  'the  in- 
utility of  books,'  in  the  hope  that  an  establish- 
ment so  liable  to  conflagration  as  a  theatre  might 
lead    to  the    destruction  of   the    Bibliotiieque 
Nationale  contiguous  to  it !     In  its  new  abode 
the  Academic  took  a  new  name — ^Th^atre  des 
Arts.      Here  for  the  first   time,  the    pit  was 
provided  with  seats.    In  the  four  or  fiye  years 
following   this   removal,    the    habitues  of   the 
Academic  became  weary  of  a  repertoire  having 
constant  ultimate  reference  to  liberUf  fratemite, 
or  egaliU»    The  old  operas,  subjected  always  to 


ACADEMIB  DE  MtTBIQUE. 

jemocntic  pmificaiion,  were  agun  heard.     In 
1799  Glii^'s   'Armide*   was  revived.    Daring 
lb  ooDBidate  no  new  works  of  importance  were 
Isooght  forward  at  the  Th^tre  des  Arte,  eventu- 
alij  the  soene  of  two  conspiracies  against  the 
First  Consul,  which,  had  they  heen  successful, 
would  have   altered    seriously  the    subsequent 
Jdstciy  of  Europe.     On  the  occasion  of  the  first 
of  ^ese  the  'Horaces'  of  Porta,  and  on  that 
of  the  second   the  '  Creation  '  of  Haydn  were 
perfonned,  the  latter  for  the  first  time  in  Paris. 
Doziiig  the  ten  years  which  follow  1804  French 
open  was  much  developed  through  the  labours 
haih  of  foreigpi  and  of  native  composers ;  among 
the  former,  Spontini,  Bodolphe  Kieuixer,  and 
Chmibini ;  among  the  latter  Lesueur  and  Catel. 
Among  the  most  important  of  their  works  were 
'Les  Bardes'  of  Lesueur  and  'La  Yestale*  of 
Spoatini — the  latter  an  enormous  success  won 
deg{ate  bitter  and  lon^-continued  opposition.    To 
Spoudni,  on  account  of  it,  was  awsoded  the  prise 
of  10,000  francs,  decreed  at  Aix-hh-Ghapelle  by 
Napoleon  for  the  best  opera  produced  at  the 
Academie  (now)  Imperiale.     In  1814  the  allies 
occTiptted  Paris,  and  the  Emperor  of  Bussia  and 
the  EjDg  of  Pmasia  assisted  at  a  performance  of 
*  La  Yestale'  on  April  i.     On  May  17  following 
'(Edipe  k  Ck>lone '  and  a  Ballet  de  GiroonBtance 
vere  played  befbre  Louis  XVIIL    On  April  18, 
1S15,  Napolecm  witnessed  another  performance 
of  'La  Yestale,'  and  on  July  9  of  the  same  year 
the  same  open  was    again  performed   before 
Loms  XYIII,  the  Emperor  of  Austria,    and 
the  King  of  Prussia.     The  assassination  of  the 
Doc  de  Betri  on  the  evening  of  Feb.  13,  1820, 
mterrupted  for  several  monthis  the  performances 
of  the  Academic.     The  act  and  its  consequences 
were  attended  by  every  conceivable  circumstance 
that  could  add  to  their  ghastliness.    The  dying 
victim,  who  could  not  be   removed  from  the 
theatre,  lay,  surrounded  by  his  weeping  &mily, 
separated   only  by  a  thin    partition  from    an 
aodience,  unconscious  of  course  of  the  tragedy 
in  progress  behind  the  scenes,  convulsed  with 
laughter  at  the  antics  of  Polichinelle !    The  last 
aacraments  of  the  church  were  administered  to 
the  duke   on   condition — exacted,   it    may  be 
prenimed,   by  the  clergy  in  attendance — that 
the  building  in  which  these  horrors  were  being 
ecaeted  should  be  forthwith    demolished.     On 
^^7  3}  1 82 1,   the  Academic  troupe  resumed 
He  performances  in  the  Salle  Favart,  with  an 
Op^ra  de  Circonstance,  the  combined  work  of 
Berton,   Boiddieu,    Kreutzer,   Cherubini,    and 
Paer,  in  honour  of  the  infemt  Due  de  Bourdeaux. 
In  the  next   year  the   Acad^mie   was    again 
transferred — tms  time  to  the  Rue  Le  Peletier, 
the  salle  of  which  was  destined  to  be  for  many 
■Qooeeding  years  its  home,    and  the  scene  of 
«ven  greater  glories  than  any  it  had  yet  known. 
About  this  time  a  change  of  taste  in  music, 
'BmAj  attributable    to    a   well-known    critic, 
Castil-Blaze,   showed   itoelf  among   the   opera 
habitat  of  Paris.     French  adaptations  of  the 
OenoaxL  and  Italian  operas  of  Mozart,  Rossini, 
Meyerbeer,  and  even   Weber,    were  produced 


ACADEMIB  DE  MUSIQUE.  .9 

in  rapid  succession  and   reo^ved   with  great 
favour.     The   '  Freischiitz '    of   the  last  great 
master  was  performed  at  the  Od^n  387  times 
in  succession.  The  inevitable  result  soon  followed. 
The  foreign  composers  who  had  so  effectually 
served  the  Academic  indirectly,  were  called  upon 
to  serve  it  directly.    The  career  of  Mozart,  alas ! 
had  many  years  before  come  to  an  untimely  end, 
and  that  of  Weber  was  about  to  prove  scarcely 
more  extended.    But  Rossini  and  Meyerbeer, 
though  already  renowned  and  experienced,  had 
not  yet  reached  the  age  when  it  is  impossible  or 
even  very  difficult  to  enter  on  a  new  career.  They 
became  and  remained  French  composers.    Mean- 
while HEBOID,  AuBEB,  and  other  native  musi* 
cians,  had  made  themselves  known  by  works  of 
more  than  promise ;  and  the  services  of  a  body 
of  operatic  composers,  foreign  and  French,   un- 
precedented in  number  and  ability,  were  made 
to  contribute  at  the  same  time  to  the  pleasure 
of  a  single  dty  and  the  prosperity  of  a  single 
institution.      By  a  fortunate   coincidence    too, 
there  fiouiished  during  this  period  a  playwright, 
Augustin  Eug^e  Scribe,  who,  despite  his  eti^ 
impouiblef  must  be  regarded   as  the  greatest 
master  the  theatre  has  known  of  that   most 
difficult  and  thankless  of  literary  products,  the 
libretto.    The  two  years  immediately  preceding 
and  the  eighteen  following  the  revolution  of 
July  form  the  period  during  which  the  Academic 
attained  its  highest  excellence  and  success.    Not 
to  speak  of  a  large  niunber  of  works  which  in 
other  times  might  have  deserved  special  mention, 
this  period  includes  the  composition  and  pro- 
duction  of  the  'Comte  Ory'  and  the  'GuiUaume 
Tell'  of  Rossini,  the  'Muette'  of  Auber,  the 
'Robert  le  Diable*  and  'Huguenots'  of  Meyer- 
beer, the  'Juive'  and  'Charles  YI*  of  Hal^vy, 
the  'Favorite'  of  Donizetti,  and  the  'Benve- 
nuto    Cellini'  of  Berlioz.    These  wcnrks  were 
performed  almost  exclusively  by  native  artists, 
whose  excellence  has  especial  claims   on   our 
admiration  from  the  foot  that,  fifty  years  before, 
singing  as  an  art  can  scarcely  be  said  to  have 
existed  in  France.     Writing  fiiom  Paris  in  1778, 
Mozart  says — 'And  then  the  singers ! — but  they 
do  not  deserve  the  name ;  for  they  do  not  sing, 
but    scream    and   bawl  with    all    their   might 
through  their  noses  and  their  throats.'     With 
the  times,    like    many    other   things,    French 
singing  had  certainly  changed  in  1830.     Transi- 
tory as  is  the  reputation  of  the  average  vocalist^ 
the  names  of  Cinti-Damoureau,  Falcon,  Nonrrit, 
Levasseur,  and  the  later  Duprez,  are  as  little 
likely  to  be  forgotten  as  those  of  the  admirable 
masters  of  whose  works    they  were   the  first 
interpreters.     Since  1848  the  lyric  dramas  pro- 
duced at  the  Academic  hold  no  place  besides 
those  of  earlier  date.     Few  of  them — this  is  the 
best  of  tests — have  been  performed  with  any 
success,   or  even  at  all,   out  of  France.     The 
'Proph^te'    of    Meyerbeer   and    the    'V^pres 
SicUiennes'  of  Yerdi  present  all  but  the  only 
exceptions;    and  the  composition  of  the  former 
of  these  belongs  to  an  earlier  epoch.     In  1861, 
when  the  second  empire  was,  or  seemed  to  be, 


10 


ACADEMIE  DE  MUSIQUE. 


»t  its  zenith,  the  foundatioiu  wore  laid  in  Paris 
of  a  new  Acad^mie,  designed  on  a  scale,  as 
respects  magnitude  and  luxury,  unprecedented 
in  any  age  or  country.  Its  progress,  firom  the 
first  slow,  was  altogether  stopped  by  the 
Franco-German  war  and  the  political  changes 
accompanying  it.  The  theatre  in  the  Rue  Le 
Peletier  having  meanwhile,  after  the .  manner 
of  theatres,  been  burnt  to  the  ground,  and  the 
works  of  the  new  one  resumed,  the  Acadumie, 
installed  in  its  latest  home,  once  more  opened  its 
doors  to  the  public  on  Jan.  5,  1875.  In  some 
reelects  the  new  theatre  is  probably  the  most 
commodious  yet  erected,  but  the  uUe  is  said  to 
be  d^cient  in  sonority. 

Since    the  foundation  of  the    Acad^mie  in 
1669,  its  relations  with  the  Government,  though 
frequently  changed,  have  never  been  altogether 
interrupted.    The  interference  of  the  state  with 
the    entrepreneur    has    been   less   frequent    or 
authoritative  at  one  time  than  at  another;  but 
he  has  always  been  responsible  to  a  '  department.* 
Before  and  up  to  the  Bevolution  the  ultimate 
operatic  authority  was  the  ELing's  Chamberlain ; 
under  the  Empire  the  Steward  of  the  Imperial 
Household ;   under  the  Restoration  the  King's 
Chamberlain  again;  under  Louis  Phillippe  the 
Minister  of  Fine  Art ;  and  under  Napoleon  III 
(after  the  manner  of  his  undo)  the  Steward  of 
the  Imperial  Household  again.    The  arbitrary 
rule  of  one  of  these  officers.  Marshal  Yaillant, 
brought    the  working  of  the  Acad^mie   to   a 
complete  standstill,  and  the  Emperor  was  com- 
pelled to  restore  itis  supervision  to  the  Minister 
of   Fine    Art.     From    the   foundation   of  the 
Academie    to    the    present    time    its    actual 
management  has  changed  hands,  in  the  course 
of  two    centuries,   nearly  fifty    times,    though 
many  managers  have  held  office  more  than  once ; 
giving  an  average  of  only  four  years  to  each 
term    of  management.     In    the    present    year 
(1875)  the  entrepreneur,  subject  to  the  Minister 
of  Fine  Art,  is  M.  Halanzier,  who  receives  from 
the    state   a    yearly  allowance    {tubvetdion)    of 
£32,000,  the  principal  conditions  of  the  enjoyment 
of  which  are  that  he  shall  maintain  an  efficient 
st|iff,  open  his  theatre  four  times  a  week,  and 
give  favourable  consideration  to  new  works  by 
native  composers. 

The  &cts  in  this  article  are  drawn  from  the 
following  works,  amongst  others  : — '  Histoire  de 
la  Musique  dramatique  en  France,*  Gustavo 
Chouquet,  1873;  'Histoire  de  la  Musique  en 
Francsi,'  Ch.  Poisot,  i860;  'Notice  des  Manu- 
scrits  autographs  de  la  Musique  oompos^e 
par  Cherubini,*  1845;  Kochs  '  Musikalisches 
Lexicon,*  edited  by  von  Dommer;  'Critique 
at  litt^rature  musicales,'  Scudo,  1859;  'M^- 
moires  pour  servir  a  rhistoire  de  la  Revolution 
op4r^e  dans  la  Musique  par  M.  le  Chevalier 
Gluck,*i78i.  [J.  H.] 

ACADEMY  OF  ANCIENT  MCTSIC.  This 
association  was  formed  about  the  year  1710  at  the 
Crown  and  Anchor  Tavern  in  the  Strand,  by 
a  body  of  distinguished  instrumentalists,  pro- 
fessional and  amHteur,  including  the  Earl   of 


ACCADEMIA. 

Aberoom,  Mr*  Heniy  Needier,  Mr.  Mnlso,  &xul 
other  gentlemen,  for  the  study  and  practice    o£ 
vocal  and  instrumental  works,  and  an  importazL^ 
feature  in  the  scheme  was  the  formation  of   ^ 
library  of  printed  and  MS.  music    The  Acadezoy 
met  with  the  utmost  success  under  the  directioza 
of  Dr.  Pepusch,  the  gentlemen  and  boys  of  St^. 
Paul's  Cathedral  and  the  Chapel  Royal  taking  par^ 
in  the  performances.  In  1 8  28  Dr.  Maurice  Greexie 
left  the  Academy  and  established  a  rival  instii^u- 
tion  at  the  Devil  Tavern,  Temple  Bar,  but  this  only 
existed  for  a  few  years,  and  the  old  Academy  oon- 
tinued  its  work,  with  Mr.  Needier  as  leader  of 
the  orchestra,  among  the  members  of  which  ^vraa 
the  Earl  of  Abercom.    In  the  season  of  1 731  -3 
the  Academy  performed  Handel's  'Esther,*  the 
members  appearing  dressed  in  character,  and  ita 
success  is  said  to  have  led  Handel  to  consider  tlie 
desirability  of  establishing  oratorio  performanceB 
at  Covent  Garden.    In  1 734  there  was  a  seoozicl 
secession  from  the  Academy,  Mr.  Gates  retiring 
and  taking  with  him  the  children  of  the  Chapel 
RoyaL  After  passing  through  one  season  without 
any  treble  voices  the  Academy  issued  invitations 
to  parents  to  place   their  d^ldren   under   the 
ins<2iiction  of  Lhr.  Pepusch,  one  of  the  conditions 
being  that  they  should  sing  at  the  concerts.     JL 
subscription  list  was  also  opened  to  provide  the 
neoessazy  funds,  and  among  those  who  supported 
the  Academy  were  Handd  and  Geminiani,  the 
latter  of  whom  frequently  played  at  its  concerts. 
The  death  of  Dr.  Pepusdi  in  175  s  was  a  serious 
loss  to  the  institution,  but  the  doctor  bequeathed 
to  it  the  most  valuable  portion  of  his  library.   The 
Academy  closed  its  career  in  1792   under  the 
conduct  of  Dr.  Arnold,  who  had  been  appointed 
its  director  in  the  year  1 789.  [C.  M.] 

ACADEMY  OF  MUSIC,  NEW  YORK. 
This  is  not  an  academy  in  the  European  sense 
of  the  word,  but  is  the  name  of  a  large  building 
employed  for  the  performance  of  operas  and 
concerts,  opened  in  1854,  burnt  down  in  1866, 
re-opened  in  Feb.  1867.  The  chief  public 
institution  in  New  York  for  teaching  music  is 
the  New  York  oonsebvatobt  of  musio. 

A  CAPELLA,  or  ALLA  CAPELLA  (Ital., 
'in  the  church  style*),  is  used  in  three  senses, 
(1)  as  showing  that  the  piece  is  for  voices 
without  accompaniment ;  or  ( 2)  where  instruments 
are  employed,  that  these  accompany  the  voices 
only  in  unisons  or  octaves  and  have  no  in- 
dependent parts;  or  (3)  as  a  time  indication, 
in  which  case  it  is  equivalent  to  Alul  breve. 

A  CAPRICCIO  (Ital.).  'At  the  caprice*  or 
pleasure  of  the  performer,  both  as  regaxds  time 
and  expression. 

ACCADEMIA,  an  institution  which  flourished 
all  over  Italy  in  the  i6th  and  1 7th  centuries,  and, 
speaking  generally,  was  founded  for  promoting 
the  progress  of  sdenoe,  literature,  and  art.  II 
Quaorio  ('Storia  e  Ragione/  i.  48-112)  gives 
an  account  of  all  the  Italian  academies  from 
the  earliest  times,  and  tiie  mere  alphabetical  list 
would  fill  several  pages.    Even  from  his  volumi- 


AOCABEMIA. 

woik  hot  little  beyond  the  names  and  mot- 
toes of  these  institatioiiB,  the  dfttes  of  their  foun- 
datioD,  and  their  general  objects  can  be  asoer- 
oiaed.  A  detailed  history  of  their  endowments 
tod  separate  objests  would  leqoiie  an  ezamina- 
ttm  into  the  axchiveB  of  each  particular  dty, 
sad  it  is  doabtful  whether  such  an  examination 
would  supply  fhll  in£oimation  or  repay  it  when 
foi^ilied.  Nor  is  it  an  easy  task  to  separate 
those  institations  which  had  music  for  their 
eq)edal  objecst. 

Hie  *  Aoeademie,*  even  those  especially  devoted 
to  mosic,  do  not  come  under  the  same  category 
« the  C0NSBBVATOBIO8.  The  latter  were  schools 
{omded  and  endowed  far  the  sole  purpose  of 
giTisg  instruction  in  music  The  Academies 
were  either  public  institutions  maintained  by  the 
ststS)  or  private  societies  founded  by  individuals 
to  further  the  general  movement  in  &vour  of 
idaoe,  litemtuTB,  and  the  fine  arts.  This  they 
dH  in  vaiioafl  ways,  eiUier  by  public  instructions 
snd  critlciBms.  fiEM^tating  the  printing  of  standard 
mki  on  music,  illustrating  them  with  firesh 
notes,  or  by  composing  new  ones;  and  every 
veek  the  AcademiciattB  would  assemble  to 
compare  tlieir  studies  and  show  proo&  of  their 
iodostry.  The  study  of  one  science  'or  art 
vodd  often  help  to  illustrate  the  other.  By  the 
end  of  the  i6th  century  poetry  had  become  so 
dflsdy  allied  to  music  in  the  drama  that  an 
acsdony  could  hardly  have  one  of  these  arts 
for  its  object  without  including  the  others  also, 
while  many^  like  the  '  Alterati*  at  Florence,  the 
*  Intrepid!'  at  Fenara,  the  *Intronati*  and  the 
'Rasa'  at  Siena^  devoted  their  energies  to 
promoting  the  soooessful  combination  of  Uie  two 
sits  in  theatrical  representation. 

As  &r  as  regards  sdenoe,  the  study  of  ma- 
thematical proportions  was  ibund  to  throw  light 
npon  the  theory  and  the  practice  of  music,  when 
the  Greek  writers  upon  music  came  to  be  trans- 
hted  and  studied  in  Italy  in  the  i6th  and  17th 
oQUnzies.  Take  for  example  the  mathematical 
daaoDBtratioiis  of  Galileo  in  his  'Trattato  del 
Soon.'  the  writings  of  the  great  Florentine  theo- 
rist. Giambattista  Doni  (a  member  of  the  literary 
academy  'Delia  Orasca'X  and  Tartini's  'Trattato 
di  Mosica.'  From  the  15th  to  the  i8th  century 
the  paaeioii  for  scademical  institutions  was  so 
Tehement  in  Italy  that  there  was  scarcely  a 
town  whidi  could  not  boast  at  least  one,  while 
tiw  laiger  cities  contained  several.  At  first  they 
went  by  the  name  of  their  founder,  as  that  of 
'Pompomo  Leto'  ott  Borne,  or  'Bel  Pontano* 
u  Naples.  But  as  they  increased  and  multiplied 
tins  did  not  suffice,  and  each  chose  a  special 
lume  either  with  reference  to  its  particular 
object  or  from  mere  caprice.  Henoe  srose  a 
number  of  elaborate  designations  indicative 
either  of  praise  or  blame,  *I>egli  Infiammati,' 
'Dd  SoUedti,'  'DegF  Intrepidi,'  etc.  Each  of 
these  societies  had  moreover  a  device  hearing 
s  metaphorical  reiation  to  its  name  and  object. 
Theee  were  looked  upon  as  important,  and  were 
w  highly  esteemed  as  the  crests  and  coats  of 
arms  of  the  old  nobility. 


ACCADEMIA 


11 


Selecting,  as  far  as  possible,  the  academies 
which  had  the  cultivation  of  music  for  their 
special  object,  we  find  that  the  earliest  in  Italy 
were  those  of  Bologna  and  Milan,  founded,  the 
former  in  1482,  the  latter  in  1484.  In  the  i6th 
and  17th  centuries  Bologna  had  no  less  than  six 
societies  for  public  instruction  in  music,  Cesena 
and  Femura  one  each,  Florence  five,  Padua  and 
Salerno  one  each,  Siena  four,  entirely  for  musical 
dramatic  representations,  Verona  one,  founded 
by  Alberto  Lavezzola — a  combination  of  two 
rival  institutions  which  in  1543  became  united— 
Yioenza  two,  also  founded  entirely  for  musical 
representation. 

At  this  period  there  appear  to  have  been  no 
particular  acadeiny  for  music  either  at  Milan, 
Bome,  Naples,  or  Venice,  though  the  science  was 
probably  hicluded  in  the  general  studies  of  the 
various  academies  which  flourished  in  those 
cities,  while  it  could  be  specially  and  closely 
studied  in  the  fifunons  Neapolitan  and  Venetian 
Conservatorios  (see  Oonsbrvatorio)  or  under 
the  great  masters  of  the  Pontifical  and  other 
Chapels  at  Rome. 

The  '  Accademie'  were  all  more  or  less  short* 
lived,  and  that  of  the  '  Filarmonid'  (at  Bologna) 
is  the  only  one  which  Bumey  ('Musical  Tour,* 
1773),  mentions  as  still  extant.  According  to  the 
'  Report  on  Musical  Education '  of  1866,  tihe  only 
institutions  for  public  and  gratuitous  instruction 
now  existing  in  Italy  are : — 

(i)  The  Boyal  Musical  Institute  of  Florence^ 
founded  i860, 

(a)  The  'Beale  Gonservatorio  di  Musica*  at 
JkCUan,  founded  by  Napoleon,  1808,  and 
still  flourishing,  aooor(Ung  to  the  latest 
report  of  1873. 

(3)  The  Royal  Neapolitan  CoIlAge,  which  has 
taken  the  place  of  her  four  Conser- 
vatorios. 

It  Is  difficult  to  determine  how  far  the 
musical  life  of  Italy  was  affected  by  these 
Accademie  and  Conservatorios;  certainly  the 
genius  of  Palestrina,  Stradella,  or  Cherubini, 
can  no  more  be  attributed  to  them  than  that  of 
Dante  to  the  Schools ;  while  the  Accademia  della 
Orusca  might  lacerate  the  heart  of  Tasso  by 
picking  to  pieces  a  poem  which  not  one  of  her 
Academicians  could  have  produced.  Yet,  on  the 
other  hand,  it  may  be  urged  that  lovers  of -music 
owe  much  to  such  institutions  when  their  members 
are  capable  of  disoeming  the  bright  light  of 
genius  and  cheering  it  during  its  existence, 
besides  being  ready  to  impart  the  information 
which  is  required  for  the  general  purposes  of 
musical  sdenoe.     (See  Bologna,  Consebvato- 

BIO,    f^RARA,    FlOBBNCJB,    LoUBABDT,    MiLAN, 

Naples,  Padua,  Romb,  Salbbno,  Sibna,Vbnicb9 
Vbboka,  Vicknza). 

The  name  '  Aooidemia*  is,  or  was,  also  given 
in  Italy  to  a  private  concert.  Bumey  says  in 
his  'Musical  Tour*:  'The  first  I  went  to  was 
composed  entirely  of  dilettanti.  II  Padrone,  or 
the  master  of  the  house,  played  the  first  violin^ 
and  had  a  very  powerful  band;    there   were 


12 


ACXJADEMIA. 


twelve  or  foartoen  perfonnen,  smong  whom 
were  several  good  violins;  there  were  likewise 
two  Gennan  flutes,  a  violoncello,  and  small 
double  bass;  tbey  executed,  reasonably  well, 
several  of  our  [J.  C]  Bach's  symphonies,  different 
firom  those  printed  in  England:   all  the  music 

here  is  in  MS Upon  the  whole,  this 

concert  was  much  upon  a  level  'with,  our  own 
private  concerts  among  gentlemoi  in  England.' 
(*Tour,'  ii.  94-95).  BVom  Italy  the  use  of  the 
word  spread  to  Grermany.  'Besuche  er  mich 
nicht  mehr/  said  Beethoven  *<m  a  memorable 
occasion,  'keine  Akademiel'  [C.  M.  P.] 

ACCELERANDO  (Ital.).  Gradually  quicken- 
ing the  time.  In  the  finale  k>  his  quartett  in 
A  minor  (op.  132)  Beethoven  is  not  satisfied 
with  the  ItaUan,  but  has  added  above  it  'immer 
geschwinder.'  [E.  P.] 

ACCENT.  As  in  spoken  language  certain 
words  and  syllables  receive  more  emphasis  than 
others,  so  in  music  there  are  always  some  notes 
which  ore  to  be  rendered  comparatively  prominent; 
and  this  prominence  is  termed  *  accent.  In  order 
that  music  may  produce  a  satisfactory  effect  upon 
the  mind,  it  is  necessary  that  this  accent  (as  in 
poetry)  should  for  the  most  part  recur  at 
regular  intervals.  Again,  as  in  poetry  we  find 
different  varieties  of  metre,  so  in  music  we  meet 
with  various  kinds  of  time ;  i.  e.  the  accent  may 
occur  either  on  every  second  beat,  or  isochronous 
period,  or  on  every  third  beat.  The  former  is 
called  common  time,  and  corresponds  to  the 
iambic  or  trochaic  metres ;  e.  g. 


or 


'Away  I  nor  let  me  loiter  in  my  song/ 
.  'Fare  thee  well  I  and  if  for  ever.* 


When  the  accent  recurs  on  every  third  beat, 
the  time  is  called  triple,  and  is  analogous  to  the 
anapaestic  metre ;  e.  g. 

'  The  Assyrian  came  down  like  the  wolf  on  the 
fold.*^ 

As  a  general  rule  the  position  of  the  accent  is 
indicated  by  bars  drawn  across  the  stave.  Since 
the  accents  recur  at  regular  intervals  it  follows 
of  course  that  each  bar  contains  either  the  same 
number  of  notes  or  the  same  total  value,  and 
occupies  exactly  the  same  time  in  performance, 
unless  some  express  direction  is  given  to  the 
contrary.  In  every  bar  the  first  note  is  that  on 
which  (unless  otherwise  indicated)  the  strongest 
accent  is  to  be  placed.  By  the  older  theorists 
the  accented  part  of  the  bar  was  called  by  the 
Greek  word  thesis,  i.  e.  the  putting  downy  or 
'down  beat,'  and  the  unaccented  part  was  simi- 
larly named  arsig,  i.  e.  the  lifting,  or  '  up  beat.' 
In  quick  common  and  triple  time  there  is  but  one 
accent  in  a  bar;  but  in  slower  time,  whether 
common  or  triple,  there  are  two — a  stronger  ac- 
cent on  the  first  beat  of  the  bar,  and  a  weaker  one 
on  the  third.  This  will  be  seen  from  the  following 
examples,  in  which  the  strong  accents  are  marked 
by  a  thick  stroke  (■)  over  the  notes,  and  the 
weak  ones  by  a  thinner  (— ). 


ACCENT. 
I.    looth  Psalm. 


*l 


Sfi 


■zH 


T 


zz: 


2:£ 


jl^J  rl'-l 


jkll      peo  •  pto    tbatt      en 

2.    BEETH0VS5,  Eroica  Symphony  (Sdiefso). 
AUegro  vivace. 


^i'iili'i^fei^i-^' 


j^=rl""j  i  'ij  IT^^ 


etc 


3.    BEETHavSN,  Symphony  in  C  minor  (UnaleV 
Pmto, 


4.    Hayimt,  Quartett,  Op.  y6.  No.  i  (ist  move- 


Alkgro. 


ment). 


fe^i<i^r^iFTjr^Wft#ti^ 


5.    MozABT,  Symphony  in  Eb. 
Andante, 


^^^--\AiAr^^-ISTh 


'F^=H 


:p=3: 


^ 


6.    Beethovxn,  Trio,  Op.  70,  No.  2  (3rd  move- 
ment). 
AttegreUo. 


^^'i]\i-±^^l-'\r  fj^ 


!»r 


:t 


7.    MEiTDELSSOHtr,  'Pageulled.' 


^4i^^^J'liJ  j'f  j%|^#-f-ji|^ 


The  above  seven  examples  show  the  positioo 
of  the  accents  in  the  varieties  of  time  most 
commonly  in  use.  The  first,  having  only  two 
notes  in  each  bar,  can  contain  but  one  accent. 
In  the 'second  and  third  the  time  is  too  rapid 
to-  allow  of  the  subsidiary  accent;  but  in  the 
remaining  four  both  strong  and  weak  accents 
will  be  plainly  distinguishable  when  the  music 
is  performed. 

It  will  be  observed  that  in  all  these  examples 
the  strong  accent  is  on  the  first  note  of  the  bar. 
It  has  been  already  said  that  this  is  its  regular 
position;  still  it  is  by  no  meaiM  invariable. 
Just  as  in  poetry  the  accent  is  sometimes  thrown 


ACCENT. 

bdmvd  or  finrwaid  a  syllable,  m  for  iiwtftnnft 
atfaelina 

'Stop !  for  thy  tread  is  <m  an  Empire's  dast,* 
vfcoe  the  fint  syllabie  instead  of  the  second 
leceiTei  the  accent,  so  in  music,  though  with 
3U£h  more  frequency,  we  find  the  accent  trans- 
ftrndfrom  the  first  to  some  other  beat  in  the 
bar.  Whenever  this  is  done  it  is  always  clearly 
isdksted.  This  maybe  done  in  various  ways. 
Sometimes  two  notes  are  uniteil  by  a  slur, 
jk-wing  that  tiie  former  of  the  two  bears  the 
icoaitfin  addition  to  which  a  «^  is  not  infrequently 
added;  e.g. 

&  Hatdv,  Quartett,  Op.  54,  No.  2  (ist  move- 
ment). 


ACCENT. 


18 


9.  Bkethotih,  Sonata^  Op.  37,  No.  1  (Finale). 


la  the  fiomer  of  these  examples  the  phrasing 
marked  for  the  second  and  third  ban  diows  that 
the  accent  in  these  is  to  fidl  on  the  second  and 
fourth  crotdiets  instead  of  on  the  first  and  third. 
In  Ex.  9  the  alteration  is  even  more  strongly 
muked  by  the  tf  on  what  would  naturally 
be  the  unaccented  quavers.  Another  very  fre- 
qoeat  method  of  changing  the  position  of  the 
scceot  is  by  means  of  Stnoopatiok.  This  was 
X  &Tonrite  device  with  Beethoven,  and  has  since 
been  adopted  with  success  by  Schumann,  and 
0^  modem  composers.  Tlie  two  following 
oamples  from  Beethoven  will  illustrate  this : 

10.    Symphony  in  Bb  (ist  movement). 


II.    Sonata^  Op.  28  (ist  movement). 


^'K|f^  jlj  J|J,jfe 


:£ 


^^ 


r  |f  r  rip 


^^ 


In  the  following  example, 
12.    SoHUHAinf,  Phantamestuoke,  Op.  12,  No.  4, 


if>4t'^arirrrif  JJirjq3i.i,ji 


'J^^l^liW^^jH^^ 


will  be  noticed  not  merely  a  reversal  of  the  accent^ 
as  in  the  extracts  from  Beethoven  previously 
given,  but  also  in  the  last  three  bars  an  effeot 
requiring  further  explanation.  This  is  the 
di4>lscing  of  the  accents  in  such  a  way  as  to 
convey  to  the  mind  an  impression  of  an  alteration 
of  the  time.  In  the  above  paeeage  the  last  three 
bars  sound  as  if  th^  were  written  in  2-4  ^ngtftf^^ 
of  in  3-4  time.  This  efiect»  frequently  used  in 
modem  music,  is  nevertheless  at  least  as  old  as 
the  time  of  Handel.  A  remarkable  example  of 
it  is  to  be  found  in  the  second  movement  of  his 
Chandos  anthem  'Let  God  arise.' 


13. 


j>^"a{  r  rir  f  rir  j  rk  r  M 


Lat  Uiem  ■!  -  w    that  iMte  him  flea 


f  p  pi  1^  r  f'lp  [>  r  ir  r  i|»-  n 


fan      htan,        fla^ 


flea     ba  -  tan       Un. 


As  instances  of  this  device  in  the  worics  of 
later  composers  may  be  quoted  the  following : 

14.    Besthoven,  Eroica  Symphony  (ist  move- 
ment). 


•tc 


^      ^       ^     ^      it    ^      ^ 
15.    Webkb,  Sonata  in  G  (Menuetto). 


In  both  thes^  passages  the  accent  occurring  on 
every  second  instead  of  on  every  third  beat, 
produces  in  the  mind  the  full  effect  of  common 
time.  It  is  in  quick  movements  that  this 
modification  of  the  accent  is  most  often  found ; 
that  it  may  nevertheless  be  very  effectively 
employed  in  slower  music  will  be  seen  from 
the  following  example,  from  the  Andante  of 
Mozart's  '  Jupiter'  Symphony,  in  which,  to  save 
space,  only  the  upper  part  and  the  bass  are  given. 
It  will  be  noticed  that  the  extract  also  illustrates 
the  syncopation  above  referred  to. 


ii 


ACCENT. 


A  nearly  analogous  effect — the  displacing  of 
the  accents  of  6-8  time  to  make  it  sound  like  a  bar 
of  3-4  time  is  also  sometimes  to  be  met  with ;  e.  g. 
in  tho  Andante  of  MozartV  Symphony  in  G 
minor— 


The  reverse  process — making  a  passage  in 
common  time  sound  as  if  it  were  in  triple— is 
much  less  frequently  employed.  An  example 
which  is  too  long  for  quotation  may  be  seen 
in  the  first  movement  of  Clementrs  Sonata  in 
C,  op.  36,  No.  3.  Beethoven  also  does  the  same 
thing  in  the  first  movement  of  his  symphony  in 
Bflat. 

18. 


i 


^^ 


^^ 


22: 


2^ 


ifi: 


^ 


^m 


^ 


Though  no  marks  of  phrasing  are  given  here, 
as  in  some  of  the  examples  previously  quoted, 
it  is  obvious  from  the  form  of  the  passage,  which 
consists  of  a  sequence  of  phrases  of  three  mmimiy 
each,  that  the  feeling  of  triple  time  is  conveyed 
to  the  hearer.  In  this  contradiction  of  the  natural 
accent  lies  the  main  charm  of  Uie  passage. 

In  the  well-Jcnown  passage  in  the  scheme  of 
the  '  Eroica '  symphony,  where  the  unison  for  the 
strings  appears  fint  in  triple  time 

»9.  ^ 


fe 


W 


± 


e 


T 


iprp: 


f 


and  immediately  afterwards  in  common  time 
ao. 


^^''^H^H'-rM^^ 


:f^ 


^^^ 


there  is  not  exactly  (as  might  be  imagined  at 
first  sight)  a  change  of  accent;  because  the  bars 
are  of  the  same  length  in  both  quotations,  and 
each  contain  but  one  accent,  which  in  the  first 
extract  comes  on  the  second  instead  of  the  first 
beat.  The  difference  between  the  two  passages, 
apart  firom  the  ef  in  the  first,  consists  in  tiie  fiftct 
that  in  the  former  each  accent  is  divided  into 
three  and  in  the  latter  into  two  parts.     The 


ACCENT. 

change  is  not  in  the  frequency  with  which  tl^ 
accents  recur,  but  in  the  subdivision  of  the  bar« 
Another  displacement  of  accent  is  sometizzifa 
found  in  modem  compositions,  bearing  somj 
resemblance  to  those  already  noticed.  It  consisd 
in  so  arranging  the  accents  in  triple  time  as  ti 
make  two  bars  sound  like  one  bar  of  double  tht 
length ;  e.  g.  two  bars  of  3-8  like  one  of  3-4,  o| 
two  of  3,-4  like  one  of  3-2.  Here  again  tlM 
credit  of  the  first  invention  is  due  to  Handel,  m 
will  be  seen  from  the  following  extract  from  hil 
opera  of '  Kodrigo.' 

31. 


81    eh*    li«  -  te  so -de     -^T^^ 


Sir    M£  p. 


tip  •  TB 


bB3SC3 
ro   •    •   •    •    . 


When  forty  years  later  Handel  used  this  theme 
for  his  duet  in  'Susanna,'  'To  my  chaste  Su- 
sanna's praise,'  he  altered  the  notation  and  wrote 
the  movement  in  3-4  time. 

Of  the  modem  employment  of  this  artifice  tha 
following  examples  will  suffice  :— 

33.  SoHUHAinr,  P.  F.  Concerto  (Finale). 


m 


^^ 


V  I  "t 


m 


1^   M  > 


i^^ 


:^=K 


33.    Brahms,  *  Schicksalslied.' 


m 


^w 


3 


i 


^ 


Wla  Wm 


Ton        Klip 


pe 


5 


is 


1 


XUp  •    p*  tP      ' 

At  first,  sight  the  second  of  these  examples 
seems  very  like  the  extract  firom  Handel^s  '  Let 
God  arise.  The  resemblance  however  is  merely 
external,  as  Brahms's  passage  is  constracted  on  a 
sequence  of  three  notes,  giving  the  effect  of  3-2 
time,  while  Handel's  |unoduces  the  feeling  of 
common  time. 

It  will  be  seen  from  the  above  extracts  what 
almost  boundless  resources  are  placed  at  the 
disposal  of  the  composer  by  this  power  of  varying 
the  position  of  the  accent.  It  would  be  easy  to 
quote  at  least  twice  as  many  passages  illustrating 
&iB  point ;  but.  it  must  suffice  to  have  given  a 
few  representative  extracts  showing  some  of  the 
effects  moat  commonly  employed.  Before  leaving 
this  part  of  the  subject  a  few  examples  should 
be  given  of  what  may  be  termed  the  curiositlee 
of  accent.  These  consist  chiefly  of  unusual 
alternations  of  triple  and  common-time  accents. 
In  all  probability  this  peculiar  alternation  was 
first  used  by  Handel  in  the  following  passsge 
from  his  opera  of  '  Agrippina.' 


ACCENT. 


ACCENT. 


15 


^T^j-gjisimiiraJ-i^ 


cs-ie 


•  ■» 


d»<«  11  -do  •  •  morl 


In  the  ocmtiniiafcioii  of  the  loiig,  of  which  the 
openizig  buB  are  given  here,  the  altemations  of 
oooiinon  and  triple  time  become  more  frequent. 
In  the  nre  caeee  in  which  ban  of  3-4  and  2-4 
time  alternate,  they  are  sometimes  written  in 
5-4  time,  the  accent  coming  on  the  first  and 
(joiih  beats.  An  example  of  this  time  is  found 
in  the  third  act  of  Wagner's  '  Tristan  und  Isolde/ 
in  which  the  composer  has  marked  the  seoondaiy 
accent  by  a  dotted  bar. 


35. 


u 


9 


■i.^'ii!yfg|tta 


>?  i!rrf  .t^r  I 


A  limflar  exajnple,  developed  at  greater 
loigih,  may  be  seoi  in  the  tenor  air  in  the 
ncond  act  of  Boieldieu*s  'La  Dame  Blanche.' 

One  of  the  most  interesting  experiments  in 
mixed  accents  that  has  yet  been  tried  is  to  be 
foond  in  liszt^s  oratorio  'Christus.'  In  the 
ptstonde  fi>r  orchestra  entitled  '  9irt6ngesang 
an  derKrippe'  the  following  subject  plays  an 
important  part. 


It  is  impossible  to  reduce  this  pasSMe  to  any 
known  rhythm;  but  when  the  first  feeling  of 
■tni^geness  is  past  there  is  a  peculiar  and  quaint 
diann  about  the  music  which  no  other  combination 
voold  have  produced.  Such  examples  as  those 
lait  quoted  are  however  ^ven  merely  as  curiosities, 
and  are  in  no  way  to  be  recommended  as  models 
&r  imitation. 

Besides  the  alternation  of  various  accents,  it 
ii  also  possible  to  combine  them  Btmultaneously. 
Hie  ibUowing  extract  from  the  first  finale  of 
'Don  Giovanni'  is  not  only  one  of  the  best- 
known  but  one  of  the  most  suooessfiil  experiments 
b  this  direction. 


I 


i 


± 


^ 


m 


fi    I'  rrrn 


m 


£ 


i 


\^m^t^^^W=h^^ 


-n-f-ft=j^\j     ^1 


In  the  above  quotation  the  first  line  gives  a 
quick  waits  in  3-0  time  with  only  one  aocei^t  in 
the  bar,  this  accent  filling  with  each  beat  of  the 
second  and  third  lines.  The  contredanse  in 
2-4  time  and  the  minuet  in  3-4  have  each  two 
accents  in  the  bar,  a  strong  uid  a  weak  one,  as 
explained  above.  The  crotchet  being  of  the 
same  length  in  both,  it  will  be  seen  that  the 
strong  accents  only  occur  at  the  same  time  in 
both  parts  on  eveiy  sixth  beat^  at  every  second 
bar  of  the  minuet,  and  at  each  third  hit  of  the 
contredanse.  A  somewhat  similar  combination 
of  different  accents  will  be  found  in  the  slow 
movement  of  Spohr's  symphony  '  Die  Weihe  der 
Tone.' 

All  the  accents  hitherto  noticed  belong  to  the 
class  called  by  some  writers  on  music  grammaUeal 
or  metrical;  and  are  more  or  less  inherent  in 
the  very  nature  of  music.  There  is  however 
another  point  of  view  from  which  accent  may  be 
regarded — ^that  which  is  sometimes  called  the 
oratorical  accent.  By  this  is  meant  the  adapta- 
tion in  vocal  music  of  the  notes  to  the  words, 
of  the  sound  to  the  sense.  We  are  not  speaking 
here  of  the  giving  a  suitable  expression  to  the 
text ;  because  though  this  must  in  some  measure 
depoid  upon  the  accent,  it  is  only  in  a  secondary 
degree  connected  with  it.  What  is  intended  is 
ratiier  the  making  the  accents  of  the  music 
correspond  with  those  of  the  words.  A  single 
example  will  make  this  dear.  The  following 
phrase 

38. 


^ 


± 


I  fj  J*!^- 


t 


Oh     lof»  -  Ij      fldi  -    6r  -  auld  -  en  I 

is  the  commencement  of  a  well-known  song 
from  the  'Schwanengesang'  by  Schubert.  The 
line  contains  seven  in^llaUes,  but  it  is  evident 
that  it  is  not  every  line  of  the  same  length  to 
which  the  music  could  be  adapted.  For  in- 
stance, if  we  try  to  sing  to  the  same  phrase 
the  words  'Swiftly  from  the  mountain's  brow,' 
which  contain  exactlv  the  same  number  of 
lullabies,  it  will  be  round  impossible,  because 
the  accented  syllables  of  the  text  will  come  on 
the  unaccented  notes  of  the  music,  and  vice 
versa.  Such  mistakes  as  these  are  of  course 
never  to  be  found  in  good  music,  yet  even  the 
greatest  composers  are  sometimes  not.  sufficientlv 
attentive  to  the  accentuation  of  the  words  which 
they  set  to  music.  For  instance,  in  the  following 
passage  from  '  Freischutz,'  Weber  has,  by  means 
of  sjrnoopation  and  a  sforzando,  thrown  a  strong 


16 


ACCENT. 


aocent  on  the  second  syllable  of  the  worda 
^Augen/  'tangen,*  and  'holden/  all  of  wbich 
(as  &oae  who  know  Gorman  will  be  aware)  are 
accented  on  the  first  syllable. 

39. 


j;^'M}j';iJ:gggg4§^-^-;F-^ 


nttw    Ao-fBii.      LtobAan,    tan  •  Km        d 


-y  ^^^IH^-'  ij\i 


hoi 


dfln      Btiufc  .  dm   nloht. 


The  charm  of  the  music  makes  the  hearer 
orerlook  the  absurdity  of  the  mi0|»«nunciation  ; 
but  it  none  the  less  exists,  and  is  referred  to  not 
in  depreciation  of  Weber,  but  as  by  no  means  a 
solitary  instance  of  the  want  of  attention  ^^ch 
even  the  greatest  masters  have  sometimes  given 
to  this  point.  Two  short  examples  of  a  some- 
what smiilar  character  are  here  given  from 
Handel's  *  Messiah'  and  •  Deborah.' 


30. 


Mh'.  e  g| 

•^  th*  dM. 


^ 


31' 


r»  rt'M^-f-^e-m'  f-  rir 

jkni  thy  itaht  hand  Ho  •  to     -     •     •     •      xlong. 


In  the  former  of  these  extracts  the  accent  on 
the  second  syllable  of  the  word  'chastisement' 
may  not  improbably  have  been  caused  by  HandeVs 
imperfect  acquaintance  with  our  language;  but 
in  the  chorus  from  'Deborah,*  in  which  the 
pronunciation  of  the  last  word  according  to  the 
musical  accents  will  be  vict5ri5us,  it  is  simply 
the  result  of  indifference  or  inattention,  as  is 
shown  by  the  fickct  that  in  other  parts  of  the 
same  piece  the  word  is  set  correctly. 

Closely  connected  with  the  present  subject, 
and  therefore  appropriately  to  be  treated  here, 
is  that  of  Inflexion.  Just  as  in  speaking  we 
not  only  accent  certain  words,  but  raise  the  voice 
in  uttering  them,  so  m  vocal  music,  especially  in 
that  depicting  emotion,  the  rising  uid  fiUling 
of  the  melody  should  correspond  as  £tf  as  possible 
to  the  rising  and  fitJling  of.  the  voice  in  the 
correct  and  intelligent  reading  of  the  text.  It 
is  particularly  in  the  setting  of  recitative  that 
opportunity  is  afforded  for  this,  and  such  well- 
known  examples  as  HandeVs  '  Thv  rebuke  hath 
broken  his  heart '  in  the  '  Messiah,*  or  *  Deeper 
and  deeper  still'  in  'Jephtha^'  or  the  great 
recitative  of  Donna  Anna  in  the  first  act  of 
'  Don  Giovanni '  may  be  studied  with  advantage 
by  those  who  would  leam  how  inflexion  may  be 
combined  with  accent  as  a  means  of  musical 
expression.  But,  though  peculiarly  adapted  to 
recitative,  it  is  also  frequently  met  with  in  songs. 
Two  extracts  from  Schubert  are  here  given.  In 
asking  a  question  we  naturally  raise  the  voice  at 
the  end  of  the  sentence ;   and  the  following 


ACCENT. 

quotation  will  furnish  an  example  of  what  may 
be  called  the  intenogatoiy  accent. 

3a.    80HUBKBT, 'SchoneMullerin,' No.  8. 


ir-  E  E  ele.^^ 


dttrt    dleh  denn  mdn  Blidk      10    Mbrt 


The  passage  next  to  be  quoted  iUustrates  what 
may  ratiier  be  tenned  the  dedsmatoiy  accent. 


'Winterreise,'  No.  21. 


The  word  '  matt '  is  here  the  emphartic  word 
of  the  line ;  but  the  truthful  expression  of  the 
music  is  the  result  less  of  its  being  set  on  the 
accented  part  of  the  bar  than  of  the  rising 
inflexion  upon  the  word,  which  gives  it  the 
character  of  a  cry  of  anguish.  That  this  is  the 
case  will  be  seen  at  once  if  C  is  substituted  for 
F.  The  accent  is  unchanged,  but  all  the  fiuce 
of  the  passage  u  gone. 

What  has  just  been  said  leads  natuntllj  to  the 
last  point  on  which  it  is  needful  to  touch — the 
great  importance  of  attention  to  the  accents  and 
inflexions  in  translating  the  words  of  Tocal  music 
firom  one  language  to  another.  It  is  generallj 
difficult,  often  quite  impossible,  to  preserve  them 
entirely;  and  this  u  the  reason  why  no  good 
music  can  ever  produce  its  full  effect  when  sung 
in  a  language  other  than  that  to  which  it  was 
composed.  Perhaps  few  better  traoslationg 
exist  than  that  of  the  German  text  to  which 
Mendelssohn  composed  his  '  Elijah ' ;  yet  even 
here  passages  may  be  quoted  in  wnich  the 
composer's  meaning  is  unavoidably  sacrificed,  as 
for  example  the  following — 

54. 


^^ 


i'>i?a  f 


^ 


t 


^ 


£ 


:tE 


80       Oir    ndch   nw  ffou  -  «n  He 
If        with    an     Toorhaazti    y  tm   Jj 

Here  the  different  construction  of  the  Kngliali 
and  German  languages  made  it  impossible  to 
preserve  in  the  translaticm  the  emphasis  on  the 
word  '  mich '  at  the  beginning  of  the  second  bar. 
The  adapter  was  forced  to  substitute  another 
accented  word,  and  he  has  done  so  with  much 
tact ;  but  the  exact  force  of  Mendels8ohn*s  idea 
is  lost.  In  this  and  many  similar  cases  all  that 
is  possible  is  an  approximation  to  the  composer  s 
idea ;  the  more  nearly  this  oan  be  attained,  the 
less  the  music  will  suffer. 

The  word  '  rhythm '  is  sometimes  inaccurately 
used  as  synonymous  with  accent.  The  former 
properly  refers  not  to  the  beats  within  a  bar  but 
to  the  recurrence  of  re;gular  periods  containing 


ACCENTS. 


ACCENTS. 


17 


tlie    8&me    nomber  of  ban   and   therefore  of 
EfcccenU.  [£.  P.] 

ACCENTS.  Certain  intonations  of  the  voice 
used  in  reciting  various  portions  of  the  liturgical 
services  of  the  Churdi.  The  Ecclesiastical 
.A-ccent  is  the  simplest  portion  of  the  ancient 
Il^LAiNSONO.  Accents  or  marks,  sometimes 
o&Ued  pneumSt  for  the  regulation  of  recitation 
and  singing  were  in  use  among  the  ancient 
Cs^  reeks  and  Hebrews,  and  are  still  used  in  the 
BNTiagogues  of  the  Jews.  They  are  the  earliest 
€ortu8  of  notes  used  in  the  Christian  Church,  and 
it  was  not  till  the  nth  and  12th  centuries  that 
they  began  to  be  superseded  by  the  more  definite 
notation  first  invented  by  Gruido  Aretino,  a 
lienedictine  monk  of  Pomposa  in  Tuscany, 
about  1028.  Accents  may  be  regarded  as  the 
reduction,  under  musical  laws,  of  the  ordinary 
accents  of  spoken  language,  for  the  avoidance 
of  confusion  and  cacophony  in  the  union  of 
many  voices;  as  also  for  the  better  hearing  of 
any  single  voice,  either  in  the  open  air,  or  in 
buildings  too  large  to  be  easily  filled  by  any  one 
j>er8on  reciting  in  the  perpetually  changing  tones 
of  c^inary  speech.  They  may  also  be  con- 
sidered as  the  impersonal  utterance  of  the  lan- 
guage of  corporate  authority,  as  distinguished 
from  the  oratorical  emphasis  of  individual  elo- 
cution. 

Precise  directions  are  given,  in  the  ritual 
books  of  the  Church,  as  to  the  accents  to  be  used 
in  the  various  portions  of  the  sacred  offices  and 
litux^.  Thus  the  Prayer  Accent  or  Cantua 
VolUctamm  is  either  Ferial — an  uninterrupted 
monotone,  or  Festal — ^a  monotone  with  an  occa- 
sional change  of  note  as  at  (a),  styled  the  pane- 
turn  principale,  and  at  {h)  called  the  temv- 
punctum.  The  following  examples  are  taken 
frora  Guidetti's  'Directorium  Chori,*  compiled 
in  the  i6th  oenturv  under  the  direction  of 
Palestrina  (ed.  1624);  the  English  version  is 
from  Marbeck. 

I .  The  Ordinaiy  Week-day  Accent  for  Prayers 
('  Tonus  orationum  ferialis').^ 

psr  •  »  .    Don  •   i  r  nmn     not  •  tmm,  stc  A  •  bmb. 


.  throiizh  our    Lord     Je  •  m 


Cbtat. 


A  • 


2 .  The  foUowing  Ferial  Accent  (Tonus  ferialis) 
is  used  at  the  end  of  certain  prayers. 


.  a  DM  •txlt    in-l>qal«te-tl-biii      TC-iar>fft-  mu. 


i 


£ 


«a  I 


tpcr  ...  Chiii  <•  tm      Don    •   i    •    Dim      bos  •  train 

3.  The  Festival  Accents  for  Prayers  ('Tonus 
orationum  festivus*). 


I  Tbe  hntm  lad  wmJbwf  in  the  riwrt  ««mplai  1  l>i  <wnt  tho  old 
himck  noMB  of  tbo  Mine  name  C  and  ♦)  which  auwouHl  to  the 
lonK  and  short  times  of  qrHablai  In  prosodr  (-  end  «| :  a  mole  pro. 
loaced  aomd  was  indicated  bf  tha  Imv  ttbm  ^  **  T^ 


per  Dom'tnnm  noe-aum  Je«mnChris4xim  fl-li«nin  hi-am 


g 


t;-^  ga> 


-^ 


tSA  ^    ^ 


e 


.»)- 


■^'  ^»  yy 


throogh 


Je  •nsObrisi thine on-l7  he-gut>t«a 


qot    tecom     Tlrlt    In  vnltaie  Spi •  ri  •  tw  Bene-tl  De  >  m 


Bon.  who  with 
per   om-nl  -  a 


Thee  and  the  Ho  -  ly    Spl  •  rlt 
oi«la    ne-en-Io-  ram.    A  -  men. 


"^g— ^g»   jj>-  g>  ^p- 


■+" 


^ 


^  ^ 


■+■ 


Ut  •  eth  and  reign-eth  e  >  ver    one  Ood.  etc 


4.  In  the  ancient  Sarum  use  there  was  the 
fall  of  a  perfect  fifth,  called  the  grave  accent, 
at  the  close  of  a  prayer,  with  a  modification  of 
the  Amen,  thus— • 


per,  etc  fl  -  U  •  tim    tu  •  unu    A 


men. 


5.  There  are  also  the  accents  for  reciting  the 
Holy  Scriptures,  viz.  the  Canttu  or  Tonus 
lectionis,  or  ordinaiy  reading  chant;  the  Tonus 
CapitiUi  for  the  office  lessons;  the  Cantus 
Prophetarum  or  Propketiae,  for  reading  the 
Prophets  or  other  books  not  Gospels  or  Epistles ; 
the  Cantus  Epistolae  and  Evangelii  for  the 
Epistles  and  Gospels  ;  as  well  as  other  accents  for 
special  verses  and  responses,  of  great  variety  and 
beauty,  which  may  be  best  learnt  firom  the  noted 
service-books  themselves.  The  following  examples 
will  show  their  general  character.  The  responses 
are  for  the  most  part  sung  in  unison — but  some  of 
them  have  been  harmonised  for  several  centuries, 
and  such  as  are  most  known  in  the  English  Church 
are  generally  sung  with  vocal,  and  sometimes 
with  oigan  harmonies.  These  hannonies  have, 
however,  in  too  many  cases,  obscured  the  accents 
themselves,  and  destroyed  their  essential  cha- 
racteristics. In  Tallis's  well-known  '  Responses' 
the  accents  being  given  to  the  tenor  are,  in 
actual  use,  entij^y  lost  in  the  accompanying 
treble.* 


(a)  The  Tonus  Lectionis. 


At  Q  -  le  . . .  qie-iane  w  a -]i-4uidac-cep>tn-ramab  e-lc 

(6)   Twius  CapituU*     Monotonic  except  at  the 

dose. 


1^ 


iSh 


-f^      ^ 


-^ 


^^ 


^ 


Ml 


■It      He  •  ro    •    del    Bex      ma 


noil  etc 


-^ 


^^ 


-tS^- 


-«©*> 


I 


.   .     uft       ap    •   praa   *  hen  >  de  *  ret    eC      Pe  •  tram, 

s  For  a  reemnfgnncnt  of  th«M.  with  a  view  to  leihm  the  proper 
■apranacT  of  the  aooente  themielTes,  we  Appendix  I.  to  'Aooompuirlns 
Hamoniee  to  the  Ber.  T.  Hebnore^  Brief  IMrectanr  of  Plaimong*. 
and  for  the  rale  of  their  proper  fonnatlon.  eee  the  *S.  Maili^  Chant 
Book.'p.<n. 

c 


18 


ACCENTS. 


i 


-t0^ 


Sn 


■JSL 


^ 


(c)  Hie  Accent  of  Interrogation, 


-«• — ^- 


za: 


I 


-*9h 


JSC 


jS;'^   J 


Qui    w  •  lai       Mf  Quid       da  •  ma  -  bo t 

(c2)  The  Tonttf  Prophetiae. 


i 


s 


IS* — f9  ^    ^    \^^ 


-iS^ 


Leo-Ufi  li-briLs-Tl  -  U-cL       In     dl-e  .  bui    U    -    lU, 


y      ^p- 


dlx  -  It 


Do    -     ml  -  nus 


Moy 


etc. 


ending  on  the  reciting  note ;    and  differing,   in 
this  respect  only,  from  the  Toku*  Leclionit, 


■«• — ^    tgi 


^ 


-^ ^ ^?h 


Si  •  dk      Z>o    •    ml 


ni 


po  -teni. 


(e)  The  Tonui  EpittcHae,  Accent  for  the  Epistle. 
Monotonic  except  that  the  Accent  of  Inter- 
rogation is  used  when  a  question  is  asked. 

(/)  The  Tonm  EvangelU,  or  Accent  for  the 

Grospel. 


dii    -It 


-^ 


ej      ^ 


2a: 


zc 


I 


quid 


so 


rit 


oo 


Mb...! 


t1  •  tarn  a*  •  tar 


nam  pes  •  il  •  de  -  bit 


6.  The  Sarum  use  was  in  some  parts  of  the  ser- 
vice more  varied  than  the  Boman,  as  given  above 
from  Guidetti.  But  the  general  rules  were  not 
widely  different,  and,  from  a  review  of  the  whole 
subject,  it  may  be  stated  briefly  that  there  are 
some  seven  eodesiastical  accents,  viz.  (i)  The 


monotonic;  (a)  The semitonio      []^     ^     e^ — U 
(3)  Themedial   f|    '^  ^  [j ;  (4)  The  accent  of 

a   final   fourth  |j.   ^   ^  ^_.^-,^._j--_|| . 


ip  •  M    «it   Ssx  aio  •  li  •  ae. 

(5)Thegrave  ||  ^   ^  [  ;  of  this  there  U  a  vari- 
ation used  in  Borne,  thus. 


o    -  a  >  tl     -     o 


ACCIDENTALS. 

ending  with  the  &11  of  a  major  sixth.  It  does  coc 
appear  to  be  prescribed  in  any  Qregoriao  Treatb« 
or  Directorium,  but  is  well  known  to  musical 
travellers,  and  is  mentioned  by  Mendelssohn  b 
his  letter  from  Borne,  1831,  to  Zelter,  on  iti\ 
music  of  the  Holy  Week;  (6)  The  intesrTogatiTc, 


before  explained ;  (7)  The  acute 


fe 


■^ 


I 


used  specially  for  monosyllabic  and  Hdirev 
words,  when  otherwise  the  medial  accent  woil4 
be  employed.  These,  including  the  seniipimc> 
tum,  and  with  the  addition  of  the  punctum  priar 
cipale,  and  perhaps  a  few  other  varieties,  cosi- 
stitute  the  first  and  simplest  portion  of  thai 
voluminous  Pla.intdnb  firom  which  Marbedt  se- 
lected the  notes  set  to  the  English  Prayer-book. 
and  which  was  ordered  by  Queen  idisabetk' 
famous  Injunctions  to  be  ujMd  in  every  part  of 
the  Divine  Service  of  the  Befonned  Church  << 
England.     '  [T.  H.; 

ACCIACCATUBA.  (ItaL  from  acciacare,  t. 
crush,  to  pound;  Oer.  ZuBammeMchlag ;  Fr. 
PincS  etouff^,)  A  now  nearly  obsolete  descrir" 
tion  of  ornament,  available  only  on  keyed  instru- 
ments, in  which  an  essential  note  of  a  melody  u 
struck  at  the  same  moment  with  the  note  imme- 
diately below  it,  the  latter  being  instantly  re- 
leased, and  the  principal  note  sustained  aloae 
(Ex.  i).  It  is  generally  indicated  by  a  small 
note  with  an  oblique  stroke  across  the  stem  (£1. 
2^,  or  when  used  in  chords  by  a  line  across  th^ 
chord  itself  (Ex.  3). 


Its  use  is  now  confined  exclusively  to  the 
organ,  where  it  is  of  great  service  in  giving^  the 
efiect  of  an  accent^  or  sforzando,  to  eitiber  single 
notes  or  chords. 

The  term  Acciacatura  is  now  veiy  generally  ap- 
plied to  another  closely  allied  form  of  ornament, 
the  short  apppggiatura  (see  that  word).      (^F.  T.] 

ACCIDENTALS.  The  signs  of  diromatk 
alteration,  employed  in  music  to  show  that  the 
notes  to  which  they  are  applied  have  to  be  raised 
or  lowered  a  semitone  or  a  tone.  Hiey  are  five 
in  number,  the  sharp  (f)  (Fr.  dihe,  (jrer.  Area:) 
and  double  sharp  (x)  (Fr.  doubUrdie$e,    Ger. 


f 


ACCIDENTALS. 

Ikpfdkremz\  which  being  placed  before  a  note 
ZKse  it  rei^iectiyely  a  semitone  or  a  tone;  the 
fta  Cb)  (Ft.  benwl,  Ger.  Be)  and  double-flat  (bb) 
(Ft.  datMe-b^mdl,  Ger.  Dopp^be),  which  cause 
tlie  note  to  be  lowered  to  the  same  extent ;  and 
tl»  Batoral  (||)  (Ft.  Ucarre,  Ger.  Quadrat),  which 
b  applied  to  an  already  chromatically  altered 
note  in  order  to  restore  it  to  its  original  position. 
In  modem  music  the  signs  are  plac«l  at  the 
beginning  of  the  composition,  immediately  after 
Ihe  de^  when  they  affect  every  note  of  Uie 
asme  name  throughoat  the  piece ;  and  they  are 
Also  €snployed  singly  in  the  course  of  the  piece, 
in  whidi  case  they  only  affect  tiie  note  to  which 
they  are  applied  and  any  succeeding  note  on  the 
nme  line  or  vpace  within  the  same  bar.  Strictly 
^leaking^  oi^y  those  which  occur  in  the  course  of 
acon^oaition  are  accidentals,  the  sharps  or  flats 
placed  after  the  clef  being  known  as  the 
SiGViLiURS,  but  as  their  action  is  the  same 
whetever  placed  it  will  not  be  necessaiy  to  make 
any  distinction  here. 

m 

Hie  invention  of  aocidentala  dates  from  the 
division  of  the  scale  into  hexachords,  an  arrange- 
ment nanally  attributed  to  Guide  d'Arezzo 
(Aj>.  1025)  but  probably  in  reality  of  later 
date.^  Tbese  hezachords,  of  which  there  were 
seren,  were  short  scales  of  six  notes  each,  formed 
oot  of  a  complete  scale  extending  from  G,  the 
fini  line  of  the  bass  stave,  to  £,  the  fourth  space 
of  the  treble,  and  commencing  on  each  successive 
6,  C,  and  F,  excepting  of  course  the  highest  C 
of  aU,  which  being  the  last  note  but  two,  could 
not  begin  a  hexachord.  The  chief  characteristic 
of  Uie  hexachord  was  that  the  semitone  fell 
between  the  third  and  fourth  notes;  with  the 
bexachorda  of  G  and'  C  this  was  the  case 
nsturaDy,  bat  in  singing  the  hexachord  of  F 
it  was  found  necessary  to  introduce  a  new  B, 
half  a  tone  lower  than  the  original,  in  order 
that  the  semitone  might  fiJl  in  the  right  place. 
This  new  note,  the  invention  of  which  laid  the 
fbondation  of  all  modem  chromatic  alterations, 
was  called  B  moUe  (Ft,  B^mol,  Ital.  BemolU, 
■tin  in  vme\  and  the  hexachord  to  which  it 
belonged  and  the  plainsong  in  which  it  occuxred 
were  tesmed  respectively  hexaehordum  molU  and 
eantuB  mollu,  while  the  hexachord  of  G,  which 
retained  the  original  B,  was  known  as  hexa- 
tkordum  durum,  and  the  melody  employing  it  as 
cantuidurui. 

For  the  sake  of  disdnction  in  writing  (for 
nodem  notation  was  not  yet  invented,  and 
mnacal  sounds  were  genex«lly  expressed  by 
letters),  the  unaltered  higher  B  was  written 
of  a  square  form,  after  the  fiashion  of  a  black 
letts  Il(  from  which  circumstance  it  received  the 
name  B  quadralum  (Ft.  B4  quarre,  Bi  carri, 
ItaL  Be  quadro,  Ger.  Quadrat,  still  in  use),  while 
the  new  lower  JB  was  written  as  a  Roman  b  and 
oiled  B  rotundum  (Fr.  B  rond,  ItaL  B  roUmdo). 
The  square  B,  slightly  altered  in  shape,  has 
become  the  l|  and  the  round  B  the  b  of  modem 


of  hwiichowli  Ib  Us  wiltliiiiit  but  ob 
■ooads  In  the  Mite.    CBMFMib 
'artOiiklo.) 


ACCIDENTALS. 


19 


UaifWMlltdM 


music,  and  they  have  in  course  of  time  come  to  be 
applied  to  all  the  other  notes.  The  inconvenience, 
as  it  at  that  time  appeared,  of  having  two  different 
kinds  of  B*8  led  the  German  musicians  to  intro- 
duce a  new  letter,  H,  which  however,  probably 
on  account  of  its  similarity  of  shape,  was  given  to 
the  square  B,  while  the  original  designation  of 
B  was  made  over  to  the  newly-invented  round  B. 
This  distinction,  anomalous  as  it  is,  remains  in 
force  in  Grermany  at  the  present  day. 

The  sign  for  chromatically  raising  a  note,  the 
sharp,  is  of  later  date,  and  is  said  to  have  been 
invented  by  Joequin  de  Pres  (1450-1521).  It 
was  originally  written  as  a  square  B  crossed  out 
or  cancelled,  to  show  that  the  note  to  which  it 
was  applied  was  to  be  raised  instead  of  lowered,* 
and  was  called  B  eancellatum  (latticed  or  can- 
ceUedB). 

Modem  music  requires  double  transposition 
signs,  which  raise  or  lower  the  note  a  whole 
tone.  These  are  the  double  flat»  written  bb, 
(or  sometimes  in  old  music  a  large  b  or  a  Greek 
fi),  and  the  double  Bham,  written  ^,  %,  (H,  or 
more  commonly  x.  The  double  sharp  and 
double  flat  are  never  employed  in  the  signature, 
and  the  only  case  in  whidi  the  natunJ  is  so 
placed  occurs  when  in  the  course  of  the  com- 
position it  becomes  necessanr  to  change  the 
signature  to  one  with  fewer  flats  or  shaqts^  in 
order  to  avoid  the  use  of  too  many  accidentals. 
In  this  case  the  omitted  sharps  or  flats  are 
indicated  in  the  new  signature  by  naturals.  The 
proper  use  of  the  natival  is  to  annul  the  effect 
of  an  ahready  used  sharp  or  flat,  and  it  has  thus 
a  double  nature,  since  it  can  either  raise  or  lower 
a  note  according  as  it  is  used  to  cancel  a  flat  or 
a  shaip.  Some  of  the  earlier  composers  appear 
to  have  objected  to  this  ambiguity,  and  to  obviate 
it  they  employed  the  natural  to  counteract  a  flat 
only,  using  the  flat  to  express  in  all  cases  the 
lowering  of  a  note,  even  when  it  had  previously 
been  sharpened :  thus 


would  be  written 


j;  Y  Up  r  y  r  '^ 


This  method  of  writing  merely  substitutes  a 
greater  equivocalness  for  a  less,  and  is  only 
mentioned  here  as  a  fact,  the  knowledge  of 
which  is  necessary  for  the  correct  interpretation 
of  some  of  the  older  compositions. 

After  a  dou])le  sharp  or  flat  the  cancelling 
signs  are  I] I  and  fab,  which  reduce  the  note  to 
a  single  sharp  or  flat  (for  it  very  rarely  happens 
that  a  double  sharp  or  double  flat  is  followed  at 
once  by  a  natural) ;  for  example — 


j.  T  T  r'lr  I  fi'T^r'T*^^ '"'''" 


>  SoDM  writan  eontMid  ttiat  Hm  faar  enm  ham  of  Hm  ihaip 
Intended  to  mpnaant  Uio  four  ooinaiM  of  tho  ehromatle  Kmlloo^  Imt 
tbJs  APIMH*  to  be  Afinefltal  derivation,  nofoiipocted  I17  trooL 

C  2 


20 


ACJdDENTALS. 


ACX:;OMPANIMENT. 


When  a  note  which  is  sharpened  in  the 
signature  becomes  altered  in  the  course  of  the 
composition  to  a  flat,  or  vice  versa,  the  alteration 
is  sometimes  expressed  by  the  sign  t|b  or  l|l,  the 
object  of  the  natural  being  to  cancel  the  signature, 
while  the  following  flat  or  sharp  indicates  the 
further  alteration,  as  in  Schubert  s  '  Impromptu^' 
Op.  90,  No.  a,  bars  4  and  164 ;  this  is,  however, 
not  usual,  nor  is  it  necessary,  as  a  single  shaip  or 
flat  fully  answers  the  piurpose.  (See  Beethoven, 
Trio,  op.  97,  bar  35). 

Until  about  the  beginning  of  the  iTth  century 
the  accidentals  occurring  during  a  composition 
were  often  not  marked,  the  sin^^ers  or  players 
being  supposed  to  be  suffidently  educated  to 
supply  them  for  themselves.  In  the  signature 
only  the  first  flat,  Bb,  was  ever  marked,  and 
indeed  we  find  numerous  examples  of  a  similar 
irregularity  as  late  as  Bach  and  Handel,  who 
sometimes  wrote  in  G  minor  with  one  flat,  in 
C  minor  with  two,  and  so  on.  Thus  Handers 
Suite  in  E  containing  the  *  Harmonious  Black* 
smith '  was  originally  written  with  three  sharps, 
and  is  so  published  in  Arnold's  edition  of 
HandeVs  works.  No.  1 28  ;  and  the  trio  in  '  Ads 
and  Galatea,*  'The  flocks  shall  leave  the  moun- 
tains,* though  in  G  minor,  is  written  with  two 
flats  in  the  signature  and  the  third  marked 
throughout  as  sn  accidental.  In  the  same  way 
the  sharp  seventh  in  minor  compositions,  although 
an  essential  note  of  the  scale,  is  not  placed  in  the 
signature,  but  is  written  as  an  accidental. 

In  French  the  chromatic  alterations  are  ex- 
pressed by  the  words  dihe  (sharp)  and  Mmcl 
(flat)  affixed  to  the  syllables  by  which  the  notes 
are  usually  called;  for  example,  £b  is  called 
mi-hdmc^,  Gt  sol-diiae^  etc.  and  in  Italian  the 
equivalents  diuU  and  bemoUe  are  similarly 
employed,  but  in  German  the  raising  of  a  note 
is  expressed  by  the  syllable  is  and  the  lowering 
by  es  joined  to  the  letter  which  represents  the 
note,  thus  G^  is  called  Gis,  Qb  Ges,  and  so  on 
with  all  except  Bb  and  BQ,  which  have  their 
own  distinctive  names  of  B  and  H.  Some 
writers  have  lately  used  the  syllable  Hes  for  Bb 
for  ike  sake  of  uniformity,  an  amendment  which 
appears  to  possess  some  advantages,  though  it 
would  be  more  reasonable  to  restore  to  the 
present  H  its  original  name  of  B,  and  to  em- 
ploy the  syllables  Bis  and  Bes  for  B  sharp  and 
B  flat.  [F.  T.] 

ACCOMPANIMENT.  This  term  is  applied 
to  any  subsidiary  part  or  parts,  whether  vood  or 
instrumental,  that  are  added  to  a  melody,  or  to 
a  musical  composition  in  a  greater  number  of 
parts,  with  a  view  to  the  enrichment  of  its 
general  effect ;  and  also,  in  the  case  of  vocal 
compositions,  to  support  and  sustain  the  voices. 

An  accompaniment  may  be  either  'Ad  libi- 
tum* or  'Obligate.*  It  is  said  to  be  Ad  libitum 
when,  although  capable  of  increasing  the  relief 
and  variety,  it  is  yet  not  essential  to  Uie  complete 
rendering  of  the  music.  It  is  said  to  be 
Obligate  when,  on  the  contrary,  it  fonns  an 
integral  part  of  the  composition. 

Among  the  earliest  spedmena  of  instrumental 


accompaniment  that  have  descended  to  us,  msLy 
be  mentioned  the  organ  parts  to  some  of  the 
services  and  anthems  by  English  composers  ol 
the  middle  of  the  i6th  century.  These  consist 
for  the  most  part  of  a  condensation  of  the  voice 
parts  into  two  staves ;  forming  what  would  now 
be  termed  a  'short  score.*  These  therefore  are 
Ad  libitum  accompaniments.  The  following* 
are  the  opening  bars  of  'Bejoyce  in  the  Lorde 
allwayes,'  by  John  Redford  (about  1543)  : — 


$ 


s 


-«>- 


^ 


-^ 


Z2: 


-«>- 


TT 


^ 


3 


^ 


m 


7^ 

-  J  j^-' — «U — j^ 

« ■ f^  '     m  ^^  m,       1 C-! — — ^ 

^    J  J   iS.  •         ^ 

: : or-       \%,^. -—cz — . 

p- 

f^  1 p^  p^ :=1 

w 


•ak  !^  «■' 


^^^ 


-T^    ^ 


± 


SL 


:aPK 


T-  frr 


t-f 

Before  speaking  of  Obligate  accompaniment 
it  is  necessary  to  notice  the  remarkable  instru- 
mental  versions  of  some  of  the  early  church 
services  and  anthems,  as  those  by  Tallis,  Gibbons, 
Amner>  etc.  which  are  still  to  be  met  with  in 
some  of  the  old  organ  and  other  MS.  music 
books.  These  versions  are  so  full  of  runs,  trills, 
beats,  and  matters  of  that  kind,  and  are  so 
opposed  in  feeling  to  the  quiet  solidity  and  sober 
djgnity  of  the  vocal  parts,  that  even  if  written 
by  the  same  hand,  which  is  scarcely  credible, 
it  is  impossible  that  the  former  can  ever  have 
been  designed  to  be  used  as  an  accompaniment 
to  the  latter.  For  example,  the  instrumental 
passage  corresponding  witn  the  vocal  setting  of 
the  words  'Thme  honourable,  true,  and  only  Son,' 
in  the  Te  Deum  of  Tallis  (died  1585)  stands 
thus  in  the  old  copies  in  question :— 


S 


2z: 


1  ~H* 1 


P 


nn  nvtu 


m 


I"     r — 

■TO  HT] 


■J     ~f^: 


etc. 


r 


^ 


^ 


while  that  of  the  phrase  to  the  words  'The  noble 
army    of   martyrs   praise   Thee,*  in  the  well- 


ACCOMPANIMENT. 


ACCOMPANIMENT. 


21 


iBOfWD  Te  Deixm  in  F  of  GibboDB  (1585-1625), 
ippean  in  this  ahaspe  :— 


The  beadings  or  'Indexing'  of  these  versionB 
stand  as  foUows,  and  are  very  suggestive :— •'  Tall:s 
in  D,  ocgan  part  varied' ;  '  Te  Deum,  Mr.  Tallis, 
vith  Variationa  for  the  Organ* ;  'Gibbons  in  F, 
Moniing,  with  Variationa*;  'Te  Deum,  Mr. 
Orlando  Gibbons^  in  F  fa  ut^  varied  for  the 
Organ*;  and  ao  forth.  There  is  little  doubt 
tbmfore  that  the  versions  under  notice  were  not 
intended  as  aooampanimenta  at  all,  but  were 
variatioiis  or  adaptations  Uke  the  popular  'Tran- 
scriptions'  of  the  present  day,  and  made  for 
f^Miake  ns6y  that  use  being  doubtless  as  volunta- 
ries. This  explanation  of  the  matter  receives 
oonfirmation  firom  the  fiurt  that  a  second  old  and 
men  Intimate  organ  part  of  those  services  is 
also  extant^  for  wluch  no  ostensible  use  would 
bare  existed,  if  not  to  accompany  the  voices. 
Cimpare  the  following  extract  from  Gibbons*s 
Te  Deum  ('  The  noble  army  of  Martyrs*)  with 
tLe  preceding. 


An  eariy  specimen  of  a  shorl  piece  of  'obligate* 
organ  accompaniment  is  presented  by  the  opening 
phrase  of  Orlando  Gibbons's  Te  Deum  in  D 
minor,  which  appears  as  follows : — 


^lE 


=F=F 


TawrSolo      We      imdae    Thee. 


(^ 


^     <w 


T=^ 


^   fp   ^ 


\ 


Organ  ttf/t 


tt 


jSL 


TSL 


^^ 


m 


h<h    ^  f  f: 


zz: 


rrr 


^m 


^ 


i^ 


egg: 


rrr^Tlr 


Ood:        we  know-ledge  lliee   to  be  the  Lord 


The  early  organ  parts  contained  very  few  if 
any  directions  as  to  the  amount  of  organ  tone  to 
be  used  by  way  of  accompaniment.  Indeed  the 
organs  were  not  capable  of  affording  much 
varietv.  Even  the  most  con^lete  instruments  of 
Tallis  s  time,  and  for  nearly  a  century  afterwards, 
seem  to  have  consisted  only  of  a  very  limited 
'choir*  and  'great*  orgaiu,  sometimes  also  called 
'little*  and  'great*  from  the  comparative  size 
of  the  external  separate  cases  that  enclosed  them ; 
and  occasionally  'soft,*  as  in  the  preceding  ex- 
tract, and  'loud*  organs  in  reference  to  the  com- 
parative strength  of  their  tone. 

Other  instruments  were  used  besides  the  organ 
in  the  accompaniment  of  church  music.  Dr. 
Rimbault,  in  the  introduction  to  'A  Collection 
of  Anthems  by  Composers  of  the  Madrigalian 
Era,'  edited  by  him  for  the  Musical  Antiquarian 
Society  in  1845,  distinctly  states  that  '  all  verse 
or  so^  anthems  anterior  to  the  Restoration  were 
accompanied  with  viols,  the  organ  being  only 
used  in  the  full  parts  ;*  and  the  contents  of  the 
volume  consist  entirely  of  anthems  that  illustrate 
how  this  was  done.  From  the  first  anthem  in 
that  collection,  'Blow  out  the  trumpet,*  by  M., 
Este  (about  1600),  the  following  example  is  taken 
— Uie  five  lower  staves  being  instruments : — 


VXRW. 


irt 
Trbbus. 


^i 


^ 


and 

TaSBLK 


If  SAN. 

TVNOR. 

Bass. 


^H  •    r  f^  :r-£PfM-^ 


iljl  h  If* ' 


m 


^ 


m 


m 


^ 


zz 


r'rH  J 


Blow    out    the  tiumpet,   blow 


J.I.J  J.JJ^JJlJ.-^ 


lac 


^ 


'j>bjjj-  j.gjjj.Ni'''  ^^J 


2^ 


i^ 


E^ 


HE 


^ 


^ 


32: 


TSTi 


SL 


-^ 


-a?" 


rirP-^' 


t^ 


n  r-n^  J  "^ 


The  resources  fbr  varied  organ  accompaniment 
were  somewhat  extended  in  the  17th  century 
through  the  introduction,  by  Father  Smith  and 
Renatus  Harris,  of  a  few  stops,  until  then 
unknown  in    tliis  country;   and   also    by  the 


22 


ACCOMPANIMENT. 


iiuertion  of  an  additional  short  Tnamial  organ 
called  the  Echo ;  but  no  detaila  have  descended 
to  UB  as  to  whetiier  these  new  acquisitions  were 
turned  to  much  account.  The  organ  accompani- 
ments had  in  fiict  ceased  to  be  written  with  the 
former  fullness,  and  had  gradually  assumed  simply 
an  outline  fonn.  That  result  was  the  consequence 
of  the  discoTery  and  gradual  introduction  of  a 
system  by  winch,  the  harmonies  were  indicated 
by  means  of  figures,  a  short-hand  method  of 
writing  which  afterwards  became  well  known  by 
the  name  of  Thorough  B<u$,  The  'short-score' 
accompaniments— which  had  previously  been 
genenJly  written,  and  the  counterparts  of  which 
are  now  invariably  inserted  beneath  the  vocal 
scores  of  the  modem  reprints  of  the  old  full 
services  and  anthems — were  discontinued;  and 
the  scores  of  all  choral  movements  published 
during  the  i8th  and  the  commencement  of  the 
present  century,  were  for  the  most  part  furnished 
with  a  figured  bass  only  by  way  of  written 
accompaniment.  The  custom  of  indicating  the 
harmonies  of  the  accompaniment  in  outline,  and 
leaving  the  performer  to  interpret  them  in  any 
of  the  many  various  ways  of  which  they  were 
susceptible,  was  followed  in  secular  music  as 
well  as  in  sacred ;  and  was  observed  at  least 
from  the  date  of  the  publication  of  Purcell*s 
'Orpheus  Britannicus,'  in  1697,  down  to  the 
time  of  the  production  of  the  English  ballad 
operas  towards  the  latter  part  of  the  last 
century. 

In  committing  to  paper  the  accompaniments 
to  the  'solos*  and  'verses*  of  the  anthems 
vrritten  during  the  period  just  indicated,  a 
figured  bass  was  genenOly  all  that  was*  associated 
with  the  voice  part;  but  in  the  symphonies  or 
'  ritomels  *  a-  treble  part  was  not  unfrequently 
supplied,  usually  in  single  notes  only,  for  the 
right  hand^  and  a  %ured  bass  for  the  left. 
Occasionally  also  a  direction  was  given  for  the 
use  of  a  particular  organ  register,  or  a  com- 
bination of  them ;  as  'comet  stop,*  'bassoon  stop,* 
'trumpet  or  hautboy  stop,*  'two  diapasons,  left 
hand,*  'stop  diapason  and  flute*;  and  in  a  few 
instances  the  particular  manual  to  be  used  was 
named,  as  'eccho,'  '  swelling  oi^gan,'  etc. 

Although  the  English  organs  had  been  so 
much  improved  in  uie  volume  and  variety  of 
their  tone  that  the  employment  of  oUier  in- 
struments gradually  fell  into  disuse,  yet  even  the 
best  of  them  were  £Etr  from  being  in  a  state  of 
convenient  completeness.  Until  nearly  the  end 
of  the  1 8th  century  English  organs  were  without 
pedals  of  any  kind,  and  when  these  were  added 
they  were  for  fifty  years  made  to  the  wrong 
compass.  There  was  no  independent  pedal  organ 
worthy  of  the  name ;  no  sixteen-feet  stops  on  the 
manuab;  the  swell  was  of  incomplete  range; 
and  mechanical  means,  in  the  shape  of  composition- 
pedals  for  changing  the  combination  of  stops 
were  almost  entirely  unknown;  so  that  the 
means  for  giving  a  good  instrumental  rendering 
of  the  tuggested  accompaniments  to  the  English 
anthems  really  only  dates  back  about  thirty 
years. 


ACCOMPANIMENT. 

The  best  mode  of  accompanying  a  single  voice 
in  compositions  of  the  kind  under  oonaideration 
was  fuUy  illustrated  by  Handel  in  the  alig-htly 
instrumented  songs  of  his  oratorios,   ooxnbined 
with  his  own  way  of  reducing  his  thoroug^h-baes 
figuring  of  the  same  into  musical  sounds.      Most 
musical  readers  will  readily  recall  many  manga  so 
scored.    The  tradition  as  to  Handel's   method 
of  supplying  the  intemediate  harmonies  has  been 
handed  down  to  our  own  time  in  the  following 
way.    The  late  Sir  George  Smart,  at  the  time  of 
the  Handel  festival  in  Westminster  Abbey  in 
1784,  was  a  youthful  chorister  of  the   Chapel 
BoyaJ  of  eight  yean  of  age ;  and  it  fell  to  his  lot 
to  turn  over  the  leaves  of  the  scores  of  the  music 
for  Joah  Bates,  who,  besides  officiating  as  con- 
ductor,  presided  at  the  oigan.     In  the    songs 
Bates    frequently   supplied    chords  of    two    or 
three  notes   from  the   figures  on  a  sofb-toned 
unison-stop.    The  boy  looked  first  at  the  book, 
then   at    the   conductor's  fingers,   and    seemed 
somewhat    puzzled,  which   being  perceived   by 
Bates,    he   said,    'my  little  fellow,   you    seem 
rather  curious  to  discover  my  authority  for  the 
chords  I  have   just  been  playing;*    to  which 
observation    young    Smart    cautiously    replied, 
'well,   I  dont    see   the   notes   in  the  score;' 
whereupon  Mr.  Bates  added,   'very  true,    but 
Handel  himself  used  constantly  to  supply  the 
harmonies  in  precisely  the  same  way  I   have 
just  been  doing,  as  I  have  myself  frequently 
witnessed.* 

Acting  on  this  tradition,  received  from   the 
lips  of  the  late  Sir  Greoige  Smart,  the  writer  of 
the  present  article,  when  presiding  occasionally, 
for  many  years,  at  the  organ  at  the  concerts 
given  by  Mr.  Hullah*s  Upper  Singing  Schools  in 
St.   Martin's  Hall,   firequently  sup{£ed    a   few 
simple  inner  parts ;  and  as  in  after  conversations 
with  Mr.  Hullah  as  well  as  with  some  of  the 
leading  instrumental  artists  of  the  orchestra,  he 
learnt  that  the  effect  was  good,  he  was  led  to 
conclude  that  such  insertions  were  in  accordance 
with  Handel's  intention.    Acting  on  this  con- 
viction he  frequently  applied  Handel's  perfect 
manner  of  accompanying  a  sacred  song,  to  anthem 
solos ;    for  its  exact   representation  was    quite 
practicable  on  most  new  or  modernised  English 
organs.     Of  this  fiict  one  short  illustration  must 
suffice.    The  introductory  symphony  to  the  alto 
solo  by  Dr.  Boyce  ( 1 7 10- 1 7  79)  to  the  words  begin- 
ning '  One  thing  have  I  desired  of  the  Lord   is, 
in  &e  original,  written  in  two  parts  only,  namelv, 
a  solo  for  the  right  hand,  and  a  moving  bass  m 
single   notes  for  the  left;    no   harmony  being 
given,  nor  even  figures  denoting  any.    By  taking 
the  melody  on  a  solo  stop,  the  bass  on  the  pedals 
(sixteen    feet)    with    the    manual    (eight  feet) 
coupled,  giving  the  bass  in  octaves,  to  represent 
the   orchestral  violoncellos  and  double   basses, 
the  left  hand  is  left  at  liberty  to  supply  inner 
harmony  parts.      These   latter  are  printed  in 
small  notes  in  the  next  and  all  following  examples. 
In  this  manner  a  well-baianced  and  complete 
effect  is  secured,  such  as  was  not  possible  on  any 
organ  in  England  in  Dr.  Boyce's  own  day. 


ACCOMPANIMENT. 


ACCOMPANIMENT. 


23 


Notice  may  here  be  taken  of  a  oiutom  tliat 
hM  prevailed  far  many  yean  in  the  manner  of 
gupplying  the  indicated  harmonies  to  many  of 
Handel's  redtatiyes.  Handel  recognised  two 
vboUy  distinct  methods  of  snstaining  the  voice 
in  Boch  pieces.  Sometimes  he  supported  it  by 
meaos  of  an  accompaniment  chicSly  for  bow 
iaBtrmnents;  while  at  other  times  he  provided 
•ndy  a  skeleton  score,  as  already  described.  In 
the  four  connected  recitatives  in  the  '  Messiah/ 
beginning  with  'There  were  shepherds,'  Handel 
alteniated  the  two  manners^  employing  each 
twice;  and  Bach,  in  his  'Matthew  Passion 
Moiic,'  makes  the  same  distinction  between  the 
ordinary  lecitatiyes  and  those  of  our  Lord.  It 
became  the  custom  in  England  in  the  early  part 
of  the  present  century  to  play  the  harmonies  of 
th&Jtffured  redtatives  not  on  a  keyed  instrument, 
bat  on  a  violoacello.  When  or  under  what  cir- 
cmnstances  the  substitution  was  made,  it  is  not 
easy  now  to  asooiain;  but  if  it  was  part  of 
Haiidd*s  design  to  treat  the  tone-quality  of  the 
snaller  bow  instruments  as  one  of  his  sources  of 
relief  and  musical  contrast,  as  seems  to  have 
been  the  caaei,  the  use  of  a  deeper  toned  instru- 
ment of  the  same  kind  in  lieu  of  the  organ 
would  seem  rather  to  have  interfered  with  that 
design.  It  is  not  improbable  that  the  custom 
may  have  taken  its  rise  at  some  provincial  music 
meeting,  where  either  there  was  no  organ,  or 
where  Uie  organist  was  not  acquainted  with  the 
tnditionazy  manner  of  accompanying ;  and  that 
MDe  expert  violoncellist  in  the  orchestra  at  the 
time  supplied  the  harmonies  in  the  way  that 
ailerwards  became  the  customary  manner. 

Bat  to  continue  our  notice  of  the  accompani- 
ments to  the  old  anthem  music.  A  (ffevalent 
custom  with  the  iSth-centuiy  composers  was  to 
write,  by  way  of  introductory  symphony,  a  bass 
part  of  marked  character,  with  a  direction  to  the 
etTect  that  it  was  to  be  plaved  on  the '  loud  organ, 
two  diapasons,  left  hand  ;  and  to  indicate  by 
figures  a  r^ht-hand  part,  to  be  pUyed  on  the 
*  Mft  organ,  of  course  in  close  harmony.  By 
pbying  such  a  bass  on  the  pedals  (sixteen  feet) 
with  iSne  great  manual  coupled  thereto,  not  only 
is  the  bus  part  enriched  by  being  played  in 
ovitavei^  but  the  two  hands  are  left  free  for  the 


interpretation  of  the  figures  in  fuller  and  more 
extended  harmony.  The  following  exjunple  of 
this  form  of  accompaniment  occurs  as  the  com- 
mencement of  the  bass  solo  to  the  words  'Thou 
art  about  my  path  and  about  my  bed,*  by  Dr.  Croft 
(1677  to  1737). 


^rif'r  r 


Pedql  IB/ln  ^oUh  manual  8  A  coupled. 


3r 


^ffi^^* 


ri':  .f° 


Te 


e 


ff  if^-  r  '^^ 


is: 


Sometimes  the  symphony  to  a  solo,  if  of  an 
arioso  character,  can  be  very  agreeably  given 
out  on  a  combination  of  stops,  sounding  the 
unison,  octave,  and  sub-octave,  of  the  notes 
played,  as  the  stopped  diapason,  flute,  and  bourdon 
on  the  great  organ;  the  pedal  bass,  as  before 
consisting  of  a  light 'toned  sixteen -feet  stop 
with  the  manual  coupled.  Dr.  Greene*B  (died 
1755)  ^^  Bolo  to  the  words  'Among  the  gods 
there  is  none  like  Thee,  0  Lord,*  is  in  a  style 
that  affords  a  favourable  opportunity  lor  this  kmd 
of  organ  treatment. 


Qt,  Organ^  Bourdon^  Stopped 
Diapoicn  and  Flute, 


$ 


ESE 


^ 


L^  cj  r 


SL^ 


^'''iid . 


i 


Pedal  10/X.*  *f^  Chrtat  Organ  coupled. 


ACCOMPANIMENT. 


Orstf  Oryait  wKA  DtiMi  Dtapaiim. 


Again,  in  Dr.  Greene's  anthem,  'God  is  oui 
hope  kod  itreugth,'  occurs  a  ihort  chorus,  '  O 
benold  the  woiki  of  the  Lord,'  which,  after  s 
ihort  trio,    ia   repeated,    in  proHsel;  the    same 


■tnictiaD  and  developmaut  it  would  be  oraiBiflereil 
desirable  to  add  KKse  &eeh  feature  on  the  repe- 
titjoni  to  enhance  tha  efiiact.  Thia  can  now  be 
supplied  in  this  way,  or  in  acane  other  analogoua 

final  Orgaii,  leilA  BoubU  Btapami. 


The  fbreeoilig  examplea  illiutrate  the  maimer 
in  which  English  antijem  soloa  and  their  Bym- 
phonies,  presenting  ta  the;  do  such  vuied 
outline,  ma;  be  aooimipuiied  and  filled  up.  But 
In  tha  choral  parts  of  anthems  equallj  appropriate 
instrumental  effects  can  aba  frequency  be  in- 
troduced, by  reason  of  the  improvementa  that  have 
been  made  in  En^^lish  organs  within  the  last 
thirty  yean.  The  introduction  of  the  lata  on 
a  fourth  manual  has  been  an  accession  of  great 
Importance  in  this  respect.  Tahe  for  illuetrKtion 
the  chorus  by  Kent  {1700-1776),  'Thou,  O 
Lord,  art  our  Father,  our  Redeemer,'  the 
climaE  of  which  Is,  in  the  ori^ual,  rather 
awkwardly  broken  up  into  short  iragmeDtary 
portions  by  rests,  but  which  can  now  be 
appropriately  and  advantageously  united  by  a 
few  intermediate  jubilant  notes  in  some  such 
manner  as  the  following : — 


The  organ  part  to  Dr.  Amdd's  collecta'on  of 
Cathedral  Husic,  published  in  1740,  consisls 
chiefly  of  treble  ud  baas,  with  figures  1  su 
does  that  to  the  Cathedral  Music  of  Dr.  Dupuia, 
printed  a  few  yean  later.  Vincent  Noveljo's 
oi^an  part  to  Dr.  Boyce's  Cathedral  Muuc, 
issued  about  five*and-twenty  yean  »go,  on  the 
contrary,  was  arranged  almost  as  eidudvsly  in 
'short  score.'  Thus  after  a  period  of  t^ree 
centuries,  and  after  experiment  and  much  ei- 
periance.  organ  accompaniments,  in  the  case  of 
full  choral  pieces,  came  to  be  written  down  an 
precisely  the  aame  principle  on  which  they  were 
prepared  at  the  commencement  of  that  period. 

Illustrations  showing  the  way  of  inteqiretini; 
figured  basees  could  be  continued  to  almost  any 
eitent,  but  those  already  given  will  probably  be 
sufficient  to  indicate  wlut  may  be  done  in  the 
way  of  accompuuniHit,  when  the  organ  will 
permit,  and  when  the  effects  of  the  modam 
orchestis  are  allowed  to  exercise  botdo  influence. 

Chants  frequently  offer  much  opportunity  for 


AOOOMPANTMENT. 

Tinetj  and  relief  in  tlie  mj  of  ueompttniment. 
Vte  wolled  Giegarun  chMita  being  orisiualtf 
iritten  without  hannoQ; — %t  anj  rate  ■"  ""■ 
Toniem  moaop^tatm  of  the  tena^ — t^ 
u  J«ft  at  liberty  to  Bupplj  such 
Duml  raaanrcea  suggWt.  The  English  chanta, 
ca  the  lAhar  hand,  were  written  wit£  VMal  bar- 
monj&nin  the  first;  and  to  them  much  agreeable 
diup  can  be  imparted  either  by  altering  the 
pntkoi  of  the  hunamea,  or  by  fonning  &esh 
melodic  figures  on  the  origioal  haimooic  pro- 
gneioivu  When  vung  in  uniaou,  aa  is  now 
iHt  nn&equently  the  caoe,  wholly  &eah  haimoniea 
aa  be  (applied  to  the  EngLiih  chants,  a«  in  the 
oieof  the  Gregorian.  l>eKl«il  in  this  muiDer 
ili^  are  aa  giuceptible  of  great  variety  and 
tuneable  coatrast  ai  are  the  older  ohontg. 

la  aceompanying  EngUih  pnlm  tunea  it  U 
moal  to  make  uie  of  somewhat  fuller  harmonj 
(ban  that  which  is  represented  by  the  four 
viitten  Tcoceparta.  The  mlea  of  musical  com- 
fivtioa,  aa  well  as  one's  Own  musical  initinct, 
fnquently  require  that  certain  not«a,  when 
oHD^Rned  with  others  in  a  particular  manner, 
diootd  be  followed  by  others  in  certain  fixed 
tm^rasBODSi  and  these  progreaaiong,  bo  natural 
ai  good  in  themaelves,  occasionally  lead  to  a 
eding  chord  or  chords  being'  presented  In 
m[Jete  hanuony'  in  the  four  Tocal  parts, 
in  md]  casea  it  is  the  .  custom  for  the  ac- 
<uB[aayiat  to  supply  the  omitted  elements  of  the 
hiniKiny ;  a  proccea  known  by  the  term  '  filling 
in,'  Mendelssohn's  Organ  Sonatas,  Noa.  5  and 
6,  etch  of  which  opens  with  a  chorale,  afford 
gnod  examples  of  how  the  usual  parts  may  be 
nq^laoaited  with  advantage.  The  incomplete 
bifiiioQiea  are  to  be  met  with  most  frequently  in 
llie  list  one  or  two  chords  of  the  clauses  of  a  tune  ; 
(Iw  DDiitted  note  being  gener^y  the  intarral  of 
1  fifth  above  the  bass  note  of  the  last  chord ; 
■bi^  harmony  note,  as  essential  to  its  correct 
■mrDdoction,  aometimea  requires  the  octave  to  the 
pRcediiig  base  note  to  be  inboduoed,  as  a(  the 
ad  of  the  third  dauae  of  the  example  below ;  or 
10  be  retained  if  already  present,  aa  at  the  end  of 
llie  &tirth  clause.  An  acoompaniment  which  is 
u  direct  and  sostain  the  voice*  of  a  cougrega- 
tita  ahould  be  marked  and  decided  in  character, 
vidiDot  b«ng  disjointed  or  broken.  This  com- 
biutim  of  distinctness  with  continuity  is  greatly 
inflmioed  by  the  manner  in  which  the  reptiilion 
Ma  ire  treated.  Bepetition  notes  appear  with 
fnatar  or  less  frequency  in  one  or  other  of  the 
nol  parts  of  nearly  alt  psalm  tunes,  as  exhibited 
in  the  example  below.  Those  that  occur  in  the 
nwiidy  should  not  be  combined,  but  on  the 
amnry  should  generally  speaking  be  repeated 
•illi  gnat  distinctness.  As  such  notes  present  no 
inebdic  movement,  but  only  rhythmic  progress, 
ongregations  have  on  that  account  a  tendency 
■o  mit  to  hemi  the  st^  from  a  note  to  ita 
rlsitjon  aruiounDed  befiire  they  proceed  ;  so 
tlut  if  the  repetition  note  be  not  clearly  defined. 


ACKOEDION. 


iS 


a  among 
t  time  it 


thev< 


1  apt  to  arise,  and 


repetition  not^a  at  the  oommencement  of  the  first 
i^d  second  clauses  be  held  on. 

A  very  little  will  suffice  to  steady  and  con- 
nect the  oi^an  tone ;  a  single  note  frequently 
being  sufficient  for  the  purpose,  and  that  even 
in  on  inner  part,  as  indicated  by  the  bintls  in  the 
fallowing  example.  A  repetition  note  in  the 
bass  part  may  freely  be  iterated  on  the  pedal, 
particularly  if  there  should  be  a  tendency  among 
the  voices  to  drag  or  proceed  with  indecision. 
Old  Hundrtdtk  (i 


The  important  subject  of  additional  acoompani- 
menla  to  works  already  possessing  orchestral 
parts,  with  the  view  of  supplying  the  want  of  an 
organ,  or  obtaining  the  increased  effects  of  tlie 
modem  orchestra,  is  treated  under  the  hend  of 
ADDiriONAL  ACCOUPAHIltBNTS,  [E.  J.  H.] 

ACCORDION  (Ger.  Sandharmonila,  alw 
ZitliAannoniia).  A  portable  instrument  of  the 
free-reed  species,  invented  at  Vienna  by  Damian, 
in  the  year  iSai;.  It  consists  of  a  smaU  pair  of 
hand-bellows,  to  one  side  of  which  is  affixed  a 
key-board,  containing,  according  to  the  size  of 
the  instrument,  bona  Eve  (o  fifty  keys.  Tbeee 
keys  open  valves  admitting  the  wind  to  metal 
mtdB,  the  latter  being  so  arranged  that  each 
key  sounds  two  notes,  Che  one  in  expanding,  the 
other  in  ccmpreesiiig  the  bellons.  The  right 
hand  is  placed  over  the  key-board,  while  the  left 
works  the  bellows,  on  the  lower  side  of  which 
are  usually  to  be  found  two  keys  which  admit 
wind  to  other  reeds  furnishing  a  simple  harmony 
-^mostly  the  chords  of  the  tonic  and  dominant. 
It  wilt  be  aeen  that  the  capabilitiee  of  the  in- 
strument are  extremely  limited,  as  it  can  only 
be  played  in  one  key,  and  even  in  that  one 
imperfectly ;  it  is,  in  (act,  but  little  mure  than 
a  toy.  It  was  originally  an  extension  of  the 
'  mouth-harmonica '  —  a  toy  constructed  on  a 
similar  principle,  in  which  the  reeds  were  set 
in  vibration  by  blowing  through  holes  with  the 
mouth,  instead  of  by  a  key-board.  This  latter  in- 
'  is  also  known  as  the  .£oliha.     [G.  P,] 


26 


ACLS  AND  GALATEA. 


ACIS  AND  GALATEA.  A  'masque/ 
or  'serenata/  or  'pastoral  opera»*  oomposed  by 
Handel  at  Cannons,  probably  in  1720  (date  is 
wanting  on  autograph) ;  and  performed  there 
probably  in  1 7  2 1 .  Words  by  Gay,  with  additions 
by  Pope,  Hughes,  and  Drrden.  Re-scored  by 
Mozart  for  Van  Swieten,  Nov.  1788.  Put  on 
the  stage  at  Druiy  Lane  by  Macieady,  Feb.  5, 
1842. — '  Aci,  Galatea,  e  Polifeino,*  an  entirely  dif- 
ferent work,  was  oomposed  in  Italy  in  1708-9. 

ACT.  A  section  of  a  drama  having  a  complete- 
ness and  often  a  climax  of  its  own.  Though  the 
word  Act  has  no  representatiye  in  Greek,  the 
division  indicated  by  it  was  not  unknown  to  the 
ancient  theatre,  where  the  intervention  of  the 
chorus  stopped  the  action  as  completely  as  the 
f&ll  of  the  curtain  in  the  modem.  The  '  Plutus ' 
of  Aristophanes,  the  earliest  Greek  play  fix>m 
which  the  chorus  was  extruded,  has  oome  down 
to  us  without  breaks  or  divisions  of  any  kind ; 
practically,  therefore,  it  is  'in  one  act.*  Whether 
the  earlier  essays  of  Roman  dramatists  were 
divided  into  acts  by  themselves  is  uncertain. 
The  canon  of  Horace,  that  a  drama  should  con- 
sist of  neither  more  or  less  than  five  acts  ('  Epist. 
ad  Pisones,'  189),  was  doubtless  drawn  from  pre- 
vious experience  and  practice. 

The  number  of  acts  into  which  the  modem 
drama  is  divided,  though  of  course  largely  de- 
pendent on  the  subject,  is  governed  by  many 
considerations  unknown  to  the  ancient,  in  which 
'the  unities'  of  place  as  well  as  of  time  and 
action  was  strictly  observed.  With  us  the  locality 
generally  changes  with  each  act,  frequently  wiw 
each  scene.  For  this  change  the  convenience  of 
the  mechanist  and  even  of  the  scene-shifter  has 
to  be  consulted.  In  the  musical  drama  other 
considerations  beside  these  add  to  the  difficulties 
of  laying  out  the  action;  such  as  variety  and 
contrast  of  musical  effect^  and  the  physical  capa- 
bilities of  the  performers,  whose  vocal  exertions 
must  not  be  continued  too  long  without  interrup- 
tion. It  is  not  surprising  therefore  that  operas, 
even  of  the  same  class,  present  examples  of  every 
kind  of  division.  French  '  grand  opdra*  consists 
still  generally,  as  in  the  days  when  Quinault  and 
Lully  worked  together,  of  five  acts;  French 
'op^  comique*  of  tiiree,  and  often  one  only. 
The  Italians  and  Germans  have  adopted  every 
number  of  acts,  perhaps  most  often  three.  In 
performance  the  diviuion  into  acts  made  by  the 
author  or  composer  is  frequently  changed. 
Mozart^s  'Nozze  di  Figaro,*  originally  in  four 
acts,  is  now  generally  played  in  two ;  and  Mey- 
erbeer's '  Huguenots,   originally  in  five,  in  four. 

The  curtain  let  down  between  the  acts  of  a 
drama  is  called  in  the  theatre  'the  act  drop.* 

Handel  (Schoelcher,  288,  etc.)  applies  the  word 
to  oratorios,  and  it  is  used  by  J.  S.  Bach  in  a 
manner  probably  unique.  He  heads  his  cantata 
'Grottes  Zeit  ist  das  allerbeete  2^t*  with  the 
words  'Actus  Tragicus.*  It  is  what  would  be  called 
among  ourselves  a  funeral  anthem.  [J.  H.] 

ACTION  (Fr.  U  Mecaniqne ;  Ital.  Meeanica  ; 
Ger.  Mecfianitmus,  Mechanik),  the  mechanical 


ACX7TENESS. 

contrivance  by  means  of  which  the  ixnpulBe  c 
the  player's  finger  is  transmitted  to  tike  string 
of  a  pianoforte,  to  the  metal  tongue  (free  ree4 
of  a  harmonium,  or  by  the  finger  or  fbott  to  thu 
column  of  air  in  an  oigan-pipe.    In  the  liarp  thu 
action,  governed  by  the  player's  foot    upon  tbi 
pedab,  effects  a  change  of  key  of  a  semitone  <M 
whole  tone  at  will.     Li  the  pianoforte  tlie  actios 
assumes  special  importance  frx>m  the  carpabilitj 
this  instrument  has  to  express  gradatioiui  of  tone ; 
and  as  the  player's  performance  can   xLever  he 
quite  consciously  controlled — more  or  lesa   of  it 
being  automatic — we  are,  through  the   faithful 
correspondence  of  the   action  with  the    touch, 
placed  in  direct  relation  with  the  very  individ- 
uality of  the  player.    It  is  this  blending^  of  con- 
scious and  undonscious  expression  of  which  the 
pianoforte  action  is  the  medium  that   produces 
upon  us  the  artistic  impression.     There    have 
been  important  variations  in  the  construction  of 
pianoforte  actions  that  have  had  even   geogra- 
phical definition,   as  the  English,  the  German 
action,  or  have  been  named  from  structural  dif- 
ference, as  the  grasshopper,  the  check,  the  repe- 
tition action.     In  the  organ  and  harmonium,  as 
in  the  old  harpsichord  and  spinet,  the   action 
bears  a  less  important  part,  since  the  degree  of 
loudness  or  softness  of  tone  in  those  instnunents 
is  not  affected  by  the  touch.     For  history  and 
description  of  the  different  actions  see  Clavi- 
CHORD,  Harmonium,  Hasp,  Harpbicuord,  Or- 
OAir,  and  PiANoroRTE.  [A.  J.  H.] 

ACUTENESS.  A  musical  sound  is  said  to  be 
more  acute  as  the  vibrations  which  produce  it  are 
more  rapid.  It  is  said  to  be  more  grave  as  the 
vibrations  are  slower.    Thus  of  the  two  notes 


and 


^ 


the  former  of  which  is  produced  by  5 1  a  vibrations 
per  second,  and  the  latter  by  356,  the  former  is 
called  the  more  acute,  the  latter  itte  more  grave. 
The  application  of  these  terms  is  not  easy  to 
account  for.     'Acute'  means  sharp  in  the  sense 
of  a  pointed  or  cutting  instrument,  and  'grave* 
means  heavy ;  but  there  is  no  direct  connection 
between  the  impression  produced  by  rapid  vibra- 
tions on  the  ear  and  a  sharp  edge,  nor  between 
the  effect  of  alow  vibrations  and  the  force  of 
gravitation;  neither  are  these  tenns  consistent^ 
for  one  is  not  the  antithesis  to  the  other.    To  be 
correct,  either  the  slow  vibration-sound  should  be 
called  'blunt,*  or  the  quick  one    *b'ght.*     The 
terms  however  are  as  old  as  the  Greeks,  for  we 
find  them  applied  in  the  same  way  by  Aristides 
Quintilianus,  who  uses  6(v9  to  denote  the  quick 
vibrating  sounds,  and  0apv9  to  denote  the  slow 
ones,  and  they  have  been  transmitted  through  the 
Latin  €icer  and  gravis  down  to  our  day.    Other 
figurative  terms  are  similarly  applied.     '  Sharp/ 
for  example,  is  clearly  synonymous  with  '  acute,* 
both  in  derivation  and  application;   but  'flat' 
has  no  analogy  with  grave  or  heavy.     It  is  a 
more  oorrect  antithesis  to  acute  or  sharp,   for 
one  can  fancy  a  blunt  edge  to  be  in  some  degree 


ACUTENESS. 

fattened,  and  a  blunt  needle  would,  under  the 
ickroooopey  undoubtedly  show  a  flat  Bur&oe  at 
it^oid. 

"niere  are  boweyer  two  other  words  still  more 
geikenlly  used.    These  are  'high*  and  'low' ;  the 
former  denotiiig  greater,  the  latter  less,  rapidity 
of  vibration.     The  application  of  these  is  the 
ncBt  puxaiing  of  all,  as  there  is  no  imaginable 
comectian  between  any  number  of  Tibrations  per 
leoond,  and  any  degree  of  elevation  aboye  the 
esith^s  surfiboe.      It  is  very  customaiy  to  use 
the  figure   of  elevation  to  express  an  idea  of 
magnitude  or  superiortty,  as  high  prices,  high 
preasura^    elevation   of  character,    and   so   on ; 
sad  if  the  -vibration-numbers  corresponding  to 
aav  note  bad  been  a  matter  of  general  know- 
ledge in  early  ages,  we  might  have  assumed  that 
the  tarns  had  been  chosen  on  this  principle. 
But  the  vibration-numbers  are  quite  a  modem 
discovery,  not  even  yet  generally  believed  in  by 
pnctiealmen:  and  unfortunately  such  relations  of 
■oond  as  do  address  themselves  to  the  eye  point 
entirely  the  other  way ;  for,  as  already  stated,  the 
grsve  sounds  convey  most  strongly  the  idea  of 
magnitude,  and  therefore  by  analogy  these  ought 
to  have  been  called  high  rather  than  low. 

The  andents  i^pear  to  have  imagined  that  the 
acute  sounds  of  the  voice  were  produced  from 
the  higher  ptuts  of  the  throat,  and  the  grave  ones 
bom.  lower  ptuts.^  And  this  has  been  supposed 
hf  some  writen  to  have  been  the  origin  A  the 
terms ;  but  the  idea  is  incorrect  and  &r-fetched, 
and  can  hardly  be  considered  a  justification. 

As  soon  as  anything  approaching  the  form  of 
mnakal  notation  by  the  poaUion  of  marks  or 
p(«nta  came  into  use^  the  terms  high  and  low  were 
natonlly  seized  upon  to  g^de  such  positions. 
Thus  our  musical  notation  has  come  into  being, 
and  thus  the  connection  between  hiffh  notes  and 
quick  vibrations  has  become  so  finmy  implanted 
in  oar  minds,  that  it  is  exceedingly  difficult 
to  bring  ourselves  to  the  appreciation  of  the 
truth  £at  the  connexion  is  only  imaginary, 
and  has  no  foundation  in  the  natural  fitness  of 
things.  [W.  P.] 

ADA6IETT0  (Ital.,  diminutive  of  ApAOio). 
(i)  a  short  adagio  (e.g.  RafiTs  Suite  in  G).  (2) 
Ae  a  time  indication,  somewhat  less  slow  than 
adagio. 

ADAGIO  (ItaL  ad  agio,  'at ease,*  'leisurely*), 
(t)  A  time-indication.  It  is  unfortunate  that 
great  differences  of  opinion  prevail  among  mu- 
Bdaaa  as  to  the  comparative  speed  of  the  terms 
Dsed  to  denote  slow  time.  According  to  the  older 
aQthorities  adagio  was  the  slowest  of  all  time, 
then  came  grave,  and  then  largo.  This  is  the 
order  given  by  dementi.  In  some  more  modem 
works  however,  largo  is  the  slowest,  grave  being 
second  and  adagio  third;  while  oShers  again 
give  the  order  Uius — grave,  adagio,  largo.  It 
is  tiierefore  impossible  to  give  any  absolute  rule 
on  the  subject;  it  will  be  Euffident  to  define 
adagio  in  general  terms  as  'very  slow.*  The  exact 

Qofaitflfauioi,  qnolad  lo  SBdth'h  Ear- 


ADAM. 


27 


pace  at  which  any  particular  piece  of  music  thus 
designated  is  to  be  taken  will  either  be  indicated 
by  the  metronome,  or,  if  this  has  not  been  done, 
can  be  for  the  most  part '  determined  with 
sufficient  accuracy  from  the  character  of  the 
music  itsell  (a)  The  word  is  used  as  the  name 
of  a  piece  of  music,  either  an  independent  piece 
(as  in  the  case  of  Mozart's  Adagio  in  B  minor  for 
piano,  or  Schubert's  posthumous  Adagio  in  £), 
or  as  one  of  the  movements  of  a  symphony, 
quartette  sonata^  etc.  When  thus  employed,  the 
word  not  only  shows  that  the  music  is  in  very 
slow  time,  but  also  indicates  its  general  character. 
This  is  mostiy  of  a  soft,  tender,  elegiac  tone,  as 
distinguished  from  the  largo,  in  which  (as  the 
name  implies)  there  is  more  breadth  and  dignity. 
The  adagio  also  is  generally  of  a  more  florid 
character,  and  contains  more  embellishments 
and  figurated  passages  than  the  largo.  The 
distinction  between  the  two  will  be  clearly  seen 
by  comparing  the  adagios  in  Beethoven's  sonatas, 
op.  a,  Nos.  I,  3,  and  op.  13,  with  his  largos  in  the 
sonatas  op.  a,  No.  a  and  op.  7.  (3)  It  was 
formerly  used  as  a  general  term  for  a  cdow  move- 
ment — 'No  modem  has  been  heard  to  play  an 
Adagio  with  greater  taste  and  feeling  than  Abel.* 
Thtu  in  the  autograph  of  Haydn*s  Symphony  in 
D  (Salomon,  No.  6 ),  at  the  end  of  the  first  move- 
ment, we  find  '  Segue  Adagio/  though  the  next 
movement  is  an  Andante.  [£.  P.] 

ADAM,  Adolphi  Chablis,  bom  in  Paris 
July  24,  1803,  was  the  son  of  Louis  Adam,  a 
well-known  musician  and  pianoforte -player 
at  the  Conservatoire.  Although  thus  intimately 
connected  with  the  art  of  music  he  strenuously 
resisted  the  early  and  strong  desire  of  his  son 
to  follow  the  same  calling.  Adolphe  was  sent  to 
an  ordinary  day-school  and  was  refused  all  musical 
instruction,  which  he  himself  tried  to  supply  by 
private  studies,  carried  on  in  secret  and  without 
guidance  or  encouragement.  This  struggle  be- 
tween fitther  and  son  lasted  for  a  long  time.  At 
last  the  quiet  persistence  of  the  young  man  over- 
came the  prejudices  of  paternal  obstinacy.  In 
his  sixteenth  year  he  was  allowed  to  enter  the 
Conservatoire,  but  only  as  an  amateur,  and  on 
condition  of  his  promising  solemnly  never  to 
write  for  the  stage,  an  engagement  naturally 
disregarded  by  him  at  a  later  period.  His  first 
master  was  Benoist,  and  his  instrument  the 
organ,  a  choice  truly  surprising  in  the  future 
composer  of  'La  joUe  fille  de  Gand*  and  'Le 
Postilion  de  Longjumeau.*  His  relations  however 
to  the  'queen  of  instruments*  were  byno  means 
of  an  elevated  or  even  lasting  kind.  Unabashed 
by  the  great  traditions  of  Fresoobaldi,  Bach,  o. 
Handel,  he  began  to  thrum  little  tunes  of  his 
own  on  the  organ,  which  however  he  soon 
abandoned  for  its  miniature  counterpart  the  har- 
monium. Adam's  first  success  indeed  was  due  to 
his  clever  improvisations  on  that  instrument  in 
fashionable  dAwing-rooms.  It  was  perhaps  owing 
to  his  want  of  early  training  that  even  at  a  more 
advanced  period  he  was  unable  to  read  music  at 
sight.  The  way  in  which  he  at  last  acquired  the 
sense  of  intuitive  hearing,  so  indispensable  for 


28 


ADAM. 


the  muBical  compoeor,  ib  pleaomtly  described  by 
Adam  himself  in  the  autobiographical  sketch  of 
his  life.  '  Soon  after  my  admission  to  the  Con- 
servatoire,* he  says,  'I  was  asked  by  a  school- 
fellow older  than  myself^  to  give  a  lesson  at  his 
solfeggio  class,  he  being  otherwise  engaged.  I 
went  to  take  his  place  with  sublime  self-assertion, 
and  although  totally  unable  to  read  a  ballad  I 
somehow  managed  to  acquit  myself  creditably,  so 
creditably  indeed  that  another  solfeggio  class  was 
assigned  to  me.  Thus  I  learnt  r^kding  music' 
by  teaching  others  how  to  do  it.'  We  are  also 
told  of  his  studying  counterpoint  under  Eler 
and  Reicha^  which  however,  to  judge  by  the 
results,  cannot  have  amounted  to  much.  The 
only  master  to  whom  Adam  owed  not  only 
an  advance  of  his  musical  knowledge  but  to 
some  extent  the  insight  into  his  own  talent,  was 
that  most  sweet  and  most  brilliant  star  of  modem 
French  opera^  Boieldieu.  He  had  been  appointed 
professor  of  composition  at  the  Conservatoire  in 
1821,  and  Adam  was  amongst  his  first  and  most 
£ftvourite  pupils.  The  intimacy  which  soon  sprang 
up  between  the  teacher  and  the  taught  has  been 
pleasantly  described  by  Adam  in  his  posthumous 
little  volume  '  Demiers  souvenirs  d'un  musicien.* 
It  was  owing  to  this  friendship  that  Adam  was 
able  to  connect  his  name  with  a  work  vastly 
superior  to  his  own  powers,  Boieldieu*s  'Dame 
Blanche,*  of  which  he  composed  or  rather  com- 
bined tl^e  overture.  By  Boieldieu*s  advice  and 
example  also  our  composer's  talent  was  led  to 
its  most  congenial  sphere  of  action,  the  comic 
opera.  Adam's  first  connections  witii  the  stage 
were  of  the  humblest  kind.  In  order  to  acquire 
theatrical  experience  he  is  said  to  have  accepted 
the  appointment  of  supernumerary  triangle  at 
the  Gymnase,  from  whicn  post  he  soon  advanced 
to  that  of  aocompanyist  at  the  same  theatre. 
His  first  independent  attempt  at  dramatic  com- 
position was  the  one-act  operetta  of  'Pierre  et 
Catherine,'  brought  out  at  the  Op^ra  Comique  in 
1829.  It  was  followed  the  next  year  by  the 
three-act  opera  'Danilowa.'  Both  were  favour- 
ably received,  and,  encouraged  by  his  success, 
Adam  began  to  compose  a  number  of  operatic 
works  with  a  rapidity  and  ease  of  productiveness 
frequently  fettal  to  his  higher  aspirations.  We 
subjoin  a  list  of  the  more  important  of  these 
works,  with  the  dates  of  their  finrt;  performances : 
'  Le  Chalet,'  1 834 ; '  Le  Postilion  de  Longjumeau,' 
1835  (Adam's  best  and  most  successful  work) ; 
'Le  Brasseur  de  Preston,'  1838;  '  Le  Boi  d' 
Yvetot,'  1842;  ' Cagliostro,'  1844;  'Richard  en 
Palestine,'  same  year ;  also  the  ballets  of  'Faust,' 
1832  (written  for  London);  'La  jolie  fille  de 
Gand,'  1839 ;  and  'Giselle,'  1841.  Our  remarks 
on  the  remaining  facts  of  Adam's  biogr^hy  can 
be  condensed  into  few  words.  In  1 84  7  he  started, 
at  his  own  expense  and  responsibility,  a  new 
operatic  theatre  called  Th(^atre  National,  and 
destined  to  bring  the  works  of  young  aspiring 
composers  before  the  public.  These  laudable 
efforts  were  interrupted  by  the  outbreak  of  the 
Revolution  in  the  February  of  the  ensuing  year. 

1  UaJoYj,  the  compoier  of  Uia '  Julve.' 


ADAM. 

The  theatre  had  to  dose,  Adam  having'  sunk  in 
the  enterprise  all  his  earnings,  and  having^  more- 
over incurred  a  considerable  debt,  to  disduur^re 
which  he  henceforth,  like  Sir  Walter  Soott,  con- 
sidered the  chief  task  of  his  life.    This  task  be 
accomplished  in  the  course  of  five  yean,  duxang 
which  time,  besides  producing  sevetal  operas*   he 
occupied  himself  in  writing  criticisms  and  ^euil- 
letons  for  the  newspapers.    His  contributions  t«> 
the  '  Constitutionel,'  'Assembl^e  Nationale,*  and 
'Gazette  Musicale,'  were  much  appreciated    by 
the  public.    Although  a  critic  he  succeeded   in 
making  no  enemies.    Some  of  his  sketches,  since 
collected,  are  amusing  and  well  though  not  bril- 
liantly written.    In  1844  he  was  elected  Member 
of  the  Institute ;  in  1849  Professor  of  Composition 
at  the  Conservatoire.    He  died  suddenly  in  1856. 
His  reputation  during  his  lifetime  was  not  limited 
to  his  own  country.    He  wrote  operas  and  ballads 
for  London,  Berlin,  and  St.  Petersburg,  -vebich 
capitals  he  also  visited  personally.    His  deserv- 
edly most  popular  opera»  as  we  said  before,  is  the 
'Postilion    de    Longjumeau,'    still    fireqaently 
performed   in   France   and  Germany.      In    the 
latter  country  it  owes  its  lasting  success  cbiefly 
to  the  astonishing  vocal  feats  of  Herr  Wacbtel, 
whose  own  life  seems  strangely  foreshadowed   by 
the  skilful  and  amusing  libretto. 

Adam   attempted    three    kinds  of   dramatic 
composition,  viz.  the  grand  opera,  in  which   he 
utterly  failed,  the  ballet,  in  which  he  produced 
some  of  the   most   charming  melodies  chorea- 
graphic  music  has  to  show,  and  the  comic  opera, 
the  one  and  only  real  domain  of  his  talent.     Aa 
the  most  successful  of  his  works  in  these  re* 
spective  branches  of  art  we  mention  'Richard 
en  Palestine,*  'Giselle,'  and  the   'Postilion   de 
Longjumeau.'    Adam's  position  in  the  history  of 
music,  and  more  especially  of  comic  opera^  may 
be    briefly  described    as   that  of  the  successor 
and  imitator  of  Boieldieu.     His  early  style   is 
essentially  founded  on  the  works  of  that  maater. 
With  him  he  shares,  although  in  a  lesser  degree, 
the  flowing  melodiousness  and  rhythmical  piquancy 
of  his  style,  the  precision  of  declamatory  phrasing, 
and  the  charming  effects  of  a  graceful  though 
sketchy  instrumentation.    When  inspired  by  the 
sweet  simplicity  of  the  French  popular  song, 
Adam  has  occasionally  efiects  of  tenderest  pathos ; 
in  other  places,  as  for   instance   in   the   duet 
between  the  terrified  accomplices  in  the  last  act 
of  the  'Postilion,'  his  rollicking  humour  shows 
to  great  advantage.    At  the  same  time  it  cannot 
be  denied  that  his  works  mark  the  decline  of 
French  national  art.    His  melodies  are  frequently 
trivial  to  absolute  vulgarity ;  the  structure  of  his 
concerted  pieces  is  of  the  flimsiest  kind ;  dance- 
rhythms  prevail  to  an  immoderate  extent :    all 
this  no  less  than  the  choice  oihouardi  subjects 
seems  to  indicate  the  gradual  decline  from  the 
serene  heights  of  Boieldieu's  humour  to  the  miry 
slough  which  has  swamped  that  sweetest  growth 
of  French  national  art,  the  comic  opera,  and 
the  murky  surface  of  which  reflects  the  features 
of  Beethoven's  countryman,  Jacques  Offenbach. 
It  is  a  fikct  of  ominous  significance  that  Adam 


ADAM. 

re^ivded  with  interest,  and  gave  hiB  journalistic 
liiio,  the  theatrical  creation  of  that  enterprising 
cmpoaer — the  *  BoulSee  ParisienB.'  [F.  H.] 

ADAM,  Louis,  bom  at  Mietterahelz  in 
Akace,  1758,  died  in  Paris  1848;  a  pianist 
•  f  she  firet  rank ;  appeared  in  Paris  when  only 
seraiteen  as  the  composer  of  two  symphonies; 
oiiacertantes  for  the  harp,  piano,  and  yiolin,  the 
first  of  th^  kind,  which  were  performed  at  the 
Coacerts  Spirituels.  Having  acquired  a  reputation 
for  teachii^  in  1 797  he  was  appointed  professor 
ftt  the  Conservatoire,  a  post  he  retained  forty- 
fire  yean,  feraimng  many  eminent  pupils,  of 
vhtHn  the  most  celebrated  are  Kaikbrenner, 
Qt'roki,  £i.ther  and  son,  Chaulieu,  Henri  le  Moine, 
iod  Mme.  Benaud  d' Allen,  and  last,  though 
not  least,  his  own  more  feunous  son,  Addphe 
Charies. 

Adam  was  a  remarkable  example  of  what  may 
hi  done  by  self  culture,  as  he  had  scarcely  any 
pofnional  tnuning,  and  not  only  taught  him- 
self the  harp  and  violin,  and  the  art  of  com- 
poation,  but  formed  his  excellent  style  as  a 
{jiuiat  by  careful  study  of  the  works  of  the 
fiachs,  Handel,  Scarlatti^  Schobert,  and  later 
of  dementi  and  Mozart.  His  *  M^thode  de 
doigt^'  (Paris,  1798)  and  'M^thode  Nouvelle 
poor  le  Piano'  (iSloa),  have  passed  through  many 
editions.  [M.  C.  C] 

ADAMBERGEB,  YALBNTnr.    Singer,  bom 

tt  Munich  July  6,  1743.    Remarkable  for  his 

q)len^  tenor  voice  and  admirable  method.    He 

vai  taught  gi-nging  by  Yaleei,  and  at  his  instance 

vent  to  Italy,  where  he  met  with  great  success 

Qnder  the  Italianised  name  of  Adamonti.     He 

was  recalled  to  Vienna  by  the  Emperor  Joseph, 

and  made  his  first  appearance  in  German  opera 

at  the  Hof-und-National-Theater  there  on  Aug. 

21, 1780.    In  the  interim  however  he  had  visited 

Lcnukm,  where  he  sang  in  Sacchini*s  'Creso'  at 

the  King's  Theatre  in  1 777.    In  1 789  he  entered 

the  Imperial  Chapel.     Later  in  life  he  became 

KQowned  as  a  t^her  of  singing.     It  was  for 

him  that  Mozart  composed  the  part  of  Belmonte 

in  the  'Seraglio,*  as  well  as  the  fine  airs  'Per 

piet^i'  'Aura  che  intomo,'  and  '  A  te,  fra  tante 

a^Sumi*  (Davidde  Penitente).     He  also  appeared 

in  the  'Schaospiel-Director*  of  the  same  master. 

In  178  a  he  married  Anna  Maria»  daughter  of 

Jaoquet  the  actor,  herself  a  noted  actress.    She 

died  1804.    His  daughter  Antoine,el80  a  player, 

a  woman  of  much  talent  and  amiability,  was 

iKtrothed  to  Komer  the  poet,  but  their  union 

waa  prevented  by  his  deatii  in  action,  Aug.  26, 

1S13,  after  which,  181 7,  she  married  Jos.  Arneth, 

tru^  to  the  imperial  cabinet  of  antiquities. 

Fetia  and  others  give  Adamberger*B  name  Joseph, 

and  hia  death  as  on  June  7, 1803 — ^both  incorrect. 

He  died  in  Vienna,  Aug.  24, 1 804,  aged  sixty-four. 

Mozart'a  letters  contain  finquent  references  to 

Mm,  sod  always  of  an  affectionate  and  intimate 

<^>ancter.    Through  all  the  difficulties  and  vi- 

ciadtudes  of  theatrical  life,  nothing  occurred  to 

^^terrapt  their  intercourse,  though  evidence  is 

not  wanting  that  Adamberger's  temper  was  none 


ADAMS. 


29 


of  the  best.  Mozart  took  his  advice  on  musical 
matters,  and  on  one  occasion  names  him  as  a  man 
*  of  whom  Germany  may  well  be  proud.'  [C.  F.  P.  ] 

ADAMI  DA  BOLSENA,  Andrea.  Bom 
at  Bolsena,  1663.  On  the  recommendation 
of  Cardinal  Ottoboni  (Corelli's  patron)  he  was 
appointed  master  of  the  Pope's  chapel,  and 
acting  professor  of  music.  While  in  this  post 
Adami  wrote  '  Osservazioni  per  ben  regolare  il 
Core  dei  Canton  della  Capella  Ponteficia,'  etc., 
(Rome,  1 711),  which  is  in  reality  a  histoiy  of 
the  Papal  chapel,  with  twelve  portraits  and 
memoirs  of  the  principal  singers.  He  diei, 
July  23,  1742,  much  esteemed  both  as  a  man 
and  a  musician.  [C.  F.  P.] 

ADAMS,  Thomas,  was  bom  Sept.  5,  1785. 
He  commenced  the  study  of  music,  under  Dr. 
Busby,  at  eleven  years  of  age.  In  1802  he  ob- 
tained the  appointment  of  organist  of  Carlisle 
Chapel,  Lambeth,  which  he  held  until  1814,  in 
which  year  (on  March  22)  he  was  elected,  after 
a  competition  in  playing  with  twenty-eight  other 
candidates,  organist  of  the  church  of  St.  Paul's, 
Deptford.  On  the  erection  of  the  church  of  St. 
GreoEge,  Camberwell,  in  1824,  Adams  was  chosen 
as  its  organist,  and  on  the  opening  of  the  church 
(March  26, 18  24),  an  anthem  for  five  voices,  'Ohow 
amiable  are  Thy  dwellings,'  composed  by  him  for 
the  occasion,  was  performed.  In  1833  he  was  ap- 
pointed organist  of  the  then  newly  re-built  church 
of  St.  Dunstan inthe  West,  Fleet  Street^  which 
post  he  held,  conjointly  with  that  of  (3amber- 
weU,  until  his  deaUi.  T^m  their  commencement 
Adams  for  many  years  superintended  the  annual 
evening  performances  on  ikie  Apollonicon,  a  large 
chamber-organ  of  peculiar  construction  (containing 
both  keys  and  barrels),  and  of  great  power,  built  by 
Flight  and  Bobson,  and  first  exhibited  by  them 
at  their  manufactory  in  St.  Martin's  Lane  in 
181 7.  For  a  period  of  upwards  of  a  quarter  of  a 
century  Adams  oocupied  a  very  prominent  posi- 
tion as  a  performer  on  the  oigan.  Excelling  in 
both  the  strict  and  free  styles,  he  possessed  a 
remarkable  faculty  for  extemporising.  His  ser- 
vices were  in  constant  requisition  by  the  organ- 
builders  to  exhibit  the  qualities  of  their  newly 
built  oigans,  prior  to  their  removal  from  the 
factories  to  their  places  of  destination.  On  such 
occasions  the  &ctories  were  crowded  by  pro- 
fessors and  amateurs,  anxious  of  witnessing  the 
performances,  and  Adams  played  from  ten  to 
twelve  pieces  of  the  most  varied  kind,  including 
two  or  three  extemponmeous  effusions,  not  cmly 
with  great  effect,  but  often  with  remarkable  ex- 
hibition of  contrapuntal  skilli  and  in  a  manner 
which  enraptured  his  hearers.  Even  in  so  small 
a  field  as  the  interludes  then  customary  between 
the  verses  of  a  psalm  tone,  he  would  exhibit  this 
talent  to  an  extraordinary  degree.  Adams  was  a 
composer  for,  as  well  as  a  performer  on,  his  instru- 
ment. He  published  many  organ  pieces,  fugues, 
and  voluntaries,  besides  ninety  interludes,  and 
several  variations  on  popular  themes.  He  also 
published  numerous  variations  for  the  piano- 
forte, and  many  vocal  pieces,  consisting  of  short 


so 


ADAMS. 


ADDITIONAL  ACCOMPANIMENTS. 


anthems,  hymmi,  and  ncrod  Boogs.  Besidai  Ub 
publlflhed  works,  Adams  oompofled  aeYeral  other 
pieces  of  yarious  descriptiixis,  which  yet  remain 
m  manuscript.  He  died  Sept.  15,  1858.  His 
youngest  son,  Edgar  Adams,  follows  the  pro- 
fession of  his  father,  and  holds  the  appointment 
of  organist  of  the  church  of  St.  Lawrence,  Jewry, 
near  GuildhaU.  [W.  H.  H.] 

ADCOCK,  James,  a  native  of  Eton,  Bucks, 
was  bom  in  1 778.  In  1 786  he  became  a  chorister 
in  St.  Geoige's  Chapel,  Windsor,  under  William 
Webb  (and  afterwards  under  Dr.  Aylward),  and 
in  Eton  College  Chapel  under  William  Sex- 
ton. In  1 797  he  was  appointed  lay  clerk  in  St. 
Greoige*s  Chapel,  and  in  1 799  obtained  a  similar 
appointment  at  Eton.  He  soon  afterwards  re- 
signed those  places  and  went  to  Cambridge, 
where  he  was  admitted  a  member  of  the  choirs 
of  Trinity,  St.  John's,  and  King's  CoUegee.  He 
afterwards  became  master  of  the  choristerB  of 
King's  College.  He  died  April  30,  i860.  Al- 
oock  published  several  glees  of  his  own  compo- 
sition, and  'The  Budiments  of  Singing,*  with 
about  thirty  solfeggi  to  assist  persons  wishing 
to  sing  at  right.  [W.  H.  H.] 

ADDISON,  JoHXTy  the  son  of  an  ingenious 
village  mechanic,  at  an  early  age  displayed  a 
taste  for  muric,  and  learned  to  play  upon  several 
instruments.  Having,  about  1793,  married  Miss 
Willems,  a  niece  of  Beinhold,  the  bass  singer,  a 
lady  possessed  of  a  fine  voice  and  considerable 
taste,  he  conceived  the  idea  of  pursuing  muric  as 
a  profesrion.  Soon  after  her  marriage  Mrs.  Ad- 
dison made  a  successful  appearance  at  Vauxhall 
Grardens.  Addison  then  went  with  his  wife  to 
Liverpool,  where  he  entered  on  his  profesrional 
career  as  a  performer  on  the  double  bass,  an  in- 
strument to  which,  as  an  orchestral  player,  he 
afterwards  confined  himself.  From  Liverpool  they 
went  to  Dublin,  where  Addison  soon  became 
director  of  the  amateur  orchestra  of  the  private 
theatre,  and,  from  having  to  arrange  the  muric, 
improved  himself  in  comporition.  After  fulfilling 
other  engagements  in  Liverpool  and  Dublin,  Mr. 
and  Mrs.  Addison  caone  to  London,  where,  on 
Sept.  17,  1796,  the  latter  appeared  at  Covent 
Gurden  Theatre  as  Bosetta  in  'Love  in  a  Vil- 
lage,' and  afterwards  performed  other  characters. 
In  1 797  they  went  to  Bath«  where  Mrs.  Addison 
studied  under  Bauzrini.  After  a  three  years' 
engagement  in  Dublin,  they  proceeded  to  Man- 
chester, where  Addison  was  induced  to  abandon 
the  murical  profesrion  and  embark  in  the  cotton 
manufacture.  In  this,  however,  he  was  unsuc- 
cessful, and  soon  resumed  his  profesrion.  After 
a  brief  sojourn  in  the  provinces  he  returned  to 
London,  and  engaged  with  Michael  Kelly  as  ma- 
nager of  his  muric  business.  He  was  also  en- 
gaged at  the  Italian  Opera  and  the  Ancient  and 
vocal  Concerts  as  a  double  bass  player.  In  1805 
he  made  himself  known  as  a  composer,  by  the 
muric  to  Skefl&ngton's  'Sleeping  Beauty.'  He 
afterwards  composed  several  pieces  for  the  Ly- 
ceum, and  composed  and  adapted  others  for  Covent 
Garden  Theatre.    On  March  3,  181 5,  a  short 


sacred  murical  drama  entitled  'Elijah  ra^iwingj 
the  Widow's  Son,'  adapted  by  Addisfm  to  xnusic 
by  Winter,  was  produced  at  Druiy  Lane  Xlieatre 
in  the  series  of  Lmten  oratorios,  under  tlie  di- 
rection of  Sir  Geoige  Smart.    Addison  nex^  em- 
ployed himself  as  a  teacher  of  singing,  and  in 
that  capacity  instructed  many  singers  who  nuun- 
tained  very  creditable  poritions  in  &eSr  profession : 
amongst  others,  James  Pyne,  Pearman,    ILieoni 
Lee,imd  Thomas  Millar.  He  died  at  an  advanced 
age,  on  Jan.  30, 1844.    His  principal  dramatic 
oomporitions  are  '  The  Sleeping  BcAuty,'   x  805  ; 
'The    Bussian    Impostor,*    1809;    'My   .A^unt.* 
1813;   'Two  Words,'   1816;   'Free  and  Eaay,' 
1816  ;  '  My  Uncle,'  1817  ;  'Bobinet  the  BandiC 
'  Bose  d* Amour,*  an  adaptation  of  Boieldieu's 
opera  of  that  name,  1818.    He  was  one  of  tlie  six 
oompoKn  who  contributed  the  muric  to  Charles 
Dibdin    the    younger's    opera,  'The    Fanner's 
Wife.*  in  1814.  [W.  H.  H.] 

ADDITIONAL  ACCOMPANIMENTS.    In 
the    publiriied   scores    of    the    older    masters, 
especiaUv    Bach   and  Handel,  much  is  to    be 
met  with  which  if  performed  exactly  as  printed 
will  fail  altogether  to  realise  the  intentions   of 
the  composer.      This   arises    partly    from     the 
difference  in   the  comporition  of  our  modem 
orchestras   as  compared  with   those   employed 
a  century  and  a  half  ago  ;   partly  also   firam 
the  fact  that  it  was  formerly  the  custom   to 
write  out  in  many  cases   little  more  than   a 
skeleton  of  the  music,  leaving  the  details  to  be 
filled  in  at  performance  fix>m  the  'figured  bass.' 
The  parts  for  the  oi^gan  or  harprichord  were 
never  written  out  in  fiill  except  when  these  in- 
struments had  an  important  solo  part ;  and  even 
then  it  was  firequently  the  custom  only  to  write 
the    upper   part    and    the  bass,    leaving    the 
harmonies  to  be  supplied  from  the  figures  by  the 
player.    Thus,  for  instance,  the  first  solo  for  the 
oigan  in  Handel's  Organ  Concerto  in  G  minor 
No.  I,  is  thus  written  in  the  score : — 


m 


^ 


r"  iJj.BiJ 


g.f?  a   f  ^ 


:w^ 


E 


:pf=p: 


t 


^w:W^ 


It  is  evident  from  the  figures  here  given  that 
the  passage  is  intended  to  be  played  in  the  fol- 
lowing, or  some  similar  way, 


m 


d= 


p  rv 


f.rH^-jSl-'   J  I 


f   \'f    \    ^   Vf*    \f    ^  i-      \^     ^^  \ 


and  that  a  performer  who  confined  himself  to 
the  printed  notes  would  not  give  the  effect  which 
Handel  designed.  Similar  instances  may  be  found 
in  nearly  all  the  works  of  Bach  and  Handel,  in 
many  of  which  nothing  whatever  but  a  figured 
bass  is  given  as  a  clue  to  the  form  of  accom- 
paniment. At  the  time  at  which  these  works 
were  written  the  art  of  playing  from  a  figured 


ADDITIONAL  ACCOMPANIMENTS. 


ADDITIONAL  ACCOMPANIMENTS.    81 


■o  generally  stadied  that  any  good 

Bu^san  would  be  able  to  reproduce,  at  least 

a^piptQxiinately,  the  intentionB  of  the  composer 

£ram  racb  ukdcations  as  the  score  supplied.   But 

vhen,  owing   to    the    growth    of   the  modem 

Gichestra,  the  increased  importance  g^ven  to  the 

ht^rumental  portion  of  the  music,  and  the  re- 

ealtant  custom  which  has  prevailed  from  the 

timfi  of  Haydn  down  to  our  own  day  of  writing 

oat  in  fdn  all  parts  which  were  dbhligcUo — ^i.  e. 

oecesBary  to  tiie  completeness  of  the  music — the 

ut  of  playing  from  a  figured  bass  ceased  to  be 

eammonly  practised,  it  was  no  longer  possible  for 

vhoever  presided  at  the  organ  or  piano  at  a  per- 

&rmaBce  to  complete  the  score  in  a  satisfactory 

mamier.    Henoe  arose  the  necessity  for  additiomJ 

aeeompaniments,  in  which  tiie  parts  which  the 

composer  has  merely  indicated  are  given  in  full,  in- 

•tead  of  ihor  being  left  to  the  discretion  (or  indis- 

oetion.  as  the  case  might  be)  of  the  performer. 

2.  There  are  two  methods  of  writing  additional 
aooompaniments.    The  first  is  to  write  merely  a 
psrt  for  the  organ,  as  Mendelssohn  has  done 
vitii  6o  mnoh  tarte  and  reserve  in  his  edition  of 
'Israel  in  E^^t,'  published  for  the  London 
Handel  Society.    There  is  more  than  one  reason, 
however,  for  doubting  whether  even  his  accom- 
paniment would  succeed   in  bringiog  out  the 
true  intentions  of  the  composer.     In  the  first 
place,  oar  modem  orchestras  and  choruses  are  so 
laaeh  laxger  than  those  mostiy  to  be  heard  in 
the  time  of  Bach  and  Handel,  that  tiie  effect 
of  tiie    combination    with    the    organ    must 
Beoasarily  be  different.    An  organ  part  filling 
up  the  harmony  played  by  some    twenty    or 
tweoty-fonr  violins  in  unison  (as  in  many   of 
HandeTs   songs)     and    supported    by    perhaps 
twelve  to  sixteen  bass  instruments  will  sound 
voy  different  if  there  is  only  half  that  number 
ofeferings.  Besides,  our  modem  organs  often  differ 
hardly  lees  from  those  of  the  last  century  than 
GOT  modem  orchestras.     But  there  is  another 
and  more  wdghty  reason  for  doubting  the  ad- 
tiaifaifity  of  supplementing  the  score  by  such  an 
oigaa  piurt.    In  the  collection  of  Handel's  con- 
dncting- scores,  purchased    some   twenty  years 
BBoe  by  M.  Schoelcher.  is  a  copy  of  'iSaul' 
which  contains  full  directions  in  Handel's  own 
writing  for  the  employment  of  the  organ,  re- 
printed in  the  edition  of  the  German  Handel 
Society;^  from  which  it  clearly  appears  that  it 
WM  nowhere  used  to  fill  up  the  harmony  in  the 
aooompaniment  of  the  songs.    This  must  there- 
fim  have  been  given  to  the  harpaichOTd,  an  in- 
strament  no  longer  in  use.  and  which,  if  it  were, 
would   not    combine    well    with    our   modem 
orchestra.    It  u  therefore  evident  that  such  an 
oigan  part  as  Mendelssohn  has  written  for  the 
80Dg9  in  'Israel,'  appropriate  as  it  is  in  itself  is 
not  what  the  composer  intended. 

3:  The  method  more  fr^uentiy  and  also  more 
SDocearfully  adopted  is  to  fill  up  the  harmonies 
with  other  instruments — in  fitct  to  rewrite  the 
loore.    Among  the  earliest  examples   of  this 


1  toiboGfanPWiulnr^  'JahitGcJhOT  forXndkilladie 
Bnd  I,  vUdh  OMitatiii  a  long  acttcis  on  ttibttttdMt* 


mode  of  treatment  are  Mozart's  additional  ao- 
oompaniments to  Handel's  'Messiah/  'Alex- 
ander's Feast/  '  Acis  and  Galatea,'  and  *  Ode  for 
St.  Cecilia's  Day.'  These  works  were  arranged 
for  Baron  van  Swieten,  for  the  purpose  of  perform- 
ances where  no  organ  was  available.  What  was 
the  nature  of  Mozart's  additions  will  be  seen  pre- 
sentiy ;  meanwhile  it  may  be  remarked  in  passing, 
that  they  have  always  been  considered  models  of 
the  way  in  which  such  a  task  should  be  performed. 
Many  other  musicians  have  followed  Mozai't's  ex- 
ample with  more  or  less  success,  among  tilie  chief 
being  Ignaz  Franz  Mosel,  who  published  editions 
of  'Samson,'  'Jephtha»'  'Belshazzar/  etc.,  in 
which  not  only  additional  instrumentation  was 
introduced,  but  utterly  unjustifiable  alterations 
were  niade  in  the  works  themselves,  a  movement 
from  one  oratorio  being  sometimes  transferred  to 
another;  Mendelssohn,  who  (in  early  life)  re- 
scored  the  '  Dettingen  Te  Deum,'  and  '  Ads  and 
Galatea';  Dr.  Ferdinand  Hiller,  Professor  G.  A. 
Macfiirren,  Sir  Michael  Costa,  Mr.  Arthur  Sul- 
livan, and  last  (and  probably  best  of  all)  Robert 
Franz.  This  eminent  musician  has  devoted 
special  attention  to  this  branch  of  his  art ;  and 
for  a  complete  exposition  of  the  system  on  which 
he  works  we  refer  our  readers  to  his  'Offener 
Brief  an  Eduard  Hanslick,'  etc.  (Leipzig,  Leuck- 
art,  1 871).  Franz  has  published  additional  ac- 
companiments to  Bach's  'Passion  according  to 
St.  Matthew,' '  Magnificat,'  and  several '  Kirchen- 
cantaten,'  and  to  Handel's  *L' Allegro'  and  'Ju- 
bilate.' 

4.  The  first,  and  perhaps  the  most  important 
case  in  which  additions  are  needed  to  the  older 
scores  is  that  which  so  frequentiy  occurs  when 
no  instrumental  accompaniment  is  given  except- 
ing a  figured  bass.  This  is  in  Handel's  songs 
continually  to  be  met  with,  especially  in  ca- 
dences, and  a  few  examples  follow  of  the  various 
way  in  which  the  harmonies  can  be  filled  up. 

At  the  end  of  the  air  *  Bejoioe  greatly'  m  the 
'Messiah/  Handel  writes  thus^ — 

I.  Voce 


^bS,     r  |:j.i^r^|L-L_gJ^ 


thy  King    earn  -  0U1      nn 
BasH  ^ 


to  thfM 


gi,"M   JlJ    ^=^F-j-H 


Mozart  gives  the  harmonies  in  this  passage  to 
the  stringed  quartett,  as  follows : — 


i 


r=iE 


rMa 


w 


ty  ^T 


1^ 


^ 


Voce 


/7\ 


thr     Kins 
Batri 


J    srg 


3 


^ 


oom-  etti 


on 


to      the* 


e^b^  j  I J     ^^^ 


^ 


32   ADDITIONAL  ACCOMPANIMENTS. 


ADDITIONAL  ACCOMPANIACENTS. 


Sometimes  in  similar  passages  the  acoom- 
paniraent?  are  given  to  a  few  wind  instraments 
with  charming  effect,  as  in  the  following  ex- 
amples by  Mozart.  For  the  sake  of  comparison 
we  shall  in  each  instance  give  the  score  in  its 
original  state  before  quoting  it  with  the  addi- 
tional parts.  Our  first  example  is  from  the 
close  of  the  song  '  What  passion,  in  the  '  Ode  for 
St.  Cecilia's  Day.* 

3.  Voce  Handkl. 


nuM      .      •      .      • 
Bcusi 


^ 


-^ 


■nd      quell 


^ 


£ 


4*  Fkado  ^ 


MOZABT. 


FaffoUo 


m 


r    Mc 


Voce 


\4/ 


miw      .      •      .       ...     and   qneU 


miw 
BatH 


^m 


/TN 


5-    Viol.  1,2 


Handel. 


■or  -  rowi,      aiid    ac  -  qtudnt  •  ed     with    grief 
Viola,Bani  ^ 


m. 


^'iC^   'f^ 


y"  -^- J  .^.^-j 


? 


Viol.  1,  3 


rf 


-^ 


i 


Voce 


f 


$ 


i 


5 


J'lJ     J 


■or.rowi^ 
Viola 
Baui    J_ 


and    ae  •  qaalnt  -  ed     with    grief 


m 


4: 


r  I  ^  f 


:^ 


In  the  first  of  the  for^oin^  qaotatioxis  (N'o.  j{ 
it  will  be  seen  that  Mozart  has  simply  adde 
in  the  flute  and  bassoon  the  harmoziiy  ivhicj 
Handel  no  doubt  played  on  the  harpsicbonl 
In  the  next  (No.  o).  from  *He  was  despised] 
the  harmony  is  a  litUe  iiiller. 

In  all  the  above  examples  the  treatDtient  of  th< 
harmony  is  as  simple  as  possible.  When  similai 
passages  occur  in  Bach's  works,  however,  they 
require  a  more  polyphonic  method  of  treaFtmenti 
as  is  proved  by  Frams  in  bis  pamphlet  abov« 
referred  to.  A  short  extract  from  the  *  Pafi<>i<M] 
according  to  Matthew'  will  show  in  WhB.%  way 
his  music  can  be  advantageously  treated. 

Voce 


fogij-Jg^  n^^^^ 


dir       |e  -  bih  -  ran    tna  -  er 


J0     -    au 


etc 


The  figures  here  give  the  clue  to  the  harmony, 
but  if  simple  chords  were  used  to  fill  it  up,  as  in 
the  preceding  extracts,  they  would,  in  Franz's 
words,  '&11  as  heavy  as  lead  among  Bach's  parts, 
and  find  no  support  among  the  constantly  moving 
basses.'  Franz  therefore  adopts  the  polyphonic 
method,  and  completes  the  score  as  follows  :^ 


Viola 


P^ 


m 


Voce 


■a    •    Uih  -  ren     traa  -  «r 


Je  -  aa 


tjj  »  hJJ3 


Somewhat  resembling  the  examples  given 
above  is  the  case  so  often  to  be  found  both  in 
Bach  and  Handel  in  which  only  the  melody  and 
the  bass  are  given  in  the  score.  There  is  hardly 
one  of  Handel's  oratorios  which  does  not  contain 
several  songs  accompanied  only  by  violins  in 
unison  and  basses;  while  Bach  very  frequently 
accompanies  his  airs  with  one  solo  instrument, 
either  wind  or  stringed,  and  the  basses.  In  such 
cases  it  is  sometimes  sufficient  merely  to  add  an 
inner  part;  at  other  times  a  somewhat  fuller 
score  is  more  effective.  The  following  quotations 
will  furnish  examples  of  both  methods* 


ADDITIONAL  ACCOMPANIMENTS. 


ADDITIONAL  ACCOMPANIMENTS.    83 


BjSJiSL, '  Sharp  Tiolins  proclaim.*     (Ode  for 

St.  Cecilia's  Day.) 
rtf.i,a         ^  ^  <r 


.■•^I^^C£juk 


■"n^lJ  iJJJ^JJIe 


4 


Ditto  (Mozabt). 

tr  tr 


^^ 


» .'  J    r 


E 


Ami 


&> 


ms 


£ 


1 


£ 


\i^r  c  |hcr  rc^ 


5c 


^5 


r  rive/^ 


3 — n 


±^ 


3 


HiifDEL,  'I  know  that  my  Eedeemer  liveih.' 
Vtot.1,2  (MesBiaii.) 


Baui 


*--r=r 


f: 


?q^ 


i 


5 


E 


zzi: 


FtoutoSWo 


Ditto  (Mozabt). 


Baoh,  '  leh  hatte  viel  BekummenuBs.' 
Oboe 


f'\i^l^f'^£^\r^If%:\^^ 


Org,  €  Cont, 


ai 


t 


i 


£ 


-^ 


i    I  -i{ 


*  h  ?       *  3b  ?u        4b» 


MS 


Ditto  (Feanz). 


rw.i 


^b'^fff^i^V    1^^ 


^Cp  hI^C 


!f'^''^yg?jjuji.'^;v.^ 


ss 


Botfi 


^=^ 


g^y'      iTiTf     l|r  it|a--4:f  i  p     i[pi 


In  the  first  of  these  extracts  nothing  is  added 
but  a  viola  part;  in  the  second  Mozart  has 
doubled  the  first  violins  by  the  second  in  the 
lower  octave,  and  assigned  a  full  harmony  to  the 
three  solo  wind  instruments,  while  in  the  third 
Franz  has  added  the  string  quartett  to  the  solo 
oboe,  and  again  treated  the  parts  in  that  poly- 
phonic style  which  experience  has  taught  him 
is  alone  suitable  for  the  fitting  interpretation 
of  Bach*s  ideas. 

5.  In  all  the  cases  hitherto  treatedi  the  melody 
being  given  as  well  as  the  bass,  the  task  of  the 
editor  u  comparatively  easy.  It  is  otherwise 
however  when  (as  is  sometimes  found  with 
Handel,  and  still  more  frequently  with  Bach) 
nothing  whatever  is  given  excepting  a  bass, 
esped^y  if,  as  often  happens,  tlds  bass  is  not 
even  figured.  In  the  following  quotation,  for 
example,  taken  from  Bach's  *  Magnificat*  ('  Quia 
fecit  mihi  magna*), 


tLtJttH 


9  ' 

^{notaalfSMn.) 


r^  r  r 


iqE 


l=J^ 


m 


f  L'rijNE^J^^fe^ 


it  is  obvious  that  if  nothing  but  the  bass  part 
be  played,  a  mere  caricature  of  the  composer's 
intentions  will  be  the  result.  Here  there  are  no 
figures  in  the  score  to  indicate  even  the  outline 
of  the  harmony.  The  difficulties  presented  by 
such  passages  as  these  have  been  overcome  in 
the  most  masterly  manner  by  Bobert  Franz,  who 
fills  up  the  score  thus — 

D 


34  ADDITIONAL  ACJOOMPANIMENTS. 


ADDITIONAL  ACCOMPANIMENTS, 


$ 


FM.l,t 


5S^ 


J,  aiji,  ^%^ 


VMa 


ar  r  ECT'  ^ 


3fe 


^gs 


qpzzp: 


^^ 


CZar. 


e(7tar. 


iffli^^'i^^S 


LfU  S^JftjJ^ 


By  comparing  the  added  parts  (whicli,  to  save 
space,  are  given  only  in  oompresBed  score)  witb 
the  original  bass,  it  will  be  seen  that  they  are 
all  founded  on  soggeations  thrown  oat,  so  to 
speak,  by  Bach  himself,  on  ideas  indicated  in  the 
bass,  and  it  is  in  obtainingr  unity  of  design  by 
the  scientific  employment  of  Bach  s  own  material 
that  Franz  shows  himself  so  well  fitted  for-  his 
self-imposed  labour.  It  ha<)  been  already  said 
that  Bsbch  requires  more  polyphonic  treatment 
of  the  parts  than  Handel.  The  following  extract 
from  Franz's  score  of  •  L* Allegro '  ('  Come,  but 
keep  thy  wonted  state  *)  will  show  the  different 
metiiod  in  which  he  fills  up  a  figured  bass  in 
Handel's  music.    The  origizial  stands  thus — 

BcuH  ^ 


^^ 


s^ 


m 


6   6 


8 


s-«- 


which  Franz  completes  in  this  manner — 

A- 


FoffotH 


1  -  >i  At^l    ^ 


^m 


Here  it  will  be  seen  there  is  no  attempt  at 
imitative  writing.  Nothing  is  done  beyond 
harmonising  Handel's  bass  in  four  parts.  The 
harmonies  are  given  to  clarinets  and  bassoons  in 


order  that  the  first  entry  of  the  strings, 
takes  place  in  the  third  bar,  may  prodaoe  the 
contrast  of  tone-colour  designed  by  the  oompaaer. 
6.  It  is  quite  impossible  withm  the  liixutB  of 
such  an  article  as  the  present  to  deal  ezhaiutrr^ 
with  the  sabject  in  hand;  enough  hiM.  it  is 
hoped,  been  said  to  indicate  in  a  general  mannpr 
some  of  the  various  ways  of  filling  up  tbe 
orchestration  from  a  figured  bass.  Thb  howewr, 
though  perhaps  the  most  important,  is  by  &9 
means  me  only  case  in  which  additional  ae- 
companiments  are  required  or  introdaoed.  It 
was  mentioned  above  that  the  composition  of  tlie 
orchestra  in  the  days  of  Bach  and  Handri  was 
very  different  from  that  of  our  own  time.  Hxis 
is  more  especially  the  case  with  Badi,  wlio 
employs  in  his  soores  many  instramantB  sow 
altogether  fidlen  into  disuse.  Such  are  the  viola 
d'amore,  the  viola  da  gamba,  the  oboe  d'sunore, 
the  oboe  da  caocia  (which  he  sometimes  calls  the 
'  taille '),  and  several  others.  In  adapting  these 
works  for  performance,  it  is  necessary  to  sub- 
stitute for  these  obsolete  instruments  as  &r  as 
possible  their  modem  equivalents.  Besides  this, 
both  Handel  and  Bach  wrote  for  the  trumpeto 
passages  which  on  the  instruments  at  pa^eecnt 
employed  in  our  orchestras  are  simply  impoe- 
sible.  Bach  frequently,  and  Handel  oooasiofwUhr, 
writes  the  trumpet  parte  up  to  C  in  alt^  and 
both  require  firom  the  players  rapid  passages  in 
high  notes,  the  execution  of  which,  even  where 
possible,  is  extremely  uncertain.  Thue,  ia 
probably  the  best-known  piece  of  sacred  mnsit 
in  the  world,  the  Hallelujah  chorus  in  the 
'Messiah,*  Handel  has  written  D  in  alt  fsff 
the  first  trumpet,  while  Bach  in  the  'Cum  Ssmcto 
Spiritu '  of  his  great  Mass  in  B  minor  has  even 
tiJcen  the  instrument  one  note  higher,  the  whole 
first  tnimpet  part  as  it  stands  being  absolutelj 
unplayable.  In  such  cases  as  these  it  becomes 
necessary  to  re-write  the  trumpet  parts^  giving 
the  higher  notes  to  some  other  instrument.  Tlus 
is  what  Franz  has  done  in  his  editions  of  Bach's 
'Magnificat.'  and  ' Pfingsten-Cantate,'  in  which 
he  bAS  used  two  clarinets  in  C  to  reinforoe  and 
assist  the  trumpet  parts.  The  key  of  both  pieces 
being  D,  the  clarinets  in  A  would  be  those 
usually  employed ;  the  C  clarinets  are  hese  used 
instead,  because  their  tone,  though  less  rich,  is 
more-  piercing,,  and.  therefore  approximates  more 
closely  to  that  of  the  high  notes  of  the  trumpet. 
One  example  firom  the  opening  diorua  of  the 
'Magnificat*  will  show  how  the  airangem^it 
is  effected.  Bach's  trumpet  parts  and  their 
equivalents  in  Franz's  score  will  alone  be 
quoted. 


TrwAaUnD 


Bach. 


3V)om6e  2, 8  in  P 


m 


w 


ADDITIONAL  AOCOUFANIMENTS. 


_^lTrr^T[rj^H^i'r|tf  ,^ 


^a^h 


Jj  PK[   ^^ 


^ 


:^^ 


ZaarbteiUInC 


F&ANZ. 


It  is  to  be  regretted  that  the  same  amount 
<>f  lererenoe  for  the  author's  intentaons  shown 
ia  the  above  airangement  has  not  always  been 
ermocd  even  by  great  municians  in  dealing  with 
the  Korea  of  o&era.  Mozart,  in  his  arrangement 
<if  the  '  Mrwrnah/  thought  fit  to  re-write  the  song 
'The  trompet  shall  sound,'  though  whatever 
'-•bsude  it  may  have  presented  to  his  trumpeter 
it  bss  been  often  proved  by  Mr.  Thomas  Harper 
vd  others  that  HandeVs  trumpet  part^  though 
£&»lt,  is  certainly  not  impossible.  MendeL»- 
«^  in  his  Boore  of  the  'Dettingen  Te  Deum/ 
bs  slteied  (and  we  venture  to  think  entirely 
rpralt)  several  of  the  very  characteristic  trumpet 
parts  which  form  so  prominent  a  feature  of  the 
*x]rk.  As  one  example  out  of  several  that  might 
be  quoted,  we  give  ^e  opening  symphony  of  the 
eborus  '  To  thee  Cherubin.'  Handel  writes 
2  Trombe 


ADDITIONAL  ACCOMPANIMENTS.    35 

These  trumpet  parts  are  assuredly  not  easy; 
still  they  are  practicable.  Mendelflsohn  however 
alters  the  whole  passage  thus : — 


FlauU 


fVf  f<rffp^ 


rffU">n' 


'gOi^     f 


rTsn.j  n 


m 


f 


U^   f  f 


and,  still  worse,  when  the  symphony  is  repeated 
in  the^  original  by  oboes  and  bassoons,,  the 
arranger  gives  it  to  the  full  wind  band  with 
trumpets  and  drums,  entirely  disregarding  the 
ideas  of  the  composer.  The  chief  objection  to 
be. urged  against. such  &  method  of  procedure 
as  the  above — so  unlike  Mendelssohn's  usual 
reverence  and  modesty ' — is  not  that  the  instru- 
mentation is  changed  or  added  to,  but  that  the 
form  and  character  of  the  passage  itself  is  altered. 
Every  arrangement  must  stand  or  fall  upon  its 
own  merits;  but  it  will. be  generally  admitted 
that  however  allowable  it  may  be,  nay  more, 
however  necessary  it  frequently  is,  to  change 
the  dress  in  .which  ideas  are  presented  to  us,  the 
ideas  themselves  should  be  left  without  modifica- 
tioin. 

7.  Besides    the    cases    already    referred    to, 
passages  are  frequently  to  be  found,  espedaUy  in 

>  The  T>  Deom  and  Ads  were  Inatnimented  hy  XenddHohn  ai  an 
ezcrdae  for  Zeltar.  The  date  on  the  US.  of  Ads  Is  Januanr  18W.  He 
mentlona  them  In  a  letter  to  Derrient  In  1833k  speaking  of  his  additions 
to  the  Te  Deum  as  '  Intcfpolatlons  of  a  VC17  arMtrarjr  kind,  mlstakea 
as  I  nov  consider  them,  whldi  I  am  anzlooa  to  eorrseL'  It  Is  a 
thouwnd  pities  that  the  woik  sbouhl  hare  been  imhilshad. 

D  2 


86   ADDinONAIi  ACCOMPANIMENTS. 


ADDITIONAL  ACCOMPANIMENTS. 


the  works  of  Badh,  in  which,  though  no  obsolete 
instruments  are  employed,  and  though  everything 
is  perfectly  practicable,  the  effect,  if  played  as 
written,  will  in  our  modem  orchestras  altogether 
differ  from  that  designed  by  the  composer. 
From  a  letter  written  by  Bach  in  1730^  we 
know  exactly  the. strength  of  the  band  for  which 
he  wrote.  Besides  tiie  wind  instruments,  it 
contuned  only  two  or  at  most  three  first  and 
-as  many  second  violins,  two  first  and  two  second 
violas,  two  violoncellos  and  one  double-bass,  thir^ 
teen  strings  in  all.  Against  so  small  a  force 
the  solo  passages  for  the  wind  instruments  would 
stand  out  with  a  prominence  which  in  our 
modem  orchestras,  often  containing  firom  fifty 
to  sixty  strings,  would  no  longer  exist ;  and  as 
all  the  parts  in  Bach's  music  are  almost  in* 
•variably  of  equal  importance,  it  follows  that  the 
wind  parts  must  be  strengthened  if  the  balance 
of  tone  is  to  be  preserveid.  This  is  especially 
the  case  in  the  chomses.  It  would  be  impos- 
sible, without  quoting  an  entire  page  of  one  of 
Bach's  scores,  to  give  an  extract  clearly  showing 
this  point.  Those  who  are  fitmiliar  with  his 
works  will  recall  many  passages  of  the  kind. 
One  of  the  best  known,  as  well  as  one  of  the 
most  striking  examples  is  in  the  short  diorus 
'Lass  ihn  kreuzigen  in  the  'Passion  according 
to  Matthew.*  Here  an  important  counterpoint 
is  given  to  the  flutes  above  the  voices  and 
stringed  instruments.  With  a  very  small  band 
and  chorus  this  counterpoint  would  doubtless  be 
heard,  but  with  our  laige  vocal  and  instromental 
forces  it  must  inevitably  be  lost  altogether. 
Franz,  in  his  edition  of  the  'Passion,'  has 
reinforced  the  flutes  by  the  upper  notes  of  the 
clarinets,  which  possess  a  great  similarity  of 
tone,  and  at  the  same  time  by  their  more  incisive 
quality  make  themselves  distinctly  heard  above 
Ute  other  instruments. 

8.  In  Handel's  orchestra  the  organ  was  almost 
invariably  used  in  the  choruses  to  support  the 
voices,  and  give  fullness  and  richness  to  the 
general  body  of  tone.  Hence  in  Mozart's 
arrangements,  which  were  written  for  per* 
fomiance  without  an  organ,  he  has  supplied 
the  place  of  that  instrument  by  additional  wind 
parts.  In  many  of  the  choruses  of  the  '  Messiah' 
(e.g.  'And  the  glory  of  the  Lord,'  'Behold  the 
Lamb  of  God,'  'But  thanks  be  to  God,'  etc.) 
the  wind  instruments  simply  fill  in  the  harmony 
as  it  may  fairly  be  conjectured  the  organ  would 
do.  Moreover,  our  ears  are  so  accustomed  to 
a  rich  and  sonorous  instrumentation,  that  this 
music  if  played  only  with  strings  and  oboes,  or 
sometimes  with  strings  alone,  would  sound  so 
thin  as  to  be  distasteful.  Hence  no  reasonable 
objection  can  be  made  to  the  filling  up  of  the 
harmony,  if  it  be  done  with  taste  and  oontain 
nothing  inconsistent  with  the  spirit  of  the 
original. 

9.  There  yet  remains  i»  notice  one  of  the  most 
interesting  points  connected  with  our  present 
subject.  It  not  seldom  happens  that  in  additional 
accompaniments  new  matter  is  introduced  for 

^BMSlttar.  'Johaiui8«bMtiaa Bach.* tL  1^22. 


which  no  warrant  can  be  found  in  the  original. 
Sometimes  the  composer's  idea  is  modified,  some- 
times it  is  added  to.  Mozart's  scores  of  Handel 
are  fiill  of  examples  of  this  kind ;  on  the  other 
hand  Franz,  the  most  conscientious  of  amingers, 
seldom  allows  himself  the  least  liberty  in  this 
respect.  It  is  impossible  to  lay  down  any 
Absolute  rule  in  this  matter;  the  only  test  is 
success.  Few  people,  for  instance,  would  object 
to  the  wonder&lly  beautiful  wind  parts  which 
Mozart  has  added  to  'The  people  that  walked 
in  darkness,'  though  it  must  be  admitted  that 
th^  are  by  no  means  Handelian  in  character. 
It  IS,  so  to  speak,  Mozart's  gloss  or  conunentsiy 
on  Handel's  music;  and  one  can  almost  fiuicy 
that  could  Handel  himself  have  heard  it  he 
would  have  pardoned  the  liberty  taken  with  his 
music  for  the  sake  of  the  charmmg  effect  of  the 
additions.  So  again  with  the  trumpets  and 
drums  which  Mozart  has  introduced  in  the  song 
'  Why  do  the  nations.'  No  doubt  Handel  could 
have  used  them  had  he  been  so  disposed ;  but  it 
was  not  the  custom  of  his  age  to  employ  them 
in  the  accompaniments  to  songs,  and  here  again 
the  excellence  of  the  effect  is  its  justification. 
On  the  same  ground  may  be  defended  the  giving 
of  Handel's  violin  part  to  a  flute  in  the  air 
'  How  beautiful  are  the  feet,'  though  it  is  equally 
impossible  to  approve  of  the  change  Mozart  has 
made  in  the  air  and  chorus  'The  trumpet's  load 
clangour'  in  the  'Ode  to  St.  Cecilia's  Dav,'  in 
whidi  he  has  given  a  great  j)ortion  of  the 
important  trumpet  part  (which  is  imperatively 
called  for  by  the  words)  to  the  flute  and  oboe 
in  unison !  The  passages  above  refeired  to  from 
the  'Messiah'  are  so  well  known  as  to  render 
quotation  superfluous;  but  two  less  familiar 
examples  of  happily  introduced  additional  matter 
from  the  'Ode  to  St.  CecUia's  Day'  will  be 
interesting.    In  the  first  of  these. 

Viol  1,  8 


i 


t  ih    I    I"      t,    I" 


BoiH 


^      il      N 


5 


^'"^LliW'MB 


from  the  song  'Sharp  violins  proclaim,'  it  will  be 
seen  that  Handel  has  written  merely  violins  and 
basses.  The  dissonances  which  Mozart  has  added 
in  the  viola  part> 

Viol.  1, 2 


<    (S    >,      I"       I,     >" 


Viola 


? 


^^ 


lH  tf  H    jjJ  _.N_i  J  J,\  nnJ-^TT^g^ 


Ba$H 


Sgl=> 


«V  » 


ffl: 


Um'lj 


E 


are  of   the  most  excellent  effect,  well  suited 


ADDITIONAL  ACCOMPANIMENTS. 

soreoTer  to  ilie  character  of  the  song  which 
freftte  of  'jedous  pangs  and  desperation.'  Our 
hit  extract  will  be  from  the  song  *  What  passion 
cannot  mnsic  raise  and  quell  ? '  in  wluch  Mozart 
hu  added  pisicato  choids  for  the  strings  above 
the  obligato  part  for  the  violonoello. 


ADOLFATI. 


87 


HinnL. 


y-a-^^t^^^^ 


m 


Baui 


tn\   jji,j  jjij   jjij 


MOZABT. 


^1^1^ 


Baui 


|g2.L-J  J  1^    .1   J  IJ    J  J  Ij 


10.  It  Baa  been  stud  already  that  additional 
aocDfflpaimnents  must  in  all  cases  be  judged 
iqnn  their  own  merits.  The  question  is  not 
whether  bat  how  they  should  be  written.  Their 
liecessitv  in  many  cases  has  been  shown  above ; 
a&d  they  will  probably  continue  to  be  written 
to  the  end  of  time.  While  however  it  is 
imponble  to  lay  down  any  absolute  law  as  to 
vhat  may  and  what  may  not  be  done  in  this 
respect^  there  are  two  general  principles  which 
naj  be  given  as  the  conclusion  of  the  whole 
Btatter.  Firsts  that  all  additions  tx>  a  score 
iBETely  ioT  the  sake  of  increasing  the  noise  are 
absolutely  indefensible.  At  many  operatic  per* 
f<7maQce8y  Mozart's  '  Don  Giovanni*  and  *  Figaro* 
are  given  with  copious  additional  accompaniments 
^  trombones ;  and  a  conductor  has  even  been 
bovn  to  reinforce  the  score  of  Weber*s  overture 
to  'Euiyanthe,'  which  already  contains  the  full 
eomplement  of  brass^  with  two  comets  and  an; 
opmdeide.  All  such  procedures  are  utterly 
ioartiitic,  and  cannot  be  too  strongly  condemned. 
And  lastly,  no  one  who-  writes  additional 
Koompaniments  has  any  rfght  whatever  to 
tunper  with  the  original  text,  either  by  addirg, 
fitting  outy  or  laiig[ely  modifying  passages.  By 
all  iDeans  let  such  additions  be  made  as  are 
Bseded  to  adapt  the  music  to  our  modem 
requirements,  but  let  the  changes  be  such  as 
V>  bring  oat  more  clearly,  not  to  obscure  or  alter 
Uie  thoQ^  of  the  composer.    These  additions 


moreover  should  be  in  unison  with  the  ipmt,  ss 
well  as  the  letter  of  the  original.  To  hear,  as  is 
sometimes  to  be  heard,  Handel's  music  scored 
after  the  £B«hion  of  Verdi's  grand  operas  shows 
an  equal  want  of  artistic  feelmg  and  of  common 
sense  on  the  part  of  the  arranger.  Those 
additional  accompaniments  will  always  best  fulfi] 
their  object  in  which  most  reverence  is  shown 
£or  ttte  author's  original  intentions.  [E.  P.] 

A  DEUX  MAINS  (Fr.).  •  For  two  hands.' 
A  term  applied  to  music  for  one  perfoirner  on 
the  piano,  as  contradistinguished  from  ▲  QUATfiE 
MAINS,  etc. 

ADL&ASSER,  Aittok  Cajetav.  Bom  1748 
at  Inzell  in  Bavaria.  After  being  a  pupil  of 
Eberlin's,  he  was  sent  to  Italy  by  the  Arch- 
bishop of  Salzburg,  and  recalled  thence  to  the 
poet  of  organist  to  the  cathedral  and  cembalist  to 
the  court  at  Salzburg,  where  he  died  Dec.  ai, 
1777,  from  an  apoplectic  stroke  while  at  the 
organ.  Adlgasser  was  noted  both  as  organ  player 
and  contrapuntist.  His  works  remain  mostly  in 
MS.  The  principal  of  them  are  a  requiem,  a 
litany,  and  a  salve  regina.  [C.  F.  P.] 

AD  LIBITUM  (Lat.).  At  the  pleasure  of  the 
performer,  as  regards  time  and  expression.  In 
the  case  of  arrangements — *  with  violin  or  flute 
ad  libitum' — it  signiiies  that  the  solo  instrumentr 
may  be  left  out  or  exchanged  at  pleasure. 

ADLUN6,  Jacob,  bom  at  Bindenleben,  Er* 
furt,  Jan.  14, 1699;  a  theologian,  scholar,  and  mu- 
sician. His  taste  for  music  came  late ;  the  clavier, 
organ,  and  theory,  he  learned  from  Christian 
Beichardt  the  oxganist,  who  though  not  a  musi- 
cian, of  the  first  rank  was  truly  devoted  to  his- 
art.  After  the  death  of  Buttstett  in  1727  Ad- 
lung  received  his  post  as  organist  of  the  Evan- 
gelical church,  where  be  was  soon  known  for  his 
masterly  playing,  and  in  1741  became  professov 
at  the  Ratbtgymnasium  of  Erfurt.  In  1756  his 
house  and  aJl  his  possessions  were  burnt,  but 
the  undaunted  man  was  not  discouraged.  He 
taught  both  music  and  language,  wrote  largely 
and  weU  on  music,  and  even  constructed  in- 
struments with  his  own  hands ;  and  thus  made 
&  successful  resistance  to  advene  fortune  till 
his  death,  July  5,  176a.  Three  of  his  works 
^re  of  lasting  value  in  musical  literature :  (i) 
'Anleitung  sur  musik.  Gelahrtheit,'  with  a  pre- 
face by  Joh.  EmKt  Bach  (Erftirt,  1758) ;  a  and 
edition,,  issued  after  his  death,  by  J.  A.  HiLLEB 
(Leipsic,  1783).  (a)  'Musica  mechanica  Organ- 
oedi,'  etc.  (Berlin,  1 768),  a  treatise  in  two  volumes 
on  the  structure,  use,  and  maintenance  of  the 
organ  and  davi-cymbalum.  This  contains  addi- 
tions by  J.  F.  Agbicola  and  J.  L.  Albrecht,  ai 
translation  by  the  former  of  a  treatise  on  the 
organ  by  Bkdos  db  Celles,  and  an  autobiogra- 
phy of  Adlung.  (5)  '  Musikalisches  Siebenge- 
stim'  (Berlin,  1768).  (See  Hiller's  Lebensb.  ber. 
Musikgdehrten.)  [C.  F.  P.] 

ADOLFATI,  Anbrba,  bom  in  Venice  1711, 
date  and  place  of  death  unknown;  was  a  pupil  of 
Galuppi,  conductor  of  the  music  in  the  cnurch 


38 


ADOLFATL 


mOUAN  HARP. 


of  Saatft  Maria  della  Salute  in  Venioe,  and  in 
tiuit  of  the  Annunciation  at  Genoa,  the  letter 
from  «bout  ii  750  till  hifl  death.  HIb  principal 
operas  are  *  L^Artasene/  '  L*Arianna,*  '  Adriano 
in  Siria,*  and  '  La  Gloria  ed  il  Piacerep'  the  first 
produced  in  Borne  in  174a,  the«three  last  in 
Genoa^  1750-175 3.  He  left  also  sacred  com- 
positions, chiefly  Psalms.  'Arianna*  is  said  to 
contain  an  air^in  the  measure  of  five  beats  to 
the  bar.  QM.  C.  C] 

ADBIEN,  or  ANDRUa^',  Mabtik  Josbph, 
called  Adribn  l*Ain4  bom  at  lAige  1766;  a 
bass  singer,  taking  alternate  parts  with  Chiron 
at  the  opera  in  Paris  from  1785'to  1804;  after- 
wards choirmaster  at  the  opera.  In  March  i8aa 
he  succeeded  Latni  as  professor  of  declamation 
at  the  fioole  Boyale  de  Musique,  and  died  in  the 
following  November,  a  victim  to  the  exaggerated 
system  of  declamation  then  in  vogue.  His  voice 
was  harsh,  and  his  method  of  singing  bad,  but 
he  had  merit  as  an  actor.  He  composed  the 
'Hymne  k  la  Victoire'  on  the  evacuation  of  the 
French  territory  in  1795,  and  the  hymn  to  the 
martyrafor  liberty. 

His  brother  (name  unknown)  was  bom  at  Li^ 
1767 ;  publish^  five  collections  of  songs  (Pans, 
1 790 -"1 80a),  and  was  for  a  short  time  choirmaster 
at  the  Theatre  Feydeau. 

Another  brother,  FsBDnrAND,  was  a  teacher  of 
singing  in  Paris,  choir-master  of  the  opera  (i  799- 
1801  >  and  composer  of  songs.  [M.  C.  C] 

A  DUE  (Ital.,  'In  two  parts*),  or  A  a.  This 
expression  is  used  in  two  exactly  opposite  ways 
in  orohettral  scores.  For  the  wind  instruments, 
for  Which  two  parts  are  usually  written  on  the 
same -stave,  it*  indicates  that  the  two  play  in  uni- 
son ;  for  the  strings,  on  -the  other  hand,  it  shows 
that  the  whde  mass,  which  usually  p^ays  in  uni- 
son, is  to  be  divided  into  two  equal  parts,  the 
one  taking  Hhe  upper  and  the  other  the  lower 
notes.  In  practice  there  is  never  any  difficulty 
in  seeing  whidh  meaning  is  intended.         [£.  P.] 

AELSTEBS,  Gsobobs  Jacques,  bom  of  a 
musical  family  at  Ghent,  .17  70,  died  there  1849 ; 
carilloneur  of  that  town.fix)m  1788  to  1839;  for 
fifty  years  director  of  the  music. at  the  church 
of  St.  Martin,  and  composer  of  much  church 
music  still  performed  in  Jlanders,  especially,  a 
'.Miserere.' 

AENGSTLICH  (Germ,  'fearfully').  A  word 
which  calls  for  cotioe  here  only  on  account  of  its 
use  by  Beethoven  at  the  head  of  the -recitative 
in  his  Missa  Solennis,  'Agnus  Dei,  qui  tollis 
peccata  muddi,  miserere  nobis.'  In  this  most 
dramatic  and  emotional  part  of  his  great  work 
Beethoven  seems  to  realise  the  ''prayer  for 
internal  and  external  peace '  which  he  gives  -as 
%  motto  to  the  entire  '  Dona' :  the  fierce  blasts 
of  the  trumpets  alternating  with  the  supplications 
of  the  voices  bring  before  us  the  enemy  at  the 
very  gates.  As  in  the  case  of  Accelerando 
Beethoven  has  aooompanied  the  Grerman  word 
with  its  Italian  equivalent  tramidam&nte, 

.aX)TJAN  HABP.     (Ft.   La  ffarpe   jEo- 


lienne;    Ital.  Arpa  cCEolo;    Get,    AtMkarfm 
Windkarft^    The  name  is  from  Aeolus  the  god 
of  the  wind.    The  instrument,  of  which  the  in- 
ventor is  unknown,  would  appear  to   owe  its 
origin  to  the  monochord,  •  string  stretched  upon 
two  bridges  over  .a  soundboard.     The   string 
happening  to  be  at  a  low  tension  and  exposed 
to  ft  current  of  air  would  divide  into  various 
aliquot  parts  according  to  the  varying  strength 
of  the  cuirent,  -and  thus  give  ti^e  harmonicB 
or   overtones  we   hear    in   the  music  of    this 
instrument.    Had  the  principle  kjX.  the  .^k>UaiL 
harp  never  been  discovered,  we  should  in  theee 
days  of  telegraphy  have  found  it  out,  as  it  ia 
of  frequent  occurrence  .to  hear  musical  sounds 
from   telegraph   wires   which    become   audible 
through  tiie   posts,  which    elevate  the  wireB, 
and  assume  the  function  of  soundboards.    Onoe 
recognised  on    a   monochord,  it  'would   be   a 
simple    process    to    increase    the    number    of 
strings,    which,    tuned    in    unison,    would    be 
differently  affected  in  relation  to  the  current 
of  air  by  position,  and  thus  give  different  vi- 
brating segments,  forming  consonant  or  dissonant 
chords  as  the  pressure  of  wind  might  determine. 
That    musical    sounds   could    be    produced   by 
unaided  wind  has  been  long  known  in  the  East. 
According  to  tradition  King  David's  harp  {)nnnor) 
Bounded  at  midnight  when  suspended  over  his 
couch   in    the   north  wind  ;    and    in   an    old 
BObidu  poem,  quoted  by  Sir  William  Jones,  the 
vifia,   or  lute  of  the  country  is  said  to  have 
produced  tones,  proceeding  by  musical  intervals, 
by  the  impulse  of  the  breeze.    In  the  present 
day  the  Chinese  have  kites  with  vibrating  strings, 
and  the  Malays'have  a  curious  i£olian  instrument, 
a  rough  bamboo  cane  of  considerable  height, 
perforated  with  holes  and  stuck  in  the  ground. 
This  is  entirely  a  wind  contrivance,   but  they 
have  another -of  split  bamboo  for  stiingB.     (C. 
Engel,  'Musical   Instruments,'    1874,   p.   100.) 
St.  Dunstan  of  Ganterbuxy  is  said  to  have  hung 
his  harp  so  that  the  wind  might  pass  through  the 
strings,  causing  them  to  soimJ,  and  to  have  been 
accused  of  sorcery  in  consequence.    This  was  in 
the  loth  century.    It  was  not  until  <the  I7tli 
we  meet  vath  the  .^olian  harp  itself.    Kircher 
(i6oa-i68o)  first  wrote  about  it.    He  speaks  of 
it  in  his  'Musurgia  Universalis'  as   being  a 
new  instrument  and  easy  to  oonstmot,  and  as 
being  the  admiration  of  every  one.    He  describes 
the  sounds  as  not  resembling  those  of  a  stringed 
or  of  a  wind  instrument^  but  partaking  of  the 
qualities  of  both.    This  is  quite  true,  and  1^ 
plies  to  any  stretched  string  the  sound  of  which 
IS  made  continuous  by  any  other  agency  than 
that  of  a  bow,  and  not  dying  away  as  we  usually 
hear  the  tones  of  pianofortes,  harps,  and  guitars. 
Thomson,  in  the  '  Castle  of  Indolence,'  in  well- 
known  lines,   describes  'the  .^olian   harp,  but 
except  one  phrase,  'such  sweet,  such  sad,  such 
solenm  airs  divine,'  misses  the  el^ac  note  that 
distinguishes  the  instrument.    Matthew  Young, 
bishop  of  Clonfert,   in  his   'Enquiry  into  the 
Principal  Phenomena  of  Sounds  and   Musical 
Strings '  (1784),  givoB  full  particulars  of  it,  and 


JBOLIAN  HARP. 


iEiOLIAN  MODE. 


89 


ofin  a  theofy  of  ita  generation  of  flouncL  It 
ibo  gained  attention  in  Gennany  about  the 
■me  time^  througfa  a  description  of  it  in  the 
'G«ttimea  Pocket  Calendar'  for  179a.  H.  C. 
toch,  a  German,  appears  to  have  bestowed 
tlte  most  attentiaa  upon  the  effects  obtainable 
b^  Turing  the  construction  and  stringing  of 
the  MoHui  haip ;  but  it  is  of  littie  importance 
vb^ker  the  tone  be  a  little  louder  or  a  little 
•irfier,  the  impression  to  be  derived  firom  the 
instniment  is  as  attainable  from  one  of  simple 
boikl  SB  from  double  harps,  or  from  one  with 
we^hted  (^un)  strings  added. 

in  .£ol]an  harp  is  usually  about  three  feet 
kng^  five  inches  broad,  ajid  tl^ee  inches  deep ;  of 
pine  wood,  with  beech  ends  for  insertion  of  the 
taoii^  and  hitch-pin%   and  with  two  nazrow 
IfidgoB  of  hard  wood  over  which  a  dozen  eatgut 
ibringB  are  stretched.     These  are  tuned  in  the 
molt  exact  unison  poamblep  or  the  beats  caused 
If  tkair  difisrenae  would  be  disagreeable.    The 
din^ioa  sometimes  attached  to  tune  by  inter- 
Tih  of  fourths  and  fifths  is  only  misleading. 
The  tendon  should  be  low ;  in  other  words,  the 
itnDgB  be  rather   slack,    the  fundamental  note 
Bflt  bdng  noticeable  when  the  instrument  sounds. 
Hmk  are  usually  two  soundholes  in  the  sound* 
botid.    The  ends  are  raised  above  the  strings 
iboot  sn  inch,  and  support  another  pine  board, 
hetveen  which  and  the  soundboard  tiie  draught 
of  air  is  directed.      To  hear  the  .^Iblian  harp 
it  ifaoold  be  placed  across  a  window  sufficientiy 
opened  to  admit  of  its  introduction,  and  situated 
(Adiqody  to  the  direction  of  the  wind.    The 
eremng  time  is  the  best,  as  the  feelings  are 
then  more  attuned  to  the  chords  we  are  to 
fiitea  ta    The  modifications  of  tone,  increasing 
ud  decreasing  in  a  manner  inimitable  by  voices 
or  iostroments,  are   perfectiy  enchanting.      An 
iutnuDent  prodacing  chords  by  the  wind  alone, 
vithout  our  mterference,  stimulates  the  fimcy,  and 
ii  in  itielf  an  attractive  phenomenon.   The  sounds 
•re  so  pore  and  perfectiy  in  tune^  that  no  tuning 
ve  mi^t  accomplish  could  rival  it.    For  we  have 
here  not  tempered  intervals  but  the  natural  tones 
of  the  strings,  the  half  or  octave,  the  third  or 
iatenral  of  the  twelfth,  and  so  on,  in  an  arith* 
neticsl  progresaion,  up  to  the  sixth  divudon, 
^  iribole  vibrating  length  being  taken  as  the 
fint— we  are  listening  to  fiill  and  perfect  har- 
IDQ07.    But  the  next,  the  seventh,  still 'in  con- 
•osaaoe  with  the  lowest  note,  in  eflbot  not  unlike 
the  doU  sad  minor  sixth,  but  still  more  mourn* 
fol,  it  to  our  ears  transcendental,  as  our  musical 
•yiiem  does  not  know  it :  and  it  would  be  too 
much  out  of  tune  with  other  intervals  conso- 
oent  to  the  kej-note  for  admission  to  our  scales. 
We  are  impresMd  with  it  as  by  a  wail — ^in  the 
muds  of  Coleridge  a  'sweet  upbraidin?,'  ('The 
iEolian  Harp,'  Poems,  i.  190)— to  be  followed  as 
the  wind-pressure  increases  by  more  and  more 
iDgry  notes  as  we  mount  to  those  dissonances  in 
the  next  higher  octave,  especiaUy  the  eleventh 
and  thirteenth  overtones  that  alternate  and  seem 
to  ahriek  and  howl  until  the  abating  gust  of  wind 
Kffen  the  lower  beautiful  harmonies  to  pre- 


dominate again.  The  mind  finds  in  thiSTstum  a 
choral  echo  as  of  some  devotional  antiphon,  at  least 
this  has  been  the  writer's  experience,  and  not  the 
mingling  of  violins,  flutes,  harps,  and  chromatic 
sequences  by  which  some  have  described  it.  The 
.^k>lian  harp  is  nature's  music ;  man's  music  is 
an  art,  implying  selection.  He  chooses  intervals 
to  construct  hu  scales  with,  and  avoids  ratios 
that  do  not  ooindde  with  his  instinctive  feeling 
or  intention.  [A.  J.  H.J 

.£OLIANMODE.  The  .Allans,  who  migrated 
from  Greece  to  Asia  Minor  in  the  lath  century 
B.O.,  have  the  credit  of  improving  the  system 
of  tile  Greek  music  by  the  addition  of  another 
TBTKACHOBD.    Very  great  uncertainty  obscures 
this  subject;  indeed  from  the  earliest   records 
we  can  fmd,  it  would  seem  that  fiwm  time  to 
time  the  Greek  modes  experienced  those  changes, 
regarded  by  some  as  deteriorations,  by  others 
(probably)  as  improvements,  to  which  idl  living 
art  is  necessarily  subject.    Whether  they  owed 
.their  original  impressiveness  to  the  varieties  of 
their  intervals,  or  to  some  kind  of  proaodaic  time 
peculiar  to  each,  or  to  the  combination  of  both, 
we  read  the  following  eulogy  on  their  native 
energy,  and  also  a  lament  over  their  too  general 
neglect,  in  a  quotation  dted  by  Dr.  Bumey  from 
Heradides  of  Pontus,  a  contemporary  of  Plato 
and  Aristotle    (about    335    B.O.).     i>escribing 
what  he  then  styled  the  three  most  ancient 
modes,    he    says,   'the    Dorian   is   grave   and 
msfi^nificent,    neither    too    diffusive,    gay,   nor 
varied;  but  severe  and  vehement.    Hie  jEolian 
is  grand  and  pompous,  though  sometimes  sooth- 
ing, as  it  is  used  for  the  brwddng  of  horses,  and 
tiie  reception  of  guests;  and  it  has  likewise  an 
air  of  simplicity  and   confidence,  suitable    to 
pleasure,    love,  -and   good   cheer.    Lastiy,  the 
Ionian  is  neitiier  briUiant  nor  effeminate,  but 
rough  and  austere;  with  some  degree  however 
of  elevation,  force,  and  energy.    But  in  these 
times,    since    the    corruption  of  manners   has 
subverted   everything;  the    true,  original,   and 
specific  qualities  peculiar  to  each  mode  are  lost.* 
(Dissertation  on  the  Music  of  the  Ancients,  4to., 
p.  60),    But  there  is  no  doubt  that  whatever 
may  have  been  the  nature  of  the  Greek  modes, 
we  have  their  counterparts  and,  as  it  were,  their 
living  deecMidants  in  the  Eoolksiabtical  Modbs 
whi£  still  bear  their  nameS)   and    are,  most 
likely,   if  not   the    same,    yet   the   legitimate 
inheritors  of  their  peculiar  lineaments ;  nor  to 
fit  audience  in  the  present  day  are  they  found 
destitute  of  their  parents'  varied  and  attractive 
characteristics. 

The  authentic  .^lolian  mode — or,  as  it  is  often 
called,  the  Hyper*.^k»lian — as  we  now  know  it,  is 
the  ninth  of  tne  church  modes,  scales,  or  tones, 
as  they  are  variously  called.  Its  notes  range 
thus — as  in  the  modem  minor  scale,  though 
without  any  accidentals  in  ascending  :— 

,     The  Hyper-jBoiian  Mode.    Authentic. 


^B 


sr 


I 


40 


^OUAN  MODE. 


ftnd  its  melodies  are  contained  within  the  octave 
from  A  to  A.  The  division  of  the  scale  is 
'harmonicy'  i.e.  .the  diapente  (A  to  £)  is  below 
the  diatessaron  (E  to  A).  Thus  the  final  is  A, 
and  the  dominant  £. 

3. 


$ 


JSl 


I 


Its  plagal  mode  is  caJledthe  Hypo-.^k>lian,  and 
has  the '  arithmetical  *  division,  i.  e.  the  diatessaron 
below  the  diapente.  Here  the  final  is  A,  and 
the  dominant  C  :— 

TKe  ffypo-jEolian  Mode,    FlagaL 


1 


zc 


JSC 


.O- 


i 


with  its  diatessaron  and  diapente  :• 
4- 


■JOT. 


I 


The  melodies  in  the  Hypo- JEk)lian  mode  range 
from  the  fourth  below  to  &e  fifth  above  the  fiiud 
A.  The  dominant  is  C  in  this  plagal  mode, 
according  to  the  rule  that  'the  dominants  of 
the  pla^  modes  are  always  the  third  below 
the  dominants  of  the  relative  authentic,  unless 
this  third  happens  to  be  B,  when  the  nearest 
sound  C  is  substituted  for  it/  as  appears,  for 
example,  in  the  eighth  mode. 

The  pitch  of  the  authentic  JEk)liaa  scale  being 
higher  than  is  convenient  for  many  voices  led  to 
its  bein^  often  transpoaed  a  fifth  lower  by  the 
use  of  the  B  flat.  The  scale  will  thus  begin  on 
D,  and  the  semitones  (as  in  our  modem  minor 
scales)  will  fisdl  in  the  same  places  as  before,  viz. 
between  the  second  and  third,  and  fifth  and  sixth 
notes  of  the  scale. 


5. 


W 


■^f- 


■3SL 


ZT 


<^i?g- 


I 


1  flfl4B6T8 

In  this  position  the  .^lolian  mode  is  apt  to  be 
confounded  with  the  Dorian,  or  first  mode,  with 
which,  when  thus  transposed,  it  corresponds, 
except  in  the  upper  tetrachord,  the  semitone  of 
which  in  the  Dorian  mode  falls  between  the  sixth 
and  seventh  notes  of  the  scale.  The  transposed 
final  is  D,  and  the  dominant  A,  as  in  the  first 
mode,  but  the  semitones  fall  (as  in  the  un- 
transposed  position)  between  tike  second  and 
third  of  the  scsle  (E  and  F),  and  between  the 
fifth  and  sixth  (A  and  B  b). 

The  service-books  contain  hymns,  antiphons, 
etc.,  which,  though  belonging  originally  to  this 
.^Bolian  mode^  ar^  sometimes  ascribed  to  the  two 
Dorian  modes ;  and  the  scale  of  the  H^rpo-Dorian 
is  the  same  as  that  of  the  Hyper- JSohan,  but  an 
octave  lower,  and  having  of  oourse  its  own  plagal 
character  and  treatment,  and  thus  differiTig 
from  the  authentic  Hyper-.^k)liaa. 

Examples  of  the  ^olian  mode  may  be  found 


iEOLODION. 

in  the  chorales  'Puer  natus  in  Bethlebem, 
No.  12,  and  'Herzliebster  Jesu,'  Ko.  iii,  of 
Bach's '371  Ghoralgesange.'  The  latter  ia  frt>m 
the  St.  John  Passion.  Mozart's  Reqaiem  may 
be  said  almost  to  begin  and  end  with  the  .^Solian 
scale,  for  the  'Te  deoet  hymnus*  and  'Lux 
JEtema*  which  form  so  prominent  a  feature  in 
the  first  and  last  movements  are  given  in  the 
melody  of  the  'Tonus  Peregrinus,*  ^w'hich  is 
founded  directly  on  this  scale. 

It   may  be   well   to   state   here   that    firom 
the  easliest  date  of  any  kind  of  counterpoint 
the  ancient  tones  have  been  harmonised  both 
in   the   organ   aooompaniment,   and,   for    aome 
portions  of  the  divine  service,  in  vocal    parts; 
and  although,  from  the  vast  quantity  of  Gregorian 
music  used  in  the  antiphonars,  pmlters,  hymna- 
ries,  etc.,  of  the  Western  churches,  it  is  found 
expedient  to  use  vocal  unisons  (or  octaves)  with 
organ  accompaniment  in  all  ordinary  servioes, 
yet  the  psalm  tones  have  for  centuries  been  sung 
in  the  Sistine  Chapel  (where  there  is  no  organ  nor 
other  instrument)  with  vocal  harmonies  in  three 
parts,  to  which  Baini  added  a  fourth  part  for  the 
soprano.    Gafforius  arranged  them  in  the  15th 
century,  and  the  style  of  vocal  accompaniment 
called  Faux-bodbdoit,  in  which  he  set  them,  had 
grown  up  graduslly  and  very  generally  in  the 
churches,  most  probably  from  the  first  invention 
and   subsequent    improvements    of  the    organ. 
Some  intimations  of  this  are  contained  in  the 
'Micrologus'  of  Guide  Aretino,  written  in  the 
latter  part  of  the  1 1  th  century.  [T.  H.] 

MOLINA.  A  small  and  simple  'free  reed* 
instrument,  invented  about  1829  by  Messrs. 
Wheatstone.  It  consisted  of  a  few  free  reeds, 
which  were  fixed  into  a  metal  plate  and  blown 
by  the  mouth.  As  each  reed  was  furnished  with 
a  separate  aperture  for  supplying  the  wind,  a 
simple  melody  oould  of  course  be  played  by 
moving  the  instrument  backwards  and  forwards 
before  the  mouth.  Its  value  for  artistic  purposes 
was  nil',  its  only  interest  is  a  historical  one, 
as  being  one  of  the  earliest  attempts  to  makb 
practical  use  of  the  discovery  of  the  free  reed. 
The  eeolina  may  be  regarded  as  the  first  germ  of 
the  AcGOBDioir  and  Concbrtina.  [£.  P.] 

.^X)LODION,  or  JBOLODICX)N  (also  called 
in  Germany  TTtfidAarmontika),  a  keyed  wind- 
instrument  resembling  the  harmonium,  the  tone 
of  which  was  produced  from  steel  springs.  It 
had  a  compass  of  six  octaves,  and  its  tone  was 
similar  to  that  of  the  harmonium.  There  is 
some  controversy  as  to  its  original  inventor; 
most  authorities  attribute  it  to  J.  T.  Eschenbach 
of  Hamburg,  who  is  said  to  have  first  made  it 
in  1800.  Various  improvements  were  subse- 
quently made  by  other  mechanicians,  among 
whom  may  be  named  Schmidt  of  Presbuig,  Voit 
of  Schweinfurt,  Sebastian  Mailer  (1826),  and  F. 
Sturm  of  Suhl  (1833).  The  instrument  is  now 
entirely  superseded  bv  the  harmonium.  A  modi- 
fication of  the  sBolodion  was  the  aolsklavibb, 
invented  about  1825  by  Schortmann  of  Buttel- 
stadt,  in  which   the   reeds  or   fBpringB   which 


uEOLODION. 


AGNESI. 


41 


fvodaced  tlie  Bound  were  made  of  wood  instead 
of  metal,  by  which  the  quality  of  tone  was  made 
nfter  and  sweeter.  The  instrument  appears  to 
have  been  aoon  forgotten.  A  further  modification 
was  the  aoloxblodicon  or  chobalson,  oon- 
gtructed  by  Bronner  at  Warsaw,  about  the  year 
1S35,  from  the  design  of  Profeesor  Hoffinann  in 
thatdty.  It  differed  from  the  solodion  in  the 
fict  that  brass  tubes  were  aflSxed  to  the  reeds, 
much  as  in  the  reed-stops  of  an  organ.  The 
iostniment  was  of  great  power,  and  was  probably 
intended  as  a  substitute  for  the  organ  in  small 
churches,  especially  in  the  aoaxnpaniment  of 
dnrsls,  whence  its  second  name  choraleon.  It 
his  taken  no  permanent  place  in  musical  history. 
In  the  AOLOPAKTALOK,  invented  about  the  year 
1830,  by  Dlugosz  of  Warsaw,  the  seolomelodicon 
WIS  combined  with  a  pianoforte,  so  azraDged 
that  the  player  could  make  use  of  either  in- 
■troment  separately  or  both  together.  A  some- 
what similar  plan  has  been  occasionally  tried 
with  the  piano  and  harmonium,  but  without  great 
loocesB.  [£.  P.] 

AEBTS,  EoiDius,  bom  at  Boom,  182  a,  died 
at  Bruasds,  1853  ;  an  eminent  flutist  and 
composer,  studied  under  Lahon  in  the  Con- 
servatoiTe  at  Brussels.  From  1837  to  1840  he 
tnvdled  professionally  throu^  France  and 
Italy,  and  on  his  return  to  Brussels  studied 
eomposition  under  F^tis.  In  1847  was  appointed 
profeBsor  of  the  flute  at  the  Conservatoire,  and 
fint  flute  at  the  Theatre.  He  com.posed  sympho- 
nies and  overtures,  as  well  as  concertos  and  other 
moBc  for  the  flute.  [M.  G.  C] 

AFFETTUOSO  (ItaL),  or  Con  Affbtto,  'with 
feeling.*  lliis  word  is  most  commonly  found  in 
soch  combinations  as  'andante  affettuoso*  or 
'aOegro  afiSsttuoso,'  though  it  is  occasionally 
placed  alone  at  the  beginning  of  a  movement, 
in  which  case  a  somewhat  slow  time  is  intended. 
It  is  fifeqoently  placed  (like  'espressivo*  'canta- 
Hie,*  etc)  over  a  single  passage,  when  it  refers 
merely  to  that  particular  phrase  and  not  to  the  en- 
tire movement.  The  Grennan  expressions '  Innig,' 
'Hit  innigem  Ausdruck,'  to  be  met  with  in  Schu- 
mami  and  other  modem  German  composers  are 
equivalent  to  'Affettuoeo.*  [£.  P.] 

AFFILARD,  Michel  l*,  a  tenor  singer  in 
tbe  choir  of  Louis  XIV  from  1683  to  1708, 
with  a  salary  of  900  livree.  His  work  on 
Eiaging  at  sight,  '  Principes  tr^  faciles,'  etc.,  in 
which  the  tim&  of  the  aiis  is  regulated  by 
a  pendulum, — ^precursor  of  the  metronome — 
passed  through  seven  editions  (Parian  1691 ; 
Amsterdam,  1717.) 

AFRANIO,  lived  in  the  beginning  of  the 
i6th  century,  a  canon  of  Ferrara^  and  reputed 
inventor  of  tiie  bassoon,  on  the  ground  of  a 
wind  instrument  of  his  called  Phagotum,  which 
is  menttoned,  and  figured  in  two  woodcuts,  at 
p.  1 79  of  the  '  Introductio  in  Chaldaicam  linguam ' 
of  Albonesi  (Pavia,  1539),  '^  work  dedicated 
by  the  author  to  his  uncle  Afinmio.  The  in- 
strument sufficiently  resembles  the  modem 
bassoon  or  fiigotto  to  make  good  Afranio^s  right ; 


but  the  book  does  not  appear  to  contain  any 
account  of  it. 

AFZELIUS,  Aiiyn>  August,  bom  1785,  a 
Swedish  pastor  and  archaeologist ;  edited  conjointly 
with  Greijer  a  collection  of  Swedish  national 
melodies,  'Svenska  Folkvisor,'  3  vols.  ^Stock- 
holm, 1 814-16,  continued  by  Arwidsson),  and 
wrote  the  historicaf  notes  to  another  collection, 
'Afiiked  af  Svenska  Folksharpan'  (Stockholm, 
1848). 

AGAZZAKI,  Agostino,  was  a  cadet  of  a 
noble  family  of  Siena,  and  bom  on  Dec.  2, 1578. 
He  passed  the  first  years  of  his  professional  life 
in  the  service  of  the  Emperor  Matthias.  After 
a  time  he  came  to  Rome,  where  he  was  chosen 
Maestro  di  Cappella  at  the  German  College 
(before  1603)  at  the  church  of  S.  Apollinaris,^ 
and  subsequently  at  the  Seminario  Romano.  An 
intimacy  grew  up  between  him  and  the  well- 
known  Yiadana,  of  Mantua,  and  he  was  one  of 
the  earliest  adopters  of  the  figured  bass.  >  In  the 
preface  to  his  third  volume  of  *Motetti*  (Zanetti, 
Rome,  1606),  he  gives  some  instructions  for  its 
employment.  In  1630  he  returned  to  Siena,  and 
became  Maestro  of  its  cathedral,  a  post  which  he 
retained  till  his  death,  probably  in  1 040.  Agazzari 
was  a  member  of  the  Academy  of  the  Armonici 
JntroncUi.  His  publications  are  numerous,  and 
consist  of  Madr^;als,  Motetts,  Psalms,  Magni- 
ficats, litanies,  etc.,  republished  in  numerous 
editions  at  Rome,  MUan,  Venice,  Antwerp, 
Frankfort,  and  elsewhere.  His  one  substantive 
contribution  to  the  scientific  literature  of  music 
is  a  littie  work  of  only  sixteen  quarto  pages, 
entitied  '  La  Musica  Eoclesiastica,  dove  si  contiene 
la  vera  diffinizione  della  Musica  come  Sdenza  non 
piti  veduta  e  sua  nobilta*  (Siena,  1638);  the 
object  of  which  is  to  determine  how  church  music 
should  best  conform  itself  to  the  Resolution  of  the 
Council  of  Trent.  Palestrina,  however,  had  worked 
at  a  clearer  practical  solution  of  that  problem  than 
any  which  the  speculations  of  a  scientific  theorist 
could  possibly  evolve.  On  the  authority  of  Pitoni, 
a  pastoral  drama,  entitied  'Eumelio,*  has  been 
ascribed  to  Agazzari.  It  was  undoubtedly  per- 
formed at  Amelia,  and  printed  by  Domenico 
Domenici  at  Roncilione  in  161 4  (Allacci,  'Dra- 
nmturgia');  but  no  author's  name  is  afiixed 
either  to  music  or  libretto. 

A  short  motett  by  Agazzari  is  given  by  Proske 
in  the  'Musica  divina*  (Lib.  Motettonim,  No. 
Ixv).  [E.  H.  P.] 

AGITATO  (Ital.)»  also  Con  Aqitazioxe, 
'agitated,*  'restiess.'  This  adjective  is  mostly 
combined  with  'allegro'  or  'presto'  to  describe 
the  character  of  a  movement.  In  the  somewhat 
rare  cases  in  which  it  occurs  without  any  other 
time-indication  (e  g.  Mendelssohn's  '  Lieder  ohne 
Worte,'  Book  i..  No.  5,  'Piano  iigitato')  a  rather 
rapid  time  is  indicated. 

AGNESI,  Maria  Teresa,  bom  at  MUan, 
1724;  sister  of  the  renowned  scholar,  Maria 
Gaetana  Agnesi;   a   celebrated  pianist   of  her 

1  Bnlnl  ftloM  mantloiu  this  teeond  appolntoMnt ;  but  ho  ii  pro1»> 
ablyilsht. 


42 


▲6NESI. 


AGBEMEKS. 


time,  oompoeed  foiir  ofMins,  'SofonUbe,*  'Giro 
in  Armenia^'  'Nitocri,*  mmI  'Insubria  oonao- 
lata*  (1771),  Beveral  eantatM^  and  many  piano- 
forte oonoertoe  and  sonatas,  well  known  in 
Germany.  [M.  C.  C] 

AGOSnKI,  LuDOVioo,  bom  15)4**  Ferrara. 
In  ho\y  orders,  and  both  poet  and  composer. 
Became  diapel-master  to  Alfonso  II,  Dun  of 
Este,  and  died  Sept.  ao,  1590.  A  collection -of 
his  miMmnn,  motetts,  and  madrigalsi,  appeared 
shortly  before  his  death. 

AGOSTIKI,  Paoi.0,  an  Italian  composer,  who 
stands  oat  in  relief  from  too  many  of  his  con- 
temporary countrymen.  He  was  bom  at  Val- 
lerano  in  1593,  uid  was  a  pupil,  at  Rome,  of 
Bernardino  Kanini,  whose  daughter  he  married. 
After  being  organist  of  S.  "Mmia  in  Trastevere, 
and  Maestro  &.  Cappello  at  S.  Lorenzo  in  Da- 
maso,  he  aucoeeded  Ugolini  as  Maestro  at  the 
Vatican  Chapel,  in  1629.  Unhappily  for  his 
art,  he  died  a  few  months  after  his  preferment, 
in  the  36th  year  of  his  age. 

Pitoni,  who  would  seem  to  be  nothing  if  not  inac- 
curate, has  a  story  to  the  effect  that  Agostini 
owed  his  appointment  at  the  Vatican  to  an  un- 
answered challenge  to  a  musical  encounter,  which 
he  sent  to  Ugolini,  who  had  been  his  fellow- 
pupil  under  Nanini ;  the  Chapter  conceived  that, 
if  their  Maestro  shunned  a  professional  duello 
with  Agostini,  he  ought  to  give  up  his  place  to 
him.  But  this  is  hsfdly  probable,  and  Baini, 
with  unnecessary  perseverance,  exposes  its  im- 
probability. A  more  pleasant  anecdote  is  that 
Urban  VlII  happened  to  enter  the  Basilica  at 
the  moment  when  a  work  of  Agostini*B,  for  forty- 
eight  voices,  after  the  fashion  uien  in  vogue,  was 
being  performed  by  the  choir.  The  Pope  stopped 
to  hear  it  out ;  and,  at  its  conclusion,  rose  and 
bowed  pointedly  to  its  composer,  to  mark  his 
sense  of  its  beauty. 

The  extant  published  works  of  Agostini  con- 
sist of  two  volumes  of  Psalms  for  four  and  eight 
voices  (printed  by  Soldi,  Rome,  1619) ;  two 
volumes  of  Magnificats  for  one,  two,  and  three 
voices  (Ibid.,  1620)  ;  and  five  volumes  of  Masses 
fbr  eight  and  twelve  voices,  published  (Roblettl, 
Rome)  in  ^624,  1625,  1626,  1627,  and  1628  re- 
spectively. He  was  one  of  the  first  to  employ 
large  numbers  of  voices  in  several  choirs. 
Ingenuity  and  elegance  are  his  prevailing  char- 
acteristics ;  but  that  he  could  and  did  rise  beyond 
these,  is  proved  by  an  *  Agnus  Dei'  for  eight 
voices  in  canon,  which  was  {>ubliBhed  by  P. 
Martini  in  his  *  Saggio  di  Contrappunto  Fugato,' 
and  which  is  allowed  to  be  a  masterpiece.  The 
fame,  however,  of  Agostini  rests  upon  his  un- 
published pieces,  which  form  the  great  bulk  of 
his  productions.  They  are  preserved  partly  in 
the  Corsini  library,  and  partly  in  the  Collection 
of  the  Vatican.^    A  motett  by  Agostini  is  given 

*  Paolo  Agoitliil  mnit  not  be  oonfoandad  with  the  flMller  and  in- 
farlor  Lodorioo  AROttinl  of  Tcnrnn.  vlio,  luTliig  Ured  for  flfty.iix 
jaan,  and  having  been  MaMtro  at  tho  Oathadral  af  hit  natlvo  town, 
died  In  UH),  and  left  oertaln  mawM,  madrigala.  and  motottl  behbid 
him:  nor  with  Piatro  Simoni  Atortlnl,  a  Boman,  who  Ured  dorlnr  the 
latter  half  of  the  17th  oentmy,  and  wu  the  author  of  eome  publiahed 
cantatae,  and  of  'H  Batto  deUe  BaUnab'  «a  «Kn  pedbnned  in 
▼enloelnUKlL 


in  Proske's  '  Musica  Divina'  (liber  Moiettorum, 
No.  Ixx.)  [B,  H.  P.] 

AGRELL,  JoHA3fir,  bom  at  Loth  in  Sweden  ; 
studied  at  Linkoping  and  UpsaL  Af^pointed 
court  musician  at  Cassel  in  1723,  and  in  1746 
conductor  at  Nuremberg,  where  he  died,  1767. 
He  left  mne  publishMl  works  (Nuremberg), 
concertos,  sonatas,  etc.,  and  many  more  in 
manuscript. 

AGREMENS  (Fr.»  properly  Agr^mem  d« 
Chani  «r  de  Muaique ;  Ger,  Manieren  ;  £ng. 
(Traces).  Osrtain  ornaments  introduced  into 
vocal  or  inatnimenfal  melody,  indicated  either 
by  signs,  or  by  nail  notes,  and  performed  ao- 
oording  to  certain  rules. 

Various  forms  of  agrdmaas  have  been  from 
.time  to  time  invented  by  diffbraat  oomposen, 
and  many  of  them  have  again  fidlen  into  aisoi^ 
but  the  earliest  seem  to  have  been  the  mventtoB 
-of  diambonni^res,  a  celebrated  French  osgmnist 
of  the  time  of  Louis  XIV  (1670),  and  they  were 
probably  introduced  into  Germany  by  Mufpai, 
organist  at  Passau  in  1695,  who  in  his  youth  had 
studied  in  Paris.  The  proper  employment  of  the 
agr^mens  in  French  music — ^which,  aocording  to 
Rousseau  (Dictionnaire  de  Musique,  1768)  woe 
necessary  *pour  couvrir  un  peu  1a  fiMleur  dn 
chant  firan^ais' — was  at  first  taught  in  Paris 
by  special  professors  of  the  'gout  da  chant,* 
but  no  de&iite  rules  for  their  application  were 
laid  down  until  Emanuel  Bach  treated  them 
very  fiilly  in  his  'Versuch  tiber  die  wahre 
Art  das  Clavier  su  spielen,'  in  1753.  In 
this  he  speaks  of  the  great  value  of  Uie  agr^ 
mens : — '  they  serve  to  connect  the  notes,  they 
enliven  them,  and  when  necessaiy  give  them 
a  special  emphaus,      .  .      mej  help  to 

elucidate  the  character  of  the  music ;  whether  it 
be  sad,  ciheerful,  or  otherwise,  they  idwaya  oofo.- 
tribute  their  share  to  the  effect,  .  .  . 
an  indifferent  composition  may  be  Improved  by 
their  aid,  while  without  them  even  the  beit 
melody  may  appear  empty  and  meaningless.*  At 
the  same  time  he  warns  against  their  too  fre- 
quent use,  and  says  they  should  be  as  the  oraar 
ments  with  whidi  the  finest  building  may  be 
overladen,  or  the  spices  with  which  the  best  dish 
may  be  spoilt. 

The  agr^mens  according  to  Emanuel  Bach  are 
the  Bebung,'  Vorschlag,  Triller,  Doppelschlae, 
Mordent^  Anschlag,  Szhleifer,  Schneller,  and 
Brechung  (£z.  i)« 


I.    Afttin^ 


P 


g 


TrUkr. 


I-V   I      r"~l 


ifi  f  r  r  r  II  ^'r  i  rrrrrrrr ' 


'-ffhe  BAong  Oft.  *Manei—ent';  Ital.  *ti«iBolo')  camMt  he«. 
ecttted  on  the  modern  pianoforte.  It  roniJetert  in  giTtns  to  the  kv  e( 
the  claTichoid  a  oertaln  tremhHng  preerore.  which  iwodueed  a  kind  rf 
pulMtlon  of  the  aound,  without  any  tntanrak  of  rilenee.  On  atriaget 
Initnnnenta a  limikr effect  ia  Obtained  bya  rocklai  aofWHat  of  tti 
flopr  without  aUaiiag  It  from  the  iMnfr 


AGBEMENS. 


AGBEMENS. 


48 


DeppdaMag. 


I 


MordaU. 

¥t 


Antchlag. 


E 


^^ 


af  ^  'e£i"' 


idditicm  to  thfise,  Marpoig  treats  of  the 
iefalag  (£z.  2),  which  Emanuel  Bach  does 
vognifie,  or  at  least  calls  *ngly,  although 
icnUnaiily  in  fashion,*  but  which  is  largely 
'  by  modem  composers. 


r  I  O  J   I  r^^^l 


-^  f   \U  TJl^^-i 


ktaindpal  agrdmens  of  French  music  were 
A{ipogiature,  Trille,  and  Aocent,  which  re- 
M  respectively  the  Vorschlag,  Triller  and 
idilag  described  above,  and  in  addition 
Mord&nt — ^which  appears  to  have  differed 
itk  Mordent  of  German  music,  and  to 
itwa  a  kind  of  interrupted  trill, — the  Coul^, 
1  fie  Toix,  ^  Port  de  voix  jette,  and  the 
tte  pleine  ou  bris^*  (Ex.  3). 


LLEafe 


lens  or  graces  peculiar  to  old  English 
'  considerably  from  the  above,  and 

'Port  de  Toix,*  wfaidk  -oogbt  properljr  to  ilinilfy  the 

iraiot  with  txtrtmt  waoothw— from  one  note  to  an- 

ito  dl  ▼ooe')*  hai  bean  wtf  wemnOf  anHitd  to 

AkUw  (Ens. 'Turn')  wM  Often  called  Oadaneebrtlie 
M  the  HoM  of  Oouperfn  O7O0):  and  Indeed  Sehaatlaa 
tal  in  thli  aanw  In  Us '  ClaTkrBQchkln' 0790). 


have  now  become  obsolete.  They  are  described 
in  an  instruction-book  for  the  violin,  called  the  ' 
Division  Violist,  by  Chiistopher  Simpson,  pub- 
lished in  1659,  and  ^^®  divided  into  two  dasses, 
the  'smooth  and  shaked  graces.'  The  smooth 
graces  are  only  adapted  to  stringed  instruments, 
as  they  are  to  be  executed  by  sliding  the  finger 
along  the  string;  they  include  the  Plain-beat  or 
Rise,  the  Backfiill,  the  Double  Backfedl,  the  Ele- 
vation, the  Cadent,  and  the  Springer,  which  '  con- 
dudes  the  Sound  of  a  Note  more  acute,  by 
clapping  down  .another  Finger  just  at  the  ex- 
piring of  it.*  The  effect  of  this  other  finger  in>on 
the  violin  would  be  to  raise  the  pitch  of  the  last 
note  but  one  (the  upper  of  the  two  written  notes) 
so  that  the  Springer  would  resemble  the  French 
Accent,  The  '  shaked  graces*  are  the  Shakfid 
Beat,  Backfall,  Elevation,  and  Cadent,  which  are 
similar  to  the  plain  graces  with  the  addition 
of  a  shake,  and  lastly  the  Double  Relish,  of  which 
no  explanation  in  words  is  attempted,  but  an 
example  in  notes  given  as  below  (Ex.  4). 


4.  Plain-deat, 


BackfaU,        JhubU  Back/aU. 


^-r"('   1^' -I   'J^    J    ■ 


^r  Tr- 1*1  J'J-ijfe-r-i 


BUvaHon. 

+ 


CmiaU. 


8^ii»gf>'» 


pT^^TfJl 


^^ 


zd: 


^^ 


if)  n  /j^  n  ,1 1  ^7^-i  I  ."tn 


Shaked  beat. 


Ehaked  Badi/aiL 

lb 


Bhaked  EUeaUon, 


SkakedOidenL 


^  r  n^r    rr  rt r 


^  Double  aeUeh. 


1 


44 


A6REMENS. 


The  agr^mena  used-  in.  modem  muBic  or  in  the 
performance  of  the  works  of  the  great  mastera 
are  the  acciacatura,  appo<rgiatura)  arpeggio,  mor* 
dent,  naehschlag,  sliake  or  trill,  slide,  and  tarn, 
each  of  which  will  be  fully  described  in  its  own 
phice.  [F.  T  ] 

AGRTCOLA,  Alexandbr,  a  composer  of 
great  celebrity  living  at  the  end  of  the  15th 
century  and  beginning  of  the  i6th.  Crespers 
lament  on  the  death  of  Ockenheih  mentions 
Agricola  as  a  fellow-pupil  in  the  school  of  that 
master;  and  the  dates  of  his  published  works, 
together  with  an  interesting  epitaph  printed  in 
a  collection  of  motetts  published  at  Wittenberg 
in  1538,  furnish  us  with  materials  for  briefly 
sketching  his  life.  The  words  of  the  epitaph, 
which  bears  the  title  'Epitaphium  Alex.  Agri- 
colae  Symphoniastae  regis  Castaliae  Philippi,*  are 
as  follows : — 

*  Muaica  quid  defies  ?    Periit  mea  aura  decusque. 

Estne  Alexander  ?    Is  meus  Agricola. 
Die  age  qualis  erat  ?  Clarus  vocum  manuumque. 
Quis  locus  hunc  rapuit  ?    Valdoletanus  ager. 
Quis  Belgam  huno  traxit?    Magnus  lez  ipse 
Philippus. 
Quo  morbo  interiit?    Febre  furente  obiit. 
Aetas  quae  fuerat  ?   Jam  sexageeimus  annus* 
Sol  ubi  tunc  stabat  ?   Virginio  capite.* 

The  question  '  Quis  Belgam  hunc  traxit  !*  seems 
to  imply  that  Agricola  was  not  a  native  of  that 
coun1^,.though  F^tis  daims  him  as  a  Belgian  on 
the  strength  of  this  very  sentence,  which  he 
renders  '  Who  brought  him  from  Belgium  ?^  He 
was  however  certainly  educated  there,  and  lived 
the  greater  part  of  his  life  in  the  Netherlands. 
At  an  early  age  he  distinguished  himself  both  as 
a  singer  and  performer.  His  &me  soon  spread 
to  distant  countries,  and  the  great  printer  Pe- 
trucci  published  some  of  his  works  at  Venice  in 
1503.  He  entered  the  service  of  Philip,,  duke  of 
Austria  and  sovereign  of  the  Netherlands,  and 
followed  him  to  Castile  in  1506.  There  Agricola 
remained  until  his  death,  at  the  age  of  60  (about 
the  year  1530),  of  acute  fever,  in  the  territory  of 
Valladolid.  Amongst  Agricola's  known  works 
the  most  important  are  two  motetts  for  three 
voices  from  the  collection  entitled  'Motetti 
XXXIII*  (Venice,  Petrucci,  1502)  ;  eight  four- 
part  songs  from  the  collection  'Canti  cento  can- 
quanta'  (Venice,  Petrucci,  1503) ;  and  a  volume- 
of  five  masses  '  Misse  Alex.  Agrioolae '  (Venice, 
Petrucci,  1505).  It  is  not  improbable  that  a 
large  number  of  his  compositions  may  still  be 
contained  in  the  libraries  of  Spain.     [J.R.S.-B.] 

AGRICOLA,  Gboro  Ludwio^  bom  Oct.  35, 
1643,  at-  Grossen-Furra  in  Thuringia,.  where 
his  &ther  was  dei^gyman  ;  brought  up  at 
Eisenach  and  Gotha  and  the  universities  of 
Wittenberg  and  Leipsic ;  kapellmeister  at  Gotha 
in  1670.  He  composed  '  Musikalische  Ne- 
benstunden*  for  two  violins,  two  violas,  and 
bass;  religions  hymns  and  madrigals;  sonatas 
and  preludes,  'auf  franzosische  Art,'  etc.,  etc. 
He  cued  at  Gotha  in  Feb.  1676  at  the  age  of 


AGRICOLA. 

tfiirty-three,  full  of  promise,  but-  without   ac- 
eomplishing  a  style  for  himself.  [F.  G.}  \ 

AGRICX)LA,   JoHANN,   bom  at  NurembersT 
about  1570,  professor  of  music  in  the-  Gymna- 
sium   at    Erfurt    in    1611,    and    composer    ofj 
three  collections  of  motetts  (Nurembeig^y   1601- 
1611). 

AGRICOLA,  JoHAKN  Fbiedbich^  bom' Jan. 
4,    1720,   at    Dobitsohen,   Altenburg,.   Saxony. 
His  father  was  a  judge,  and  his  mother,  Maria 
Magdalen    Manke,  from   Giebrichenstein    near 
Halle,  was  a  friend  of  the  great  Handel.     He 
b^^  to  learn*  music  in  his  fifth  year  under  a 
certain    Martini.      In    1738    he    entered    the 
University    of    Leipsic    when   Gottsched     was 
Professor  of  Rhetoric.      But  though  he    went 
through  the  regular  course  of  'humanities*  he 
also  studied  music  under  Sebastian  Bach,  with 
whom  he  worked  hard  for  three  years.     After 
this  he  resided  at    Dresden  and  Berlin,    and 
studied  the  dramatic  style  under  Graon    and 
Hasse..    In  1749  he  published  two  pamphlets  on 
French  and  Itsdian  taste  in  music  under   the 
pseudonym  of  Olibrio.    In  the  following  year  a 
cantata  of  his, '  II  Filosofo  convinto  in  amore,*  was 
performed  before  Frederic  the  Great,  and  made 
such  an  impression  on  the  king  as  to  induce  him 
to  confer  on  Agricola  the  post  of  Hof-oomponist. 
He  had  an  equal  success  with  a  second  cantata, 
'  La  Ricamatrioe.'  Agricola  then  married  Signora 
Molteni,  prima  donna  of  the  Berlin  opera,  and 
composed  various  operas  for  Dresden  and  Berlin, 
as  well  as  much  music  for  the  CJhurch<  and  many 
arrangements  of  the  king*s  melodies..    After  the 
death  of  Graun  (Aug.  8,  1759)  he  was   made 
director  of  the  royal  chapel;   but  without   the 
title  of  '  kapellmeister.*     There  he  remained  till 
his  death  in  1774 — N"ov.  12  (Forkel)  or  Dec.  i- 
(Schneider,  Hist,  of  Berlin  Opera).    Agricola 's 
compositions  had  no  permanent  success,  nor  were 
any  printed  excepting  a  psalm  and  some  chorals. 
He  had  the  reputation  of  being  the  best  organ- 
player  in  Berlin,  and  a  good  teacher  of  singing. 
He  translated  with  much  skill  Tosi's  'Opinioni 
de*  Cantori,*  and  made  some  additions  of  value  to 
Adlung^s  *  MuHica  mechanica  organoedi.*    [F.  G.] 

AGRICOLA,.  Mabtin,  whose  German  name, 
as  he  himself  tells  ur,  was  Sohr,  or  Sore,  was 
bom  about  1500  at  Sorall  in  Lower  Silesia.  In 
1524  we  find  him  teacher  and  cantor  in  the  first 
Protestant  school  at  Magdeburg,  and  he  remained 
there  till  his  death,  June  10, 1 556.  The  assertion 
of  his  biographer  Caspar  that  Agricola  reached 
the  age  of  seventy  has  misled  all  following 
writers  as  to*  the  date-  of  his  birth.  In  his 
'Musica  instrumentalis  deudsch,'  which,  not- 
withstanding its  polyglott  title  is  written  in 
German,  he  states  that  he  had  no  'activum 
prsBceptorem  *  for  music,  but  learned  the  art 
by  himself  while  constantly  occupied  as  a  school- 
master. That  work  is  remarkable  not  only  for  its 
musical  ability  but  for  its  Grerman  style,  which  has 
all  the  force  and  flavour  of  the  writings  of  his 
contemporary  Luther  himself.  AgricoWs  chief 
protector  and  friend  was  Rhaw,  &6  senator  of 


AGMCOLA. 

Wittenbeig,   renowned  in  his  own    day  as  a 

{ainter  of  music.    This  excellent  man  printed 

many  of  Agrioola^s  works,  of  which  the  following 

may  be   named   amongst  others: — 'Ein  kurtz 

detttacfae  Musica,*  1528 ;  '  Musica  instrumentalis 

deadach,'    1529,    '32,    '45  ;    'Musica    figuralis 

deudacb./    1532;     *  Von  den    Vroportionibus*; 

*  Bodimenta  MnsioeB,'  1 539.   The  list  of  the  rest 

will  be  found  in  Draudius*  '  Bibliotheca  dassica/ 

p.    1650;     Walther*s    'Lexicon*;     Manurg's 

'Beitiige,'   toL  t;   Forkel*s  'literature,    and 

Giber's  '  Dictionary.'    Mattheson  in  his  '  Epho- 

ms*  (p.  124)  praises  him  for  having  been  the 

first  to  abolish  the  'ancient  tablatare/  and  adopt 

the  system  of  notation  which  we  still  employ. 

But  Uiis  is  inaccurate.    All  that  Agricola  pro- 

pijsed  was  a  new  'tablature*  for  the  lute,  better 

than  the  old  one.     On  the  conflict  between  the 

old  and  new  notation,  AgricoWs  writings  are 

foil  of  interest*  and  ihey  must  be  studied  by 

erery  one  who  wishes  to  have  an  accurate  view 

of  that  revolution.    But  unfortunately  th^  are 

both  rare  and  costly.  [F.  6.] 

AGRICOLA,  WoLFGAKO  Chbistofh,  lived 
shoot  the  middle  of  the  17  th  century,  coniposed  a 
'Fsscicalns  Muacalis'  (Wurzbujg  and  Cologne, 
165 1 ),  of  masses,  and  'Fasciculus  variamm  can- 
tionom,  ofmotetts. 

AGTHE,  Cabl  Chbiotiait,  bom  at  Hettstadt, 
1739;  died  at  Ballenstedt,  1797 ;  organist,  com- 
poser of  six  operas,  three  pianoforte  sonatas 
(Leipsic,  1790),  and  a  collection  of  Liedar  (Des- 
tui,  178a).  His  son,  W.  J.  Albrecht,  bom  at 
Ballenstedt,  1790,  in  18 10  settled  at  Leipsic, 
and  1823  at  Dresden  as  teysher  of  Logier's  system, 
ander  the  approval  of  C.  M.  von  Weber,  and  in 
1836  founded  a  similar  establishment  at  Posen. 
Later  he  was  at  Berlin.  Kullak  is  his  best- 
known  pninL  [M.  C.  C] 

AGUADO,  DiOKisio,  bom  in  Madrid,  1784, 
a  remarkable  performer  on  the  guitar;  received 
bis  duef  instruction  from  Garcia,  the  great  singer. 
In  1825  he  went  to  Paris,  where  he  associated 
with  the  meet  eminent  artistes  of  the  day,  till 
1838,  when  he  returned  to  Madrid,  and  died 
there  in  1849.  His  method  for  the  guitar,  an 
excellent  work  of  its  kind,  passed  through  three 
editions  in  Spain  (Madrid,  182 5-1 843)  and  one 
m  Paris  (1827).  He  also  published  *Colleccion 
de  loB  EtadioB  para  la  guitarra'  (Madrid,  1820), 
'Colleocion  de  Andantes,'  etc.,  and  other  works 
fat  his  instrument.  [M.  C.  C] 

AGUILERA  D£  HEREDIA,  Sebastian,  a 
monk  and  ^MUiiah  composer  at  the  beginningof  the 
1 7th  century.  His  chief  work  was  a  collection  of 
1tf«gniiii»ai-j^  for  fi)ur  five,  six,  seven,  and  eight 
vaioes,  many  of  which  are  still  sung  in  the  cathe- 
dral of  Saragosa,  where  he  directed  the  music, 
and  at  other  churches  in  Spain. 

A6UJABI,  LucBSZiA,  a  very  celebrated 
■biger,  who  supplies  an  extraordinary  example  of 
the  fi«hian  of  nicknaming  musicians ;  for,  being 
a  uatural  child  of  a  noble,  she  was  always  an* 
noonoed  in  the  playbills  and  newspapers  as  La 


AGUJABL 


45 


B(utardina,  or  BaMarddla,  She  was  bom  at 
Ferrara  in  1743,  instructed  in  a  convent  by  the 
P.  Lambertini,  and  made  her  dilyut  at  Florence 
in  1764.  Her  triumph  was  brilliant,  and  she 
was  eagerly  engaged  for  aU  the  principal  towns, 
where  she  was  enthusiastically  received.  She  did 
not  excel  in  expression,  but  in  execution  she  sur- 
passed all  rivals.  The  extent  of  her  register  was 
beyond  all  comparison.  Sacchini  said  he  had 
heard  her  sing  as  high  as  Bb  in  altissimo,  and 
she  had  two  good  octaves  below  :  but  Mozart 
himself  heard  her  at  Parma  in  1 770,  and  says  of 
her^  that  she  had  'a  lovely  voice,  a  flexible 
throat,  and  an  incredibly  high  range.  She  sang 
the  following  notes  and  passages  in  my  pre- 
senoe: — 


^'U,  rf  |^fl£L^^f^ 


Ten  years  later,  in  speaking  of  Mara^  he  says, 
'  She  has  not  the  good  fortune  to  please  me.  She. 
does  too  little  to  be  compared  to  a  Bastarddla-^ 
though  that  ia  her  peculiar  style — and  too  much 
to  touch  the  heart  like  an  Aloysia  Weber.'* 
Lioopold  Mozart  says  of  her,  'She  is  not 
handsome  nor  yet  ugly,  but  has  at  times  a 
wild  look  in  the  eyes,  iSce  people  who  are  subject 
to  convulsions,  and  she  is  lame  in  one  foot.  Her 
conduct  formerly  was  good ;  she  has,  consequently, 
a  good  name  and  reputation. 

Ag^jari  made  a  great  sensation  in  the  carnival 
of  1774  at  Milan,  in  the  serious  opera  of  '11 
Tolomeo,'  by  C!olla,  and  still  more  in  a  cantata' 
by  the  same  composer.     In  1780  she  married 


iLatte  of  March  H177DL 


iLettarofKov.ltilTSQ. 


46 


AGUJAKI. 


GoUa,  who  oolI^>oeed  for  her  most  of  the  miudo 
she  sang.  She  sang  at  the  Pantheom  CSonoerts 
for  some  years,  from  1775,  reoeiving  a  salary  at 
one  time  of  £xcx>  a  night  for  singing  two  songs, 
a  price  which  was  then  simply  enonnous.  Sub 
died  at  Panms  May  18,  1783.  [J..M.] 

ACrUS,  Henri,  bom  in  1749,  diied  1798; 
ooo^Mwr  and  professor  of  scdf^ggio  in  the 
Consetvatoire  of  Paris  (1 795).  His  works,  which 
display  more  learning  than  geniiis,  consist  of 
trios  for  striags,  two  compositions  for  violoncello, 
published  is  Liondbn,  where  he  lived  for  some 
timoj  and  six  diMW  concertants  for  two  violins, 
published  by  Barlnsri  (Paris)  as  the  op.  37  <k 
Soccherini. 

AHLE,  JoHANN  RodoIiFh;  church  composer, 
bom  at  Muhlhausen  inTlrarinsiA,  Dec.  24, 1625; 
educated  at  Gottingen  and  firnirt.  In  1644  he 
became  organist  at  Erfurt,  buft  soon  after  settled 
at  his  native  place,  where  ia  1655  he  was 
appointed  member  of  the  senate  tmd  afterwards 
baigomaster.  He  died  in  full  po«sssion  of  his 
powers  July  8, 1673.  His  pubUshed  oompositions 
mdude  'Compendium  pro  tenellis*  (1648),  a  trea- 
tise on  singing  which  went  through  three  editions ; 
*  Geistlichen  Dialogen,*  *  Symphonien,  Padnanen, 
und  Balleten* ;  '  Thuringische  Lustgarteo,*  a 
collection  of  church  music;  4cx>  'geistliolien 
Arien,*  'geistlichen  Goncerte,'  and  'Andachtaa' 
on  all  the  Sundays  and  Festivals,  etc.,  etc.  He 
cultivated  the  simple  style  of  the  choral,  avoiding 
polyphonic  counterpoint.  His  tunes  were  for 
long  very  popular,  and  are  still  sung  in  the 
Protestant  churches  of  Thuringia. — amongst 
others  that  known  as  'Liebster  Jesu  wir  sind 
hier.'  Able  left  a  son,  Johann  Georg,  bom 
1650,  who  succeeded  to  his  &ther*s  musiod  hon- 
ours, and  wa»  made  poet  laureate  by  the  Emperor 
Leopold  I.  He  died  Dec.  a,  1706.  His  hymn 
tunes  were  once  populsi',  but  are  not  now  in 
use.  [F.  G.] 

AHLSTROEM,  A.  J.  R.,  bom  about  176a ; 
ft  Swedish  composer,  organist  at  the  church  of 
St.  James,  Stockholin,  and  court  aocompanyist ; 
composed  sonatas  for  pianoforte  (Stockholm,  1 783 
and  1786),  cantatas,  and  songs,  and  edited  with 
Boman  'Walda  svenska  Folkdansar  och  Folkle- 
dar,'  a  collection  of  Swedish  popular  airs,  some 
of  which  have  been  sung  by  Mme.  Lind> 
Gddschmidt.  He  was  also  editor  for  two  years 
of  a  Swedish  musical  periodical  'Musikaliskt 
Tidsfordrif.'  [M.  C.  C.] 

AIBLIXGEK,  JoHANV  Oaspab,  bom  at 
Wasserburg  in  Bavaria,  Feb.  23,  1779.  His 
compositions  are  much  esteemed,  and  performed 
in  the  Catholic  churches  of  South  Germany.  In 
1803  he  went  to.  Italy,  and  studied  eight  years  at 
Yicenza,  after  which  he  settled  at  Venice,  where 
in  conjunction  with  the  Abbe  Gregorio  T^ntino 
he  founded  the  'Odeon*  Institution  for  the 
practice  of  classical  works.  In  1826  he  was 
recalled  to  his  native  countir  by  the  king,  and 
appointed  kapellmeister  of  his  court  music.  In 
1833  however  he  returned  to  Italy,  and  resided 
at  Bergamo,  occupying  himself  in  the  collection 


AHL 

of  ancient  clsiwical  music,  which  is  now  in   tha 
Staatsbibliothek  at  Munich.     His  whole  effbrttf 
to  the  end  of  his  life  were  directed  to    ^b>a 
performance  of  classical  vocal  music    in     tlia 
All  Saints*  church  at  Munich,. erected  in  1826. 
His  single  attempt  at  dramatic  composition  -wsts 
an  opera  of  '  Bodrigo  a  Chimene,'  which   -vrmm 
not  successful.    The    bravura   airs    for    Mme. 
Schechner  and  for  Pellegrini  were  much  liked»  ^ 
but  the  piece  shewed  no  depth  of  invention.      In  \ 
church  music  however  he  was  remarkably  happy : 
his  oompositions  in  this  department  are  in  the 
free  style  of  his  time,  written  with  great  skiUU  I 
and  full  of  religious  feeling,  tuneful  agreeable, 
and  easy  melody,  and  exactly  suited  to  smshll 
church  choirs.     Thev  consist  of  massee,   some 
requiems,  graduals,  litanies,  and  psalms,  ^tli 
accompaniments  for  orchestra  and  organ,  pub- 
lished at  Munich,  Augsburg,  and  Paris  (Schott). 
Aiblinger  died  May  6,  1867.  [C.  F.  P.] 

AICHINGEBy  Gbbgob.  Bom  about  1565  ; 
took  holy  orders,  and  entered  the  service  of 
Freiherr  Jacob  Fugger  at  Augsburg  as  organist. 
In  1599  he  paid  a  visit  of  two  years  to  Rome  to 
perfect  himself  in  music.  The  date  of  his  death 
IB  unknown,  but  it  is  supposed  that  he  was  alive 
at  the  time  of  the  publiostion  of  one  of  his  works, 
I^*  5»  I<^I3<  I^  the  prefiboe  to  his  'Sacrae 
Cantiones*  (Venice,  1590),  he  praises  the  mcudc 
of  Gabrieli;  and  his  works  also  betray  the 
influence  of  the  Venetian  schooL  They  are 
among  the  best  German  music  of  that  time, 
bearing  marks  of  real  genius ;  and  are  superior 
to  those  of  his  oontemporary,  the  learned  Gallas, 
or  Havdl.  Amongst  the  most  remarkable  are  a 
'  Ubi  est  frater,*  and  '  Assumpta  est  Maria>*  both 
for  three  voices;  an  'Adoramus*  for  four;  and 
an  'Intonuit  de  ccelo*  for  six  voices,  the  last 
printed  in  the  Florilegium  Portense,  A  Litany,  a 
Stabat  Mater»  and  various  motetts  of  his  are 
printed  in  Proske's  '  Musica  divina.*  [F.  G.] 

AIMON,  Pajiprili  Leopold  Fbait^ois,  vio- 
loncellist and  composer,  bom  at  L*Isle,  near  Avig- 
non, 1 779 ;  conducted  the  orchestra  of  the  theatre 
in  Marseilles  when  only  seventeen,  that  of  the 
Gymnase  Dramatique  in  Paris  1821,  and  of  the 
l^^tre  Fran^ais,  on.  the  retirement  of  Baudron, 
1822.  Of  bos  seven  operas  only  two  were 
performed,  the  'Jeux  Floraux'  (1818),  and 
'Michel  et  Christine*  (182 1),  the  last  with 
great  success.  He  also  composed  numerous 
string  quartetts,  trios,  and  duos  (Paris  and 
Lyons),  and  was  the  author  of  '  Connaissances 
pr^liminaires  de  L*Hannonie,*  and  other  trea- 
tises. [M.  C.  C] 

AIK  (Ital.  aria;  Fr.  air;  Germ.  AHe,  from 
the  Latin  aer,  the  lower  atmosphere;  or  <rra, 
a  given  number,  an  epoch,  or  period  of  time). 
In  a  general  sense  air,  from  the  element  whose 
vibration  is  the  cause  of  music,  has  come  to 
mean  thai  particular  kind  of  music  which  is 
independent  of  harmony.  In  common  parlance 
air  is  rhythmical  melody — any  melody  or  kind 
of  melody  of  which  the  feet  are  of  the  same 
duration,  and  the  phrates  bear  some  recognisable 


AIB. 

proporiiaii  one  to  another.    In  tLd  i6tlia&d  i7tli 
oentariee  air  represented  pcpnlarly  a  cheerful 
stnin.    Hie  Kngliiih  word  gtee,  now  ercluflively 
applied  to  a  particular  kind  of  musical  com- 
posUofn,  m  doiyed   firom  the  A.  S.  zh^Se,  in 
ita  primitiTe  sense  simply  muttCf    Technically 
an  ^  is  a  ocmpositlon  for  a  single  Toice  or  any 
moQophaDOUB  instrument,  aoooompanied  by  other 
Toicesorby  inatruments.    About  the  beginning 
of  the    17th    century    many   part-songs    were 
writtei^  Offering  firom  those  of  the  preceding 
centuzy    in    many   important    particulars^  but 
dudly    in    the    fact    of    their   interest   being 
tlirown   into   one,  generally  the    upper,  part; 
the  other  parts  being  subordinate,    lliese  other 
parts  were  generally  so  contrived  aa  to  admit  of 
bciqg  either  sung  or  played.    The  first  book  of 
Fonfs   'Muflike  of  aundrie   kinds*    (1607)  is 
d  thia  claas.      Subsequently  to  ita  invention, 
arias  were.'  for  a  conaiderable  time  commonly 
published  with  the  accompaniment  only  of  a 
'figured  baas.'    The  aria  grande,  great  or  more 
extended  air,  haa  taken  a  vast  variety  of  forms. 
These  however  may  be  daased  under  two  heada, 
the  ana  with  'da  capo'  and  the  aria  without. 
Hie  invention  of  the  former  and  older  form  haa 
been  long  attributed   to  Aleeaandro  Scarlatti 
(1659-1735) ;  but  an  aiia  printed  in  the  present 
vriter's  'Lectures  on  the  Transition  Period  of 
Musical   ffiatory/  shows  that  it  waa  used  as 
eazly  aa  1655,  ^'^-  ^^^^  years  before  A.  Scarlatti 
waa  bom,  l^  the  Venetian,.  Francesco  Cavalli, 
a  master  in  whose  opera  ^Giasone'  (1649)  the 
line  whidr  divides  air  from  recitative  seems  to 
bave  been  marked  mere  distinctly  than  in  any 
pnce^ng  music.    The  so-called  '  aria'  of  Monte- 
veide  and  his  contemporaries  (c.  1600)  is  hardly 
disth^iiiafaable  from  their  'musica  parlante,'  a 
very  sl^ht  advance  on  the  'plain-song'  of  the 
imdcBe  agea.    The  aria  without '  da  capo'  ia  but 
a  more  extended  and  interesting  form  than  that 
of  its  predecessor.    In  the  former  the  first  section 
or  diviaion  ia  also  the  last ;  a  section,  always  in 
another  key  and  generally  shorter,  being  inter- 
posed between  tiie  first  and  its  repetition.  In  the 
latter  the  fivst  section  is  repeated,  oftcm  several 
times,  the  aectiona  interposed  being  in  different 
kejs  from  one  another  as  well  aa  firom  the  first, 
which,  on  its  last  repetition,  is  generally  more  or 
hm  developed  into  a  'coda.'  Tb9  aiia  grande  has 
assumed,  under  the  hands  of  the  great  masters 
of  tiie  modem  school,  a  scope  and  a  splendour 
vlnch  raise  it  to  all  but  symphonic  dignity. 
As  qwcimena  of  these  qualities  we  may  cite 
Beethoven's  'Ah,   perfido,'   and  Mendelssohn's 
'Infidioe.'      ^te   limits   of  the    human    voice 
fin-faid,  however,  save  in  rare  instances,  to  the 
aria,  however  extendec^  that  repetition  of  the 
aame  straina  in  different  though  related  keys, 
bywhicli  the  symphonic  'form'  is  distinguished 
fium   every    o^er.    But  compositions    of  this 
daas,    eapeeiaUy   those    interspersed    with    re- 
citative, though  nominally  sometimes  arie  belong 
rather  to  the  class  '  scena.'  [J.  H.] 

AIBY,  Sib  Gsorgx  Btodell.     The  present 
Astronomer  Boyal,  and  late  President  of  the 


ALBANl. 


47 


Royal  Society,  the  author  of  one  of  tiie  latest 
works  on  acoustica,  'On  Sound  and  Atmoi^hario 
Vibrations,'  London  186S.  The  most  important 
portion  of  this  work  is  its  elaborate  mathematical 
treatment  of  the  theoiy  of  atmospheric  sound- 
waves, a  subject  first  discussed  by  Sir  Isaac 
Newton  in  the '  Prindpia.'  [W.  P.] 

A'EEMPIS^  Florsntino,  oiganist  of  St. 
Gudule,  at  Brussels,  about  the  midcUe  of  the  17th 
century ;  composed  three  symphonies  (Antwerp, 
1644, 1647,  aiul  1649),  'Missae  etMotetta'  (Ant- 
werp, 1650),  and  another  mass  fiir  eight  voices. 

AXEROTDE,  Saxuxl,  a  native  of  Yorkshire, 
waa  a  veiy  popular  and  prolific  composer  of 
songs  in  the  latter  part  of  the  17th  century. 
Many  of  hia  compositions-  are  contained  in  the 
following  collections  of  the  period :  *  D^XJrfey's 
Third  Collection  of  Songs'  1685  ;  *The  Theatre 
of  Musick,'  1685-1687 ;  '  Vinculum  Societatis,' 
1687;  *  Comes  Amoris,'  1687-1694;  *The  Ban- 
quet of  Musick,'  1688-1693  ;  '  Thesaurus  Mu- 
sicus,'  1 693-1 696 ;  and  in  'The  Gentleman's 
Journal,*  1693-1694.  He  waa  also  a  contri- 
butor to  the  Third  Part  of  D'Urfey's  'Don 
Quixote,'  1696.  [W..H.  H.] 

ALA,  GiovAKin  Battista,  bom  at  Monza 
about  the  middle  of  the  i6th  century,  died  at 
the  age  of  thirty-two ;  organist  of  the  Church  dei 
Servitori,  in  Milan,  and  composer  of  canzonets, 
madrigals,  and  operas  (Milan,  161 7,  1625), 
'Concertieodesiastici'  (Milan,  x6i8,  i6ai,  1628), 
and  several  motetts  in  the  'Pratum  musioum* 
(Antwerp,  1634). 

ALABD,  Dblpbin,  eminent  violinist.  Bom  at 
Bayonne,  March  8,  1815  ;  shewed  at  an  early 
age  remarkable  musical  tident,  and  in  1827  was 
sent  to  Paris  for  his  education.  At  first  he  was 
not  received  as  a  regular  pupil  at  the  Conser- 
vatoire, but  was  merely  allowed  to  attend  Ha- 
beneck's  classes  aa  a  listener.  He  soon  however 
won  the  second,  and  a  year  later  the  first  prize 
for  violin-playing,  and  from  1831  began  to  make 
a  great  reputation  as  a  performer.  In  1843,  on 
Bullet's  death,  he  suoceisded  that  great  master 
as  professor  at  the  Conservatoire,  which  post 
he  still  holds  (1875).  Alard  is  the  foremost 
representative  of  the  modem  French  school  of 
violin-playing  at  Paris,  with  its  characteristic 
merita  and  drawbacks.  His  style  is  eminently 
livdy,  pointed,  full  of  ilan.  He  has  published 
a  number  of  concertos  and  operatic  fantasias 
which,  owing  to  their  brilliancy,  attained  in 
France  considerable  popularity,  without  having 
much  claim  to  artistic  worth.  On  the  other 
hand,  his  '  Violin  School,'  which  has  been  trans- 
lated into  several  languages,  is  a  very  compre- 
hensive and  meritorious  work.  He  also  edited 
a  selection  of  violin-compositions  of  the  most 
eminent  masters  of  the  i8th  century,  'Lea 
mattres  classiques  du  Violon,'  etc.  (Schott),  in 
40  parts.  [P.  D.] 

ALBANl,  Mathtas,  a  renowned  violin- 
maker,  bom  1 6a I,  at  Botseen,  was  one  of  Stainer  s 
best  pupils.  The  tone  of  his  violins,  which  are 
generally  very  high  in  the  belly,  and  have  a  dark 


48 


ALBANI. 


ALBERT. 


red,  fJmoBt  brown,  vamiflh,  ia  more  remarkable 
for  power  thiui  for  quality.  He  died  at  Botzen 
in  1673.  Hifl  BOD,  also  namied  Mathias,  was  at 
first  a  pupil  of  his  fiEither,  afterwards  of  the 
Amatis  at  Cremona,  and  finally  settled  at  Borne. 
His  best  violins,  which  by  some  oonnoisseurs  are 
considered  hardly  inferior  to  those  of  the  Amatis, 
are  dated  at  the  end  of  the  17th  and  beginning 
of  the  1 8th  oentuiy.  A  third  Albani,  whose 
Christian  name  is  not  known,  and  who  lived 
during  the  1 7th  century  at  Palermo,  also  made 
good  violins,  which  resemble  those  of  the  old 
German  makers.  [P.  D.] 

ALBENIZ,  PsDRO,  bom  in  Biscay  about 
i755i  ^^  about  182 1  ;  a  Spanish  monk,  con- 
ductor of  the  music  at  the  Cathedral  of  St.  Se- 
bastian, and  (1795)  at  that  of  Lpgrono;  com- 
posed masses,  vespers,  motetts,  and  other  church 
music,  never  published,  and  a  book  of  solfeggi 
(St.  Sebastian,  1800). 

ALBENIZ,  PiDBO,  bom  at  Lcgrono,  1795, 
died  at  Madrid  1855;  son  of  a  musician, 
Matt^  Albeniz,  and  pupil  of  Henri  Herz  and 
Kalkbrenner;  organist  from  the  age  of  ten 
at  various  towns  in  Spain,  and  professor  of 
the  pianoforte  in  the  Conservatoire  at  Madrid. 
He  introduced  the  modem  style  of  pianoforte 
playing  into  Spain,  and  all  the  eminent  pianists 
of  Spain  and  South  America  may  be  said  to 
have  been  his  pupils.  He  held  various  high 
poets  at  the  court,  and  in  1847  was  appointed 
secretary  to  the  Queen.  His  works  comprise  a 
method  for  the  pianoforte  (Madrid,  1 840),  adopted 
by  the  Conservatoire  of  Madrid,  seventy  compo- 
sitions for  the  pianoforte,  and  songs.      [M.  C.  C] 

ALBERGATI,  Codht  Pibbo  Capacelli,  of 
an  ancient  family  in  Bologna,  lived  in  the  end 
of  the  17th  and  banning  of  the  i8th  centuries, 
an  amateur,  and  distinguished  composer.  His 
works  include  the  operas  'Gli  Amici'  (1699), 
'H  Principe  selvaggio'  (171a),  the  oratorio 
'Giobbe'  (Bologna,  1688),  sacred  cantatas, 
masses,  motetts,  etc.,  and  compositions  for  va- 
rious instruments. 

ALBERT,  Heinbich,  bom  at  Lobenstein, 
Voigtland,  Saxony,  June  28,  1604 ;  nephew  and 
apparently  pupil  of  the  famous  composer  Heinrich 
Schiitz.  He  studied  law  in  Leipsic,  and  music 
in  Dresden.  In  1626  he  went  to  Konigsberg, 
where  Stobbseus  was  at  that  time  kapellmeister. 
In  1 63 1  he  became  oi^ganist  to  the  old  church  in 
that  city,  and  in  1638  mairied  Elizabeth  Starke, 
who  is  referred  to  in  his  poem  as  'Philosette.* 
Of  the  date  of  his  death  nothing  certain  is 
known.  It  is  given  as  June  27,  1657  (by  F^tis 
Oct.  10,  1651).  One  of  his  books  of  'Arien* 
(Konigsbeig,  1654),  contains  a  statement  that 
it  was  'edited  by  the  author*s  widow,'  but  the 
same  book  comprises  some  poems  on  the  events 
of  the  year  1655.  It  is  plain  therefore  that  the 
date  1654  is  an  eiior. 

Albert  was  at  once  poet,  oi^ganist  and  composer. 
As  poet  he  is  one  of  the  representatives  of  the 
Konigsberg  school,  with  the  heads  of  which  he 
was  closely  associated. 


His  church  music  is  confined,  aooording'    to 
Winterfeld,   to  a  Te  Deum   for  three  voices, 
published  Sept.  12, 1647.    He  however  oompoaed 
both  words  and  music  to  many  hymns,  which  are 
still  in  private  use,  e.g.  'Gott  des  Himmels  and 
der  Erden.'    These,  as  well  as  his  secular  songB, 
are  found  in  the  eight  coUectians  printed  for  hixa 
by  Paschen,   Mense,  and  Reussner,  under   the 
patronage  of  the  Emperor  of  Germany,  the  King 
of  Voluad,  and  the  Kurfiirst  of  Brandezibarg'. 
These  collections  sold  so  rapidly  that  of  some  of 
them  several  editions  were   published  by    the 
author.    Others  were  surreptitiously  issued    at 
Konigsberg   and    Dantzic    under   the   title    of 
'  Poetisch  -  mnm'kalisches    Lustwaldlein,'    "vehich 
Albert    energetically    resisted.      These    latter 
editions,   though  very  numerous,  are  now   ex- 
ceedingly rare.    Their  original  title  is  ^Erster 
(Zweiter,  etc.)  Theil  der  Arien  etlicher  theils 
geistlicher  theils  weltlicher,  zur  Andacht,  guten 
Sitten,  keuscher  liebe  und  Ehrenlust,  cUenen 
der  lieder  zum  singen  und  spielen  geaetzt.' '' 
Then  followed  the  dedication,  a  (Uffereiit  one  to 
each  part.    The  second  is  dedicated  to  his  '  moat 
revered  unde,  Heinrich  Schiitz,*  the  only  exist- 
ing reference  to  the  relationship  between  them. 
Albert^s  original  editions  were  m  folio,  but  after 
his  death  an  octavo  edition  was  published  in  1657 
by  A.  Profe  of  Leipsic.    In  his  pre£soes  Albort 
lays  down  the  chief  principles  of  the  musical  art, 
a  circumstance   which   gives  these    documents 
great  value,  as  they  belong  to  a  time  in  which 
by  means  of  the  'basso  continue'  a  reform  in 
music  was  efiected,  of  which  we  are  still  fi^eling 
the  influence.    Mattheson,  in  his  '  Ehren-pforte, 
rightly  assumes  that  Albert  was  the  author  of  the 
'Tractatus  de  mode  conficiendi  Contrapunctam,' 
which  was  then  in  manuscript  in  the  possession  of 
Valentin  HansmanTi.    In  the  pre&ce  to  the  sixth 
section   of  his  'Arien'  Albert   speaks  of  the 
centenary  of  the  Konigsberg  University,  Aug. 
28,  1644,  and  mentions  that  he  had  written  a 
'Comodien-Musik'  for  that  occasion,  which  was 
afterwards  repeated  in  the  palace  of  the  Kur- 
fiirst.    Albert  was  thus,  next  after  H.  Schiitz, 
the  founder  of  Grerman  opera.     Both  Schiitz's 
'Daphne'  and  Albert's  'Comodien-Musik'  ap- 
pear to  be  losty  doubtless  because  they  were  not 
published. 

Albert's  'Arien'  give  a  lively  picture  of  the 
time,  and  of  the  then  influence  of  music.  While 
the  object  of  the  opera  as  established  in  Italy 
was  to  provide  music  as  a  support  to  the  spoken 
dialogue,  so  the  sacred  'concert'  came  into 
existence  at  the  same  time  in  Italy  and  Grer- 
many  as  a  rival  to  the  old  motetts,  in  which  the 
words  were  thrown  too  much  into  the  back- 
ground. But  the  sacred  'concert'  again,  being 
sung  only  by  a  small  number  of  voices,  necessi- 
tate some  support  for  the  music,  and  this  was 
the  origin  of  tiie  '  basso  continue'  Albert  was 
in  the  best  position — ^knowing  Schiitz  who  had 
been  a  pupil  of  Gabrieli  in  Venice ;  and  on  his 
arrival  at  Konigsberg  he  underwent  a  second 
course  of  instruction  under  Stobbeus,  from  which 

a  FMimiiUkM  this  tttto  for  that  of  tteorisiaalwUtlon. 


ALBERT. 

d^iuited  ilie  pectdiar  cbancter  of  his  music, 
wioch  may  be  described  as  the  qumtefleence  of 
an  thai  was  in  the  be8t  taste  in  Italy  and 
Gennany.  Owing  to  the  special  ciivumstance 
that  Albert  was  both  a  musician  and  a  poet — 
and  no  smaU  poet  either — ^he  has  been  rightly 
cdUed  the  £ather  of  the  German  '  Lied.*  It  u 
rare  for  a  composer  to  make  music  to  his  own 
poeCiy,  and  since  the  time  of  Albert  and  his 
onmradaa  in  the  Kdnigsbeig  school,  one  example 
only  is  foumd  of  it — Richs^  Wagner.  But  to 
ecskdode,  Albert's  work  in  Grerman  music  may 
be  described  as  a  pendant  to  the  contemporary 
eammenoement  of  Italian  opera.  [F.  G.] 

ALBERT,  PRINCE.    FRAKCfis  Chaklks  Au- 
GUifTUS  Albert  Emmanuel,  Prince  Consort  of 
Qoeen  Yicturia^   second    son  of   Ernest    Duke 
of  Saxe-Gobuig-Saalfeld,  was  bom  at  Rosenau, 
Coboxg,  Aug.  26,  1 81 9,  married  Feb.  10,  1840, 
and   died    Dec.    14,   1861.      Music    farmed    a 
ry^tetnaAie  jMit  of  the  Princess  education  (see 
lus  own  'Prognunme  of  Studies'  at  thirteen 
y«an  of  age  in  '  The  Early  Years,*  etc.,  d.  107). 
At  ei^iiteen  be  was  'passionately  fond    of  it, 
'bad  already  shown  considerable   talent  as  a 
composer,'  uid  was  looked   up  to  by  his  com- 
panions ibr  his  practical  knowledge  of  the  art 
(lb.  143^  173);  And  there  is  evidence  (Xb.  70) 
that  when  quite  a  child  he  took  more  than 
ordinary  interest  in  it.    When  at  Florence  in 
1839  he  continued  his  systematic  pursuit  of  it 
(lb.  194)  and  had   an   intimate  acquaintance 
with  pieces  at  that  date  not  generally  known 
(B).  209-311).^    His   oigan-playing  and  sing- 
iog  he  kept  up  after  his  arrival  in  England 
(Martin's  'life.*  85*  86,  Mendelssohn's  letter  of 
Jaly  19,  1842),  but  his  true  interest  in  music 
vas  shown  by  his  public  action  in  reference  to 
it,  and  the  influenoe  which  from  the  time  of  his 
marriage  to  his  death  he  steadily  exerted  in 
favour  of  the  recognition  and  adoption  of  the  best 
compositions. 

Tlus  was  shown  in  many  ways,  first,  by  his 
immediate  reoiganisation  of  the  Queen's  private 
band  from  a  mere  wind-band  to  a  full  orchestra 
(dating  from  Dec.  24,  1840),  and  by  an  immense 
increase  and  improvement  in  its  repertoire.  There 
18  now  a  peculiar  significance  in  the  fact  that — 
to  name  onlv  a  few  amongst  a  host  of  great 
wks — Schubert's  great  symphony  in  C  (probably 
after  its  rejection  by  the  I^hilharmonic  band, 
when  offered  them  by  MendeLssohn  in  1844), 
Bach's '  Matthew-Passion,*  Mendels8ohn*s  '  Atha- 
lie*  and  '(Edipus,*  and  Wagner's  'Lohengrin,* 
were  first  performed  in  this  country  at  Wind8<^ 
Castle  and  Buckingham  Palace.  Secondly, 
by  acting  in  his  turn  as  director  of  the 
Aodent  Concerts,  and  choosing,  as  fiur  as  the 
roles  of  the  society  permitted,  new  music  in  the 
progiammes;  by  his  choice  of  pieces  for  the 
amiual  *  command  nights  *  at  the  Philharmonic, 
where  his  programmes  were  always  of  the  highest 
daas,  and  included  first  performances  of  Men- 
ddaohn's    'Athalie,'    Schubert's    overture    to 

*  r.a].>kr 'Boidiil'rKMl'VMinliiL' 


ALBERTAZZI. 


49 


'  Fierabras,*  and  Schumann's  *  Paradise  and  the 
Peri.'  Thirdly,  by  the  support  which  he  gave 
to  good  muMic  when  not  ofiQcially  connected  with 
it :  witness  his  keen  interest  in  Mendelssohn's 
oratorios,  and  his  presence  at  Exeter  Hall  when 
'  St.  Paul '  and  *  Elijah  *  were  performed  by  the 
Sacred  Harmonic  Society.  Thwe  can  be  no 
doubt  that,  in  the  words  of  a  well-known  musical 
amateur,  his  example  and  influence  had  much 
effect  on  the  performance  of  choral  music  in 
England,  and  on  the  production  here  of  much 
that  was  of  the  highest  class  of  musical  art. 

The  Prince's  delight  in  music  was  no  secret 
to  those  about  him.  In  the  performances  at 
Windsor,  says  Mr.  Theodore  Martin,  from  whose 
'  Life  *  (i.  App.  A)  many  of  the  above  facts  are 
taken,  '  he  found  a  never^failing  source  of  delight. 
As  every  year  brought  a  heavier  strain  upon  his 
thought  and  energies,  his  pleasure  in  them  ap- 
peared to  increaije.  They  seemed  to  take  him 
into  a  dream-world,  in  which  the  ■■n^^t»^  of  life 
were  for  the  moment  forgotten.* 

Prince  Albert's  printed  works  include  *L*in- 
vocazione  all*  Armonia,*  for  solos  and  chorus; 
a  morning  service  in  C  and  A;  anthem,  *Out 
of  the  deep;*  five  collections  of  'Lieder  und 
Romanzen,  29  in  all ;  three  canzonets,  etc.  [6.] 

ALBERTAZZI,  Emma,  the  daughter  of  a 
music-master  named  Howson,  was  bom  May  i, 
1814.  Beginning  at  first  with  the  piano,  she 
soon  quitted  that  instrument,  to  devote  herself 
to  the  cultivation  of  her  voice,  which  gave  eariy 
promise  of  excellence.  Her  first  instruction  was 
received  fixim  Costa,  and  scarcely  had  she 
mastered  the  rudiments,  when  she  was  brought 
forward  at  a  concert  at  the  Argyll  Rooms.  In 
the  next  year,  1830,  she  was  engaged  at  the 
King's  Theatre  in  several  contralto  parts,  such  as 
Pippo  in  the  'Gazza  Ladra,'  and  others.  Soon 
afterwards  she  went  to  Italy  with  her  frither, 
and  got  an  engagement  at  Piacenza.  It  was 
here  that  Signor  Albertazzi,  a  lawyer,  fell  in 
love  with  her,  and  married  her  befiOTO  she  was 
seventeen.  Colli,  the  composer,  now  taught  her 
for  about  a  year ;  after  which  she  sang,  1832,  in 
6enerali*s  'Adelina,*  at  the  Canobbiana^  and 
subsequentlywas  engaged  for  contralto  parts  at 
La  Soda.  There  she  sang  in  several  operas  with 
Pasta^  who  gave  her  valuable  advice.  She  sang 
next  at  Madrid,  1833,  for  two  years;  and  in 
1835  at  the  Italian  Opera  in  Paris.  This  was 
the  most  brilliant  part  of  her  career.  In  1837 
she  appeared  in  London.  Madame  Albertazzi 
had  an  agreeable  presence,  and  a  musical 
voice,  not  ill-trained ;  but  these  advantages 
were  quite  destroyed  by  her  lifelessness  on 
the  stii^  —  a  resigned  and  automatic  indiffer- 
ence, which  first  wearied  and  then  irritated  her 
audiences.  To  the  end  of  her  career — for  she 
afterwards  sang  in  English  Opera  at  Drury 
Lane — ^she  remained  the  same,  unintelligent 
and  inanimate.  Her  voice  now  began  to  fail, 
and  she  went  abroad  again,  hoping  to  recover 
it  in  the  climate  of  Italy,  but  without  success. 
She  sang  at  Padua^  Milan,  and  Trieste,  and 
returned  in  1846  to  London,  where  she  saiur 


50 


AIiBEBTAZZI. 


for  the  last  time.    She  died  of  oduramption, 
Sept.  1847.  [J.  M.] 

ALBIKONI,  TOMAS8O,  dramatic  composer  and 
TioliniBtb  Bom  at  V enioe  in  the  latter  hialf  of  the 
17th  centmy.  The  particulars  of  his  life  are 
entirely  unknown.  He  wrote  forty-two  operas 
(the  fint  of  which  appeared  in  1694),  which  are 
said  to  have  been  successful  from  the  novelty 
of  their  style,  though  a  modem  French  critic 
describee  the  ideas  as  trivial  and  the  music  as 
dry  and  unsuited  to  the  words.  Greater  talent 
is  to  be  seen  in  his  instrumental  works,  concertos, 
sonatas,  and  songs.  He  was  also  an  excellent 
perfonner  on  the  violin.  Albinoni*s  sole  interest 
for  modem  times  resides  in  the  fact  that  the 
great  Bach  selected  themes  from  his  works, 
as  he  did  from  those  of  Corelli  and  Legrenzi. 
'Bach,'  says  Spitta  (i.  423),  'must  have  been 
peculiarly  partial  to  Albinoni.  Down  to  a  late 
period  of  his  life  he  was  accustomed  to  use  bass 
parts  of  his  for  practice  in  thorough-bass,  and 
Gerber  relates  that  he  had  heard  his  £ftther  (a 
pupil  of  Bach's)  vary  these  very  basses  in  his 
master's  style  with  astonishing  beauty  and  skill.* 
Two  fugues  of  the  great  Master's  are  known  to 
be  founded  on  themes  of  Albinoni's — ^both  from 
his  '  Opera  prima.'  One  (in  A)  is  to  be  found  at 
No.  10  of  Cahier  13  of  Peter's  edition  of  Bach's 
clavier-works ;  the  other  (in  F I  minor)  at  No.  5 
of  Oahier  3  of  the  same  edition.  For  further 
particulars  see  Spitta,  i  423-426.         [E.  H.  D.] 

ALBONI,  Mabietta,  the  most  celebrated 
contralto  of  the  19th  centuiy,  was  bom  at  Ce- 
eena»  Bomagna,  in  1824.  Her  first  instruction 
was  received  in  her  native  place;  after  which 
she  was  taught  by  Mme.  Berfcoletti,  at  Bologna, 
who  has  taught  many  other  distinguished  singers. 
There  she  met  Bosuni,  and  was  so  fortunate  as 
to  obtain  lessons  from  him :  she  is  said  to  have 
been  his  only  pupil.  Charmed  with  her  voice 
and  fiBfcQity,  he  taught  her  the  principal  con- 
tralto parts  in  his  operas,  with  the  true  tradi- 
tions. With  this  great  advantage  Alboni  easily 
Procured  an  engagement  for  several  years  from 
lerelli,  an  impresario  for  several  tiieatres  in 
Italy  and  Germany.  She  made  her  first  appear- 
ance at  La  Scala,  Milan,  1843,  in  the  part  of 
Maffio  Orsini.  In  spite  of  her  inexperience, 
her  voice  and  method  were  brilliant  enough  to 
captivate  the  public.  In  the  same  year  she 
sang  at  Bologna,  Bresda,  and  again  at  Milan; 
soon  afterwards  with  equal  success  at  Vienna. 
In  consequence  of  some  misunderstanding  about 
salary  she  now  broke  her  engagement  with 
Merdli,  and  suddenly  took  flight  to  St.  Peters- 
burg. She  remained  there,  however,  but  a  short 
time ;  and  we  find  her  in  1845  singing  at  concerts 
in  Hamburg,  Leipzig,  Dresden,  as  well  as  in 
Bohemia  and  Hungary.  At  the  carnival  of  1 847 
she  sang  at  Rome  in  Pacini's  '  Saffo,'  introducing 
an  air  from.  Rossini's  '  Semiramide,'  which  was 
enthusiastically  applauded,  but  could  not  save 
the  opera.  In  the  spring  of  the  same  year  she 
came  to  London,  and  appeared  at  Oovent  Garden, 
in  the  height  of  the  '  Jenny  Lind  fever.*    She  was 


ALBBECHTSBEB6ER. 

indeed  a  trmnp  card  for  that  estabUshment  agaansife 
the  strong  hand  of  the  rival  house.    The  day 
after  her  d^but  the  manager  spontaneously  raised, 
her  salary  for  the  season  from  £500  to  £2000,. 
and  her  reputation  was  established.    She  sang  ixn. 
'  Semiramide*  first,  and  afterwards  in  '  Lucreziik 
Borgia';    and  in  the  latter  had   to  sing    the 
'Brindisi*  over  and  over  again,  as  often  aa  the 
opera  was  performed.    As  Pippo  in  the  'Grazzeb 
Ladra*  she  had  to  sing  the  whole  first  solo  of  the 
duett  'Ebben  per  mia  memoria*  three  times 
over.      Her    appearance    at'   that    time     was 
really  splendid.     Her  features  were  regularly 
beautiful,  though  better  fitted  for  comedy  than 
tragedy;  and  her  figure,  not  so  unwieldy  as  i^ 
afterwards  became,  was  not  unsuited  to  the  parts 
she  played.     Her  voice,  a  rich,  deep,  true  oon.- 
tralto  of  fully  two  octaves,  from  G  to  G,  was  as 
sweet  as  honey,  and  perfectly  even  throughovfc 
its  range.    Her  style  gave  an  idea,  a  recollection* 
of  what  the  great  old  school  of  Italian  singing 
had  been,  so  perfect  was  her  command  of  her 
powers.    The  only  reproach  to  which  it  was  op^o. 
was  a  certain  shade  of  indolence  and  ituoucianre, 
and  a  want  of  fire  at  times  when  more  energy 
would  have  carried  her  hearers  completely  away. 
Some  singers  have  had  the  talent  and  knowledge 
to  enable  them  to  vary  their  fionturi :   Alboni 
never  did  this.    When  you  had  heard  a  eoag 
once  from  her,  perfect  as  it  was,  you  never  heard 
it  again   but  with  the  selfsame  ornaments  and 
eadente.    Her  versatility  was  greats — too  great, 
perhaps,  as  some  critics  have  said;  and  it  has 
been  asserted  that  she  did  serious  harm  to  her 
voice  by  the  attempt  to  extend  it  upwards.   This 
is,  however,  not  clear  to  all  her  admirers,  since 
she  has  returned  to  her  legitimate  range.     She 
sang  again  in  London  in  1848  at  Covent  Garden, 
and  in  1849,  1851,  1856,  1857,  and  1858  at  Her 
Majesty's  Theatre.    She  appeared  at  Brussels  in 
1848,  with  no  less  success  than  in  London  and 
Paris.    In  1849  she  returned  to  Paris,  and  sang 
with  equal  iclat  in  '  Cenerentola,*  '  L'ltaliana  in 
Algieri,*  and  'La  Gazza  Ladra.*     In  the  next 
year  she  visited  Greneva,  and  made  a  tour   of 
France,  singing  even  in  French  at  Bourdeaux  in 
the  operas   < Charles  VI,*  'La  Favorite/   'La 
Heine  de  Ohypre,*  and  '  La  Fille  du  Regiment.' 
On  her  return  to  Paris  she  surpassed  the  bold- 
ness of  this  experiment  by  attempting  the  part  of 
Fid4s  in  the  'Proph^te*  at  the  Grand  Opera,  and 
with  the  most  bnlliant  success.    She  now  made 
a  tour  in  Spain,  and  next  a  triumphal  progress 
through  America.    Of  late  years,  since  her  mar- 
riage with  Count  A.  Pepoli,  a  gentleman  of  <Ad 
Bolognese  family,  she  has  lived  in  Paris,  where 
she  has  delighted  her  admirers  with  most  of  her 
old  characters  as  well  as  some  new,  and  notably 
in  the  part  of  Fidalma  in  Cimarosa's  *  Matri- 
monio  Segreto.*    Since  the  untimely  death  of  her 
husband  she  has  been  heard  only  in  Rossini's 
'Mass,'  in  which  she  sang  in  London  in  1871, 
and  similar  music.  [J.  M.  j 

ALBRECHTSBERGER,  Johank  Georo. 
Contrapuntist  and  teacher  of  sacred  music,  com- 
poser iad  organist ;  bom  Feb.  3, 1 736,  at  Klostei^ 


ALBBECHTSBEBGEB. 

uenhaxg,  near  Yieima ;'  died  at  YiexmSy  Mftrch  7, 

1809.     Sejfiied  has  appended  his  biography  to 

the  complete  edition  01  his  works  (Vienna,  1826, 

1837).     Albrechtsberg^er  began  life  as  a  chorister 

at  his  nftfeiTe  town  ai^  at  Melk.    At  the  latter 

place  he  was  taken  notioe  of  by  the  Emperor 

Joe^»h,  then  Crown  Prince ;  and  on  a  later  ooca- 

Ekm,  the  Emperor  passiog  through  Melk.  renewed 

the  acqaaintencft,  and  invited  him  to  apply  for 

the  post  of  court  mganist  on  the  first  vacancy. 

Meantime  Albrechtsbeiger  studied  hard  under 

the  direction  of  Emmerlmg.    After  being  oi^gan- 

Bt  fiv  twdve  years  at  Melk,  he  obtained  a 

Binilar  poet  at  Baab  in  Hungary,  and  then  at 

MariataftrL.  Here  he  remained  instructor  in  the 

family  of  a  SHesian  count  till  he  left  for  Vienna 

ss  Biffen$Ckori  to  the  Carmelites.    In  177a  he 

was  apptnnted  court  oiganistf  and  twenty  years 

later  director  of  music  at  St.  Stephen's,  where  he 

at  oDoe  commenced  his  career  as  a  teacher.    The 

number  of  his  pupils  was  very  huge.    Amongst 

the  most  celebrated  are  Beethoven,  Hummel, 

Weigl,  Seyfried,  Eybler  and  Mosel.    Nottebohm 

(Be^hoven's  'Stadien,*  1873)  speaks  in  the  highest 

toms  of  the  instruction  whidi  he  gave  Beethoven. 

His  oompontionB  are  computed  by  Seyfined  aq 

161,  of  which  only  twenty-seven  are  printed. 

They  are  chiefly  in  possession  of  Prince  Esterhassy 

Galanthft.    The  finest  is  a  Te  Deum,  which  wa^ 

not  perfonned  till  after  his  death.    His  great 

tiieocetlcal  woric  (not  without  defects)  is  entitled 

'Grundliche     Anweisung     zur     Composition,' 

(LeipsiCy    1790 ;    second   edition   1818.)      An 

Eogiish  edition,  translated  by  Sabilla  Novello, 

is  published  by  Novello,  Ewer,  and  Co.     [F.  G.] 

ALBTJMBIATT  (Geim. ;  Pr,  Feuittet  cCal- 
hvm),  A  short  piece  of  musip,  such  as  might 
suitably  be  written  in  a  musi^  album*  Its 
iona  entirdy  depends  upon  the  taste  and  fancy 
of  the  composer.  As  good  examples  of  this  class 
of  piece  may  be  named  Schumann's  <  Album- 
hUtter,'  op.  134,  a  collection  of  twenty  short 
nKirements  in  the  most  varied  styles.        [B.  P.] 

AlCESFTE,  tngic  opera  in  three  acts  by  Gluck, 
libretto  by  Calzabigi ;  first  performed  at  Vienna 
Dec  16,  1767,  and  in  Paris  (adapted  by  du  Bol- 
kt)  April  23,  1776.  It  was  the  first  in  which 
Glntk  attempted  Bis  new  and  revolutionary  style, 
sod  contains  the  famous  'Epltre  d^catoire'  ex- 
pounding his  principles.  'Aloeste'  was  revived 
at  Piffis  in  ifioi.by  Mme.  Pauline  Viardot* 

ALCOCK,  John,  Mus.  Doc.  Bom  at  London, 
April  II,  1715,  became  at  seven  years  of  age  a 
chorister  of  St.  Paul's  Cathedral  under  Charles 
Ki]^.  At  fourteen  he  became  a  pupil  of  Stanley, 
the  blind  organist,  who  was  then,  although  but 
oxteen,  organist  of  two  London  churches.  All- 
hallows^  Bread-streety  and  St.  Andrew's,  Holbom. 
In  1735  Alooek  became  oi^ganist  of  St.  Andrew's 
Church,  Plymouth,  which  place  he  quitted  in 
1742,  on  being  chosen  organist  of  St.  Lawrence's 
Churdi,  Beading.  In  1749  he  was  appointed 
oiganisty  master  of  the  choristers,  and  lay  vicar 
of  lichfidd  CathedraL  Cn  June  6,  1755,  he 
took  the  degree  of  b^chelar  of  mudc  at  Q^fovd, 


ALDBICH. 


51 


and  in  1761^  proceeded  to  that  of  doctor.  In 
1 760  he  resigned  the  appointments  of  organist 
and  master  of  the  choristeiB  of  lidifield,  retain* 
ing  only  that  of  lay  -vicar.  He  died  at  Lichfield 
in  March,  1806,  aged  91.  During  his  residence 
at  Plymouth,  Alcook  published  'Six  Suites  of 
Lessons  for  the  Harpsichord '  and  '  Twelve  Scmgs,* 
and  whilst  at  Beading  he  published  'Six  Con- 
certos^' and  a  collection  of  'Psalms,  Hymns,  and 
Anthems**  In  1753.  he  published  a  'Morning 
and  Evening  Service  in  E  minor.'  He  likewise 
issued  (in  1771)  a  volume  containing  'Twenty* 
six  Anthems,*  a  'Burial  Servioe,'  etc  He  was 
the  composer  of  »  number  of  glees,  a  collection 
of  which,  under  .the  title  of '  Haimonia  Festi,*  he 
published  about  1790.  Bm  glee,  'Hail,  ever 
pleasiiw  Solitude,'  gidned  a  priee  medal  at  the 
Catch  Club  in  1770*  ^  i^^  Alcock  edited  a 
collection  of  PsiJm  Tunes,  by  various  authors, 
arranged  for  four  voioes,  under,  the  title  of  '  The 
Hannony  of  Sion.'  He  was  also  author  of  a 
novel  entitled  '  The  Life  ef  Miss  Fanny  Brown.' 
Dr.  Alcock's  son,  John  Aloock,  composed  and 
published  at  intervals,  from  1775  to  1776,  a  few 
short  anthems^  [W.  H.  H.] 

ALCHYMIST,'DEB,  Spohr's  eighth  ^era; 
libretto  by  Pfeiffer  ion  a  Spanish  tale  of  Wash- 
ington Irving's ;  composed  between  Oct.  1839  and 
April  1850,  and  first  performed  at  Cassel  on  July 
a8,  1830,  the  birthday  of  the  Elector. 

ALDAY,  a  family  of  musicians  in  France. 
The  &ther,  bom  at  Perpignan,  1737,  was  a 
mandoline  player,  and  the  two*  sons  violinists. 
The  elder  of  the  two,  bom  1763,  appeared  at  the 
Concerts  Spirituels,  first  as  a  mandoline  player, 
and  afterwards  as  a. violinist.  His  works  are 
numerous, .  and  include  a  '  Methode  de  Violon,* 
which  reached  several  editions.  Alday  le  jeune^ 
bom  1 764,  a  pupil  of  Viotti,  was  a  finer  player 
than  lus  brother,  and  achieved  a  great  reputa- 
tion. He  played  often  at  the  Concerts  Spirituels 
up  to  1791,  when  he  came  to  England,  and  in 
1806  was  conductor  and  teacher  of  music  in 
Edinburgh.  He  publislhed  three  concertos  for  vio- 
lin, three  sets  of  duos,  .aSfs  varies,  and  trios,  all 
written  in  a  light  pleasing  style,  and  very  popular 
in  their  day,  though  now  forgotten.      [M.  C.  C] 

ALDOVBANDINI,  Giusbppb  Ahtokio  Vik- 
CfHiZiO,  bom  at  Bologna  about  J665  ;  member  of 
the  Philharmonic  Academy  at  Bologna  (1695)9 
and  conductor  of  the  Duke  of  Mantua's  bajid ; 
studied  under  Jaoopo  Pert!.  He  composed  eleven 
(H>eras  (1696-1711) — of  which  'Amor  toma  in 
cmque  et  cinquanta>'  in  the  Bologna  dialect,  was 
perhaps  the  most  famous — ^also  '  Armenia  Sacra ' 
(Bologna»  1701),  a  collection  of  motetttf,  the  ora- 
torio 'San  Sigismondo'  (Bologna,  1704),  and  other 
music,  sacred  and  instrumentaL  [M.  G.  C] 

ALDBIGH,  Hbnbt,  D.D.,  was  bom  in  1647, 
and  educated  at  Westminster  SchooL  In  due 
course  he  passed  to  Christ  Church,  Oxford,  of 
which  foundation  he  was  afterwards  so  dis* 
tinguished  a  member.  He  was  admitted  a 
student  in  i66a,  and  took  his  degree  as  Master 
of  Arts  in  x669«    He  then  took  holy  orden,  and 

E  2 


52 


ALDBICH. 


was  elected  to  the  living  of  Wem,  in  Shropshire, 
but  oontinned  to  redde  in  his  college  and 
became  eminent  aa  a  tutor.  In  February  1681 
he  was  installed  a  Canon  of  Christ  Chur^  and 
in  May  following  he  took  his  de^pnees  as  Bachelor 
and  Doctor  in  Divinity.  In  1689  he  was  installed 
Dean  ef  Christ  Chuzxm.  He  was  as  remarkable 
for  the  «eal  with  which  he  discharged  the  duties 
of  hisfitatioa  as  for  the  urbanity  of  his  manners. 
His  college  was  his  first  consideration,  and  he 
sought  by  every  means  to  extend  its  resources 
and  uphold  its  reputation.  He  closed  his  career 
Dec.  14, 1710. 

Dr.  Aldrich  was  a  man  of  considerable  attain- 
ments, «  good  .scholar,  architect,  and  musician. 
He  wrote  a  compendium  of  logic,  which  is  still 
used  at  Oxford,  and  a  number  of  tracts  upon 
theology,  the  classics,  etc.,  the  titles  of  which 
may  be  seen  in  Kippis  {Biog.  Brit,),  He  was 
also  one  of  the  editors  ef  Clarendon's  History 
of  the  Rebellion.  Of  his  skill  in  architecture 
Oxford  possesses  many  specimens ;  amongst  others 
Peckwater  quadrangle  at  Christ  Church,  the 
chapel  of  IVioity  CoUege,  and  All  Saints'  church. 
He  cultivated  music  with  ardour  and  suocess. 
'As  dean  of  a  college  and  a  cathedral  he  re- 
carded  it  as  a  duty,  as  it  undoubtedly  was  in 
his  case  a  pleasure,  to  advance  the  study  and 
progress  of  church  music.  His  choir  was  well 
appointed,  and  every  vicar,  clerical  as  well  as  lay, 
gave  his  dailv  and  efficient  aid  in  it.  He  fson- 
tributed  also  hugely  to  its  stock  of  sacred  music ; 
and  some  of  his  services  and  anthems,  being 
preserved  in  the  oollectionB  of  Boyce  and  Arnold, 
are  known  and  sung  in  every  cathedral  in  the 
kingdom.'  He  formed  a  huge  musical  library, 
in  which  the  works  of  the  Italian  conqKMerB, 
particularly  of  Palestrina  and  Carissimi,  are 
prominent  features.  This  he  bequeathed  to  his 
college,  and  it  is  to  be  regretted  that  a  catalogue 
has  not  been  printed.  Catch-singing  was  much 
in  fashion  in  the  Dean*s  time;  nor  did  he 
himself  disdain  to  contribute  his  quota  towards 
the  stock  of  social  harmony.  His  catch,  *  Hark 
the  Bonny  Christ  Church  Bells,*  in  which  he 
has  made  himself  and  his  college  tiie  subject 
of  merriment,  is  well  known.  He  afterwards 
wrote  and  used  to  sing  a  Greek  version  of  this 
catch.  He  was  an  inveterate  smoker,  and 
another  of  his  catches  in  praise  of  smoking  is 
BO  constructed  as  to  aUow  every  ginger  time  for 
his  puff. 

Ih*.  Aldrich's  compositions  and  adaptations  for 
the  church  are  'A  Morning  and  Evening  Service 
in  G'  (printed  by  Boyce);  'A  Morning  and 
Evening  Service  in  A'  (printed  by  Arnold) ;  and 
about  fifty  anthems,  some  original  others  adapta- 
tions from  the  Italian.  Some  of  these  are  to 
be  found  in  the  printed  collections  of  Boyce, 
Arnold,  and  Page ;  others  in  the  Ely,  the 
Tudway,  and  the  Christ  Church  MSS.  (Hawkins, 
History ;  Biog,  Diet,  U,K.8.;  Hayes,  Remarks 
on  AvUon,  etc.),  [E.  F.  R.] 

ALESSANDRO,  Romano,  sumamed  della 
Viola  firom  his  skill  on  that  instrument,  lived  in 
the  latter  half  of  the  16th  century.    In  1560  he 


ALFORD. 

was  admitted  into  the  choir  of  the  Pope's  chapel 
at  Rome.  He  composed  music  for  his  owik  and 
other  instruments,  as  well  as  motetts  and  sofngs, 
among  which  are  a  set  of  'Canzoni  sHa  Napo- 
letana'  for  five  voices.  The  BfSS.  of  some  of 
these  works  are  to  be  seen  in  the  Royal  Library 
at  Munich.  [E.  H.  D.] 

ALEXANDER  BALUS.  The  thirteenth  of 
Hftndel*s  oratorios ;  composed  next  after  '  Judas 
MaocaboBus.'  Words  by  Dr.  Morell,  who  ought 
to  have  known  better  than  write  Balus  for  Halas. 
First  performance,  Covent  Garden,  March  9, 
1748.  Dates  on  autograph: — ^begun  Jane  i» 
1747  i  ^^^  ^  second  part,  fully  scored,  June  24* 
do. ;  end  of  third  part,  fully  scored,  July  4,  do. 

ALEXANDER,  Johank  (or,  acoordiiig^  to 
F^tis,  Joseph),  violoncellist,  fived  at  Duiabui^ 
at  the  end  of  the  last  and  beginning  of  the 
present  century.  He  was  distinguished  more  for 
the  beauty  of  his  tone  and  the  excallenoe  of  his 
style  than  fiir  any  great  cfHnmand  over  teohniral 
difficulties.  He  wrote  a  good  instruction  book 
for  his  instrument, '  Anweisung  for  das  Yioloncell, ' 
Breitkopf  and  Hartel,  1801 ;  also  variations, 
potpourris,  etc.  [T.  P.  H.j 

ALEXANDER'S  FEAST.  An  ^ ode'  of 
Handel*s  to  Diyden's  words,  as  arranged  and 
added  to  by  Newburgh  Hamilton.  Dates  on 
autograph  :^^nd  of  first  part^  Jan.  5,  1736 ;  end 
of  second  party  Jan.  i  a,  do. ;  end  of  Hamilton's 
additions,  Jan.  1 7,  do.  First  performance,  Covent 
Garden,  Feb.  19,  do.  Re-scored  by  Mozart  for 
Van  Swieten,  July,  1 790. 

ALEXANDRE  ORGAN.  See  Amxrioak 
Oboan. 

AL  FINE  (Ital.).  *  To  the  end.'  This  term 
indicates  the  repetition  of  the  first  part  of  a  move- 
ment either  fivm  the  beginning  {da  eapo)  or  firom 
a  sign  !^  {dal  segno)  to  the  place  where  the  word 
fine  stands.  Frequently  instead  of  the  word  fine 
the  end  of  the  piece  is  shown  by  a  double-bar 

with  a  pause  above  it»  thus  ^E« 

ALFONSO  UND  ESTRELLA.  An  opera 
by  Schubert,  in  three  acts;  libretto  by  F.  von 
Schober.  Dates  on  autograph  (Muokv^nein, 
Vienna)  :— end  of  first  act,  Sept.  ao,  1821 ;  end 
of  second  act,  Oct.  ao,  1821 ;  end  of  third  act, 
Feb.  37,  182a;  overture  (MS.  witii  Spina),  Dec. 
1833.  First  performed  at  Weimar,  June  24, 
1854.  '^^^  overture  was  played  as  the  prelnde 
to '  Rosamunds'  in  Dec.  1813,  and  encored.  The 
opera  remains  in  MS.  except  the  overture  (Spina, 
1867)  and  a  bass  cavatina  and  tenor  air  (both 
Diabelli,  183a). 

ALFORD,  JoHV,  a  *lutenist  in  London  in 
the  1 6th  century.  He  published  there  in  1568, 
a  translation  of  Adrien  Le  Roy's  work  on 
the  lute  (see  Lb  Rot)  under  the  title  of  'A 
Briefe  and  Easye  Instruction  to  leame  the 
tableture,  to  conduct  and  dispose  the  hande 
unto  the  Lute.  Englished  by  J.  A..'  with  a 
cut  of  the  lute.  [W.  H.  H.] 


AMANI. 

AUAin^  FsARGSSOO,  TiolonceUist,  bam  at 
I^acexi2».  Ha  for  a.  time  studied  the  violin 
under  bis-  &iher^  who  was  first  violin  in  the 
orchestic  but  afterwards  devoted  himself  to  the 
Tiol<noelio-  under  G.  BovSLLi,  of  Bergamo.    He 

fint  cellist  of  the  theatre  at 
and  was  celebrated  as  a  teacher  of 
his  instrument.  He  wrote  three  books  of  duets 
for  two  oellos.  [T.  P.  H.] 

ALT  BABA,  ou  LE8  quabaittb  toleubs,  an 
<^)era  of  Cherubini*s,  produced,  at  the  Grand 
Opera  on  July  %2,  1833  (the  seventy-third  year 
ttf  the  composer),  The^  music  was  adapted  and 
re-written  from  his  Koukouboi  (1793)  to  a 
new  libretto  by  Scribe  and  MflesviUe.  The 
Overture  was  probably  quite  new.  For  Men- 
dcJssoihnrs  opinion  of  the  opera  see  his  letter 
of  Feb.  7,1834- 

AUPRANDI,  BEBirABDOj  bom  in  Tuscany 
si  the  beginning  c£  the  i8th  century;  was 
composer  at  the  Bavarian  court  in  173O1 
sod  afterwards  was  appointed  director  of  the* 
orchestra  at  Munich.  He  there  wrote  the. 
operas  'MIthiidate*  (1738),  'Iphigenie'  (1739), 
^^JCTiiramide*  (1740)..  Bernardo,  a  scm  of  Uie 
preceding,  was  first  violoncellist,  about  1780 
in  the  Munich  orchestra.  He  is  said  to  have 
composed  both  for  the  cello  and  viola  di  gamba, 
though  F^tis  says  that  he  wrote  only  ror  the 
fonner^  \T,  P.  H.] 

ALIZARD,  AooLFHi  Joseph  Louis,  bom 
in  Paris,  181 4;  a  bass  singer  of  some  eminence ; 
began  his  musical  career  as  a  pupil  of  Urhah 
on  the  violin ;  but  his  master  accidentally 
dtsoovering  that  he  had  a  remarkably  fine  voice, 
penuaded  him  to  abandon  his  instrument,  and. 
to  enter  the  Conservatoire  as  a  pupil  of  Banderali. 
His  voice  was  naturaUy  a  deep  bass,  but  finding 
tiut  after  singing  at  the  opera  in  Paris  for  five 
jesrs  he  was  still  employed  in.  secondary  parts, 
he  sntered  upon  ai  diligent  course  of  practice, 
by  which  he  gained  several  notes  in  the  upper 
segister,  and  was  able  to  take  baritone  parts. 
The  strain  upon  his  chest  however  was  too  great 
to  be  maintained. without  injury,  and  after  several 
attacks,  he  died  of  consumption  at  Marseilles  at 
the  age  of  thirty-six.  [M.  C.  C] 

ALKAN,  Charles  Henri  Yalbntin.  Bom 
at  Paris,  1813.;  still  living  (1875).  Pianist  and 
composer,  chiefly  of  Etudes  and  caprices  for  his 
instrument.  Hjs  astounding  op.  35  (12  Etudes), 
op.  39  (12  Etudes),  and  Trois  grandes  Etudes, 
(i)  'Fantaisie  pour  la  main  gauche  seul,*  (2) 
'  Introduction  et  Finale  pour  la.  main  droit  seul,' 
(3) '  Etude  ^  mouvemeni  semblable  et  perpetuel 
poor  les  deux  mains,*  have  not  yet  met  with  the 
attention  on.  the  part  of  pianoforte  virtuosi  which 
th^  merit.  They  belong  to  the  most  modem 
devdopement  of  the  technique  of  the  instrument, 
and  represent  in  fact  the  extreme  point  which 
it  has  reached.  Though  they  cannot  stand  com- 
parison in  point  of  beauty  and  absolute  musical 
value  with  the  etudes  of  Chopin  and  liszt^  yet, 


ALLE6BANTI. 


08 


like  those  of  Anton  Bubinstein,  which  are  in 
some  respects  akin-  to  them,  they  have  a  valid 
claim*  to  be  studied ;  for  they  present  technical 
specialities  nowhere  else  to  be  found,  difficulties 
ef  a  titanic  sort,  eiSeots  peculiar  to  the  instrument 
oarried  to  the  very  verge  of  impossibility.  Alkan 
was  admitted  to  the  Conservatoire  of  Paris  in  his 
sixth  year  (1819)  and  remained  there  until  1830, 
during  which  term  he  was  successful  in',  sev^al 
comp^tions,  and  left  the  institution  with  the 
first  prize  in  1826^  and  honourable  mention  at 
the  doncours  of  the  Institut  in.  1831.  After  a 
short  visit  to  London  in  1833  he  settled  as  a 
master  of  the  pianoforte  at  Paris.  His  published 
compositions  mount  up.  to  opus  72,  and  indude 
two  oonoertos,  several  sonatas  and  duos,,  a  trio, 
a  large  number  of  piieei  eameUristiquea,  and 
transcriptions  and. songs.  Amongst  these  his 
works  for  the  pianoforte  with  pedals,. known  in 
FiUgland  as  the  '  Pedalier  grand,*  op.  64,  66,  69 
and  72,  take  rank  with  his  etudes.  [E.  D.] 

ALLA  BBEVE  (ItaL).  Originally  a  spedes 
of  time .  in  which-every  bar  oontiuned  a  breve,  or 
four  minims;  hence  its  name.  In  this  time, 
chiefly  used  in  the  older  church  music,  the 
minims,  being  the  imit  of  measurement,  were 
to  be  taken  &st,  somewhat  like  crotchets  in 
ordinary  time.  'Dna  time  was  also  called  AUa 
CapeUa,  Modem  alia  breve  time  simply 
differs  firom  ordinary  oommon  time  by  being 
always  beaten  or  counted  with  two  minims  (and 
not  with  four  crotchets)  in.  the  bar,  and  therefore 
is  really  quick  conunon  time.  It  is  indicated 
in  the  time-signature  by  0,  i.e.  the  C  which 
is  used  to  show  four-crotchet  time,  with  a  stroke 
drawn  through  it. .  [E.  P.] 

ALLACCI,  IcBOTXia;  bom  in  the  island  of  Chios 
of  Greek  pwents  in  1586,  went  to  Rome  at  nine 
years  of  age,  and  in  1661  became  'custode*  of 
the  Vatican  libraxy.  He  died  in  1669,  and  his 
name  is  only  worth  nreserving  for  his  '  Bramma- 
turgia<'  (Home,  1666)  a  catalogue  of  Italian 
musical  dramas  produced  up  to  that  year,  in- 
dispensable for  the  history  of  Italian  opera.  A 
new  edition,  carried  down  to  I755t  appeared  at 
Yenioe  in  that  year^  [F.  G.] 

ALL'ANTIOO<Ital.).  'In  the  ancient  style.' 

ALLEGRANTI^.  Madalena,  was  a  pupil  of 
Holtzbauer  of  Mannheim,  and  appeared  for  the 
first  time  at  Venioe  in  177U  After  singing  at 
other  theatres  in  Italy,  she  went  in  1774  to 
Germany,  where  she  continued  to  perform  at 
Mannheim  and  Batisbon  till  the  year  1 779,  when 
she  returned  to  Venice.  She  sang  there  at  the 
theatre  of  San  Samuele  during  the  Camival,  and 
eventually  came  to  England  in.  1781.  Here 
she  was  enthusiaaticaUy  admired-  in  her  first 
opera»  the  *Yiaggiatori  felid'  of  Anfossi.  Her 
voice,  though  thin,  was  extremely  sweet,  of  ex- 
traordinary compass  upwards,  and  so  flexible  as 
to  lead  her  to  indulge  in  a  flowery  style  of  singing, 
which  had  then  the  merit  of  considerable  novelty. 
She  was  also  a  good  actress.  But  it  was  soon 
foimd  that  there  was  a  great  sameness  in  her 


54 


AIXE6RANTI. 


manner  «nd  embeUuhmenti,  and  ahe  became 
gradually  bd  dkregaided,  by  the  end  of  ber 
■eoond  season,  tint  she  went  to  Dresden, 
where  the  Elector  engaged  her  at  a  salary  of 
a  thousand  docats.  Sie  came  a  second  time  to 
London,  many  years  later,  and  reappeared  in 
Cimarosa^  *Matrimonio  Segreto.'  Kever  was 
a  more  pitiable  attempt;  stte  had  scarcely  a 
thread  of  voioe  remaining,  nor  the  power  to  sing 
a  note  in  tmie:  her  figure  and  acting  were 
equally  altered  for  the  worse,  and  after  a  few 
nights  she  was  obliged  to  retire^  and  quit  ^e 
stage  for  ever.  She  performed  in  oratorio  in 
1799.  AprettyportraitofAllegranti  is  engraved 
by  Bartoloezi,  after  Cosway.  [J.  M.] 

ALLEGRI,  Grboosio,  a  beneficed  priest 
attached  to  the  dtthedral  of  Fermo,  and  a 
member  of  the  Mane  fiunily  which  produced 
Goiregio  the  painter,  was  also  a  musical  composer 
of  much  distinction,  fie  was  bom  at  Borne 
about  the  year  1580,  and  was  a  pupil  of  G.  M. 
Nanini.  During  his  residence  at  Fenno  he  acted 
as  chorister  and  composer  to  the  cathedraL 
Certain  Mottetti  and  ConceEti  which  he  published 
at  this  time  had  so  great  a  repute  that  they 
attracted  the  notice  of  Pope  Urban  Y  III,  who  ap- 
pointed him,  en  Dec.  6, 1029,  to  a  vacan^  among 
the  OantoH  of  the  Apostolic  Ghapd.  Ibis  post 
he  held  vaatil  his  deatn,  in  165  a. 

His  name  is  most  commonly  assootated  with  a 
'  Miserere*  for  nine  voices  in  two  choirs,  which  is, 
or  was  till  lately,  sung  annually  in  the  Pontifical 
Chapel  during  Uie  Holy  Week,  and  is  held  to  be 
one  of  the  most  beautiful  compositions  which  have 
ever  been  dedicated  4o  the  service  of  the  Roman 
Church.  There  was  a  time  when  it  wa»  so  much 
treasured  that  to  copy  it  was  a  crime  visited 
with  excommunication.  Ndt  that  its  possession 
was  even  thus  confined  to  the  Sistine  CSi&pel. 
Dr.  Bumey  got  a  copy  of  it.^  Mozart  took 
down  the  notes  while  tibe  choir  were  winging  it, 
and  Choron,  the  Frenchman,  managed  to  insert 
it  in  his  'Collection*  of  pieces  used  in  Rome 
during  the  Holy  Week.*  Looped  I,  a  great  lover 
of  music,  sent  his  ambassador  to  the  Pope  with  a 
formal  request  for  a  copy  of  it,  which  was  granted 
to  him.  The  emperor  had  tiie  work  performed 
with  much  ceremony  by  a  highly  qualified  choir 
at  Vienna.  The  efifect,  however,  was  so  dis- 
appointing that  he  conceived  himself  the  victim 
of  a.  trick  upon  the  part  of  the  copyist,  and 
complained  to  the  Pope  that  some  inferior 
composition  had  been  palmed  off  upon  him. 
The  fact  was  that  the  value  of  this  curious 
and  very  delicate  work  ^depends  almost  entirely 
upon  its  execution.  It  is  simple  almost  to  the 
point  of  apparent  insipidity,  and  it  only  assumes 
its  true  character  when  sung  by  the  one  choir 
which  received  and  has  retained  as  traditions  the 
original  directions  of  its  author.  Jn  the  Sistine 
Chapel  it  has  ever  commanded  the  enthusiasm 
of  musicians  for  a  certain  indescribable  profundity 
of  sadness,  and  a  rhythmical  adaptation  to  the 

>  Kost.mobsblr  through  BuiUralU  Um  diiKer. 
«  It  will  be  found  In  Um  'tJacred  MUuttt)^'  of  the  lata  Mr.  W. 
Ajnton.    {fwAtt.) 


ALLEGRO. 

words  about  which  it  is  woven,  but  ^ilch,  in 
spite  of  its  apparent  simplicity,  are  so  idifficult 
to  produce  that  no  firaud  was  neoeoaaiy  to 
account  for  the  imperial  fiultire  at  Vieniub.  The 
effects  of  Allegri*s  'Miserere*  are  like  the  aroma 
of  certain  delicate  vintages  which  always  periahes 
in  transit ;  although  in  Rome,  to  tarn  to  a 
metaphor  of  Bainis,  they  have  never  ahowa. 
a  wrinkle  of  old  age. ' 

As  the  man's  music  so  was  the  man.  Adaml 
of  Bolsena  says  that  he  was  of  a  adn^tilar 
gentleness  and  sweetness  of  soul  and  habit.  His 
doors  were  constantly  thronged  by  poor,  who 
sought  him  as  much  for  the  more  impalpable 
sustenance  of  his  kindness  as  for  the  more 
material  fruits  of  his  bounty;  and  his  leisure 
hours  were  commonly  spent  among  Hie  prisons 
and  pest-houses  of  Rome.  He  died  at  a  ripe  old 
age,  on  Feb.  18, 156a,  and  was  laid  in  S.  Maria 
in  Yallicella,  in  the  burial-place  belongings  to  the 
Papal  Choir. 

His  published  works  consist  chiefly  of  two 
volumes  of  'Concertini*  and  two  of  'Motetti,* 
all  printed  during  his  lifetime  by  Soldi  of  Rome. 
Some    stray    Motetti    of    his    were,    however, 
inserted    by  Fabio  Constantini  in  a  collection 
intituled,    'Scelta    di    Motetti    di    divend    ec- 
cellentissimi    autori,    a    due,    tre,    qnattro,    e 
cinque  voci.*    But  iba  Archives  of  S.  Maria  in 
Yallicella  are  rich  in  his  manuscripts,   as  are 
also  the  library  of  the  CoUegio  Romano  and 
the  Collection  of  the  Papal  Choir.    Kircher  too 
in  his   'Musuigia*  has  transcribed  an  extract 
from  his  instrumental  works;   and  the  library 
of  the  Abbb   Santini  contained   the  scores  of 
various  pieces  by  him,  including  'Magnificats,' 
' Improperia,*    'Lamentaziani,'    and    'Motetti.* 
A  '  Veni  Sancte  Spiritus*  by  him  ibr  four  voices 
is  included  in  the  'Musica  divina*  of  Proske 
(Liber  Motettprum,  No.  Ix.)  [E.  H,  P.] 

AJXEGRO  (Kal.)    The  literal  meaning  of 
this  word  is  'cheerful,'  and  it  is  in  this  sense 
that  it  is  employed  as  the  title  of  Milton's  well- 
known  poem.      In  music  however  it  has  the 
signification  of  'lively*  merely  in  the  sense  of 
quick,  and  is  often  combined  with  other  words 
which  would    make    nonsense  with   it    in    its 
original  meaning— e.g.   'allegro  agitato  e  con 
disperazione'  (Clementi,  'Didone  abbandonata'). 
When  unaccompanied  by  any  qualifying  word 
'  allegro '  indicates  a  rate  of  speed  nearly  inter- 
mediate between  'andante*  and  'presto.'    There 
is  however  no  other  time  indication  which  is  so 
frequently  modified  by  the   addition  of   o^er 
words.    To  quote  only  some  of  the  more  conmion, 
'  allegro  molto/  '  allegro  assai,^  '  allegro  con  brio  * 
(or  'con  fuoco*),  and  'allegro  vivace,'  will  all 
indicate  a  quicker  time  than  a  simple  allegro; 
an  'allegro  assai,'  for  instance,  is  often  almost 
equivalent  to  a  'presto.'    On  the  other  hand, 
'allegro  ma  non  trc^po,'  'allegro  moderate/  or 
'allegro  maestoso,'  will  all  be  somewhat  slower. 
The    exact    pace  of   any  particular  all^;ro   is 
frequently  indicated  by  the  metronome,  but  even 

*  'Seoa  ATtr  oontratto  ragB  dl  TeochiMa.* 


iJLLEGKO. 

tins  18  by  no  meaiis  an  mfiJlible  gnide,  as  tiie 

same  moTement  if  played  in  a  large  hall  and 

with  a  great  number  of  performers  would  require 

to  be  taken  somewhat  slower  than  in  a  smaller 

room  or  with  a  smaller  band.    In  this,  as  with 

all  other  time-indications^  much  must  be  left  to 

the  discretian  of  the  performer  or  conductor.    If 

he  have  true  musical  feeling  he  cannot  go  far 

wrong ;  if  he  have  not,  the  most  minute  directions 

will  hjodly  keep  him  right.    The  word  '  allegro ' 

is  also  used  as  the  name  of  a  piece  of  music, 

eitha  a  separate  piece  (e,g.  Chopin's  'Allegro 

de  OoDoerfe,*  op.  46),  or  as  the  first  movement 

of  a  large  instrumental  composition.    In  these 

eases    it    is   generally   constructed    in   certain 

definite  £»ms,  for  which   see   Stmfhont   and 

SosATiu    Beethoven  also  exceptionally  uses  the 

wQird    'allegro*    instead    of    'scherzo.'      Four 

inatanoes  of  this  are  to  be  found  in  his  works, 

tIz.  in  the  symphony  in  G  minor,  the  quartetts 

in   £  minor,    op.   59,    No.   a,   and   F   minor, 

op  95,  and  the  Sonata  quad  Fantasia^  op.  27, 

No.  I.  [E.  P.] 

ALLEGRETTO    (Ital.).     A    diminutive    of 
'allegro,*  and   as   a   time-indication  somewhat 
dower  than  the   latter,  and    also  &ster   than 
'andante.*    Like  'allegro*  it  is  firequently  com- 
bined with  other  words,  e.  g. '  allegretto  moderate,* 
'alkgr^to  vivace,*  'allegretto  ma  non  troppo,' 
'allegretto  scherzando,*  etc.,  either  modifying  the 
pace  or  describing  the  character  of  the  music. 
The  word  is  also  used  as  the  name  of  a  move- 
mait^  and  in  this  sense  is  especially  to  be  often 
Iband  in  the  works  of  Beethoven,  some  of  whose 
all^reitae  are  among  his  most  remarkable  oom- 
podtionB.    It  may  be  laid  down  as  a  rule  with 
regard  to  Beethoven,  that  in  all  cases  where  the 
word  'allegretto*  stands  aione  at  the  head  of 
the  second  or  third  movement  of  a  work   it 
indicates  the  character  of  the  music  and  not 
merely  its  pace.    A  genuine  Beethoven  allegretto 
always  takes  the  place  either  of  the  andante  or 
■cheno  of  the  work  to  which  it  belongs.     In  the 
leventh  and  eighth  symphonies,  in  ^e  quartett 
in  F  mhior,  op,  95,  and  the  piano  trio  in  E  flat, 
op.  70,  No.  a,  an  allegretto  is  to  be  found  instead 
d  the  slow   nLOvement;    and   in    the   sonatas 
in  F,  op.  10,  No.  a,  and  in  E,  op.  14,  No.  i,  in 
the  great  qnartett  in  F,  op.  59,  No.  i,  and  the 
trio  in  £  flat»  op.  70,  No.  a,  Uie  allegretto  takes 
the  place  of  the  scherzo.    This  use  of  the  word 
alone  as  the  designation  of  a  particular  kind  of 
moTement  is  pecuUar  to  Beethoven.    It  is  worth 
mentioning  that  in  the  case  of  the  allegretto  of 
the  seventh  symphony,  Beethoven,  in  onLer  that 
it  should  not  be  played  too  &8t,  wished  it  to  be 
msrked  'Andante  quasi  allegretto.*   This  indica- 
tion however  does  not  appear  in  any  of  the 
printed  sooree.     In  the  slow  movement  of  the 
Pastoral  Symphony,  Beethoven  also  at  first  indi- 
cated the  time  as  '  Andante  molto  moto,  quaH 
alkgretto,^  but  subsequently  strudL  out  the  last 
two  words.  [E.  P.] 

ALLEMANDE.  i.  One  of  the  movements 
of  the  Suite,  and,  as  its  name  implies,  of  Ger- 
man origin.     It  is,  with  the  exception  of  the 


ALLGEMEINE, 


55 


PsKLUBi  and  the  AiB,  the  only  movement  of 
the  Suite  which  has  not  originated  in  a  dance- 
form.  The  allemande  is  a  piece  of  moderate 
rapidity — about  an  allegretto— in  common  time, 
and  commencing  usually  with  one  short  note, 
generally  a  quaver  or  semiquaver,  at  the  end  of 
the  bar. 


^.    J.  8.  Bach,  Suites 
^^    AugUusea,  No.  8. 


Sometimes  instead  of  one  there  are  three  short 
notes  at  the  beginning :  as  in  JELmdel's  Suites, 
Book  i.  No.  5. 


J.A  f^imm 


etc 


The  homophonic  rather  than  the  polyphonic 
style  predominates  in  the  music,  which  fre- 
quently consists  of  a  highly  figurate  melody, 
with  a  comparatively  simple  accompaniment. 
Suites  are  occasionally  met  with  which  have 
no  allemande  (e.  g.  Bach's  Partita  in  B  minor), 
but  where  it  is  introduced  it  is  always,  un- 
less preceded  by  a  prelude,  the  first  movement 
of  a  suite ;  and  its  chief  characteristics  are  the 
uniform  and  regular  motion  of  the  upper  part ; 
the  avoidance  of  strongly  marked  rnythxns  or 
rhythmical  figures,  such  us  we  meet  with  in  the 
CouRANTX ;  the  absence  of  all  accents  on  the 
weak  parts  of  the  bar,  such  as  are  to  be  found 
in  the  Sarabands;  the  general  prevalence  of 
homophony,  already  referred  to ;  and  the  simple 
and  measured  time  of  the  music.  The  alle- 
mande always  consiBts  of  two  parts  each  of 
which  is  repeated.  These  two  parts  are  usually 
of  the  length  of  8,  la,  or  16  bars;  sometimes, 
though  less  firequently,  of  10.  In  the  earlier 
allemandes,  such  as  those  of  Couperin,  the 
second  is  frequently  longer  than  the  first :  Bach, 
however,  mostly  makes  them  of  the  same 
length. 

a.  The  word  is  also  used  as  equivalent  to  the 
Deutscher  Tanz — a  dance  in  triple  time,  closely 
resembling  the  waltz.  Specimens  of  this  species 
of  allemande  are-  to  be  seen  in  Beethoven*s 
'  I  a  Deutsche  Tfinze,  fiir  Orchester,*  the  first  of 
which  begins  thus :— 


frT^N-r^irrrrrriJ  ritrrrfr 


It  has  no  relation  whatever  to  the  allemande 
spoken  of  above,  being  of  Swabian  origin. 

3.  The  name  is  also  applied  to  a  German 
national  dance  of  a  lively  character  in  a-4  time, 
similar  to  the  Contbedansk.  [E.  P.] 

ALLGEMEINE  MUSIKAJLISCHE  ZETT- 
UNG.    See  Mubikalisohb  Zkitukg. 


66 


ALLISON. 


ALLISON,  Richard,  a  teacher  of  muaio  in 
London  in  the  reign  of  Elizabeth,  the  particolarB 
of  whoee  birth  and  decease  are  unknown.  His 
name  first  ooours  as  a  contributor  to  T.  Esters 
'Whole  Booke  of  Psalms,*  1592.  A  few  years 
lattf  he  published  on  his  own  account  'The 
Psalmes  of  David  in  Meter,*  1599,  a  collection 
of  old  church  tunes  hannonised  by  himself  in 
four  parts,  with  an  accompaniment  for  the  'lute, 
orphfuyon,  dtteme  or  base  vioU,*  and  im- 
portant as  being  one  of  the  earliest  to  give  the 
melody  in  the  cantus  or  sofnuno  part — the  usual 
practice  being  to  give  it  to  the  tenor.  Allison 
advertises  it  'to  be  solde  at  his  house  in  the 
Duke's-place  near  Aide-gate,*  and  dedicates  it  to 
the  Countess  of  Warwick.  It  is  ushered  forth 
by  some  oomplimentaiy  verses  by  John  Dow- 
laod,  the  celebrated  performer  on  the  lute,  and 
others.  He  appears  to  have  been  patronised  by 
Sir  John  Scudiunore,  to  whom  he  dedicated  his 
collection  of  part-songs  entitled,  '  An  Houres 
Recreation  in  Musicke,  apt  for  Instruments  and 
Yoyces,'  1606.  This  publication  contains  '  a 
prayer'  set  to  music,  'for  the  long  preservation 
of  the  king  and  his  poeteritie,*  and  *a  thanks- 
giving for  the  deliverance  of  the  whole  estate 
from  the  late  oonspiracie* — the  Gunpowder  Plot. 

Allison,  Robkrt,  probably  a  relative  of 
Richard,  was  a  gentleman  of  the  Chapel  Royal. 
After  serving  in  the  royal  establishment  for 
twenty  yean  he  sold  his  place,  Feb.  8,  1609-10, 
to  Humphry  Bache.  {AUiton^BpuhliecUions;  Camd. 
Soc.  ChequeBk.  of  Chap.  Royal.)        [£.  F.  R.] 

ALL*  OTTAVA  (Ital.).  'In  the  octave.* 
(i)  In  pianoforte  music  a  passage  marked  aJX  8va. 
(or  merely  Sva.)  is  to  be  played  an  octave  higher 
than  written,  if  the  sign  is  placed  above  the  notes, 
an  octave  lower  if  placed  below  them.  In  the 
latter  case  the  more  accurate  indication  80a.  has»a 
is  frequently  employed.  The  duration  of  the 
transposition  is  shown  by  a  dotted  line,  and  when 
the  notes  are  again  to  be  played  as  written,  the 
word  loco  (Ital.,  'in  its  place*)  is  put  over  (or 
under)  the  music,  (a)  In  orchestral  scores, 
especially  manuscripts,  cdC  8ra.  signifies  that  one 
instrument  plays  in  octaves  with  another,  either 
above  or  below.  (3)  In  playing  frxtm  a  figured 
bass  the  term  shows  that  no  harmonies  are  to  be 
employed,  and  that  the  upper  parts  merely  double 
the  bass  in  octaves.    In  this  case  it  is  equivalent 

to  TABTO  SOLO.  [E.  P.] 

ALL*  UNISONO  (Ital.,  abbreviated  UnU.). 
'In  unison.'  In  orchestral  scores  this  term  is 
used  to  show  that  two  or  more  instruments,  the 
parts  of  which  are  written  upon  the  same  stave, 
are  to  play  in  imison.  In  modem  scores  the 
words  a  due,  a  tre,  etc.,  are  mora  friequently 
employed. 

ALPENHORN,  or  ALPHORN.  an  instru- 
ment with  a  cupped  mouthpiece,  of  wood  and 
bark,  used  by  the  mountaineers  in  Switzerland 
and  many  other  countries  to  convey  signals  and 
to  produce  simple  melodies.  It  is  nearly  straight, 
and  three  or  more  feet  in  length.  Those  in  the 
Museum  at  South  Kensington  are  respectively 


ALPHABET. 

7  ft.  5  in.  and  7  ft.  11  in.  long.  There  is  a 
Swedish  instrument  of  this  kind  called  Jjurt ; 
another  of  kindred  nature  used  in  the  TTimifc- 
layas ;  and  another  by  the  Indians  of  South 
Ajnerica. 

The  notes  produced  are  evidently  only  the 
open  harmonics  of  the  tube,  somewhat  nullified 
by  the  material  of  which  it  is  made^  and  by  the 
smallness  of  the  bore  in  relation  to  its  len^^h. 
The  melody  is  termed  '  Ranz  des  Yachee.*  Its 
principal  musical  interest  is  derived  frtim  its 
mtroducUon  into  the  finale  of  Beethoven's  Paa* 
toral  Symphony,  and  Rossini's  opera  of  *  William 
TelL'  Beethoven  employs  the  ordinary  horn 
alone;  but  in  the  overture  the  long  s6k>,  now 
usually  played  by  the  oboe,  sometimes  by  the 
cor  anglais,  was  originally  intended  for,  ajid 
played  by,  a  tenoroon  or  alto  fagotto  atajudin^ 
m  F,  wUch  much  more  nearly  approachee  the 
real  tone  of  the  Alpenhom  than  the  other  in* 
struments. 

A  similar  combination  of  cupped  mouthpiece 
with  wooden  tube  existed  in  the  serpent,  and  the 
result  was  a  peculiar  covered  and  tender  quality 
of  tone  now  lost  to  music,  except  in  so  &r  as  it 
can  be  traced  in  some  organ  reed-stops,  with 
wooden,  not  metal  bells.  [W.  H.  S.] 

ALPHABET.  The  musical  alphabet,  which 
serves  as  the  designation  of  all  musical  souuda, 
consists  of  the  seven  letters  A,  B,  C,  D,  £,  F, 
and  G,  and,  in  Gretman,  H  in  addition.  In  the 
natural  scale  (i.e.  the  scale  without  sharps  or 
flats)  the  order  of  these  letters  is  as  follows : — 
C,  D,  £,  F,  G,  A,  B  (or,  in  German,  H),  C ;  the 
cause  of  this  apparently  arbitrary  arrangement 
will  be  best  understood  from  a  brief  glance  at  the 
history  of  the  musical  scale. 

According  to  Isidore,  bishop  of  Seville  {Hrca 
595),  the  oldest  harps  had  seven  strings,  and  the 
shepherds*  pandean  pipes  seven  reeds,  ^  firom 
which  it  appears  probable  as  well  as  natural  that 
the  ancient  scale  consisted  of  seven  sounds. 

These  seven  sounds,  which  served  for  both 
voices  and  instrumeniB,  were  gradually  added  to, 
imtil,  in  the  time  of  Aristoxenus  (340  B.C.),  there 
were  fifteen,  extending  from  A  the  first  space  of 
the  bass  stave  to  A  the  second  space  in  the 
treble.  Each  of  these  sounds  had  its  distinctive 
name,  derived  frt)m  the  position  and  length  of  the 
different  strings  of  the  phorminx  or  lyre,  and  in 
order  to  avoid  writing  them  in  full  the  ancient 
Greek  authors  expressed  them  by  certain  letters 
of  the  alphabet. '  As  however  tibe  properties  of 
the  notes  varied  continually  with  the  different 
modes  and  so-called  mutations,  which  by  this 
time  had  been  introduced  into  the  musical 
system,  these  letters  were  written  in  an  immense 
variety  of  forms,  huge  and  small,  inverted, 
turned  to  the  right  or  left,  lying  horizontally, 
accented  in  many  ways,  etc.,  so  that,  according 
to  AlypiuB,  the  most  intelligible  of  the  Greek 
writers  who  wrote  professedly  to  explain  them, 

1  Befora  the  time  of  Terpander  (aboat  flTfi  B.C.)  Uw  Greek  Ijrre  is 
mppoMd  to  bsve  had  bat  four  ttrlnv.  BoeUiiui  attrlbutai  Ita  cztoi- 
■ion  to  WTaii  •tringi  to  Terpander. 

>  For  a  Adl  deKripUon  of  the  Greek  acale  ne  Sir  J.  Havkina. 
'HUtuiy  of  Miaic'  Gb.  It. 


ALPHABET. 


ALTO. 


67 


ilie  mnBical  mgDB  in  vfie  in  his  day  amoimied  to 
no  fewer  than  1 240,  and  it  appears  probable  that 
eren  this  nomber  was  afterwards  exceeded. 

Hie  Romans,  who  borrowed  the  Greek  scale, 
and  gave  Latin  names  to  each  of  its  fifteen 
K>and8»  did  not  ad<^t  this  complicated  system, 
bat  employed  instead  the  first  fifteen  letters  of 
their  alphabet^  A  to  P,  and  later  stiU,  Gregory 
the  Great,  who  was  chosen  pope  a.d.  590, 
disooToing  that  the  second  luJf  of  the  soJe, 
H  to  P,  was  but  a  repetition  of  the  first,  A  to  H, 
ibolished  the  last  eight  letters  and  used  the  first 
seven  ovet  again,  expressing  the  lower  octave  by 
capitals  and  the  upper  by  small  letters.  ^ 

So  fiur  the  original  compass  of  the  Greek  scale 
vat  preserved,  and  thus  A  was  naturally  i4>plied 
to  the  first  and  at  that  time  lowest  note,  but 
aboat  the  beginning  of  the  loth  century  a  new 
note  was  introduced,  situated  one  degree  below 
the  lowest  A,  and  called  (it  is  difficult  to  say 
vhy)  after  the  Greek  letter  ^omma,'  and  written 
r.  To  this  others  were  from  time  to  time  added 
oniil  the  lower  C  was  reached,  in  the  early  part 
of  the  1 6th  century,  by  La^arino.  Thus  the 
modem  scaJe  was  established,  and  A,  originally 
the  first,  became  the  sixth  degree. 

In  Gennany  the  same  system  was  originally 
adopted,  but  when  accidentals  were  invented, 
and  it  became  customary  to  sing  in  certain  cases 
B?  instead  of  BQ,  the  square  shape  of  the  natural 
loon  became  transformed  into  the  letter  H,  which 
was  tpfl^ed  to  the  note  BQ  (the  original  B),  while 
&e  rounder  form  of  the  fiat  received  the  name 
of  B,  a  distinction  which  remains  in  force  to  the 
praent  day.     (See  Accidentals.)  [F.  T.] 

ALSAGER,  Thouas  Massa,  bom  1779,  died 
1846,  one  of  the  family  of  Alsager,  of  Alsager, 
Chtahire.  He  was  for  many  years  a  proprietor 
and  one  of  the  leading  men  in  the  management 
of  The  Times/  being  especially  concerned  in  all 
that  related  to  music  and  the  collection  of  mer- 
cantile and  foreign  news.  The  professionally 
trained  musical  criti<^  added  at  his  suggestion  to 
the  staff  of '  The  Times,'  was  the  first  employed 
on  any  daily  paper.  He  was  the  intiaiate  firiend 
of  Liunb,  the  Burneys,  Wordsworth,  Talfourd, 
l^igh  Hunt,  Mendelssohn,  Moscheles,  and  many 
other  celebrities.  But  what  entitles  him  to 
mention  here  was  his  intense  devotion  to  music, 
to^hich  he  gave  aU  the  leisure  he  could  spare 
from  a  busy  life.  His  practical  ability  in  music 
vu  Tery  great,  and  it  is  a  £act  that  he  could 
Perform  on  all  the  instruments  in  the  orchestra. 
The  frequent  private  concerts  given  by  the 
'Queen-Square  Select  Society'  at  his  residence 
ni  London  will  long  be  remembered  by  his  many 
minical  friends,  and  were  the  means  of  intro- 
ducing to  this  country  many  works  and  foreign 

>  IU1  wHan  «f  F^p*  Qgeforf  fonm  the  KxiIIed  bails  of  the 
^tnta  TaHatitr,  in  vUeh  tii«  octave  from  th*  C  next  bdow  tiie  ban 
"MvtoC  maand  tpmee  b  called  the  great  octave,  and  is  indicated  hy 
<ip>tals;  thi  octave  nest  above  Is  known  as  the  snaD  octave,  and  Is 
'^'aaMlbjrnMn  letten;  and  aO  succeeding  octaves  are  oalied  onoe< 
■vM,  teloe«wrfced  octaves,  etc,  and  the  letten  representing  them 
kn»  OBSb  tmot  or  more  borlaontal  lines  drawn  above  them,  thus : 

Cl)'-ed...e2...22.*'Ca-.>  letc 
^Dttsdditian  of  the  ris  br  nnie  attributed  to  Ooido  d'Areaeo;  but 
b  9Mki  of  tt  ia  hk '  lUandogHS '  UU).  1084)  as  being  already  in  OBSt, 


musicians.  There  Sivori  for  the  first  time  at- 
tempted quartett  playing,  and  there  on  March 
a8,  1834,  took  place  the  first  performance  in 
England  of  Cherubini*s  'Requiem,'  principal 
soprano  Mrs.  H.  B.  Bishop ;  first  violin  M.  Spag- 
noletti.  In  1843  the  society  held  a  special  musi- 
cal festival  in  honour  of  Spohr,  who  himself  led 
three  pieces.  One  object  of  the  society  was  to 
establish  a  taste  for  Beethoven's  chamber-music, 
by  performing  it  in  the  most  perf^  manner 
attainable.  It  was  divided  into  two  classes,  one 
called  the  pianoforte  and  the  other  the  violin 
class,  and  separate  evenings  were  devoted  to 
each  kind  of  composition,  special  attention  being 
bestowed  on  those  least  known  to  the  public. 
These  resulted  in  the  series  of  chamber  concerts 
given  publicly  in  Harley  Street  in  1845  and 
1846,  and  dJled  the  'Beethoven  Quartett  So- 
ciety,' the  whole  being  due  to  the  enthusiasm, 
knowledge,  and  munificence  of  Mr.  Alsager. 

ALT.  The  notes  in  the  octave  above  the 
treble  stave,  beginning  with  the  G,  are  said  to 
be  IN  ALT,  and  those  in  the  next  octave  in 
ALTIB8IM0. 

.  ALTENBUBG,  Johann  Ebnst,  a  &mouB 
trumpet-player,  bom  1734  at  Weissenfels,  and 
son  of  Johann  Caspar,  also  an  excellent  master 
of  the  same  instrument.  The  father  served  in 
several  campaigns,  and  was  in  action  at  Malpla- 
quet.  After  leaving  the  army  he  travelled  much 
in  Europe,  and  was  admired  wherever  he  came, 
and  so  successful  that  he  was  able  to  refuse  an 
offer  from  Frederic  Augustus  of  Poland  to  enter 
his  service  with  a  salary  of  600  thalers.  He 
died  in  1 76 1 .  His  son — more  celebrated  than  the 
father— after  completing  his  education,  adopted 
the  militaiv  career,  and  was  a  field  trumpeter  in 
the  army  during  the  Seven  Years'  War.  After 
the  peace  of  Hubertsburg  he  became  organist  at 
Bitterfeld.  He  was  the  author  of  a  book  entitled 
'Versuch  einer  Anleitung  zur  heroischer  musikal- 
ischenTrompetkunst'  (Halle,  1 795), which,  though 
poor  in  style,  is  so  complete  in  its  treatment  of 
the  subject,  as  to  be  of  the  greatest  interest  in 
relation  to  truni^t  music.  [F.  G.] 

ALTHORN,  an  instrum^at  of  the  Saxhorn 
family,  usually  standing  in  Eb  or  F.  It  is  exclu- 
sively used  in  military  music,  and  often  replaces 
the  French  horn,  for  which  however  it  is  a  poor 
substitute  as  regards  tone.  It  is  much  easier  to 
leam  than  the  horn,  and  presents  greater  fiacility 
in  rapid  melodic  passages.  The  least  objection- 
able wav  of  introducing  it  into  the  reed  band  is 
to  associate  a  pair  of  these  instruments  with  two 
French  horns,  reserving  characteristic  holding 
notes  for  the  latter.  In  the  brass  band,  where 
variety  of  timbre  is  less  attainable,  it  answers 
its  purpose  well,  and  can  better  be  played  on 
horseback,  from  its  upright  bell.  The  name  is 
also  given  to  the  saxhorn  in  Bb,  but  this  is  best 
distinguished  as  the  Babitone.  The  scale  and 
compass  of  this  and  the  other  Saxhobns  are 
given  under  that  word.  [W.  H.  S.} 

ALTO  (from  the  Latin  altus,  high,  far  re- 
moved).   The  mal^  voice  of  the  highest  piteh. 


t»8 


ALTO. 


called  also  counter-tenor,  i.e.  contra,  or  against 
the  tenor.  In  the  J  6th  and  early  part  of  the 
17th  centuries  the  compass  of  the  alto  voice  was 
limited  to  the  notes  admissible  on  the  stave  which 
has  the  C  clef  on  its  third  line  ;  i.e.  to  the  notes 
a  sixth  above  and  a  sixth  below  'middle  C 
Later  however  this  compass  was  extended  by 
bringing  into  use  the  third  register  of  the  voice, 
or  '&]setto/  a  register  often  strongest  with 
those  whose  voices  are  naturally  'bass/  The 
falsetto  counter-tenor,  or  more  properly  counter- 
alto,  still  to  be  found  in  cathedral  choirs,  dates — 
if  musical  history  is  to  be  read  in  music — ^from 
the  restoration  of  Charles  II,  who  doubtless  de- 
sired to  reproduce  at  home,  approximately  at 
least,  a  class  of  voice  he  had  become  accustomed 
to  in  continental  chapels  royal  and  ducal.  The 
so-called  countertenor  paits  of  Pelham  Hum- 
phreys his  contemporaries  and  successors,  habi- 
tually transcend  those  of  their  predecessors,  firom 
Tallis  to  Gibbons,  by  at  least  a  third.  The  con- 
tralto part  is  properly  written  on  the  stave  which 
has  C  on  its  second  line;  it  consequently 
extends  to  the  eighth  above  middle  C  aiul 
the  fourth  below.  This  stave  is  now  obsolete, 
and  the  part  for  which  it  is  fitted  is,  in  Eng- 
land, written  either  on  the  alto  stave,  for  which 
it  is  too  high,  or  on  the  treble  stave  for  which 
it  is  too  low.  On  the  continent  the  stave 
which  has  the  C  clef  on  the  first  line  is  sometimes 
used  for  it.  For  the  female  ctUo  voice  see  CoN- 
TBALTO.  [J.  H.] 

ALTO  is  also  the  Italian  term  for  the  Tenor 
violin,  called  alto,  or  alto  di  viola^  as  distinguished 
from  basso  di  vida»  because,  befoise  the  invention, 
or  at  least  before  the  general  adoption  of  the  vio- 
lin, it  used  to  take  the  highest  part  in  composi- 
tions for  string-instruments,  corresponding  to  the 
soprano  part  in  vocal  music  For  f urtherparti- 
culars  see  Viola.  [P.  D.] 

ALTRO  VOLTO  (Ital.  'another  turn*),  a 
term  in  use  during  the  early  part  of  the  last 
century  for  encore,  a  word  which  has  now 
entirely  superseded  it. 

AMATI,  a  family  of  celebrated  Italian  violin- 
makers,  who  lived  and  worked  at  Cremona,  and 
are  generally  regarded  as  the  founders  of  the  Cre- 
mona school.  There  is  considerable  uncertainty 
as  to  the  different  members  of  the  family,  which 
was  one  of  the  oldest  and  noblest  of  the  town. 

I.  Andrea,  the  eldest,  appears  to  have  been 
bom  some  time  between  1520  and  1525. 
Fetis  mentions  two  instruments  of  Andrea 
Amati,  which  are  dated  1546  and  1551 ;  one  of 
them  a  rebec  with  three  strings,  tiie  other  a 
viola  bastardo,  or  small  violin.  There  can  be 
no  doubt  that  he  was  originally  a  maker  of  the 
older  viola  di  gamba^  and  that  only  later  in  life 
he  began  to  make  violins.  We  do  not  know 
whether  he  was  a  direct  pupil  of  one  of  the 

rit  Brescia  makers,  Gaspar  da  Salo  or  Maggini. 
spite  of  some  similarity  his  violins  certoinly 
differ  materially  in  shape  and  workmanship  from 
the  works  of  these  older  masters.  Very  few 
authentic  instruments  of  his  make  are  extant, 


AMATI. 

and  those  are  not  in  good  preservation.  They 
retain  the  stiff  upright  Brescian  soundhole,  but 
in  almost  every  o&er  respect  mark  A  gi:^^^^ 
advance  upon  the  productions  of  the  older  school. 
Andrea  worked  mostly  after  a  small  pa.ttern  ; 
the  belly  and  back  very  high;  the  -^amisti 
of  amber  colour;  the  wood,  especially  tJukt  of 
the  belly,  most  carefully  choeen ;  tiio  scroll 
beautifully  chiselled;  the  general  outlinie  ex- 
tremely graceful.  A  few  violoncellos  and  tenors 
of  this  master  are  also  known.  The  tone  of  his 
instruments  is  clear  and  silvery,  but,  probably 
owing  to  their  small  size  and  high  elevatioxi,  not 
very  powerful.  The  fourth  string  is  particuJUuiy 
weak.    Andrea  died  probably  in  1 5  7  7. 

3.  NiooLO,  younger  brother  of  AJidrea  (not  to 
be  confounded  with  Nioolo  son  of  Geronimo) 
appears  to  have  made  basses  in  preference  to 
violins. 

3.  Antonio,  bom  is$o,  and  4.  GEROimro, 
died  1635,  sons  of  Andr^  worked  con  jointly 
very  much  in  their  fiither's  style;  Geronimo 
appears  to  have  afterwards  made  violins  of  a 
la^^  pattern  independently  of  his  brother, 
which  however  are  inferior  to  those  made 
conjointly  with  him. 

5.  NiooLOy  bom  September  3,  1596,  died 
August  13,  1684,  son  of  Greronimo,  was  the 
last  and  doubtless  the  most  eminent  of  the 
fiemiily.  Although  he  did  not  materially  alter 
the  model  adopted  by  the  rest  of  the  Amatis  he 
improved  it  in  many  respects.  His  outline  is 
still  more  graceful,  his  vamish  of  deeper  and 
richer  colour,  and  the  proportions,  as  regards 
thickness  of  wood  and  elevation  of  back  and 
belly,  are  better  calculated  by  him  than  by  his 
predecessors.  His  instruments  have  in  con- 
sequence, besides  the  clearness  and  transparency 
of  the  older  Amatis,  greater  power  and  intensity 
of  tone.  As  a  rule  he  too  worked  after  a  small 
pattern,  but  he  also  made  some  large  vidins, — 
the  so-called  'Grand  Amatis,*  which  are  par- 
ticularly high-priced — and  a  ereat  number  of 
beautiful  tenors  and  ViolonceUos.  His  instru- 
ments enjoyed  even  during  his  life-time  a  great 
reputation,  and  it  is  related  that  Charles  I^  of 
France  gave  him  an  order  for  twelve  violins,  six 
tenors,  and  six  violoncellos,  for  his  private  band. 
Andrea  Guameri  and  the  still  greater  Antonio 
Stradivari  were  his  pupils.  His  label  runs 
thus,  'Kicolaus  Amati  Cremonens.  Hieronimi 
filii  Antonii  nepos  fecit  anno  16  — .* 

6.  Gebondio,  his  son,  was  but  an  in- 
different maker.  The  violins  of  the  Amati  are 
the  link  between  the  Brescia  school  and  those 
masters  who  brought  the  art  of  violin-making 
to  its  greatest  perfection,  Antonio  Stradivari  ana 
Josef  Guameri.  The  tone  of  Gaspar  da  Sale's 
and  Maggini's  violins  is  great  and  powerful, 
but  has  a  peculiarly  veiled  character,  reminding 
one  of  the  viola  da  gamba.  In  Nicolo  Amati's 
instruments  the  tone  is  clearer  and  more  trans* 
parent,  but  comparatively  small.  It  was  left  to 
another  generation  of  makers  to  combine  these 
qualities  and  to  fix  upon  a  model,  which  after 
tiie  lapse  of  nearly  a  century  and  a  half  has 


AMATI. 

pnnred  itself  iiica|iable  of  even  the  most  trifling 
mproTement.  [P.  D.] 

AMBASSADRICE,  L',  opera  in  three  acts  ; 
Hfaretto  by  Scribe ;  moaic  by  Auber ;  first  per- 
fonned  at  the  Op^ra  Comique,  Dec  ai,  1836. 

AMBEB  WrrCH,  THE,  a  ronumtic  opera  in 
four  acta,  by  W.  V.  Wallace ;  libretto  by  H.  F. 
Chfirie? ;  first  pFodnoed  at  Her  Majesty's  Theatre, 
Fd).  28,  1861. 

AMBROGETTIy  GnrSKFPK,  an  excellent 
huffoy  who  appeared  in  1807,  and  at  Paris  in  181 5 
in  '  Don  Giovanni* ;  and  at  the  opera  in  London 
in  1 81 7,  where  he  was  very  suooessful.  EGls  voice 
wu  a  bass  of  no  great  power,  but  he  was  an 
excellent  actoc,  with  a  natural  yein  of  humour, 
thougii  often  pat  into  characters  unsuited  to  him 
u  s  Biiiger ;  yet  he  acted  extremely  well,  and  in 
ft  manner  too  horribly  true  to  nature,  the  part  of 
Uie  mad  father  in  Paer*s  beautiful  opera  *  Agnese,' 
ThUe  that  of  the  daughter  was  sung  by  Gam- 
{Mffese.  He  remained  until  the  end  of  the  season 
cf  1821,  in  which  his  salsiy  was  £400.  He 
manied  Teresa  Strinasaochi  the  singer.  The 
dftte  of  his  death  is  not  known.  He  was  said 
to  have  become  a  monk  in  Prance ;  but  in  1838 
he  vas  in  Ireland,  since  which  nothing  has  been 
heudofhim.  [J.  M.] 

AMBROS,  AuGiTBT.WiLHBLY.  BomNov.  17, 
1816,  at  Mauth  in  Bohemia.  By  virtue  of  his 
'Geschichte  der  Musik*  (Breslau,  Leuckart),  the 
fourth  volume  of  which,  covering  the  epoch  of 
PAUSTRniA,  has  recently  appeared,  he  must  be 
ooosdered  the  greatest  living  German  authority 
on  all  questions  conoeming  &e  history  of  Euro- 
pean mnmc  from  uident  Greece  to  the  present 
day.  In  spite  of  having  suffered  till  past  his 
fiftieth  year  under  that  curse  of  diUetantism, 
lerring  two  masters — ^being  at  the  same  time 
a  hardwoiked  employS  in  the  Austrian  Civil 
Semoe  and  an  enthusiastic  musician  and  litt^ 
ntetir,  pianist^  composer,  critic  and  historian 
—his  inidomitable  pluck  and  perseverance  has 
enabled  him  to  put  forward  a  formidable  array 
of  writings  on  the  history  and  sssthetics  of  music, 
all  of  which  bear  the  stamp  of  a  rich,  highly 
cultured  and  very  versatile  mind.  They  are  as 
Rmarkable  for  their  many-sided  learning  and 
Mcnncy  as  for  their  lucid  arrangement  and 
bnlliant  diction.  Ambros*  father,  postmaster 
ud  gentleman  fanner,  was  a  good  Hnguist  and 
eiodlent  mathematician,  and  his  mother,  a  sister 
of  KusBWBTTEB,  the  historian  of  music,  a 
gwd  pianist  of  the  old  school  and  an  accom- 
piiahed  ginger.  They  gave  him  every  chance 
to  acquire  Hie  elements  of  modem  culture 
at  the  gymnasium  and  subsequently  at  the 
QniTerrity  of  Prague ;  drawing,  painting,  poetry 
were  not  fbigotten;  music  only,  which  £as- 
onated  him  above  aJl  things,  and  for  instruc- 
tion  m  which  he  passionately  longed,  was  strictly 
prohibited.  It  was  intended  that  he  should  enter 
the  civil  service,  and  music  was  considered  both 
a  daogeroQS  and  an  undignified  pastime.  Never- 
theleas  he  learnt  to  play  the  piano  on  the  sly, 
vui  woiked  hard  by  himjaelf  at  books  of  Counter- 


AMBROSIAN  CHANT. 


59 


point  and  Composition.    In  1840,  after  a  brilliant 
career  and  with  the  title  of  doctor  juris,  he  left 
the  uzuversity  and  entered   the   office  of  the 
Attomey-Grenendy  where  he  steadily  advanced 
to  Befeiendarius  in  1845,  Prosecuting  Attorney 
in  matters  of  the  press  in  1848,  Sec    Soon  after 
1850,   when  he  married,  his  reputation  as  a 
writer  on  musical  matters  spread  beyond  the 
walls   of  Pntgue.    He    answered  Hanslick's 
pamphlet,   'Yom   musikalisoh   Scbonen,'  in   a 
little  volume,  '  Die  Granzen  der  Poesie  und  der 
Musik,'  whidh  brought  down  upon  him,  especially 
in  Vienna,  a  shower  of  journalistic  abuse,  but 
which  procured  for  him  on  the  other  hand  the 
friendship  and  admiration  of  many  of  the  foremost 
Grerman  musicians.    It  was  followed  by  a  series 
of  elaborate   essays :    '  Culturhistorische  Bilder 
ans  der  Musikleb^  der  G^^nwart,'  which  were 
read  with  avidity  and  appeared  in  a  second 
edition  (Leipzig,  Mathes)  in  1865.    Thereupon 
the  firm  of  Leuckart  engaged  him  to  b^in  his 
'  History  of  Music,*  his  Ufe*s  work.     From  i860 
to  1864  he  was  making  researches  towards  it  in 
the  Court  Library  at  Vienna,  at  Venice,  Bologna, 
Florence  and  Bome.     In  1867  he  was  ransack- 
ing the  Boyal  library  at  Munich,  one  of  the 
ripest  in  Europe,  and  in  1868,  1869,  and  1873 
was  again  in  Italy  extending  his  quest  as  fiur 
as  Naples.     The   third    volume,    reaching    to 
Palestiina,  was  published  in  1868. '  In  1872  and 
1874  he  published  two  series  of  '  Chips  fin>m  his 
Workshop,*  under  the  title  of  'Bunte  Blatter,' 
being  essays  on  isolated  musical  and    artistic 
subjects,  and  written  in  a  sparkling  non-technical 
manner,  but  fuU  of  matter  interesting  both  to 
professional  artists  and  dileUanti.    He   is   now 
Professor  of  the  History  of  Music  at  the  uni- 
versity of  Prague ;  and,  thanks  to  the  liberality 
of   the  Academy  of  Science  at  Vienna,   is  in 
possession   of  sufficient   means   and  leisure   to 
continue  his  great  task.     He  has  appeared  in 
public   repeatedly  as  a  pianist,   and  his  com- 
positions, Overtures  to  '  Othello,'  and  Calderon's 
'Magioo  Prodigioso';    a  number  of  pianoforte 
pieces,  ' Wanderstucke,'  ' KinderstUcke,*  'Land- 
schaftsbUder* ;  numerous  songs ;  a '  Stabat  Mater,* 
two  Masses  in  B  flat  and  A  minor,  etc.,  most 
of  which  have  a  strong  smack  of  Sohuhakn, 
besides  proving  him  to  be  a  practical  musician 
of  far  more  than  conmion  attainments,  give  an 
additional  weight  to  his  criticisms,  showing  these 
to  stand  upon  the  firm  ground  of  sound  technical 
attainments.  He  died,  June  28,  1876.      [E.  D.] 

AMBBOSIAN  CHANT.  The  ecclesiastical 
mode  of  saying  and  singing  Divine  Service,  set 
in  order  by  St.  Ambrose  for  the  cathedral  church 
of  Milan  about  A.D.  384.  We  have  little 
historical  information  as  to  its  peculiarities. 
That  it  was  highly  impressive  we  learn  from 
the  well-known  passage  in  St.  Augustine*s  '  Con- 
fessions,* book  ix.  chap.  6. 

It  has  been  stated  without  proof,  and  repeated 
by  writer  after  writer  on  the  subject^  that  St. 
Ambrose  took  only  the  four  'authentic*  Greek 
modes,  being  the  first,  third,  fifth,  and  seventh 
of  the   eight  commonly  called  the  Gregorian 


60 


AMBROSIAN  CHANT. 


AMERICAN  ORGAN. 


Tones,  from  being  all  used  in  the  reviaion  of 
the  Roman  Antiphonarium  by  St.  Gregory  the 
Great  at  a  subsequent  date  (a.d.  590).  But 
St.  Ambrose's  own  statement  in  his  letter  to  his 
sister  St.  Marcelina  is  merely  that  he  wished 
to  take  upon  himself  the  task  of  regulating  the 
tonality  and  the  mode  of  execution  of  the  hymns, 
psalms,  and  antiphons  that  were  sung  in  the 
church  he  had  built  at  Milan.  It  must  be 
confessed  that  we  really  know  little  or  nothing 
of  the  system  and  structure  of  &e  Ambrosian 
melodies,  and  no  existing  records  show  any- 
thing essentially  different  from  Gregorian  plain- 
song. 

The  subject  of  Byrd's  anthem  'Bow  Thine 
ear,  O  Lord^*  originally  written  to  the  words 
'  Ne  irascaris  domine,' 


i 


^ 


js: 


-^ 


js: 


has  always  been  quoted,  since  Dr.  Crotch  published 
his  '  Specimens,*  as  a  portion  of  the  plainsong  of 
St.  Ambrose.  A  comparison  of  the  liturgical 
text  and  ritual  of  Milan  and  Rome  shows 
a  different  setting  of  the  musical  portions  of  the 
mass,  as  well  as  mai^  variations  in  rubrics  and 
in  the  order  and  appropriation  of  various  portions 
to  the  celebrant  and  assistants,  in  the  two  uses. 
Thus  the  'Gloria  in  excelsis'  precedes  the 
Kyrie  in  the  Milan  and  follows  it  in  the  Roman 
Mass.  The  setting  of  the  intonation  of  this^ 
as  taken  from  the  missals  of  the  two,  may  be 
here  given  as-  a  specimen  of  the  differences  in:  the 
plainsong. 

Ionian. 


^  g^  •jpg  M 


g^  cj 


I 


Qj0   ...  ii-a      la    ax-cd-als     ]>s    • 

Milanese^ 

cj  ej  ej  p  flj  ^nu  ^  ^^i^- 


2=Z*=t 


I 


m 


Olo  -il-a    In    oz--«0l     -    •■to 

lliese  intonations  of  the  Creed 

Jioman, 


De  •  a 


22: 


zz: 


-^ 


32: 


-tf>- 


Cr*  -  do      In         n  -rnun     I>e 

MUanete, 


** 


-<»- 


jBO 


-^ 


■SL 


-491- 


will  also^  serve  to  show  the  kind  of  difference  still 
discernible  in  the  two  rites.^ 

But  the  principal  boon  bestowed  on  the 
Church  by  St.  Ambrose  was  the  beautiful  rhyth- 
mical hymns  with  which  he  enriched  the  musical 
service  of  Milan  Cathedral.  Many  hymns  are 
called    Ambrosian    because    written    after    his 

^  The  Boman  examplei  are  from  a  fine  qoarto  Mlnale  Romaniim 
IMrintcd  at  Antwerp  in  190B.  oonwponding  with  Quklettl'i  Dtrectorium 
and  the  preeent  use.  Thoee  for  the  uae  of  Milan  are  fh>ni  a  portion  of 
Che  'Mlraale  Ambroclanum  Carolt  Oajetam  Qutllnallt,  norlMlme 
ImpreHum.  Msdiolani,'  A  J).  I83U  broogfat  from  lUlan  In  1871  tqr  the 
-writer  of  thU  artlds. 


manner ;  but  some  ten  of  the  ancient  hymns  are 
from  his  own  pen,  among  which  may  be  mentioaed 
'^Yeni  Redemptor  Grentium'  and  'Etema  Chri^z 
munera*  (Hymnal  Noted,  Nos.  12,  36). 

The  entire  accent  and  style  of  chanting,  ai 
regulated  by  St.  Ambrose,  was  undoubtedly  ac 
artistic  and  cultivated  improvement  on  that  of 
preceding  church  services,  such  as  would  natmalh 
result  fi^m  the  rare  combination  of  piety,  isaL. 
intellect,  and  poetical  and  musical  power  H 
which  he  was  distinguished.  The  Amfaros'aa 
chant  was  eventually  merged,  but  certainly  ocis 
lost,  in  that  vast  repertory  of  plainsong,  wl^ther 
then  ancient  or  modem,  which  we  now  cal: 
Gregobian,  from  the  name  of  the  next  gretc 
reformer  of  church  music,  St.  Gregory  the 
Great.  [T.  H.] 

AMEN.  This  word  has  been  often  employed 
by  composers  as  an  opportunity  for  the  dis^^i 
of  fugue  and  counterpoint,  just  as  some  li 
Palestrina's  finest  music  is  g^ven  to  the  nama 
of  the  Hebrew  letters,.  Aleph,  Beth,  etc.,  b  hii 
*  Lamentatibnes  Jeremiae.'  Witness  Handel's 
final  chorus  in  the  '  Messiah,*  Dr.  Cookers  Amea 
in  double  augmentation,  en^n^^ved  on  his  tomb 
(see  Auomentation),  another  very  spirited 
chorus  in  the  Italian  style  by  the  same  oompoea 
(Hullah's  Part  Music,  No.  6),  fine  chorufee  by 
Leo,  Cafaro,  Clari,  and  Bonno  in  the  Fitzwillia?n 
Music,  and  many  others.  [G.~ 

AMERICAN  ORGAN.  A  free -reed  in- 
strument similar  in  its  general  construction  to 
the  Harmonium,  but  with  some  importam 
differences.  In  the  first  place  the  reede  in  the 
American  organ  are  considerably  smaller  aad 
more  curved  and  twisted  than  in  uie  hannoniom. 
and  there  is  a  wider  space  left  at  the  aide  of 
the  reed  for  it  to  vibrate,  the  result-  b^ng  th&t 
the  tone  is  more  uniform  in  power,  and  that 
the  expression  stop  when  used  produces  modi 
less  effect.  The  curvature  of  the  reeds  also 
makes  the  tone  softer.  In  the  American  origan 
moreover  the  wind-channel  or  cavity  under  w^ch 
the  vibrators  are  fixed  is  always  the  exact  leogth 
of  the  reed,  whereas  in  the  harmonium  it  is 
varied  according  to  the  quality  of  tone  required, 
being  shorter  for  a  more  reedy  tone  and  longer 
for  a  more  fluty  one.  Another  point  of  difference 
in  the  two  instruments  is  that  in  the  hannonimn 
the  wind  is  forced  outward  through  the  reeds, 
whereas  in  the  American  organ,  by  revenasg 
the  action  of  the  bellows,,  it  is  drawn  inwaidi. 
The  advantages  of  the  American  origan  as 
compared  with  the  harmonium  are  that  the 
blowing  is  easier,  the  expression  stop  not  being 
gtenerally  used,  and  that  the  tone  is  of  a  more 
organ -like  quality,  and  therefore  peculiarly 
adai5ted  for  sacred  music;  on  the  other  hand, 
it  is  inferior  in  having  mudi  less  variety  of  tone, 
and  not  nearly  so  much  power  of  expz^ssioii. 
These  instruments  are  sometimes  made  with  tvo 
manuals;  in  the  most  complete  specimens  the 
upper  manual  is  usually  furnished  with  one  eet 
of  reeds  of  eight-feet  and  one  of  four- feet  pitch, 
and  the  lower  manual  with  one  of  eight-  and  one  of 


AMERICAN  ORGAN. 

Bxteoi-feet,  those  on  the  upper  nuuiiuJ  being  also 

Toioed  softer  for  tlie  purpoaee  of  aoc(»npAniment. 

A  in^y^iwJ  ooQpling  action  la  ako  provided  by 

vhich  the  whole  power  of  the  nuitniment  can  be 

obtaiiked  finom  the  lower  row  of  keys.    Pedali^ 

■aulir  to  OEgaa  pedAki^  are   alao  oocasionally 

added  and  provided  with  reeds  of  lixteen-  and 

eigfat-ieet  pitch.    The  names  given  to  the  stops 

Tiry  vith   different   makers;    the   plan    most 

Qsnally  adopted  being  to  caH  them  by  the  names 

of  tiie  ocgan  stops  which  they  are  intended  to 

imhate,  e.g.  diapason,  principal^  hautboy,  gamba^ 

flote,  etc.     Two  recent  improvements  m  the 

iwMifJrfcn  organ  should  be  mentioned — ^the  auto- 

Dtttie  swdl,  and  the  vox  homana.    The  fbnner 

ffiBsists  of  a  pneumatic  lever  which  gradually 

opens  shutters  placed  above  the  reeds,  the  lever 

bang  set  in  motion  by  the  pressure  of  wind  from 

the  bellows.    The  greater  tne  pressure^  the  wider 

the  ihutiers  open,   and  when   the  pressure  is 

decnssed  they  doee  again  by  their  own  weight. 

In  this  way  an  e&ct  is  produced   somewhat 

smiUr,  though    fiar   inferior,   to   that    of  the 

expnsdan  stop  on  the  harmoniam.    The  vox 

hnmua  is  another  mechanical  contrivanoe.    In 

this  a  fim  is  placed  just  behind  the  sound-board 

of  the  instrument,  and  being  made  to  revolve 

npidlT  by  means  of  the  pressure  of  wind,  its 

NToliitioiis  meet  the  waves  of  sound  coming 

from  the  reed%  and  impart  to  them  a  slightiy 

tRmuloas^  or  vibrating  quality. 

The  principle  of  the  American  organ  was  first 
discovered  sbout  1835  by  a  workman  in  the 
&etaiy  of  M.  Alexandre,  the  most  celebrated 
hsRDoniiun- maker  of  Paris.  M.  Alexandre 
constnicted  a  few  instruments  on  this  plan,  but 
being  diasatiitfed  with  them  because  of  their 
vat  of  expressive  power,  he  soon  ceased  to 
Bake  them.  The  winrkman  subsequentiy  went 
to  Antfrica^  canying  his  invention  wiu  him. 
The  iDstmments  first  made  in  America  were 
bovn  ss  'Melodeons^'  or  'Melodiuras,'  and  the 
American  oigan  under  its  present  name,  and 
vilh  Tarioos  improvements  suggested  by  ex- 
perienoe,  was  first  introduced  by  Messrs.  Mason 
lad  Hamlin  of  Boston,  about  the  year  i860. 
SBoe  that  time  it  has  obtained  considerable 
popularity  both  in  America  and  in  this  country. 

A  variety  of   the  American  organ  was  in- 

Indnoed  in  1874  ^7  Messrs.  Alexandre  under 

the  name  of  the  'Alexandre  Organ.*    In  this 

Qstnmeitt^  instead  of  the  single  channel  placed 

*hQve  the  leeds  there  are  two,  one  opening  out 

oftheother.    The  effect  of  this  alteration  is  to 

give  a  quality  of  tone  more  nearly  resembling 

thatof^flue-stopsof  an  organ.    The  reeds  are 

also  broader  and  thicker,  giving  a  fuller  tone,  and 

being  leas  liable  to  get  out  of  order.  IE- P.] 

AMIOIS^  AiTKA  Lucia  di,  a  very  celebrated 

OBger,  bom  at  Naples  about  1 740.    She  was  at 

fint  snoceasful  only  in  'Opera  Buffa»*  in  which 

«he  laiie  in  London  in  1763,  appearing  in  '  La 

^Kina,  a  pasticcio,  given  by  John  Christian 

^ch,  and  oUier  nmilar  pieces.    Bach,  however, 

wnoght  80  highly  of  her  that  he  wrote  for  her  in 

^"vnt  opera,  in  whidi  ahe  continued  afterwards 


AMNER. 


61 


to  perform  until  she  left  the  stage.  Bumey  says 
she  was  the  first  singer  who  sang  rapid  ascending 
scales  staccato,  mounting  with  ease  as  high  as 
£  in  altiseimo.  Her  voice  and  manner  of  singing 
were  exquisitely  polished  and  sweet;  and  'she 
had  not  a  movement  that  did  not  charm  the  eye, 
nor  a  tone  but  what  delighted  the  ear.'  In  177 1 
she  retired,  and  married  a  secretary  of  the  King 
of  Naples,  named  Buonsollazzi.  In  1 773  she  sang 
in  Mozart*8  early  oper%  '  Lucio  Silla,  at  Milan, 
the  principal  part  of  Giunia.  On  this  occasion 
she  exerted  huself  much  in  behalf  of  the  young 
composer,  who  took  great  pains  to  please  her, 
and  embdlished  her  principal  air  with  new  and 
peculiar  passages  of  extraordinary  difficulty. 
On  the  night  of  the  first  performanoe  the 
tenor,  who  was  inexperienced,  '  being  required, 
during  the  first  air  01  the  prima  donna»  to  make 
some  demonstration  of  anger  towards  her,  so  ex- 
aggerated the  demands  of  the  situation,  that  it 
seemed  as  if  he  were  about  to  give  her  a  box  on 
the  ear,  or  to  knock  her  nose  off  with  his  fist» 
and  at  this  the  audience  began  to  laugh.  Signora 
de  Amicisy  in  the  heat  of  her  singing,  not  knowing 
why  the  public  laughed,  was  surprised ;  and 
being  unaware  of  the  ridiculous  cause,  did  not 
sing  well  the  first  evening,  and  an  additional 
reason  for  this  may  be  found  in  a  feeling  of 
jealousy  that  the  primo  uomo  (Moignoni),  im* 
mediately  on  his  appearance  on  the  scene,  i^ould 
be  applauded  by  the  Archduchess.  This,  how- 
ever, was  only  the  trick  of  a  mus(co ;  for  he 
had  contrived  to  have  it  represented  to  the  Arch- 
duchesB  that  he  would  be  unable  to  sing  from 
fear,  in  order  to  secure  immediate  aj^ilause  and 
encouragement  firom  the  court.  But  to  console 
de  Amicis,  she  was  sent  for  the  next  day  to 
oourt,  and  had  an  audience  of  both  their  rojral 
highnesses  for  an  hour.'  ^  In  1 789  she  still  sang 
well,  though  nearly  fifty  years  old.  The  date  of 
her  death  is  not  known.  [J.  M.] 

AMICIS,  DoMiKioo  db'.  This  artist,  who  is 
not  mentioned  by  any  of  the  biographical  dic< 
tionaries,  sang  with  Aima  de'  Amicis  m  1 763  at 
London,  in  '  La  Cascina.'  It  is  impossible  to  say 
how  he  was  related  to  that  singer;  but  it  is 
possible  that  he  was  her  first  husband.     [J.  M.] 

AMELIE,  OB  THE  LOVE  TEST,  a  romantio 
opera  in  three  acts,  words  by  J.  T.  Haines,  music 
by  W.  M.  Rooke.  Produced  at  Covent  Garden 
Theatre  Dec.  2,  1837,  and  ran  for  more  than 

twenty  nights. 

AMNER,  JoHV,  Organist  and  Master  of  the 
Choristers  of  Ely  Cathedral.  He  succeeded 
George  Barcroft  m  16 10,  and  field  the  appoint- 
ments till  his  death  in  1641.  He  took  his  degree 
as  Bachelor  in  Music  at  Oxford  in  May  161 3. 
In  161 5  he  printed  his  '  Sacred  HymnB  of  3,  4, 
5,  and  6  paiis,  for  Voioes  and  Vyols,'  dedicated 
to  his  'singular  good  lord  and  maaster,'  the 
Earl  of  Bath.  He  composed  much  church  music. 
Three  services  and  fifteen  anthems  are  preserved 
in  the  books  at  Ely ;  and  several  other  sped- 
mens  of  his  skill  are  to  be  found  in  MS.  else* 

1  Uttar  of  LMpoU  MO01I 


62 


AMNEB. 


where.   (Dickson's  Cat,  of  MunccU  MSS,  ai  Eli^ : 
BimbAult,  Bib.  Madrigaliana.)  [E.  F.  B.] 

AMNEB,  Balph,  the  son  of  John  Amner, 
before  mentioned.  It  appeftra  firom  the  Begisten 
of  Ely  that  he  was  dected  a  lay-clerk  tiiere 
in  1604,  and  was  sncceeded  in  1609  by  Michael 
Este,  the  well-known  composer;  Amner  was 
then  probably  admitted  into  holy  orders,  as  he  is 
styled  'Vicar/  i.e.  Minor  Canon.  Upon  the 
death  of  John  Amery,  a  gentleman  of  the  Chapel 
Boyal,  July  t8,  1623,  'Balphe  Amner,  a  basse 
from  Winsoie,  was  sworn  in  his  place.'  He  died 
at  Windsor,  March  3,  1663-4.  In  Hilton*s 
'  Catch  that  Catch  Can,*  1667,  is  '  a  Catch  in  stead 
of  an  Epitaph  upon  Mr.  Balph  Amner  of  Wind- 
sor, commonly  called  the  Bull  Speaker,  who 
dyed  1664 ;  the  music  composed  by  Dr.  William 
Child;  (JZm.  of  Ely;  Cheque  Bock  of  Chapd 
Boyal,  Camd.  Soc.).  [£.  F.  B.] 

AMOBEYOU,  Angelo,  bom  at  Venice, 
Sept.  16,  1 7 1 6.  After  appearing  at  the  principal 
opera-houses  in  Italy  with  brilliuit  success,  where 
he  was  admired  for  his  fine  Toice  and  vocalisation, 
and  the  perfection  of  his  shake,  he  was  engaged 
for  the  Court  Theatre  at  Dresden.  He  sang  for 
the  Earl  of  Middlesex  at  the  opera  in  London 
in  1 741  ;  but  returned  to  Dresden,  where  he  died, 
Nov.  15,  1798.  [J.  M.] 

ANACKEB,  AnoTTST  Fbtedbioh.  bom  Oct. 
i7»  1790,  at  Freiberg  in  Saxony,  son  of  a  very 
poor  shoemaker.  As  a  schdar  at  the  Gymnasium 
his  musical  faculty  soon  discovered  itsdf,  but  his 
poverty  kept  him  down,  and  it  was  not  till  a 
prize  of  1300  thalers  in  a  lotteiy  fell  to  his  share 
that  he  was  able  to  procure  a  piano  and  music. 
The  first  piece  he  heard  performea  was  Beetboven*s 
Polonaise  in  C,  and  Beethoven  became  his  worship 
through  life.  In  1 8 1 3,  after  the  battle  of  Leipsic, 
he  went  to  that  imiversity,  and  acquired  the 
friendship  of  Schicht^  F.  Sc^eider,  and  others 
of  the  best  musicians.  In  1832  he  was  made 
'cantor'  of  his  native  place,  and  principal  music- 
teacher  in  the  normal  school.  From  that  time 
onwards  for  thirty  years  his  course  was  one  of 
ceaseless  activity.  No  one  ever  worked  harder 
or  more  successfully  to  make  bis  office  a  reality. 
In  1823  he  founded  the  Singakademie  of  Frei* 
beig,  and  in  1830  started  a  permanent  series  of 
first-class  subsoription  concerts;  he  formed  a 
musical  association  among  the  miners  of  the 
Berg  district,  for  whom  he  wrote  numerous  part- 
songs  ;  and  in  short  was  the  life  and  soul  of 
the  music  of  the  place.  At  the  same  time  he 
composed  a  mass  of  mumc  of  all  kinds  and  all 
dimensions.  But  his  music  is  nothing  remarkable: 
it  is  the  energy  and  devotion  of  the  man  that 
will  make  him  remembered.  He  died  at  his 
post  on  August  ar,  1854,  full  of  honour  and 
esteem.  The  only  piece  of  Anacker's  which 
has  probably  been  printed  in  England  is  a 
'Miner's  Song'  (four  parts)  in  the  collection 
called  'Orpheus,'  No.  41,  [6.] 

ANACBEON,  on  l'aicoub  fugitif,  an  opera- 
ballet  in  two  acts,  the  libretto  by  Mendouze,  and 
the  music  by  Cherubini,  produced  at  the  Opera  I 


ANALYSIS. 

in  Paris  on  Oct.  4#  1803.    It  is  now  only  known 
by  its  magnificent  overture. 

ANACBEONTIC  SOCIETY  •    The  meetinga 
of  this  aristocratic  society,  established  by  several 
noblemen  and  other  wealUiy  amateurs,  were  lield 
at  the  Crown  and  Anchor  Tavern  in  the  Strand 
towards  the  dose  ofthe  last  century.  TheooncertSy 
in  which  the  leading  members  ofthe  musical  pro- 
fession ifook  part  as  honorary  members,   ^ere 
given  fortnightiy  during  the  season,  and  were  fol- 
lowed by  a  supper,  after  which  the  president  or 
his  deputy  sang  the  constitutional  song  'To  Aoa- 
creon  in  Heaven.'    This  was  succeeded  by  aongs 
in  every  style,  and  by  catches  and  glees  sning 
by  the  most  eminent  vocalists  of  the  day.     The 
privilege  of  membership  was  greatly  valued,  and 
names  were  firequently  placed  on  the  list  for  a 
long  period  Ih  advance.  The  society  was  dissolved 
in  1 786,  when  Sir  Bichard  Hankey  was  president^ 
owing,  as  Parke  states  in  his  '  Musical  Memoirsy* 
to  the  annoyance  of  the  members  at  a  restraint 
having  been  placed  upon  the  performance  of  some 
comic  songs  which  were  considered  unfit  for  the 
ears  of  the  Duchess  of  Devonshire,  the  leader  of 
the  kaiU-ton  of  the  day,  who  was  present  privately 
in  a  .box  specially  fitted  up  undiar  the  orchestra. 
The  members  resigned  one  after  another,  and 
shortly  afterwards  the  society  was  dissolved  at  a 
general  meeting.  [C.  M.] 

ANALYSIS.    The  practice  now  prevalent  in 
England  of  accompanving  the  titles  and  words 
of  Qie  music  performea  at  concerts  by  an  analysis 
of  the  music  is  one  of  comparatively  recent  date. 
The  identity  of  the  pieces  in  the  prognunmes  at 
the  end  of  we  last  and  the  beginning  ofthe  present 
century  is  rarely  certain.    '  New  Grand  Overturei, 
Haydn,'  or  'Grand  Overture,  MS.,  Haydn>'  is  the 
usual  designation  of  Haydn's  symphonies  as  they 
were  produced  at  Salomon's  concerts  in  1 791, '93. 
The  programmes  ofthe  Philharmonic  Society  are 
at   first    almost   equally   vague  —  'Symphony, 
Mozart,'    'Symphony,  Beethoven,'  'Symphony, 
never  perfiramed,  Beethoven,'  is  with  rare  ex- 
ceptions the  style  in  which  the  piicet  de  retUtanee 
at  the  Society's  concerts  are  announced.    It  is 
not  until  the  fifth  season  (1817)  that  the  number 
or  the  key  indicates  which  works  the  audience 
might  expect  to  hear.    The  next  step  was  to  print 
on  the  fly-leaf  of  the  programme  the  words  of 
the  vocal  pieces,  with,  in  the  case  of  Spohr*s 
'WeihederTone'  (Feb.  23, 1835),  a  translation  of 
Pfeifier's  'Ode,'  or  of  the  'Pastoral  Symphony' 
(May  1 1, 1835),  someverses  from  Thomson  s  'Sea* 
sons,  or  at  the  first  performance  of  the  overture 
to> '  Leonora^'  No.  i  (due  to  Mendelssohn),  a  short 
account  of  the  origin  and  dates  of  the  four  over* 
tures. 

The  first  attempt,  to  assist  amateurs  to  follow 
the  construction  of  classical  music  during  its 
performance  which  the  writer  has  met  with  is 
that  of  Mr.  Thomson,  late  Professor  of  Mudc 
in  the  University  of  Edinburgh,  who  in  the  year 
1 841,  and  even  earlier,  added  analytical  and 
historical  notices  of  the  pieces  in  the  programmes 
of  the  concerts  of  the  Professional  Society  of 


ANALYSIS. 


ANALYSCL 


68 


Edmbm^glL  H3s  analjWB  entered  thoroaglily  into 
the  coDstnictioD  of  the  overtores  and  symphonieB 
perionned,  but  did  not  contain  qaotationB  from 
de  mnaic. — ^The  next  step  appears  to  have  been 
Bade  by  Mr.  John  Ella  when  he  started  the 
natinees  of  the  Miisifatl  Union  in  1845.  His 
^spuflaeal  analysis,'  with  quotations,  has  pre- 
seiTed  its  original  form  and  extent  down  to  the 
^nsesA  time. — ^The  same  thing  was  done,  but  at 
gretter  length,  by  Dr.  Wylde  in  the  programme- 
b:>oks  of  the  New  PhiUiarmonic  Society,  which 
eommenced  its  concerts  in  185a.  Some  of  these 
ualjns  were  accompanied  hj  extracts,  and  in 
mafij  esses  are  of  permanent  ^ue,  such  as  those 
of  Beethoven's  '  Pastoral  Symphony,*  Mozart's 
E  iiat  ditto,  and  the  overture  to  the  'Zauberflote' 
(1858).  An  analysia  of  the  '  Messiah'  was  issued 
by  ^  Saored  Hsnnonic  Society  in  1 853,  and  was 
fblbwed  by  similar  dissections  of '  The  Creation,' 
BeethoWs  Maes  in  D,  *  Israel  in  Egypt,'  the 
'Lobgesang,*  Mozart's  'Bequiem,'  uid,  some 
years  later,  '  Naaman.* 

As  eariy  as  1847  Mr.  Hullah  had  given  Uo- 
giapldcal  notices  of  compoeen  in  the  book  of 
vcnls  of  his  histoiical  concerts  at  Exeter  Hall. 
The  books  of  words  of  the  Handel  Festival 
;iS57,  etc)  contain  historical  accounts  of  the 
vois  performed.  In  connection  with  the  eariy 
Handel  Festivals  the  late  Mr.  Chorley  published 
two  pamphlets  called  '  Handel  Studies,  oontain- 
iagsoaljaesof  the  'Messiah,'  the  Dettingen  'Te 
Dram,'  and  'Israel  in  Egypt.' 

In  1859  the  Monday  Popular  Concerts  were 
estaUished,  and  the  programmes  contained  notices 
of  tbe  pieces.  On  the  occasion  of  Mr.  Charles 
HsUf  8  Beethoven-recitals  two  years  later  fiill 
usl  aUe  analyses  of  the  whole  of  the  sonatas 
v&e  paUished,  accompanied  by  copious  extracts. 
Hiae  have  once  been  incorporated  in  the  Mon- 
day Popular  Concert  books,  with  similar  analv- 
KB  of  other  pieces,  the  whole  forming  a  body 
d  oitidsin  wad  analysb  which  does  honour  to 
lis  author.— Shortly  after  the  foundation  of  the 
Saturday  Concerts  at  the  Crystal  Palace,  short 
remarka  were  attached  to  some  of  the  more 
piomiiient  pieces.  These  have  graduallv  become 
mare  lyiteinatio  and  more  analytical,  but  they 
we  of  a  very  mixed  character  when  compared 
vith  those  last  mentioned. — ^The  same  may  be 
■id  of  the  remarks  which  adorned  the  pro- 
gnmmei  of  Herr  Fftuer^s  recitals  in  i86a,  '63, ^67, 
vhich  are  half  biographical  and  half  critical, 
bot  do  not  attempt  to  analyse  each  piece. 

In  1869  the  Philharmonic  Society  adopted 
analytical  programmes  prepared  by  Mr.  Mao- 
&Reii,  whidi  have  been  maintained  since.  Mr. 
^^ac&neu  also  prepares  similar  notices  for  the 
British  Ordiestral  Society ;  as  he  did  those  for 
tbe  Chamber  Concerts  of  MM.  Klindworth.  Bla- 
gnve,a]id  Daubert  in  1861. 

In  addition  to  the  above,  analytical  programmes 
tt«  ismed  by  the  Wagner  Society,  the  Reid 
Concert,  the  Glasgow  and  Edinburgh  Choral 
UoioDs,  the  Liverpool  Philharmonic  £ciety,  the 
Albert  HaU  ConoertB.  Mr.  Walter  Bache,  and 
otben.  The  book  of  words  of  Mr.  Sullivan's  ora- 


torio '  The  light  of  the  World'  contains  a  length- 
ened analysis  of  the  work  number  by  number. 

The  practice  of  analysing  pieces  of  classical 
music  with  the  view  to  enable  the  more  or  less 
cultivated  amateur  to  seize  the  ideas  and  mode 
of  treatment  of  the  composer,  is  one  which,  if 
carried  out  with  skill  and  judgment,  is  surely 
commendable.  The  fact  that  a  movement  is 
written  on  a  definite  plan  or  '  form,'  and  governed 
by  rules  more  or  less  rigid,  though  obvious  to 
the  f>*ft^TiW1  musician  is  news  to  many  an 
amateur;  and  yet  without  understanding  such 
facts  it  is  impossible  fully  to  appreciate  the 
intention  or  the  power  of  the  composer.  In  fol* 
lowing  the  scheme  of  the  music  the  hearer  adds 
to  the  pleasure  of  the  sounds  the  pleasure  of  the 
intellect.  In  addition  to  this  there  are  lew  great 
pieces  of  music  in  which  historical  or  biographi- 
cal facts  as  to  the  origin  and  progress  of  the  work, 
key,  etc.,  connecting  the  music  with  the  person- 
ality of  the  composer,  may  not  be  stated  so  as 
to  add  materially  to  the  pleasure  and  profit  of  the 
hearer. 

Analytical  programmes  do  not  appear  to  have 
been  yet  introduced  into  the  concert -rooms 
abroad ;  but  elaborate  analyses  of  single  works 
have  been  made  by  foreign  critics,  such  as 
Wagner's  of  the  ninth  Symphony  (translated 
and  circulated  in  1855,  when  Wagner  conducted 
that  Symphony  at  the  Philharmonic),  Liszt's  of 
'Tannhauser'  and  'Lohengrin,'  and  von  Billow's 
of  Wagner's '  Faust  Overture ' ;  and  the  step  from 
these  to  illustrated  analyses  like  those  used  in 
England  will  not  impossibly  soon  follow.       [G.] 

ANALYSIS  OF  Compound  Musical  Sounds. 
The  separation  of  such  sounds  into  their  component 
elements,  or  the  determination  of  the  elements 
they  contain.  The  sounds  ordinarily  met  with 
in  music  are  not  simple  and  single  notes  as  is 
commonly  supposed,  but  are  usuaily  compounds 
of  several  sounds,  namely  one  fundamental  one 
(generally  the  most  powerful)  accompanied  by 
higher  harmonics,  vurving  in  number  and  strengui 
in  different  cases,  lliese  however  blend  so  com- 
pletely into  one  sound  that  the  unaided  ear, 
unless  specially  trained,  fails  to  distinguish  the 
separate  elements  of  which  it  is  made  up.  Such 
a  compound  sound  is  intentionally  produced 
artificiiuly  with  the  compound  stops  of  a  large 
organ,  and  if  these  are  well  in  tune  and  well 
propOTtioned,  it  is  often  difficult  to  distinguish 
them  separately. 

In  acoustical  investigations  it  is  very  desirable 
to  ascertain  of  what  simple  sounds  a  compound 
one  is  composed,  and  this  is  done  by  a  species  of 
analysis  similar  to  that  so  common  in  chemistry. 
In  compound  chemical  substances  the  elements 
are,  like  the  elements  of  a  compound  sound, 
usually  undistinguishable  by  the  eye,  and  the 
plan  is  adopted  of  applying  to  the  substance  a 
Uttt  which  having  a  peculiar  affinity  for  some 
particular  element^  will  make  known  its  presence 
in  the  compound.  Such  a  test  exists  for  elemental 
sounds  in  what  the  Grermans  call  MUtdnen;  or 
tympatkdic  rtaonarice. 

Certain  bodies  will  vibrate  when  certain  notes^ 


€4 


ANALYSIS. 


oorresponding  to  their  vibnitory  capacity,  and 
those  only,  are  Bounding  near  them,  and  they 
therefore  test  the  presence  of  such  notes,  whether 
perceptible  or  not  to  the  ear.  For  example,  if  we 
wish  to  find  out  whether  the  note  ia  present  in  a 
compound  sound,  we  have  only  to  bring  within 
its  range  a  sonorous  body,  tuned  to  that  note, 
as  for  example  the  second  string  of  a  violin,  and 
if  that  note  is  present,  in  sufficient  force,  the 
string  will  hfi  sympathetically  set  in  vibration. 
We  can  judge  a  priori  by  the  theoretical  laws  of 
harmonics,  what  notes  are  or  are  not  likely  to  be 
present  in  a.  certain  compound  sound,  and  by 
applying  tests  for  each,  in  this  way,  tiie  sound 
may  be  completely  analysed,  both  (as  chemists 
say)  quantitatively  and  qualitatively,  that  is,  we 
may  not  only  find  what  notes  are  present  but 
also^  by  proper  provision  in  the  test  body,  what 
are  the  i^tive  strengths  of  each  note. 

This  method  of  analysis  is  chiefly  due  to 
Helmholtz,  the  test  bodies  preferred  by  him  being 
hollow  glass  vessels.  Each  of  these  has  such  a 
capacity  that  the  air  it  contains  will  vibrate  with 
a  particular  note,  and  by  having  several  of  these, 
tuned  to  the  notes  required,  the  presence  of  these 
notes  in  any  compound  sound  may  be  ascertained 
with  great  facility.  [W.  P.] 

ANCIENT  CONCERTS.    The  Ancient  Con- 
certs, or,  to  give  them  their  formal  title,  The 
Concert  of  Ajutient  Music,  were  established  in 
1776  by  a  committee  consisting  of  the  Earls  of 
Sandwich   and    Exeter,   Viscount    Dudley  and 
Ward,  the  Bishop  of  Durham,  Sir  Watkin  W. 
Wynn,  Bart.,  Sir  B.  Jebb,  Bart.,   and  Messrs. 
Morrice  and  Pelham,  who  were  afterwards  joined 
by  Viscount  Fitzwilliam  and  Lord  Paget  (after- 
wards Earl  of  Uxbridge).     The  peHbrmances 
were  also  known  as  '  The  King's  Concerts.*    Mr. 
Joah  Bates,  the  eminent  amateur,  was  appointed 
conductor,  the  band  was  led  by  Mr.  Hay,  and 
the  principal  singers  were  Miss  Harrop  (after- 
wards Mrs.  Bates),  the  Misses  Abrams,  Master 
Harrison  (subsequently  a  famous  tenor),  the  Rev. 
Mr.  Clarke,  Minor  Canon  of  St.  Paul's  (tenor), 
Mr.  Dyne  (counter-tenor),  and  Mr.  Cluunpness 
(bass).   The  chief  rules  of  the  concerts  were  that  no 
music  composed  within  the  previous  twenty  years 
should  be  performed,  and  that  the  direcitorB  in 
rotation  should  select  the  programme.    Mr.  Bates 
retained  the  conductorship  tiU  the  time  of  his 
death  in  1 7  79,  and  directed  the  concerts  personally, 
except  for  two  years,  when  Dr.  Arnold  and  Mr. 
Knyvett  acted  for  him.    He  was  succeeded  by 
Mr.  Greatorex,  who  remained  in  office  until  his 
death  in  1831,  when  Mr.  Knyvett,  who  had  been 
the  principal  alto  singer  for  many  years,  was 
chosen  to  succeed  him.    The  resolution  of  the 
directors  in  1839  to  change  the  conductor  at  the 
choice  of  the  director  for  each  night  led  to  the 
resignation  of  Mr.  Knyvett>  and  the  post  was  then 
offered  to  Dr.  Crotch,  who  ultimately  declined  it. 
Sir  George  Smart  was  invited  to  conduct  the  first 
two  concerts  of  1840,  and  was  succeeded  by  Mr. 
(afterwards  Sir  Henry)  Bishop,  Mr.  Lucas,  and 
Mr.  Turle.   It  was  found  however  that  this  system 
did  not  work  well,  and  in  1843  Sir  Henry  Bishop 


ANCIENT  CONCERTS. 

was  appointed  sole  conductor.    There  was  ^Ijoc 
a  change  in  the  leadership  of  the  band,  Mr.  '^^. 
Cramer  succeeding  Mr.  Hay  in  1 780,  uid  being 
succeeded  in  his  turn  by  his  son  Franfois,  -v^iio 
filled  the  post  from,  his  father's  death  in  1805 
until  1844,  when  he  retired.    Mr.  J.  D.  Lod^f 
led  the  band  from  1844  to  1846,  in  which  yeajr 
Mr.  T.  Cooke  was  appointed.    Until  1841  it  '^mt&s 
the  custom  fiir  the  conductor  to  preside  at  t^he 
organ,  but  in  that  year  the  directors  appoiiit>e<l 
Mr.  Charles  Lucas  as  tbeir  organist.    The  bajo-d 
at  the  time  of  the  establishment  of  the  concex-i^s 
consisted    of  sixteen   violins,   five  violas,  fouir 
cellos,   four   oboes,   four   bassoons,   two  double 
basses,  two  trumpets,  four  horns,  one  tromboxi^, 
and  drum.    At  tiie  dose  of  the  concerts   tlie 
orchestra  numbered  seventeen  violins,  five  violas, 
five  cellos,  five  double  basses,  three  flutes,  two 
oboes,  two  clarinets,  two  bassoons,  four  hanis» 
three  trumpets,   three  trombones,  two  drams, 
one    harp,    two   cymbals,    and  triangle.     Tlie 
canto  chorus  at  first  consisted  entirely  of  boys 
selected  chiefly  from  the  boys  of  the  Chapel 
Royal  and  Westminster  Abbey,  but  they  after- 
wards gave  place  to  ladies.    The  earlier  pro- 
grammes included  an  overture  (usually  one   of 
HandeVs),  two  or  three  concertos  by  Handel, 
Martini,  Corelli,  Avison,  or  Gemini  ani,  several 
choruses  and  solos  from  Handel*s  oratorioe,  and 
an  anthem,  glee,  or  madrigal;  but  occasionally 
an  entire  work,  such  as  the  Dettingen '  Te  Deum,' 
was  given  as  the  first  part  of  the  concert.     For 
many  vears  the  progranmies  were  almost  ex- 
clusively Handelian,  varied  by  songs  from  Gliick, 
Bach,  Purcell,  Hasse,  and  others.    After  the  year 
1826  there  was  greater  variety  in  the  schemes,  and 
Mozart*s  Jupiter  Symphony,  his  Symphonies  in 
D  and  £  flat,  the  overture  to  the  *  Zauberflote,' 
and  a  selection  from  his  Requiem  were  included 
in  the  programmes  for  1826.    From  that  date  an 
orchestral  work  by  Mozart  was  performed  at 
nearly    every    concert,   although    Handel    still 
maintained  his  supremacy.     In  1834  we  find 
Haydn*s  'Surprise     symphony,  and  in  1835  ^ 
selection  from  the  *  Creation '  and  the  '  Seasons ' 
in  the  programmes.    In  the  latter  year  Beethoven 
was  represented  by  his  *  Prometheus '  overture, 
and  during  the  last  ten  years  of  the  concerts  his 
symphony  in   D,   overtures    to   'Fidelio*   and 
'EgmonV  a  diorus  from  'King  Stephen,'  and 
other  works  were  given.    In  1847,  at  a  concert 
directed  by  Prince  Albert,  Mendelssohn  was  the 
solo  oiganist,  and  played  Bach*s  Prelude  and 
Fugue  on  the  name  of  *  Bach.'    The  later  pro- 
grammes were  drawn  from  varied  sources,  Handel 
being  only  represented  by  one  or  two  items.    In 
1785  the  Royal  Family  commenced  to  attend 
the  concerts  regularly,  and  then  it  was  that  they 
were  styled  '  The  King's  Concerts.'    As  a  mark 
of  his  interest  in  the  performances  King  Greorge 
the  Third  personally  wrote  out  the  programmes, 
and  in  later  years  Prince  Albert  was  one  of  the 
directors.    Among  the  distinguished  artistes  who 
appeared  at  these  concerts  were  Madame  Mara 
and    Mrs.  Billington   (1785),    Signora  Storaoe 
(1787),  Miss  Parke,  Miss  Poole  (i79a)>  Messrs. 


ANCIENT  CONCERTS. 

Eurmh  and  Baiileniaa  (1795).  Upto  1795  the 
oyscau  wen  hdd  in  the  new  roonu,  Totto^iain 
btnet,  afterwards  known  as  the  Queen's  or  Wert 
lijfiJoii  Theatre^  but  in  that  year  they  were 
rstBditd  to  the  eonoert-roGm  in  the  Opera  Houie, 
K^  in  1804  to  the  Hanover  Square  Rooms. 
b  iSii  Gatalani  made  her  firrt  appearance,  and 
t7o  jean  laterMias  St^khens  (aftenwards  Countess 
JEiKx)  made  her  debui  at  these  oonoerts.  In 
1S16  Mn.  Sahnon  wns  heard,  and  shortly  after- 
mdi  MeBn.Braham  and  PhiUipe  were  engaged. 
In  kdditioa  to  the  twelre  oonoerts  given  every 
}m%  thirtemth  was  added,  when  '  T^e  Messiah  * 
Ku  perfbnned  in  aid  of  the  'Fund  for  the  Sup- 
fjix  of  Decayed  Musicians  and  their  Families,' 
I  pnctioe  1^  maintained  in  the  annual  per- 
fxaiDoes  by  the  Royal  Society  of  Musicians. 
haecardaiioe  with  one  of  the  customs  connected 
vith  the  oonoais  it  was  the  rule  for  the  director 
ef  die  day  to  entertain  his  brother  directors 
ud  tk  copdoctor  at  dinner.  The  library  of 
ii  ffiaatera  belonging  to  the  society  was  after 
hi  diioootmoaiioe  removed  to  Buckingham 
hlice.  [C.  M.] 

AXDANTE  (ItaL,  participle  of  the  verb 
adm,  'to  go*).  Groing,  moving  along  at  a 
Bodente  pace.  In  modem  music  this  word  is 
ebiefly  and  to  dengnate  a  rather  slow  rate  of 
□OTemoit ;  fixmerly  however  it  was  used  more 
gatmUj  m  its  litcoid  sense.  Thus  in  Handel's 
fflodc  we  frequently  find  the  indication  '  andante 
likgro/ a  contradiction  in  terms  in  the  modem 
iense  of  the  words,  but  by  which  is  nmply  meant 
'moriag  briakly.'  Andante  is  a  ouicker  rate  of 
ntorement  than  larghetto,  but  on  the  other  hand 
ii  alower  than  aUegretta  As  with  most  other 
Vindications  it  is  finquently  modified  in 
maning  by  the  addition  of  other  words,  e.  g. 
'tndaate  sostenuto'  would  be  a  little  slower, 
lod  'andante  nn  pooo  allegretto*  or  'andante 
OS  moto'  a  trifle  fiuter,  than  'andante*  alone. 
like  adagio,  largo,  etc,  this  word  is  also  used 
u  tk  name  of  a  piece  of  music  (e.  g.  Beethoven's 
'Asdante  in  F')  or  as  the  name  of  a  slow  move- 
HHK  of  a  symphony,  sonata^  etc.  [E.  P.] 

AM)ANnNO  (Ital.).  The  diminutive  of 
AiDiKn  (q.v.).  As  'andante'  means  literally 
gnsg/  its  diminutive  mnrt  mean '  rather  going,' 
U  not  0Hog  quite  so  &st;  and  properly 
'a&dantino  designates  a  somewhat  slower  time 
tittn  andante.  Some  modem  camposers  however, 
^'etti&g  the  original  meaning  of  the  word,  and 
tlunldog  cf  andante  as  equivalent  with  'slow,* 
ueaodantino  for  'rather  slow,*  i.  e.  somewhat 
quieker.  In  which  sense  the  word  is  intended 
^  only  be  determined  by  the  character  of  the 
ousicitaelt  No  more  striking  proof  of  the  un- 
catiinty  which  prevails  in  the  use  of  tiiese  time- 
'J'^A^  can  be  given  than  is  to  be  found  in 
ue  &et  that  three  movements  in  Mendelssohn*8 
'Bijah'  the  fint  of  which,  'If  with  aU  your 
''^v^'  is  marked  'andante  con  moto,'  the 
^««oA,  'The  Lord  hath  exalted  tfaee,*  merely 
'andate;  and  the  third,  'O  rest  in  the  Lord,* 
'u^tino,'  are  all  in  exactly  the  same  time, 


ANDERSON. 


6& 


the  metronome  indication  being   in  each  case 

J  -  7a.  [B.  P.] 

ANDER,  Alots,  one  of  the  mort  fieunous 
Grerman  tenor  singers  of  recent  times ;  bom  Au- 
gust 34,  i8ai,  at  Idbitz  in  Bohemia.  His  voice 
though  not  powerful  was  extremely  sympathetic 
in  quality.  He  went  to  Vienna  in  the  hope  that 
his  talents  would  be  recognised  there,  but  it 
required  all  the  energy  and  influence  of  Wild  the 
singer,  at  that  time  Ober-Begisseur  to  the  court 
opera-houae  before  he  was  aUowed  to  make  the 
experiment  of  appearing  there  for  the  first  time 
(Oct.  a  a,  1845)  as  Stradella  in  the  opera  of  that 
name,  though  with  no  previous  experience  of  the 
boards  whatever.  His  success  was  complete,  and 
decided  his  course  for  life,  and  that  single  night 
raised  him  from  a  simple  derk  to  the  rank  of 
a  '  prime  tenors  assoluto.*  Still  more  remarkable 
was  his  success  in  the  'Proph^te/  which  was 
given  in  Vienna  for  the  first  time  on  Feb.  28, 
1 850.  Meyerbeer  interested  himself  in  the  rapid 
progress  of  Ander,  and  from  that  date  he  became 
the  established  favourite  of  the  Vienna  public,  to 
whom  he  remained  faithful,  notwithstanding 
tempting  offers  of  engagements  elsewhere.  His 
last  great  part  was  that  of  Lohengrin,  in  which 
he  combined  all  his  extraortiinary  powers.  As 
an  actor  he  was  greatly  gifted,  and  had  the 
advantage  of  a  very  attractive  appearance.  His 
voice,  not  strong  and  somewhat  veiled  in  tone, 
was  in  harmony  with  all  his  other  qualities ;  his 
conceptions  were  fiill  of  artistic  earnestness,  and 
^nimAJwi  by  a  noble  vein  of  poetry.  His  physical 
strength  however  was  unequal  to  the  excitement 
of  acting,  and  was  impaired  by  the  artificial 
means  which  he  took  to  support  himself.  His 
last  appearance  was  as  Arnold  in  '  William  Tell,* 
on  Sept.  19, 1864 ;  he  was  then  failing,  and  shortly 
afterwards  totally  collapsed.  He  was  taken  to 
the  Bath  of  Wartenberg  in  Bohemia,  where  he 
died  on  Dec  11,  but  was  buried  in  Vienna  amid 
tokens  of  universal  affection.  [C.  F.  P.] 

ANDERSON,  Mb8.  Luct,  is  the  daughter  of 
Mr.  John  Philpot,  a  professor  of  music  and 
music-seller  at  Bath,  where  she  was  bom  in 
1797.  Miss  Philpot  early  manifested  a  love  for 
piimoforte  playing,  and  although  she  never  re- 
ceived any  other  instruction  upon  the  instrument 
than  some  lessons  given,  at  very  irrMrular  inter- 
vals, by  her  cousin,  Mr.  Windsor,  of  Bath,  she 
soon,  by  perseverance  and  observation  of  the 
eminent  players  who  occasionally  appeared  at  the 
Bath  concerts,  arrived  at  such  a  degree  of  skill 
as  to  be  able  to  perform  in  public  at  those  con- 
certs, which  she  did  with  great  success,  and  also 
to  follow  music  as  a  profession.  Dl  health,  how- 
ever, induced  her  to  quit  Bath  and  to  come  to  Lon- 
don, where  her  success  was  speedily  assured,  she 
soon  becoming  eminent  in  her  profession.  In 
July  i8ao  Miss  Philpot  was  married  to  Mr. 
Qeme  Frederick  Anderson,  a  violinist  engaged 
in  all  the  best  orohestras,  and  subsequently,  for 
many  years,  master  of  the  Queen's  private  band. 
Mrs.  Anderson  enjoys  the  distinction  of  being  the 
first  female  pianist  who  played  at  the  PhUhar* 

F 


66 


ANDERSON. 


monlc  Sodety's  oonoeirts.  She  wm  the  instruo- 
tresB  on  the  pianoforte  of  the  Prfnceas,  now  Queen, 
Victoria,  and  of  her  children.  [W.  H.  H.] 

ANDBE»  JoHAKK,  the  head  of  an  extensive 
musical  fiunUy,  was  bom  at  Offenbach,  A.M.  on 
March  28, 1 741.  His  father  was  proprietor  of  a 
sillL  fiictory,  and  the  boy  was  intended  to  cany  on 
the  business.  But  the  love  of  music  was  too 
strong  in  him;  he  began  by  teaching  himsell^ 
until  in  1761  he  happened  to  encounter  an 
ItaUaa  opera  company  at  Frankfort,  which 
added  fresh  food  to  his  desire.  His  first  comic 
opera,  'Der  T&pfor*  (the  Pott^),  was  so 
successful  as  to  induce  Goethe  to  confide  to  him 
his  opo^tta  of '  Erwin  und  Elmire,*  (1764)  which 
had  equal  success,  as  had  also  some  songs 
produced  at  the  same  time.  After  this  Andr6 
received  a  call  to  act  as  director  of  the  music 
at  the  Dobblin  Theatre  in  Berlin,  which  he 
obeyed  by  settling  in  Berlin  with  his  family, 
aftw  handing  over  the  fihctory  (to  which  since 
1774  he  had  added  a  music  printing  office)  to 
his  younger  brother.  Here  he  enjoyed  the 
instruction  of  Marpuig,  and  composed  a  quantity 
of  songs,  dramas,  tmd  other  pieces  for  the 
theatre.  Not  being  able  however,  owing  to  the 
distance,  to  give  the  necessary  attention  to 
the  printing-office,  he  returned  to  Offenbach  at 
the  end  of  seven  years,  and  resided 'there  in 
the  pursuit  of  his  business  and  his  music  till 
his  death  on  June  18,  1799.  Before  that  date 
his  establishment  had  issued  the  large  number 
of  1 300  works,  and  he  himself  had  composed, 
in  addition  to  many  instrumental  pieces,  some 
thirty  operas  and  dramas,  and  a  vast  number 
of  melcxlious  songs  and  vocal  pieces,  many 
of  which  became  popular,  amongst  them  the 
still  £ikvourite  Volkslied  'Bekranzt  mit  Laub.* 
Among  his  operas  was  one  by  Bretzner  in 
four  acts,  'Belmonte  und  Constanza,  oder  die 
Entliihrung  aus  dem  Serail,*  produced  in  Ber- 
lin on  May  26,  1781,  and  ofben  repeated  with 
applause.  Shortly  afterwards,  on  July  i  a,  1 78a, 
appeared  Mozart's  setting  of  the  same  opera, 
with  alterations  and  additions  to  the  text  by 
Stephanie.  A  paper  war  followed  between  the 
two  librettists,  durmg  which  Andr^  took  occasion 
to  speak  noblv  on  the  side  of  Stephanie,  not- 
wiUistanding  his  having  assisted  Mozart  in  the 
preparation  of  an  opera  which  had  &r  surpasned 
his  own.  After  Andr^*s  death  the  business  was 
carried  on  bv  his  third  son,  Johann  Anton,  the 
most  remarKable  member  of  the  &mily.  He 
was  bom  at  Offenbach,  Oct.  6,  1775,  and  while 
almost  an  in&nt  showed  great  predilection  and 
talent  for  music.  He  was  an  excellent  player 
both  on  the  violin  and  piano,  and  a  practised 
composer  before  entering  at  the  University  of 
Jena,  where  he  went  through  the  complete 
course  of  study.  He  was  thus  fully  competent 
on  the  death  of  his  &ther  in  1 799  to  assume  the 
control  of  the  business,  and  indeed  to  impart 
to  it  fresh  impulse  by  allying  himself  with 
Senefelder  the  inventor  of  litibography,  a  process 
which  he  largely  applied  to  the  production  of 
music.    In  the  same  year  with  his  father's  death 


ANDBEOLL 

he  visited  Vienna,  and  acquired  from  Moott'i 
widow  the  entire  musical  remains  of  the  grot 
composer,  an  act  which  spread  a  veritable  haii 
round  the  establishment  of  which  he  vu  t^ 
head.  Andr^  published  the  thematic  catalogs 
which  Mozart  himself  had  kept  of  bis  verb 
from  Feb  9,  1784  to  Nov.  15,  1791,  as  veQs 
a  further  thematic  catalogue  of  the  whole  of  ^ 
autographs  of  the  master  which  had  come  k» 
his  possession.  Andr6  was  equally  vened  btb 
theory  and  the  practice  of  music ;  he  attempif^ 
every  branch  of  compositioD,  from  aoD^  w 
operas  and  symphonies,  with  suooesa.  AiB<m2S 
other  things  he  was  the  author  of  'Proveifai,' 
for  four  voices  (op.  3a),  an  elaborate  jokewi&d 
has  recently  been  the  object  of  much  dis^k. 
owing  to  its  having  been  published  in  1809  h 
Aibl  of  Munich  as  a  work  of  Haydn's.  As  1 
teacher  he  could  boast  of  a  series  of  distingnkb: 
scholars.  His  introduction  to  the  violin  and  bii 
treatise  on  harmony  and  counterpoint  were  botb 
highly  esteemed.  So  also  were  the  two  fins 
volumes  of  his  unfinished  work  on  compoatiea 
AndrS  was  dignified  with  the  title  of  Eobu. 
and  by  the  accumulation  of  musical  treasombs 
converted  his  house  into  a  perfect  pantheon  (tf 
music.  He  died  on  April  8,  1842.  An  i^ 
of  the  respect  in  which  he  was  held  may  \» 
ffained  frt>m  various  mentions  of  him  in  Mee- 
delssohn*s  letters,  especially  that  of  July  14, 1S3I 
and  a  very  characteristic  account  of  a  nat 
to  him  in  HiUers  'MendelsBohn,'  chapter  I 
Of  his  sons  mention  may  be  made  of  AoGrsi, 
the  present  proprietor  of  the  establiahment,  asd 
publisher  of  the  '  Universal-Lexikon  der  Ttt- 
kunst'  of  Schladebaoh  and  Bemsdorf ;  of  JoHin 
Baptist,  pupil  of  Aloys  Schmitt  aod  Keokr. 
and  afterwaids  of  Taubert  and  Debn,  a  lefidot 
in  Berlin;  of  Julius,  who  addicted  himself  t» 
the  organ,  and  was  the  author  of  a  'Pnctiesl 
Organ  School,*  which  has  gone  thrDugh  sevenl 
editions,  and  of  various  fibvourite  pieces  for  this 
instrument,  as  well  as  of  four  hand  aRaogeuMDB 
of  Mozart^s  works ;  lastly  of  Karl  Augc«t, 
who  in  1835  undertook  the  management  of  the 
branch  establishment  opened  at  Frankfort  by  Ids 
father  in  i8a8,  adding  to  it  a  manu&ctoij  c' 
pianos,  and  a  general  musical  instrument  bosioea 
He  named  his  house  '  Mozarthaus,*  and  tbe 
pianos  manufitctured  there  '  Mozartflogel'  es^ 
mstrument  being  ornamented  with  a  portni: 
of  the  master  from  the  original  painting  br 
Tischbein  in  his  possession.  In  1855,  on  tbe 
occasion  of  the  Munich  Industrial  EzlubitioB,  be 
published  a  volume  entitled  *  Pianoforte  making: 
its  history,  musical  and  technical  importiace 
(' Der  Klavierbau,'  etc.).  [G  F.  P] 

ANDREOLI,  Giuseppe,  a  celebrated  cootn- 
bassist,  bom  at  Milan  in  1 757,  died  in  1832 ;  ma> 
ber  of  the  orchestra  of  La  Scala  and  profeatf 
of  his  instrument  at  the  Conservatorio  of  Miltf  j 
also  played  the  harp  with  success.        [T.  P.  H., 

ANDREOLI.  A  musical  fiunily,  not  rel«^ 
to  the  foregoing.  Evanoelista,  the  &ther-bdn 
1 810,  died  June  16, 75 — ^was  organist  and  tescltf 
atMirandolainModena.    Hisson^GuGLiKUK^ 


ANDRfiOU. 

te  bora  ihae  April  as,  1835,  and  wm  pupil  at- 
te  Conaervatorio  of  Milan  from  1847  to  53. 
.  piaiuat  of  great  distiiiction,  remarkable  for 
»  soft  and  ddicate  touch,  pure  taste,  and  power 
'  espKasioii,  as  well  as  fior  great  ezecutioii.  He 
u  well  known  in  London,  where  he  appeared 
tite  CiTBtal  Palace  (Dec.  j^,  56),  the  Musical 
luym  (April  2y,  58),  the  New  Philharmonic 
IkUr  9,  59),  and  elsewhere.  His  health  was 
»r«r  strong;  and  he  died  at  Nice  1860.  His 
^spMitioiis  were  unimportant.  His  brother 
A£LO  was  also  bom  at  Mirandola^  and  brought 
p  as  the  Consenratorio  of  Milan,  where  he  is 
^  (1875)  professor  of  the  piano.  He  too  was 
iTonzal^  Imown  in  London,  though  since  1871 
k  health,  has  oon&ied  him  to  Italy  and  the 
>athof  fVanoe.  [6.] 

ANDREONI  was  an  Italian  singer  engaged 
7  the  srisann  of  1741  in  Tiondon.  He  seems  to 
aT«  had  an  artificial  low  ■oprsno  or  contralto 
■•ice,  for  his  name  appears  to  the  song  'Let 
ijioeaa.  oft  i^pear'  in  Handel*8  'Allegro,*  to 
rhich  the  composer  has  added  in  his  MS.  the 
rijfda  'on  tono  piii  basso  in  sop^,'  meaning 
hti  it  most  be  transposed  for  him.  The  song 
na  probably  song  by  him  in  Italian,  as  a  trans* 
sdoQ.  beginning  '  Se  Tlmeneo  fra  noi  verrk,'  is 
kdded,  as  also  to  the  song  'And  ever  against 
itttag  cares*  ('  E  oontzo  all*  aspre  cure *),  which 
ii  givoi  to  the  same  nnger.  He  had  arrived  too 
neoestly  to  be  able  to  kam  the  langusge  in  time 
L«  the  performance.  He  sang  the  contralto 
isiD's  part  in  Handers  '  Lneneo*  the  same  year, 
led  in 'Deidamia,*  that  master*8  last  opera.  He 
djea  Dot  seem  to  have  gone  with  him,  however, 
:<)  belaod ;  nor  to  have  sung  agun  in  London. 
Hii  subsequent  history  is  not  known.        [J.  M.] 

AKDREVI,  Franobsoo,  bom  near  Lerida  in 
Cftulonia  of  Italian  parents  in  1785,  died  at 
Baiodona  in  1844  ;  was  successively  the  director 
r^  muae  in  tiie  cathedrals  of  Valencia,  Seville, 
BomdesQz  (183a  to  1843)  where  he  fled  during 
ti%  dvil  war,  and  in  the  church  of  Our  Lady 
of  Mercy  at  Barcelona.  His  sacred  compoeitiona 
va«  good  snd  numerous,  but  a  *  Nunc  Dimittis ' 
u^i  s '  Salve  Begina,*  printed  in  Eslava'scoUectionr 
b-SpMiiih  church  music,  'liraSacro-Hispana,*  are 
lu(rnlTpublished  works.  His  treatise  on  Harmony 
mi  Coanierpoint  was  translated  into  French 
IPmm,  1848).  [M.  C.  C] 

ANEBIO,  Fbliob,  an  Italian  composer  of 
tbe  Roman  school,  was  bom  about  1560,  and, 
ifia  completing  his  studies  under  G.  M.  Nanini, 
vu  msde  MaMtro  at  the  English  College.  He 
afiawds  took  service  with  Gardinal  Aide- 
bnodini,  and  upon  the  death  of  Palestzina  was 
Euned  'Compositore'  to  the  Papal  CSiapel,  cm 

^P^  3»  1594*  '^^  ^"^^  ^  ^  death  is  un- 
boviL  ^B  printed  oompoeittons  indude  the 
fjUowing:  three  books  of  'Sacred  Madrigals'  for 
fire  voioea  {Gardano,  Bome  1585)  ;  three  books 
of  'Madrigals* ;  two  books  of  sscred  '  Goncerti* ; 
tvo  books  of  Hymns,  Gantides,  and  Mo- 
tetd ;  '  Beqxmsori*  for  the  Holy  Week ;  litan- 
i^  Cftoaoni,  and   MotettL     His   unpublished 


ANFOSSL 


67 


Mcs  afe  peserved  in  the'OoUections^of  S.  Maria 
in  y  allioella,  of  the  Vatican.  BasUica,  and  of  the 
Pontifical  Chapel.  In  the  library  of.  the  Abb^ 
Skmtini  also,  there  was  a  considerable  number  of 
Anerio*s  Masses,  with  Psalms  and  other  pieces. 
A  Masfl^  a  Te  Deum,  and  la  motets  (one  for  8 
voices)  by  him,  are  given  in  Ptoske's  'Musica 
divina.'  [E.  H.  P.] 

ANERIO,  Giovanni  Fbancisoo,  a  younger 
brother  of  the  preceding,  bom  at  Rome  about 
1567..  His  first  professional  engagement  was  as 
Maestro  di  Gappella  to  Sigismund  III,  King  of 
Poland.  He  aherwards  served  in  the  same 
d^Munfcy  in  the  cathedral  of  Verona.  Thence  he 
came  to  Rome  to  fin  the  poet  of  musical*  in- 
structor at  the  Seminario  Romano»  and  was 
afterwards  Maestro  di  Cappella  at  the  church 
of  the  Madbnna  de'  Monti.  Lastly,  ih  1600,  he 
was  made  Maestro  at  the  Lateran,  where  he 
remained  until  161 3.  He  then  disappears.  He 
was  one  of  the  first  Italians  who  maae  use  of  the 
qiiaver  and  its  subdivisions.  His  printed  worics 
form  a  catalogue  too  long  for  insertion  here. 
Suffice  it  to  say  that  they  consist  of  all  the  usual 
forms  of  sacred  music,   and   that    they  were 

gublished  (as  his  brother*8  were)  by  Soldi, 
rardano,  Robletti,  etc  Giovanni  Anerio  had  a 
fancy  for  decking  the  fixmtispieoes  of  his  volumes 
with  fsntastic  titles,  such  as  'Ghirlanda  <U  sacre 
Rose,*  'Teatro  aimonioo  spirituale,'  'Selva  anno- 
nica,* '  Diporti  musicals,*  and  the  like.  He  was 
one  of  the  adapters  of  PaleBtrina*8  mass  '  Papn 
Maroelli.'  (See^  PkucsTBiNA).  T^ere  were 
scores  of  several  of  his  munsos  in  the  collection  of 
the  Abb^  Santini.  A  requiem  of  his  for  4  voices 
has  been  rooently  published  by  Pustet  of  Regens- 
buig;  [E.  H.  P.] 

ANET;  BlFTisTB,  a  French  violinist^  pupil  of 
CorellL  After  studying  for  four  years  under  that 
great  master  at  Rome,  he  appears  to  have  re- 
turned to  Paris  about  1700,  and  to  have  met 
with-  the  greatest  success.  There  can  be  little 
doubt  tiiat  by  his  example  the  principles  of  the 
great  Italian  school  of  violin-playing  were  first 
introduced  into  Frsnce.  Probably  owing  to  the 
jiealousy  of  his  French  colleagues  Anet  soon  left 
Paris  again,  and  is  said  to  have  spent  the  rest  of 
his  life  as  oonduotor  of  the  private  band  of  a 
nobleman  in  Poland. 

He  published  three  sets  of  sonatas  for  the 
violin.  [P.  D.] 

ANFOSSI,  PAflQUALi;  an  operatic  composer 
of  the  1 8th  century.  Born  at  Naples  in  or  about 
1739.  He  first  studied  the  violin,  but  deserted 
that  instrument  for  composition,  and  took  lessons 
in  harmony  frvm  Picdnni,  who  was  then  in  the 
zenith  of  his  fome.  His  two  first  operas,  '  Caio 
Mario*  and  'I  Visionari,*  the  first  brought  out  in 
Venice,  the  seoond  in  Rome,  were  failures ;  but 
his  third,  'L'Inoognita  persequitata,'  made  his 
fortune.  Its  success  was  paiily  owing  to  the 
ill-feeling  of  a  musical  clique  in  Rome  towards 
Picdmii,  whom  they  hoped  to  depredate  by  the 
exaltation  of  a  rival.  Anfossi  lent  himsdf  to 
their  intrigues,  and  treated  his  old  master  and 

F2 


68 


ANFOSSI. 


ANIMUCCIA. 


benefactor  with  great  ingratitude.  In  his  own 
turn  he  experienced  the  fickleneas  of  the  Roman 
public  of  that  day,  and  quitting,  first  the  capital, 
and  afterwards  Italy,  brought  out  a  long  string  of 
operas  in  Paris,  London,  Prague,  and  Berlin,  with 
varying  success.  He  returned  to  Italy  in  1784, 
and  to  Rome  itself  in  1 787.  Tiring  of  the  stage, 
he  sought  for  and  obtained  the  post  of  Maestro 
at  the  Lateran,  and  held  it  till  his  death. 

The  music  of  Anfoed  was  essentially  ephe- 
meral ;  he  was  the  fashion  in  his  day,  and  for 
a  time  eclipsed  his  betters.  But,  although  a 
musician  of  undoubted  talent,  he  was  destitute 
of  real  creative  power,  and  it  is  not  likely  that 
his  reputation  will  ever  be  rehabilitated.  He 
oompoeed  no  less  than  forty-six  operas  and  one 
oratorio,  besides  certain  pieces  of  church-music, 
some  of  which  are  in  the  collection  of  the  Lateran 
and  others  were  in  that  of  the  Abb^  Santini. 

Mozart  composed  two  airs  for  soprano  and  one 
for  tenor,  for  insertion  in  AnfoRsi's  opera  of  '  H 
CurioBo  indiscrete*  on  the  occasion  of  its  per- 
formance at  Vienna  in  1 783,  and  an  arietta  for 
bass  for  the  opera  of  'Le  Gelosie  fortunate'  at 
the  same  place  in  1788.  (See  Kochel's  Cata- 
logue, Nos.  418,  419,  420,  541.)  [£.  H.  P.] 

ANGLAISE.  The  English  country-dance 
(cantrtdanse),  of  lively  character,  sometimes  in 
a -4,  but  sometimes  also  in  3-4  or  3-8  time.  It 
closely  resembles  the  Ecossaisb  (q.  v.),  and 
most  probably  took  its  origin  from  the  older  form 
of  the  French  Bigaudon,  [E.  P.] 

ANGLl^ERT,  Jean  Hbnbt  t>\  chamber- 
musician  to  Louis  XIV,  and  author  of  '  Pieces 
de  Clave9in,*  etc.  (Paris,  1689),  a  collection  of 
fueues  and  of  airs,  some  by  Lulli,  bat  mostly 
original,  arranged  for  the  harpsichord.  'Lm 
Folies  d*£spagne,*  with  twenty-two  variations, 
was  afterwards  similarly  treated  by  Corelli,  and 
has  been  erroneously  supposed  to  be  his  com- 
position. [M.  C.  C] 

ANGRISANI,  Gablo,  a  distinguished  basso, 
bom  at  Reggio,  about  1 760.  After  singing  at 
several  theatres  in  Italy,  he  appeared  at  Vienna, 
where,  in  1798  and  1799,  he  published  two  col- 
lections of  '  Nottumi  lor  three  voioes.  In  181 7 
he  sang  at  the  King's  Theatre  in  London  with 
Fodor,  Pasta^  Camporese^  Begrez,  Naldi,  and 
Ambrogetti.  His  voice  was  foU,  rouncC  and 
sonorous.  [J.  M.] 

ANIMATO  or  CON  ANIMA  (Ital.),  *  With 
spirit.*  This  direction  for  performance  is  seldom 
to  be  found  in  the  works  of  the  older  nuisters, 
who  usually  employed  'Conspirito*  or  'Spiritoso.* 
Haydn  and  Mozart  rarely  if  ever  use  it ;  Bee- 
thoven never  once  employs  at.  ]n  the  whole  of 
dementi's  sonatas,  numbering  more  than  sixty, 
it  is  only  to  be  found  three  times.  He  uses  it  in 
the  first  allegro  of  the  sonata  in  D  minor.  Op. 
50,  No.  2,  and  in  the  rondo  of  the  '  Didone 
abbandonata»*  Op.  50,  No.  3.  In  both  these  cases 
passages  are  simply  marked  'Con  anima.'  The 
third  instance  is  especially  interesting  as  proving 
that  the  term  does  not  necessarily  imply  a  quick 
tempo.     The  slow  movement  of  his  sonata  in 


E  flat.  Op.  47,  No.  I,  is  inscribed  '  Adagio  mr4:- 
e  con  anima.*  Weber  frequently  usee  the  tens 
(see  his  sonatas  in  A  flat  and  D  minor),  Ch'.^  1 
employs  it  in  his  1st  Scherzo  and  his  £  mkr 
Concerto,  and  it  is  also  to  be  met  with  in  MendeW 
sohn,— e.  g.  *  Lieder  ohne  Worte,'  Book  5,  No.  4. 
'Allegro  con  anima,*  symphony  of  'Lobg^aBc' 
first  allegro '  animate*  (fall  score,  p.  1 7).  In  ib^ 
and  similar  cases  no  quickening  of  tiie  iempr  j 
necessarily  implied ;  the  effect  of  animation  is  v 
be  produced  by  a  more  decided  markins^  of  tb 
rhythmical  accents.  On  the  other  hand  ihe  tens 
is  sometimes  used  as  equivalent  to  '  rtretto/  a 
for  instance  in  the  first  all^^  of  Mendelssohn  e 
Scotch  Symphony,  where  tiie  indication  'a»i 
animate*  is  accompanied  by  a  change  in  ti» 
metronome  time  from  f'sriootop'  «i20,(r 
at  the  close  of  the  great  duet  in  the  third  act  d 
Auber*s  'Hayd^e,'  where  the  coda  is  marked  oeh 
'animate,*  but  a  quicker  time  is  clearly  intended 
In  this,  as  in  so  many  similar  cases,  it  is  in^i^ 
sible  to  lay  down  any  absolute  role.  A  goo: 
musician  will  never  be  at  a  loss  as  to  whether  t^ 
time  should  be  changed  or  not.  [E.  P.' 

ANIMUCCIA,  Giovanni,  an  Italian  oomposf 
bom  at  Florence  at  the  end  of  the  1 5th  <?  Uf 
beginning  of  the  i6th  century.  He  sto&ii 
music  under  Claudeo  Goudimel,  and  in  is^c  m 
made  Maestro  at  the  Vatican,  retaining  tb; 
post  until  his  death.  He  died  beyond  all  qnodx 
in  1 5  71,  for,  although  Poodanti  in  his  'Cataltcu 
Scriptorum  Florentinorum*  places  his  death  t 
1 569,  Adami,  Pitoni,  and  Sonzonio  all  give  tB: 
date  1 5  71.  But  better  than  any  such  authoit^ 
are  two  entries  in  the  Vatican  Archives,  ooe  •:* 
his  death  in  March  1571,  and  the  other  of  tk 
election  of  Palestrina  in  his  place  in  Apd 
following.  There  can  be  no  doubt^  although  Ui 
fame  and  his  work  were  so  soon  to  be  eclipsed  b 
the  genius  of  Palestrina,  that  his  masic  was  % 
great  advance  upon  the  productions  of  ths 
Flemish  school.  More  than  one  passage  in  tbr 
dedications  of  his  published  pieces  show  too  ihsi 
he  was  touched  by  the  same  religious  spim  t^ 
responsibility  which  filled  the  soul  of  Palestritt: 
and  the  friendship  of  Sunt  Filippo  Nesi,  w^ 
they  both  shared,  is  alone  an  indication  of  tht: 
similarity.  The  saint's  admiration  of  Animiimt 
may  be  gauged  by  his  ecstatic  dedaratum  that  I 
he  had  seen  the  soul  of  his  friend  By  upwara  I 
towards  heaven. 

Animucda  composed  the  famous  '  Laudi,*  whi^ 
were  sung  at  the  Oratorio  of  S.  Filippo  ailer  thf 
conclusion  of  the  regular  office,  and  out  of  tb£ 
dramatic  tone  and  tendency  of  which  the  'U»- 
torio'  is  said  to  have  been  developed.  Hence  U 
has  been  called  the  '  Father  of  the  Onttorio.'  It 
is  strange  that  a  form  of  music  whi<^  P^oteetais* 
ism  has  made  so  completely  its  own  should  hxx^ 
been  adopted,  even  to  its  veiy  name,  from  tl^ 
oratory  of  a  Catholic  enthusiast  in  the  lata'  ^^ 
of  the  Church's  power. 

Several  volumes  of  his  works,  oomprisz:^ 
masses,  motetti,  madrigals,  Magnificats,  a^ii 
some  of  the  'Laudi,'  were  published  in  Ik 
lifetime  by  the  I>orici  and  their  saooeason,  If 


ANIMUOCIA. 

Gin^jDo^  and  by  the  saooemon  of  Baldo.  Marthii 
bitifted  two  of  ids  '  Agnus*  in  hia  <  Esempltfe' — 
ik)  reprinted  by  Choron, '  Principes,*  vol.  v.  But 
tbe  balk  of  his  oompositions  is  probably  in  MS. 

()f  the  nudity  with  whicn  he  wrote  some 
px)f  is  Afforded  by  an  extract  quoted  both  by 
£ami  sod  Fetis  from  the  Vatican  Archives.  It 
k  an  Oder  to  the  Paymaster  of  the  Chapter  to 
^T  Animooda  twen^-fiye  scudi  for  fourteen 
hjxBs,  four  motetti,  and  three  masses,  all  of 
Viiich  we  shown  in  the  order  itself  to  have  been 
oanpoeed  in  less  than  five  months.        [£.  H.  P.] 

ANIMUOCIA,  Paolo,  brother  of  the  fore- 

rnb^  bat  whether  older  or  younger  does  not 

ippeu.     Pitoni,   with   inaccuracy,  takes  upon 

juoielf  to  doubt  the  relationship  altogether; 

bat  Poodanti,   who   was   their  contemporary, 

i^iiiBctly  afiinns  it,  speaking  of  Paolo  as,  '  Ani- 

jaxaz,  laodatisBimi  Joannis  frater.'      He  was 

aode  Kaertro  at  the  Lateran  on  the  removal  of 

Kcfamo  to  the  Vatican  in  1550,  and  held  the 

past  till  155  a    when    he    was    succeeded    by 

Lapaoehim.    Pitoni  insists  that  he  remained  at 

tbe  Lateraa  fcwn  1550  to  1555  ;  but  the  *  libri 

Camali'  are  against  him.    Baini,  however,  hints 

tbit  it  18  poaaible  that  he  may  have  occupied  the 

poet  a  second  time  temporarily  in  1555,  just 

.lefflre  tlie  election  of  Palestrina»  and  that  this 

mj  have  misled  Pitoni.    He  died,  according 

t)  Poodaati,  at  Rome  in  1563.    He  has  left  but 

little  printed  music  behind  him.    Two  madrigals 

<f  his  ^pear  in  two  separate  volumes,  one  in  a 

book  of  pieces  by  Orlando  Lasso,  and  the  other 

m  a  miwellaneous  collection  of  various  authora, 

i&d  both  pubtished  by  Gardano  of  Venice  in 

1:59.  There  is  a  motet  of  his  in  a  Collection 

of  Motetti  published  at  Venice  in  1568 ;  and 

BuTtr  of  Mikn  published  wome  of  his  motetti  in 

» minellaneoua  volume  in  1588.    According  to 

Fetis  the  library  of  John  IV,  King  of  Portugal, 

coQtuDed  a  collection  of  Paolo  Animucda^s  Mad- 

rijnk  in  two  books  intituled  '  H  Desiderio,  Mad* 

rigali  a  dnque.  Lib.  2.'  [E.  H.  P.] 

ANNA  AMALIA,  Duchess  of  Saze  Weimar. 
bom  at  Brunswick,  Oct.  24,  1739,  and  learned 
niac  {rom  the  conductors  of  the  ducal  chapel  at 
^eiiQtt.  She  composed  the  music  in  Groethe*8 
ffidoiirama  of  'Erwin  und  Elmire,*  a  notice  of 
which  will  be  found  in  the  '  Teutsoher  Mercur,* 
^j,  1776.  The  duchess  was  a  woman  of  fine 
ud  noUe  taste,  and  to  her  countenance  and 
iQpport  ia  greatly  due  the  excellence  of  the  music 
ia  the  Weunar  theatre  about  1770.  She  died 
April  12, 1807.  [F-  G.] 

ANNA  AMALIA,  Princess  of  Prussia^  sister 
of  Frederic  the  Great,  bom  Nov.  9,  1733,  was 
A  pupil  of  EiRVBKBOXB ;  sho  is  the  composer  of 
i  cantaU  hj  Bamler, '  Der  Tod  Jesu,*  the  same 
vhich  waa  set  to  music  by  Graun.  The  princess 
vu  an  able  contrapuntist)  and  her  style  is  full  of 
vigour  and  energy,  as  may  be  seen  finom  a  portion 
of  her  cantata  whtch  is  included  in  Kimberger^s 
'Konst  dea  reinen  Siitzes.'  She  is  also  aaid  to 
hTepUyed  the  cUvier  with  great  taste  and  ability. 
She  died  at  Berlin,  March  30, 1 787.  [F.  G.] 


ANSWER. 


09 


ANNA  BOLENA,  opera  by  DonketU;  U- 
bretto  by  Romani ;  produced  at  MHan  in  1822, 
in  Paris  Sept  1831,  and  in  London. 

ANNIBALI,  DOMEKTOO,  an  Italian  sopran- 
ist  at  the  court  of  Saxony;  was  engaged  by 
Handel  for  his  opera  at  London  in  the  autumn 
of  1736,  and  maae  his  d^but  in  'Arminio.'  He 
appeared  next  in  '  Poro,'  introducing  three  songs, 
not  by  Handel,  which  probably  he  had  brought 
wHh  him  from  Italy  to  display  his  particiuar 
powers — an  example  fi«quently  foUowed  since  his 
day.  He  performed  in  the  cantata  'Cecilia, 
volgi,'  and  sang  the  additional  song,  'Sei  del 
ciel,'  interpolated  by  Handel  between  the  first 
and  second  acts  of '  Alexander's  Feast.*  In  1 737 
he  performed  the  part  of  Justin  in  the  same 
master's  opera  of  that  name,  and  that  of  De- 
metric  in  his  'Berenice.*  After  that  his  name 
does  not  appear  again.  [J.  M.] 

ANSANI,  Giovanni,  bom  at  Rome  about 
the  middle  of  the  i8th  century,  was  one  of  the 
best  tenors  of  Italy.  In  1770  he  was  singing 
at  Copenhagen.  About  1 780  he  came  to  London, 
where  he  at  once  took  the  first  place ;  but»  being 
of  a  most  quarrelsome  temper,  he  threw  up 
his  engagement  on  account  of  squabbles  with 
Roncaglia.  He  returned  the  next  year  with 
his  wife,  Maccherini,  who  did  not  succeed. 
He  sang  at  Florence  in  1784,  at  Rome  the 
autumn  of  the  same  year,  and  elsewhere  in  Italy ; 
and  finally  retired  to  Naples  at  the  age  of  50, 
where  he  devoted  himself  to  *^*»rh\ng  singing. 
He  was  still  alive  in  181 5.  He  was  a  spirited 
actor,  and  had  a  full,  finely-toned,  ana  com* 
manding  voice.  Br.  Bumey  says  it  was  one  of 
the  sweetest  yet  most  powerful  tenon  he  ever 
heard;  to  which,  according  to  Gervasoni,  he 
added  a  very  rare  truth  of  intonation,  great 
power  of  expression,  and  the  most  perfect  method, 
both  of  producing  the  voice  and  of  vocalisation. 
His  wife  had  as  bad  a  temper  as  himself,  and 
they  were,  therefore,  the  most  inharmonious 
couple.  It  is  said  that,  when  singing  together 
in  Italy,  if  one  were  more  applauded  than  the 
other,  the  unsuccessful  one  would  hire  persons 
to  hiss  the  more  fortunate  rival. 

Ansani  was  known  also  as  a  composer  of 
duets  and  trios  for  soprano  and  bass,  with  a 
basso-continuo.  Gerber  reports  that  an  Opera 
of  his  compoeiticm,  called  'Ia  Vendetta  di  Minos,* 
was  performed  at  Florence  in  1791*  The  date 
of  his  death  is  not  known.  [J.  M.] 

ANSWER.  An  answer  in  music  is,  in  strict 
oounteipoint,  the  repetition  by  one  part  or  instru- 
ment of  a  theme  proposed  by  another.  In  the 
following  chorus  m>m  Handel's  'Utrecht  Jubi- 
Ute' 


O  io  joag  wtj 


■ja 


^ 


(«) 


i^mw> 


w 


m 


21  4iJ 


t:^ 


70 


ANSWER, 


a  and  e  ore  the  theme,  and  b  and  d  the  snccessive 
answers.  In  Grermany  the  ^eme  and  answer 
are  known  as  dum  and  cotnes,  or  as  Fuhrer  and 
Grfdhrter.  (See  the  articles  Canon,  Countjcb- 
FOINT,  and  FuauE.) 

The  word  is  used  in  looser  parlance  to  denote 
such  replies  of  one  portion  of  a  phrase  to  another, 
or  one  instrument  to  another,  as  occur  in  the 
second  subject  of  the  first  moTement  of  Bee- 
thoven's 'Slnfonia  Eroica' :— 


Clar, 


Fl. 


VM. 

] 


J^jf^.^^'Tj 


etc 


or   throughout   the    Scheno  of  Mendelssohn's 
'Scotch  Symphony,'  er  frequently  elsewhere. [G.] 

ANTHEM  (Gr.  Araiphona;  Ital.  and  Span. 
Antifona;  Eng.  ArUiphon),  The  idea  of  re- 
sponsive singing,  choir  answering  to  choir,  or 
choir  to  priest,  seems  inherent  in  tiie  term,  and 
was  anciently  conveyed  by  it;  but  this,  as  a 
necessary  element  of  its  meaning,  has  disappeared 
in  our  modern  Anglidsed  synonym  'anthem.' 
This  word — after  undeigoing  several  changes 
in  its  Anglo-Saxon  and  Ef^ly-English  forms, 
readily  traoeable  in  Chaucer,  and  those  writers 
wbe  ppeceded  and  followed  him,  and  subsequently 
used  by  Shakspere,  Milton,  and  others, — has  at 
length  acquired  «  meaning  equally  distinctive 
and  widely  accepted.  It  now  signifies «  musical 
composition,  or  sacred  motet,  usually  set  to 
verses  of  the  Psalms,  or  other  portions  of 
Scripture,  or  the  Liturgy,  and  sung  as  an 
integral  part  of  public  worship.  If  it  be  not 
possible  so  to  trace  the  word  etymologically  as 
to  render  it '  the  flower  of  song,'  as  some  scholars 
have  wished,  yet  the  anthem  itself  in  an  artistic 
aspect,  and  when  represented  by  its  finest 
examples,  may  justly  be  regarded  as  the  culmi- 
nating point  of  the  daily  ritual-music  of  our 
English  Chinch. 

Anthems  are  'commonly  described  as  'either 
*full,*  'verse,'  'solo,*  or  'fer  a  double  choir'; 
the  two  former  terms  correspond  to  'tutti*  and 
'  soli '  in  current  technical  phraseology.  In  his 
valuable  work  'The  Choral  Service  of  the 
Church'  Dr.  Jebb  makes  a  distinction  ^between 
'full  anthems,  properly  so  called,  which -consist 
of  chorus  alone,  and  the  full  anthem  with 
verses ;  these  verses  however,  which  form  a  very 
subordinate  part  of  the  compositions,  do  not 
consist  of  solos  or  duets,  but  for  the  most  part 
of  four  parts,  to  be  sung  by  one  side  of  the  choir. 
In  tile  verse  anthem  the  solos,  duets,  and  trios, 
have  the  prominent  place :  and  in  some  the 
chorus  is  a  mere  introduction  or  finale.' 

Nothing  can  be  more  various  in  form,  extent, 
and  treatment,  than  the  music  of  'the  anthem' 
as  at  present  heard  in  churches  and  cathedrals. 
Starting  at  its  birth  from  a  point  but  little 
removed  from  the  simplicity  of  the  psalm-  or 
hymn -tune,  and  advancing  through  various 
intermediate  gradations  of  development,  it  has 
frequently  in  its  later  history  attained    large 


ANTHEM. 

dimensions ;  sometimes  combining  the  wrt, 
elaborate  resources  of  oounterpoint  ^th  tir 
symmetry  of  modem  forms,  together  vsk 
separate  organ,  and  occasionally  c^thestati 
accompaniment.  In  its  most  developed  fonn  tb 
anthem  is  peculiarly  and  characteristically  m 
English  species  of  composition,  and  is  perh^ 
the  highest  and  most  individual  point  wbia 
has  been  reached  by  English  oompoeen. 

The  recognition  of  the  anthem  as  a  SFtated  pir 
of  divine  service  dates  from  early  in  Kliwibfi^s 
reign;  when  were  issued  the  Qneen's  'Injnse- 
tions,'  granting  permission  for  the  oae  of  'a 
hymn  or  such  like  song  in  churches.*  A  fer 
years  later  the  word  '  anthem '  appears  in  t^ 
second  edition  of  Day's  choral  ooUectioii,  eatiikd 
'  Certain  Notes  set  forth  in  four  and  five  Psm 
to  be  sung  at  the  Morning  and  Evening  Praja 
and  Communion' ;  and  at  the  last  reviaiaD  <if 
the  Prayer  Book  in  i66a  the  word  ai^ieaxed  a 
that  rubrick  which  assigns  to  the  anthem  ti^ 
position  it  now  occupies  in  Matins  and  IBweoao^. 
Onlv  one  year  later  than  the  publicaticm  of  tb. 
'  Injunctions '  Strype  gives  probably  the  eadk^t 
record  of  its  actual  use,  at  tiie  Chapel  Royal  oa 
mid-Lent  Sunday,  15^:  'And,  Service  ooe- 
duded,  a  good  Anthem  was  sung.*  (The  prayen 
at  that  time  ended  with  the  third  ocSleeLi 
Excepting  during  the  Great  Bebellion,  whs 
music  was  banished  and  (»gans  and  choir-bQuk» 
destroyed,  the  anthem  has  ever  sinoe  held  its 
place  in  choral  service.  At  the  present  day,  sa 
far  from  there  being  any  prospect  of  its  with- 
drawal, there  seems  to  exist  an  increasing  Yare 
for  this  special  form  of  sacred  art,  as  wdl  as  u 
earnest  desire  to  invest  its  performance  alwan. 
and  particularly  on  festivals,  with  all  attainaM^ 
completeness  and  dignity. 

Ever  since  the  Befonnation  anthems  hsn 
been  composed  by  wellnigh  all  the  emineni 
masters  which  this  country  has  produced,  fins 
Tye  and  his  contemporaries  onwaids  to  Gibbons, 
Puroell,  Boyce,  Attwood,  and  our  still-laznenieif 
Stemdale  Bennett.  The  history  of  the  anthem 
accordingly  can  only  be  completely  told  in  ihsi 
of  music  itself.  The  following  attempt  *i 
classification,  and  references  to  examples^  maj 
serve  in  some  measure  to  illustrate  the  sab- 
ject. 

EnBLT  School,  1520-1625.  —  T^,  Talli?, 
Byrd,  Gibbons.  The  vagueness  of  tonalitj 
anciently  prevalent  begins  in  the  music  of 
Tye  to  exhibit  promise  of  settlement;  while 
in  that  of  Gibbons  it  almost  entirely  disappears. 
Tye's  anthem  'I  will  exalt  Thee,  O  Ijord'  is 
remarkable  in  this  respect,  as  well  as  for  its 
general  clearness  and  purity  of  harmony.  Of 
Tallis'  stylo  'I  call  and  cry,'  and  'All  people 
that  on  earth  do  dwell,'  are  good  example^. 
*  Bow  Thine  ear'  and  'Sing  joyfiJly,'  Byrd,  with 
'  Hosanna,'  '  Lift  up  your  heads,'  '  O  clap  ycmr 
hands  together,'  and  *  Almighty  and  everlasting 
Grod,'  Gibbons,  are  assuredly  masterpieces  of 
vocal  writing,  which  can  never  grow  oat  of  date. 
Most  of  the  anthems  of  this  period  are  'full*: 
'  verse  *  or  '  solo '  anthems,  however,  are  at  least 


M  old  18  the  time  of  Gibbons.    Sir  F.  Ouseley 
hi  done  good  service  to  the  cause  of  churcn 
BSBC  and  the  memory  of  our  *  English  Palestrina* 
br  his  recent  publication  of  a  *  Collection  of  the 
^a«i  DmpoBtions  of  Orlando  Gibbons.*    In 
^  interestmg  and  most  valuable  woxic  "will  be 
famd  (besides  several  'loll *  anthems,  and  other 
mtUer)  not  less  than  twelve  'verse'  anthems, 
t»Qe  of  whidi  have  solos;   none  of  these  are 
ositained  in  Boyoe^s  '  Cathedral  Music,*  and  all 
Bftj  probaUy  be  reckoned  among  the  earliest 
bsvn  Bpecimens  of  this  kind  of  antheuL.    The 
ts^kymeat  of  instraments  in  churches  as  an 
iociaiipaiinnent  to  the  singers  dates  as  far  back 
leths  4th  oentmy,  when  St.  Ambrose  introduced 
than  into  the  cathedral  service  at  Milan.    Later 
cB,  Ksae  rude  fimn  of  organ  began  to  be  used ; 
bst  only  to  play    the  plainsong  in  unison  or 
GcaTes  with  the  voioes,  as  is  now  often  done 
^tJi  a  serpent  or  ophicleide  in  French  choirs. 
U  Seems  to  be  beyond  doubt  that  the  use  of 
»Me  kind  of  inatoromental  accompaniment  in 
chjTcbes  preceded  that  of  the  organ.    During  our 
'^  period*  it  would  seem  that  anthems  when 
I'Tsixmed  with  any  addition  to  the  voices  of  the 
Mr  were  always  accompanied  by  such  bow 
K^rttTDentB    as    then    represented    the  in&nt 
crcbestra.    'Apt    for    viols    and    voices*    is    a 
coalman  expression  on  the  title-pages  of  musical 
poblicationa  of  this  age.    The  strin^sd  instrument 
pvti  were  always  in  unison  with  the  voices,  and 
bd  no  sepuate  and  independent  function,  except 
ib^  of  filling  up  the  harmony  during  vood 
'r^*  or  occasionally  in  a  few  bars  of  brief 
sTmpiumy.    Before  the  Bestoration,  accoiding 
to  Dr.  ^mbanlt^  'verses'  in  the  anthems  'were 
aaoropaaied  with  viols,  the  organ  being  used 
oohin  the  lull  parts.'    The  small  organs  of  this 
I«iod  were  commonly  portable ;   a  fact  which 
neau  to  indicate  that  such  instrumental  aid 
a  was  employed  to  support  the  singers  was 
Placed  in  dose  proximity  to  them :  an  arrange- 
ment so  natural,  as  well  as  desirable,   that  it 
iisnrprising  to  find  it  ever  departed  from  in  the 
^^entday. 

Secosd  Pkriod,  1650-1720. — Pelham  Hum- 
F*Ky,  Wise,  Blow,  Heniy  Puicell,  Croft, 
Wddon,  Jeroniah  Clarke.  Such  great  changes 
ia  the  style  and  manner  of  anthem-writing  are 
^«emlbh  in  all  that  is  here  indicated,  that  a 
oev  era  in  the  art  may  be  said  to  have  begun. 
Traceable^  in  the  first  instance,  to  the  taste  and 
aocy  of  Humphrey  and  bin  training  under 
La%  this  was  still  more  largely  due  to  the 
'^Qcvned  Purcell,  whose  powerful  genius  towers 
woft,  not  only  among  his  cont^nporari^  but  in 
the  aonala  of  all  fiunous  men*  The  compositions 
of  this  period  are  mostly  distinguished  by  novelty 
of  plan  and  detail,  careful  and  expressive  treat- 
ment of  the  text,  daring  harmonies,  and  flowing 
«»  in  the  voice  parts ;  while  occasionally  the 
'^^*  depths  of  pathos  seem  to  have  been  sounded. 
"Hie  following  may  be  mentioned  as  specimens  of 
^e  above  masters.  'Hear,  O  heavens'  and  'O 
^  my  God,'  Humphrey;  'Prepare  ye  the 
^7'  and  'Awake^  awake,  put  on  thy  strength,' 


ANTHEM. 


71 


Wise ;  'I  was  in  the  Spirit,*  and  'I  beheld,  and 
lot*  Blow;  'O  give  thanks,'  '0  God,  Thou  hast 
cast  us  out,'  and  '  0  Lord  God  of  Hosts,'  Puroell ; 
'God  is  gone  up,'  'Giy  aloud  and  shout'  (from 
'O  Lord,  I  will  praise  Thee*),  and  'Hear  my 
prayer,  O  Lord,'  Croft ;  'In  Thee,  O  Lord  *  and 
'Hear  my  crying,'  Weldon;  and  'I  will  love 
Thee  *  and  '  O  Lord  God  of  my  salvation/  Clarke. 
While  all  these  pieces  are  more  or  less  excellent, 
several  of  them  can  only  be  described  in  the 
language  of  unreserved  eulogy.  As  the  'full* 
anthem  was  most  in  vpgue  in  the  former  period, 
so  in  this  the  'verse'  and  'solo'  anthem  grew 
into  favour.  It  seems  to  have  been  reserved  for 
Purcell,  himself  through  life  a '  most  distinguished 
singer,*  to  bring  to  p^eotion  the  airs  and  graces 
of  the  '  solo'  anthem. 

During  this  period  Instrumental  music  began 
to  assume  new  and  individual  importance,  and  to 
exercise  vast  influence  upon  the  general  progress 
of  the  art.  Apart  from  the  frequent  employment 
of  instrumental  accompaniments  by  anthem  com- 
posers, the  effect  of  such  additions  to  the  purely 
vocal  dement  upon  their  style  and  manner  of 
writing  is  clearly  traceable  fi^  the  time  of  Pel- 
ham  Humphrey  downwards. 

Some  interesting  notices^  of  this  important 
change  and  of  the  general  performance  of 
anthems  in  the  Chapel  Boyal  may  be  gleaned 
from  the  diaries  of  Pepys  and  Evelyn.  To  quote 
.  a  few :  Pepys,  speaking  of  Christmas  Day  there 
in  1663,  sayH,  'The  sermon  done,  a  good  anthem 
followed  with  vialls,  and  the  King  came  down 
to  reoeive  the  Sacrament.'  Under  the  date  Nov. 
33,  1663,  recording  his  attendance  at  the  chapel, 
the  writer  says,  *The  anthem  was  good  after 
sermon,  being  the  fifty-first  psalme,  made  for  five 
voices  by  one  of  Captain  C(x>ke*s  boys,  a  pretty 
boy,  ana  they  say  there  are  four  or  nve  of  them 
that  can  do  as  much.  And  here  I  first  perceived 
that  the  King  is  a  little  musical,  and  kept  good 
time  with  has  hand  all  along  the  anthem.* 
Evelyn,  on  Dec.  31,  1663,  mentions  his  visit 
to  the  chapel,  and  records  it  in  the  following 
important  passage : — '  One  of  his  Majesty's  chap- 
lains preached;  after  which,  instead  of  the 
ancient,  grave,  and  solemn  wind  music  ac* 
companying  the  organ,  was  introduced  a  concert 
of  twenty-four  violins  between  every  pause,  after 
the  French  fontastical  light  way,  better  suiting;: 
a  tavern,  or  playhouse,  than  a  church.  This 
was  the  Jirtt  time  of  change,  and  now  we  ilo 
more  heard  the  comet  which  gave  life  to  the 
organ;  that  instrument  quite  left  off  in  which 
the  English  were  so  skilful  1' 

The  development  of  the  simple  stringed  quartet 
of  Charles  the  Second's  royal  band  was  rapid  and 
important.  Purcell  himself  wrote  trumpet  parts 
to  his  celebrated  'Te  Deum,'  and  in  1755  Boyoe 
added  hautboys,  bassoons,  and  drums  to  Uie  score. 
Handel's  Chimdos  anthems  were  variously  instru- 
mented ;  amongst  them,  in  addition  to  the  stringed 
quartet,  are  parts  for  flutes,  oboes,  bassoons,  and 
trumpets;  though  all  these  instruments  are  not 


» I 


inUUtd  for  thMO  to  tte  UDdacB  of  my  Mmd  Dr.  BIm- 


73 


ANTHKM. 


combined  in  any  single  piece.  After  this,  with 
Haydn  and  Mozart  shining  high  in  the  musical 
firmament^  it  was  but  a  short  and  easy  step  to 
the  complete  grand  orchestra  of  Attwood*s  coro- 
nation anthems. 

Thibd  Pbbiod,  1 720-1845. — Greene,  Boyce, 
W.  Hayes,  Batti^iill,  Attwood,  Walmisley.  At 
the  banning  of  this  period  the  anthem  received 
little  accession  of  absolute  novelty ;  yet,  probably 
owing  to  the  influence  of  Handel,  it  found  able 
and  worthy  cultivators  in  Greene  and  several  of 
his  successors.  'I  wiU  sing  of  Thy  power*  and 
'  O  clii^  your  hands/  Greene ;  '  O  give  thanks,* 
and  the  first  movement  of  '  Turn  Thee  unto  me,* 
Boyoe ;  with  '  O  worship  the  Lord  *  and  '  Praise 
the  Lord,  O  Jerusalem,*  Hayes,  are  admirable 
examples  of  these  several  authors.  To  Battishill 
we  owe  one  work  of  eminent  and  expressive 
beauty:  his  'Call  to  remembrance*  seems  like 
a  conception  of  yesterday,  so  nobly  does  it 
combine  the  chief  merits  of  our  best  modem 
church  composers  with  the  skill  and  power  of 
the  elder  masters.  'Withdraw  not  Thou*  and 
'Grant  we  beseech  Thee,*  Attwood,  with  'Re- 
member, O  Lord  *  and '  O  give  thanks,*  Walmisley, 
belong  sdmost  to  the  present  day.  With  names 
so  familiar  in  'quires  and  pUces  where  they 
sing*  this  brief  record  of  notable  anthem-writers 
of  the  past  may  be  fiti  v  closed. 

The  number  of  anthems  composed  previously 
to  the  last  hundred  years,  and  scattered  among 
the  MS.  part-books  of  cathedral  libraries, 
considerable  though  it  be,  represents  but 
imperfectly  the  productive  powers  of  tJie  old- 
English  school.  It  is  probable  that  many 
hundreds  of  such  pieces  have  been  inretrievably 
losti  either  by  the  sacrilegious  hand  of  the 
spoiler  or  the  culpable  neglect  of  a  mean 
parsimony.  Of  the  seventy-one  anthems  written 
by  Blow,  and  sixty  by  Boyce,  as  composers  to 
the  Chapel  Royal,  how  few  remain,  or  at  least 
are  accessible!  And,  to  glance  farther  back, 
where  are  the  missing  outpourings  of  the  genius 
of  Orlando  Gibbons,  or  the  numerous  'com- 
posures*  of  all  his  fertile  predecessors?  The 
principal  treasures  actually  preserved  to  us  are 
contained,  for  the  most  part,  in  Day*s '  Collection,* 
already  mentioned,  Barnard's  'Churoh  Music,* 
the  volumes  of  Tomkins,  Purcell,  Croli,  Greene, 
and  Boyce,  the  collections  of  Boyce,  Arnold,  and 
Page  in  print,  and  of  Aldrich,  Hawkins,  and 
Tudway  in  MS.,  together  with  that  of  the 
twenty-two  anthems  of  the  Madrigalian  era, 
edited  by  Dr.  Rimbault  for  the  Musical  Anti- 
quarian Society,  and  Sir  F.  Ouseley's  edition 
of  Gibbons  already  mentioned. 

Foremost  among  all  foreign  contributions  to 
our  national  school  of  churoh  music  must  be 
placed  the  twelve  anthems  written  by  Handel 
for  his  princely  patron  the  Duke  of  Chandos. 
Standing  apart  irom  any  similar  productions 
composed  on  English  soil  to  texts  from  the 
English  Bible  and  for  the  chapel  of  an  English 
nobleman,  these  works  of  England's  great  adopted 
son  may  justly  be  claimed  as  part  of  her  rich 
inherituice  of  sacred  art.    Belonging  to  a  class 


ANTHEM. 

suited  for  special  occasions  are  the  Fimenl  taA 
Coronation  anthems  of  the  same  master.  Tb^c 
together  with  Mendelssohn's  stately  yet  hmto: 
psalms  and  anthems — some  of  them  also  ook- 
posed  to  English  words— may  be  legitimatdj 
adopted  as  preciouB  additions  to  our  native  stoR 
of  choral  music. 

Widely  different  from  such  genmne  cos- 
positions  are  those  adaptations,  in  the  fini 
instance  from  Handel  by  Bond,  and  later  cc 
from  Masses  and  other  works,  which  have  fiKnid 
their  way  into  use  in  this  countiy.  Whether 
in  these  we  regard  the  application  c€  8trsoe« 
words  to  music  first  inspired  by  other  and  widclr 
different  sentiments,  or  the  affront  to  art  involTtd 
in  thus  cutting  and  hacking  the  handywork  ci  a 
deceased  master  (even  in  his  lightest  mood)  it 
the  sake  of  pretty  phrases  or  showy  passages— 
which,  however  appropriate  to  their  ori^iBiI 
shape  and  purpose,  are  palpably  out  of  keefdag 
in  an  Anglican  service,  as  well  as  unsoited  ^ 
our  churches  and  their  simpler  executive  meass 
— such  adaptations  are  radically  bad,  a^ 
repugnant  to  all  healthy  instincts  and  trae 
principles  of  feeling  and  taiste.  The  adaptatiosa 
of  Aldrich  in  the  last  and  Rimbault  and  Dyct 
in  the  present  century  from  Palestrina  and  &^ 
old  continental  composers,  though  not  &ee  frcci 
objection  as  such,  are  not  included  in  tb^ 
foregoing  condemnation. 

l^e  eclecticism  of  existing  usage  in  the 
selection  of  anthems  is  well  shown  by  t^ 
contents  of  a  book  of  words  recently  put  for,h 
for  cathedral  use.  In  addition  to  an  extesi^Tr 
array  of  genuine  church  anthems  of  every  afe 
and  school,  from  Tye  and  Tallis  to  the  lat^t 
living  aspirants,  here  are  plentiful  extracts  bm. 
the  oratorios  of  Handel,  Haydn,  Spohr,  vtl 
Mendelssohn;  two  from  Prof.  Macfiunren's  'S'. 
John  the  Baptist,*  a  few  of  Bach*s  motets  asJ 
choruses,  several  highly  objectionable  ada(>taUos9 
from  Haydn,  Mozart^  and  Beethoven,  and  Uiily 
some  specimens  of  French  taste  in  'chorch 
music*  from  the  pen  of  M.  Gounod.  A  wide 
range  of  art,  truly ! 

Concemini^  the  choice  of  the  anthem  the  asm. 
clerical  and  high  authority  before  quoted  remarb 
that  *  it  ought  to  be  a  matter  of  deliberate  sfr' 
religious  study*;  and  being  a  'prescribed  put 
of  the  service,  every  notion  of  eocdeeiastical 
propriety  dictates  that  it  should  harmonise  vid 
some  portion  of  the  service  of  the  day.*  Pr. 
Jebb  furth^  says  that  'at  each  of  the  partMuk: 
seasons  of  the  year  it  would  be  well  to  have  a 
fixed  canon  as  to  the  anthems  from  which  a 
selection  should  invariably  be  made.'  These 
opinions  carry  conviction  with  them,  and  need 
no  enforcement. 

In  counterpoint  and  its  concomitants,  the  grest 
works  of  former  ages  wiU  scarcely  ever  be 
equalled,  still  less  surpassed.  Yet,  while  tke 
English  Churoh  can  reckon  among  her  lirii^ 
and  productive  writers  Dr.  S.  S.  Wesley,  whose 
anthems,  whether  for  originality,  beauty,  or 
force,  would  do  honour  to  any  school  or  oonntiT, 
togetJier  with  the  genial  and  expresdve  style  of 


ANTHEM. 


ANTIPHON. 


73 


Sir  John  Croes,  and  the  facile  yet  masteily  art 
of  Sir  Prederick  Ouaeley,  not  to  particularise 
other  well-known  names,  we  may  be  well  content 
with  the  presoit  fortune  of  the  anthem,  as  well 
as  hopeful  for  its  future. 

While  many  fine  examples  of  eight-part  writing 
exist  among  the  anthems  of  Gibbons,  Purcell, 
and  various  later  composers,  it  is  much  to  be 
desired  that  the  plan  of  vrriting  for  two  choirs, 
treated  arUiphonaUy,  were  more  cultivated  among 
us,  than  has  hitherto  been  the  case.  The  ample 
spaces  and  acoustical  properties  of  our  cathedrals 
and  large  churches  are  eminently  suited  to 
enhance  the  effects  belonging  to  such  a  diapodtion 
of  voices ;  while  the  attendance  of  trained  and 
self-dependent  bodies  of  singers  would  ensiure 
all  necessary  point  and  firmness  of  attack  in 
performance.  In  this  direction,  and  in  the 
employment  of  an  independent  obhUgato  ac- 
companiment for  organ,  orchestra,  or  both  com- 
bined, probably  lie  the  most  promising  paths  to 
'fresh  fields  and  pastures  new*  for  the  rising 
school  of  musicians  who  aspire  to  distinction  as 
composers  of  the  anthem.  [E.  G.  M.] 

ANTICIPATION  is  when  a  part  of  a  chord 
about  to  follow  is  introduced  beforehand.  Thus 
it  has  been  very  customary  in  a  perfect  cadence 
at  the  end  of  a  strain,  to  anticipate,  before  the 
conclusion  of  the  dominant  harmony,  one  of 
the  notes  of  the  tonic  or  following  chord.  This 
is  very  common  in  the  old  masters,  as  in  the 
following  example  firom  the  '  Messiah* : — 


^ 


3E 


I 


on 


to 


your  MNils 


^'.yi'i^:^.  ^ 


r 


legrrrr  j=^ 


^  It  is  considered  a  grace  of  style  by  modem 
singers  to  give  the  anticipated  note  with  peculiar 
deliberation  and  emphasis. 

The  following  passage  from  Handel*s  'Funeral 
Anthem'  contains  an  anticipation  of  two  notes 
in  the  dosing  chord. 


Professor  Ouseley  ('Harmony,*  p.  204)  is  of 
opinion  that  the  third  note,  G,  of  the  first 
soprano  is  also  a  sort  of  anticipation  of  the 
succeeding  chord. 


Beethoven  has  many  striking  examples  of 
anticipation  of  a  quite  different  and  bolder  kind. 
Thus,  in  a  well  known  passage  in  the  last  move- 
ment of  the  C  minor  Symphony,  the  basses^  first 
with  the  drums  alone  and  then  with  the  stringed 
instruments,  anticipate  the  harmony  of  the  great 
crash  of  the  All^;ro  four  bars  before  it  breaks  in 
(see  the  original  8vo  score,  p.  150). 

There  is  a  similar  anticipation  of  four  bars 
at  the  beginning  of  the  last  movement  of  the 
Pastoral  Symphony. 

In  the  first  movement  of  the  '  Sinfonia  Eroica, 
just  before  the  reprise  of  the  principal  subject, 
there  is  an  anticipation  of  four  bars  of  a  melody, 
still  more  daring  because  it  is  more  completely 
separated  from  the  part  anticipated. 


Bats, 


This  is  a  musical  illustration  of  the  adage, 
'Coming  events  cast  their  shadows  before,*  and 
it  is  difticult  to  explain  it  on  any  other  principle. 
(See  Harmony.)  (,W.  P.] 

ANTIGONE  of  Sophocles.  Mendelssohn  in 
Sept.  1 84 1  composed  music — Introduction  and 
seven  numbers  (Op.  55) — to  Donner's  version. 
First  performance  at  New  Palace,  Potsdam,  Oct. 
38, 1 841 ;  first  public  do.  at  Berlin  opera,  Nov.  6. 

ANTINORI,  Luioi,  was  bom  at  Bologna 
about  1697.  He  was  one  of  the  best  tenor 
singers  of  the  beginning  of  the  i8th  centur}^ 
being  gifted  with  a  voice  of  pure  and  penetrating 
quality,  and  having  acquired  an  excellent  method 
of  using  it.  He  came  to  London  in  1725  and 
sang  in  'Elisa,*  an  anonymous  opera;  and  in 
'  Elpidia,*  by  Vinci  and  others,  a  pasficdo  given 
by  Handel,  in  which  Antinori  took  the  place  of 
Borosini,  who  sang  in  it  at  first.  In  the  season 
of  1726  he  appeued  in  Handel*s  'Scipio*'and 
'  Alessandro.*  After  that  season  his  name  does 
not  appear  again.  [J.  M.] 

ANTIPHON  (from  the  Greek  iyrupwiw,  to 
raise  the  voice  in  reply),  a  short  piece  of  plain- 
song  introduced  before  a  psalm  or  canticle,  to  the 
Tone  of  which  it  corresponds,  while  ^e  words  are 
selected  so  as  specially  to  illustrate  and  enforce 
the  evangelical  or  prophetic  meaning  of  the  text. 

The  following  is  uie  antiphon  which  opens 
the  service  of  Lauds  (corresponding  to  the  Eng- 
lish Morning  Prayer)  on  Easter  Day,  and  supplies 
the  evangelical  oonmient  on  the  Psalm  which 
follows  it.  The  same  Psalm  is  sung  at  the 
beginning  of  Lauds  evexy  Sunday,  but  with  a 
different  antiphon,  suggesting  a  Afferent  appli- 
cation of  its  contents. 


AniipKona, 

■   g>  r^    ^  gj  <g 


1; 


3z: 


■^ 


:SE 


a  ^  a  laiBSz 


± 


An    -    ga  -  lu 


•a    -    tarn    Do     - 


iBl-nl. 


74 


ANTIPHON. 


.^2: 


a»^ 


^  ^ 


da   •  Ken-dlt  da 


'"g  ^p  <g 


000  -  bi   at  ae  -  oa 


r^  KJ  rs  rs  fa-^,--s 


§ 


ra  -  Tol   -   Tit    ]a     -    -    pi  -  dam.  at    aa      da    -    bat 


m 


aa  •  par    «  -  an,  al«la»*Iiil-«,     al-la-lni' 
P$alm  9a  (=  9J  Eng,  Pb.) 


s^^^ 


I      t- 


Do  -  ml-nuB  rac-na-vlt.  da -oo-rem  In- da- tui    aat: 


In- dtt-toi  aat  Do-ml-nna  for-ti  -  ta-dl-nam,  at  pnediudt  aa.  ato. 

The  connection  of  the  music  of  the  antiphon 
with  that  of  the  psalm  is  explained  by  Durandos 
from  the  etymology  of  the  term — 'because  an- 
tiphons  are  as  keys  and  indices  according  to  the 
modulation  and  sound  of  which  the  following 
canticle  or  psalm  ia  sung  alternately.  For  the 
tone  of  the  whole  psalm  is  taken  from  the  tone 
of  the  antiphon.' 

Antiphonal  or  alternate  siagingi  as  in  the 
chanting  of  psalms  verse  by  verse— or  by  half 
verses,  as  heuxl  by  Mendelssohn  in  Kome  during 
the  Holy  Week  (i»e  his  Letter  of  June  16, 1831) 
— is  of  very  high  antiquity.  It  was  churacter- 
istic  of  the  Hebrew  and  early  Christian  worship, 
and  is  mentioned  by  Philo  in  the  middle  of  the 
first  century,  describing  the  Therapeutce  (De  Vit. 
Cont.\  and  has  always  been  more  or  less  prac- 
tised in  the  Church. 

The  French  term  'antienne'  and  the  English 
*  anthem  *  are  derived  from  antiphon,  probably  in 
reference  to  each  of  the  meanings  given  above, 
as  an  independent  piece  of  music  sung  from  side 
to  side  of  the  choir.  [T.  H,] 

ANTIQUIS,  GiovANia  d\  Uved  in  the  second 
half  of  the  i6th  century ;  director  of  music  in  the 
church  of  St.  Nicholas  at  Bui  in  the  kingdom 
of  Naples,  toid  author  of  two  collections — '  Villa- 
nelle  alia  Napolitana.  a  tre  vod,  di  diversi  musici 
di  Ban'  (Venice,  1574),  »nd  'H  primo  libro  di 
canzonette  a  due  voci,  da  diversi  autori  di  Ban' 
(Venice,  1584) — of  the  works  of  local  composers, 
34  in  all,  few  if  any  of  whom  are  known  else- 
where. The  list  will  be  found  in  F^tis,  and 
a  copy  of  the  first  of  the  two  collections  is  in 
the  Munich  library.  [M.  C.  C] 

A  PIACERE  (Ital.),  'At  pleasure.'  An  indi- 
cation to  Uie  performer  to  use  his  discretion 
as  to  time.  A  rallentando  is  almost  always  im* 
plied. 

APOLLONICON.  The  name  given  to  a  large 
chamber  organ  of  peculiar  construction,  com- 
prising both  keyboanls  and  barrels,  erected  by 


APOLLONICON. 

Messrs.  Flight  and  Bobson,  oigan-builders,  andj 
for  many  years  publicly  exhibited  by  tht'in  at 
their  rooms  in  St.  Martin's  Lane.  Prior  to 
building  the  Apollonicon,  Messrs.  Flight  and 
Robson  had  constructed,  under  the  inspection 
of  Purkis,  the  organist,  a  similar  but  smaller 
instrument  for  Viscount  Kirkwall,  a  well-known 
musical  amateur.  This  instrument,  bein^  ex- 
hibited at  the  builders'  fectory  and  attracting 
great  attention,  induced  its  fabricators  to  form 
the  idea  of  constructing  a  larger  instrument  upon 
the  same  plan  for  public  exhibition.  They 
accordingly  in  181  a  commenced  the  building  of 
the  Apollonicon.  They  were  engaged  nearly 
five  years  in  its  construction,  and  expended 
£10,000  in  perfecting  it. 

The  instrument  contained  about  1900  pil>e8, 
the  lowest  (twenty-four  feet  in  length  and  twenty- 
three  inches  in  aperture)  sounding  GGO,  and  the 
highest  sounding  A  in  altissimo.     There  iirere 
forty-five  stops,  several  of  which  gave  excellent 
imitations  of  the  tones  of  the  wind  instruments 
of  a  complete  orchestra^  viz.  flute,  oboe,  clarinet, 
bassoon,  trumpet,  horn,  and  trombone.    A  pair 
of  kettledrums  were  inclosed  within  the  case, 
and  struck,  when  required,  by  curiously  contrived 
machinery.     The  manuals  were  five  in  number, 
a  central  one  comprising  a  scale  of  five  octaves, 
and  four  others,  two  on  either  side  of  the  central 
one,  each  having  a  scale  of  two  octaves.    To  tho 
central  manual  were  attached  a  swell  and  some 
composition  pedals,  and  also  a  pedal  keyboard  of 
two  octaves.     The  manuals  were  detached  from 
the  body  of  the  organ,  so  that  the  players  sat 
with  their  foces  to  the  audience  and  their  backs 
to  the  instrument.     The  barrels  were  three   iii 
number,  each  two  feet  in  diameter  and  eight  feet 
long,  and  each  acting  on  a  distinct  division  of  the 
instrument.     In  their  revolution  they  not  only 
admitted  the  wind  to  the  pipes,  but  regulated 
and  worked  the  stops,  forming  by  instantaneous 
mechanical  action  all  the  necesxary  oombinati<ins 
for  producin«7  the  various  gradations  of  power. 
To  secure  the  means  of  performing  pieces    of 
greater  length  than  were   usually  executed   by 
barrels,  spiral  barrels  were  introduced,  in  which 
the  pins,  instead  of  being  arranged  in  circles, 
wera  disposed  in  spiral  lines.    I'he  instrument, 
with  the  exception  of  the  keyboards,  was   in- 
closed in  a  case  twenty  feet  wide  and  deep,  and 
twenty-four  feet  high,  the  front  being  divided 
into    three    compartments    by  pilasters  of   the 
Doric,  surmounted  by  others  of  the  Ionic  order. 
Between  the  upper  pilasters  were  three  paintings 
by   an  artist  named  Wright,   the  central  one 
representing  Apollo,  and  the  others  the  Muses 
CUo  and  Erato,  all  somewhat  larger  than  life- 
size.    The  mechanical  action  of  the  Apollonicon 
was  first  exhibited   in    June   181 7,  when  the 
barrels    performed    the  overtures    to    Mozarts 
'Clemenza  di  Tito'  and  Cherubini's  <  Anacreon.' 
In  November  following  a  selection  of  sacred 
music  was  played  on  the  keys  by  Purkis.    The 
mechanical  powers  of  the  instrument  were  for 
nearly  a  quarter  of  a  century  exhibited  daily, 
and  on  Saturday  afternoons  Purkis  perfonned 


APOLLONICON. 

tdections  of  music  on  the  keys.  The  foUowixig 
programme,  performed  by  him  in  1830,  afforcU 
ft  fur  aunple  of  the  quality  of  these  selectioxui : — 
(rrotnres  to  Monri  s  'Zauberfldte '  «ad  Paer's 
'Sophoniflba' ;  diveituneinto  by  Purkis  on  Swin 
kin ;  the  grand  eoena  for  soprano  finom  Weber's 
'Fraaduitx^;  songs  by  Bwnett  and  Phillips; 
and  movementB  1^  Pleyel  and  Dussek.  For 
BOBtt  time  annual  evening  performances  were 
giToi  imder  the  saperintendenoe  <of  Thomas 
Adami. 

At  mtfioos  periods  additional  sets  of  barrels 
vera  provided  which  performed  the  following 
pieces:— the  overtures  to  Mozart*s  'Idomeneo/ 
'Nozze  di  Figaro/  and  ' Zauberfl&te ' ;  Bee- 
tboTcn  s  '  Prometheus ' ;  Webers'  '  Freischiits' 
aad  '  Oboon ' ;  and  the  military  movement 
from  Ha}pdn's  twelfth  eymphony.  The  per- 
fenosBce  of  the  overture  to  'Oberon*  in  par- 
ticultf  has  been  recorded  as  a  perfect  triumph 
of  meduuucal  skill  and  ingenuity,  -every  note 
of  the  icare  being  rendered  as  accurately  as 
thoogh  executed  by  a  fine  orchestra.  The 
Ktti&g  of  the  music  on  the  barrels  was  entrusted 
totheyoonger  Flight  (the  present  representative 
(d  the  firm),  who  used  for  the  purpose  a  micro- 
meter of  hia  own  invention.  About  the  year 
1840,  the  eidiibitioii  of  the  instrument  having 
become  unremuneratiyey  the  ApoUonioon  was 
taken  down  and  its  component  parts  employed  in 
the  ocmstraction  of  other  organs.  A  lengthened 
tedmical  description,  illustrated  by  engraved 
figuRS,  of  the  instrument  made  ibr  Lord  K.irk- 
iiU  will  be  found  embodied  in  the  article 
'Oi^gaii'  in  Bees'  Cyclopedia.  [W.  H.  H.] 

APPASSIONATA(Ital.),  'Impassioned.'  Best 
known  by  its  use  in  *  Sonata  appasdonata '  as  a 
title  &t  Beethoven's  Op.  57.  Tbe  title  was  not 
lo^  bvt  was  added  by  Cranz  the  pubk'sher,  or 
nme  one  else.  He  himself  only  uses  the  term 
twice— in  Sonatas  Op.  106  and  11 1. 

APPLICATIO  and  APPLICATUB  are  re- 
specti?ely  the  ancient  and  modem  German  terms 

far  Kngermg, 

APPOGGIATTJRA.  (ItaL  from  appoggiwre,  to 
iott  npcn ;  Ger.  Vonchlag,  Vwhali ;  Fr.  Part 
^  tmx.)  One  of  the  most  important  of  melodic 
onaments,  much  used  in  both  vocal  and  instra- 
JDsaUl  compositions.  It  consists  in  suspending 
or  ddayiog  a  note  of  a  melody  by  means  of  a 
note  introdooed  before  it ;  the  time  required' for 
iia  peffimnance,  whether  long  or  short,  being 
alwaji  taken  firom  the  value  of  the  principal 
Bote.  It  is  usually  written  in  the  form  of  a 
ismall  quaver,  semiquaver,  or  demisemiquaver, 
either  with  or  without  a  stroke  across  the  stem 
(Ex.  1). 

The  i^ipoggiatura  may  belong  to  the  same 
IttnDOQj  SB  the  principal  note  (£z.  a),  or  it 
nay  be  (me  degree  above  or  below  it.  In  the 
latter  cue  it  is  a  so^adled  'auxiliary  note' 
(sametimeB called  'transient'  or  'changing'  note — 
Wtehdnote),  and  follows  the  known  rule  of  such 
Qotei,  that  the  lower  auxiliary  note  should  be 
00I7  one  semitone  distant  from  the  principal 


APPOGGIATURA. 

note,  the  upper  being  either  a  tone  or 
tone  according  to  the  scale  ^£x.  3). 

WrUten, 

JL 


75 


a  semi- 


I. 


:^ 


a. 


^g:j -'f  r  I  J^r  1^^ 


PUi^ed. 


With  regard  to  its  length,  the  appoggiatura 
is  of  two  kinds,  long  and  short ;  the  long  appog- 
griatura  bears  a  fixed  relation  to  the  length  of  the 
principal  note,  as  will  be  seen  presently,  but  the 
short  one  is  performed  so  quic^y  that  the  ab- 
breviation of  the  foUowing  note  is  scarcely 
perceptible.  There  is  also  a  difference  between 
the  two  kinds  in  the  matter  of  accent ;  the  long 
appoggiatura  is  always  made  stronger  than  the 
principal  note^,  while  in  the  case  of  the  short 
one  the  accent  fidls  on  the  principal  note  itself 
(Ex.4). 

4.  WHUen. 


$ 


za: 


^m 


Placed, 


^^ 


On  this  subject  authoritieB  would  seem  to 
differ,  Leopold  Mozart,  Hummel,  and  others 
holding  the  view  advanced  above,  while  Emanuel 
Bach,  Marpurg,  and  Agrioola  give  the  rule  that 
all  appog£paturae  should  be  accented.  It  is 
however  evident  that  a  note  which  passes  away 
so  quickly  as  a  short  i^poggiatura  can  scarcely 
receive  any  effective  accent,  and  besides  this  it  is 
doubtful  whether  the  abov«-named  writers  may 
not  have  intended  the  rule  to  refer  exclusively  to 
the  long  appoggiatura  (  Vorhalt),  as  they  often 
used  the  word  Vonehlctg  for  both  kinds  indis- 
criminately. Since  then  there  is  no  accent  on 
the  short  appoggiatura^  the  term  itself,  which 
means  a  note  dtoeU  upsn,  seems  inappropriate, 
and  accordingly  the  word  '  aociacatura*  has  been 
very  generally  substituted  for  it,  though  properly 
belonging  to  another  similar  kind  of  ornament. 

(See  ACCIAOCATCBA.) 

The  rules  relating  to  4he  length  of  the  long 
appoggiatura  are  three,  and  are  thus  given  by 
Tiirk  in  his  'Glavierschule' : — '  Whenever  it  is 
possible  to  divide  the  principal  note  into  two 
equal  parts,  the  appoggiatura  receives  one  half ' 
(Ex.  5).  'When  tiie  principal  note  is  dotted 
the  appoggiatura  receives  two-thirds  and  the 
principal  note  one'  (Ex.  6).  If  the  principal 
note  is  tied  to  another  shorter  note,  the  appog- 
giatura receives  the  whole  value  of  the  principal 
note'  (Ex.  7).  The  third  rule  is  commonly 
though  not  invariably  followed  when  the  principid 
note  is  followed  by  a  rest  (Ex.  8). 


76  APPOGGIATURA. 

5.     MozABT,  Sonata  in  A  minor. 


^1  n  r  ca-  r  ■^T3g"7n 


I 


J73  J  J  II 


6.    Hummel,  'Pianoforte  School.' 


*n  J-n 


^  ^  [jj  J'^p 


7.    Bach,  '  Passionamuflik.' 


fMyfiv-rrtfej^^^ 


^ 


J^^^£=LMI 


8.    Beethoybit,  'Adelaide. 


In      der     9to  -  •  pd-dan         JPlutli. 


f 


s 


^^ 


Exceptions  to  the  above  rules  axe  met  with  as 
follows  : — to  the  first  and  second  rules  in  Bach 
and  Mozart,  who  frequently  employed  an  appog^ 
giatura  (called  by  Marpux^  '  der  kurzeste  Vor- 
halt  *)  which  was  worth  one  third  or  less  of  the 
principal  note,  but  which  differed  from  the  short 
appoggiatura  in  being  accented  (Ex.  9).  An  ex- 
ception to  the  second  rule  occurs  whenever  its 
strict  observance  would  occasion  a  fault  in  ^e 
harmonic  progression  (Ex.  10),  or  when  it  would 
interfere  with  the  rhythmic  legularity  of  the 
passage  (Ex.  11).  Exceptions  to  the  third  rule 
are  of  still  more  frequent  occurrence ;  many 
passages  containing  a  tied  note  preceded  by  an 
appoggiatura  would  entirely  lose  their  signi- 
ficance if  the  rule  were  strictly  adhered  to. 
Taste  and  experience  alone  can  decide  where 
similar  exceptions  are  admissible. 

In  the  works  of  some  of  the  earlier  composers 
an  appoggiatura  is  occasionally,  though  veiy 
rarely,  to  be  met  with,  which  al&ough  placed  be- 
fore a  note  capable  of  being  halved,  yet  receives 
three-fourths  of  its  value.  This  appoggiatura 
was  usually  dotted  (Ex.  1 2). 

9.    Bach,  '  Passionsmusik.* 


^ 


APPOGGIATURA. 


MozABT,  Fantasia  in  C  minor. 


P 


10.     Bach,  '  Suites  Fran^aises.* 


f^f — •— ■ — ~— 


fa  rp.rrni 


II.    Sohubbbt,  Bondo,  Pianoforte  and  Violin, 


^fcf'f.  f'ilS 


m 


P 


iE 


^'°"icDm 


I  a. 


The  appoggiatura,  whether  long  or  short,  is 
always  included  in  the  value  of  the  principal 
note;  if  therefore  it  is  applied  to  a  chord  it 
delays  only  the  note  to  which  it  belongs,  the 
other  notes  of  the  chord  being  played  with  it 
(Ex.  13). 

13.    Beethoven,  Andante  in  F. 


MozABT,  Sonata  in  F. 


^mUAu4 


pi 


.      H.      *    Q 


■i--  r      f 


The  manner  of  writing  the  appoggiatura  bears 
no  very  definite  relation  to  its  performance,  and 
its  appearance  is  unfortunately  no  sure  guide  as 
to  its  length.    In  music  of  the  1 7th  century,  at 


APPOGGIATTJRA. 

wliicli  period  the  flhort  appoggi»tura  appears  to 
hsve  fint  oome  into  use,  it  was  customary  to  make 
use  of  certain  signs  (Ex.  14),  bot  m  after  a  time 
die  loo^  appaggiatora  was  introduced,  these  were 
given  up  in  &yonr  of  the  small  note  still  used. 
This  email  note  ought  always  to  be  written  of 
tlie  exact  value  which  it  is  to  bear,  if  a  long 
sppoggiatora  (Ex.  15)  ;  or  if  a  short  one  it  should 
l«  written  as  a  quaver  or  swniquaver  with  a 
sh<^  stroke  across  the  stem  in  the  opposite 
direction  to  the  hook  (Ex.  16).' 


14. 


:|: 


^ 


f±t 


Ptaped, 

16. 


But  the  earlier  writers  often  wrote  the  short  ap- 
poQ^fiatura  as  a  semiquaver  or  demisemiquaver 
vi^oat  the  stroke,  and  in  many  new  editions  of 
old  eompoeitions  we  find  the  small  note  printed 
with  the  strd^e  ev«i  where  it  should  be  played 
k»g,  while  in  modern  music  the  semiquaver 
without  the  stroke  is  often  met  with  where  the 
ibovt  appoggiatura  is  obviously  intended.  In 
this  uncertainty  the  surest  g^uide  is  the  study  of 
the  treatment  of  the  appoggiatura  by  the  great 
mssten  in  the  numerous  cases  in  which  they 
have  written  it  out  in  notes  of  the  ordinary  size 
(see  Beethoven,  Bagatelles,  Op.  1 19,  No.  4,  Bar 
2 ;  Mosart,  Sonata  in  C,  Hall6*s  edition.  No.  6, 
Bar  37,  ftc),  as  by  aaudogy  we  may  hope  to 
sirive  at  some  understanding  of  their  intentions 
respecting  it  when  we  finer  it  merely  indicated 
bv  the  small  note. 

The  following  series  of  examples  of  the  con- 
ditions under  which  the  several  kinds  of  appog- 
giatura are  most  commonly  met  with,  may  also 
be  of  service  in  the  same  direction. 

l%e  appoggiatura  is  short  when  used  before  two 
or  more  repeated  notes  (Ex.  1 7),  before  detached 
or  staccato  notes  (Ex.  18),  or  leaps  (Ex.  19),  at 
tlie  commencement  of  a  phrase  (Ex.  ao),  and  be- 
&re  groups  containing  dotted  notes  in  somewhat 
qtiick  tempo  (Ex.  21). 

17.    Bbethoyxk,  Septett. 


e± 


^^ 


± 


18.    MozABT,  Sonata  in  C. 


jn    i'r'*^f 


19.    MozAXT,  Sonata  in  C. 


ji,   .i^/^r  "^Urm 


ilipn)lMM7Vi  hnltslloii  of  Am  ilfulUi 
Gi»Boc»l8tha(iMvolMoM«}MdMitanu  (BMtlatwwd^ 


APPCXJGIATUBA. 


ao.    MozABT,  Sonata  in  A  minor. 


77 


$ 


& 


»^r  rv  r 


a  I.    Hummel,  Op.  55. 


In  triplets,  or  groups  of  four  or  more  equal 
notes,  the  appoggiatura  is  short  (Ex.  a3\  except 
in  groups  of  tluee  notes  in  slow  tri|de  time  (Ex. 
33).  The  appoggiatura  at  a  distance  from  its 
principal  note  is  short  (Ex.  34),  except  sometimes 
in  slow  eantabile  passages  (Ex.  35).  Appo^- 
giaturas  occuiring  in  a  melody  whid^  ascencu  or 
descends  by  diatonic  degrees  are  moderately 
short  (Ex.  a6),  as  are  also  those  which  occur  in  a 
melody  descexuiing  by  thirds  (Ex.  37).  Ema- 
nuel Bach  says  of  these— 'when  the  i^pog- 
giaturas  fill  up  leaps  of  a  third  in  the  melody 
they  are  certainly  short,  but  in  adagio  their  ex- 
pression should  be  smoother,  as  though  repre- 
senting one  of  a  triplet  of  quavers  ra&er  than 
a  semiquaver.'  Tiirk  calls  them  'undecided 
apppggiatuxas.* 

a  a.    Beethovbn,  'Bagatelles,'  No.  i. 


I^^'l:  It  J-T  M  i-^mi- 


^^P 


22 


Op.  a  a. 

3 


J 


a 3.    MozABT, 'Don  Giovanni' 


^e 


Toe  -  CA       aal         qdL 

34.    Hatdit,  Sonata  in  E  b. 


f'^  n  >U  ^U 


m 


35.    MozABT,  'Requiem.' 


Do     •     mi     -    bL 

a6.    Bach,  Passepied  in  B. 


^Shw  0i-\-J^ 


a  7.    MozABT,  Bondo  in  D. 


$ 


^E 


^^ 


t 


41-i- 


s  r  "^ 


In  group  of  two  equal  notes  the  appoggiatura 
is  long  if  m  slow  tempo  or  at  the  end  of  a  phrase 
(Ex.  aS) ;  if  otherwise,  short  (Ex.  39). 


78  APPOGGIATURA. 

28.    Geaun, 'DerTod  JeBu.* 


^ 


lb     hat     fi 


bar- wnn-den    dsr 


Lo 


29.    HuMHEL, 'Pianoforte  School.' 


When  applied  to  the  last  note  but  one  of  a 
final  cadence  the  appoggiatora  should,  according 
to  Emanud  Bach,  be  short.  But  later  composers 
have  usually  preferred  the  long  appoggiatura  un- 
der these  circumstances,  especially  when  accom- 
panied by  the  seventh  of  the  chord  (Ex.  30),  or 
by  a  part  moving  in  sixths  with  it  (J^.  51). 
Beethoven  has  even  lengthened  it  beyond  the 
value  of  the  principal  note,  but  in  this  case  it  is 
always  written  as  an  ordinary  note  (Ex.  33V 
When  however,  in  Haydn,  Mozart,  and  all  later 
composers,  the  final  note  of  the  cadence  is  anti- 
cipated, the  appoggiatura  to  the  preceding  note 
is  short  (Ex.  33). 

30.    MozABT,  First  Maaeu 


Ky  -rl 


.!$";/ii'-r^A-^^Mi 


1       r 

6     .    •     I  6  •    •    Ifll 


^^ 


I 


M^ 


4: 


31.    Hatdn,  Symphony  in  £b. 


frrf-faj 


m 


ii  A 


^ 


E 


33.    Beethoven,  Op.  30,  No.  3. 


^ 


^3Q 


te^ 


;J'TTJ 


f=F= 


i 


33.    MozABT,  Sonata  in  F. 


^^m 


s^ 


In  vocal  recitative,  at  the  dose  of  a  phrase, 
or  of  a  section  of  a  phrase,  an  appoggiatura 
is  often  introduced  wmch  has  the  fuB  value 


APPOGJGIATURA. 

of  the  princi^  notey  and  indeed  appears 
in  its  stead  (Ex.  34) ;  such  an  appoggiatura 
is  often  not  indicated,  but  is  left  to  the  discretion 
(or  want  of  discretion)  of  the  singer  (Sx.  35). 
It  is  more  appropriate  at  the  dose  of  the  whole 
recitative  than  after  its  component  phrases,  and 
is  especially  so  when  the  melody  deaoends  a  third 
or  a  fourth  (Ex.  36). 

34.   Webbb,  '  Der  Freiaohutz.* 


$ 


feh    »      f 


^ 


^^ 


^ 


35.    Hatdn,  'The  Seasons.' 


ji^'ii^Dp.  r  '^  I  r  fii  f  - 


Th0  nMflk-eirML      morn    ap  - 


$ 


^ 


P      ■ 


1 


•1-  » 


36.    Bach,  '  PassioDfimusik. 


P 


TT^^ 


^ 


nifQjr    an  •iwond 


It i 

BO  •  thiOR. 


^ 


^^ 


Handel,  'MessiahJ 


ha,f  them    In 


$ 


s 


When  a  trill  or  other  ornament  appears  in  com- 
bination with  an  appoggiatura,  the  latter  is  long, 
and  the  trill  is  performed  on  the  principal  note 
or  on  the  appoggiatura^  according  as  it  is  placed 
above  the  one  or  the  other  (Ex.  37). 


37.  Hatdn,  Sonata  in  F. 


Tube. 


^ 


£ 


^^' 


The  proper  execution  of  the  appoggiatura 
seems  to  be  most  doubtful  in  the  group  in  which 
the  note  bearing  the  appoggiatura  is  followed  by 
two  or  four  notes  of  half  its  own  value.  In  the 
majority  of  such  cases  the  appoggiatura  should 
be  long  (Ex.  38),  and  particularly  in  smoothly 
flowing  passages  in  moderate  or  slow  tempo  (Ex. 
39).  But  there  are  numerous  exceptions,  as  for 
example  when  the  employment  of  the  long  ap- 
poggiatura would  alter  the  rhythm  of  the  passage 


APPOGGIATUBA. 

(Ex.  40),  «r  when  (according  to  TSrk)  only 
sg^  «Tmipl«  is  prewnt  (Ex.  41). 

38.    Bbthotxh,  Op.  10,  No.  3. 


A  QUATBE  MAINa 


79 


l^i*'      '-f 


=E 


J    V  LT  I 


^m 


HoBABi,  SoottU  in  D. 

£  I    ^^r-F-^-^f  ^  I 


a 


5 


39l    Mozast,  Sonata  in  G»  Andante. 


40 


Wbbeb,  'DerEreischuts. 


m 


f 


^^\^:l!\\u^ 


41.    Turk. 


(f^"  .1.  L&J  I  r 


In  sach  caaea  no  definite  mle  can  be  giTen, 
udthe  qoflstion  beoomes  a  matter  of  taste  and 
fee%.  [F.  T.] 

APPOGGIATURA,  DOUBLE.  (Ital.  Ap- 
jaggiatwra  doppia ;  Ger.  Doppdvonchlag ;  Fr. 
P'jTt  de  wix  double.)  An  ornament  composed 
cf  two  tbort  notes  preceding  a  principal  note^  the 
one  beisg  placed  above  and  the  other  below  it. 
Ther  are  osuaDy  written  as  small  semiquavers. 

Tbe  fiiat  of  die  two  may  be  at  any  distance 
frcn  the  principal  note,  but  the  second  is  only 
Goe  degree  removed  from  it.  They  have  no  fixed 
dontioD,  but  are  generally  slower  when  applied 
to  a  loi^  note  (1^  i)  than  when  the  principal 
cgte  it  short  (Ex.  2)  ;  moreover,  the  double  ap- 
poggiatnia,  in  which  the  first  note  lies  at  a 
distance  fi:um  the  principal  note,  should  always 
be  somewhat  slower  than  that  in  which  both  notes 
ue  doee  to  it  (Ex.  3).  In  all  cases  the  time 
required  for  both  notes  is  subtracted  frcnn  the 
value  of  the  principal  note. 

2.  3. 


^ 


I'Jf  r/IITf/l 


^Imd. 


The  double  appoggiatura  is  sometimes,  though 
me\y,met  with  in  an  inverted  form  (Ex.  4),  and 
lamtA  Bach  mentiaDB   another   exceptional 


kind,  in  which  the  first  of  the  two  small  notes 
is  dotted,  and  receives  the  whole  accent,  while 
the  prindpid  note  becomes  as  short  as  the  second 
of  the  two  small  notes  (Ex.  5). 


$ 


m 


5- 


E 


r-a 


rr^r~f 


^  ^'-^1  r  [J^ 


The  dotted  double  appoggiatura,  written  a? 
above,  is  of  very  rare  occurrence ;  but  it  is 
frequently  found  in  the  works  of  Mozart, 
Beethoven,  etc,  written  in  notes  of  ordinary  size 
(Ex.  6). 

6.  BsETHOVEN,  Sonata^  Op.  53. 


felJM     JJJJ     JJJIl    ji    ^^.. 


[F.  T.l 

APmiiE,  GiusEm,  bom  at  Bisoeglia  in 
Apulia,  173^*  an  eminent  soprano  singer;  was 
educated  at  the  Gonservatorio  of  'La  Fieth*  at 
Naples,  and  sang  in  all  the  principal  theatres  of 
Italy  and  Grermanv.  Dr.  Bumey  heard  him  at 
Naples  in  1 770  and  says  that  he  had  a  weak  and 
unequal  voice,  but  was  perfectly  in  tune,  had  an 
excdlent  shake,  and  great  taste  and  expression. 
He  was  an  excellent  teacher  of  singing,  and  was 
one  of  Cimaro8a*s  masters.  He  oompmed  songs, 
but  his  best  woric,  a  system  of  solfeggi  (London 
and  Paris'),  has  paiiaed  through  many  editions  and 
is  still  valued.  It  is  included  in  Peters*  edition. 
He  was  living  in  Naples  in  z  79a.         [M.  C.  C] 

A  PRIMA  VISTTA  (Ital.),  'At  first  sight.' 

A  PUNTA  D'AROO  (Ital.),  'With  the 
point  of  the  bow  *  (in  violin  music). 

A  QTJATRE  MAINS  (Fr. ;  Germ.  Zu  vier 
Handen,  Vier^ndig;  Ital.  a  quattro  mani). 
Music  written  far  two  performers  upon  one 
pianoforte,  and  usually  so  printed  that  the  part 
for  each  player  occupies  the  page  which  is 
directly  opposite  to  him. 

By  far  the  greater  proportion  of  music  *k 
quatre  mains*  consists  of  arrangements  of  orches- 
tnl  and  vocal  compositions  and  of  quartette,  etc. 
for  stringed  instruments;  indeed,  scarcely  any 
composition  of  importance  for  any  combination 
of  instruments  exists  which  has  not  been  arranged 
and  published  in  this  form,  which  on  account 
of  its  comparative  &cility  of  performance  is 
calculated  to  reproduce  the  characteristic  effects 
of  such  works  more  readily  and  £uthfully  than 
arrangements  for  pianoforte  solo. 

But  besides  this,  the  increase  of  power  and 
variety  obtainable  by  two  performers  instead  of 
one  offen  a  legitimate  inducement  to  composers 
to  write  original  music  in  this  form,  and  the 
opportunity  has  been  by  no  means  neglected. 


80 


A  QUATEE  MAINS. 


although  cultivated  to  a  less  extent  than  might 
have  been  expected. 

The  earliest  printed  works  for  the  pianoforte 
k  quatre  mains  of  which  we  have  any  know- 
ledge were  published  in  Dessau  about  1782, 
under  the  title  'Drey  Sonaten  fiirs  Clavier  als 
Doppelstucke  fur  zwey  Personen  mit  vier  Han- 
den  von  C.  H.  Mttller* ;  before  this  however, 
£.  W.  Wolf,  musical  director  at  Weimar  in 
1761,  had  written  one  or  more  sonatas  for  two 
performers,  which  were  published  after  his  death. 
So  &r  as  is  known  these  were  the  first  com- 
positions of  their  kind,  although  the  idea  of  the 
employment  of  two  p^ormers  (but  not  on  one 
instrument)  originated  with  Sebastian  Bach,  who 
wrote  three  concertos  for  two  pianofortes,  or 
rather  harpsichords,  three  for  three,  one  of  which, 
in  D  major,  is  still  unpublished,  and  one  for  four, 
all  with  accompaniment  of  stringed  instruments. 
But  the  short  compass  of  the  keyboard,  which  in 
Bach's  time  and  indeed  until  about  1770  never 
exceeded  five  octaves,  was  ill  adapted  to  the 
association  of  two  performers  on  the  same 
instrument,  and  it  is  doubtless  on  this  account 
that  the  earlier  composers  have  left  so  little 
Anusic  of  the  kind. 

Haydn,  Mozart,  and  Beethoven,  appear  to 
have  had  but  little  inclination  for  this  description 
of  composition.  According  to  Fdtis,  Bfaydn 
wrote  but  one  piece  *k  quatre  mains,*  a  di- 
vertissement, which  was  never  published,  the 
two  sonatas  op.  81  and  86  published  under  his 
name  being  spurious.  Of  the  nine  pianoforte 
duets  by  Mozart  the  two  finest,  the  Adagio  and 
Allegro  in  F  minor  and  the  Fantasia  in  F  minor, 
were  originally  written  for  a  mechanical  organ  or 
musical  clock  in  a  Vienna  exhibition,  and  were 
afterwards  arranged  for  piano  by  an  unknown 
hand.  Beethoven  left  but  one  sonata,  op.  6, 
three  marches,  op.  45,  and  two  sets  of  variations, 
none  of  which  are  of  any  great  importance. 

But  of  all  the  great  composers  Schubert  has 
made  the  fullest  use  of  the  original  effects 
possible  to  music  *ik  quatre  mains,*  some  of  his 
most  genial  and  effective  compositions  being  in 
this  form,  as  for  instance  the  'Grand  Duo,' 
op.  140,  and  the  'Divertissement  Hongroise,' 
op.  54.  In  addition  to  these  he  wrote  fourteen 
marches,  six  polonaises,  four  sets  of  variations, 
three  rondos,  one  sonata,  one  set  of  dances,  and 
four  separate  pieces,  all,  almost  without  exception, 
masterpieces  of  their  kind. 

Among  modem  compositions  '  a  quatre  mains,' 
those  of  Schumann  and  Brahms  are  the  most 
interesting,  Mendelssohn  having  left  but  one 
original  work  of  the  kind,  although  he  himself 
nrranged  some  of  his  orchestral  works  and  also 
the  octett,  op.  30,  and  the  variations  for  piano- 
forte and  violoncello,  op.  83,  in  this  form. 
Besides  writing  a  number  of  small  pieces  for  two 
performers,  Schumann  made  a  very  novel  and 
successful  experiment  in  his  'Spanische  liesbe- 
lieder,'  op.  138,  which  consist  of  ten  pieces 
for  four  voices,  being  songs,  duets,  and  a 
quartett,  with  pianoforte  accompaniment  k 
qi^tre  mains,  imd  an  analogous  idea  has  since 


ABB£An. 

been  carried  out  by  Brahms,  who  has  writto^ 
two  sets  of  waltzes  (Liebeelieder,  opp.  52;  65)  foi 
pianoforte  k  quatre  mains,  with  aocompanimed 
of  four  voices. 

Oigan  music  k  quatre  mains  is  very  rarey 
although  the  experiment  has  been  made  by  Hesse^ 
Hopner,  and  eepedally  by  Julius  Andrd,  who  ha4 
written  twenty -four  pieces  for  two  perfonnera 
on  the  organ ;  but  no  increased  efifect  appean 
to  be  obtainable  from  such  an  arran^Qtenl 
which  can  at  all  compensate  .for  its  practical 
inconvenience,  and  the  same  observation  applies 
to  compositions  for  the  pianoforte  '  &  six  maina,* 
of  which  a  few  specimens  exist,  mostly  by 
Czemy.  [F.  T.] 

ARABESQUE  (Germ.  Arahake),    Originally 
an  architectural  tenn  applied  to  omamentatioa 
in  the  Arabic  style,  whence  its  name.     ( i )  The  | 
title  has  been  given,  for  what  reason  is  not  very 
clear,    by  Schumann  to  one  of  his    pianoforte 
pieces   (op.    18),    which   is  written   in   a    form 
bearing  some  analogy  to  that  of  the  rondo,  and  it 
has  been  since  occasionally  used  by  other  writers 
for  the  piano.    (2)  The  word   'Arabesque*  id 
sometimes  used  by  writers  on  music  to  express 
the  ornamentation  of  a  theme.    Thus  Dr.  Hans 
von  B  jIow,  in  his  edition  of  Beethoven's  sonataa, 
in  a  note  on  the  adagio  of  the  sonata  in  Bb, 
op.  106,  speaks  of  the  ornaments  introduced  at 
the  return  of  the  first  subject  as   'diese   un- 
vergleichlich  seelenvollen  Arabesken* — these  in- 
oomparably  expressive  Arabesques.  [£.  P.] 

ARAGONI,  SiGNOB.  This  name,  with  that 
of  Strada,  is  affixed  by  Walsh  to  the  cantata 
'  Cecilia,  volgi,'  added  to  the  first  edition  of '  Alex- 
ander's Feast.*  It  is  evidently  a  blunder,  being 
doubtless  meant  for  Annibali,  who  in  fact  sang  it 
with  Strada,  and  whose  name  (Hannibali)  appears 
to  the  succeeding  song,  '  Sei  del  cieL'        [J.  M.] 

ARANAZ,  Pedbo,  a  Spanish  priest  and 
composer,  bom  at  Soria  in  Old  CastUe;  was 
appointed  towards  the  end  of  the  i8th  century 
conductor  of  the  choir  in  the  cathedral  at 
Cuen^a.  and  died  there  in  1825  at  a  considerable 
age.  His  church  music,  which  was  good,  is  to 
be  found  at  Cuenca,  in  the  Escurial,  and  scat- 
tered in  various  churches  of  Spain ;  but  Ealava 
has  preserved  in  his  'Lira  Sacro-Hispana *  an 
'  Offertorium '  for  five  voices  and  a  '  Lriudate 
Dominum'  for  six  voices,  with  strings,  horns, 
and  organ.  [M.  C.  C] 

ARBEAXJ,  Thotnot,  priest  of  Langres  in 
France.  His  real  name  was  Tabourot,  of  which 
the  above  is  a  kind  of  anagram.  He  lived  about 
the  end  of  the  i6th  century,  and  was  the  author 
of  a  remarkable  book,  now  of  excessive  rarity, 
entitled  '  Orchesographie  et  Traits  en  forme  de 
dialogue  par  lequel  toutes  personnes  peuvent 
&cilement  apprendre  et  pratiquer  Thonn^te 
exercise  des  danses '  (Langres :  Jean  de  Preys, 
1589).  It  contains  a  great  number  of  French 
dance-tunes  with  words  fitted  to  the  melodies, 
and  is  of  great  interest  and  use  in  the  histoiy 
of  dance  music  [F,  G.] 


ARDITI. 


81 


lui  mniEuiij  wbo  uught  in  Italy  in  the  l6tli 
cHuuiT  uid  iBiT  the  fruit  □(  their  Ubonn 
i:  ik  roaudMioQ  of  tha  great  Italian  MhooL 
Hf  ni  Rogiug-maater  to  the  boji  at  St.  PeterX 
iiar,  during  tba  jaar  1539,  and  WM  >d- 
aad  Id  the  cidle^  of  papal  dngen  in  1J40. 
Hmj  BUM*  and  motsta  of  Arcadalt  ««  amoqg 
HE  muiacripta  of  the  pap^  ch^iel,  but  thoae 
il  tk  Mofa  which  were  pablielwd  during  bis 
Ut  in  Rome  wen  antird  j  ■ennlar,  and  oonnated 
A'dj  of  the  fiuDona  madrigal*  which  placed 
bb  It  the  bead  of  the  to-called  -Venetiaii 
^id"  of  madHgal  writiDg.  Five  boolu  of 
uingili,  each  coDtainiDg  fort;  or  &tij  leparate 
rJibaa,  were  jointed  in  Venice,  and  maoif 
(O.liou  of  theie  were  poblidied  with  great 
npdilj.  An  eicdlrait  copj  of  the  firet  four 
tnii  il  is  the  libiaiy  of  die  Britiih  Moieum, 
ul  in  Ibe  nme  library  ma;  be  found  a  few 
if  'it  man;  ccUectioai  of  tnadrigali  which. 
Eoraia  ompadliraia  b;  Arcadelt.  In  the  ;ear 
i-^i  k  mend  (be  wrvioe  of  Cardinal  Charlei 
rf  Lorrune,  duha  of  Guiae,  and  went  with  Mm 
u  Fuii,  when  be  probabl;  ended  hii  life.  In 
hiii  ibM  bocki  of  hie  mi  wee  were  publiihed 
in  lis';,  ud.  other  lacred  worki  appear  in 
nllauni  printed  lince  he  left  ItaU.  It  annma 
ffiaiie  iWefore  that  he  devoted  Hut  ncond 
r  Piriiijii  pdiod  of  hii  life  to  church  00m- 

uu  il  not  celebrated.  Iliua  Htoni,  in 
■uitiEg  of  the  first  book  of  madrigaU,  aan 
E^  Ukit  eiceedinifly  lorel;  and  natural  atyle 
tuitd  ihsn  itUl  to  be  aung  in  hji  time  (i6j7~ 
■743^-  Bnme;  girea  one,  'D  biancA,*  in  his 
'Biit«j'(iii.  J03);  and  two  to  Michel  Angelo'i 

H'willhefeimdinGotti'*  •  ViU  di  M.' (1875). 
is  Aie  Hiiia  haa  been  edited  b;  Sir  Hear; 
Eijhcfk  lud  otlur  English  mnctciMU^  ia  quoted 

t«i  printtd  in  the  '  Moaical  Timet'  (No.  183)  ; 
^iWulbmhip  it  disrated.  A  Pater  noater 
b  B  nioei  ia  given  by  Commer,  'CoUoctio,' 
™i".  [J.E.S.-B.] 

ABCmrTK  (Ft.  iMreMiirf;  kal.  Arci- 
">>');  Ger.  Erzlaute).  A  large  theivbo  or  double- 
>"U  lute,  luge  eapeciall;  in  the  dimenrioni  of 
t^  bodj,  ud  more  tbaa  fom-  feet  high ;— that  I 
"^Spm  ia4  ft.  s  in.  over  all.  The  double 
mi  oaltini  two  lete  of  tuning  pega.  the  lower — 
^  lilt  nbjiuned  exanple  in  South  Keniington 
HaMun— hiding  14,  and  the  upper  10.  The 
^  of  atgnt  or  metal  were  often  in  purt, 
'^  in  muKm,  and  oouprited  a  compaa  of 
^Dt  two  ocltvei  from  G  below  the  baa  clef. 
l«  irehliite  il  deecribed  by  Menenne  ('  Har- 
■KBit  CiiitertellB,'  1636)  and  Kircher  ('  Mutur- 
^^  /^^''  ^"^  ""'  being  named  in  Luaciniui 
U:iti)  H  may  ba  anmned  to  be  of  later  intro- 
taoioii  Uua  that  date.  It  waa  used  in  the  17th 
«ilniy  m  common  with  the  chitarrona  and 
™^  (U>  viol)  fbr  the  loweit  part  in  In- 
■nomU  mtnic  and  anxwipanimepti,  partian- 


larty  in  craaHnatico  with  the  ela^cetnbalo  tor 
the  mpport  of  the  re- 
dtative.  Early  edi- 
tioni  of  Corelli'a  So- 
nataa  bad  ftr  the  ban 
dteviolone  or  aroiliuta, 
and  Haikdel  alao  em- 
ployed the  archlate. 
The  tound  -  board, 
pieroed  with  from  one 
to  three  ornamental 
■oundholea,  waa  of 
pins,  and  the  vaulted 
back  waa  built  up  of 
atrip*  of  pins  or  cedar 

nl  together.  The 
adjuited  along 
the  neck  to  fix  the  in- 
tervil*  were  of  wire  or 
catgut,  example*  dif- 
fering.    A  vraalth   of 

■towed  upon  the  neck* 
and  back*  of  theae 
beauUful  initrument*, 
in  conuooD  with  other 
varieties  of  the  luta 
and  dther.  The  chi- 
tarvone  had  a  imaUer 
body  and  much  longer 
neck,  and  diffen  to 
mttoh  at  to  require  le- 
parate  deecriptioo.   In 

I  the  photograph*  pub- 
lished by  the  Liceo 
Comunale  di  Mutica 
of  Bologna,  the  ippli- 
cation  of  the  name* 
archlute  and  chitoi^ 
rone  it  reverted. 
<  See  Chitabbomi, 
Lore,  Thiobbo.) 

[A.  J.  H.] 
ARCO,  Italian  ftir   'bow.'      Aa   a    muiical 
term  'aroo'or  'ool  aroo'  it  employed  whenever 
after  a  pinicato  pattag«  the  bow  ia  to  be  u*ed 
again.  [P.  D.J 

ARDITI.  Ltnai,  bom  at  Cnneentina  In  Pied- 
mont, July  16,  lEij  ;  itudiad  mutio  at  the  Con- 
lervatcrio  at  Milan,  and  began  bit  career  at  a 
violin  player.  In  1S40  he  produced  an  overture, 
and  in  the  Carnival  of  I S4 1  an  opera  '  I  Brigand,' 
at  the  Contarratorio.  In  1841  he  followed  theae 
by  a  tecond  Overture  and  a  ■  Sovenir  di 
DoniieCti.'  He  made  hit  difbflt  a*  director  of 
the  opera  at  Vsrcelli  in  1843,  and  wa*  made 
honcrary  member  of  the  Accademia  Filarmonica 
there.  In  1846  he  left  lUly  with  Botteuni  fbc 
tbe  Havannah,  where  he  oompoeed  and  produced 
an  opera  '  II  Cortani.'  He  made  frequent  vitita 
to  New  York,  Borton,  and  Philadelphia,  and 
amongit  otber  thinge  conducted  the  opera  at  the 
opening  of  the  Academy  of  Mndo  in  New  York, 
and  produced  a  new  opera  of  kit  own  'La  Spia' 
(1856).  The  tame  year  he  left  Ameno*  fbr 
Ccoatantiiipple,  and  finally  letUad  in  London  in 


82 


ARDITI. 


ARIA  DI  BRAVURA. 


58  aa  conductor  ta  Her  Majesty's  Theatre,  under 
tiie  successive  managements  of  Lumley,  £.  T. 
Smith,  and  Mapleson.  Mr.  Lumley  has  left  on 
record  his  yerdict  of  Signer  Arditi,  '  than  whom, 
taking  all  qualities  into  account,  a  more  able 
conductor  never  reigned  in  this  country' 
(*  Remmisoences/  447  note).  Arditi  took  an 
Italian  company  (Piccolomini,  Giuglim,  etc.)  on 
an  artistic  tour  to  Hamburgh,  Berlin,  Dresden, 
etc.,  and  thus  became  known  and  liked  by  the 
German  public.  In  the  winters  of  18  71  and 
1873  he  conducted  the  Italian  Opera  at  St. 
Petersbuigh,  and  since  1870  has  performed  the 
same  office  each  spring  at  Vienna.  His  compo- 
sitions, besides  those  mentioned  above,  comprise 
a  'Gommemoraticm  Ode,'  performed  at  the  Crystal 
Palace  June  10, 1873.  ^8  vocal  waltz  'H  Bacio' 
is  a  universal  fkrovoAte,  [G.] 

ARGYLL  ROOMS.  At  the  commencement 
of  the  present  century  there  stood  in  Argyll 
Street,  Oxford  Street^  a  mansion  which  had  been 
occupied  by  a  Mr.  Joliffe.  This  was  taken  a 
few  years  afterwards  by  Col.  Greville,  who 
altered  and  added  to  it>  and  fitted  it  up  for  the 
meetings  of  a  fashionable  association  termed 
the  Pic-Nics,  who  had  burlettas,  vaudevilles 
and  ballets  on  a  small  scale  performed  there. 
But  the  fashionable  folk,  with  their  accustomed 
fickleness,  soon  deserted  the  place,  and  Greville 
was  compelled  to  seek  refuge  on  the  continent, 
having  been  obliged  to  make  over  'The  Argyll 
Rooms'  (as  he  had  named  them)  to  a  Mr.  Slaide, 
to  whom  he  was  indebted.  Slade  conducted  the 
business  of  the  rooms  for  .several  years,  letting 
them  for  concerts  and  other  entertainments. 
During  his  management  one  of  .the  events  of 
interest  which  occurred  there  was  a  reading  by 
Mrs.  Siddons,  on  Feb.  10,  181 3,  of  Shaksperes 
Macbeth,  for  the  benefit  of  the  widow  of 
Andrew  Cherry,  dramatist  and  actor.  In  the 
same  year  the  rooms  acquired  greater  celebrity 
by  being  selected  by  tibe  then  newly-formed 
Philharmonic  Society  as  their  place  of  per- 
formance. In  1 818  the  western  end  of  the 
concert  room  filling  within  the  line  required 
for  the  formation  of  Regent  Street,  Slade  was 
awarded  by  a  jury  £33,000  as  oompenBation 
(a  sum  considered  at  the  time  as  exceedingly 
beyond  the  real  value  of  the  property),  and  the 
whole  of  the  old  building  was  removed  and  new 
rooms  erected  on  the  east  side  of  Regent  Street 
at  the  north-west  comer  of  Argyll  Place.  The 
new  building  was  designed  by  John  Nash,  and 
had  all  the  defects  of  his  manner.  ^On  the  side 
next  Regent  Street  was  a  balcony  supported  by 
eight  heavy  and  clumsily  designed  caryatides. 
The  persons  by  whom  the  new .  rooms  were 
erected  were  twenty-one  of  the  principal  pro- 
fessors of  music  in  London,  who  had  formed 
themselves  into  an  association  for  the  purpose 
of  printing  the  best  music  in  the  best  majiner 
and  selling  it  at  a  moderate  profit.  This 
association  was  called  The  Royal  Harmonic 
Institution,  and,  for  the  purposes  of  its  trade, 
occupied  the  south-western  angle  of  the  new 
buildini;  (at  the  comer  of  Regent  Street  and 


Argyll  Place),  »  circular  fironted  erectaon  v'la 
a  domed  roo£  The  great  expense  incozred  is 
the  erection  of  tiie  building,  joined  to  ofdua 
untoward  events,  soon  led  to  tlie  withdnvm! 
of  most  of  the  original  speculaton^  at  a  los  d 
about  i8i8oo  to  each,  and  the  place  eventssTr 
fell  into  the  hands  of  two  of  their  body,  Wt^ 
and  Hawee.  But  differences  soon  arose  betwesa 
these  two,  and  ultimately  Hawes,  by  the  coe:- 
mission  of  an  act  of  bankraptcy,  ioroed  i 
dissolution  of  the  partnership,  and  the  ccBoea 
remained  in  the  hands  of  W^sh  alone.  Dori^ 
the  Philharmonic  Society^s  tenure  of  the  naea 
(old  and  new),  a  period  of  about  oeventeen  yens, 
many  events  of  great  interest  to  mnsBriani  <}^ 
curred  there.  l£ere,  on  March  6  and  Apcil  is. 
18^0,  Spd^  appeared,  first  as  violinist  and  lastu 
conductor  (Sdbstbiog.  ii.  86),  when  a  baton  wm 
used  for  perhaps  the  first  time  at  an  Ed^^i 
concert.  There  also  on  June  1 8  fbllo^ng;  at  kit 
benefit  concert^  his  first  wife  (Dorette  Scbeidkr) 
made  her  only  appearance  in  England  (and  hs 
last  on  earth)  as  a  harpist.  There^  on  June  11, 
i8ai,  Moscheles  made  his  first  appearance  in  tlis 
country.  There  too  Weber,  on  April  3,  1S36, 
two  months  before  ills  decease,  oondnoted  txr 
of  the  Philharmonic  Society's  oonoarts.  And 
there  a  still  greater  musician  tilian  either  fiis 
presented  himself  before  an  English  audience;— 
on  May  25,  1829,  the  youthful  Mendelsicia 
conducted,  at  one  of  the  concerts  of  the  PIlJ- 
harmonic  Society,  his  symphony  in  C  minor,  arsi 
a  month  later,  at  the  bmefit  concert  of  Drouet, 
the  flautist,  on  midsummer  nighty  June  a^,  piv.- 
duced  for  the  first  time  in  England  his  beaotifol 
overture  to  'A  Midsummer  Nightie  Dr^m.* 
Besides  concerts  the  rooms  were  let  for  misceDar 
neous  performances  and  exhibitions.  One  of  tb* 
most  attractive  of  the  latter  was  a  fVeiich  frhT- 
bition  of  dramas  performed  by  puppets^  calkd 
'The  French  Theatre  du  Petit  Laaury,*  wtseh 
was  given  in  i8a8  and  1829.  In  1929-183P  tk 
rooms  were  tenanted  by  a  M.  Ghabert,  &S^^ 
himself  'The  Fire  King,*  who  enterto^ied  tbs 
public  by  entering  a  heated  oven  and  cookin?  & 
steak  in  it,  swallowing  phosphorus,  etc  Doris^ 
his  tenure  of  the  place,  at  10  o*clock  in  t^ 
evening  of  Feb.  6,  1830,  a  fire  broke  oat,  which 
in  a  short  time  completely  destroyed  the  bidldin^. 
It  was  re-edified  soon  afterwards,  but  neva  re- 
gained its  former  reputation.  The  PhilhaimcBk 
concerts  were  removed  after  the  fixe  to  tba 
concert-room  of  the  King^s  Theatro,  and  thex^ 
to  the  Hanover  Square  Rooms,  and  althougk 
a  few  concerts  and  other  entertainments  wixt 
occasionally  given  in  the  Argyll  Rooms  the  place 
became  by  degrees  deserted  by  caterers  for  puUic 
amusement  and  was  in  'the  course  of  a  few  years 
converted  into  shops.  |^W,  H.  H.] 

ARIA,  Italian  for  Ant. 


ARIA  DI  BRAVURA.  The  oomposiiion  and 
performance  of  this  class  of  aria  began  aod 
ended  with  the  last  century ;  the  century  par 
excellence  of  great  Italian  singers^  as  the  word 
'singer'  was  once  interpreted.  [J,  H.j 


ABIA  PASLAJNTE. 

ART  A  PAJtLANTE.    See  Abiobo. 

ABTBTTA.   DimimitiTe  of  Aria.   A  short  ur, 
geakenlly  of  ifirightly  cbazacter,  and  haying  no 


ARNE. 


88 


ARIOSO.  litenUy  <airy.'  Used  suhstan- 
arelj,  it  ^n>ii]d  seem  to  meui  that  kind  of  air 
vhidi,  partekisg  both  of  the  character  of  air 
lad  recitative^  reqaires  rather  to  be  aaid  than 
nia^.  MendcJswhn's  two  pieces,  '  But  the  Lord 
ie  mbidfiil*  and  'Woe  unto  tbem  that  forsake 
Hm*  are  marked  'Arioso/  and  are  both  of  the 
daiacter  indicated.  [J.  H.] 

ARIOSn,  A!mLio>  a  Dominican  monk  and 

aa  o^otttic  oomposer ;  was  bom  about  the  year 

1660.    Under  a  papal  dispensation  he  gave  up 

Ids  fwTJeriawfcical  profeesion  fiir  that  of  music,  of 

whadk  he  had  tnom  his  youth  been  a  regular 

ftadesit.     "EBa  first  opera  was  'Da&e,'  written 

to  the  words  of  Apostolo  Zeno.    It  was  brought 

out  st  Yenioe  in  1686.    Its  sucoess  was  sufficient 

to  <^iamine  the  direction  of  his  talent,   for 

thaioeibrtli,  with  the  exception  of  one  oratorio 

tad  some  rantate  to  be  hereafter  mentioned,  he 

vrota  only  for  the  stage.    In  i6(p  he  became 

oOier  private  composer  or  Maestro  di  Gappella 

to  the  ElectreBB  of  Brandenburg ;   and  he  re- 

Bttined  a  member  of  her  household  untQ  1716, 

Then,  at  the  invitation  of  the  managers  of  the 

Italian  opera  in  London,  he  came  to  England. 

1%k  xntoval,  however,  he  does  not  seem  to  have 

ipent  altogedier  at  Berlin.    Apparently  he  had 

(■id  one  vist  at  least  to  Italy,  and  one  to 

Aoitria^  bringing  out  his  '  Kabuoodonosor*  at 

Vemoe,  his  'La  pih  gloriosa  fiitica  d'Eroole' 

St  Bokgna,   and  his   'Amor  tra    Nemidi'  at 

VeaJDa    His  first  appearance  In  London  was 

9t  the  representation  of  Handera  'Amadis/  at 

vhidi  he  played  a  mAo  od.  the  tiien  little-known 

iastnmMnt   the  viole  d*ainour.      In   1720    the 

^rec^ors  of  the  opera  made  formal  engagements 

it  a  term  with  Ariosti,  Bonondni  ai^  Handel 

to  viite  operas  in  turn  for  the  theatre.    It  was 

anaaged  tiiat  the  first  to  be  produced,  which 

vaf  'Mocius  Scaevola^'  should  he  the  joint  work 

<if  the  three  authars,  Ariosti  writing  the  first  act. 

Hie  BtipulationB  of  this  engagement  were  rigidly 

t&eteA  to  without  the  sUghtest  tinge  of  jealousy 

crillfeeiting  ever  haviiu  nuured  the  relations  of 

the  rrral  omnpoeers.    Sut  not  the  less  was  it 

inevitable  that  the  genius  of  Handel    ehould 

aoot  itself  and  at  the  close  of  the  season  of 

I/27  Ariosti  and  Bonondni  were  honourably 

dimiTiwiid.  Bonondni  was  subsequently  snm)orted 

bj  the  Marlborough  fsunOy,  but  Ariosti,  nnding 

himadf  without  a  patron,  quitted  England  in 

1728,  and  pasMd  the  rest  of  his  life  in  an 

obseortty  which  no  biographer  has  been  able 

to  pierce.    F^tis  says  ^at  on  the  eve  of  his 

defartate  from  England  he  published  a  volume 

of  Csatate   by   sabscriptian,    and   that    they 

raliabd  £iooo.    It  may  be  hoped  that  this  is 

a  £Kt,  and  that  the  destitution  hinted  at  by 

other  writers  was  not  the  absolute  condition  of 

Ids  old  age. 

Aikiati  wrote  fifteen  complete  operas,  of  which 


I  the  names  and  dates  of  publication  are  as 
fbUows:— <Dafiie,*i696;  'Eriphyle,' i(k)7;  'La 
Madredd Maccabd,*  1704 ;  'La  Festa  d  Imend,* 
1700;  'Atys,'  1700;  '  Nabucodonosor,*  1706; 
'  La  pih  gloriosa  £atica  d*  Eroole,'  1 706 ;  *  Amor 
tra  Nemid,  1708;  'Ciro»*  x7ai ;  ' Goriolanus,* 
1733;  'Vespaden,'  1724;  ' Artaserses,*  1724; 
'  Dwio,*  1 735  ; '  Ludus  Verus,'  1 726 ;  '  Teuzone,' 
1727.  To  these  are  to  be  added  the  first  act 
of  'Mudus  ScBBVola*;  the  'Cantate*  above 
mentioned,  published  along  with  some  lesions 
for  the  viola  d*amore,  1728  ;  and  hia  one  oratorio 
'  Badegonda  Regina  di  Franda,'  1693.  [£.  H.  P.] 

ARMIDE.  One  of  Gluck's  greatest  operas, 
produced  (in  his  sixty-fourth  year)  on  Sept.  23, 
1777,  at  the  Academic  royale.  Hie  libretto  is 
by  Quinault)  the  same  which  was  set  by  Lull! 
in  1686.  '  Armide *  followed  '  Aloeete*  (i  776)  and 
preceded '  Iphigeuie  in  Tauris  *  ( 1 7  79).  Ccanpaiing 
it  with  'Alceste,'  Gluck  himself  sa^  'The  two 
operas  are  so  different  that  you  will  hardly  be- 
lieve them  to  be  by  the  same  composer.  ...  I 
have  endeavoured  to  be  more  of  the  painter  and 
the  poet  and  leas  of  the  muddan,  and  I  confess 
that  I  should  like  to  finish  my  career  with  this 
open^  ...  In  Armide  there  is  a  delicate  quality 
which  is  wanting  in  Alceste,  for  I  have  dis- 
covered the  method  of  making  the  characters 
express  themsdves  so  that  yon  will  know  at  once 
whether  it  is  Armida  who  is  speaking  or  one  of 
her  followers.'  The  overture  was  originally 
written  27  years  before  for  'Tdemaooo.* 

ARMOURER  OF  NANTES,  THE,  an  opera 
in  three  acts,  founded  on  Victor  Hugo's  'Mary 
Tudor';  words  by  J.  V.  Bridgman,  mudc  by 
Balfe;  produced  at  Covent  Guden,  under  the 
Pyne  and  Harrison  managementi  Feb.  la, 
1863. 

ARNE,  Michael,  the  son  (Bumey  aays  the 
natural  aon)  of  Dr.  Ame,  was  bom  in  1741. 
He  was  brought  on  the  stage  at  an  early  a^re 
by  his  aunt,  Sirs.  Gibber,  who  took  great  pains 
in  teaching  him  the  part  of  the  Pace  in  Ot- 
way's  tra^dy,  'The  Orphan';  and  his  father 
was  equally  asdduous  in  qualifying  him  as  a 
singer,  and  brought  him  out  in  that  capacity 
at  Marylebone  Gardens  in  1751.    But  neither 
acting  nor  dnging  was  his  vocation.    At  ten  or 
deven  years  of  age  he  had  acquired  such  skill  on 
the  harpdchord  as  to  be  able  to  execute,  with 
unusual  correctness  and  rapidity,  the  lessons  of 
Handd  and  Scarlatti,  and  some  years  later  he 
manifested  some  ability  as  a  composer.     In  '  The 
Flow'ret,  a  new  Collection  of  English  Songs, 
by  Master  Ame,'  is  a  song  called  'The  Highland 
Laddiet,'  which  attained  great  popularity,  and 
was  in   1755  adapted  by  Linlev  to  the  words 
'Ah,  sure  a  pair  were  never  seen,   in  Sheridui's 
opera,    'The  Duenna.'    In  1763  M.  Ame  ap- 
peared as  a  dramatic  composer  with  'The  Fairy 
Tale.'  In  1764  he  composed,  in  conjunction  with 
Battishill,  the  mudc  for  the  opera  of  '  Almena/ 
which  was  withdrawn  after  a  few  nights,  not 
from  want  of  merit  in  the  mudc,  but  owing  to 
the  dulness  of  the  dialpgue.    On  Nov.  5,  1 766, 

G2 


84 


ASNE. 


Ame  married  Miss  Elizabeth  Wright,  a  Tocalist 
of  some  repute.  In  1 767  he  wrote  the  musio  for 
Garrick*s  anmatic  romanoe,  'Cymon,'  which  was 
highly  Bnocessful,  and  ia  his  best  work.  Soon 
afterwards  he  gave  up  his  profession  and  devoted 
himself  to  the  study  of  chemistry,  and  built  a 
laboratory  at  Chelsea^  where  he  attempted  the 
disooveiy  of  the  philosopher's  stone.  Foiled  in 
his  object,  and  ruined  by  the  expenses,  he  re- 
turned to  the  pursuit  of  music,  and  wrote  the 
music  for  soTeral  dramatic  pieces— amongst  them 
0*Keefe*s  '  Positive  Man,'  m  which  is  we  well- 
known  song,  'Sweet  Poll  of  Plymouth' — and 
numerous  songs  for  Vauzhall  and  the  other  public 
gardens.  In  1779  he  was  engaged  as  director  of 
ihe  music  at  the  Dublin  Theatre,  and  in  1784 
and  subsequent  years  had  the  direction  of  some 
of  the  Lenten  Oratorios  at  the  London  theatres. 
Michael  Ame's  dramatic  compositions  were  '  The 
Fairy  Tale,'  1763;  'Hymen,'  1764;  *A]mena»' 
1764;  'pymon,'  1767;  'The  Fathers,*  1778; 
'The  Belle's  Stratagem,'  1780;  'The  Choice  of 
Harlequin,'  1781 ;  'The  Podtive  Man,'  1712  ; 
'Tristram  Shandy/  1783.  He  died  about 
1806.  [W.  H.  H.] 

ARNE,  Thomas  Auoubtihs,  Mus.  Doc.,  was 
the  son  of  an  upholsterer  in  King  Street^  Govent 
Garden,  where  he  was  bom  on  March  1 3  or  May 
38  (the  precise  date  cannot  be  ascertained),  1710. 
He  was  educated  at  Eton,  and  being  intended 
by  his  &ther  for  the  profession  of  the  law,  was 
on  leaving  college  placed  in  a  solicitor's  office  for 
three  years.  But  his  love  for  music  predominated, 
and  instead  of  applying  himself  to  the  study  of 
the  law,  he  privately  conveyed  a  spinet  to  his 
bedroom,  and  by  muffling  the  strings  with  a 
handkerchief  contrived  to  practice  during  the 
night  undetected.  He  took  lessons  on  the  violin 
from  Festing,  and  would  occasionally  borrow  a 
lively  in  order  to  gain  admission  to  the  servant's 
gallery  at  the  opera.  He  made  such  progress  on 
the  violin  as  to  be  able  to  lead  a  chamber  band 
at  the  house  of  an  amateur  who  gave  private 
concerts.  There  he  was  one  evening  accidentally 
discovered  by  his  father  in  the  act  of  playing  the 
first  violin.  After  some  fruitless  efforts  to  induce 
his  son  to  devote  himself  to  the  profession  for 
which  he  had  designed  him,  the  fiither  gave  up 
the  attempt  as  hopeless,  and  permitted  the  youth 
to  foUow  the  bent  of  his  indmation.  Being  free 
to  practice  openly,  Ame  soon,  by  his  skill  on  the 
violin,  charmed  the  whole  family,  and  finding 
that  his  sister,  Susanna  Maria  (who  afterwards 
as  Mrs.  Gibber  became  famous  as  a  tra^c  actress) 
had  an  agreeable  voice,  he  gave  her  such  in- 
structions as  enabled  her  to  appear  in  1733  in 
Lampe's  opera  'Amelia.'  Her  success  was  such 
as  to  induce  her  brother  to  re-set  Addison's  opera 
'Rosamond,'  and  his  composition  was  produced 
at  Lincoln's  Inn  Fields  Theatre,  March  7,  1733, 
Miss  Ame  performing  the  heroine,  and  her 
younger  brother  the  page.  Soon  afterwards  Ame 
got  Fielding's  '  Tragedv  of  Tragedies'  altered  into 
the  '  Opera  of  Operas,  and,  setting  it  to  music 
'after  the  Italian  manner,'  brought  it  out  at  the 
Haymarket    Theatre^    Ids   young    brother    re- 


ABNE. 

presenting  the  hero,  Tom  Thmnh.  In  1734  k 
set  for  the  same  theatre  a  masque  cslldd  'Dih 
and  ^neas,'  which  was  perfonned  (u  tk 
customary)  with  a  harlequiiukde  Intermixed  h 
1 736  he  composed  some  music  for  Aaron  EHi 
tragedy  of  '  Zara,'  in  which  his  rister  made  'k 
first  attempt  as  an  actress.'  In  1736  Aiv 
married  Ceciliai,  the  eldest  dau^ter  of  Cbda 
Toung,  organist  of  Allhallows,  Baridog, » pcji 
of  Geminiani  and  a  singer  of  enunaMe,  v> 
was  frequently  engaged  by  Handel  (at  b 
performances.  In  1 738  Ame  was  engaged » 
compose  the  music  for  Dr.  Dalton's  adaptatisE 
of  Milton's  '  Comus,'  which  was  brought  oa  it 
Druiy  Lane  Theatre.  This  work  fulljestaUyifld 
his  reputation ;  its  graceful  and  flowing  meio£s 
making  an  immediate  and  lasting  impnaii 
In  1740  he  re-set  Congreve's  masque  'Ik 
Judgment  of  Paris,'  which  was  perfonned  « 
Druiy  Lane.  On  August  14  in  the  Mme  tw. 
to  celebrate  the  anniversary  of  the  aooeBca  4 
the  House  of  Hanover,  ThcHuson  and  Milbti 
masque  of  'Alfred,*  with  music  by  Ane,vii 
performed,  for  the  first  time,  in  a  tempain 
theatre  in  the  garden  of  deaden,  Bocki,  tba 
the  residence  of  Frederick,  Ptinoe  of  VTik 
The  work  contains  some  fine  songa^  but  it  im 
especially  distinguished  by  its  finale^  the  h/m 
patriotic  song  'Bule  Britannia^'  a  songThid 
will  continue  to  be  heard  as  long  u  k>T«  i 
country  animates  the  breasts  of  Engliahmea.  Oi 
Deo.  ao,  in  the  same  year,  Shakspere's  'ABY<^:l 
Like  It '  being  performed  at  Druiy  Lsoe  ThatR, 
after  having  been  laid  aside  for  forty  yem,  Ane 
gave  to  the  world  those  beautiful  settingBof  (Ik 
songs  'Under  the  greenwood  tree^'  'Blow,bL<«. 
thou  winter  wind/  and  'When  dauiet  pal 
which  seem  to  have  become  indiasolably  M^ 
the  poetry.  After  producing  some  minor  pieM 
Ame  went  in  1742  with  £s  wife  to  l^^ 
where  they  remained  until  1 744.  Doling  ba^y 
there  he  raoduoed,  besides  his  fonner  pieo«^ 
operas  'Britannia'  and  'Eliza,*  and  hiimos^ 
faroe  '  Thomas  and  Sally,*  and  also  gave  ooocav 
with  great  success.  On  his  return  he  was  agis 
engaged  as  composer  at  Drury  Lane,  and  00 1^ 
death  of  Gordon  he  succeeded  him  as  ]a^  ^ 
the  band  there.  In  1745  Ame  was  engag^ed  s 
composer  to  Vauxhall  Gardens,  and  wrote  fz 
Mrs.  Ame  and  Lowe  the  pastoral  dialogtie  'Coh 
and  Phcebe,'  which  proved  so  suocenful  that  i; 
was  performed  throughout  the  entire  aeufXL  He 
held  that  engagement  for  many  yean,  dmiic 
which  he  oomposed  for  the  GazdeDS,  as  wefl  tf 
for  Ranelagh  and  Marylebone  GardeDi,  » 
immense  number  of  songs.  On  a  renval  t. 
Shakspere's  '  Tempest  *  in  1 746  (at  Dniiy  Ud^ 
Ame  supplied  new  music  for  the  masque  aadw 
song  'Where  the  Bee  sucks,'  a  oompoBti«j« 
perennial  beauty.  On  March  i  a,  I755>  he  io»^, 
ids  first  essay  in  oratorio  by  the  pr«lac^<*^ 
'  Abel,'  in  which  the  sim^e  and  beautiful  m^ 
known  as  the  Hymn  of  JBve  became  exoeedi^i; 
popular.  On  July  6,  1759,  the  Univa**!'^ 
Oxford  created  Ame  Doctor  of  Mosia  In  ip* 
the  Doctor  ventured  on  the  bold  ezpenioeot^ 


ABNE. 


ABl^OLD. 


85 


piaczBg  before  an  Bnglinh  andienoe  ui  opeim 

oEsapG^ed  alter  the  Italian  manner,  with  recitaiire 

mstead   of   ^oken  dialogue.     For  this  purpose 

ke  »itected  the  '  Artaaene'  of  Metastasio^  wtiich 

ie  himaelf  translated  into  Kngliah.     Dc^iartinff 

to  a  great  extent  from  his  former  style  he  crowded 

aaav  of  tiie  airs  with  florid  diyisions,  particularly 

U»ee  in  tike  part  of  BCandane,  which  he  composed 

Sy  hia  ^xxpily  Miss  Brent.    Die  other  singers 

vere  Tendooci,  Peretti,  Beard,  Mattocks,  and 

Mias  Thosnaa.     The  snooess  of  the  work  was 

igdded,   and  'Artazerxea'  retained  poasession 

d  the  atage  for  upwarda  of  threeHjuarters  of  a 

oeatoiy.      The  part  of  Mandane  was  long  oon- 

sdered  (he  touchstone  of  the  powers  of  a  soprano 

KB^.     Hie  composer  sold  the  copyright  for 

abty  gonieas,  an  insignificant  amount  compared 

'vtth  the  auma  which  later  composers  obtained, 

tot  probably  as  mudi  as  the  then  more  limited 

demand  for  mnsic  justified  the  publisher  in  giving. 

Oa  Feb.  ^g,  1 764,  Dr.  Ame  produced  his  second 

ostorio,   *Jadith,*  at  the  du^  of  the  Lock 

Hospital,  in  Giosvenor  Plaoe^   Pimlico,  for  the 

beiu^  of  the  charity.  In  1 765  he  set  Metaataaio^s 

<^)eia  'OUmpiade,*  in  the  original  language,  and 

liad  it  performed  at  the  Eing*a  Theatre  in  the 

HajmaikeL      It  waa  represented  however  but 

tvioSf  owing;  it  has  been  supposed,  to  some  petty 

J€aloasy  of   an  Knglishman  oumposing  for  an 

lta£an  theatre.     In   1769  Dr.  Ame  set  such 

portions  of  the  ode^  written  by  Garrick  for  the 

Shakspere  jubilee  at  Stratford -on -Avon,  as  were 

istended  to  be  sung,  and  some  other  incidental 

moac  for  the  same  occasion.    His  last  dramatic 

eompontian  waa  the  music  for  Mason^s  'Carac- 

bcoi'  in  1776.     Dr.  Ame  produced  numeroua 

g)ee«,  ratcboa,  and  canona,  aeven  of  which  obtained 

prises  at  the  Catch  Qub^  and  instrumental  muaic 

civarioiia  kinds.     He  died  March  5,  1778,  and 

vw  buried  at  St.  Paul*8,Coyent  Garden.    Shortly 

befcre  hia  diaa(dution  he  sang  with  his  dying 

ls«sth  a  HaUelajah.    Mrs.  Ame  survived  her 

brijand  about  seventeen  years,  dying  in  1795. 

It  must  not  be  foi^gotten  that  Dr.  Ame  was  Uie 

fint  introducer  of  female  voices  into  oratorio 

dunses;    whiah    he   did   at   Govent   Grarden 

Tkaire  on  Feb.  26,  1775,  in  a  performance  of 

Ids  own  *  Judith.'    Dr.  Ame  waa  author  as  well 

H oonipoaer  <rf'  'The  Guardian  outwitted,'  'The 

Bote,'  'The  Conteat  of  Beauty  and  Virtue,'  and 

'Phoebe  at  Ck>urt,'  and  the  reputed  author  of 

'Don  Saverio'  and  'TheGooper.    A  fine  portrait 

of  him  by  Zofiany  ia  in  the  poasession  of  the 

Sacicd  Harmonic  Society. 

The  following  ia  a  list  of  Dr.  Ame's  com- 
podtiona: — 


OatertM:  Abel.  IKS.  ladltli. 
Rl  Ovciw  ani  vQatr  mmkai 
(MM:  BMHBoad.lQS.  TbaOpan 
ft  OfomM.  or  Tiom  Thunb  the 
Cntt,iaBL  XNdo  and  Amu.  list 
AtFaB  of  PbttBton. I73t.  Marie 
h  Zum.  1T9S.  Comas,  vm.  Tbe 
MpMBC  ef  FtoK  rtm.  Albed. 
n«i  Soaci  Id  As  Too  I4ke  It, 
na.  iai«»lDTwcinhIfIclit,17CL 
The  Btad  Benar  of  Betfaael  Oren. 
nu  Bat^  ia  Hm  HerciMHit  of 
▼«ke.n«2.  BrttMiole,174S.  EBm, 
Tt(a,  TbeMa»aMiaftUv.n«.  Hie 
of  DfOaem,  IMBL 


PepiB'i  auBpolffu  17I&  VorfelB 
Tbe  Tmaftm,  ITML  Maptane  aiid 
Amphttrtle.  17A  Don  SeTerto, 
rm.  Dlive  In  Boneo  and  Juliet. 
nsa  Tba  PraplMten.  170S.  The 
Sottaa,  lUSl  Axttutenas.  ITB. 
Lore  Id  a  Vlllaca  (chiefly  oonpiled), 
INL  The  Mrth  of  Bercniee  (not 
acted),  mSh  The  Guardian  out* 
vttied,  VHL  OUmplede  (Italian 
open),  vm.  Tbe  Ladles'  rrolle. 
1770.  Addliteos  to  Paroell's  Kinc 
Anhnr,  ITm  lb*  Ttiij  Prince, 
177L  Tba  Oaoper.  177S.  Cbonises 
laKMM'iBIHda.  ITS.  The  fioM. 


tut.  Hw  OoBtMt  of  Boantr  and 
Virtue.  1773.  AehlUMlnPettleoau. 
ma.  May  Day,  Vm.  Pbcebe  at 
Court.  1771.  Mode  In  Masoo'i 
Caraciaens,  17IV.  Besides  the«e 
Ame  oomposed  many  iDddental 
tongs,  etc.  for  other  ptaya^  as  The 
Tender  Husband,  The  Rrhearml. 
The  RfTal  Queens,  etc.  Collectloai 
of  songs  under  the  following  titles : 
Lyrle  Harmony,  The  Agreeable 
Musical  (Sioloe, 


menl.  The  VnntaiH  Amnamenta. 
The  Syren.  Vocal  Melody.  1788, 
The  Voeal  Orore,  1774,  end  nearly 
twenty  books  of  songs  saog  at 
VauxhalU  Banelagh,  and  Maryle- 
booe  Gardens.  Glees,  Catches,  and 
Canons:  thirteen ^eet, ten eatdiee, 
and  six  canons,  are  printed  In  War- 
ren's oollectlonik  Ode  oo  8hak> 
spere,  ITSVi  Sonatas  or  leisoos  fnr 
the  barpelclMrd.  Organ  Cofwertoa. 
Owtona  eta  fbr  the  orchestra 

[W.  H,  H.] 
ARK^OLD^  JoRAKif  GonrBiKD,  violoncellist 
and  composer,  bom  in  1773,  waa  the  son  of  the 
schoolmaster  of  Niedemhall  near  Oehringen  in 
Wiirtemberg.  From  his  earliest  childhood  he 
showed  such  a  paadon  and  aptitude  for  muaic 
that  his  father  apprenticed  him  in  his  twelfth 
year  to  the  musical  director  (Stadtmuaikus)  of 
the  neighbouring  town  of  KOnzelsau.  During 
this  time  he  devoted  himself  chiefly  to  the 
practice  of  the  violoncello,  at  which,  under  the 
influence  of  a  most  exacting  master,  he  worked 
with  such  diligence  aa,  it  is  said,  permanently  to 
injure  his  health.  In  1 789  hia  term  of  apprentice- 
ship came  to  an  end,  and  the  following  year  he 
took  his  first  regular  engagement  at  Wcotheim, 
where  his  unde,  Friedrich  Adam  Arnold,  was 
established  as  musical  director.  He  continued  to 
study  with  unabated  energy.  After  making 
concert  tours  in  Switzerland  and  Germany,  he 
spent  some  time  at  Ratisbon  in  order  to  take 
advantage  of  the  instruction  of  the  able  violon- 
cellist Willmann.  Making  constant  improvement, 
he  visited  Berlin  and  Hamburg,  at  which  latter 
town  he  had  the  good  fortune  to  make  the 
acquaintance  of  Beinard  Romberg,  whose  style 
and  method  he  studied  to  great  advantage. 
In  1798  he  became  attached  to  the  theatre 
at  Frankfort  as  first  violoncellist,  where  he 
occupied  himself  much  with  composition,  and 
enjoved  a  great  reputation  both  as  executant  and 
teacher.  The  career  however  of  this  young  and 
talented  artist  was  speedily  cut  short,  for  he  died 
of  an  affection  of  the  lungs  in  1806  at  the  early 
age  of  thirty-four.  Besides  compositions  and 
'transcriptions'  for  his  own  particular  instru- 
ment, he  wrote  original  pieces  for  the  flute  and 
piano,  and  made  quartet  arrangements  of  various 
operas,  etc.  Fetis  ^'  Biographie  *)  gives  a  list  of 
his  compositions,  induding  five  concertos  for  the 
violoncello;  a  symphonie  ooncertante  for  two  flutes 
and  orchestra ;  airs  with  variations,  op.  9  (Bonn) ; 
easy  pieces  for  the  guitar,  eta  |T.  P.  H.] 

ARNOLD,  Samukl,  Mus.  Doo.  Bom  in  Lon- 
don, Aug.  ID,  1740,  and  educated  in  the  Chapel 
Royal  under  Bernard  Gates  and  Dr.  Nares. 
His  progress  was  so  great  that  before  he  had 
attained  his  twenty-third  year  Beard  engaged 
him  as  composer  to  Covent  Garden  Theatre, 
where  in  1765  he  brought  out  the  opera  of 
'The  Maid  of  the  Mill.^  Many  of  the  aongs 
were  selected  firom  the  works  of  Bach,  Galuppi, 
Jomelli,  and  other  Italian  writers.  Hiis  opera 
was  one  of  the  first,  since  the  time  of  Puioell,  in 
which  concerted  music  was  employed  to  cany 
on  the  business  of  the  stage,  and  it  was  used  l^ 
Arnold  with  great  devemess.  The  success  of  the 
work  decided  the  oampcmerB  future  connection 


86 


ARNOLD. 


with  the  stage,  which  he  cultivated  with  roch 
diligence  and  Bucoess,  that  from  1765  to  1803  he 
produced  no  less  than  forty-three  operas,  musical 
afterpieces,  and  pantomimes.  His  attention  was 
early  directed  to  sacred  music,  and  his  first  too- 
duction  of  this  kind  was  an  oratorio  called  'The 
Cure  of  Saul,'  perfoimed  in  1767.  In  the  fol- 
lowing year  he  produced  'Abimelech,'  and  after- 
wards 'The  Besurrection,*  and  'The  Prodigal  Son,* 
which  were  perfonned  during  several  suooessive 
seasons  under  his  own  direction. 

In  1769  Arnold  purchased  Marylebooe  Gar- 
dens, then  a  place  of  fashionable  resort,  which 
he  rendered  more  attractive  by  composing  and 
producing  several  burlettas,  performed  by  the 
principal  singers  of  the  time.  Ultimately,  how- 
ever, he  retired  from,  the  speculation  with  con- 
siderable loss.  (See  Mabtlbbons  Gabdbnb.) 
In  1773  Arnold's  oratorio  of  'The  Prodigal 
Son '  was  performed  at  the  installation  of  IiOTd 
North  as  Chancellor  of  the  University  of  Ox- 
ford. On  this  occasion  Arnold  was  offered  the 
honorary  degree  of  Doctor  in  Music,  but  he 
preferred  taking  it  in  the  prescribed  mode.  It  is 
said  that  Dr.  Hayes,  the  Professor,  returned  the 
candidate's  exercise  unopened,  remarking,  'Sir, 
it  is  quite  unnecessary  to  scrutinise  an  exercise 
written  by  the  composer  of  The  Prodigal  Son.' 

Dr.  Arnold  succeeded  Dr.  Nares  in  1783  as 
Organist  and  Composer  to  the  Chapel  Royal,  for 
which  establishment  he  wrote  several  services 
and  anthems.  Shortly  afterwards  he  published 
a  continuation  of  Boyoe's  'Cathedral  Music,'  in 
four  volumes,  a  new  edition  of  which  was  issued 
in  1847  by  the  writer  of  the  present  article.  In 
1 791,  in  conjunction  with  Dr.  Calloott,  he  pub- 
lished a  work  entitled,  'The  Psahns  of  David,' 
etc.  He  also  published  *  An  Ode  for  the  Anni- 
versaiy  of  the  London  HospitaL* 

In  1786  Dr.  Arnold  issued  proposals  for  a 
uniform  edition  of  Handel*s  works,  and  the 
list  was  headed  by  Greoxge  III  as  a  subscriber 
for  twenty-five  copies.  He  met  with  sufiSdent 
encouragement  to  carry  it  on  to  168  numbers, 
or  about  forty  volumes,  but  not  enough  to  enable 
him  to  complete  his  plan,  for  the  edition  con- 
tains only  five  out  of  Handel's  forty-three  operas. 
It  was  about  this  time  that,  in  conjunction 
with  his  friend  Gallcott,  he  established  the  Glbb 
Club;  and  on  the  death  of  Stanley  he  joined 
Linley  as  conductor  of  the  oratorios  at  Druiy 
Lane,  for  some  time  a  profitable  speculation,  but 
at  length  opposed  by  Ashley  at  Covent  Garden, 
who  by  converting  tiie  so-called  oratorio  into  a 
medley  of  light  compositions,  stimulated  the 
public  appetite  fbr  novelty,  and  the  more  clas- 
sical performaaoe  at  the  rival  theatre  was  de- 
serted. His  last  oratorio, '  Elijah,'  was  produced 
in  1810,  but  it  met  with  little  success,  and  was 
not  repeated. 

In  1 789  Dr.  Arnold  was  appointed  Conductor 
of  the  AoADEMT  OF  Amctent  Mubio,  a  noble 
institution  then  in  its  decline ;  in  1793  he  suc- 
ceeded Dr.  Cooke  as  Organist  of  Westminster 
Abbey,  and  three  years  later,  on  the  death  of  Dr. 
P.  HayeSy  was  requested  to  conduct  the  yearly 


ARNOULD. 

perfimnanoe  at  St.  Paul's  for  the  benefit  of  tk 
Sons  of  the  Clergy.  About  two  years  afterwBrdi 
a  fall  from  the  steps  of  his  library  oommnfti 
a  tedious  confinement^  and  probably  hant<piw^ 
his  death.  He  died  October  22,  xSoa.  Ba 
remains  were  deposited  near  those  of  his  gresi 
predecessors,  PuroeU,  Blow,  and  Croft^  in  Vim- 
minster  Abbey. 

Dr.  Arnold  wrote  with  great  &cility  and  eat- 
rectness,  but  the  demand  upon  his  powers  w» 
too  varied  and  too  incessant  to  allow  of  tii 
attaining  great  exoellenoe  in  any  department  d 
his  art. 

The  following  is  a  list  of  his  draioatic  oompir 
sitions:-— 


of  the  Mm.  ITHL 
mond.  1797.  Portrait.  ITTOl  Mothflr 
Shlpton.  177a  BoiHii-Iaw.  177t. 
Saminer  AmoMDieiit,  1779.  Ftav 
and  Water.  ITBO.  Weddli«  Kl^t 
178a  SilTtf  Tukaid.  178a  Dead 
AUv«,  17m.  Oartal  of  Andabuia. 
1782.  Hariequln  Tmgam,  1782. 
Oretoa  Oraeo.  178BL  Hunt  tha 
Slipper.  ITBi.  Two  to  0n«,  17M. 
Here,  Hiere,  and  ETerywIiare,  1781 
Turk  and  No  Turk.  ITBa  Stage  of 
Cttuola,  178B.  Inkle  and  Tarloo, 
1787.  Enraged  Musician,  1788,  Bat- 
tle of  Haitaam.  178B.    Maw  Spain, 


ITiai 

of  Oalaii,  ITSL 

Vaiutaa,  ITSBL      Chndra  k  ih 

Wood,  17».     Anld   Bobls  Gov 

I7M.  Zorinikl.n9a. 

1798.    Who  Faja  tfaa 

179a  Love  and  Mener,  T1K.  B«- 

nlan  Day.  179a     Sblipwnck.  TSL 

Italian  Monk.  1797.  Fkkeaadltv. 

17W.    Throw  Pliysle  to  the  EnpL 

I79a   Oambro-Britona.  173R.  i^ 

or  nme^ngerad  Jack.  IflW.  I*- 

▼lew.  180L   Oonalr.  ua.  Tcmu 

Tar.  1801.  Oxtj-lhii*  h&Stm.iA 

Vkiitoi' Bevela.  MB. 


The  work  by  which  Arnold  will  be  len^ 
remembered  is  entitled  'Cathedral  Music,  being 
a  collection  in  score  of  the  most  valuable  asd 
useful  compositi(Nis  for  that  service  by  the  sevenl 
English  roasters  of  the  last  aoo  years  ;  sdected 
and  revised  by  Dr.  Samuel  Amola,  Organist  xaA 
Composer  to  His  Majesty*s  Royal  Chai^.'  The 
Preface  is  dated  480,  Strand,  Nov.  i,  1790.  The 
contents  are  as  follows : — 

VOUL 
PaMok,  M.  and  B.  Serr.  O  minor. 
Child,  M.  and  B-  Serr.  B  minor. 
Do.  Pan  Anth..  If  tba  Lord. 
Do.  F.A.0  prar* 
Claik,  Sanctna. 
Kent,  F.  A.  Heaiton  mito. 
Croft,  Vene  Anth.,  I  win  gifia 
King,  F.  A.  Hear  O  Lord. 
Do.  F.  A.  BaJoloe  in  the  Lord. 
Do.  M.and  K  Sarr.  B  flat 
Croft,  M.  Senr.  B  minor. 
Aldrlch,  M.  and  B.  Senr.  In  A. 
Do.2Chanti. 

Purcdl.  Ven9  A,  BlcMd  aca  thar. 
Tanii,  F.  A.  An  people.' 
Ooldwin,  M.  and  B.  Senr.  in  F. 
Weldon,  Sok)  A.  O  God  Hmmi  halt 
Aldrlch.  F.  A.  We  have  heard. 
Ooldwin,  F.  A.  Bahokl  my  Mrrant 
Aldrlch.  F.  A.  Not  mto  vm. 
Do.  F.  A.  O  pralaa. 

yoL.s. 

Oreene,  M.  and  B.  Sarr.  la  a 
Do.  Solo  A.  fralw  the  Lord, 
Do.  V.  A.  Like  as  the  hait 
Orolt,  V.  A.  Be  merdftil. 
King.  M.  and  B.  Sarr.  in  F. 
Do.  F.  A.  O  pray. 
Oreene,  V.  A.  O  Lord  I  vlIL 
Do.  V.  A.  I  win  magnl^. 
King.  M.  and  B.  Serr.  in  A. 
Tadway,  V.  A.  thou  o  Lord. 
Weldon,  F.  A.  Who  can  taU. 
areen^  V.  A.,  O  pralaa. 

{Harmonieon  |br  1830 ;  Old  PUtybiUg ;  Biog. 
Diet,  U,  K.  8,)  [E.  F.  E.] 

ABNOULD,  Madeleivs  Sofhib,  a  ftmous 
actress  and  singer,  and  the  original  Iphigenie  in 
Gluck's  opera.  Bom  in  Paris,  Feb.  14,  1744, 
in  the  same  room  in  the  Rue  de  Bethisy  in  which 
Admiral  Coligny  was  murdered,  Aug.  2^  1572. 


BiTan.M.ndK.0erT.  kiGL 
Ttavan,  M.  Serr.  in  F. 

TOLL 
Bojoa,  M.  Serr.  In  A. 
Do.  Solo  A.  Lord  what  la. 
Do.  F.  A.  Save  me  o  6(mL 
Ohantt  t^SaTagB, 

Kent 
Bojree.  Solo  A.  Lofrd 
TalHa.  F.  A.  Hear  the  to«c& 
Aldrleh,V.A.Ii 
Tmven,  a  A.  FOodar 
Narei.  M.  and  B.  Sarv.  In  F. 
Da  F.  A.  Btomed  k  1ml 
Do.  F.  A  O  Lord  giaot. 
Da  F.  A.  Try  ma. 
Da  Chant 

Traven,  T«  Deam  In  Jk 
Kli«.  M.  and  B.  Serr.  Ina 
Da  V.  A.  WherewlthaL 
Oreene,  V.  A.  Hear  nr 
Bi^oe.  a  A.  Tnm  nwa 
Da  F.  A  BlaMlog  and  gtay. 
King,  M.  Serr.  In  A. 
Hall  and  HtaM,  Tt 
Greene,  V.  A.  O  God  Thon 
AjTton,Chaat 
Traveri,  V.  A.  AaerOwL 
Aldrich.  KSerr.  inV. 
Dnpois,  Oliant 
Bojee,  a  A.  Fondar  uxf 
Oraane,  a  Al  O  Lord  God. 

VOL.4. 
The  Oivn  part  to 


AUNOULD. 

T^  PrineeBB  of  Modena  lieuiiig  the-  child  amg 
in  the  chmch  of  Val  de  Giioe  was  90  channed 
*iiat  BhesBoomznended  her  to  the  royalJntendant 
>'f  Masic  Against  the  will  of  her  mother, 
sypins  hecame  a  member  of  the  Ghaf>eUe  Roy- 
aie,  and  was  taught  comedy  by  MUe.  Hippolyte 
dairoi^  and  KDging  by  Mile.  Tel.  Mme.  de 
Pompadovr  hearing  her  on  ozie  oocasioB  was  so 
njoh  struck  by  the  yomig  artist  that  she 
•^AsiacieristicaUy  said,  'With  such  talents  you 
uj  become  a  pariooess.*  She  made  her  d^but  on 
I^  15*  I757f  And  remained  on  the  stage  till 
i;;^,  the  most  admired  artist  of  the  Paris  Opera, 
la  that  y«ar  ahe  left  the  boards  and  retired  into 
private  Ufe.  Mile.  Amould  was  not  less  ze- 
Downed  for  her  wit  and  power  of  oonversation 
;han  for  her  abHity  as  a  singer  and  actor.  The 
'AmonMiana*  contain  a  host  of  her  caustic  and 
witty  q)eecheB.     She  died  in  1803.  [F.  G.] 

ARPEGGIO  (Ital,  from  Arpa,  the  harp; 
Arpegffiaref  to  play  npon  the  harp).  llie 
eaqdoyment  in  vocal  or  instrunental  music  of 
tbe  noCea  of  a  chord  in  succession  instead  of 
■mnhaaeoafliy;  also,  in  pianoforte  music,  the 
iTtaking  or  apreoMng  of  a  chord,  either  upwards 
<r  downwards. 

The  inteodoctioin  of  the  arpeggio  as  an  ac- 
aanpanimeni  to  a  melody  marks  an  important 
epodi  in  the  history  of  pianoforte  music.  It  is 
Bid  to  have  been  invented  about  1750  by 
Albsti,  a  Veoetian  amateur  musician,  in  whose 
'  Vni  Sonate  per  Cembalo*  are  found  theearliest 
Bgns  of  emancipation  from  the  contrapuntal  form 
of  aooompaniment  exclusively  used  up  to  that 
^me.  lie  simple  kind  of  ar]|eggie  employed  by 
lum,  whiA  is  stall  known  as  the  'Alberti  bass,* 
(Hx.  i)  has  snee  become  fully  developed,  not 
aloae  as  anwwnpanimfint,  but  also  as  an  essential 
pstt  of  the  most  brilliant  instrumental  passages 
of  modem  munc 


ASPEGGI0. 


87 


Arpeggio  pansngos  such  as  those  alluded  to  are 
afamst  invariably  written  out  in  full,  but  the 
ample  spieading  of  the  notes  of  a  chord  (in 
ttstradirtinction  to  coneento,  the  sounding  of  all 
the  notes  together)  is  usually  indicated  by  certain 
sgBs.  Atoeofdihg  to  Tisk  ('Ciavierschnle')  the 
ngns  for  the  arpeggio,  beginning  with  the  lowest 
aote,  are  as  in  Ex.  2,  those  fS^  the  descending 
tfpQ^o  as  in  Ex.  3.  The  latter  is  however  only 
loet  with  in  old  music ;  the  downward  aipeggio, 
vhush  is  bot  rarely  enq>loved  in  modem  music, 
bdng  now  always  written  m  fiill. 


The  arpeg^o  in  modem  music  is  usually 
indicated  as  m  Ex.  4,  and  occasionally  (as  for 
instance  in  some  of  Hummel*s  compositions)  by  a 
stroke  across  the  chord  (Ex.  5).  tiiis  is  however 
incorrect,  as  it  may  easily  be  mistaken  for  the 
combination  of  aipeggio  with  Acciaoatuiia, 
which,  aooording  to  Emanuel  Bach,  is  to  be 
written  and  plaj^  as  in  Ex.  6. 

4-  5.        6. 


iihi(i'i'Li 


^ 


i 


I 


m 


^ 


t 


^  1 


3 


^ 


In  the  arpeggio  as  above,  the  notes  when  once 
sounded  are  aU  sustained  to  the  full  value  of  the 
chord,  with  the  exception  only  of  the  foreign 
note  (the  aooiacatura)  in  Ex.  6.  Sometimes 
however  certain  notes  are  required  to  be  held 
while  the  others  are  released;  in  this  case  the 
chord  is  written  as  in  Ex.  7. . 

7. 

—4- 


r^ 


m 


The  arpeggio  should,  aooording  to  the  best 
authorities,  begin  at  the  moment  due  to  the 
chord,  whether  it  is  indicated  by  the  sign  or  by 
snail  notes,  and  there  can  be  no  doubt  that  the 
effect  of  a  chord  is  weakened  and  often  spoilt  by 
being  begun  before  its  time,  as  is  the  bad  habit 
of  many  inexperienced  pli^rers.  Thus  the  com- 
mencement of  Mozart*8  'Sonata  in  C*  (Ex.  8) 
should  be  played  as  in  Ex.  9,  and  not  as  in  Ex.  10. 

8'        AlUgro, 


lifV    !■ 

rt^    r^ 

t 

-f—^^J—r-^ 

H( ■ 

\^  \  i- 

rp 

'   ^  r ' 

— m    .    • ■ 

-y 

s-ll 

=4 

^ 

^^=1^ 

^ 

9-  ^  ^°'ea 


:?=:: 


I 


^^ 


I 


^ 


^E s; 


Nevertheless  it  appears  to  the  writer  that  there 
are  cases  in  modem  music  in  which  it  is  advis- 
able to  break  the  rule  and  allow  the  lad  note 


88 


ARPEGGIO. 


of  the  arpeggio  to  fidl  upon  the  beat,  aa  for  in- 
stance in  Mendelssohn's  'Lieder  ohne  Worte/ 
Book  y.  No.  i,  where  the  same  note  often  serves 
as  the  last  note  of  an  ai'peggio  and  at  the  same 
time  as  an  essential  note  of  the  melody,  and  on 
that  account  will  not  bear  the  delay  which  would 
arise  if  the  arpeggio  were  played  according  to 
rule.  (See  Ex.  ii,  which  could  scaicely  be 
played  as  in  Ex.  i  a). 


II. 


vx^Ti^ 


^^m 


b^v^jif.^j.r"^ 


A*  j^/kTT? 


n'-  X''   \ 


S0t 


^ 


m. 


r  r 


ml  ^  ^B'^ 


In  music  of  the  time  of  Bach  a  sequence  of 
chords  is  sometimes  met  with  bearing  the  word 
'arpeggio* ;  in  this  case  the  order  of  breaking  the 
chord,  and  even  the  number  of  times  the  same 
chord  may  be  broken,  is  left  to  the  taste  of  the 
performer,  as  in  Bach's  'Sonata  fbr  Pianoforte 
and  Violin,'  No.  3  (Ex.  13),  which  is  usually 
played  as  in  Ex.  14. 


13*    VioUH. 


Sometimes  the  arpeggio  of  the  first  chord  of 
a  sequence  is  written  out  in  full,  as  an  indication 
to  the  player  of  the  rate  of  movement  to  be 
applied  to  the  whole  passa^.    Thifl  is  the  case  in 


AEPEGOIO. 

Bach's  'Fantasia  Oromatica,'  (Ex.  15),  wliich 
intended  to  be  played  as  in  Ex.  16.  Su< 
indications  however  need  not  always  be  strict) 
followed,  and  indeed  Mendelssohn,  speaking  i 
the  passage  quoted,  says  in  a  letter  to  liis  sistei 
'  I  take  the  liberty  to  play  them  (the  arpeggios 
with  every  possible  crescendo  and  piano  ajid  J 
vnth  pedal  as  a  matter  of  course,  and  the  biM 
notes  doubled  as  well.  .  .  ,  N.B.  Each  chor 
is  broken  twicBy  and  later  on  -only  once,  as  \ 
happens.'  (Mendelssohn,  'Briefe,'  ii.  p.  341' 
In  ^e  same  letter  he  gives  as  an  iUostration  tb 
passage  as  in  Ex.  17. 


Arpqfgto  l^jfoto. 


"When  an  i^poggiatura  is  applied  to  an  arpeggio 
chord,  it  takes  its  place  as  one  of  the  notes  of  &e 
arpeggio,  and  occasions  a  delay  of  the  particular 
note  to  which  it  belongs  equal  to  the  time 
required  for  its  performsDice,  whether  it  be  long 
or  short  (Ex.  18). 

18. 


^^m 


I 


Chords  are  occasionally  met  with  (especially  in 
Haydn's  pianoforte  sonatas)  which  are  partJy 
arpeggio,  one  hand  having  to  spread  the  chord 


ABPEQGIO. 


ASRANGEHEKT. 


89 


viiile  ibe  oiher  pUjB  the  notes  all  t<^g«ther; 
the  ooRoct  zendaring  of  wch  chords  is  m  fbUowi 
(Ex.  19). 


[F.T.] 

ABPEG6I0NE,  or  Guitab  Tiolohcbllo, 
rtrmgcd  instnunent^  played  with  a  bow,  which 
inyented  by  G.  Stauiar,  of  Vieima»  in  1823, 
bat  appean  never  to  haye  oome  mach  into  uae, 
and  wtkoee  rtsrj  name  would  pobably  now  be 
unknown,  if  it  were  not  for  an  interesting  sonatA 
(in  A)  for  pianoforte  and  arp^ggione  by  Franz 
Scfaabert^  written  in  1824,  and  only  lately  pab- 
lidbed  (Vienna,  J.  P.  Gotthardt). 

The  arpeggione  appears  to  have  been  of  the 
fi»  of  the  viol-da-gamba,  or  a  small  violoncello ; 
the  shape  of  the  body  something  like  that  of  the 
guitar.  The  finger-board  had  frets,  and  the  six 
Bferiags  were  tuxMd  thus — 


m 


:a: 


.^9. 


^a: 


An  instmctiofn-book  for  the  arpsggione  by  Tine. 
Schuster,  the  same  for  whom  Schubert  wrote 
bii  sonata,  has  been  published  by  A«  Diabelli 
and  Co,  of  Yienna.  [P.  D.] 

ARRAKGEMENT,  or  ADAPTATION,  is 
the  mnacal  eonnterpart  of  literary  translation. 
Tdoes  or  instruments  are  as  languages  by  which 
ihe  thoughts  or  emotions  of  oomposers  are  made 
known  to  the  world ;  and  the  object  of  arrange- 
ment is  to  make  that  which  was  written  in  one 
musical  language  intelligible  in  another. 

The  functions  of  the  arranger  and  translator 
sre  rinular ;  for  instruments,  like  languages,  are 
chsracteriaed  by  peculiar  idioms  -tokd  speciid 
sptitades  and  deficiencies  which  call  for  critical 
ability  and  knowledge  of  corresponding  modes 
of  expression  in  dealing  with  them.  But  more 
than  all,  the  most  indispensable  quality  to  both 
is  a  capacity  to  understand  the  work  they  have 
to  deal  with.  For  it  is  not  enough  to  put  note 
&r  note  or  word  for  word  or  even  to  find 
oQRHponding  idioms.  The  meanings  and  values 
of  words  and  notes  are  variable  with  their 
relative  positions,  and  the  choice  of  them 
demitnds  appreciation  of  the  work  generally,  as 
«eU  as  of  the  details  of  the  materials  of  which 
it  is  oompoaed.  •  It  demands,  in  foct,  a  certain 
conespondenoe    of   foaling   with    the   original 


author  in  the  mind  of  the  arranger  or  translator. 
Authors  have  often  been  fortunate  in  having  other 
great  authors  for  their  translators,  but  few  have 
written  their  own  works  in  more  languages  than 
one.  Music  has  had  the  advantage  of  not  only 
having  arrangements  by  the  greatest  masters,  but 
arrangements  by  them  of  their  own  woriu.  Such 
cases  out^ht  to  be  the  highest  order  of  their  kind, 
and  if  there  are  any  thmgs  worth  noting  in  the 
comparison  between  arrangements  and  originals 
they  ought  to  be  found  there. 

The  earliest  things  which  answered  the  purpose 
of  airangaments  were  the  publications  of  parts 
of  early  operas,  such  as  the  recitatives  and  airs 
with  merely  figured  bass  and  occasional  indi- 
cations of  a  figure  or  a  melody  for  the  accom- 
paniment. In  this  manner  were  published  operas 
of  LuUi  and  Handel,  and  many  now  forgotten 
composers  for  the  stsffe  of  their  time  and  before ; 
but  these  are  not  of  a  nature  to  arouse  much 
interest. 

The  first  airangementa  which  have  any  great 
artistic  value  are  Bach*s ;  and  as  they  are  many 
of  them  of  his  own  works,  there  is,  as  has  been 
before  observed,  especial  reason  for  putting  con- 
fidence in  such  conclusions  as  can  be  arrived  at 
firom  the  consideration  of  his  mode  of  proce- 
dure. At  the  time  when  his  attention  was  first 
strongly  attracted  to  Italian  instrumental  music 
by  tlw  principles  of  form  which  their  oomposers 
had  originated,  and  worked  with  great  skill, 
he  arranged  sixteen  violin  concertos  of  yivaldi*s 
for  the  clavier  solo,  and  three  of  the  same  and  a 
first  movement  for  the  organ.  Of  the  originals  of 
these  it  appears  from  Spitta*  that  there  is  only 
one  to  be  found  for  comparison ;  but^  as  Spitta 
observes,  from  the  fifeedom  with  which  Mch 
treated  his  original  in  this  iuHtanoB  it  is 
legitimate  to  infer  his  treatment  of  the  others. 
Yivaldf  s  existing  concerto  is  in  G  major,  and  is 
the  basis  of  the  second  in  Baoh*s  series^in  the 
same  key  (Dorffel,  442).'  In  form  it  is  excellent, 
but  its  ideas  are  frequently  crude  and  unsatisfoc- 
tory,  and  their  treatment  is  often  thin  and  weak. 
Bach*s  object  being  rather  to  have  good  illus- 
trations of  beauty  of  form  than  subetanoe,  he  did 
not  hesitate  to  alter  the  details  of  figures,  rhythms, 
and  melodies,  and  even  successions  of  keys^  to 
amplify  cadences,  and  add  inner  parts^  till  the 
whole  is  transformed  into  a  Bach-commentazy  on 
the  form-principles  of  the  Italians  rather  than  an 
arrangement  in  the  ordinary  meaning  of  the  term. 
It  is  not  however  an  instance  to  justify  arranger^ 
in  like  freedom,  as  H  is  obviously  exceptional, 
and  is  moreover  in  marked  opposition  to  Bach's 
arrangements  of  his  own  works. 

Some  of  these  are  of  a  nature  to  induce  the 
expectation  that  the  changes  would  be  consider- 
able; as  for  instance  the  arrangement  of  the 
prelude  to  the  Solo  Violin  Sonata  in  £,  as  the 
mtroduction  in  D  to  the  Cantata '  Wir  danken  dir 
Gott*'  for  obligate  organ  with  accompaniment 


I  JohABii  BtbmMuk  BMfa,  von  FhiUpp  Spttta,  foL  L  p.  AO  <Bnlt- 

kopf.  vsn^ 

*  TUs  and  rimllw  1 
pobUahed  tnitniiiwntal 
i 


H«  to  the  llMnmtlc  CMaloRtw  of  BMhH 
b7  Alfrad  Diirffel  (Peten,  1067). 
CMitato3B(VoL?.  Ma«). 


90 


ARKANGEMENT. 


ARRANGEMENT. 


of  strings  oboes  and  trumpets.  The  origmal 
movement  consists  almost  throughout  of  con- 
tinually moving  semiquavers  >  embracing  many 
thorough  violin  passages,  and  certainly  does  not 
seem  to  afford  much  material  to  support  its 
changed  condition.  But  a  comparison  shows 
that  there  is  no  change  of  material  importance  in 
the  whole,  unless  an  accompaniment  of  znasterly 
simplicity  can  be  called  a  change.  There  are 
ismiaterial  alterations  of  notes  here  and  there  for 
the  oonvenience  of  the  player,  and  the  figure 


^^ 


^ 


in  the  violin  sonata,  is  changed  into 


^ 


fn  fiB  jffl  i-ffn  wja^ 


in  the  organ  arrangement — and  so  on,  for  effect, 
and  that  is  all. 

Another  instance  of  a  like  nature  is  the  ar- 
rangement of  the  fugue  from  the  solo  violin 
sonata  in  G  minor  (No.  i)  for  Organ  in  D  minor 
(Dorffel,'  821).  Here  the  changes  are  more  impor- 
tant though  still  remarkably  slight  considering 
the  difference  between  the  violin  and  the  two 
hands  and  pedals  of  an  organ. 

The  most  important  changes  are  the  follow- 
ing:— 

The  last  half  of  bar  5  and  the  first  of  bar  6 
are  amplified  into  a  bar  and  two  halves  to  en- 
able the  pedaU  to  come  in  with  the  subject  in 
the  orthodox  manner. 


^1  JHj^ 


VicUn 


^^^^^P 


J.  ^l^--J^,  J-.  j-,  js  .  ^°*'- 


In  the  same  manner  two  half  bars  are  inserted 
in  the  middle  of  bar  a8,  where  the  pedal  comes 
in  a  second  time  with  a  quotation  of  the  subject 
not  in  the  original.  In  bar  16  there  is  a  similar 
point  not  in  the  original,  which  however  makes 
no  change  in  the  harmony. . 

The  further  alterations  amount  to  the  filling 
np  and  wider  distribution  of  the  original  harmonies, 
the  addition  of  passing  notes  and  grace  notes,' 
and  the  remodelling  of  violin  passages;  of  the 
nature  of  all  which  changes  the  following  bar 
is  an  admirable  instance — 


Violin 


^•' r'pi  C' "P'^'i  ^ 


Organ  ama^/email 


U^tT  t 


&^,  I  i 


^ — 4- 


r rJ  ^  i>^  J    J: 


Two  other  arrangements  of  Bach's,  namely  that 
of  the  first  violin  concerto  in  A  minor,  and  of 
the  second  in  E  major  as  concertos  for  the 
davierin  G  minor  and  D  major  respectively 
(Dorffd,  600,  603 ;  564,  57a),  are  not  only  inter- 
esting in  themselves,  bat  become  doubly  so  when 
compared  with  Beethoven's  amngement  of  his 
violin  concerto  in  D  aa  a  pianoforte  oonoerto.' 

The  first  essential  in  these  cases  was  to  add 
a  suflBcientiy  important  part,  for  the  left  hand, 
and    the    methods    adopted   afford    interesting 
illustrations  of  the  characteristics  of  the   two 
great  masters    themselves,  as  well    as  of   the 
instruments  they  wrote  for.    A  portion  of  this 
requirement  Bach  supplies  from  the  string  ac- 
companiment, frequently  without  alteration ;  but 
a  great  deal  appears  to  be  new  till  it  is  analysed ; 
as,  for  instance,  the  independent  part  given  to  the 
left  hand  in  the  first  movement  of  the  concerto  in 
G  minor  from  the  twenty-fifth  bar  ahnost  to  the 
end,  whidi  is  as  superbly  firesh  and  pointed  as  it 
is  smooth  and*  natural  throughout.    On  examina- 
tion this  passage-— which  deserves  quotation  if  it 
were  not  too  long — proves  to  be  a  long  variation 
on  the  original  bass  of  the  accompaniment^  and 
perfectlv  £aathful  to  its  source. 

Bach  s  principle  in  this  and  in  other  cases  of 
like  nature  is  contrapuntal;  Beethoven's  is  the 
exact  contrary  almost  throughout.  He  supplies 
his  left  hand  mainly  with  unisons  and  unisons 
disguised  by  various  devices  (which  is  in  con- 
formity with  his  practice  in  his  two  great  concertos 
in  G  and^  E  flat^  in  which  the  use  of  unisons 
and  disguised  unisons  for  the  two  hands  is  very 
extensive) ;.  and  where  a  new  accompaniment  is 
inserted  it  is  of  the  very  simplest  kind  possible, 
such  aa 


f  1 1  I  r 


23: 


MvrrrrirNi^ 


ete. 


after  the  cadenza  in. the  first  movement;  or  else 
it  is  in  simple  chords,  forming  unobtrusive 
answers  to  figures  and  rhythms  in  the  orchestral 
accompaniment.. 

>  Braltkoiir  %  adltlon  at  Beetfao?«n,  So,  7L 


AIOtANGEMENT. 


ABBANGEMENT. 


»1 


Bodi  Btasien  Met  ihe  original  TioKn  ilfrm«8 
hen  tad  there  for  oonvenienoe  or  eflfect.  Thus 
Bach,  in  the  last  movement  of  the  G  minor 
d»ner  ooDoerto  (Dorffd,  566),  puts 


{vthevMinfigTzre 

li  It 


ji     '^g    ^fe'g 


ttdm  the  list  movement  of  the  D  msjor  (DorffeL 

573)  pnti 


ffl  the  £  major  ▼ioHn  conoerto. 

Hie  nature  of  Beethoyen*B  alterationf  may  be 
judged  of  from  the  following  qnotation  from  the 
bit  morement^  after  the  "K^^nfft  :— 

rute  Vim,  ^  ^ 


Aaofther  typical  alteration  is  after  the  ooda  in 
tkefintmovement^  where,  in  the  thirteenth  bar 
from  the  end,  in  order  to  g^ve  the  left  hand  some- 
tiiing  to  do,  Beethoven  anticipates  the  figure 
of  snoetUy  flowing  semiquaTers  with  which  the 
fwt  of  tiie  violin  doses,  making  the  two  hands 
ihenate  till  they  join  in  playhig  the  last  passage 
in  octaves.  In  both  masters'  works  there  are 
BHtuioes  of  holding  notes  being  changed  into 
liakei  in  the  arrangements,  as  in  the  7th  and 
^  ban  of  the  slow  movement  of  the  D  oonoerto 
rfBtt^  aad  the  2nd  and  5th  bars  after  the  first 
tntti  in  the  last  movement  of  Beethoven's  oonoerto. 
In  both  there  are  instances  of  simple  devices  to 
tifnA.  npid  repetition  of  notes,  which  is  an  easy 
]*wea  on  the  violin,  bat  an  effort  on  the  piano- 
la and  oooseqnently  produces  a  different  effect. 
ibey  both  ampfify  arpeggio  piMWsgos  within 
nodente  bounds,  both  are  alike  careful  to  find 
*  pveoedent  fiir  the  form  of  a  change  when  one 
^^^QineB  Deoesaary,  and  in  both  the  care  taken  to 
be  &ithfal  to  the  originals  is  conspicoons. 

^  Hme   care    is    observable    in    another 
*|;^ageDieat  of  Beethoven^  vis.  the  Pianoforte 
Irio^  made  from  his  second  symphony. 
.  The  oompsrison  between  these  is  Tory  interest- 
ing oving  to   the    nnflagging  variety  of   the 

,No.tO. 


distribntian  of  the  orchestral  parts  to  the  tiiree 
instruments,  ^e  pianoforte  naturally  takes  the 
substance  of  the  work,  but  not  in  such  a  manner 
as  to  throw  the  others  into  subordination.  The 
strings  are  used  mostly  to  mark  special  orchestral 
points  and  contrasts,  and  to  take  such  things  as 
the  pianoforte  is  unfitted  for.  Their  distribution 
is  so  free  that  the  violin  will  sometimes  take 
notes  that  are  in  the  parts  of  three  or  more  in* 
struments  in  a  single  bar.  In  other  respects  the 
strings  are  used  to  reinforce  the  accompaniment^ 
so  thjEtt  in  point  of  hct  the  violin  in  the  trio 
plays  more  of  the  second  violin  part  than  of  the 
first,  and  the  violoncello  of  any  other  instrument 
firom  basso  to  oboe  than  the  pavt  given  to  it  in 
the  symphony. 

The  changes  made  are  few  and  only  such  as 
are  neoeesitated  by  technical  differences,  and  are 
of  the  same  simple  kind  with  those  in  the  conoerto, 
and  originating  in  similar  circumstances.  EveiT- 
tbing  in  the  distribution  of  the  instruments  sub- 
serves some  purpose,  and  the  re-sorting  of  the 
details  always  indicates  some  definite  principle 
not  at  variance  with  the  style  of  the  original. 

An  illustration  of  the  highest  order  in  more 
modern  works  is  found  in  the  exquisitely  artistic 
arru8«n«iit  .f  the '  Midnunmer  %h('i  I>t«au' 
music  for  four  hands  on  one  pianoforte  by 
Mendelssehn  himself. 

The  step  fix>m  Beethoven  to  Mendelsiohn 
embraces  a  considerable  development  of  the 
knowledge  of  the  technical  and  tonal  qualities 
of  the  pianoforte,  as  well  as  of  its  mechanical 
improvement  as  an  instrument.  This  becomes 
apparent  in  the  different  characteristics  of  Men- 
delssc^m's  work,  which  in  matter  of  detail  is 
much  more  free  than  Beethoven's,  though  quite 
as  faithful  in  general  efifoct. 

At  the  very  beginning  of  the  overture  is  an 
instance  in  point,  where  that  which  appears  in 
the  score  as 

VioUntdMded 


ia  in  the  pianoforte  anrangement  given  as 


the  object  evidently  being  to  avoid  the  repetition 
and  the  rapid  thirds  which  would  mar  the  light- 
nesB  and  crispneas  and  delicacy  of  the  pasaage. 

In  one  instance  a  similar  effect  is  produced  by 
a  diametrically  contrary  process,  where  Bottom^ 
bray,  which  in  the  original  ia  given  to  strings  and 
dannets  (a),  is  given  in  the  pianoforte  arrange- 
ment as  al  (h)  : — 

•    •        • 

(a)   _     J.  i         0>)H.       -i^ 


i 


SS^ 


i^: 


^m 


n 


ASBANGEMENT. 


It  ii  to  be  remarked  that  the  anrangement 
of  the  overture  is  written  in  notes  of  half  the 
value  of  those  of  the  orchestral  score,  with  twice 
the  amount  in  eadi  bar;  except  the  four 
characteristic  wind-chords-— tonic,  dominant,  sub- 
dominant,  and  tonic — ^whxch  are  semibreves,  as 
in  the  original,  whenever  they  occur ;  in  all  the 
rest  semiquavers  stand  for  quavers,  quavers  for 
crotchets,  crotchets  for  minimB,  etc.,  as  may  be 
seen  by  referring  to  the  above  examples.  The 
change  may  possibly  have  been  made  in  the 
hope  that  the  players  would  be  more  likely 
to  hit  the  character  of  the  work  when  playing 
from  the  quicker  looking  notes ;  or  it  may  have 
been  a  vague  idea -of  conforming  to  a  land  of 
etiquette  noticeable  in  music,  church  music  affet^ 
ing  the  longer  looking  notes,  such  as  semibreves 
and  minims,  while  or^estral  music  has  the  faster 
looking  notes,  such  as  quavers  (overtures  to 
' Coriolan,'  *  Leonore^'  *  Fidelio,'  '  Jessonda,*  etc.), 
and  pianoforte  music  descends  to  semiquavers — 
as  though  to  mark  the  relative  degrees  of  dignity. 

The  pianoforte  arrangement  of  the  scherzo  of 
the  '  Midsummer  Night  s  Dream  *  abounds  with 
happy  devices  for  avoidinjr  rapid  repetitions,  and 
for  expressing  contracts  oi  wind  and  strings,  and 
imitating  the  effect  of  many  orchestral  parts  which 
it  would  be  impossible  to  pUt  into  the  arrangement 
in  their  entirety.  One  of  the  happiest  passages 
in  the  whole  work  is  the  arrangement  of  tiie 
passage  on  the  tonic  pedal  -at  the  end  of  this 
movement. 


AfWflM*  etc. 


SIHnfft  ««• 


{0  pedalf  pixgicali  basH,  and  Corni  ctnd  Drtmbe  on  first 

heat  of  each  bar.) 

PiHmo 


^ 


Seeondo  Jt,  H, 


etc. 


^^ 


I 


m 


Mendelssohn  often  takes  the  freedom  of  slightiy 
altering  the  details  of  a  quick  passage  in  order 
to  i^ive  it  greater  interest  as  a  pianoforte  figure ; 
which  seems  to  be  a  legitimate  development  of 
the  theory  of  the  relative  idiomatic  modes  of 
expression  of  different  instruments,  and  its  adap- 
tation to  details. 

The  method  most  frequently  adopted  by  him 
to  imitate  the  effect  of  the  contrast  of  wind 
and  strings  in  the  same  position,  is  to  shift  the 
figure  or  chords  of  one  of  them  an  octave  higher 
or  lower,  and  to  give  them  respectively  to  the  right 
and  left  hands^  as  in  the  fizst  part  of  the  music 


AKRANOEMENT. 

to  the  first  scene  of  the  second  act.  The  con- 
tinual alternation  of  the  hands  in  the  same  position 
in  the  Intermezzo  after  the  second  act  repreaents 
the  alternation  between  violins  and  oboi,  and 
clarinets  and  flutes. 

In  the  music  to  the  first  scene  of  the  third  act 
an  Important  drum  roll  is  represented  by  a  ImsB 
i^ke  beginning  on  the  semitone  below  the  prin- 
cipal note,  whidi  is  much  happier  thaki  the  usual 
method.  In  these  respects  Mendelssohn's  princi- 
ples of  arrangement  accord  with  those  of  Bach 
and  Beethoven,  differing  only  in  those  respects 
of  treatment  of  detail  which  are  the  result  of  a 
more  refined  sense  of  the  qualities  of  the  piano- 
forte arising  from  the  long  and  general  cultiva- 
tion of  that  instrument. 

A  still  further  devel(^ment  in  this  diractaon  is 
found  in  the  arrangement  by  Herr  Brahms  of 
his  pianoforte  quintett  in  F  minor  (op.  34)  as 
a  sonata  for  two  pianofortes.    In  this  the  noain 
object  seems  to  have  been  to  balance  the  work 
of  the  two  pianofortes.      Sometimes   the    first 
pianoforte,  and  sometimes  the  second  has  the 
original  pianoftxte  part  for  pages  together,  and 
sometimes  for  a  few  bars  at  a  time ,  but  when- 
ever the  nature  of  the  passages  admits  of  it, 
the   materials  are  distributed   evenly   between 
the  two  instruments.    There  are  some  changes — 
such  as  the  addition  of  a  bar  in  two  places  in  the 
first  movement,  and  the  change  of  an  accidental 
in  the  last — which  must  be  referred  to  critical 
considerations,    and  have  nothing  to  do   with 
arrang^nent. 

The  technical  changes  in  the  arrangement  are 
the  occasional  development  of  a  free  inner  part 
out  of  the  materials  of  the  original  without 
further  change  in  the  harmonies,  the  filling  up 
of  rhythm-marking  chords  of  the  strings,  fi^uent 
reinforcement  of  the  bass  by  doubling,  and,  which 
is  especially  noticeable,   frequent   doubling   of 
both  melodies  and  parte  of  important  figures.    It 
is  this  latter  peculiarity  which  espedaJly  marks 
the  adaptation  of  certain  tendencies  of  modem 
pianoforte-playing  toarrangement, — ^the  tendency, 
namely,  to  double  all  the  parts  possible,  to  fill  up 
chords  to  the  utmost^  and  to  distribute  the  notes 
over  a  wider  space,  with  greater  regard  to  their 
tonal  relations  than  formerly,  and  by  every  means 
to  enlaige  the  scope  and  effective  power  of  the 
instrument,  at  the  same  time  breaking  down  all 
the  obstructions  and  restrictions  which  the  old 
dogmas  of  style  in  playing  placed  in  the  way  of 
ito  development. 

Another  admirable  instance  of  this  kind  is  the 
arrangement  by  Herr  Brahms  of  a  gavotte  of 
Gluck  s  in  A ;  which  however  in  its  new  form 
is  as  much  marked  by  the  personality  of  the 
arranger  as  that  of  the  composer — a  dangerous 
precedent  for  ordinary  arrangers. 

The  most  remarkable  instance  of  the  adaptation 
of  the  resources  of  modem  pianoforte-playing 
to  arrangement,  is  that  by  Tausig  of  Baches 
toccata  and  fugue  for  the  organ  in  D,  'zmn 
Gonzertvortrag  frei  bearbeitet.*  The  difficulty  in 
such  a  case  is  to  keep  up  the  balance  of  the  en- 
laiged  scale  throughout.  Tausig*s  perfect  mastery 


ABRAKGEMENT. 

of  Ida  art  ham  carried  him  thiougb  tiie  oideftl 
omcaihed,  from  the  &ni  bar,  where 

*•»  «  #       -P-       'tv 


ABRAK6EMENT. 


9^ 


i 


6:: 


** 


i'i  i  f  - 


down  to  the  end,  where  Bach's 


and  the  ramlt  in  the  handi  of  a  competent  per- 
fcraMT  ia  magnificent^ 

The  poifit  which  this  anangement  has  in 
eQamKin  with  the  foregoing  Haiwirai  exampleSi 
is  its  remaricaUe  fidelity  to  the  materials 
of  the  original,  and  the  absence  of  ineleyant 
matts.  The  tendency  of  high  class  modem  ar- 
nagemeAta  Is  towards  freedom  of  interpretation ; 
and  the  comparison  of  dassical  arrangements 
with  tiiflir  originals  shows  that  this  is  legitimate, 
op  to  the  point  of  imitating  the  idioms  of  one 
instmiDent  Dy  the  idioms  of  another,  the  effects 
of  one  bj  the  effects  of  another.  Beyond  that 
lies  the  danger  of  marring  the  balance  of  the 
«riginal  works  by  undue  enlaigement  of  the 
sole  of  particular  parts^  of  obscuring  the  per- 
sonality of  the  original  composer,  imd  of  ca- 
ricatore, — that  pit&ll  of  ill -regulated  admira- 
tion,— rnatancee  of  which  may  be  found  in  modem 
'tnuiacriptions,'  which  are  the  most  extreme  ad- 
vance yet  adiieTed  in  the  direction  of  freedom  of 
intequetation. 

The  fciegoing  is  Tety  far  from  ezhaosting  the 
Tarieties  of  kinds  of  arrangement ;  for  since  these 
are  ahnoat  as  numerous  as  the  possible  inter- 
diai^^  between  instruments  and  combinations 
of  instermientsy  the  only  course  open  is  to  take 
typical  instances  from  the  best  sources  to  illustrate 
gteneral  prindples — and  these  will  be  found  to 
apply  to  all  arrangements  which  lay  claim  to 
artistic  merit.  To  take  for  instance  an  anange- 
ment of  an  orchestral  woriL  for  wind  band : — Qie 


absent  strings  will  be  represented  by  an  faicreaaed 
number  of  clarinets  of  different  calibres  uid  oomi 
di  basMtto,  and  by  the  bassoons  and  increased 
power  of  brass.  iBut  these  cannot  answer  the 
puipsse  f  uUy,  for  the  clarinets  cannot  take  the 
higher  passages  of  the  violin  parts,  and  they 
wSl  not  stand  in  an  equally  strong  degree  of 
contrast  to  the  rest  of  the  band.  Consequently 
the  flutes  haTo  to  supplement  the  darineUi  in 
places  where  they  are  deficient,  and  the  parts 
originally  belonging  to  them  have  to  be  pro-^ 
portionately  modified ;  and  in  order  to  meet 
the  requirements  of  an  effect  of  contrast^  the 
horns,  trombones,  etc  for  lower  parts,  have  U> 
play  a  great  deal  more  than  in  the  original^ 
both  of  melody  and  accompaniment,  ^e  part 
of  the  oboes  will  pfobably  be  more  similar  tnan 
any  other,  though  it  will  need  to  be  modified 
to  retain  its  rehitive  degree  of  prominence  in 
the  band.  On  the  whole  a  very  general  inter- 
change of  the  parts  of  the  instruments  becomea 
necessary,  which  is  done  with  due  respect  to 
the  peculiaritiee  of  the  different  instruments, 
both  as  rqgards  passages  and  relative  tone 
qualities,  in  such  a  manner  as  not  to  mar  the 
relevancy  and  balance  of  parts  of  the  whole 
work. 

Of  arrangements  of  pianoforte  works  for  full 
orchestra,  of  which  there  are  a  few  modem, 
instances,  it  must  be  said  that  they  are  for  the 
most  part  unsatisfactory,  by  reason  of  the  marked 
difference  of  quality  between  pianoforte  and 
orchestral  music.  It  ia  Uke  trying  to  spread 
out  a  lyric  or  a  ballad  over  sufficient  qiaoe  to 
make  it  look  like  an  epic.  Of  this  kind  are  the 
arrangements  of  Schumann's  'Bilder  aus  Osten' 
by  lUinecke,  and  Baff*s  'Abends'  by  himself. 
Arrangements  of  pianoforte  acoompaniments  are 
more  justifiable,  and  Gounod's  'Meditation'  on 
Bach's  Prelude  in  C,  Liszt's  scoring  of  the 
accompaniment  to  Schubert's  hymn  *Die  All- 
macht,'  and  his  development  of  an  orchestral 
accompaniment  to  a  Polonaise  of  Weber's  out 
of  the  materials  of  the  original,  without  marring 
the  Weberish  personality  of  the  work,  are  both 
greatly  to  the  enhancement  of  the  value  of  the 
works  for  conoert  purposes.  The  question  of 
the  propriety  of  eking  out  one  worii  with  portions 
of  another  entirely  independent  one — as  Lisst 
has  done  in  the  Introduction  to  his  version  of 
this  Polonaise — ^belongs  to  what  may  be  called 
the  monde  of  arrangement,  and  need  not  be 
touched  upon  here.  Nor  can  we  notice  such 
adaptations  as  that  of  Palestrina's  '  Miasa  Pftp>» 
Maroelli '^H>riginaUy  written  for  6  voices — tor 
8  and  4,  or  that  by  the  late  Vincent  NoveUo 
of  Wilbye's  S-part  madrigals  for  5,  6,  and  7 
voices. 

As  might  be  anticipated^  there  are  instances 
of  composers  making  very  considerable  alterations 
in  their  own  works  in  preparing  them  for  per- 
formance under  other  conditions  than  those  for 
which  they  were  originally  written,  such  as  the 
arrangement^  so-called,  by  Beethoven  himself  of 
his  early  Octett  for  wind  instruments  in  £b 
(op.  103)  as  a  quintett  for  strings  in  the  same 


. 


04 


ABEANGEMENT. 


key  (op.  4)  And  Mendelnohn's  edition  of  the 
aoherzo  from  his  Octett  in  Eb  (op.  ao)  for  fiill 
orchestra^  introduced  by  him  into  his  symphony 
in  C  minor — which  are  rather  new  works  fomided 
on  old  materials  than  arrangements  in  the  ordinary 
sense  of  the  term.  They  are  moreover  exceptions 
even  to  the  practice  of  composers  themselves,  and 
do  not  come  under  the  head  of  the  general  subject 
of  arrangement.  For  however  unlimited  may  be 
the  rights  of  composers  to  alter  their  own  works, 
the  rights  of  others  are  Umited  to  redistribution 
and  variation  of  detail ;  and  even  in  detail  the 
alterations  can  only  be  legitimate  to  the  degree 
which  is  rendered  indispensable  by  radical 
differences  in  the  instruments,  and  must  be 
such  as  are  warranted  by  the  quaJity,  proportions, 
and  style  of  the  context. 

It  may  be  convenient  to  dose  this  article  with 
a  list  of  adaptations  of  their  own  works  by  the 
composers  tbemselveB,  as  far  as  they  can  be 
ascertained: — 

I.  Bach's  arrangements  of  his  own  works  are 
numerous.  Some  of  them  have  already  been 
noticed,  but  the  following  is  a  complete  list  of 
those  indicated  in  DorffeFs  Hiematic  Catalogue. 

Concerto  in  F  for  clavier  and  two  flutes  with 
4tett  acct.  (D.  561-3),  appears  also  in  G  as 
concerto  for  violhi  and  two  flutes  with  5tett 
acct  (D.  107  a-4). — Concerto  in  G  minor  for  clavier 
with  5tett  acct.  (D.  564),  as  concerto  in  A 
minor  for  violin  with  4tett  acct.  (D.  600). — 
Concerto  in  D  major  for  clavier  with  4tett  acct. 
(D.  570),  as  concerto  for  violin  in  E  major  with 
4tett  acct.  (D.  603). — ^The  Prelude  and  Fugue  in 
A  minor  for  clavier  solo  (D.  400,  401),  appears, 
with  much  alteration,  as  ist  and  5rd  movements 
of  concerto  for  clavier,  flute,  and  vioUn  in  same 
key,  with  5tett  acct.  (D.  58a,  584).  The  slow 
movement  of  the  same  oonoerto,  in  C  (D.  583), 
is  taken  from  the  third  organ  sonata,  where  it 
stands  in  F  (D.  774). — The  fiigue  in  G  minor  for 
violin  solo,  from  Sonata  i  (D.  610)  appears  in 
D  minor,  arranged  for  the  organ  (D.  821). — 
Sonata  3  for  violin  solo  in  A  minor  (D.  621-4), 
appears  in  D  minor  for  clavier  solo  (D.  108-1 1). — 
Tke  prelude  in  E  for  violin  solo  to  Sonata  6  (D. 
634)  is  arranged  for  organ  and  full  orchestra  in 
D,  as  '  sinfonia  *  to  the  Rathswahl  cantata  '  Wir 
danken  dir,  Grott,'  No.  29  of  the  Kirchencantaten 
of  the  BachgeseUschaft  (vol.  v.  i),  and  the  flrst 
movement  of  the  5th  Sonata  for  Violin  in  C  (D. 
630)  appears  as  a  separate  movement  for  Clavier 
in  G  (D.  141). — The  first  movement  of  the  Con- 
certo in  E  for  Clavier  appears  in  the  Introduction 
to  the  Cantata  'Gott  soil  allein';  and  the  two 
first  movements  of  the  Concerto  in  D  minor  ap- 
pear in  the  Cantata  'Wir  mtlssen  durch  viel 
TrubfaL' 

3.  Handel  was  very  much  in  the  habit  of 
using  up  the  compositions  both  of  himself  and 
others,  sometimes  by  transplanting  them  bodily 
from  one  work  to  another — as  his  own  Allelujahs 
from  the  Coronation  Anthems  into  'DebonJi,' 
or  Kerl's  organ  Canzona^  which  appears  nearly 
note  for  note  as  '  Egypt  was  glad'  m  *  Israel  in 
Egypt  * ;  and  sometimes  by  conversion;  as  in  the 


ABBANGEMBNT. 

'Messiah,'  where  the  Chotruses  'His  yoke*  anii 
'All  we'  are  arranged  from  two  of  his  owa^ 
Italian  Chamber  duets,  or  in  'Israel  in  Egypt* 
where  he  laid  his  organ  Fugues  and  an  earlf 
Magnificat  under  laige  contribution.  In  other 
parts  of 'Israel,' and  in  the  'DettingenTeDemn* 
ne  QMd  tlie  munc  of  Stradella  and  Urio  with 
greater  or  less  freedom.  But  these  works  come 
under  a  different  category  fimn  those  of  Bach,  and 
will  be  better  examined  under  their  own  heads. 
More  to  the  present  purpose  are  his  adaptations  j 
of  his  Orcheslxal  works,  such  as  the  and,  3rd,  j 
4th,  and  5th  of  the  and  Set  of  Organ  Concertos,  1 
which  are  mere  adM>tations  of  the  i  ith,  loth,  isty 
and  6th  of  the  la  Cnnoerti  Grossi  (op.  6).  No.  i 
of  the  same  set  of  Organ  Concertos  is  partly 
adapted  from  the  6th  Sonata  or  Trio  (op.  5). 

3.  Beethoven.  The  arrangements  of  the  seventh 
and  eighth  symphonies  for  two  hands,  published 
bv  Steiner  at  the  same  time  with  the  scores, 
although  not  by  Beethoven  himself,  were  looked 
throuffh  and  corrected  by  him.    He  arranged  the 
Grand  Fugue  for  String  Quartett  (op.  133)  as  a 
duet  for  iRano.     No  other  pianoforte  arrange- 
ments by  him  are  known;   but  he  is  said  to 
have  highly  approved  of  those  of  his  symphonies 
by  Mr.  Watts.    Beethoven  however  rearranged 
several  of  his  works  for  other  combinations  of 
instruments  than  those  for  which  he  originally 
composed  them.     Op.  i.  No.  3,  pianoforte  trio, 
arranged  as  string  quintett  (op.  104).     Op.  4, 
string  quintett  (two  violins),  arranged  finm  the 
octettifor  wind  instruments  (1796))   published 
later  as  op.  103.    Op.  14,  No.  i,  pianoforte  sonata 
in  E,  ammged  as  a  string  quartett  in  F.    Op.  16, 
quintett  for  pianoforte  and  wind  instruments, 
arranged  as  a  pianoforte  string  quartett.    Op.  20, 
the  Septette  arranged  as  a  iAo  for  pianoforte, 
clarinet  or  violin,  and  cello  (op.  38).     Op.  36, 
symphony  No.  a,  arranged  as  a  pianoforte  trio. 
Op.  61,  violin  concerto^  arranged  as  pianoforte 
concerto.    The  above  are  all  that  are  certainly 
by  Beethoven.     Op.  31,  No.  i,  Pianoforte  So- 
nata— G,  arranged  as  a  string  quartette  is  allowed 
by  Nottebohm  to  be  probaUy  by  the  composer. 
So  also  were  Op.  8,  Nottumo  for  String  Trio 
arranged  for  Pianoforte  and  Tenor  (op.  4  a),  and 
Op.  35,  Serenade  for  Flute,  Violin,  and  Tenor, 
arranged  for  Pianoforte  and  Flute  (op.  41),  were 
looked  over  and  revised  by  him. 

4.  Schubert.  Arrangement  for  four  hands  of 
overture  in  C  major  'in  the  Italian  style'  (op. 
170),  overture  in  D  major,  and  overture  to 
'Bosamunde';  and  for  two  hands  of  the  ac- 
companiments to  the  Bomance  and  three  choruses 
in  the  same  work.  The  song  *Der  Leidende' 
(lief  50,  No.  a),  in  B  minor,  is  an  arrangement 
for  voice  and  piano  of  the  second  trio  (in  Bb 
minor)  of  the  second  Entracte  of '  Bosamunde.' 

5.  Mendelssohn.  For  four  hands :  the  Octett 
(op.  30);  the  'Midsummer's  Night's  Dream' 
overture  and  other  music ;  the  '  Hebrides'  over- 
ture; the  overture  for  military  band  (op.  24); 
the  andante  and  variations  in  Bt>  (op.  83  a), 
originally  written  for  two  hands.  For  two 
hands:    the  accompaniments  to  the  Hochzeit 


ASRANGEMENT. 

dn  Gamacho^  snd  to  the  95tli  Pnlm  (op.  46). 
He  alao  annuqged  tbe  kIi^zo  from  the  ifering 
ocCett  (op.  ao)  for  faU  orchestra  to  replace  the 
minuet  and  trio  of  his  miphony  in  C  niinor 
00  the  offrTMiinn  of  its  perronnanoe  by  the  Phil- 
harmnnie  Society,  aa  noticed  above. 

6.  Sdumuum.  For  four  bands :  Oyertare, 
■cbenoy  and  finale ;  Symphony  No.  a  (C  major) ; 
Owatuie  to  '  Hermann  uid  Dorothea.'  Madame 
Sdmrnann  bas  arranged  the  quintett  (op.  44)  for 
Sour  bandfli,  and  tbe  aooompaniments  to  the  opera 
of  'GenoTeva'  for  two  bands. 

7.  Brahma  bas  arranged  Nos.  I,  3,  and  6 
cf  h»  '  Ungariscbe  Tanze,'  originally  published 
«i  piano  pieces  for  four  hands,  for  full  orchestra. 
He  baa  iJao  arranged  bis  piano  string  quintett 
(op.  54)  aa  a  ^Sonata'  for  four  hands  on  two 
|aanos|y  and  bis  two  Orchestral  Serenades  for 
Piano,  k  qnatre  nuuns.  [C.  H«  H.  P.] 

ARRIAGA,   JuAR  Cbisobtomo  d\  bom  at 

Bflbao  1808,  a  violinist  and  composer  of  great 

piomiae.     When  a  mere  child,  without  having 

leaint  oTen  tbe  elements  of  harmony,  be  wrote 

a  jyanish  opera>,  and  at  the  age  ef  thirteen  was 

sent  to  the  Conservatoire  at  Paris  to  study  the 

violin  under  Baillot  and  harmony  under  P^tb. 

In  two  years  be  became  a  learned  contrapuntist, 

and  wvoie  an  '  £t  vitam  venturi '  in  eight  parts, 

whidi  Ckerubini  is  said  to  have  pronounced  a 

maBterpiece.   (Fetis.)    On  his  premature  death, 

of  deriine,   at  MarseiUes  in   1826,  this  gifted 

artiat  left  three  quatuors  for  the  violin  (Paris, 

1834)  —  compositions    deserving   to    be    better 

known — an  overture,  a  symphony,  and  many 

otha  unpnblished  works.  £M.  C.  C] 

AURIGONI,  Carlo,  a  lutenist,  bom  at 
flcrence  at  the  beginning  of  last  century, 
wiiose  only  claim  to  notice  is  bis  possible  anta- 
jranism  to  HandeL  He  is  said  by  F^tis  and 
achoeicbflr  to  have  been  engaged,  with  Porpora, 
aa  oonoposer  to  tbe  theatre  at  lIncoln*8  Inn,  which 
was  stMted  as  an  opposition  to  Handel  in  1 734, 
aad  to  have  produced  there  in  that  year  an  opera 
called  'Fernando'  without  success;  but  it  is 
loipaaBible  to  discover  on  what  this  is  grounded, 
niat  Airigoni  was  in  Londcm  at  or  about  that 
date  ia  possible,  aad  even  probable,  since  a  volume 
of  bis  *  Cantate  da  Camera'  was  published  there 
in  173a;  and  in  Arbuthnot's  satire  'Harmony 
in  an  Uproar/  tbe  '  King  of  Amgon*  is  men- 
tioaed  amongst  Handel's  opponents,  a  name  which 
Buiney  (' Conmiemoration  )  explains  to  mean 
Arrigoni.  But  on  the  other  hand  the  impression 
be  made  must  have  been  very  small,  and  his 
opera  becomes  more  than  doubtful,  for  the  names 
aother  of  Arrigoni  nor  Fernando  are  found  in 
the  histories  of  Bumey  or  Hawkins,  in  the  MS. 
Kegister  of  Colman,  in  the  newspapers  of  the 
period,  nor  in  any  other  souross  to  which  tbe 
writer  bas  bad  access.  It  is  in  aooordanoe  with 
this  that  Arrigoni  is  mentioned  by  Chiysander 
in  connection  with  Arbuthnot's  satire  only 
('Handel,' ii.  343). 

In  1738,  taking  a  .leaf  out  of  bis  great 
antagonist's    book,    be    produced    an    oratorio 


ABTABIA. 


05 


caUed  'Esther,'  at  Yiemus  alter  which  he 
appears  to  have  retired  to  Tuscany,  and  to 
have  died  there  about  1743.  [G.] 

ABSIS  AHD  THESIS.  Terais  used  both  in 
music  .and  in  prosody.  They  are  derived  from 
the  Greek.  Arsis  is  from  the  verb  aipca  (tollo, 
I  lift  or  raise),  and  marks  the  elevation  (^  tbe 
voice  in  singings  or  the  hand  in  beating  time. 
The  depression  which  follows  it  is  called  04ot» 
(depontio  or  reiauiio). 

When  applied  to  beating  time,  arsis  indicates 
the  strong  beat,  and  thesis  tbe  weak:  for  the 
ancients  beat  time  in  exactly  the  reverse  way  to 
oun,  lifting  the  band  for  the  strong  beat  and 
letting  it  fiiU  for  the  weak,  whereas  we  make 
the  down  beat  for  the  strong  aooents,  and  raise 
our  hand  for  the  others. 

When  applied  to  tbe  vcnce,  a  subject,  counter- 
pointy  or  fbgue,  are  said  to  be  'per  tiiesin,'  when 
the  notes  ascend  trom  grave  to  acute;  'per 
arrin*  when  they  descend  from  acute  to  grave, 
for  here  again  the  ancient  application  of  the 
ideas  of  height  or  depth  to  music  was  apparently 
tbe  reverse  of  our  owtL 

A  frigue  'per  arsin  et  thesin*  is  tbe  same 
thing  as  a  fbgue  'by  inversion,*  that  is  to  say, 
it  is  a  fugue  in  which  tbe  answer  to  the  subject 
is  made  by  oontrazy  motion.  (See  Fugue, 
Canok,  ImrissiON,  and  Subjict).  Tbe  terms 
arsis  snd  thesis  may  be  regarded  as  virtually 
obsolete,  and  are  practically  useless  in  these 
days.  [F.  A.  G.  0.] 

ABTABIA.  A  well-known  musio-publishing 
firm  in  Yiennay  the  founders  of  wlucb  were 
Cesare,  Domenioo,  and  Giovanni  Artari%  three 
brothers  from  Blevio  on  the  Comersee,  who 
settled  in  Vienna  about  tbe  end  of  the  year 
1750.  In  1770  tbe  privilege  of  tbe  Empress 
was  granted  to  Carlo,  the  son  of  Cesare^  and  his 
cousins,  to  establish  an  art  business  in  Vienna. 
To  the  sale  of  engraviiu^  maps,  and  foreign 
music,  was  added  in  1 770  a  music  printing  press, 
the  first  in  Vienna,  from  which  two  years  later 
issued  the  first  publications  of  the  firm  of  Artaria 
and  Co.  At  the  same  time  appeared  the  first  of 
their  catalogues  of  music,  since  continued  from 
time  to  time.  From  the  year  1780  a  succession 
of  works  by  Haydn,  Mozart,  Beethoven,  and 
other  composers,  were  published  by  the  firm, 
which  is  in  full  activity  at  the  present  day.  A 
branch  house  was  founded  at  Mayenoe  in  1 793 
by  the  brothers  of  Pasquale  Artaria ;  this  was 
aheawtueda  extended  to  Mannheim,  in  conjunc- 
tion with  the  bookselling  bouse  of  Fontaine, 
under  the  name  of  Domenioo  Artaria.  In  1 793 
the  Vienna  firm  united  with  Cappi  and  Mollo, 
who  however  shortly  afterwards  dissolved  the 
association,  and  started  houses  of  their  own, 
Cappi  again  subsequently  joining  with  Tobias 
Haslinger,  and  Mollo  with  Diabelli  In  1802 
the  businesa  came  into  the  hands  of  Domenioo, 
a  son-in-law  of  Carlo.  Under  his  management 
the  business  reached  its  climax,  and  the  bouse 
was  the  resort  of  all  tbe  artists  of  the  dty.  His 
valuable  collection  of  autographs  by  Mozart^ 


96 


ABTABIA. 


ASANTSCHEWSKY. 


Haydn,  Beeilioyen,  and  other  fiunoas  oomposen, 
was  known  fiur  and  wide,  though  in  course  of 
time  in  great  measure  dispersed.  Domenioo  died 
on  July  5,  1842,  aaid  the  business  has  been  car- 
ried on  since  under  the  old  name  by  his  son 
August.  Haydn  was  for  many  years  in  most 
intimate  relations  with  Artaria  and  Co.  What 
they  published  for  Beethoven  may  be  seen  in  the 
fullest  detail  in  Nottebohm's  catalogue  of  the 
works  of  the  great  composer.  [C.  F.  P.] 

ARTAXERXES,  an  opera  in  three  acts 
composed  by  Dr.  Ame,  the  words  translated 
from  Metastasio's  '  Artaserse/  probably  by  Ame 
himself.  Produced  at  Govent  Garden  Theatre 
Feb.  2,  176a,  and  long  a  favourite  piece  on  the 
London  boards. 

ARTEAGA,  Stefavo,  a  learned  Jesuit,  bom 
about  1 750  at  Madrid.  On  the  suppression  of 
the  order  he  went  to  Italy  and  became  a  member 
of  the  Academy  of  Padua.  He  afterwards 
resided  at  Bologna,  and  there  made  the  ac- 
quaintance of  Paobs  Mabtini,  at  whose  instance 
he  investigated  the  rise  and  progress  of  the 
Italian  stage.  His  work,  entitled  '  Rivoluzioni 
del  teatro  mnsicale  Italiano,  dalla  suo  origin^ 
line  al  preaente,'  (two  vols.,  1783)  is  of  im- 
portance in  the  history  of  music.  A  second 
edition,  in  three  vols.,  appeared  at  Venice  in 
1785.  He  also  left  behind  him  a  MS.  treatise 
on  uie  rhythm  of  the  ancients,  of  which  however 
all  traces  have  disappeared.  [F.  G.] 

ART  OF  FUGUE.  THE  (Die  Kunst  der 
Fuge),  a  work  of  Sebastian  Betch's,  in  which 
the  art  of  fugue  and  counterpoint  is  taught, 
not  by  rules  but  in  examples.  It  was  written 
in  1749*  the  last  year  of  his  life,  and  is  therefore 
the  last  l^acy  of  his  immense  genius  and  ex- 
perience. The  work  consists  of  sixteen  fugues — 
or  in  Bach*s  language  'counterpoints* — and  four 
canons,  for  one  pianoforte,  and  two  fugues  for 
two  pianofortei^  all  on  one  theme 


i 


te 


3=22: 


Mj1^jjLj.iij]i 


T 


in  every  variety  of  treatment;  and  closes  with 
a  fugue  on  three  new  subjects,  in  the  same  key 
as  before,  the  third  being  the  name  of  Bach 
(according  to  the  German  notation)  :— 

BACH 


^-JfeTirr 


t 


This  fugue  leaves  off  on  a  chord  of  A,  and  is 
otherwise  obviously  unfinished,  intenrupted,  ac- 
cording to  Forkel,  by  the  fisdlure  of  Bach's  eyes, 
and  never  resumed.  On  the  other  hand  the 
writing  of  the  autograph  (Berlin  Library),  though 
small  and  cramp,  is  veiy  clear,  and  not  like  the 
writing  of  a  half -blind  man.  We  learn  on  the 
same  authority  that  it  was  the  master's  intention 
to  wind  up  his  work  with  a  fugue  on  four  sub- 
jects, to  be  reversed  in  all  the  four  parts ;  of  this 
however  no  trace  exists.  The  Art  of  Fugue  was 
partly  engraved  (on  copper)  before  Bach's  death, 


and  was  published  by  Marpurg  in  1753  at  four 
thalers,  with  the  addition  at  the  end  of  a  Chorale, 
'Wenn  wir  in  hochsten  Nothen  sind,'  in  four 
parts  in  florid  counterpoint,  which  is  said  to  have 
been  dictated  by  the  master  to  his  son-in-law 
Altnikol  very  shortly  before  his  departure,  and  is 
thus  his  'Nunc  dimittis.'  This  chorale,  which 
has  no.  apparent  connection  with  the  preceding 
portion,  is  in  G  major ;  it  is  omitted  in  the  edi- 
tions of  Nageli  and  Peters,  but  will  be  found 
in  Becker's  *  J.  S.  Bach's  vierstimmige  Klrchen- 
gesange'  (Leipzig,  1843). 

Thirty  copies  only  of  the  work  were  printed 
by  Marpurg,  and  the  plates,  Bixty  in  number, 
came  into  &e  hands  of  Emanuel  Bach,  who  on 
Sept.  14,  1766,  in  a  highly  characteristic  ad- 
vertisement, offered  them  for  sale  at  any  reason- 
able price.  What  became  of  them  is  not  known. 
There  are  two  modem  editions — ^that  of  Nageli 
of  Zurich  (1803),  published  at  the  instigation 
of  G.  M.  von  Weber,  a  splendid  oblong  folio, 
with,  the  fugues  engraved  both  in  score  and  in 
compressed  arrangement;  and  that  of  Peters 
(1839)1  ^tod  by  Czemy.  Neither  of  these  has 
the  Chorale ;  but  the  latter  of  the  two  contains 
the  'Thema  regium*  and  the  'Ricerca'  from  the 
'  Musikalisches  Opfer.'  An  excellent  analysis 
of  the  work  is  Hauptmann*s  *  Erlauterungen,* 
etc.,  originally  prefixed  to  Gzemy's  edition,  but 
to  be  hMl  separately  (Peters,  1841).  [G.] 

ABTUSI,  GiovAHsn  Maria,  bom  at  Bologna 
in  the  second  half  of  the  i6th  century,  was  a 
canon  of  San  Salvatore,  Venice,  a.  learned 
musician,  and  a  conservative  of  the  staunchest 
order,  whose  life  was  devoted  to  combatting  the 
innovations  of  the  then  'music  of  the  future.* 
His  'Arte  del  contrapunto  ridotto  in  tavole* 
was  published  in  1580  and  '89  (translated  into 
German  by  Frost),  but  his  principal  works  are 
controversial,  *Delle  imperfezioni  delle  musica 
modema,'  1600  and  1603,  directed  against 
Montevende's  use  of  unprepared  sevenths  and 
ninths;  ^Difesa  ragionata  della  sentenze  date 
di  Ghisilino  Dankerts';  'Impresa  del  ZarUno,' 
1604;  '  Considerazione  Musi<»li,' 1607.  Artusi 
was  active  also  as  a  composer;  he  published 
^Canzonette*  for  four  voices,  and  a  'Cantate 
Domino'  of  his  will  be  found  in  the  Vinoenti 
collection  dedicated  to  ScHiiTl.  [F.  G.] 

ABWIDSSON,  Adolf  Iwab,  bom  in  1791  at 
Padajoki  in  Finland ;  professor  of  histoiy  at  the 
university  of  Abo  from  1817  to  1821,  whm  he 
was  banished  by  the  Russian  government  for  a 
political  article.  He  retired  to  Stockholm,  and 
was  appointed  keeper  of  the  royal  library.  He 
edited  a  most  interesting  collection  of  Swedish 
national  songs,  *  Svenska  Fomsanger,'  in  3  vols. 
(Stockholm,  1834,  1837,  and  1842),  which  forms 
a  continuation  of  the  'Svenska  Folkvisor'  of 
Greijer  and  Afiselius.  [M.  C.  C.j 

ASANTSCHEWSKY.  Mtchel  Von,  bom 
1839  '^^  Moscow,  since  1839  director  of  the  CoU' 
servatoire  de  Musique  at  St.  Petersburg,  one  of 
the  most  cultivated  of  living  Russian  musicians, 
is  remarkable  for  the  delicate  finish  of  diction 


ASAUraCHEWSKY. 


ASHE. 


97 


wd  kBtm  which  ehancterises  his  ooznpomiloiLB, 
M  we&  as  fiir  th«  exteiudye  range  of  hiB  know- 
hd^  in  mnaical  maiten  generallj.  He  oom- 
^y^ed  his  edix»ti<m  in  eonnteapoint  and  oompo- 
■QOD  nnd^  fiaoptnuum  and  luchter  at  Leipdo 
^ktveen  the  years  i86i  and  1864,  and  lived 
fhripg  eame  yean  subsequently,  alternately  at 
Puu  and  at  St.  Fetersbuig.  He  has  acquired 
^ «  reputatfon  among  book-coIlectoTB  as  the  pos* 
maaoT  id  oane  of  the  finest  private  libraries  of 
v<3ks  npon  nxamc  in  Europe.  Among  his  printed 
KcapositioDs  the  following  should  be  noteid :  op. 
2,  Sonata  in  S  minor  for  pianoforte  and  violon- 
cdk> ;  op.  10,  Trio  in  F  shaip  minor  for  piano 
aai  strings;  op.  12,  Fest-PolonaiBe  fior  two 
^t^fistea;  Ptesatempo  for  piano  a  quatre 
Mt«.  [E.  D.] 

ASCANIO  IN  ALBA.  A  'theatrical  sere- 
SAde'  in  two  acts  (overture  and  twenty-four 
s22mbeT8')y  oomposed  by  M oeart  at  Milan,  Sept. 
1771,  for  the  betrothal  of  the  Archduke  Feidi- 
Bsad  and  Princess  Maria  of  Modena.  First- 
perfennanca,  Oct.  17,  1 771  (Kochel,  No.  iii). 

ASCENDING  SCALE.  It  is  a  peculiarity  of 
^  minor  scale  adopted  in  modem  music,  that 
iiB  fiirm  is  frequently  varied  by  accidental  chro- 
natac  altenitiana»  to  satis^  what  are  assumed  to 
be  the  requirements  of  the  ear;  and  as  these 
aliostians  most  oommoiily  take  place  in  ascend- 
io^  paaiBgre,  it  is  usual,  in  elementary  works,  to 
gire  different  forms  of  the  mioor  scale;,  for  as- 
casdingand  deeoending. 

F«  example,  the  normal  form  of  the  scale  of 
Anuncr  is 


i 


is: 


■^9- 


:]s: 


■ST 


I 


sad  in  descending,  as  here  shown,  the  progressions 
Kem  natural  and  proper. 
But  if  the  motion  take  place  in  the  reverse 


No.  I. 


i 


^ 


-^ 


-^ 


zz 


i 


it  is  Bald  that  the  soocession  of  the  upper  notes 
in  sj^Koaching  the  key  note  A,  do  not  give  the 
kka  whidi  ought  to  correspond  to  our  modem 
tcoality.  It  is  azgued  that  the  penultimate  note, 
or  Kventh,  being  the  leadifig  or  $ensibU  note  of 
tile  k^,  ought  to  be  only  a  semitone  distant 
from  it,  as  is  customary  in  all  well-defined  kevs ; 
ud  tha^  in  fSsct,  unless  this  is  done,  the  tonauty 
i>  not  properly  determined.  This  reason  has  led 
to  the  accidental  sharpening  of  the  seventh  in 
Moending,  thns-^ 

No.  a. 


» 


■^ 


-^ 


1^ 


I 


Bat  hete  there  is  another  thing  objected  to ; 
namely,  the  wide  interval  of  tfauree  semitones 
(aa  augmented  second)  between  the  sixth  and  the 
BeroitbyFti  and  G(  which  it  issaadisabrapt  and 


unnataral,  and  this  has  led  to  the  shaipening  of  the 
sixth  also,  thus— 

No.  3. 


^ 


•^^ 


tsr-t*^ 


za: 


I 


to  make  the  progression  more  smooth  and  regular. 
This  is  the  suocession  of  notes  usually  given  as 
the  cueending  minor  $eaU. 

The  first  alteration — namely,  the  sharpening  of 
the  leading  note—is  no  doubt  required  if  the  per- 
fect modem  tonality  is  to  be  preserved,  for  no 
doubt  an  asTfrnding  passage^  thus— 


^""^ 


isl: 


^s: 


1 


would  give  rather  the  impression  of  the  key  of  C 
or  of  F  than  that  of  A. 

But  the  necessity  for  sharpening  the  sixth  is 
by  no  means  so  obvious;  it  may  no  doubt 
be  smoother,  but  the  interval  of  the  augmented 
second  is  one  so  familiar  in  modem  music,  as  to 
form  no  imperative  reason  for  the  change.  Hence 
this  rule  is  frequently  disregarded,  and  the  form 
marked  No.  2  is  very  commonly  used,  both  for 
ascending  and  descending. 

We  may  instance  the  Sne  unison  passage  in  the 
last  movement  of  Schumann's  Symphony,  No.  i : — 

4 


ti?>''  ^■.\\ir\fh^*r\r  r 


cnua 


where  not  only  does  the  peculiar  rhythm  give 
a  most  striking  original  effect  to  the  common 
succession  of  notes,  but  the  strong  attention  drawn 
to  the  objectionable  augmented  interval,  shows 
how  effectively  genius  may  set  at  nought  common- 
place ideas  as  to  musical  propriety.  [W.  P.] 

ASCHEB^  JosiPH,  was  bom  in  London,  1831, 
and  died  there  1869.  A  foahionable  pianist,  and 
composer  of  drawing-room  pieces.  He  was 
taught  by  MoecheleB,  and  followed  his  master  to 
the  Conservatorium  at  Leipzig.  His  successful 
career  began  in  Paris,  where  he  was  nominated 
court  pianist  to  the  Empress  Eugenie,  an  honour 
whidi  appears  to  convey  considerable  business 
advantage  in  the  fashionable  world,  and  is  ac- 
cordingly a  coveted  title. 

His  compositions  amount  to  above  a  hundred 
saZon  pieces  —  mazuricas,  gallops,  nocturnes, 
Etudes,  transcriptions^  etc. — well  written  and 
effective,  of  moderate  difficulty,  and  rarely  if 
ever  vritiiout  a  certain  elegant  grace  and  finish. 
Among  the  best  are  'La  perle  du  Nord*  and 
'Dozia,*  both  mazurkas,  and  'Les  gouttes  d*eau,* 
an  ^tude.  Ascher  believed  in  himself,  and  in  his 
earlier  compositions  at  least,  offered  his  best; 
but  the  dissipated  habits  he  gradually  foil  into 
ruined  both  his  health  and  his  taste.         [R  D.] 

ASHE,  Andrew,  was  bom  at  Idsbum  in 
Ireland,  about  the  year  1759.  Before  he  bad 
completed  his  ninth  year  he  was  sent  to  England 
to  an  academy  near  Woolwich,  where  he  remained 


98 


ASHE. 


ASHLE7. 


more  ihan  three  yean,  when  bis  fjEkther,  liaviDff 
experienced  a  reverse  of  fortune,  was  oompelled 
to  recall  him  to  Ireland.    Luckily  for  him,  as  he 
stood  weeping  with  the  letter  in  his  hand,  Gount 
Bentinck,  a  colonel  in  the  army,  wUb  was  riding 
by,  learning  the  cause  of  his  grief,  wrote  to  his 
£fttiier  offering  to  take  the  boy  under  his  protection. 
Ashe  accompanied  his  patron  to  Minorca,  where, 
the  love  for  music  which  he  had  already  shown 
at  school  continuing,  he  received  instruction  on 
the  violin.    He  next  went  with  the  Count  through 
Spain,  Portugal,  France,  and  Germany,  and  lastly 
to  Holland,  where  such  an  education  as  would 
qualify  him  to  become  Mb  benefiEU^r's  confidential 
agent  in  the  management  of  his  estates,  was 
provided  for  him.    But  Ashe*s  mind  was  too 
strongly  attracted  towards  music  to  suffer  him 
to  attend  to  anything  else,  and  the  Count  per- 
ceiving it  permitted  mm  to  follow  the  bent  of  his 
inclination.    He  acquired  a  general  knowledge 
of  several  wind-instruments,  but  evinced  the 
most  decided  predilection  for  the  flute,  the  study 
of  which  he  pursued  so  assiduously  tliat  in  the 
oouse  of  a  few  years  he  became  the  admiration 
of  Holland.    Quitting  the  roof  of  Count  Bentinck 
he  engaged  himself  as  chamber   musician   at 
Brussels,  first  to  Lord  Torrington,  and  next  to 
Lord  Dillon.    About  1778  he  obtained  the  post 
of  principal  flute  at  the  opera-house  of  Brussels. 
About  1783  he  returned  to  Lreland,  where  he 
was  engaged  at  the  concerts  given  at  the  Botunda, 
Dublin.    In  1791  Salomon  engaged  him  for  the 
concerts  given  by  him  in  Hanover  Square,  at 
which  Haydn  was  to  produce  his  grahd  symphonies, 
and  he  made  his  appearance  at  me  second  concert, 
on  February  24, 179  a,  when  he  played  a  concerto 
of  his  own  composition  with  decided  success.    He 
soon  became  engaged  at  most  of  the  leading 
concerts,  and  on  the  resignation  of  Monzani  was 
appointed  principiJ  flute  at  the  Italian  opera. 
In  1799  he  married  Miss  Comer,  a  pupil  of 
Bauzzini,  who,  as  Mrs.  Ashe,  was  for  many  years 
the  principal  singer  at  the  Bath  concerts,  the 
direction  of  which  after  the  death  of  Bauzzini 
in  1 8 10,  was  confided  to  Ashe.    Afbfr  conduct- 
ing these  concerts  with  considerable  ability  for 
twelve   years,  Ashe  relinquished  the   direction 
in  182  a,  having  during  the  last  four  years  of 
his  management  been  a  considerable  loser  by 
them.    Mrs.  Ashe  first  appeared  at  the  Concert 
of  Ancient  Music  in  1807  and  also  sung  in  the 
oratorios.    Two  of  Ashe's  daughters,  one  a  harpist 
and  the  other  a  pianist,  performed  in  Lmdon 
in  i8ai.  [W.  H.  H.] 

ASHLEY,  John,  a  performer  on  the  bassoon 
at  the  end  of  the  last  century.  In  1 784  he  was 
assistant  conductor,  under  Joah  Bates,  at  the 
commemoration  of  Handel  in  Westminster  Ab- 
bey, where  his  name  also  appears  as  playing  the 
double  bassoon,  employed  to  strengthen  the  bass 
of  the  choruses.  Li  1795  he  undertook  the  di- 
rection of  the  Lent  *  oratorios  *  at  Covent  Garden. 
These  performances,  which  took  place  on  the 
Wednesdays  and  Fridays  in  Loit,  were  originated 
by  Handel,  under  whose  direction,  and  after- 
wards that  of  Smith  and  Arnold,  they  were  cor- 


rectly designated— that  Is,  they  oonastod  da 
entire  oratorio  or  musical  drama.  Undar  iit 
ley*s  management  this  character  was  los^  ad 
the  performances  (with  few  exoepticns)  vai 
made  up  of  selections,  including  eveiy  du  of 
music,  sacred  and  secular,  'in  moat  adiaind 
disorder.'  It  was  at  these  ocatarioe  that  Boba 
obtained  celebrity  by  his  fine  renderiog  i 
sacred  music.  For  many  years  Adikj  sad 
his  four  sons  visited  diflSarent  parts  of  Ei^k^ 
OTving  what  they  called  'Grand  Musical  Fwtivak' 
The  &ther  ana  sons  performed  ihemselTa,  aai 
with  some  popular  sixjger,  and  a  little  pronoal 
help,  they  contrived  to  interest  the  pnblk,  i£ii 
to  fill  their  own  pockets.  On  the  death  of  It 
Boyce,  Ashley  bought  the  plates  of  his  'Gbtfe' 
dral  Music,*  and  the  second  edition  (17S8)  bea 
his  name  as  the  publisher. 

AsHLBT,  General,  his  eldest  son,  was  s  pqd 
of  Giardini  and  Barthelemon,  and  a  fiur  ^etfsza 
on  the  violin,  of  which  instrument  he  wu  ca- 
sidered  an  excellent  judge.  He  was  Kucdj 
known  out  of  his  £jEkther*s  orchestra.  He  died  a 
1818.  AsHLET,  Chables  Jans,  bom  in  v,;'^ 
was  a  performer  of  considerable  excellence  m  d» 
violoncello.  In  conjunction  with  his  brother,  'tb 
General  *  (as  he  was  always  called),  be  canned 
on  the  oratorios  after  his  &ther*s  death,  fie 
had  great  reputation  as  an  aocompaiijist,  iBd 
was  considered  second  only  to  Lindley.  He  ni 
one  of  the  founders  of  the  Glee  Club  in  I/9S 
an  original  member  of  the  Philharmonic  Sodiif, 
and  for  some  years  Secretary  to  the  Boyal  Socbej 
of  Musicians.  Nearly  twenty  years  of  hii  fi^ 
were  passed  in  the  niles  of  the  King's  B»i 
Prison.  In  the  latter  part  of  his  career  (vfaa 
nearly  70),  he  became  the  proprietor  of  the  T!^' 
Gardens,  Margate,  the  anxieties  of  whidi  nni^' 
taking  hastened  his  death,  which  oocoznd  ob 
Aug.  ao,  1843. 

AsHLBT,  JoHjr  Jakes,  was  a  pupH  of  Jobaaa 
Schroeter,  andagoodoiganandpianofinrtepl«5a^> 
He  is  remembered  as  an  excellent  angbg-ma^, 
numbering  among  his  pupils  Mrs.  Vaughan,  Ma 
Salmon,  Master  Elliot  (afterwards  the  glee  ooo- 
poser),  Charles  Smith,  etc. 

Abhlbt,  Bichabd,  was  a  viola  perfense. 
connected  with  the  principal  orchestras  in  Lood^ 
and  the  provinces.  Nothing  is  known  of  1^ 
career.  (Bumey,  Comm,  of  JSandd:  Mvt- 
Feriodicali  ;  Biog.  Diet.  U.  K  8.)      [E.  F.  B.] 

ASHLEY,  John,  known  as  *  Ashley  of  Bath.' 
was,  for  upwards  of  half  a  century,  a  perfiaoa 
on  ^e  baraoon,  and  a  vocalist  in  his  nadve  chf. 
He  is  chiefly  remembered  as  the  writer  td 
composer  of  a  large  number  of  songs  and  ballad 
(between  the  years  1780  and  1830),  manycf 
which  acquired  considerable  popularity.  He » 
also  deserving  of  notice  as  the  author  of  ti^ 
ingenious  pamphlets  in  answer  to  Mr.  Ridiini 
Ckkrk*s  woric  on  the  origin  of  our  Ka^ 
Anthem : — '  Beminiscenoes  and  Observatioos  n- 
specting  the  Origin  of  God  save  the  King,'  i^'7' 
*  A  Letter  to  ttie  Bev.  W.  L.  Bowles,  suppl*^ 
mentary  to  the  Observations,  etc*  1828,  b(^ 
published  at  Bath.  [E.  F.  &i 


ASBWEUU 

ASHWELL,  Thomas,  a  cathedral  miuiciaii 
Q  the  middle  of  the  i6th  centiiry,  who  adhered 
0  the  BomJBh  fiuth,  and  some  of  whose  motets 
kill  remain  amongst  the  MSS.  in  the  Music 
tehool  at  Oxford.  [W.  H.  H.] 

ASIOLI,  Bonifacio,  bom  at  CotTeggio, 
Lpril  30,  1769;  began  to  study  at  five  years 
f  age.  Before  eight  he  had  written  several 
lassdB,  and  a  concerto  for  pianoforte.  At  ten 
e  went  to  study  at  Parma  under  Morigi.    ALfter 

joamey  to  Venice,  where  he  enjoyed  his  first 
ublic  suooess,  he  was  made  maestro  di  capella 
t  his  native  town.  By  eighteen  he  had  com- 
oaed  five  masses,  twenty-four  pieces  for  the 
hurch  and  the  theatre,  and  a  number  of 
istromental  pieces.  In  1787  he  changed  his 
auidence  to  Turin,  where  he  remained  nine 
ears,  composing  five  cantatas  and  instrumental 
lufiic.  In  1790  he  accompanied  the  Duchess 
rherardini  to  Venice,  and  remained  there  till 
799,  when  he  removed  to  Milan,  and  in  18 10 
)  Paris.  There  he  continued  in  the  service  of 
iie  empress  Marie  Louise  till  July  181 3.  On 
ie  fikll  of  the  empire  Asioli  returned  to  Cor- 
3gg;io,  and  died  there  May  a6, 1 83a.  Besides  his 
impositions  he  published  a  '  Trattato  d'armonia 
d'acoompagnamento ; '  a  book  of  dialogues  on 
le  same ;  '  Osservazioni  sul  temperamento,  etc. ; 
ad  'Disinganno'  on  the  same.  His  principal 
ark  is  '  n  Maestro  di  oomposizione.'  All  these 
orks  are  written  with  accuracy  and  a  clear  and 
rilliant  style.  Asioli's  biography  was  written 
y  Coli,  a  priest  of  Coireggio,  imder  the  title 
f  'Vita  di  B.  AsioH,*  etc.  (Milan:  Bicordi, 
834).  [P.  G.] 

ASOLA,  or  AHULA,  GioVAimi  Mattbo,  bom 
t  Verona  in  the  latter  half  of  the  1 6th  century ; 
riest  and  composer  of  church  music  and  madrigals. 
[e  was  one  of  the  first  to  use  figured  basses, 
a  1592  be  joined  other  composers  in  dedicating 
collection  ai  Psalms  to  Palestrina. 

ASPULL,  Georoe,  bcm  in  18 14,  at  a  very 
Efflj  age  manifested  an  extraordinary  capacity 
B  a  pianoforte  player.  At  eight  years  of  age, 
otwithstanding  that  the  rnnallnfws  of  his  hands 
ras  such  that  he  could  not  reach  an  octave,  so  as 
}  press  down  the  two  k^  simultaneously  with- 
Qt  great  difficulty,  and  then  only  with  the  right 
and,  he  had  attained  such  proficiency  as  to  be 
ble  to  perform  the  most  difficult  compositions  of 
jilkbrenner,  Moecheles,  Hummel,  and  Czemy, 
esides  the  concertos  of  Handel,  and  the  fugues 
r  Bach  and  Scarlatti,  in  a  manner  almost  ap- 
roaching  the  excellence  of  the  best  professors. 
[e  also  sang  with  considerable  taste.  As  he 
rew  older,  his  improvement  was  such  as  to  lead 
>  the  expectation  that  he  would  eventually  take 

place  amongst  the  most  distinguished  pianists. 
"hese  hopes  were,  however,  disappointed,  by  his 
path  from  a  pulmonary  disease,  at  the  age  of 
ighteen.  He  died  Aug.  20,  183  a,  at  Leam- 
igton,  and  was  buried  two  da3rs  afterwards  at 
Nottingham.  Aspull  l^ft  several  manuscript 
>mpo6ition8  for  the  pianoforte,  which  were  sub- 
iqaently  pubUshed,  with  his  portrait  prefixed. 


ASTOBGA. 


99 


under  the  title  of  'G«irge  Aspull^s  posthumous 
Works  for  the  Pianoforte?  [W.  H.  H.] 

AS8AI  (Ital.),  'Very';  e.g.  'Allegro  assai,' 
very  fast ;  'Animate  assai,'  with  great  animation; 
'  Maestoso  assai,'  with  much  majesty,  etc. 

ASSMAYER,  Ignaz,  bom  at  Salzburg,  Feb. 
II,  1790 :  in  1808  organist  of  St.  Peter's  m  that 
city,  where  he  wrote  his  orat<nio  '  Die  Sfindfluth' 
(the  Deluge),  and  his  cantata  '  Worte  der  Weihe.' 
In  1815  he  removed  to  Vienna ;  in  1824  became 
organist  to  the  Scotch  church ;  in  1825  Imperial 
oiganist ;  in  1838  vice,  and  in  1846  chief.  Kapell- 
meister to  the  court.  He  died  Aug.  31,  1862. 
His  principal  oratorios — 'Das  Gelubde*  (the 
Vow);  'Saul  und  David,'  and  'Saul's  Tod'— 
were  firequently  performed  by  the  '  Tonkunstlex^ 
Societat,  of  which  Assmayer  was  conductor  for 
fifteen  years.  Besides  these  larger  works  he 
composed  fifteen  masses,  two  requiems,  a  Te 
Deum,  and  various  smaller  church  pieces,  as  well  ^ 
as  nearly  sixty  secular  compositions.  These  last  ' 
are  all  published.  His  music  is  correct  and  fluent, 
but  wanting  in  invention  and  force.      [C.  F.  P.] 

ASTON,  Hugh,  was  an  organist  and  church 
composer  in  the  time  of  Henry  VIII.  A  'Te 
Deum'  for  five  voicto  and  a  motet  for  six  voices 
composed  by  him  are  preserved  in  the  Music 
School  at  Oxford.  [W.  H.  H.] 

ASTOBGA,  Emavuilb  Baron  d',  bom  at 
Palermo  in  168 1  (F^tis  pretends  to  give  the  day  of 
his  birth).  He  began  me  serious  business  of  life 
by  witnessing  the  execution  of  his  fiikther,  the 
Marchese  Capece  da  Bofirano,  who  was  captain 
of  a  mercenary  troop,  and  perished  aa  the  scaf- 
fold along  with  sev^al  Siolian  nobles  after  an 
unsuccessful  dmeute  against  the  power  of  Spain. 
In  the  agony  of  this  terrible  occasion  his  mother 
actually  died,  and  the  child  himself  fainted  away. 
After  a  time  the  orphan  attracted  the  notice  of 
the  Princess  Ursini,  maid  of  honour  to  the  wife 
of  Philip  V,  who  placed  him  in  the  convent  of 
Astorga  in  Spain.  In  this  asylum  it  was  that 
he  completed  the  musical  education  which  there 
is  reason  to  believe  he  had  commenced  under 
Francesco  Scarlatti  at  Palermo.  He  quitted  it 
after  a  few  years,  and  on  his  entrance  into  the 
world  obtained,  through  the  influence  of  his  pa- 
troness, the  title  of  Baron  d'  Astorga.  In  1704 
he  was  sent  on  a  dijSlomatic  mission  to  the  court 
of  Parma.  There  he  soon  became  a  favourite  for 
his  music's  sake  and  for  his  persdnal  giftSy  fizr  he 
was  a  handsome  man,  composed  wiui  ease  and 
ability,  and  sang  with  extraordinary  finish  and 
feeling  his  own  graceful  and  original  melodies. 
It  is  not  otherwise  than  consonant  with  a  charac- 
ter of  which  we  have  only  slight  though  sug^ 
gestive  glimpses,  to  hear  that  on  the  termination 
of  his  mission  he  still  lingered  at  the  court  of 
Parma,  forgetful  of  his  Spaoish  ties,  and  fettered 
by  a  secret  love  affair  with  his  pupil  Elisabetta 
Famese,  the  niece  of  the  reigning  duke.  Nor  is 
it  surprising  that  his  entertainer  should  soon 
have  found  means  to  transfer  so  dangerous  an 
ornament  of  his  palace  to  some  distant  capital. 
Accordingly  we  find  Astorga  dismissed,  early  in 

H2 


100 


ASTOBGA. 


i7o5»  "with  a  letter  of  reoommendation  to  Leo- 
pold I  at  Vienna.  The  emperor  yielded  at  onoe 
to  the  fiiscinationi  of  his  visitor,  ind  would  have 
attached  him  to  his  person  had  not  his  own 
death  too  rapidly  interrupted  his  intentions. 
Astoiga  remained  in  or  returned  to  Vienna 
during  the  reigns  of  Joseph  I  and  Charles  VI, 
and  for  many  years  led  a  romantio  life  of  travel 
and  adventure,  in  the  course  of  which  he  visited 
and  revisited  Spain,  Portugal,  England,  and  Italy, 
reconciling  himself  on  his  way  to  the  neglected 
protectress  of  his  boj^ood.  fn  171 3  he  was  in 
Vienna,  and  acted  as  godfather  to  the  daughter 
of  his  friend  Caldaba,  whose  register  (May  9) 
may  still  be  seen  at  S.  Stephen's.  In  1720  he 
reappeared  there  for  a  short  time,  and  thenoe  he 
finally  retired  to  Bohemia^  where  he  died,  Au- 
gust 21,  1736,  not  however,  as  usually  stated, 
m  a  monastery,  but  in  the  Schloss  Raudnitz, 
which  had  been  given  up  to  him  by  its  owner,  the 
prince  of  Lobkowitz,  and  the  archives  of  which 
contain  evidence  of  ike  ficict.  This  ciroumstanoe 
has  only  very  recently  been  brought  to  light. 

Among  Astorga*s  compositions  are  his  re- 
nowned 'Stabat  Mater,*  for  4  voices  and  or- 
cbeetra^  probably  composed  for  the  'Society  of 
Antient  Musick'  of  London,  and  executed  at 
Oxford  in  1 71 3,  MS.  copies  of  the  score  of  which 
are  to  be  found  in  the  British  Mu>seum  and  the 
imperial  libraries  of  Berlin  and  Vienna ;  and  a 
pastoral  opera  'Dafiii*  (not  'Dafhe*),  composed 
and  performed  at  Baroek>na  in  June  1709,  and 
probably  last  heard  at  Breslau  in  1726,  and  to 
oe  found  in  the  HofbibHothek  at  Vienna  in  the 
Kiesewetter  collection.  A  requion  is  also  men- 
tioned as  possibly  lying  in  the  castle  where  he 
ended  his  days.  His  name  is  also  known  by  his 
beautiful  cantatas,  of  which  a  sreat  number  are 
extant.  The  Abb^  Santini  had  no  lees  than  98 
of  these,  54  for  soprano  and  44  for  contralto,  with 
accompaniment  for  figured  bass  on  the  harpn- 
chord,  besides  ten  composed  as  duets  for  the 
same  two  voices.  Of  the  Stabat  Mater  Haupt- 
mann  (no  indulgmt  critic)  writes  ('Briefe,*  ii. 
51),  'It  is  a  lovely  thing,  ...  a  much  more  im- 
portant work  than  Pergolesi's,  and  contains  a 
trio,  a  duet,  and  an  air,  which  are  real  master- 
pieces, wanting  in  nothing ;  neither  old  nor  new, 
but  music  for  all  times,  such  as  is  too  seldom  to 
be  met  with.*  The  work  is  published  (with 
pianoforte  aocompaniment)  in  the  Peters  Collec- 
tion, and  has  bc^  recently  re-instrumented  by 
franz  and  issued  by  Leuckhart.  [C.  F,  P.J 

A  TEMPO  (Ital.).  'In  time.*  When  the 
time  ai  a  piece  has  been  changed,  either  tempo- 
rarily by  an  od  libitum,  a  piaceref  etc.,  or  for 
a  longer  period  by  a  pi^  leato,  piii  aUegro,  as 
some  simUar  term,  the  indication  a  tempo  shows 
that  the  rate  of  speed  is  again  to  be  that  of  the 
oonmiencement  of  the  movement. 

ATH  ALIA.  The  third  of  Handel's  oratorios ; 
composed  next  after '  Deborah.'  Words  \yy  Hum- 
phreys. The  score  was  completed  on  tfune  7, 
1733.  First  performed  at  Oxford  July  10,  1733. 
Bevived  by  Sacred  Harmonic  Society  June  20, 
1845. 


ATTERBTTEY. 

ATHALIE.  MendeLsBohn  oon^Kssed  OfV€tt7. 
march,  and  six  vocal  pieces  (Op.  74)  to  BaoKi 
drama.  In  the  spring  of  1 843  the  <^orases  alo* 
(female  voioes),  with  pianoforte.  In  May  or  Joe 
1844,  the  overture  uid  march.  £flriy  in  1^4; 
choruses  re-written  and  scored  for  artiieet%. 
First  performed  at  Berlin,  Dec.  i,  1845 ;  is  Ee^ 
land,  Windsor  Castle,  Jan.  i,  1847;  PhObr- 
monic,  March  12,  1849. 

ATTAOCA,  i.e.  'begin' (ItaL),  wheni^ 
at  the  end  of  a  movement---a8  the  SchosD  >< 
Beethoven's  C  minor  Symphony,  or  all  the  &f: 
first  movements  of  MendeLssolm's  Scotch  dit(>- 
signi6es  that  no  pause  is  to  be  made^,  but  thisii: 
next  movement  is  to  be  attacked  at  onoe. 

ATTACK.  A  technical  expreaeoon  ix  it- 
cision  and  spirit  in  beginning  a  pfanae  c 
passage.  An  orchestra  or  perfimner  ia  said  te  -a 
'wanting  in  attack*  when  there  is  no  %nEX£A 
and  precision  in  their  style  of  taking  op  v^ 
points  of  the  music.  This  c^plies  e^iedsIlT  *.> 
quick  tempo.  It  is  equivalent  to  the  eoap  daxds, 
onoe  BO  much  exaggerated  in  the  Puis  ir- 
cheetras,  and  of  which  MosEart  makes  such  psi 
(Letter,  June  I2»  1778). 

The  ckef  cPattaque  in  France  is  -a  aort  of  sb> 
conductor  who  marks  the  moment  of  enti;  k 
the  chorus. 

ATTAIGNANT,  or  ATTAINGNAM 
PiEBRE,  a  music  printer  of  Paris  in  the  i6-i 
century,  said  to  have  been  the  first  in  Fn&^ 
to  adopt  moveable  types  ('caract^res  mobOa 
for  music.  The  engraver  of  his  types  was  1^9^ 
Hantin.  Between  the  years  1527  and  1536  ^ 
printed  nineteen  books  oontuning  moteta  '■^■ 
various  masters,  French  and  fbrei^^  M>i:; 
of  these  composers  would  be  entirely  onkK^s^ 
but  for  their  presence  in  these  volumes.  An^ 
them  we  may  cite  Groase,  N.  Gombert^  Claodir. 
Hesdin,  Consilium,  Certon,  Boos^  Moci''^ 
Hottinet,  Mornable,  Le  Roy,  Manchsoourt^  U 
Heurteur,  Vermont^  Bicheforty  Laason,  L*hentkr, 
Lebrun,  WyUart,  Feuin,  L'en&nt,  Monta,  V«rir- 
lot,  G.  Louvet,  D^vitis,  Jaoquet^  Dda^hr^i 
Longueval,  Gasoogne,  Briant,  and  PaasBroL 
The  collection  is  thus  historically  most  » 
portant,  and  it  is  also  of  extreme  nn?* 
Attaignant  was  still  printing  in  1543,  wLid 
date  appears  on  a  'livre  de  danoeries'  If 
Consilium.  He  was  however  dead  in  i:-% 
since  some  compositions  of  Grervau'  printed  il 
his  press  in  that  year  are  said  to  be  edited  ' 
his  widow.  [F 

ATTERBTJRY,  Luppm  ah,  one  of  the  mi 
in  ordinary  to  George  in,  and  the  oompota 
numerous  catches  and  glees.    Between  1 77S 
1780  he  obtained  tram  the  Catch  Club  priies 
three  glees  and  two  catches.    He  also  oom) 
an  oratorio  called  *Goliah,*  which  wbi 
for  the  first  time  at  the  Havmaricet  llieatR 
Wednesday,  May  5,  1773,  being  annonnoed 
*  for  that  night  only.'    It  was  again  perfisiiied : 
West  Wycombe  church  on  August  13.  177> 
the  oocaaon  of  the  singular  ceremony  of  deposr 


lTTERBUBT. 


AUBEB. 


101 


tbe  hflttt  of  Pftol  Whitehead,  the  politidaa  And 
tss&er,  iodoaed  m  a  marble  uiii,  m  directed  by 
Hi  vill,  in  the  nuKUolemn  there  of  his  patron, 
L^  Le  DeBpenoer.  Aboot  1790  Atterbuiy 
^LiMtdd '  A  CoOectioB  of  Twelve  Gleee,  Rounds,' 
lie.  Eleven  glees  and  nineteen  catches  by  him 
ire  iadnded  in  WaiTen*s  oollectioDS.  His  glee, 
'Come,  let  ns  all  a-lfaying  go^'still  retains  its 
pijpolaiity.  He-  died  in  Maraham  Street,  West* 
Binster,  June  11,  1796.  He  is  said  to  have 
M&faiaed  with  the  professkm  of  music  the  trade 
cfabdldcr.  [W.  H.  H.] 

Arris Y,  JoHir,  a  composer  of  part- songs, 
vbo  floorished  in  the  first  quarter  of  the- 17th 
eeesaaj.  He  mpears  to  have  been  patronised 
It  the  Earl  and  Cbuntess  of  Bric^water,  to 
viwm  he  dedicatee  his  '  First  Booke  of  Ayres  of 
Focre  Puts,  with  Tableture  for  the  Lute,'  in 
i6i3.  On  the  tiUe-page  of  this  work  he  calls 
himself 'Gentleman  and  Practitioner  of  M  usicke.' 
y,  ooDtains  fourteen  songs  in  four  parts,  which 
Eav  be  sung  as  part-songs  or  as  solos  by  a 
x^noo  Toaoe,  aoeompanied  by  the  lute,  or  the 
hte  and  baas-vioL  Ajb  no  second  collection  ap- 
|«9nd,  it  is  probable  that  the  composer  did  iMt 
taoA  with  sufficient  encouragement  in  all  cases. 
T^  madiigalian  period  was  rapidly  declining. 
(Eimhadt,  BibL  Madrig.)  [K  F.  B.] 

ATTWOOD,  Thomab^  the  son  of  a  trumpeter, 
Ti<)U-player,  ai&d  ooal-merchant,  was  bom  in  1767. 
At  Bine  yeara  of  age  he  became  a  chorister  in  the 
Clupd  Boyal,  where  he  had  for  his  masters  sue* 
cesavdy  Dr.  Kares  and  Dr.  Ayrton,  and  where 
ht  remaned  about  five  yeara.  In  his  sixteenth 
vat,  perfonnin^  in  a  concert  at  Buckingham 
HouBe,  he  attracted  the  attention  of  the  Prince 
d  Wales  (afterwards  Geoige  IV),  who  sent  him 
to  Italy  to  study.  In  1783  he  went  to  Naples, 
vhere  he  renudned  fiir  two  yeara  under  the 
tddsm.  of  Filippo  CSnque  and  Gaetano  Latilla. 
From  Kaplea  he  went  to  Vienna,  and  studied 
E&der  Moiart — who  expressed  a  highly  fiivour- 
aU»  opinian  of  his  talent  (Kelly*s  Beminiacenoes, 
L  25£)— until  February,  1787,  when  he  returned 
to  Kngiand.  He  became  organist  of  St.  George 
*i£  Martyr,  Qaeen  Square,  and  a  member  of  the 
Prince  of  Wales's  chambcxr  band.  He  was  ap- 
pointed musical  instructor  to  the  Duchess  of 
Vark  in  ijoi,  and  to  the  Princess  of  Wales  in 
1795-  In  the  latter  year,  on  the  decease  of  John 
J<»Ms,  ocganist  of  St.  Paul's  Cathedral,  Attwood 
Iwcame  his  succeasor ;  and  in  June,  1796,  on  the 
death  of  Dr.  Dbpnis,  he  was  appointed  Composer 
to  the  Chapel  BoyaL  In  iSHi  he  was  nondnated 
organistof  Geoige  VTb  private  chapel  at  Brighton. 
Attwood  waa  one  of  the  original  memben  of  the 
Rulhannonic  Society  oa  ita  establishment  in  1 81 3, 
ttd  tor  some  yean  occasionally  conducted  its 
canoots.  In  i^^S,  on  the  decease  of  John  Sta£Pord 
Smith,  he  sooceeded  him  as  cffganist  of  the  Chapel 
SopL  Attwood  died  at  his  residence  in  Cheyne 
Walk,  Chdsea,  on  March  aS,  1833.  He  was 
buried  m  St  Paul's  Cathedral,  under  the  organ. 
In  the  eariy  part  of  his  life  Attwood  was  much 
engaged  in  dramatic  composition,  in  which  he 
vu  Toy  saoceasfid. 


Hie  pieces  set  by  him  were— The  Prisoner, 
1791;  The  Mariners,  1703;  Caernarvon  Castle, 
1793;  The  Adopted  Child,  1795;  The  Poor 
Sailor,  1795  ;  The  Smugglers,  if7g^;  The  Mouth 
of  the  Nile,  1798  ;  The  Devil  of  a  Lover,  1798  ; 
A  Day  at  Bome,  1798  ;  The  Castle  of  Sorrento, 
1799;  The  Bed  Cross  Knights,  1799;  The  Old 
CloUiesman,  1799}  The  MM;ic  Oak,  1799 1  '^^rne 
Friends,  1800 ;  The  Domimon  of  Fancy,  1800 ; 
The  Escapes,  or.  The  Water  Carrier  (partly 
selected  man.  Cherubini*s  'Les  Deux  Joum^es,* 
and  partly  original),  1801 ;  II  Bondocani,  1801; 
St.  David's  Day,  1801 ;  land.  The  Curfew,  1807. 
He  also  contributed  two  songs  to  'Guy  Man* 
nering,*  18 16. 

Later  in  life  Attwood  devoted  his  attention 
more  to  cathedral  music.  A  volume  of  his 
church  oompositionB,  containing,  four  services, 
eight  anthems,  and  nine  chants,,  waa  published 
t£out  fifteen  yean  after  hia  death^.  under  the 
editorahip  of  his  sodson^  Dr.  Thomas  Attwood 
Walmisley.  Besides  these  compositions  Attwood 
produced  two  anthems  with  orchestral  accom- 
paniments ;  one,  '  I  was  glad  *  (a  remarkably  fine 
composition),  for  the  coronation  of  G^eorge  lY, 
and  the  other, '  O  Lord,  grant  the  SLing  a  long 
life,'  for  that  of  William  IV;  and  he  had  oom- 
menoed  a  third,  intended  for  the  coronation  of 
Queen  Victoria»  when  his  career  was  closed  by 
death.  He  also,  following  the  example  of  Mat- 
thew Lock,  composed  a  'Kyrie  eleiaon,*  with 
different  music  for  each  repetition  of  the  words. 
Attwood  produced  many  sonatas  and  lessons  for 
the  pianoforte,  and  numerous  aongs  and  gleea. 
Of  his  songs,  '  The  Soldier*s  Dream*  long  main- 
tained its  popularity;  and  of  his  glees,  *  In  peace 
Love  tunes  tne  shepherd's  reed,*  and  'To  all  that 
breathe  the  air  of  Heaven,'  are  still  well  known 
to  all  admiren  of  that  species  of  music.  Att- 
wood's  compositions  are  distinguished  by  purity 
and  taste  as  well  as  by  force  and  expression. 

It  is  interesting  to  notice  that  Attwood,  a 
favourite  pupil-  of  Mosart,  was  one  of  the  first 
among  English  raudcianato  recoffnise  the  genius 
of  the  young  Mendelsaohn.  A  friendshij)  sprang 
up  between  the  two  oomposen  which  was  only 
broken  by  the  death  of  the  elder.  Thus  the 
talented  Englishman  appean  as  a  connecting 
link  between  the  two  gifted  G^ermans.  Sevend 
of  Mendelasohn's  published  letten  were  written 
from*  Attwood's  villa  at  Norwood,  his  three 
Preludes  and  Fugues  for  the  organ  are  dedicated 
to  him,  and  the  autogn4>h  of  a  Kyrie  eleison  in 
A  minor  is  inscribed  '  For  Mr.  Attwood ;  Berlin, 
34  March,  1833.'  [W.  H.  H.] 

AUBADE.  A  French  term  (finom  aube,  the 
dawn),  answering  to  nocturne  or  serenade.  It 
was  originally  applied  to  music  performed  in  the 
morning,  and  apparently  to-  concerted  music 
(Littr6) ;  but  i»  now  almost  confined  to  music  for 
ibe  piano,  and  an  Aubade  has  no  distinct  form 
or  character  of  its  own.  Stephen  Heller  and 
Schulhoff  have  written  pieces  bearing  this  title. 

AUBEB,  Danibl-Fra5<^I8-E8pbit,  was  bom 
January  29,  1784  (according  to  F^tis,  178  a),  at 
Caen,  where  his  parents  were  on  a  visit.    The 


•    102 


AUBER. 


AUBEB. 


fiunilyi  although  of  Normaii  origin,  had  been 
settled  in  Paris  for  two  generations,  and  that  me- 
tropolis was  always  considered  as  Ids  home  by  our 
oomposer.    In  his  riper  years  he  hardly  ever  left 
it  fi»r  a  single  day,  and  not 'even •-the  dangers  of 
the  Prussian  siege  could  induce  the  then  more 
than  octogenarian- to  desert  his  beloved  city.    Al- 
though destined  by  his  father  for 'a  commercial 
career,  young  Auber  began^  evince  his  talent  for 
music  at  a  very  early  period.    At  the  age  of  eleven 
,  he  wrote  a  number  of  ballads -and  'BomanoeSy* 
much  en  vogue  wnongst  the  elegant  ladies  of 
the  Directoire;  one'«f  them  called  'Bonjour'  is 
said  to  have  been* very  popular  «t  the  time.    A 
few  years  later  we  find  Auber  in  London,  nond- 
aally  as  commercial  derk,  but  in  reality  more 
than  ever  devoted  to' bis  art.    Here  also  his  vocal 
oompositions    are    said    to    have    met    with 
great  success  in laafaicnable  drawing-rooms;  his 
pcnonal   timidity   however — *   feature   of  his 
character  which  remained  to  him  during   his 
whole   Hfe — prevented  the    young  artist  fix)m 
reaping  the  full  benefit  of 'lus  precocious  gifts. 
In  consequence  of  the  breach  of  the  Treaty  of 
Amiens  (1804)  Auber  had  to  leave   England, 
and  on  his  return  to  Paris  we  hear  nothing  more 
of  his  commercial  pursuits.     Music  'had  now 
engrossed  all  his  thoughts  and  fiMsulties.    His 
dSut   as    an    instrumental  composer  was  ^ac« 
oompanied  by  somewhat  peculiar  circumstances. 
Auber  had  become  acquamted  with  Lamarre,  a 
violoncello-player  of  oonsiderable  reputation  ^and 
to  suit  the  peculiar  style  of  his  friend,  our  com- 
poser wrote  several  concertos  for  his  instrument^ 
which  originally  appeared  under  Lamarre*s  name, 
but  the  real  authonhip  of  which  soon  transpired. 
The  reputation  thus  acquired  Auber  increased 
by  a  violin-concerto  written  ibr  and  first  played 
by    Mazas  at  ^e    Conservatoire    with  signal 
success;  it  has  since  been  introduced  here  by 
M.  Sainton.    His  first  attempt  at  dramatic  com- 
position was  of  <•  very  modest  kind.    It  consisted 
IB  the  re-setting  of  an  old  opera-libretto  called 
'Julie*  for  a  society  of  amateurs  (in  181 1  or  12). 
The  orchestra  was  composed  of  two  violinB,  two 
violas,   violoncello,  and  doul^e-bass.     The  re- 
oeption  of  the  piece  was  favourable.    Cherubini, 
the  ruler  of  the  operatic  stage  at  that  time,  was 
amongst  the  ««udienoe,  and  recognising  at  once 
the  powerful  though  untrained  genius  of  the 
young  compeser,  he  offered  to  superintend  his 
further    studies.     To   the    instruction    of  this 
great  composer  Auber  owed  his  mastery  over  the 
technical  difficulties  of  his  art.     As  his  next 
work,  we  mexition.a  mass  written  for  the  private 
chapel  of  the  Prince  de  Ghimay,  from  which  the 
beautiful  a  eapeUa  prayer  in  'Masaniello*  is 
taken.  His  first  opera. publicly  performed  was ' Le 
S^jour  militaire,'  and  was  played  in  1813  at  the 
Th^dtre  Feydeau.     Its  reception  was  anything 
but  fiivouiable,   and    so    discouraged   was    the 
youthfiil  composer  by  this  unexpected  fiulure  that 
for  six  years  he  refsained  from  repeating  <the 
attempt.    His  second  opera,  'Le  Testament,  ou 
les    Billets-doux,'  brought   out    at   the   Op^ra 
Comique  in  1819,  proved  ag^  unsuccessful,  but 


Auber  was  now  too  certain  of  his  ▼oeatiai  to  lie 
silenced  by  a  momentary  disappointmenL  Et 
immediately  set  to  work  again,  and  his  not 
opera,  'La  Berg^  ch&telaufee,*  first  perfened 
in  the  following  year,  to  a  great  extent  ledfed 
his  bold  expectations  of  ultimate  auooeas.  Tts 
climax  and  duration  of  this  sucoees  were,  to  1 
great  extent^  founded  on  Auber'a  friendship  lad 
artistic  alliance  with  Scribe,  one  of  the  sot 
fertile  playwrights  and  the  most  skilful  libiet^ 
of  modem  times.  To  this  uni<m,  which  lased 
unbroken  -till  Scribe'^  death,  a  great  number  d 
both  comic  and  serious  operas  owe  their  existEKa 
not  all  equal  in-value  and  beauty,  but  all  erissbf 
in  various  degrees  the  inexhaustible  prodocsin 
power  of  thdr  joint  avtthors.  Oar  apaoe  vUl  sal 
allow  us  to  insert  a  complete  list  of  Auber'i 
numerous  dramatic  productions ;  we  muit  Iks 
ourselves  to  mentioning  those  amozigBt  his  wzb 
which  by  their  intrinsic  value  or  external  gnoe  i 
execittion  have  excited  the  particular  adnin^ 
tion  of  contemporary  audiences,  or  on  vliidi 
their  author's  claim  to  immortali^  aeeans  cfaie^ 
to  rest.  We  name  'Leicester,'  1832  (being  & 
first  of  Auber*s  operas  with  a  Hbretto  by  Scnbe; ; 
'Le  Ma^on,'  1825  (Auber's  eh^^d'ctwrt  ii 
comic  opera) ;  '  La  Muette  de  Portici*  (Maaic- 
eUo)  1828;  'Fra  Diavdlo,*  1830;  'Lertoot' 
1835;  'Le  Gheval  de  Bronxe,  1835;  'L'is- 
basradrice,*  1836;  'Le  Domino  noir,'  1S3;; 
'Les  Diamans  de  la  oouronne,*  1841;  *0i^ 
BroBchi,'  1842  ;  'Hayd^'  1847;  'li'Enfentpw- 
digue,'  '1850;  'Zerline,*  185 1  (writtai  ^ 
Madiune  Alboni);  'Manon  Leacaut,'  iSs^; 
'La  fianc^  du  Boi  des  Garbesi,'  1867;  'Le 
premier  iour  de  bonheur,*  1868 ;  and  'Le  B^ 
d'amour,  first  performed  in  December  1869  li 
the  Op^ra  Comique. 

Auber's  position  in  the  history  of  his  art  nay 
be  defined  as  that  of  the  last  great  roproaoniafaTC 
of  op^ra  comique,  a  phase  of  dramatic  music  io 
which  more  than  in  any  other  the  pecoliaritja 
of  the  French  character  have  found  their  full 
expression.  In  such  works  as  'Le  Mafon*  ^ 
'Les  Diiunans  de  la  couronnei,'  Auber  hai 
rendered  the  chevaleresque  grace,  the  Terre, 
and  amorous  sweetness  of  French  feeling  id  » 
manner  both  charming  and  essentially  natiuittL 
It  is  here  that  he  proves  himself  to  be  t^ 
legitimate  follower  of  Boieldieu  and  the  more 
than  equal  of  Herold  and  Adam.  With  ifaese 
masters  Auber  shares  the  charm  of  melodv 
founded  on  the  simple  grace  of  the  popaltf 
chanson,  the  piquancy  of  rhythm  and  the  eve 
bestowed  upon  the  distinct  enunciation  of  the 
words  characteristic  of  the  French  school.  lib 
them  also  he  is  unable  er  perhaps  unwilling  to 
divest  his  music  of  the  peculiarities  of  hii  ovQ 
national  type.  We  have  on  purpose  cited  tb^ 
'  Diamans  de  la  oouronne '  as  evincing  the  diura 
of  French  feeling,  although  the  scene  of  tlut 
opera  is  laid  in  PortugaL  like  Georse  Brown 
and  the'tribu  d'Avenel*  in  Boieldieu  s  'Duoe 
Blanche,'  Auber's  Portuguese  are  in  leilitj 
Frenchmen  in  disguise ;  a  disguise  put  on  more 
for  the  sake  of  pretty  show  than  of  actoil 


ATJBEB. 


ATTEBL 


108 


^tScB.  We  hen  reoogniie  ngaSn  tfuti 
imtlgr^«*'*y  force  of  fVenoli  coliiire  to  which 
iQ  dviliMd  natione  have  to  Mme  extent  sub- 
Ktted.  Bat  00  gieftfc  b  the  chann  of  the  natiml 
pee  tad  tnie  ffoitU  de  eceur  with  which 
Aaber  eodowe  his  crefttiona  thai  aomehow  we 
Siget  the  iaoangToiiy  of  the  mongrel  type.  In 
wripMing  Anber'a  individual  merits  wi^  those 
d  other  msflters.  of  his  sdiool,  of  Boieldiea  for 
btaoce,  we  should  say  that  he  surpasses  them 
vl  is  brilliancy  of  orchestnl  effects.  He  is, 
CB  tk  other  handy  decidedly  inferior  to  the 
liA-Be&tiaiied  compoier  as  regazds  the  structure 
tf  Ida  oonoerted  pieoes.  Auber  here  seems  to 
bfk  that  &m  grasp  which  enables  the  musiciaii, 
\j  a  distinct  grouping  of  individual  oomponents, 
to  blend  into  a  harmonious  whole  what  seems 
vsA  oontEadictoryy  yet  without  losing  hold  of 
tbe  siogie  parts  of  the  organism.  His  emembUa 
iR  tiufdbre  frequently  slight  in  eonstruction ; 
kiiit^ indeed  may  be  designated  as  essentially 
koof^unoos;  but  he  is  (perhaps  for  the  lame 
Rtm)  a  master  in  the  art  of  delineating  a 
diiuter  by  touches  of  subtlest  refinement. 

ifflongat  his  serious  operas  it  is  particularly  one 

v€d  which  perhaps  more  than  any  other  has  oon- 

tnhated  to  its  anthor^s  European  reputation,  but 

iliidi  at  the  same  time  di£kn  so  entirely  from 

Anber'a  nsuai   style,   that   wiUiout    the    most 

indobitahie  proofo  one  would  hardly  believe  it 

to  be  written  by  the  graceful  and  melodious  but 

uythisg  bat  passionately  grand  oomposer  of 

'Le  Diea  et  U  B»jad^*or   'Le  Cheval  de 

Braae.'   We  are  speaking  of  'La  Muette  de 

Pcrtki'  m  this  country  commonly  called,  after  its 

chief  hen,  'Masaniello.'    In  it  the  most  violent 

puBODi  of  excited  popular  fuiy  have  their  fullest 

nvj ;  in  it  the  heroic  feelings  of  self  •surrendering 

love  and  devotion  are  expressed  in  a  manner 

both  grand  and  original;  in  it  even  the  traditional 

f>°tt  of  the  opera  seem  to  expand  with  the 

iapetnmn  feeling  embodied  in  them.  Auber*8  style 

in  MaanifPo  is  indeed  as  different  as  can  be 

Bsagined  from  his  usual  elegant  but  somewhat 

ftigui  mode  of  utterance,  founded  on  Boieldieu 

vHh  a  atroDg  admixtuxe  of  Bossini.    Wagner, 

who  andonbtodly  is  a  good  judge  in  the  matter, 

lad  certainly  free  from  undue  partiality  in  the 

Fmch  master*B  favour,   acknowledges   in  this 

opn  'the  bold  effects  in  the  instrumentation, 

pv^calariy  in  the  treatment  of  the  strings,  the 

<^n«tic  groaping  of  the  choral  mnnnns  whidi  here 

£]r  the  first  time  take  an  important  part  in  the 

>e^  no  leas  than  original  hannonies  and  happy 

Ms»  of  drsmatic  characterisation.'    Various 

coDjectoiea  have  been  propounded  to  account  for 

^  angobr  and  never-again-attained  flight  of 

epilation.    It  has  been  said  for  instance  that 

^  BMMt  idrring  melodies  of  the  opera  are  of 

^^  Nei^tan  origin,  but  this  has  been 

«Mictedea^>haticaIly  by  the  composer  himself. 

XV  mntioa  of  the  enigma  seems  to  us  to  lie  in 

tbe  thoroogfaly  revolutionised  feeling  of  the  time 

(iB]8),  wludi  two  years  afterwards  was  to  explode 

w  eitabliabed  governments  of  France  and  other 

^''"'^^^^  This  opera  was  indeed  destined  to 


baoGime  historically  connected  with  the  popular 
movement  of  that  eventful  period.  It  is  well 
known  that  the  riots  in  Brussels  began  after  a 
perfonnanoe  of  the  'Muette  de  Portid*  (August 
35*  1830),  which  drove  the  Dutch  out  of  the 
country,  and  thus  in  a  manner  acted  the  part  of 
'  Idlliburlero.*  There  is  a  sad  significance  in  the 
fact  that  the  death  (May  15,  1871)  of  the  author 
of  this  revolutionary  inniration  was  surrounded 
aaid  indeed  partly  caused  by  the  terron  of  the 
Paris  commune. 

About  Auber*s  life  little  remains  to  be  added. 
He  received  marks  of  highest  distinction  fi^im  his 
own  and  foreign  sovereigns.  Louis  Philippe  made 
him  Director  of  the  Couwrvatoire,  and  Napoleon 
III  added  the  dignity  of  Imperial  Maltre-de- 
Chapelle.  He  however  never  acted  as  conductor, 
perhaps  owing  to  the  timidity  already  alluded  to. 
Indeed  he  never  was  present  at  the  performance 
of  his  own  works.  When  questioned  about  this 
extraordinary  oiroumstanoe,  he  is  said  to  have 
returned  the  charaoteristio  answer,  'Si  j'sssistais 
h  un  de  mes  ouviages,  je  n*^crirais  de  ma  vie  une 
note  de  musique.'  His  habits  were  genUe  and 
benevolent,  slightiy  tinged  with  epicureanism. 
He  was  a  thorough  Parisian,  and  the  b<mmot$ 
related  of  him  are  legion.  [F.  H.] 

AUBERT,  Jacques  ('le  vieux'),  an  eminent 
French  violinist  and  composer,  bom  towards  the 
end  of  the  17th  century.  He  was  violinist  in  the 
royal  band,  the  orchestra  of  the  Opera,  and  the 
Concerts  Spirituels.  In  1748  he  was  nominated 
leader  of  the  band  and  director  of  the  Due  de 
Bourbon's  private  musia  He  died  at  Belleville 
near  Paris  m  1753. 

The  catalogue  of  his  published  compositions 
contains  five  books  of  violm  sonatas  with  a  bass ; 
twelve  suites  en  trio  ;  two  books  of  concertos  for 
four  violins,  cello  and  bass ;  many  airs  and 
minuets  for  two  violins  and  bass ;  an  opera  and 
a  ballet.  All  these  works  are  of  good,  conrect 
workmanship,  and  some  movements  of  the  sonatas 
are  certainly  not  devoid  of  earnest  musical 
fueling  and  character. 

His  son  Louis,  bom  in  1730,  was  also  violiidst 
at  the  Opera  and  the  Concert  Spirituel,  and 
published  a  number  of  violin  comporitions  and 
some  ballets,  which  however  are  very  inferior 
to  his  fiither*s  works.  He  retired  frtmi  public 
actirityini77i.  [P- !>•] 

.  AUBERT,  PisBBi  Francois  OLivm,  vio- 
loncellist, born  at  Amiens  in  1763,  for  twenty- 
five  years  member  of  the  orchestra  of  the  Opera 
Comique  at  Paris.  His  chief  merit  is  having 
published  two  good  instruction  books  for  the 
violoncello  at  a  time  when  a  work  of  that  kind 
was  much  needed.  He  wrote  also  string  quar- 
tets, sonatas  and  duets  for  violoncello,  and  a 
pamphlet  entiUed  'Histoire  abr^^  de  la  musique 
andenne  et  modeme.*  [T.  P.  H.] 

AUER,  Leopold,  bom  May  38,  1845,  at 
Yescprem  in  Hungary,  an  eminent  violin-player* 
was  a  pupil  of  Dont  at  the  Yieima  Conservatorio 
and  afterwards  of  Joachim.  From  1863  to  1865 
he  was  leader  of  the  ardiestra  at  DtaeldorL 


104 


AT7EB. 


from  1866  to  1867  at  Hambm^,  and  nnoe  1868 
he  has  lived  at  St.  Petenbmg  as  Bolo-violiiiist  to 
the  court,  though  firequently  visiting  London. 

Auer  has  all  the  qualities  of  a  great  violinist-^ 
fullness  of  tone,  perfect  mastery  over  all  techni- 
cal difficulties,  and  genuine  musical  feeling.  His 
success  in  the  principal  towns  of  the  continent,  as 
well  as  in  London,  has  been  very  great.    [P.  D.] 

AUGABTEN.  The  well-known  public  garden 
on  the  Au^  or  meadow,  between  the  Danube  and 
the  Donau-Canal,  in  the  Leopoldstadt  suburb  of 
Vienna,  interesting  to  the  musician  from  its  having 
been,  like  our  own  Vauxhall  and  Ranelagh,  the 
place  of  performance— often  first  'performance — 
of  many  a  masterpiece.  It  was  dedicated  to  the 
public  by  the  Emperor  Joseph  II,  and  was  opened 
on  April  30,  1775.  At  fint  it  appears  to  have 
been  merely  a  wood;  then  a  garden — 'the 
Tuileries  garden  of  Vienna' — but  after  a  time 
a  concert-room  was  built,  and  in  1783  sunmier 
morning  concerts  were  started  by  Martin,  a 
well-known  entrepreneur  of  the  day,  in  associa- 
tion with  Mozart,  then  at  the  height  of  his 
genius.  Mozart  mentions  the  project  in  a  letter 
(May  18,  1782)  to  his  father,  and  the  first  series 
of  the  conceal  opened  on  the  26th  of  May,  under 
brilliant  patronage,  attracted  partly  by  the  novelty 
of  music  so  nearly  in  the  open  air,  by  the  beauty 
of  the  spot,  and  by  the  excellence  of  the  music 
announced.  The  enterprise  changed  hands  re- 
peatedly, until,  about  the  year  1800,  the  concerts 
were  directed  by  Schuppanzigh,  the  violin -player, 
of  Beethoven  notoriety.  They  did  not  however 
maintain  their  high  character  or  their  popularity, 
but  had  to  sufier  the  inevitable  fate  of  aU  similar 
institutions  which  aim  over  the  heads  of  those 
whom  they  wish  to  attract  In  181 3  they  were 
in  the  hands  of  the  'Hof-Traiteur*  and  Wranitzky 
the  musician.  By  1830  performers  of  eminence 
had  ceased  to  appear,  then  the  performances  in 
the  Augarten  dwindled  to  one  on  the  ist  May,  a 
great  annual  festival  with  the  Viennese ;  and  at 
length  they  ceased  altogether  in  fikvour  of  other 
spots  more  fiuhionable  or  less  remote,  and  the 
garden  reverted  to  its  original  use  as  a  mere  place 
for  walking  and  lounging.  But  its  musical  glories 
cannot  be  forgotten.  Here  Mozart  was  to  be  seen 
and  heard  in  at  least  one  series  of  concerts,  at 
each  of  which  some  great  symphony  or  concerto 
was  doubtless  heard  for  the  fii^  time ;  and  here 
Beethoven  produced  one  (if  not  more)  of  his 
masterpieces — ^the  Kreutzer  sonata,  which  was 
played  there  (May  1803)  by  Bridgetower  and 
hlniHfilf,  the  two  first  movements  being  read  from 
autograph  and  copy  dashed  down  only  just  before 
the  commencement  of  the  concert.  Besides  this, 
his  first  five  symphonies,  his  overtures,  and  three 
first  pianoforte  concertos  were  stock  pieces  in  the 
programmes  of  the  Augarten.  The  concerts  took 
place  on  Thursday  mornings,  at  the  curiously 
early  hour  of  half-past  seven,  and  even  seven. 
Mayseder,  Czemy,  Stein,  Glement,  Linke,  Mos- 
cheles,  and  many  other  great  artists  were  heard 
there.  (The  above  information  is  obtained  from 
Hanslick's  'Concertwesen  in  Wien,'  and  Bies*s 
'Notizen.')  [G.] 


AUGMENTED  INTBBVAI*. 

AUGMENTATION.  This  tetm  is  OKdtn 
express  the  appearance  of  the  subject  of  a  fa^ 
in  notes  of  double  the  original  valae,  e.g. 
crotchets  for  quavers,  minims  for  crotchete,  «tc 
and  is  thus  the  opposite  to  DiMiKunoH.  Or  i:  is 
a  kind  of  imitation,  or  canon,  where  the  nsc 
thing  takes  place.  Dr.  Benjamin  Cooke's  oeb- 
brated  canon  by  double  augmentation  (es^Ttd 
on  his  tombstone)  begins  as  follows^  and  is  per- 
haps the  best  instance  on  reocnl. 


iViM,JrrrfrhH^rfT!f-r.fr 


=^ 


TO 


A    -      - 


m 


a    » 


:^ 


izz: 


-^ 


:fc=t 


m^iK\.  JrJf^l^^    (»'.;u.^ 


▲  • 


We  subjoin  by  way  of  example  one  of  a  ample' 
kind  by  Cherubini« 


$ 


SE 


^^ 


m"     *    *  <tf 


-t-t 


X  J,  M  J 1 1 J  -ir-' .  I  r  i_& 


When  introduced  into  the  development  of  t 
fugue,  augmentation  often  produces  a  grei: 
efifect.  As  examples  we  may  cite  the  litter 
part  of  Handel's  chorus  'O  first  created  beam' 
in  'Samson*;  the  concluding  chorus  of  Dr. 
Hayes*  anthem  ^Great  is  the  Lord  * ;  Dr.  Cn<ft's 
fine  chorus  'Cry  aloud  and  shout';  Leo*8  'T^ 
es  Sacerdos*  in  F,  in  his  'Dixit  Dominus"  in  A': 
and  several  of  J.  Sebastian  Bach*8  fugues  in  his 
'Wohltemperirte  Clavier.'  The  old  Italk: 
church  composers  were  very  fond  of  intrododog 
augmentation^  especially  towards  the  end  of  & 
choral  fugue,  and  in  the  bass.  They  would  call 
it  '  La  fuga  aggravata  nel  Basso.*  Fme  examples 
are  found  in  'Amens*  by  Leo,  Bonno,  and  C^^ 
in  Novello*s  Fitzwilliam  music.        [F.  A.  G-  0.] 

AUGMENTED  INTERVAL.  An  inteml 
which  is  extended  by  the  addition  of  a  soniune 
to  its  normal  dimension.  The  following  exaznplei 
show  the  augmentations  of  intervala  oammaolj 
used: — 


AtllUUVIltM 

Unlaoii.  unlioii. 


»*J« 


$ 


•^Sf-^,^§lSSf- 


T5C 


I 


"Z5C 


W 


-m 


I 


PerfMt   Aogmented  foortli,        PofiMft 
fourth.         ,or  tritoo*.  flftk. 


I 


:;: 


X 


rJ       %rJ 


■  J    »J  I  '-  i 


$ 


Maiat      An8Bientod.or 
dnh.  ihAtpiiztti. 


T 


r^      y- 


I 


I 


[w.  p.] 


AUSWAHL. 


AVBBT. 


105 


AUSWAHL  VORZiJGLICHER  MXJSIK- 
WERKE^  a  collection  of  ancient  and  modem 
masac  in  strict  tttyle,  published  with  the  connte- 
Bance  of  the  '  Konigliche  Akademie  der  KimBte' 
of  Berlin  in  1840  (8vo.  Trautwein).  It  con- 
tains:— 

'Tu  Bes.'   GiAflB.         SSL  Do,  for  Ocf..  Bb.    AlbfMhlt- 


MMBIBMin. 

.rr.Bttch. 
CF.X. 


«;  Do.fcrFteBo.Bb.  Klnbtrser. 
la  lama.  KjTle.    Wum. 
U.f^  Ctenl,  Iflh  lUM.    J.  & 

13. 

IS.  DKLGoafrt 

14.  Knfe. 

U.  lWnelarFlaBO.DBL 
U.  Do.  t  Chain.  'Duvah 
tea.'   J.  a 

tt.  Fasoe  for  Ftaaa.  A 

SLl^far 
&  BotaCiru  fartriilMt.'  ELSdmti. 
&  r«Xbacal.'K«4iBr  Lol>.'  2elur. 
SLn«wfBrOiV.laa  PactadlML 
AKyrie.    V.BthaiMar. 

r.  D«.fiir«entaC.    Kelz. 
KBoHSiaS  'ItawFoiraK.'  FSr 


KrogaBk     'Tto    ad    dBxtflfam.' 


SLMotaCHUfHerr.'  Bomllliia. 
9B.  Fttfoe.  'Tune  laipoiMDt.'   Jo- 

BdH. 
98.  ]>o.fbr4t«tt.Aiii!n.  C—iMnn 
S7.  Pa  *Hml  M»  torlnnL'    M*r- 

oaUo. 
a&'AvcMwlft.*   Xl«ln.     • 
SBl  rotne.  for  4l«tt  in  C.  BaoDlDg. 
«D.  Da  'Tlmentlbii*.'   Vierllits. 
«!.  Ba'CtlnuBcula.'  CBl4kM. 
&  Do.  for  Of|M  (i  ntal.).   rr«i- 

eobiJdL 
Ol  *t)^watmr.'   Aatorgk 
41,  Fuifa«tta.'Cain8aaeta*  Bdit- 

lg«r. 

46.  XntnML  and  Fttfoe  for  Oif.   X. 

U.  Flaehor. 
4B.  HoCat,  'O  d'  ImiMDn.'    J.  A. 
PartL 

47.  Fugue. 'BaDclqJa.'    O.BarT«r. 

48.  Do.forPtaiw.lDr.  H.LcBogtte. 

floBM  ooplai  baT«  an  Appandli : 

Aria, '  lagaoMMa'  DnranMu 
Do.   Agntu.   J.  8.Baah. 
Duat, '  Ooehl  paccU.*   BtaflkaL 
'flalToBatliia.*    FarsoIatL 
*Onajlraoa'(TlModora).  BandcL 
Clionu  and  Air  (ImeliMD).   C.  F. 

S.Bach. 
Duet  and  Choma  Oforg«nga«m!l 


Solo  and  Chomi  (Dow)  Do. 
Aria,  'FMaSlcnora.' 
Scena  (Darldde  pan.).   Ni 
Trto, '  DominiM.   Loa 
'GratlM'and'DaittFaiar.'  F.Faa 


AUTHENTIC.  Sach  of  the  ecdesiastical 
modes  are  called  authentic  as  have  their  sounds 
comprised  within  an  octave  Irom  the  final. 
Tbey  are  as  follow,  in  order  of  the  Gregorian 
system  :— 

No.  I  Mods.  CompsM.    Ftnsl.    Domlnaot 


1 
8 

S 

7 

9 

U 


Ijdiaa 
Mixolydisn 


looian  or  lastian 


DtoD 
EtoB 
FtoF 
GtoG 
AtoA 
CtoC 


D 
B 

G 
A 
0 


A 
0 
0 
D 
B 
G 


A  mode,  or  tone,  or  scale,  must  be  made  up  of 
tbe  union  of  a  perfect  fifth  (diapente)  and  a 
perfiect  foorth  (diatessaron).  In  the  authentic 
modes  the  fifth  is  below,  and  the  fourth  above. 
Thus  in  mode  i  from  D  to  A  is  a  perfect  fifth, 
and  from  A  to  the  upper  D,  at  final,  a  perfect 
fourth.  In  mode  9,  from  A  to  £  is  a  perfect 
fifth,  and  from  £  to  the  upper  A,  or  final,  a 
p&fect  fourth,  and  so  on. 

In  all  these  the  fifths  and  fourths  are  perfect ; 
but  no  scale  or  mode  oould  be  made  upon  B  in 
canformity  with  this  theoiy,  for  from  B  to  F  is  an 
imptrfeei  fifth  and  from  F  to  tbe  upper  B  is  a 
trUone  or  pluperfect  fourth,  both  which  intervals 
are  forbidden  in  the  ancient  ecclesiastical  melody. 
This  may  serve  also  to  explain  the  iiregularity  of 
the  dominant  of  the  third  mode.  In  all  the  other 
autbentio  modes  the  fifth  note  of  the  scale  is  the 
dominant;  but  in  the  third  mode^  the  fifth  being 


B,  and  consequently  bearing  forbidden  relations 
with  F  the  fourth  below  it  and  F  the  fifth  above 
it,  B  was  not  used^  but  C  the  sixth  was  sub- 
stituted for  it  as  the  dominant.  It  is  to  be  borne 
in  mind  that  melodic  and  not  harmonie  con- 
siderations lay  at  the  foundation  of  all  these 
rules,  and  that  the  'dominant'  then  meant  the 
prevailing  or  predominant  sound  in  the  melody  of 
the  tone  or  scale.  The  prefix  hyper  (or  over)  is 
often  added  to  the  name  of  any  authentic  mode 
in  the  sense  of  upper^  to  distinguish  it  from  tbe 
corresponding  plagal  mode,  to  which  the  word 
hypo  (under  or  lower)  was  prefixed.  Thus  while 
the  authentic  Dorian  or  hyperdorian  scale  nu^ 
from  D  to  D,  its  plagal,  the  hypodorian,  began 
on  the  A  below  and  ran  to  its  octave,  the 
dominant  of  the  authentic  scale.  '£in  feste 
Buig*  and  '  Eisenach*  are  examples  of '  authentic* 
melwiies,  and  the  Old  looth  and  Croft*s  104th  of 
'plagal*  ones.     [Gbeoobian  Tonks.] 

The  meaning  of  the  term  'authentic*  is 
variously  stated.  It  is  derived  from  the  Greek 
verb  av$€vri«if,  to  rule,  to  assume  authority  over, 
as  if  the  authentic  modes  ruled  and  had  the 
superiority  over  their  respective  plagal  modes. 
They  are  also  called  autbentio  as  being  the  true 
modes  promulgated  by  the  authority  of  St. 
Ambrose;  or  as  authentically  derived  from  the 
ancient  Greek  system;  or  as  being  formed  (as 
above  stated)  of  the  perfect  diapente  (or  fifth)  in 
the  lower,  and  of  the  perfect  diateesaron  (or  fourth) 
in  the  upper  part  of  their  scales,  which  is  the 
harmonic  diviaion,  and  more  musically  authorita- 
tive than  the  arithmetical  division  which  has 
the  fourth  below  and  the  fifth  above.         [T.  H.] 

AUXCOUSTEAUX,  Abthub  d*,  bom  in 
Picardy  at  Beauvais  (Magnin)  or  St.  Quentin 
(Gomart).  His  fomily  coat  of  arms  contains 
a  pun  on  his  name;  it  is  'Azur  k  trois 
cousteaux.  d'argent  gamis  d*or.*  He  was  a 
singer  in  the  church  of  Noyon,  of  which  fact 
there  is  a  record  in  the  library  of  Amiens. 
Then  he  became  '  Maistre  de  la  Sainte  Chapelle* 
at  Paris,  and,  as  appears  finom  the  preface  to 
a  psalter  of  Godeau*s  published  bv  Pierre  le 
petit,  '  haut  contre  *  in  the  chapel  of  Louis  XIII. 
He  died  in  1656,  the  year  of  pabUcation  of  the 
psalter  just  mentioned.  He  left  many  masses 
and  dumsons,  aU  printed  by  Ballard  of  Paris. 
His  style  is  remarkably  in  advance  of  his 
contemporaries,  and  Fetis  believes  him  to  have 
studied  the  Italian  nuurters.  [F.  G.] 

AVERY,  John.  A  celebrated  organ-builder, 
who  built  a  number  of  instruments,  ranging 
between  1775  and  1808.  Nothing  whatever  is 
known  of  his  life :  he  died  in  1 808,  while  engaged 
in  finishing  the  organ  of  Carlisle  Cathedral.  The 
organs  he  is  recorded  to  have  built,  are — St. 
Stephen*s,  Coleman-street,i775 ;  Ooydondiurch, 
Surrey,  1794  (destroyed  by  fire  in  1866) ;  Win- 
chester Cathedral,  1799;  Christ  Church,  Bath, 
1800 ;  St.  Margaret*8  Church,  Westminster,  1804; 
King's  C^Uege  Clii4)el,  Cambridge,  1804  (some 
of  the  earlier  work  of  I>allam*s  oi^gan  was,  no 
doubt,  incorporated  in  this  instrument,  but  the 
case  is  the  original  one,  erected  by  Chapman 


106 


AVERY. 


and  Hartop  in  1606) ;  ^venoake  Chuzoh,  Kent» 
1798 ;  Carlisle  Cathedral,  1808.  [£.  F.  B.] 

AVISON,  Charles,  bom  at  Newcastle-upon- 
Tyne,  in  1710.  When  a  young  man  he  yiaited 
lialj  for  the  purpose  of  study,  and  after  his  re- 
turn to  England,  became  a  pupil  of  Geminiani. 
On  July  12,  1736,  he  was  appointed  organist  of 
the  church  of  Si  Nicholas,  in  his  native  town. 
In  addition  to  his  musical  attainments,  he  was  a 
scholar,  and  a  man  of  some  literaiy  acquirement 
In  175  a  he  published  the  work  by  which  he  is 
best  known,  '  An  Essay  on  Musical  Expression.* 
It  contains  some  judicious  reflections  on  the  art, 
but  the  division  of  the  modem  authors  into  classes 
ia  rather  fanciful  than  just.  Throughout  the 
whole  of  this  work  we  find  the  highest  encomiums 
on  Maroello  and  Geminiani,  frequently  to  the 
disparagement  of  HandeL  In  the  following 
year  it  was  answered  anonymously  by  Dr.  W. 
Hayes,  the  Oxford  professor,  in  a  pamphlet  en- 
titled *  Remarks  on  Mr.  Avison's  Essay  on  Mu- 
sical Expression.*  Hayes  points  out  many  errors 
against  the  rules  of  composition  in  the  works  of 
Avison ;  and  infers  from  thence  that  his  skill  in 
the  science  was  not  very  profound.  He  then 
proceeds  to  examine  the  book  itself,  and  seldom 
fails  to  establish  his  point,  and  prove  his  adver- 
sary in  the  wrong.  Before  the  conclusion  of  iJie 
same  year,  Avison  re-published  his  Essay,  with 
a  reply  to  these  Remarks,  in  which  he  was 
assisted  by  the  learned  Dr.  Jortin,  who  added 
*A  Letter  to  the  Author,  concerning  the  Music  of 
the  Andents.'  In  1757  Avison  joined  John 
Garth,  organist  of  Durham,  in  editing  an  edition 
of  MaroeUo's  Psalms,  adapted  to  E^lish  woi^ 
He  prafixed  to  the  first  volume  a  l3fe  of  Mar- 
oello, and  some  introductory  remarks. 

As  a  composer,  Avison  is  known,  if  at  all,  by 
his  concertos.  Of  these  he  published  five  sets 
for  a  full  band  of  stringed  instruments,  some 
quartets  and  trios,  and  two  sets  of  sonatas  iae  the 
harpsichord  and  two  violins — a  species  of  composi- 
tion little  known  in  England  until  bis  time.  The 
once  favourite  air,  '  Sound  the  loud  timbrel,*  is 
found  in  one  of  the  concertos.  (Geminiani  held 
his  pupil  in  high  esteem,  and  in  1 760  paid  him 
a  visit  at  Newcastle.  He  died  in  1770,  and 
was  buried  in  the  diurchyard  of  St.  Andrew 
there.  He  was  succeeded  as  organist  of  St. 
Nicholas  by  his  son  and  grandson.  The  former 
died  in  1793  ;  the  latter  in  181 6.  (Hawkins, 
Hist, ;  Eippis,  Biog,  Brit» ;  Brand,  Newccutle, 
etc.)  [E.  F.  R.] 

AVOGLIO,  S16NOBA,  was  one  of  Uiose  who 
accompanied  Handel  in  his  visit  to  Ireland,  at 
the  end  of  x  741.  In  the  newspapers  of  the  time 
she  is  called  '  an  excellent  singer,*  and  she  had 
the  honour  of  sharing  with  Mrs.  Cibber  the 
soprano  music  of  the  Messiah  at  its  first  and 
succeeding  performances  in  Dublin.  Handel, 
in  a  letter  to  Jennens,  Dec.  29,  1741,  says, — 
'Sig**  Avolio,  which  I  brought  with  me  fixnn 
London,  pleases  extraordinary.'  She  sang  again 
in  'The  Messiah,*  when  given  in  London,  after 
Handel's  return  from  Dublin,  dividing  the  so- 
prano part  with  Mrs.  Olive.    Before  Uiis  time,  i 


AYRTON. 

she  had  sung  with  success  in  the  'Allegro,  Pen- 
seroBo,  and  Moderate*;  and  she  appeared  subse- 
quently in  'Semele*  and  in  'Samson,*  1743.  In 
this  last  she  sang  the  fiunous  'Let  the  brig-ht 
Seraphim  *  at  the  Snt  performance  of  the  oratorio, 
Feb.  18.  QJ.  M.j 

AWERTIMENTO  AI  GELOSI,  UN,  an 
Italian  opera  by  Balfe — his  second — ^produced  at 
Pavia  in  1830  or  31,  chiefly  worth  notice  becanse 
of  the  (syst  that  in  it  RoKCOm  made  his  second 
public  appearance. 

AYLWARD,  Thbodohb,  Mus.  Doc,  was  bom 
in  or  about  1 730.    Of  his  early  csreer  but  Httle 
information  can  be  gleaned.   We  find  him  in  1 755 
composing  for  the  church,  and  in  1759  for  the 
theatre.    In  1769  the  Catch  Club  awarded  him 
the  prize  medal  for  his  serious  glee,  'A  cruel 
&te,   a  surprising  decision,  as  one  of  the  com- 
peting compositions  was  Arne*s  fine  glee,  '  Come 
shepherds  we*ll  follow  the  hearse.*    On  June  5, 
1 771,  Aylward  was  appointed  IVofessor  of  Music 
in  Gresham  College.    In  1 784  he  was  nominated 
one  of  the  assistant  directors  of  the  Commemo- 
ration of  Handel.  In  1 788  he  succeeded  William 
Webb  as  organist  and  master  of  the  choristers 
of  St.  George*s  Chapel,  Windsor.    On  Nov.   19, 
1791,  he  took  the  degree  of  Bachelor  of  Music 
at  Oxford,  and  two  days  afterwards  proceeded  to 
that  of  Doctor.    He  died  Feb.  27. 1801,  aged  70. 
Dr.  Aylward  published  'Six  LoSBons  for    the 
Organ,  Op.  i  * ;   '  Elegies  and  Glees,  Op.  2  * ; 
'  Six  Songs  in  Harlequin's  Invasion,  Cymbeline, 
Midsummer  Night's  Dream,'  etc. ;  and  '  Eight 
Canzonets  for  two  soprano  voices.'    Two  glees 
and  a  catch  by  him  are  included  in  Warren's 
collections,     ^s  church   music,  with   the    ex- 
ception of  two  chants,  remains  in  manuscript. 
Dr.  Aylward  is  said  (on  the  authority  of  Bowles, 
the  poet)  to  have  been  a  good  scholar,  and  pos- 
sessed of  considerable  literary  attainments.   Hay- 
ley,  the  poet,  inscribed  some  lines  to  his  memory. 
Dr.  Aylward*s   great  -  great  -  nephew,   Theodore 
Aylward,  is  now  (1876)  the  organist  of  TJandaff 
Cathedral.  [W.  H.  H.] 

AYRTON,  Edhxtitd,  Mus.  Doc.,  was  bom  at 
Ripon,  in  1 734,  and  educated  at  the  grammar 
school  there.  His  father,  a  magistrate  of  the 
borough,  intended  him  for  the  Cburch,  but  his 
strong  predilection  for  music  induced  his  fiither 
to  let  him  study  for  that  profession.  He  was 
accordingly  placed  under  Dr.  Nares,  organist  of 
York  Minster,  and  made  such  rapid  progress, 
that  at  an  early  age  he  was  elected  organist, 
auditor,  and  rector-chori  of  the  collegiate  church 
of  Southwell,  where  he  remained  many  years. 
In  1764  he  was  appointed  a  gentleman  of  the 
Chapel  RoyaL  He  was  t£ortlj  afterwards 
installed  as  a  vicar-choral  of  St.  Paul's,  and 
afterwards  became  one  of  the  lay-clerks  of 
Westminster  Abbey.  In  1 780  he  was  promoted 
by  Bishop  Lowth  to  the  office  of  Master  of 
the  children  of  His  Majesty's  chapels,  on  the 
resignation  of  Dr.  Nares.  In  1784  the  Uni- 
versity of  Cambridge  created  him  Doctor  in 
Music,  some  time  after  which  he  was  admitted 


AYBTON. 

oi  eamdem  hj  the  Uniyenity  of  Oxfetd.  Olie 
Mrthfan  by  which  he  obtained  his  degree,  'Begin 
unto  mj  God  with  timbreh^'  wm  perfocmed  in 
St  Paulas  CSathednl,  July  iB,  1784,  the  day  of 
geiiaal  thanlfRgiving  for  the  terxnination  of  the 
AmericaB  reTolntionaiy  war,  and  wai  afterwaids 
pnUiahed  in  eoore.  In  1805  he  relinqidahed  the 
mastenhip  of  the  ddldren  of  the  chapel,  having 
beat  allowed  during  many  yean  to  exeoute  the 
doyes  of  his  other  officee  hy  deputy.  He  died 
in  jSo8,  and  his  remains  were  deposited  in  the 
doistcsa  of  Westminster  Abbey.  Dr.  Ayrton's 
oontribntians  to  the  Church  consist  of  two 
ecsDplete  moming  and  evening  servioes,  and 
tegrml  anthems.  (JTms.  PeriodicaU  j  Biog.  DieL 
U.  IL  iff.)  [E.  F.  B.] 

ATRTON,  WiLLiAir,  SOB  of  the  preceding,  was 
bom  in  lioiidon  in  1777.  He  was  educated 
both  as  a  scholar  and  musician,  and  was  thus 
qualified  to  write  upon  the  art  He  mazried  a 
daoghter  of  Dr.  S.  itjnold,  which  introduced  him 
into  m.Q8ical  society,  and  he  became  a  fitthionable 
teadier.  Upon  the  death  of  Dr.  Aylward,  in 
180 1,  he  was  a  candidate  f«r  the  o£Bce  of  Greaham 
ProfesBor  of  Music,  but  was  unsucoesd'al,  on 
account  of  his  youth.  In  the  palmy  days  of  the 
'Konsing  Chronicle*  Mr.  Ayrton  was  its  hono- 
rary musical  and  literaiy  critic  from  1813  to  a6 ; 
and  he  wrote  the  reviews  of  the  Andent  Concerts 
and  Philharmonic  Society  in  the  'Examiner' 
from  1857  to  185 1,  also  gratuitously.  He  was 
a  Fellow  of  the  Boyal  and  Antiquarian  Societies^ 
and  an  original  member  of  the  Athenaeum  Club. 
He  was  one  of  the  promoten  and  members  of  the 
Pldlhsnnonic  Sode^  at  its  foundation  in  1813, 
and  subsequently  a  mrector.  More  than  once  he 
held  the  inqportant  post  of  musical  director  of  the 


B.  107 

King's  Theatre,  and  hi  that  e^»dty  had  the 
merit  of  first  introducing  Mozart^s  'Don  Gio- 
vanni* to  an  English  audience  in  1817,  and 
afterwards  others  ^  Mosart's  operas.  According 
to  a  writer  of  the  period  he  twice,  if  not  oftener, 
regenerated  that  theatre,  when  its  credit  was 
weakened  by  repeated  fidlures.  In  1823  he 
commenced,  in  conjunction  with  Mr.  Clowes 
the  printer,  the  publication  of  the  'Harmon!- 
COB,*  a  monthly  musical  periodical,  which  was 
continued  for  eleven  years.  Independently  of 
the  valuable  essays,  Ucgraphy,  and  criticism  in 
this  woric,  it  contains  a  choice  selection  of  vocal 
and  instrumental  musio.  The  writing  of  this 
journal  and  its  criticisms  upon  the  art  were 
much  in  advance  of  anything  that  had  previously 
i4>peand  in  England.  TUs  was  followed  in 
1834  by  the  'Musical  libraiy,*  a  collection  of 
voGsl  and  instrumental  musi<^  consisting  of  songs, 
duets,  glees,  and  madrigals,  and  a  sdection  of 
pianoforte  pieces  and  adi4>tations  for  that  in- 
strumenty  and  extending  to  eight  volumes.  A 
supplement  containing  biiogn4>hical  and  critical 
notices,  theatrical  news,  etc.,  was  issued  monthly, 
making  three  extra  volumes.  He  wrote  the 
musicid  articles  for  the  '  Penny  Cyclopaedia' ;  the 
chapters  on  music  in  Knight's  '  Pictorial  History 
of  rtngland*;  and  the  musical  explanations  for 
the  'Pictorial  Shakespeare.*  His  hbtest  work 
was  a  well -chosen  collection  of '  Sacred  Minstrel- 
sy,'  publiahed  by  J.  W.  Parker,  in  two  vols.  He 
died  in  1858.  {Imp.  Diet,  of  Biog. ;  PrivaU 
oourcet,)  [E.  F.  B.] 

AZOR  AND  ZEMIRA,  ob  Thb  Maoio 
ItosB,  in  three  acts;  the  English  version  of 
•Spohr's  opera  Zemihe  ukd  Azob,  produced  at 
Covent  Garden  Theatre^  April  5th,  1831, 


R 


BThe  name  of  the  seventh  degree  of  the 
natural  scale  of  C.  In  French  and  Italian 
*  it  is  called  Si,  and  in  German  H  {Ha), 
the  name  B  being  given  to  our  £b.  The  reason 
of  this  anomalous  arrangement  is  explained  in 
the  article  Aocidkiitals. 

B  is  an  important  note  in  the  history  of  the 
musical  scale,  since  its  addition  to  the  hexachord 
of  Gnido,  which  contained  only  six  notes^  trans- 
farmed  the  hexachord  at  once  into  the  modern 
scale  of  seven  sounds,  and  obviated  the  necessity 
£«-  the  so-called  mutations  or  changes  of  name 
which  were  required  whenever  the  melody  passed 
beyond  the  limits  of  the  six  notes  forming  a 
hexachord  (see  that  word).  The  date  of  the 
first  recognition  of  a  seventh  sound  in  addition 
to  the  SIX  already  belonging  to  the  hexachord  is 
imoextun,  but  Burmeister,  writing  in  1599» 
speaks  of  the  additional  note  as  nota  adventitia, 
from  which  it  would  appear  that  it  had  not  then 
oome  into  gmeral  use. 

At  the  time  when  the  necessity  for  the  intro- 
duction of  anridentals  began  to  be  felt>,-  B  was 


the  firrt  note  which  was  subjected  to  alteration,  by 
being  sung  a  semitone  lower,  and  as  it  was  con- 
sidered that  this  change  had  the  effect  of  making 
the  melody  softer  and  less  harsh,  the  altered  B 
(Bb)  was  called  B  moUe,  while  the  original  B  re- 
ceived the  name  of  B  durum.  It  should  be 
borne  in  mind  that  the  modem  German  designa- 
tions B  dur  and  B  moll  (which  answer  to  our 
B  flat  major  and  B  flat  minor)  have  nothing  to 
do  with  the  older  Latin  names,  as  the  melody 
which  contained  the  B  molle,  and  was  on  that 
account  called  cantui  mollis,  was  identical  with 
the  modem  key  of  F  major. 

It  is  on  account  of  B  having  been  the  first 
note  to  which  a  flat  was  applied  that  the  name 
of  the  flat  in  German  is  B  (idso  written  Be),  and 
that  scales  having  flat  signatures  are  caUied  B- 
Tonarten. 

Bb  is  the  key  in  which  one  of  the  clarinets  in 
use  in  the  orchestra  is  set,  and  in  which  homs» 
trumpets,  and  certain  brass  instruments  belong- 
ing to  military  bands  can  be  made  to  play  by 
arrangement  of  their  crooks. 


108 


B. 


The  letter  B,  or  col  B.  in  a  score  is  an  abbre- 
viation of  Batto,  or  col  Bclmo,  (See  also  Aoci- 
DENTALS,  Alphabet.)  [F.  T.] 

BABAN,  Gbaciait,  a  Spanish  composer,  musi- 
cal director  in  the  cathedral  of  Valencia  firom 
1650  to  1665.  His  masses  and  motets,  written 
fur  several  choirs,  are  preserved  at  Valencia. 
A  Fsahn  of  his  is  given  by  Eslaya. 

BABBINI,  Matteo,  a  celebrated  Italian 
tenor,  was  bom  at  Bologna,  1754.  He  was 
intended  for  the  practice  of  medicine ;  but,  on 
the  death  of  his  parents,  took  refuge  with  an 
aunt,  the  wife  of  a  musician  named  Cortoni.  The 
latter  instructed  him,  and  cultivated  his  voice, 
making  him  a  good  musician  and  first-rate  singer. 
His  ddbut  was  so  brilliant  that  he  was  at  once 
engaged  for  the  opera  of  Frederick  the  Great. 
After  staying  a  year  at  Berlin,  he  went  to  Bussiai, 
into  the  service  of  Catherine  II.  In  1 78 5,  he  sang 
with  success  at  Vienna ;  and  in  the  next  season  in 
London,  with  Mara,  when  he  took,  though  a 
tenor,  the  first  man's  part,  there  behig  no  male 
soprano  available.  As  far  as  method  and  know- 
ledge went,  he  was  a  very  fine  singer,  but  he  did 
not  please  the  Frnglish  cognoscenti ;  his  voice  was 
produced  with  effort,  and  was  not  strong  enough 
to  have  much  effect.  He  sang  again,  however, 
the  next  year  (1787),  and  returning  to  Italy  in 
1789,  appeared  in  Cimarosa's  'Orazi,*  and  was 
aft^wards  engaged  at  Turin.  In  179  a,  the  King 
of  Prussia  recalled  him  to  Berlin,  where  he  dis- 
tinguished himself  in  the  opera  of  'Dario.' 
During  the  next  ten  years  he  sang  at  the  prin- 
cipal Theatres  of  Italy,  and  appeared  in  1802,  at 
Bologna,  though  then  50  years  old,  in  the  *  Manlj ' 
of  Niccolini,  and  Mayer's  'Misteri  Eleusini.* 
He  now  retired  from  the  staffe  and  settled  in  his 
native  town,  where  he  lived  generally  esteemed 
and  honoured  for  the  noble  use  he  made  of  his 
riches;  and  died  Sept.  21,  181 6.  His  friend. 
Doctor  Pietro  Brighenti,  published  'Elogio  di 
Matteo  Babbini,'  Bologna,  1822.  [J.  M.] 

BACCUSI,  Ipfolito,  an  Italian  monk  and 
musical  composer  of  the  i6th  century.  The  dates 
of  his  birth  and  death  are  unknown,  but  we  find 
him  Maestro  di  Cappella  at  the  cathedral  of 
Verona  in  1590.  Scipione  Gerreto  gives  an 
indication  of  Us  exact  epoch  by  saying  that  he 
had  composed  works  previously  to  1550.  This 
statement  F^tis  disbelieves,  but  he  does  not  say 
why.  Baccusi  was  one  of  the  first  composers  who 
introduced  into  his  accompaniments  to  church 
music  instrumental  parts  in  unison  with  the 
voice,  in  order  to  support  the  singers.  The 
workjB  in  which  he  applied  this  system  are 
printed ;  the  first  is  intituled  '  Hippolyti  Baccusi, 
Eccl.  Cath.  Veronse  musics  magistri,  misssa  tres, 
tum  viva  voce  tum  omni  instrumentorum  genere 
cantatu  acoommodatissimBe,  oum  octo  vodbus, 
Anadino,  Venice,  15^6.'  The  other  is  a  volume 
containing  the  psalms  used  at  vespers,  with  two 
Magnificats.  It  has  a  frontispiece  occupied  bv 
an  analogous  inscription  oi  even  greater  lengui 
and,  if  possible,  of  even  less  elegant  latinity. 
The  rest  of  his  compositions  consist  principally 


BACH, 

of  masses,  madrigals,  mottetti,  and  psalms,  and 
were  published  for  the  most  part  during  liis 
lifetime  by  Venetians  such  as  Gardano  Vinoenti 
and  Bampazetti.  Isolated  pieces  of  his  are  foand. 
in  several  miscellaneous  publications  of  the  periods 
Perhaps  the  most  interesting  of  these  is  th&t 
contributed  by  him  to  the  volume  dedicated  l>y 
fourteen  different  Italian  composers  to  their  gx«a.t 
contemporary,  Palestrina.  [£.  H.  P.] 

BA  CH.   Though  the  name  of  Bach  is  familiar  to 
all  lovers  of  music,  it  is  not  generally  known  that  it 
was  borne  by  a  very  numerous  family  of  musicians 
who  occupied  not  merely  honourable  but  promi- 
nent places  in  the  history  of  their  art  through  a 
period  of  nearly  two  hundred  years.  In  this  family 
musical  talent  was  as  it  were  bequeathed,  and 
it  seems  almost  like  a  law  of  nature  that  the 
scattered  rays  of  the  gift  should  after  a  hundred 
years  finally  concentrate  in  the  genius  of  JoHAirzr 
Sebastian,  whose  originality,  depth,  and  force, 
exhibit  a  climax  such  as  only  a  few  great  spirits 
of  any  time  or  country  have  attained.     But  from 
this  climax  the  artistic  power  of  the  race  began 
to  diminish,  and  with  the  second  generation  after 
its  great  representative  was  entirely  extinguished. 
The  history  of  the  Bach  fiunily  is  not  only  a 
guide  towards  a  just  appredation  of  the  great- 
ness of  Sebastian,  but  it  has  an  independent 
interest  of  its  own  through  the  eminence  of  some 
of  its  individual  members.    Bom  and  bred  in  the 
Thtiringen,  the  heart  of  Grermany,  the  fanuly  for 
the  most  part  remained  there  throughout  two 
centuries ;  the  sons  of  Sebastian  being  the  first 
to  spread  to  more  distant  parts.    This  stationary 
condition,  naturally  produced  a   strong  fiaimly 
feeling.    According  to  tradition  meetings  of  all 
the  members  took  place  for  the  purpose  of  social 
intercourse  and  musical  recreation,  and  it  seems* 
that  the  brothers  often  married  sisters.     The 
Bachs  always  learned  frx>m  one  another,  for  they 
rarely  had  means  for  seeking  their  education 
elsewhere;  thus  the  artistic  sense  and  capacity 
of  the  fiimily  was,  as  we  have  said,  hereditary, 
and  by  its  undisturbed  activity  during  a  whole 
century  became  an  important  element  in  the 
development  of  Johann  Sebastian.    To  this  fiunUy 
unity  also  we  may  ascribe  the  moral  excellence 
and  cultivation  of  the  Bachs. 

Fully  to  appreciate  the  importance  of  these 
qualities  in  the  development  of  the  race,  we  must 
consider  tiiat  these  predecessors  of  Johann 
Sebastian  lived  in  the  miserable  time  of  the 
Thirty  Years'  War,  and  in  the  midst  of  the 
moral  indifferentism  and  collapse  of  intellectual 
power  which  distinguished  that  unhappy  period. 
Yet  the  house  of  Bach  exhibits  an  almost  uniform 
example  of  moral  worth  t(^ther  with  a  constant 
endeavour  after  the  highest  ideals  —  qualities 
which  are  all  the  greater  because  under  the 
circumstances  of  the  time  they  could  hardly 
meet  with  recognition  or  encouragement. 

In  course  of  time  the  towns  of  Amstadt,  Erfurt, 
and  Eisenach  became  the  centres  of  the  fiunUy ; 
there  we  find  its  most  important  representatives, 
aaid  an  uninterrupted  sequence  through  several 
generations  filling  the  same  office;  so  that,  for 


BACH. 


BACH. 


109 


instanoe,  in  Erfixrt  the  town  mnsiciuiB 
kaovn  m  'die  Badu/  even  though  there  had 
ceued  to  be  any  Bach  among  them.  Another 
proof  of  the  strong  fionily  feelii^  (and  a  yalaable 
9oan»  of  in£3nnation)  is  the  genealogy  of  the 
Bach  &mily,  begun  by  the  great  Sebastian  him- 
sd^  bat  dnefly  oompoeed  by  his  son  Carl  Philip 
EnoznieL  It  oontains  fifty-three  male  members 
qC  the  &mily,  and  gives  the  origin  and  dfttes  of 
birdi  and  deaih  of  each,  and  the  most  important 
ereats  in  Uieir  lives.    This  genealogical  table 


soon  beoame  circulated  amongst  the  &mily,  and 
a  copy  of  it  in  Emanuers  handwriting  is  to 
be  found  in  the  Boyal  library  at  Berlin.  For  an 
account  of  the  Bach-literature  see  the  article  on 

JOBAjrN  SlBASTIAN. 

The  following  table  exhibits  the  chief  members 
of  this  remarkable  family,  and  oontains  all  those 
whose  lives  are  touched  on  below.  The  same 
numeral  is  affixed  to  eaoh  in  both  genealogy  and 
biography. 


1.  Hans  Bach. 
at  Wechmar  about  156L 

S.  Teit  Bach,  1 1619. 

8.  Hans  B.  'd.  Spielmami.'  1 1826. 


1»*-7S. 


+ 


Chhstiaii. 

im-vm. 


1 

12.  Joh. 

Erfttrt, 
1645-1717. 


6.  Joh.  Chzistoph ;  BrfkH  and  Amstadt, 

161S-1661. 

I 


6.  Heinrioh,  AmtkuU, 
1616-1608. 


7.  Geors 
Christoph, 
Sehweinfurt^ 
164S-1607. 


8.  Joh. 
Christoph. 


9.  Joh. 
Ambrosius. 
Eisenach, 
1645-9S. 


h 


IS.  Jot 
Bemhard, 
Euenaeh^ 
1676-1749. 

1&  Joh.Bmstk 
Eitenaek, 

IKS-im. 


14.  Joh. 
Christoph. 
Erfurt^ 

16S6-1717. 


10.  Joh. 
Christoph, 
Ohrdrii/r, 
1871-1721. 


1 

11.  Joh. 
Sebastian, 
168&-17S0. 


S3.  wSh! 
Friedeinann« 
1710-84. 


8S.  C.  thU. 
Bmanuel, 
1714-68. 


19.  Joh. 
Michael, 
Erfurt, 
1648-04. 

20.  Maria 
Barbara. 
1684-1720. 


16.  Jot 
Christoph, 

Eisenach, 
\  164)^1706. 

17.  Joh. 
NicolauSk 

Jena, 
1669-1763. 


28.  Joh.  Christoph 
.     Friedrich, 
1732-1795. 

84.  WDhelm.  Berlin, 
1766-1J<46. 


81.  Joh.  Cnristian 
1735-88. 


The  esriiest  notices  go  back  to  the  beginning 

of  the  i6th  century,  and  mention  four  distinct 

bnochesi  of  which  the  last  only  is  of  general 

bxbeniBt*  because  it  is  that  firom  which  Johann 

Sebaatiau  is  descended.    This,  the  actual  musical 

bomch,  lived  in  Wechmar,  a  small  place  near 

Goths.     Hakb  Bach   [i],  the   eldest  of  the 

Bachs,  is  mentioned  as  a  Cremeinde'Vormund- 

iAaft^Ued  there  in  1 56 1 .    Then  comes  VxiT  [a], 

poaribly  the  son   of  the  former,   ban  between 

1550  and  60,  and  generally  considered  the  pro- 

geoitor  of  the  race.     He  is  said  to  have  been 

a  baker,  and  to  have  moyed  into  Hungary  with 

auny  other   Evangelicals  for   protection   from 

pefsecotion.    Bijt  under  the  Emperor  Rudolf  II 

the  Catholic  reaction  gave  the  Jesuits  the  upper 

bud,  sod  this  caused  Veit  to  return  home  and 

settle  at  Wechmar  as  a  baker  and  miller.    The 

geaaiogy  states  that  he  loved   and  practised 

monc;  his  chief  delight  was  in  a  'Gythringen' 

(probably  a  zither),  upon  which  he  used  to  play 

vtila  bu  miU  was  at  work.    He  died  in  1619. 

Bot  the  real  musical  ancestor  of  the  fomily  was 

Saw  [3],  the  son  of  Veit*  bom  somewhere 

^t  15S0,  and  mentioned  as  *  the  player* — ^that 

tt  to  Bay,  a  professional  musician.     He  was  also 

a  carpet-weaver,  and  is  said  to  have  been  of 

» cWfol  temperament,  full  of  wit  and  fun. 

^^  characteristics  are  alluded  to  in  a  portrait 

^^noerly  m  the  possession  of  Emanuel,  in  which 

i^w  xepreaented  as  playing  the  violin  with  a 


bell  on  his  shoulder,  while  below  is  a  shield  with 
a  fooFs  cap.  His  profession  took  him  all  over 
the  Thiiringen,  and  he  was  well  known  and 
beloved  everywhere.  He  died  i6a6,  in  the  year 
of  the  first  great  plague.  Of  Hans*s  many 
children  three  sons  deserve  mention : — 

JoHAiTNES  Bach  [4],  bom  1604,  apprenticed 
at  Suhl  to  the  '  Stadt-pfeifer/  became  organist  at 
Schweinfurt,  and  perhaps  also  temporarily  at 
Suhl.  After  an  unsetUed  life  amidst  the  tunnoil 
of  the  Thirty  Years'  War,  he  settled  at  Erfurt  in 
1635  as  director  of  the  '  Baths-Musikanten,'  and 
in  1647  became  (ffganist  in  the  church  there, 
thus  representing  both  sacred  and  secular  music. 
He  was  the  forefather  of  the  Bachs  of  Erfurt, 
and  died  there  in  1673.  Hia  sons  were  Johann 
Christian  and  Johann  ^gidius.  (See  below, 
Nos.  I  a  and  13.) 

Hkikrich  [5],  bom  161 5.  As  a  boy  showed 
a  remarkable  taste  for  organ-playing ;  to  satisfy 
which  he  would  go  off  on  Sundays  to  some 
neighbouring  town  to  hear  the  organ,  there  being 
none  at  Wechmar.  He  reoeived  his  musical 
education  from  his  fikther  and  his  elder  brother 
Johann,  probably  during  his  residence  at  Schwein- 
fiirt  and  Suhl,  and  followed  his  father  to  Erfurt. 
In  1 641  he  became  organist  at  Amstadt,  where 
he  died  in  169a,  having  filled  his  post  for  more 
than  half  a  century.  With  him  begins  the  line 
of  Amstadt  Bachs.  Besides  his  father's  great 
musical  gifts  be  inherited  his  cheerful  dispositiony 


110 


BACH. 


BACH. 


which,  coupled  with  greftt  piefy  and  goodnefls, 
enabled  him  to  overoome  the  disastroui  effects  of 
the  war,  and  ao  to  educate  his  children,  all  of 
them  more  or  less  gifted,  as  to  enable  them  to  fill 
honourable  places  in  the  history  of  music.  For 
the  life  of  Heinrich  we  have  complete  material 
in  his  funeral  sermon  by  Gottfried  Olearius  (Am- 
stadt,  1693).  In  his  sons,  Johann  Christoph 
and  JoHANN  MiCfHAKL  (see  those  names,  Nos.  16 
and  19)  the  artistic  importance  of  the  elder 
Bachs  before  Johann  Sebastian  reaches  its  cli- 
max.  In  Kitter*s  '  Orgelfreund,'  vol.  vi.  No.  14, 
there  is  an  organ  piece  on  the  chorale  'Christ 
lag  in  Todesbanden,*  which  is  ascribed  to  Hein- 
rich Bach ;  of  his  other  compositions  nothing  is 
known. 

Christoph  [6],  the  second  son,  bom  161 3,  we 
mention  last  because  he  is  the  grandfather  of 
Johann  Sebcwtian.  After  a  temporary  post  at 
the  coifrt  of  Weimar,  and  a  stay  at  Prettin  in 
Saxony,  he  settled  at  Erfurt  in  164a,  as  member 
of  the  'Baths-Musik*;  moved  from  thence  to 
Amstadt  1653-4,  and  died  there  in  1661  as 
'Stadt-Musikus'  and  *  Hof-Musikus'  to  the 
Count  of  Schwarzbuig.  Unlike  his  brother  Hein- 
rich he  occupied  himself  exdunively  with  the 
town  music — the  '  Kunst-Pfeiferthum.'  Further 
details  of  his  life  are  wanting.  His  sons 
were — 

GsoRa  Christoph  [7],  bom  1642  at  Erfurt, 
first  school-teacher,  Uien  cantor  at  Themar 
near  Meiningen,  1668  ;  twenty  years  afterwards 
removed  to  Schweinfiirt  in  the  same  capacity, 
and  died  there.  None  of  his  compositions  are 
known  to  exist. 

Johann  Christoph  [8],  and  his  twin  brother 
Johann  Amrrosius  [9],  bom  1645  at  Erfurt> 
were  so  much  alike  in  appearance  and  char- 
acter that  they  were  regarded  as  curiosities. 
After  the  early  death  of  the  father,  who  taught 
them  the  violin,  and  after  they  had  completed 
their  years  of  study  and  travel,  Johann  Chnstoph 
came  to  Amstadt  as  Hof-Musikus  to  the  Count 
of  Schwarzburg.  Disputes  with  the  Stadt- 
Mttsikus  caused  the  dismissal  of  all  the  court 
musicians,  including  Christoph,  but  he  was  after- 
wards restored  to  his  post.  He  devoted  himself 
to  the  church  music,  which  had  been  much 
neglected,  helped  his  old  unde  Heinrich  in  his 
official  work  with  the  utmost  disinterestedness, 
and  died  1693.  With  his  sons  the  musical 
activity  of  this  branch  of  the  fiimily  ceased. 
Ambrosius  was  more  importuit.  He  remained 
with  his  brother  till  1667,  when  he  entered  the 
association  of  the  Erfurt  '  Raths-Musikanten.* 
We  have  already  mentioned  that  he  was  a 
violimst,  but  his  importance  in  the  history  of 
music  is  due  to  the  fact  of  his  being  the  father 
of  Johann  Sebastian.  He  left  Erfurt  after  a  few 
years,  and  in  1671  settled  at  Eisenach,  where  he 
died  in  1695.  Of  his  numerous  children  we  need 
only  mention  the  two  sons : — 

Johann  Christoph  [10],  bom  1761.  After 
receiving  instruction  from  tiie  celebrated  oxgan- 
player  Pachelbel  in  Erfurt,  he  became  organist 
at  Ohrdruff,  and  died  in  1721.    Further  details 


about  him  will  be  found  in  the  biograpliy  of  his 
younger  brother,  the  great  Johann  Sebairtian. 
(See  the  article  on  hhn.) 

Having  thus  sketched  the  general  course  of 
the  fiunily,  we  wiU  take  its  various  members 
in  alphabetical  order,  reserving  Johann  Sebastian 
for  the  crown  of  all. 

Johann  MaiDixjfi  [12],  younger  son  of  the 
old  Johannes  of  Erfur^  bora  1645,  was  a  member 
of  the  society  directed  by  his  &ther,  became 
organist  in  St.  Michael^s  Church,  and  in  168  a 
succeeded  his  brother  Johann  Christiait  [i3]> 
as  •  Baths-Musik  director.*  He  died  at  Erfurt 
in  1 71 7.  Of  his  numerous  children  only  two 
sons  survived  him— Johann  Christoph  [14], 
bom  1685,  who  succeeded  to  the  post  of  his 
&ther — and 

Johann  Bernhard  [15],  bom  1676.    He  was 
organist  first  at  the  Kaufinann's  Church  in  Er- 
furt, then  at  Magdeburg,  and  finally  at  Eisenach, 
where,  in  1703,  he  succeeded  the  older  and  more 
fiunous  Johann  Christoph  [16].   These  appoint- 
ments, especially  the  last,  give  a  fiivourable  idea 
of  his  ability  as  an  organist  and  composer.     Of 
his  compositions  there   still   exist  preludes  on 
chorales,  as  well  as  pieces  for  klavier  and  suites 
for  orchestra  (or  '  overtures  after  the  manner  of 
Telemann,'  as  they  were  called).     The  formor 
were  in  the  collections  of  Walther,  the  lexico- 
grapher, which  are  partly  preserved  in  the  Berlin 
libraiy,  and  the  latter  amongst  the  remains  of 
Sebastian,  copied  by  himself.     Johann  Bernhard 
died  in  1749. 

Another  Johann  Bernhard,  son  of  Se- 
bastian's brother  Christoph  [10],  was  bom  in 
1700,  succeeded  his  &ther  as  organist  at  Ohr- 
druff,  and  died  in  174a. 

Johann  Christian  [13],  eldest  son  of  Johann 
of  Erfurt,  bom  1640,  was  at  first  a  member  of 
his  &ther*s  musical  society;  then  removed  to 
Eisenach,  his  younger  brother  ^gidius  taking 
his  place.  Christian  was  the  first  of  the  family 
to  go  to  Eisenach,  but  in  1668  we  find  him 
again  at  Erfurt ;  he  succeeded  his  father  in  the 
direction  of  the  musical  society,  and  died  in 
i68a.  He  was  succeeded  by  his  younger  brother 
.^gidios.  One  son,  Johann  Christoph  (1673- 
1727)  is  mentioned  as  organist  at  Gehren  (near 
Amstadt),  where  he  succeeded  the  famous 
Michael  (see  that  name,  p.  iii).  He  had 
studied  theology,  but  was  of  a  quarrelsome 
haughty  disposition,  and  had  many  conflicts  with 
his  superiors. 

Johann  Christoph  [16],  the  most  fimious 
of  this  oft-recurring  name,  and  also  the  most 
famous  of  the  older  generations,  was  the  son  of 
the  old  Heinrich  [5],  of  Amstadt,  and  was 
bom  in  1643.  He  was  a  highly  gifted  musician, 
and  through  his  own  merits  alone,  independent 
of  his  illustrious  nephew,  occupies  a  very  pro- 
minent place  in  musical  history.  His  life  was  ex- 
tremely simple.  He  was  educated  by  his  fitther, 
and  at  twenty-three  became  organist  to  the 
churehes  at  Eisenach.  Later  he  also  became 
court-organist  there,  and  died  in  1703.  Of  his 
four  sons  we  may  mention  JoHann  Nioolaus 


BACH. 

[17],  i6<5^i753.   (See  his  name,  p.  iia.)    Chria- 
tiifiiB  moral   exoellenee,  his  conatant  atriving 
after  tbe  higfaeat  ideala^  hia  induatry,  and  hia  iech- 
aical  proficiency,  give  him  the  most  prominent 
r^M»  amoogBt  Uie  elder  branch  of  the  family. 
He  was  not  only,  aa  the  old  aothoritiea  tell  na,  one 
«f  the  finest  organ-pUyera  and  greateat  oontra- 
•poB&sta  of  hie  dby,  hot  he  waa  altogether  one  of 
the  moat  important  artiata  and  oompoaera  of  the 
whole  iTtii  oentuiy.      He  waa  regarded    with 
andspnted   oonaideration  by   the   family,   and 
both  Johann  Sebaatian  and  hia  aon  I^oanuel 
lad  the  greatest  respect  for  him.     In  apite  of 
i^aa,  hia  importance  during  hia  life-time  waa  not 
mssn  widely  recogniaed,  and  after  hia  death* he 
waa  bnt  too  soon  foigotCen;  but  thia  may  be 
explained  by  tlte  oTerpowering  fiune  of  hia  great 
BBphew,  by  the  qniet,  reaerred,  aimple  nature 
of  the  man,  who  li^ed  only  for  hia  art  and  hia 
hnatj,  and  lastly  by  the  nature  of  hia  compo- 
sitiona.     Hia  few  remaining  worka  prove  him 
to  hare  been  of  a  thoroughly  independent  and 
original  nature,  which,  though  affected  by  the 
influenoes  of  the  time,  waa  ao  in  ita  own  in- 
(firidual  way.     Having  no  mapathy  with  the 
prevalent  Italian  atyle,  he  endeavoured  to  carry 
on  tile  art  in  hia  own  way,  and  therefore  to 
a  certain  degree  atood  aloof  from  hia  oontem- 
porariea.     The  leading  feature  in  the  develop- 
moit  of  the  17th  oentuiy  la  the  riae  of  in- 
■trumental  muaic, — the  atroggle  of  the  modem 
scalea   with    the   old  eoclesiaatical  modea,  the 
deTeiopment  of  homophony  with  ita  melodioua 
diaracter,  and  ita  richneae  of  bannony,  in  contra- 
diitinction  to  the  old  atrict  polyphony.    These 
chief  pointB  in  the  general  tendency  of  the  time 
are  not   wanting  in  Johann  Christoph.      Hia 
cultivated  aenae  of  form  enabled  him  to  give  hia 
eiaapoeitiona   that  fiim  and  compact  atmcture 
vhidi  waa  a  reault  of  the  new  principlea,  while 
hia  natural    muaical  feeling   aupplied  due  ez- 
prearion.    Hia  moat  important  compoaitiona  are 
hia  vocal  worka,  especially  hia  moteta ;  the  few 
that  eziat  only  increaae  our  regret  at  the  Iosr  of 
farther  proofe  of  hia  great  ability.    One  of  hia 
beat  worka  waa  a  kind  of  oratorio,  for  double 
dKrua  and  orcheatra,   called  'The  Combat  of 
Mrhael  and  the  Devil'  (Bev.  xii.  7-1  a) ;  Johann 
Sfhaatian   valued   it  very  highly,   and  had  it 
patformed  at  Leipaic,  aa  did  Emanuel  after  him 
at  Hambuiy.     ^ght  of  hia  moteta  are  given  in 
tiie  'Muaica  Sacra*  (of  the  BerUn  'Domchor') 
by  Neidhart  and  Hertzbeig;  and  othera  in  a 
eoOedaon  by  Naue  ('  Neun   Motette  .   .   von 
Jcdaon  Chnatoph  und  Johann  Michael  Bach/ 
Lopsig,  Holmeiater).    The  beat-known  of  them 
is  'Ich  laaae  dich  nicht,'  fiimiliar  in  EngUmd 
under  the  title  of  '  I  wreatle  and  pray,'  for  a 
kmg  time  attributed  to  Johann  Sebaatian  himaelf, 
and  in  feet  ao  publiahed  by  Schicht  in  hia  aiz 
moteta.    Hia  few  remaining  inatmmental  worka — 
arrangements    of  choralea,    and  variationa  for 
klavier — are  lesa  important,  owing  perhapa  to 
the  absence  of  Italian  influence,  and  were  aoon 
fcrgotten.     Gerber  waa  in  poaseaaion  of  a  MS. 
Tolome  of  oigan- music  originally  belonging  to 


BAOH. 


in 


the  Bach  femily,  oontaming  eight  pieces  by 
Johann  Chriatoph;  thia  invaluable  book  compriaed 
worka  by  all  the  celebrated  organ-maatera  from 
1680  to  1730,  but  baa  unfortunately  been  lost 
through  the  carelesaneaa  of  Gerber*a  legateea. 

JoBAiTN  Ernst  [18],  the  aon  of  JoHAinr 
Bbrhhabd,  of  Eiaenaoh,  bom  1722-77,  atudied 
law  at  the  Leipnc  Univeraity,  and  eatabliahed 
himaelf  aa  a  lawyer  at  Eiaenach.  He  waa  alao 
ao  clever  a  muaidan  aa  to  be  of  great  uae  to  his 
fether  in  hia  profeaaion.  He  waa  at  firat  appointed 
his  aaaiatant  In  1748,  and  afterwaida  auooeeded 
him  ;  he  alao  became  Capellmeister  at  the  court 
of  Weimar,  but  kept  up  hia  house  at  Eiaenach. 
Some  of  hia  vocal  piecee  are  preaerved,  and 
show  that  he  waa  auperior  to  hia  time  aa  a  oom- 
poeer  of  aacred  muaio,  which  waa  then  rapidly 
declining.  One  or  two  of  his  oompoaitiooa  for 
klavier  are  to  be  found  in  Pauer*a  '  Alte  Meister,* 
aeries  2,  bk.  5. 

JoBANV  Michael  [19],  younger  aon  of  old 
Heinrich,  and  brother  of  Johann  Chriatoph  of 
Eiaenach,  bom  in  1648.  He,  like  hia  brother,  waa 
educated  by  hia  father,  whom  he  afterwarda 
Bupported  Kod  helped  in  hia  professional  dutiea. 
In  1673  he  waa  appointed  organiat  at  Gehren 
near  Amatadt,  where  he  died  in  1694,  In  the 
prime  of  life.  He  had  alz  children,  a  boy  who 
died  early,  and  five  daughtera,  the  voungeat  of 
whom,  Maria  Barbara  [20!,  became  the  firat  wife 
of  Johann  Sebaatian,  and  died  1720.  Johann 
Michael  had  the  aame  nature  and  character  as 
hia  brother,  the  aame  aimple  pious  mind  and 
conatant  lofty  alma.  In  depth  of  intention, 
flow  of  ideaa,  he  vied  with  hia  brother,  but  the 
latter  aurpaaaed  him  in  feeling  for  form.  His 
invention  ia  remarkable,  but  form  ia  alwaya  hia 
difficulty ;  in  him  we  feel  the  want  of  certainty 
BO  characteriatio  of  that  time,  which  reaulted 
from  the  conatant  aeeking  after  new  forma ;  and 
the  defect  ia  equally  evident  in  hia  atiff  counter- 
point. We  mav  however  aasume  that  with  his 
great  gifts  Michael  would  have  developed  mora 
in  thia  direction  but  for  hia  early  death.  The 
decline  of  the  polyphonic  atyle  ia  eapecially  felt 
in  his  moteta,  becauae  he  foiled  to  build  up 
hia  movementa  in  the  definite  forma  demanded 
by  the  new  homophonic  atyle.  In  inatmmental 
muaic  he  aeema  to  have  been  more  important, 
perhapa  because  he  waa  more  acceaidble  to  the 
mfluenoe  of  Italy  than  hia  brother.  Walther 
saya  that  he  wrote  'atarke,*  that  ia  to  aay  're- 
markable' aonataa,  and  hia  piecea  were  certainly 
longer  esteemed  than  thoae  of  Johann  Chriatoph. 
In  the  oigan-book  already  mentioned  there  were 
no  leaa  than  aeventy-two  fugued  and  figured 
chorale-preludea  of  hia,  ahowing  how  much  thoae 
of  hia  compoaitiona  were  then  valued.  Of  hia 
vocal  worka,  motets,  ariaa,  and  church  piecea 
with  inatmmental  accompanimenta,  foremnnera 
of  Johann  Sebaatian'a  cantataa,  aome  are  atilT 
preaerved,  and  give  a  highly  fevourable  opinion 
of  Michaera  capacitiea.  In  the  depth  and  force 
of  hia  expreaaion  hia  relationship  with  Sebaatian 
ia  clearly  felt.  (See  the  above-mentioned  col- 
lectiona    of  Naue    and   Neidhardt).      Michael 


112 


BACH. 


BACH. 


Bach  alBO  employed  hixDBelf  in  Tniiking  instru- 
ments. 

There  is  a  younger  Johann  Michael,  bom  in 
1754  or  I755>  whose  connection  with  the  funily 
IB  not  quite  dear;  he  was  perhaps  descended 
from  the  branch  which  settled  at  Schweinfurt. 
He  became  Cantor  at  Tonna,  and  also  travelled 
to  Holland,  England,  and  even  to  America.  On 
returning  to  G^ermany  he  studied  at  Gottingen, 
and  then  established  himself  as  a  lawyer  at 
G(istrow,  in  Mecklenburg.  In  1 780  he  published 
a  book  or  pamphlet  called  '  Kurze  und  systema- 
tische  Anleitung  zum  Generalbass,*  etc. 

JoRASHf  NiooLAUS  [17],  a  son  of  the  cele- 
brated Johann  Christoph,  bom  1669,  became 
organist  of  the  town  ^nd  university  church  at 
Jena,  and  died  there  1753.  For  a  long  time  he 
was  in  the  position  of  senior  to  the  whole  &mily ; 
but  none  of  his  sons  lived,  and  thus  his  branch 
died  out  with  him.  He  was  known  as  a  composer 
of  '  suites,'  and  a  mass  by  him  in  his  own  hand- 
writing exists,  giving  a  favourable  impression  of 
his  talents  in  vocal  composition.  There  is  also  a 
comic  operetta  by  him  called  'Der  Jenaische 
Wein-  und  Bier-Rufer'  (The  wine  and  beer  crier 
of  Jena),  a  scene  from  Jena  college  life.  He 
acquired  great  reputation  in  the  manufiEU^ure  of 
instruments.  Incited,  and  perhaps  even  directed, 
by  his  unde  Johann  Midiael,  he  made  many 
improvements  in  the  construction  of  pianos,  but 
his  efforts  were  chiefly  directed  towards  estab- 
lishing equal  temperament  in  the  tuning  of  organs 
and  pianos,,  an  idea  which  at  that  time  met  with 
universal  opposition. 

JoHANir  Chbistian  [ai],  known  as  the  Milanese 
or  English  Bach,  eleventh  son  of  Johann  Se- 
bastian, and  youngest  of  those  who  survived 
their  fiither,  was  born  at  Leipsic  in  1735.  Next 
to  his  brother  Emanuel  he  is  probably  the  best 
known  amongst  the  sons  of  Sebastian,  and  the 
only  one  who  broke  through  family  traditions 
by  travelling  and  adopting  modem  feshions 
in  composition.  His  talent  was  oertainly .  very 
remarkable,  but  his  character  and  temipera- 
ment  forced  him  into  directions  very  different 
firom  those  of  his  ancient  and  honourable 
£unily.  He  was  only  fourteen  when  his  father 
died,  and  he  then  went  to  live  with  his  brother 
Emanuel  in  Berlin,  where  he  studied  pianoforte- 
playing  and  composition.  A  certain  gaiety  of 
disposition,  possibly  increased  by  his  acquaintance 
with  Italian  singers,  led  him  to  Milan,  where 
in  1754  ^  became  oiganist  of  the  cathedral. 
He  wrote  a  great  deal  of  vocal  music  in  the 
pleasant  and  somewhat  superficial  manner  of  the 
Neapolitans  then  in  vogue,  which  was  in  great 
&vourwith  singers  and  amateurs.  Inclination  and 
talent  made  him  turn  to  opera,  atid  as  he  wished 
to  devote  himself  to  it  entirely,  but  considered  it 
hardly  consistent  with  his  position  as  cathedral 
oiganist,  he  left  Milan  in  1759,  after  manying 
the  Italian  prima  donna  Cseidlia  Grassi,  and 
accepted  an  appointment  as  Director  of  Concerts 
in  London,  where  he  remained  till  his  death  in 
ijS'2.  He  was  clever,  intelligent,  aiid  genial, 
but  In  spite  of  his  easy  circumstances  he  died 


much  in  debt.  Tlie  elegance  and  briHiancy  of 
his  pianoforte  compositions  made  him  the£a vourite 
of  all  amateur  pianoforte-playeis,  and  did  much 
towards  the  general  diffusion  of  the  taste  for 
pianoforte-playing.  But  his  greatest  triumphs 
were  won  by  his  operas  ;  the  first  was  *  Orione, 
ossia  Diana  vendicata,*  1763,  and  this  was 
followed  by  many  others.  Some  of  his  sacred 
works,  however,  seem  more  important,  such  as 
Masses,  Psalms,  and  a  Te  Deum,  where  we  find 
such  edioes  of  the  hereditary  musical  spirit  of  the 
family  as  prove  that  Christian  was  still  a  member 
of  the  race.  Burney  kept  up  an  intimate  in- 
tercourse with  him  for  many  years,  and  gives  a 
detailed  account  of  him  in  Ms  'History  of  Music,* 
vol.  iv. 

JoHAmr  Chbibtoph  Friedbioh  [a  a],  called 
the  Buckeburg  Bach,  ninth  son  of  Sebastian, 
bom  at  Leipsic  in  173a.  He  at  first  studied 
jurisprudence  at  Leipsic,  but  trae  to  fiunily 
tradition  soon  forsook  the  law,  and  under  the 
direction  of  his  fiither  and  elder  brother  became 
a  thorough  musician.  He  finally  entered  the 
service  of  Count  Schaumbui^  as  Capellmeister 
at  Bdckeburg,  where  he  renuuned  tiU  his  death 
in  1795,  leaving  behind  him  the  reputation  of 
an  upright,  modest,  amiable  man.  As  a  composer 
he  was  industrious  in  all  branches,  especially  in 
oratorios  and  passion  music,  and  occasionally  in 
opera.  Hiou^  not  attaining  the  eminence  of 
his  brothers,  his  compositions  do  no  discredit  to 
the  family.  In  style  he  approaches  nearest  to 
his  brother  EmanueL  He  left  one  son^  Wilelelx 
Fbiedbioh.    (See  that  name.) 

WiL^ELX  FBUSDEiCAirN  [23],  called  the  Halle 
Bach,  eldest  of  Johann  Sebastian*s  sons,  bom 
at  Weimar  in  17 10.  In  the  opinion  of  all  his 
acquaintances  he  was  not  only  the  most  gifted 
of  the  brothers,  but  altogether  an  unusually  able 
man,  a  genius  on  whom  the  fiftther  built  great 
hopes,  and  to  whom  the  brothers  looked  for 
replacing  him.  Unhappily  he  entirely  departed 
from  the  respectable  and  honourable  ways  of  the 
Bachs.  An  obstinate  character  and  utter  moral 
recklessness  prevented  him  from  attaining  the 
eminence  which  his  youth  seemed  to  promise, 
and  his  life  exhibits  the  melancholy  spectacle  of 
a  ruined  genius.  He  was  educated  chiefly  by 
his  fiEither,  who  fully  appreciated  his  remark* 
abl^  abilities,  and  devoted  special  care  to  it; 
he  also  received  instruction  on  the  violin  from 
Graun.  He  attended  the  '  Thcmias  Schule,' 
and  afterwards  the  university  at  Leipsic,  and 
distinguished  himself  greatly  in  matnematics. 
^^  1733  ^6  became  organist  at  the  church  of 
St.  Serbia  at  Dresden,  and  in  1747  musio- 
director  and  organist  of  St.  Muy's  at  Halle. 
He  held  this  office  till  1767,  when  he  was 
obliged  to  give  it  up,  his  way  of  life  becoming 
more  and  more  disorderly  and  dissolute,  and 
making  him  careless  and  irr^;ular  in  his  duties. 
He  then  lived  without  regular  occupation  at 
Brunswick  and  Gottingen,  and  also  at  Berlin, 
where  Forkel,  his  faUier's  biographer,  looked 
after  him  with  the  greatest  devotion ;  he 
occasionally  gave  concerts  on  the  piano  or  organ, 


BACH. 


BACH. 


113 


cf  vandered  ftboat  ivith  travelling  musicians, 
htt  always  sinking  deeper  and  deeper.  Quite 
it  t^e  last  he  received  an  appointment  as  Capell- 
G£i5ta'  at  Heasen-Darmstaidt,  but  he  never  took 
±z  (lOst,  and  died  at  Berlin  in  17S4  in  a  state 
^  great  degradation  and  want.  He  was  the 
^tftiest  organ-player  of  his  time,  a  thorough 
rifter  of  the  theory  of  music,  in  which  his 
ipnarkahle  mathematical  knowledge  was  of  great 
tfrnce  to  him,  a  master  of  fugue,  and  a  famous 
QDproriaer.  Very  few  of  his  compositions  have 
Ltrea  published ;  he  only  wrote  them  down  when 
lecessity  forced  him  to.  This  shows  with  what 
Bdiisj  he  could  compose,  but  also  how  indifferent 
a  matter  it  was  to  him.  The  royal  library  at 
E^jn  possesses  a  good  many  of  his  writings, 
j^  some  have  been  printed  in  the  different 
v>  elections  of  old  pianoforte  music.  Two  noble 
Cutaaas  were  introduced  by  Madame  Arabella 
(n.ddard  at  the  Monday  Popular  Concerts,  and 
Uve  been  pabUshed  in  London. 

WlLH£LX     FrIEDBICH     EbNST     [24],    SOU     of 

ihs  Budcebnig   Bach,  and   the   last  grandson 

Gf  Sebastian.      Bom    at   Biickeburg  in   1759, 

be  vas  educated  under  his  father's  care  until 

ath  to  perform  in  public ;  he  then  accepted  an 

hvieadGQ  from  his  uncle  Christian  in  London. 

Tl^re  he  remained   some  years,  much  sought 

after  and   respected    as    a   pianoforte   teacher. 

On  his  uncle's  death  he  returned  to  Germany 

and  tetUed   at  ^linden.     On  the  accession  of 

EiBg  Frederic  William  II  of  Prussia  he  wrote 

a  'Holdignngs  cantata,'  and  was  rewarded  by 

leiog  caUed  to   Berlin  in  1790  as  'cembalist' 

t>  the  Queen,  with  the  title  of  CM>ellmeister. 

This  post  he  retained  under  Queen  Louise,  wife 

cf  Frederic  William  III,  and  after  her  death 

retired  into  private  life.     He  was  the  teacher 

of  the  royal  children,  as  he  had  been  of  Frederic 

Willjsm  III  and  his  brothers.     He.  lived  in  com* 

jkte  retirement  till  1845.    As  the  sole  and  last 

r^t^tsentative  of  the  fomilv,  he  assisted,  with  his 

^•ii  aod  two  daughters,  at  the  inauguration  of 

\h&  moQument  erected  to  the  memory  of  Johann 

Sebastian  in  front  of  the  'Thomas  Schnle'   at 

Leipdc  in  1 843  through  the  efforts  and  instigation 

^'f  Mradelfisohii.     With  him  the  descendants  of 

Joknii  Sebastian  Bach  became  extinct.      He 

Tu  a  good  pianoforte  and  violin  player,  but 

^  modesty  prevented  him  from  often  appearing, 

uid  altfaoi^i  he  wrote  much,  in  many  styles, 

^err  Httle  of  his  music  is  published. 

Cakl  Philipp  Emanuel  [25],  third  son  of 
Sebastian,  often  styled  the  Berlin  or  Hamburg 
^hj  born  at  Weimar  March  14,  1714.  His 
CEseral  precocity,  quickness,  and  openness  to  im- 
pirfrteiftns,  induced  his  father  to  bring  him  up 
t'j  Uie  study  of  philosophy.  With  this  view  he 
'Went  to  the  Thomas  School  and  afterwards  to 
^  anivosities  of  Leipsic  and  Frankfort-on-the- 
(>ier,  where  he  entered  on  the  study  of  law. 
Bat  the  thorongh  grounding  in  music  which,  as 
a  fflatter  of  coarse,  he  had  received  from  his 
father,  and  the  natural  influences  of  so  musical 
a  hooee,  had  virtually  decided  his  future.  When 
be  entered  at  Fiank^nrt  he  was  already  not  only 


a  fine  player  but  a  thorough  musician.  While 
there  he  conducted  a  singing  society,  which  gave 
him  opportunities  of  composing,  and  at  length 
he  finally  relinquished  law  for  music,  in  1737 
went  to  Berlin,  and  in  1746  obtained  the  ap- 
pointment of  Kammer-musiker  and  cembalist  at 
the  Court,  with  the  special  duty  of  accompany- 
ing Frederic  the  Great  s  flute  solos  at  the  private 
concerts.  The  Seven  Years  War  (1757)  how- 
ever  put  an  end  to  this  pleasant  position.  Bach 
migrated  to  Hambuig  and  took  the  direction  of 
the  music  in  one  of  the  churches  there.  In  1 767 
he  succeeded  Telemann,  and  this  poet  he  held  till 
his  death,  Sept.  or  Dec.  14,  1788.  As  composer, 
director,  teacher,  and  critic,  his  influence  was  veiy 
great,  and  he  was  beloved  and  respected  both  by 
his  brother  professionals  and  by  the  whole  town. 
His  goodness,  pleasant  manners,  literary  culture, 
and  great  activity  in  music,  all  combined  to  place 
him  at  the  head  of  his  father's  sons  and  scholars. 
But  when  we  remember  that  for  a  Bach  his 
musical  gifts  were  by  no  means  extraordinary — 
far  below  those  of  Friedemann,  for  example — ^it 
is  plain  that  he  stands  so  high  because  he  is 
recognised  historically  as  one  of  the  most  re* 
markable  figures  in  the  transition  period  between 
J.  S.  Bach  and  Haydn.  In  such  periods  a  man 
is  eminent  and  influential  more  from  his  general 
cultivation  than  from  proficiency  in  any  special 
branch.  At  the  particular  time  at  which  £. 
Bach  lived  there  were  no  great  men.  The 
gigantic  days  of  Handel  and  Bach  were  exchanged 
for  a  time  of  peruke  and  powder,  when  the 
highest  ideal  was  neatness,  smoothness,  and 
elegance.  Depth,  force,  originality,  were  gone, 
and  'taste'  was  the  most  important  word  in 
all  things.  But  taste  has  to  do  with  externals, 
and  therefore  lays  an  undue  stress  on  outward 
form  in  art,  and  this  was  the  direction  taken 
by  the  musical  works  which  acted  as  important 
precursors  of  the  so-called  classical  period.  No- 
where does  the  tendency  to  formal  construction 
show  itself  so  strongly  as  in  the  works  of 
Emanuel  Bach,  and  he  is  therefore  to  be  regarded 
as  the  immediate  precursor  of  Haydn.  No  doubt 
he  is  affected  and  restricted  by  the  tendencies 
of  the  time,  but  he  had  the  power  of  bringing 
them  together  and  throwing  them  into  artistic 
form,  and  therefore  his  works  are  of  greater  im- 
portance than  those  of  any  of  his  contemporaries. 
To  fonn  a  right  judgment  of  him  as  a  composer 
he  must  be  regarded  apart  from  his  father,  and 
solely  from  the  point  of  view  of  his  own  time ; 
and  when  so  judged  it  is  impossible  to  deny  that 
he  surpassed  most  of  his  contemporaries,  and  is 
of  paramount  importance  as  a  connecting  link 
between  the  periods  of  Handel  and  Bach  on  the 
one  hand  and  Haydn  and  Mozart  on  the  other. 
His  music  is  wanting  in  depth  and  earnestness, 
but  it  is  always  cheerful,  highly  finished,  often 
full  of  intelligence  and  charm  ;  and  in  regard  to 
form,  where  his  relation  to  Haydn — a  man  far 
mora  gifted  than  himself — is  most  evident,  we 
find  hun  in  possession  of  all  those  germs  which 
in  Haydn's  hands  sprang  into  such  luxuriant 
growth — the  homophonio   thematic  movement^ 


lit 


BACH. 


t  treatinent  of 


the  cyclical  BOQat&-fann.  ami 
tbe  OTcbwtnt. 

His  compoHitiona  in  ^11  department  ore  ex- 
bvordlnarily  numerouf  :  a  camplate  Uat  of  them 
viU  be  found  in  Gerber.  Historically  bis  in- 
Btrumentol  compoeitions  are  the  most  valuable, 
because  tlie  development  of  the  larger  forms  of 
ioatrumentol  inusia  is  the  great  characteristic 
of  modem  times.  His  vocal  music,  cbiefl;  for 
the  church,  is  for  the  most  part  flat  and  mo- 
notonous, B  quality  perhapi  partly  doe  to  the 
dry  and  unenthuaiHtio  ratioiioliBia  of  that  day. 
Most  importaat  of  oU  are  his  numerous  com- 
positioosftH'theclavier—iToSola pieces;  51  Con- 
certoe  with  orchestral  accompaniments ;  Sonatas, 
Trios,  etc.— in  which  he  boa  exhibited  and  de- 
veloped hla  father's  principles  of  letAniijne.  Many 
of  ^ese  pieces  have  been  republished  in  the 
various  colle::tiQii3  of  ancient  music ;  and  his 
principal  work  'Sonaten,  nebst  Rondos  uod 
freiea  Phantosiea,  fiir  Kenn-r  und  Liebhabcr' 
(6  ports,  1779-S7),  was  republished  a  ten  years 
since  by  Baumgart.  Of  his  orchestral  works, 
j8  in  number,  several  have  been  recently  re- 
issued by  fireitkopf  &  Hortel,  and  have  excited 
so  much  interest  as  to  procure  them  ■  place  in 
the  prognunmea  of  Orchestral  Concerts.  Boch'a 
vood  worits  comprise— 1  Oratorios, '  Die  Imaeliten 
in  der  Wiiste'  and  'Die  Aufeistehuna  nnd  Him- 
melbhrt  Jeau'j  a  celebrated  ■  Eeilig^  (Sanctusi 
for  »  Choirs;  'Melodien'  to  Gellert's  sacred 
songs ;  II  Poniona ;  sacred  Cantatas  ;  Singapiele ; 
secular  songe,  etc..  etc.  That  he  was  not  with- 
out ability  in  literature  is  shown  by  his  great 
work  '  VeiBueh  liber  die  wahre  Art  Klavior  lu 
spielen'  (i  parts,  i;So)  with  examples  and  18 
specimen  pieces.  Ttiis  book  deserves  notice  as 
the  fint  methodical  treatise  on  claviei^playing ; 
but  it  is  more  important  still  as  containing  the 
foundation  of  those  principles  which  were  Erst 
laid  down  by  the  great  John  Sebastian,  and  were 
afterwords  developed  by  Clementi.  Cromer,  Field, 
and  Hummel,  into  the  piancforte-playing  of  the 
present  day.  Bach  lays  tpecial  stress  on  refine- 
ment and  taste  in  exccutiun,  in  connection  with 
which  he  gives  detailed  rules  for  the  eiecutioa 
of  the  ornaments  or  '  Manieren '  then  considered 
BO  indispensatile,  and  in  this  respect,  as  the  mo«t 
complete  and  authentic  authority,  his  work  will 
alivays  poBsesH  considerable  value.  It  has  recently 
been  re-edited  (1857)  by  Sohelling.  [A.  M.] 

BACH,  JoBAHN  SsPASTiAH — 'to  whom.'  in 
Schumann's  words, '  music  owes  almost  as  great  a 
debt  aa  a  religion  owes  to  its  founder' — youngest 
son  of  Ambrosiui  Bach,  was  Ixim  at  Eisenach 
March  11,  1685.  His  life,  like  that  of  most  of 
his  family,  was  simple  and  uneventful.  His 
father  began  by  teaching  him  the  violin,  and  the 
old-establisbed  bmily  traditions  and  the  musical 
importance  of  Eisenach,  where  the  fiunons  Jo- 
hann  Christoph  was  rtill  actively  at  itfotk,  no 
doubt  assisted  his  early  development.  In  bis 
tenth  year  the  parents  both  died,  and  Sebi 


ivith 


BACH. 

began  (he  clavier,  at  the  same  time  curving  :? 
his  educatioa  at  the  Ohtdruff  'Lyceum.'    TV. 
remarkable  ^nius  of  the  boy  begu  at  odr  ^ 
show  itself.    He  could  soon  play  oU  his  lesKn  U 
heart,  and  aspired  to  more  advaocod  moiic.  Tiu 
impulse  his  brother  it  seems  did  not  encomv^ 
We  are  told  that  he  possessed  a  MS.  volome  sg. 
laining  pieces  by  Frohberger,  Pacbelbel,  KaL 
Buitehude,  and  other  celebrated  oompoaers  <J  ihc 
day.     This  book  became  an  object  of  loo;pii:  u    , 
the  young  Sebastian,  but  was  rtrictly  wilhUlJ 
from  him  by  his  brother.    Determined  neve^il^    . 
less  to  gain  possession  of  the  volume,  the  Ln 
managed  with  his  little  hands  to  get  it  thn>^-    I 
the  latdced  door  of  the  cupboard,  in  wbich  it  m 
kept,  and  at  night  secretly  copied  the  wboleofii    | 
by  moonlight,  a  woii  which  occupied   him  in 
months.     When  the  stem  brother  Mfc  last  liit- 
covered  the  trick,  he  waa  cmel  enouf^  to  1^: 
away  from  the  boy  his  han^-eamed  work. 

At  the  age  of  fifteen  (1700)  Johano  Sebsaisa  , 
entered  ^e  '  Michaelis'  school  at  Liin^an: 
hia  beautiful  soprano  voice  at  once  procurK 
him  a  place  among  the  '  Metteiuchikler,'  'Ic 
took  part  in  the  church  music,  and  in  reten 
hod  their  schooling  free.  Though  this  gavt  li= 
an  opportunity  of  becoming  aoqnointfld  withra^  ' 
music,  instrumental  music,  especially  organ  mi 

e'onoforte  playing,  was  always  his  ctdef  tSi.'-i^- 
jhm,  the  organist  of  St.  John's  at  Liinetiu:;. 
no  doubt  hod  on  inspiring  effect  upon  him,  br. 
the  vicinity  of  Hombuig  offered  a  still  griaw 
attraction  in  the  person  of  the  famous  old  Di,'A 
organist  Keinken.  In  his  holidays  B«ch  nuif; 
many  expeditions  to  Hamburg  on  foot  to  bar 
this  great  player.  Another  powerful  inoontiit  f 
his  development  was  the  ducal  '  Hof-kapellF '  u 
Celle,  which,  being  in  a  great  measure  compneJ 
of  Frenchmen,  chiefly  oooupled  i^^f  wfth  FreiKi 


three 


BACH. 

rKEiTOd  appI]cati<niB  Irom  varioot  qoftrten.  In 
1707  he  went  to  MOhlhauBen  in  the  Thuiingen, 
zsui  in  the  following  year  to  Weinijur  as  oonrt' 
crgaoist.  From  ihia  time  we  may  consider  hii 
stadtes  to  have  been  completed ;  at  Weimar  his 
fjune  as  the  first  oiganist  of  his  time  reached  its 
cl'max,  and  there  also  his  chief  organ  composi- 
tloas  were  written, — productions  unsurpassed 
and  Tmsmpaasahle.  In  1714,  when  twenty-nine 
jeazs  of  age.  Bach  was  appointed  '  Hof-Goncert* 
adster/  and  his  sphere  of  activity  became 
cpiisiderably  enlaiged.  An  interesting  event 
tack  place  at  this  time.  Bach  used  to  make 
yeariy  tours  for  the  purpose  of  giving  perform- 
wees  on  the  organ  and  clavier.  On  his  arrival 
at  Dresden  in  the  autunm  of  1717  he  found 
tbete  a  fVench  player  of  great  reputation  named 
Mtfchandy  whose  performances  completely  carried 
tw9j  his  hearers^  though  he  had  made  many 
coemies  by  his  arrogance  and  intolerance  of 
cjmp^tion.  Bach  was  induced  to  send  a  written 
csAllenge  to  the  Frenchman  for  a  regular  musical 
ojQksty  offering  to  solve  any  problem  which 
Hi  opponent  should  set  him,  of  course  on 
oadition  of  b^ng  allowed  to  reciprocate.  Mar- 
daud  agreed,  in  his  pride  pictming  to  himself 
a  glowing  victory ;  time  and  place  were  fixed 
apQs,  and  a  numerous  and  brilliant  audience 
aiseoiUed.  Bach  made  his  appearance — but  no 
Marcfaand :  he  had  ti^en  himself  off  that  very 
Boming ;  having  probably  found  an  oppor£unity 
of  hearing  his  opponent,  and  no  longer  feeling 
kbe  courage  to  measure  his  strength  with  him. 

On  his  return  from  Dresden  in  1 717  Bach  was 
ippoint^l  Kapellmeister  at  Cothen  by  Prince 
Lipoid  of  Anhalt-Cothen.  This  voimg  prince,  a 
great  lover  of  music,  ^feemed  Bach  so  Ughly  that 
he  coqid  not  bear  to  be  separated  firom  him,  and 
e?ga  made  him  acoompany  him  on  his  journeys. 
BaeJi*g  duties  consisted  merely  in  directing  the 
PriBce  8  diamber-music,  as  he  had  nothing  to 
di)  ^th  the  chordi  mumc  or  organ  -  playing. 
Accordingly  this  period  of  his  life  proved  ex- 
traordinarily fiartile  in  the  production  of  instru- 
sisital  moaic.  A  journey  to  Hamburg  in  1721 
broQght  him  Mgtiin  in  contact  with  th^  aged 
Kel]]^en;  on  t£is  occasion  he  was  a/candicUte 
f>r  the  poat  of  organist  at  the  'JtnoAi  Kirche,* 
vb«K  he  mtf  attracted  by  the  splendid  organ. 
In  spite  of  hn  great  fame,  and  ;aotwitb8tanding 
Ida  having  again  excited  thp  most  unmixed 
adnuration  by  his  organ-|^aymg  in  Hamburg, 
he  ^led  to  obtain  the  post ;  an  unknown  and 
issignificani  young  man  being  preferred  to  him, — 
pcaaibly  because  he  offered  to  pay  4000  marks 
for  the  office.  At  length,  m  1723,  Bach  was 
^ipointed  cantor  at  the  Thomia-Schule  in  Leipsic, 
ud  organist  and  director  ofXthe  music  in  the 
two  chief  churches.  Cotiien  was  no  field  for  a 
rtssi  of  hiB  geniu8»  and  the  Duke*s  love  of  music 
had  eonadembly  cooled  since  his  second  marriage. 
He  therefore  quitted  the  place  for  his  new  poet, 
tboagh  retaining  sufficient  interest  in  it  to  write 
a  funeral  ode  (Traner-Ode)  on  the  death  of  the 
Docheas  in  1727.  His  position  at  Leipsic  he 
ittained  till  the  end  of  ms  life ;  there  he  wrote 


BACH. 


115 


for  tbe  aervioes  of  the  church  his  great  Passions 
and  Cantatas,  and  his  High  mass  in  B  minor 
('7.?3)»  which  exhibit  the  power  of  his  unique 

genius  in  its  full  glory.  In  1736  he  received  the 
onorary  appointments  of  Hof-Componist  to  the 
Elector  of  Saxony,  and  Kapellmeister  to  the 
Duke  of  Weissenfels.  In  1747,  when  already 
somewhat  advanced  in  age,  he  received  an  in- 
vitation to  Berlin  to  the  court  of  Frederic  the 
Great,  where  his  son  Emanuel  held  the  post  of 
cembalist,  a  fact  which  made  the  king  desirous 
of  hearing  and  seeing  the  great  master  himself. 
Bach  accepted  the  invitation,  was  received  with 
the  utmost  resp^t  and  kindness  by  the  king  (April 
7«  1 747)Shad  to  try  all  the  Silbermann  pianofortes 
and  organs  at  Potsdam,  and  excited  the  greatest 
wonder  by  his  improvisation  on  given  and  self- 
chosen  themes.  On  his  return  to  Leipsic  he 
worked  out  the  theme  which  the  king  had  given 
him,  and  dedicated  it  to  him  under  the  title 
of  '  Musikalisches  Opfer.'  He  now  began  to 
suffer  from  hui  eyes,  and  subsequently  became 
quite  blind.  This  was  possibly  caused  bv 
excessive  straining  of  his  sight,  not  only  with 
the  enormous  number  of  his  own  compositions, 
but  also  with  copying  quantities  of  separate 
parts,  and  works  by  other  composers,  as  materials 
for  his  own  studies :  besides  Uiis  he  himself  en- 
graved more  than  one  of  his  own  pieces  on 
copper.  On  July  a8,  1 750,  his  life  was  brought 
to  an  end  by  a  fit  of  apoplexy. 

Baoh  was  twice  married  (Oct.  17,  1707,  and 
Dec.  3,  1721) ;  by  his  first  wife,  Maria  Barbara, 
the  daughter  of  Michael  Bach  of  Grehren,  he  had 
seven  children.  She  died  at  CiSthen  in  1720, 
during  her  husband's  absence  at  Karlsbad  with 
the  Prince.  Three  only  of  her  children  survived 
their  father — an  unmarried  daughter  and  two 
sons,  Wilhelm  Friedemann  and  Pnilip  Emanuel. 
His  second  wife,  Anna  Magdalena  Wttlkens, 
youngest  daughter  of  the  Weissenfels  Hof-Trom- 
peter,  had  a  musical  nature  and  a  fine  voice,  and 
showed  a  true  appreciation  for  her  husband.  She 
helped  to  encourage  a  strong  artistic  and  musical 
feeling  in  his  house,  and  besides  attracting  foreign 
artists,  exerted  a  beneficial  influence  on  the  sons, 
who  were  one  and  all  musically  gifted.  This 
marriage  produced  thirteen  more  childi-en,  nine 
sons,  of  whom  only  two  survived  the  father,  Jo- 
hann  Christoph  Friedrich  and  Johann  Christian. 

In  Johann  Sebastian  centres  the  progressive 
development  of  the  race  of  Bach,  which  had  been 
advancing  for  years ;  in  all  the  circumstances  of 
life  he  proved  himself  to  be  at  once  the  greatest 
and  the  most  typical  representative  of  the  fiunily. 
He  stood,  too,  on  the  top  step  of  the  ladder : 
with  him  the  vital  forces  of  the  race  exhaustt^d 
themselves;  and  further  power  of  development 
stopped  short. 

All  the  family  traits  and  qualities  of  the  Bachs 
to  which  we  drew  attention  in  the  introduction 
to  this  article,  and  which  were  handed  on  by 
natural  disposition  as  well  as  education  and 
tradition,  stand  out  in  Johann  Sebastian  with 

1 1  owe  this  date  to  Ur.  Cu-lrl*.  thoa^  he  hM  omitted  tO  mentloQ 
of  tlM  ooeumuoe  in  bis  Life  of  Frederick.   [Q.] 

I  2 


116 


BACH. 


BACH. 


fall  decision  and  typical  deamesa: — a  deeply 
religious  sentiment  which,  though  in  many  points 
closely  approaching  to  the  pietism  then  de- 
veloping itself,  yet  adhered  with  a  certain  naive 
severity  to  the  traditional,  orthodox,  family 
views ;  a  truly  wonderful  moral  force,  which, 
without  any  show,  embraced  the  problem  of  life 
in  its  deepest  sense ;  and  a  touching  patriarchal 
spirit,  which  was  satisfied  with  humble  cir- 
cumstances, rejoiced  in  the  blessing  of  an 
unusually  numerous  family,  and  regtuxled  the 
family  life  as  the  chief  raison  d^^tre.  With  and 
above  all  this  there  was  an  artistic  striving, 
founded  exclusivelv  on  ideal  views,  and  directed 
with  complete  self-forgetfulness  to  ideal  aims 
alone.  His  art  and  his  familv, — those  were  the 
two  poles  around  which  Bach  s  life  moved ;  out- 
wardly, simple,  modest,  insignificant ;  inwardly, 
great,  rich,  and  luxurious  in  growth  and  pro- 
duction. His  activity  Wl»  extraordinary  and 
unceasing.  Besides  his  official  duties  and  his 
actual  labour  as  a  composer,  which  in  themselves 
alone  are  astonishing,  hb  made  copies  for  himself 
of  other  composers*  works,  including  thoso  of  the 
Bach  family ;  he  sometimes  engraved  on  copper, 
and  even  occupied  himself  with  the  manufacture 
of  instruments.  He  invented  an  instrument 
between  the  violoncello  and  viola^  which  he 
called  viola  pomposa,  and  devised  a  piano  with 
catgut  strings  which  he  called  lauten-clavicym- 
balum.  At  the  same  time  he  was  a  model 
paterfamilias,  made  the  musical  education  of 
his  sons  his  especial  and  peculiar  care,  wrote 
educational  works  for  his  pupils  like  the  '  Kla- 
vierbiichlein '  for  his  son  Friedemaim,  and  the 
famous  'Kunst  der  Fuge,'  and  also  trained  a 
great  number  of  pupils  who  afterwards  them- 
selves  became  famous,  such  as  Johann  Caspar 
Vogler,  Agrioola,  Altnikol,  afterwards  his  son- 
in-law,  Marpurg,  Kimberger,  and  Ludwig 
Krebs.  Bachs  development  points  to  a  steady 
and  indefatigable  pursuit  of  a  definite  and  fixed 
aim,  guided  by  his  genius  alone.  He  had  a 
clear  insight  into  his  artistic  mission ;  developed 
himself  out  of  himself  with  a  perfect  unity  of 
purpose,  holding  aloof  from  external  influences 
in  the  field  of  art,  but  rather  drawing  them  to 
himself  and  so  appropriating  them  through  the 
power  of  his  genius  as  to  mould  them  into  a 
complete  whole.  If  in  a  measure  he  ran  counter 
to  the  continual  encroachments  of  Italian  opera, 
this  may  be  attributed  less  to  his  artistic  than  to 
his  moral  and  religious  views. 

Bach*s  importance  for  the  history  of  music 
lies  in  the  fact  that,  starting  with  instrumental 
music,  and  adhering  to  the  spirit  of  it,  he 
developed  all  forms  and  species  of  composition 
in  an  entirely  new  and  independent  manner. 
The  old  vocal  style,  which  was  founded  ex- 
clusively on  polyphony,  was  exhausted.  Bach 
created  an  entirely  new  vocal  style  based  on 
instrumental  principles,  carried  it  to  the  summit 
of  perfection,  and  uiere  left  it. 

BacVs  masterly  counterpoint  is  generally 
spoken  of  as  the  special  mark  of  his  genius ; 
fUkd  unapproachable  aa  he  is  in  this  branch,  his 


real  power  lies  less  in  the  almost  inooDcesvaHi 
facility  and  dexterity  with  which  he  maaa^ 
the  complicated  network  of  parti,  than  in  tbxi 
formal  conformation  of  the  movements  vhkk 
resulted  from  this  manner  of  writiiig';   in  tki 
he  exhibits  a  consistency,  fertility,  and  fedia| 
for  organic   completeness  which   are   tmly  is- 
imitable.     His  melody,  his  harmonj,  and  ka 
periods  all  seem  to  be  of  one  mould:    an  b- 
desteuctible    spirit    of   severe   logic     and    ca- 
alterable  conformity  to  law  pervades  the  whJt 
as  well  as  the  parts.    These  formal  prindpfei 
are  governed,  pervaded,  and  animated  from  fice 
to  last  by  the  idea  of  the  musical  oomposiks; 
so  that   the  materials,    though    in   themse^Ta 
void   of   expression,   become    imbued    with   a 
inexhaustible  depth  of  meaning,   and    prodaer 
infinite  varieties  of  form.    This  wonderful  ubsj 
of  idea  and  formal  construction  gives  the  stscn 
of  the  true  work  of  art  to  Bach  s  ooxnpositiasis, 
and  explains  the  magical  attraction  which  iher 
exert  on  those  who  make  them   their  eanes 
study.      Besides    these   less  obvious    quaHues, 
Bach* s  importance  in  the  history  of  music  shosi 
itself  in  die  immediate  influence  he  exerted  ia 
various  ways  towards  its  greater  developmesi 
He  first  settled  the  long  dispute  between  the 
old  church   modes  and   the  modem  haniKSir 
system ;  in  his  chorales  he  often  makes  ose  d 
the  £[>rmer,   but  the  harmonic  principle  is  pre> 
dominant  in  his  works,  just  as  it  still  lies  sz 
the  root  of  modem  music.    Connected  with  tkii 
was  the  'equal  temperament'  which  Bach  re- 
quired for  instruments  with  fixed   intonataco. 
He  put  this  in  practice  by  always  toning  bit 
pianos    himself,    and    moreover    embodied    bs 
artistic  creed  in  relation  to  it   in  his  &ffici3 
'  Wohltemperirte  Klavier,'  a  collection  of  pre- 
ludes and  fugues  in  all  keys.     Bach*s  influesee 
on  the  technlcalpart  of  piano-playing^  must  i^ 
be  forgotten.     T^e  fingering  wmch   was  ttiai 
customaiy,  which  hardly  made  any  use  of  tbe 
thumb,  and  very  seldom  of  the  little  finger,  vas 
inadequate  for  the  performance   of  his  wt^ks. 
But  he  stood  entirely  upon  his  own  ground,  sod 
formed  for  himself  a  new  system  of  fingenx^. 
the  main  principle  of  which  was  tbe  equal  lae 
and  development  of  all  the  fingers,  thus  lavisg 
the  foundation  of  the  modem  school;   on  tbe 
other  hand  he  laid  down  many  rules  whicL 
though  no  longer  binding,  to  a  certain  degree 
reconcrled  the   old  and  the  new   schools,  ai^i 
gave  the  whole  system  a  thoroughly  persoc^ 
stamp,  making  it  appear,  like  everything  eke  <>f 
Bach  s,  unique. 

Bach  wrote  unceamngly  in  every  form  aad 
branch,  and  the  quantity  of  his  works  is  enormo!i< 
A  tolerably  complete  catalogue  (by  Emanud  Badb 
and  Agricola)  is  given  iii<iiitzler*s  'Mosikali^rhes 
Bibliothek*  (1754),  of  which  the  followii]^  Is  a 
sunmiary : — 

I.  Vocal  Works,  Five  sets  of  Sacred  Cantstas 
(Kirchen-Cantaten)  for  every  Sunday  and  Holi- 
day in  the  year,  besides  many  single  ones,  such  aa 
'Gottes  Zeit  ist  die  beste  Zeit*;  and  others  fjr 
special  occasions,  such  as  the  'Trauer-ode*  ca 


BACH. 

t^  des&  of  tbe  Electreas  of  Saxony ;  5  Pas- 
tioas ;  tbe  Christmas  Oratorio  [in  5  parts) ;  the 
(inml  Maaa  in  B  minor,  and  4  smaller  do. ; 
Motetts  ;  a  Magnificats,  5  Sanctus,  as  also  many 
Secular  Cantatas,  including  two  comic  ones,  a 
'Bauem-GKotate'  and  a  '  Cofiee-Cantate.* 

2.  In^rununlal  Works.    A  vast  number   of 
I  iano  pieces  of  all  kinds — Inventions,  in  2  and  3 
parts;  Suites  (6  small,  called    'French  Suites,' 
izid  6   laiige    'English  Suites');   Preludes  and 
Fagtxes,   anooDgsi    them    the    '  Wohltemperirte 
Klavitf'  in  two  parts,  48  Preludes  and  Fugues 
in  all  kejB  ;  the  'Kunst  der  Fuge';  Sonatas  for 
piano  with    one  or  more  instruments,  amongst 
tikOD.  the  famous  6  Sonatas  for  Piano  and  Violm ; 
.S:>Io-eonatas  for  Violin  and  for  Violoncello ;  Solos, 
TrioB,  etCy  for  different  instruments  in  various 
combinations ;  Concertos  for  i  to  4  pianos ;  Do. 
^jt  violin  and  other  instruments  with  orchestra ; 
Orertorea- and  Suites  for   orchestra;    lastly  an 
endless  qoantity  of  organ  compositions. — Fan- 
taaaas,  Toocatas,  Preludes,  Fugues  and  arrange- 
ments of  CSiorales.     Of  this  almost  inexhaustible 
maBs  a  few  only  were  printed  during  Baches  life- 
time.    These  were — the  'Klavier-Uebung,'  or 
Oarier  practice^  a  collection  of  pieces  for  piano 
and  organ,  in  4  parts  (1731-42) ;  the  Musikal- 
isch@  Opfer/  dedicated  to  Frederic  the  Great, 
and  a  fow  ocgan  arrangements  of  chorales ;  and 
tbonly  after  his  death  the  'Art  of  Fugue'  (i  752), 
esgraved  by  Bach  himself,  and  a  collection  of 
ebonies  sheeted  by  Emanuel  Bach  from  his 
bt&a  B  Cantatas,  and  published  in  two  volumes 
(17^5-69).     These  were  afterwards  reprinted  in 
a  more  complete  form  by  Breitkopf  &  Hartel,  and 
m  1843  a  4th  edition  in  score,  specially  arranged, 
was  published  in  Leipsic  by  C.  F.  Becker.^    The 
gr»t  mass  of  Bach's  MSS.  however  lay  untouched 
and  unknown  for  many  years ;  the  vocal  works 
seem  to  have  been  more  especially  ignored.    The 
ume  immediately  following  Bach  hadno  sympathy 
ynih  the  depth  and  individuality  of  his  genius. 
IVoe,  his  pupils  and  sons  revered  him  as  a  con- 
summate and  inimitable    contrapuntist    and  a 
iQMterly  composer,  and  with  true  instinct  set 
thenaelvea  to  collect  and  copy  all  his  existing 
works  for  piano   and   oigan  which  they  could 
ivocure.     But  with  their  generation  all  real  in- 
to^st  in  this  mighty  genius  vanislied,  and  it  is 
Dot  too  mnch  to  say  that  within  forty  years  after 
Badi's  death,  his  &me,  though  still  unapproach- 
able, had    become   a  mere    historic   tradition. 
How  quickly  and  how  generally  this  was  the 
case  is  evident  from  the  foct  that  the  works  of 
his  son  Emannel  were  esteemed  at  least  as  highly 
SB  his  own,  *  and  that  even  a  man  like  Adam 
HUler,  one  of  the  most  prominent  and  influential 
moflicians  of  Bach's  school,  and  one  of  his  sue- 
cesBOTB  ss  Cantor  at  St.  Thomas',  Leipsic,  in  his 
'Lebensbeechreibnng  beruhmter  Musikgelehrten 
imdTonkunstler'  (Leipsic,  1784)  chiefly  admires 
liis  counterpoint  and  part-writing,  and  finds  his 
melodies  *  peculiar'  {wnderbar). 

I  nbfldkSaa  coatiAii  Om  Chords  vUeh  doM  ttM  orislMa«tfilloB 
>BK,breiaiiple,  BBneTi '  Prnmt  Blato,' •!&  IL  MBl 


BACH. 


117 


It  was  the  revolution  produced  by  the  com- 
posers of  the  Qlassical  period  succeeding  that  just 
mentioned  which  first  paved  the  way  back  to  the 
understanding  of  Bach;  at  the  end  of  the  i8th 
and  b^^inning  of  the  19th  centuries  the  music 
publishers  b^;an  to  recollect  the  existence  of 
these  forgotten  works.  The  'Wohltemperirte 
Klavier'  was  published  by  Kollmann  in  London 
in  1 799,  and  was  soon  followed  by  the  firms  of 
NageU  at  Zurich,  Simrock  at  Bonn,  Kiihnel 
(now  Peters)  and  Breitkopf  &  Hfirtel  in  Leipsic, 
with  a  number  of  piano  and  organ  works.  The 
six'  nnaccompanied  motets,  for  5  and  8  voices, 
edited  by  Schicht^  were  published  by  Breitkopf 
&  Hiirtel  as  early  as  1802.  s  In  i'8o9  the  per- 
formances of  Bach's  Fugues  and  Trios  by  Samuel 
Wesley  and  Benjamin  Jacob  on  the  organ  of 
Surrey  Chapel,  Jx>ndon,  (one  of  the  very  few 
pedal  organs  at  that  time  in  England.)  caused  an 
extraordinary  sensation,  which  was  followed  up 
by  the  publication  of  ^e  48  Preludes  and  Fugues 
(Birchall,  1809)  and  the  6  organ  trios,  all  by 
Wesley  apd  Horn.  But  it  was  Mendelssohn  who 
gave  the  permanent  impetus  to  the  growing 
worship  of  Bach  in  Europe  by  the  performance  * 
of  tb^e  Matthew  Passion  in  Berlin,  March  12, 
1839,  exactly  one  hundred  years  after  its  produc- 
tion. A  powerful  excitement  seized  the  musical 
world ;  people  began  to  feel  that  an  infinite 
depth  and  fulness  of  originality  united  with  a 
consummate  power  of  formal  construction  was 
lying  hidden  in  these  neglected  works.  Per- 
formances of  the  Passion  and  of  other  vocal 
music  of  Bach  took  place  in  Berlin  and  else- 
where— e.  g,  in  Breelau  bv  the  *  Sing-akademie,' 
under  Moeevius — the  editions  increased  in  num- 
ber and  began  to  include  the  vocal  works.  The 
most  important  of  these  is  that  of  Peters  (dating 
from  1837),  'Gesammt  Ausgabe  der  instrument- 
slen  Werke  Bach's,'  edited  by  Czemy,  Griepenkeri 
and  Boitsch,  with  whom  Hauptmann,  David, 
Behn,  etc.,  were  afterwards  associated.  This  edi- 
tion is  still  in  progress,  and  includes  13  volumes 
of  pianoforte  works,  13  for  pianoforte  with  ao- 
companiment,  18  for  other  instruments,  9  for 
organ;  and  an  excellent  thematic  catalogue  by 
A.  Dorffel  (1866),  specially  referring  to  this  edi- 
tion. The  same  finn  has  begun  an  edition  of 
the  vocal  work8,^d  besides  full  and  compressed 
scores  of  the  Matthew  and  John  Passions,  the 
Ciiristmas  oratorio,  the  B  minor  MasF,  and  4 
smaller  ditto,  the  6  Motets,  the  Magnificat  and 
4  Sanctus,  has  published  10  Cantatas  with  piano 
accompaniment — all  at  the  well-known  low  prices 
of  this  firm.  Mention  should  be  made  of  4  Kirch- 
engesange,  published  in  score  with  pianoforte 
arrangement  by  J.  P.  Schmidt  (Trautwein) ;  of 
'  Ein'  feste  Buig,'  and  the  1 1 7th  Psalm,  and '  Lob, 
Ehre,  Weisheit'  (8  voc.),  issued  bv  Breitkopfo, 
and  of  two  comic  Cantatas,  edited  by  Dehn  and 
published  by  Crantz — all  harbingers  of  the  edi- 
tion of  the  Bach-Gesellschaft. 

Mendelssohn  was  not  content  with  the  revival 

•  The  ard  of  tbam,  *Idk  Imm  dioh  niefat,'  b  now  known  to  tw  by 
J.  Christoph  Bach. 
«  Beo  Donieafk 'BMoItoetlona.' p.  aOL  oto^  etc 


118 


BACH. 


BACH-GESELLSCHAFT. 


of  the  Passion  music;  throiigli  his  efforts^  a 
monoment  was  erected,  In  1842,  which  perpetu- 
ates the  features  of  the  great  master  in  front  of 
the  '  Thomas  schule/  over  which  he  presided,  and 
under  the  very  windows  of  his  study.  Nor  was 
the  result  of  Mendelssohn*s  enthusiasm  to  stop 
here.  In  1850,  the  centenary  of  Bach's  death, 
the  '  Bach-GeseUschaft '  was  founded  at  Leipsic 
for  the  publication  of  his  entire  works.  This 
gave  a  real  and  powerful  impulse  to  the  worship 
of  Bach ;  the  discovery  of  the  unsuspected  trea- 
sures which  were  revealed  oven  by  the  first 
annual  volume  led  to  the  foxmdation  of  'Bach 
Societies*  all  over  Germany,  which  devote  them- 
selves to  the  performance  of  his  works,  espedallv 
the  vocal  works,  and  have  thereby  awakened  such 
on  enduring  interest  that  now  the  Cantatas,  Pas- 
sions, and  Masses  of  Bach  rank  with  Handel's 
oratorios  in  the  standing  repertoires  of  all  great 
German  choral  societies,  and  are  regarded  as 
tests  for  their  powers  of  execution.  No  doubt 
the  first  impulse  to  these  societies  was  given  by 
the  original  Bach  Society  mentioned  above.  [See 
Bach-Gesellsohaft.] 

Besides  all  these  efforts  for  diffusing  the  know- 
ledge of  Bach's  works,  we  must  mention  the 
labours  of  Bobert  Franz,  the  famous  sonff-wtiter 
at  Halle.  In  the  performance  of  Bachs  great 
vocal  works  with  instrumental  accompaniment, 
the  oigan  forms  an  essential  part,  being  necessary 
for  carrying  out  Bach's  obligate  accompaniments. 
At  concerto,  where  Bach  is  most  frequently  to 
be  heard  now,  an  organ  not  being  always  attain- 
able, Franz  devoted  himself  to  replacing  the 
organ  part  by  arranging  it  for  the  orchestral 
instrumento  now  in  use.  His  thorough  under- 
standing of  Bach's  manner  of  writing,  the  musical 
affinity  of  his  own  nature,  make  him  pre-emi- 
nently fitted  for  this  work.  A  number  of  his 
arrangements,  some  in  full  score,  some  arranged 
for  piano,  have  been  published  by  C.  F.  Leuckart 
at  Leipsic. 

Amongst  the  literature  relating  to  Bach  we 
must  first  mention  a  biography  written  by  his 
son  Emanuel  and  his  pupil  Agricola.     It  ap- 
peared   in    the    '  Musikalische  Bibliothek'    of 
Mitzler  in    1754,   and  is   especially  important 
because  it  contains  a  catalogue  of  Bach's  works 
which  may  be  considered  authentic ;  it  includes 
both    the    then  published  works  and  all    the 
MS.  works  which  could  be  discovered,  and  is 
the  chief  source  of  all  investigations  after  lost- 
MSS.      The  first  detailed  biography  of  Bach 
was  written  by  Professor  Forkel  of  Gottingen, 
'  Ueber  Bach's  Leben,  Kunst  und  -Kuntowerke,* 
2   vols.,    Leipsic,   i8oa ;    afterwards,   in  1850, 
there    appeared,   amongst  others,   Hilgenfeldt's 
'J.  S.  Biach's  Leben,  Wirken,  imd  Werke,'  4to. ; 
in  1865  'J.  S.  Bach,'  by  C.  H.  Bitter  (a  vols. 
8vo.,  Berlin),  and  in  1873  the  ist  vol.  of  Spitta's 
exhaustive  and  valuable  'J.  S.  Bach.'     The 
English  reader  will   find  a  nseful  manual  in 
Miss  Kay  Shuttleworth's  unpretendii^  'life.' 


>8MUsLaM0n.Nov.SP,»;Ang.]O.«):D6e.1142;and  » 
br  Selniinanii  snUtled  '  Xenddaohn'a  msd-Cooovt,*  in  hU ' 
UMitofiefaiUlm'aiLSBS), 


There  are  also  biographical  notices  in  Gerbe 
F^tis,  and  the  other  biographical  dictionaries 
and  monographs  by  Mosevius  on  the  *  Matthei 
Passion'  (Trautwein,  1845)  and  on  the  sacre 
cantatas  and  chorales  (Id.  1852).  In  von  Wii 
terfeld's  well-known  work,  'Der  evatngeliwch 
Kirchen  Gesang,'  there  is  frequent  reference  t 
Bach.  Mention  should  also  be  made  of  Haupi 
mann's  ' Erlauterungen *  of  the  'Art  of  Fngae 
(Peters),  and  of  the  admirable  Prefiausee  to  thi 
various  annual  volumes  of  the  Bach-Ges^schafi 

In  England  the  study  of  Bach  has  kept  paa 
with  that  in  Germany,  though  with  ■inall& 
strides.  The  performances  and  editiooB  of  We» 
ley  have  been  already  mentioned.  In  1844  01 
45  Messrs.  Coventry  and  HoUier  poblisheKl  14 
of  the  grand  organ  preludes  and  fognes  and 
two  toccatas.  These  appear  to  have  been  edited 
by  Mendelssohn.*  They  are  printed  in  3  staves, 
and  a  separate  copy  of  the  pedal  part  '  arranged 
by  Signer  Bragonetti'  (probably  at  the  instiga- 
tion of  Moschelee),  was  published  for  the 
Cello  or  Double  Bass.  About  the  same  time  Dr. 
Gauntlett  edited  some  Choruses  for  the  organ. 
In  1854  the  Bach  Sooiett  of  London  was  forme<l, 
the  results  of  which  are  given  under  that  head. 
On  April  6, 1 871,  took  place  the  first  performance 
of  the  Passion  in  Westminster  Abbey,  which  has 
now  become  an  annual  institution,  and  has  spread 
to  St.  Paul's  and  other  churches.  [A.  M.J 

BACH-G£S£LI^CHAFT.  A  G^erman  society 
formed  for  publishing  a  complete  critical  edition 
of  the  works  of  John  Sebastian  Bach,  in  an- 
nual instalments,  as  a  memorial  of  the  centenary 
of  his  death— JulyaS,  1850.  The  idea  originatetl 
with  Schumann,  Hauptmann,  Otto  Jahn,  C.  F. 
Becker,  and  the  firm  of  Breitkopf  A  Hartel ;  was 
cordially  endorsed  by  Spohr,  Liszt^  and  all  the 
other  great  musicians  of  the  day  (how  enthusi- 
astically would  Mendelssohn  have  taken  a  lead, 
had  he  been  spared  but  three  years  longer !),  and 
the  prospectus  was  issued  to  the  public  on  the  an* 
niversary  itself.    The  response  was  so  hearty  and 
immediate,  both  from  musicians  and  amateurs, 
at  home  and  abroad,  as  to  leave  no  doubt  of  the 
feasibility  of  the  proposal ;    the    society  was 
therefore  definitely  established.     Ito  affairs  were 
administered    by    a    committee    (Hauptmann, 
Becker,  Jahn,  Moscheles,  Breitkopf  &  Hartel), 
whose  headquarters  were  at  Leipsic ;  the  annual 
subscription  was  fixed  at  5  thalers,  or  159.,  and 
the  publications  are  issued  to  subscribers  only, 
so  as  to  prevent  anything  Uke  speculation.    The 
first  volume  appeared  in  December  1851,  and 
contained  a  preface  and  list  of  subscribers,  em- 
bracing crowned  heads,  nobility,  public  libraries, 
conservatoires  and  other  institutions,  and  private 
individuals.     The  total  number  of  copies  sub- 
scribed for  was  403,  which  had  increased  at  the 
last  issue  (XXII— for  1873)  to  519,  the  English 
contingent  having  risen  at  the  same  date  from 
33  to  56— or  frxim  5*7  per  cent  to  10*8  per  cent 
of  the  whole. 

«  See  fata  tottar  pilaM  In  tte  Appmdlz  to  PoOuA  'BMninlweiieM' 
CLonffmuu,  USB}.    Bomo  <tf  the  plaoei  aro  baadad  'amuiiid  bf  Men- 


1  • 


BACH-GESELIJSCHAFT. 

Tbe  principki  laid  down  for  editing  the 
Tv^omes  ai«  stated  in  the  pre&oe  to  vol.  i. 
Si  foIlowB : — ^The  original  MS.  to  be  oonsulted 
vberever  poaaiUe ;  and  alBO,  as  of  extreme  im- 
portaooe^  the  aepaiate  partly  which  are  often 
dsher  in  Bach's  own  writing  or  revised  and 
corrected  by  him,  exhibiting  notes  and  marks 
of  great  oonaequeiioe,  both  as  ooireotions  and 
as  evidence  <rf  his  practical  care  for  the 
perfonnanoe  of  his  music,  often  making  the 
separate  perts  more  valna^e  than  the  score 
haelf.  Where  sndi  originals  are  not  obtainable, 
leoomse  to  be  had  to  the  oldest  copies,  especially 
:hage  by  Bach's  own  scholars ;  or,  in  de&ult  of 
t^^ese,  ^le  eariieet  printed  editions,  particularly 
vben  iasned  dming  his  lifetime.  No  conjectoral 
readingato  beadn^tted. 

The  diaoovery  of  the  original  MSS.  is  beset 
with  difficulties.  Bach*s  MSS.,  except  a  few 
wbidi  were  in  the  hands  of  Kimbexger  and 
EitxA,  came  first  into  the  possession  of  his  sons, 
FrwdaBann  and  EmanueL  Those  entrusted  to 
Friedenuum  were  lost,  mislaid,  or  sold.  £man- 
cd,  on  the  oonteazy,  took  the  greatest  care  of 
liis»  and  left  a  catalogue  which  has  proved  of 
TTisiimal  value  to  investigators.    A  portion  of 

acquired  by  Nageh  the  pub 


BACH-OESEUSCHAFT. 


119 


lu 

luha*,  of  Zfiricfa,  but  the  principal  part  is  now 
in  the  Berlin  Imperial  Library,  ana  in  that  of 
thft  Jni»iiimgthAi<«>  fiywi«««tiw  in  fhc  samo  dtv, 

which  latter  contains  also  the  MSS.  formerly 
bdOTging  to  Kimberger  and  his  pupil  the 
Princess  Ann*  Amalia.  The  library  of  the 
Thsmas-SclKMd  at  Leipsic  omoe  contained  a  large 
aamher  of  cantatas,  both  in  score  and  parts; 
Imt  they  were  n^ected  by  Cantor  Muller 
(1801-9),  *^'^  <^  ^  death  au  but  a  very  small 
portion  had  vanished.  Thus,  although  the  bulk 
of  the  existing  autographs  is  now  to  be  found  in 
Beriin,  a  consideBable  number  remain  widely 
Kittered  in  private  ooUectious,  access  to  which 
Ir  such  prnposes  as  those  of  the  Bach-Gesell- 
idttft  is  natiuatly  attended  with  much  trouble. 

It  has  been  the  aim  of  the  editors,  by  the 
mans  jus*  indicated,  to  obtain  a  text  which 
iboald  express  the  composer's  intentions  as 
oesily  as  poaible.  Bach  volume  contains  a  pre* 
&oe,  setting  fiirth  the  sources  drawn  upon  for  the 
contents  of  the  vidnme,  and  the  critical  method 
employed  in  dealing  with  them,  with  a  host  of 
interesting  particulani  on  the  nature  and  con* 
dioon  of  the  MSS.,  on  Bach's  method  of  writing, 
on  his  efforts  to  find  the  most  perfect  expression 
far  his  ideas  (as  shown  by  the  incessant  varia* 
tioDs  in  his  numerous  copies  of  the  same  work), 
on  the  practical  execution  of  Bach's  music,  etc., 
so  that  these  prefiMses  may  really  be  said  to 
contain  the  som  of  the  present  knowledge  on 
the  subject  of  Badi  and  his  music  in  general. 
The  1st  and  and  years*  volumes  were  edited  by 
HMptmann,  the  |p:d  by  Becker,  the  4th  and  6tii 
by  Biet^  the  14th  by  KroU,  and  the  rest  by 
W.  Rust^  who  luM  shown  himself  to  the  world 
in  these  prefaces  the  accurate  indefatigable  in- 
restigatar  iHnch  his  friends  have  long  known 
him  to  he.    13ie  fiaUowiag  complete  list  of  the 


yearly  issuee'to  the  date  of  this  article  (1876) 
may  not  be  unwelcome  to  our  readers : — 

Un.   XI«T«rthTMr. 
MacnifloM  in  D, 
Four  Stuctos',  la  0.  D,  D  minor. 


un.   nnt  Tmt 
Choreh  CuitatM.   VoLl. 
L  Wl«  KhOa  iMMhtat 
S.  Aeh  Gott,  Tom  Hlnund 
S.  Aeh  tiott,  wle  DMidMft. 
4.  ChiM  !■«  In  TodertwukD. 
&  Wo  toD  leh  Italian  hlo. 
«.  Blalb'  bel  nu. 
7.  Chrirt  wmr  But, 
&LMMter    GoU, 
khUwlwiiT 
aXttatdMlIaU. 

la 


SaeoodTMr. 
Chnreh  ^irtaina    VoL  1 

11.  LolMt  Oott. 

12.  WcteflB.  Klaaen. 
UL  H«liM  Smttmr. 

14.  W&r*  Oott  niflbt  mlt  mb 
U.  Daon  da  winl  nelM  Seel*. 
UL  H«rr  Gottdleh  lobw  wlr. 
17.  WwDukoirfbrt. 

15.  OMeh  wta  dar  Rccmi. 
19l  li  Miuib  tleli  ala  sintt. 
A  OXwlffkflit,dn 


Third  Tonr. 
CkTlar  Worlm   VoL  L 
15  Invaotloni  and  U  SyaplioniM. 
Klnvlarflbnnc: 

in.L  eFttrtUUL 

PLS.  AConeertoandnnwtite. 

Ft.  a.  Ohoial-Priladai  and  4duala. 

PLi.  Alr.wlttiSOVartatloai. 
TooeatalaP|BBlnor. 
Toooatn  In  0  minor. 
Tugna  In  A  minor. 

USt.  roarUiTear. 


lUlhTaar. 
Ohnreb  Oantataa.   VoLS. 
3L  leh  batta  vial  Bakllmmankk 
SSL  JaHU  nahm  lu  ■tab. 
8S.  Du  wahrar  Gott. 
M.  Kin  onfaflrbc  GemBtha. 
&  Xa  Ul  nkhu  flwnndaa, 
9kAthiri»  flitahtlf. 
27.  War  waim,  wla  naba  mir. 
ML  Oottlobl  ntufabt. 
at.  Wlr  dankan  dlr,  GotL 
90.  FNoa  dldi.  ariena  bcbaar. 


GhriaUBMOimtorlo.  Ib4 


G. 


Mule.  VoeaL 
Phoabitt  and  Pan. 
Walebal  nor.  baCrftMa  Behattan. 
Amora  tradliora. 
ContantBHnl. 


IMa   TiMlftb  Tear. 
Moaia  from  BC  John. 


Chmth  Canfatai. 
O.  JaoahietOoci. 
oa.  lUaaba  Walt. 


VoLC 


M.  Wldantaba  doefa. 
OL  leh  I 
6fl.IabwlUdan 
ST.  Sellf  lit  dar  Mann, 
fla  Aeh  Oott.  wta 

vanlon.) 
m.  War  mtah  llabal. 
BOi  OXirigkaH.  tfndTanioa.) 


mancftiai.   (2nd 


TUilaanth  Tear. 
Batrotbal  Ouitalai. 
I>cm  Oaraobtan  man  dda  Lteht. 
Dar  Harr  dankat  an  una. 
G«tt  tat  nnaara  Xttvanichl. 


Olaflar  Woriu.   VoLL 

The  rranch  Boltaa. 
Tba  Ki^liah  Sttltak 

ronard  Oda  ea  tt» 


bf 


UB4.   Povtaanih  Tear. 
ClAriar  Worki.    YoL  8- 
Iho  wall  tamparad  Clariar, 
ptata  with  Appendix. 

TlllawithT 
Woilu 


U  rialodaa  and 
8  Tooeataa. 


SL 

a. 


96. 
87. 


SbthTw. 
kiBmlaor. 

1887.   Beranth  Tear. 
Obnreh  Cantataa.    VoLd. 
Dar  HloBmal  lacbt. 
Llabatar  JcML 
Allain  Stt  dlr,  Berr. 
O  awlgaa  Faoar. 
Gelat  and  Baala. 
Sebwlnct  fraadig  ( 
War  da  glaabau 
Ani  tiafar  Notb. 
Brtehdai 


aO.  Daxu  lat  anehlaoan. 


Ibor 


0. 


UgbthTear. 
:  hi  r.  A.  Q 


Ninth  Tear, 
loale.   Vol.1. 
8  Sonaiaa  f or  Claviar  and  >  latau 
Solta  for  Clartar  and  YloUn. 
«  Sonataa  for  ditto,  ditto. 
8  ditto  for  Clariar  and  Yloto  dl 


Sonata  for  flnta,  Vlolfai,  and  Sforad 


Ditto  far  S  VloUna  and  ditto. 

Uea   Tenth  Tear. 
Church  Cantaiat.    VoL  & 
dL  Jam,  aaa  ml  laprel^. 
«L  Am  Abend  aber  dawaJMien. 
«.  GottObrataaf. 
44.8iewardai 
4Bw  Sitatdlri 
48.  Bebaoet  doeh  and  aehal. 

47.  War  alch  lelbat  erfaAbat. 

48.  lehalenderMaoaoh. 
48l  leh  gah'  and  nefae. 
aaXvitatdaaHaiL 


8L 
08. 
fS. 
«L 

fS. 

C7. 


BIstaMith  Tear. 
Chureh  Cantataa.   VoL  7. 
Nun  koam,  dar  Ualdeu. 
lUd.  (ftMlTanlon.) 
Chrlatan,  atiat  dkaea  Tic 
Babat.  waloh'  elna  Llaba. 
Bla  warden  ana  Baba. 
Xrfraut  eoeh,  Ihr  UetMn. 
Ualt'lmGadaohtnlM. 
Abo  bat  Goct  die  Watt. 
Lobe  den  Harm. 


7& 

1887.   BaraDteenth  Tear. 
Chamber  Moala   Vol.  2. 
Oeneertoe  tor  darter  and  Orchea- 
tra:  D  minor;  K;  D;  A;  if 
minor ;  F :  O  minor. 

for  Clavier,  Fhita. 
Vk>UB,wlthOrchaetia. 


XiiMeenth  Tear. 
Chureh  Oantataa.    VuL8. 
71.  Oott  tat  main  KSnig. 
71.  Alkanur  naeh  Oottea  WOIib. 
TS.  Harr.  wta  du  wiltat. 
74.  War  mloh  llabat,  ftid  ranlon. 
TBw  Dto  Xlaoden  loUen  eamn. 
7«.  Dto  Hlmmal  araUiton. 

77.  Du  MUft  Oott. 

78.  Jean,  dor  du  melaaBaeta. 
Tk  Oott  der  Harr  tat  Boon'. 
80l  Bin'  bite  Bun. 


Nineteenth  Tear. 
Chamber  Mule.   Y0I.S. 
8  Oonoertoe  for  rarlooa  luitni- 
■anti.  with  OrefaeMim. 

una  Twentieth  Tear. 
Chureh  Cantama.   VoL  a 
81.  Jeeua  ichlift. 
n.  leh  baba 
88.  XifiiMte 


120 


BACH-GESELI^CHAFT. 


H.  Ich  bin  Tergcflgt. 
M.  Ich  bin  eln  gater  BIrt. 
88.  Wahiilch,  ich  atga  coch. 
K7.  Bbber  babt  Ihr  nichta. 
88.  Biehe,  Ich  vll]  riel  Fischer. 
H).  Wu  soil  loh  aiu  dir  maclMD. 
W.  It  raifet  each. 


8  I>rtiiiu  for  ? arfoos  tatlTltlM. 

U71.   Twenty  flnt  Yctr. 

Chamber  Music.   Vols.  4  and  & 

2  Conoertos  for  YloUn  and  Or^ 

chestra. 
]  ditto  for  8  ditto  and  ditto. 
1  Sjmpbonr  niovameat  for  Violin. 


8  Concertos  for  3  Ckrlen  and  Or- 
chestra.     

Baiter  Oratorio. 

1872.   Twenty-eecoT'd  Tear. 
(Issued  In  Vn.) 

Ghnrch  Cantatas.    VoL  IOl 
01.  Gelobet  icist  du. 
92.  Ich  bab'  In  Gottes. 
08.  "Wer  nur  den  llaban  Gott. 
M.  Was  teg'  Idi. 

96.  Christus  der  1st  meln  l4)bea 
06.  Herr  Christ,  der  eln'  p. 

97.  In  alien  melnan  Thaten. 

98.  Was  Gott  that.  das. 
92.  Ditto.  (2ad  Tf  rslon.) 
88.  Ditto.  (Srd  venlon.) 

[A.  M.J 


BACH  S0C5IETY,  THE.     This  society  waa 
instituted  in  London  in  18491  and  its  primary 
objects  are  stated  in  the  prospectus  to  be — 
(i)  the  collection  of  the  musical  compositions 
of  J.  S.  Bach,  either  printed  or  in  MS.,  and 
of  all  works   relating  to  him,   his  family,   or 
his  music;  and  (a)  the  furtherance  and  promo- 
tion of  a  general  acquaintance  with  his  music 
by  its  public  performance,     llie  original  com- 
mittee of  management  consisted  of  the  late  Sir 
W.  S.  Bennett  (chairman),  Messrs.  R.  Bamett, 
G.  CJooper,  F.  R.  Cox,  J.  H.  B.  Dando,  W.  Dor- 
rell,  W.  H.  Holmes,  E.  J.  Hopkins,  C.  E.  Horsley, 
John  HuUah,  H.  J.  Lincoln,  O.  May,  and  H. 
Smart,  with  Sir  G.  Smart  and  Mr.  Cipriani  Pot- 
ter as  auditors,  and  Dr.  Charles  Steggall  as  hon. 
secretary.    Under  the  auspices  of  the  society  the 
first  performance  in  En^^land  of  the  *  Passion  ac- 
c(*rding  to  St.  Matthew   (Grosse  Pasaions-Musik) 
took  place  at  the  Hanover  Square  Rooms  on 
April  6,  1854,   ^*  Bennett  conducting.     The 
principal  vocalists  were  Mme.  Ferrari,  Misses 
B.  Street,  Ddby,  Dianelli,  and  Freeman,  and 
Messrs.  Allen,  Walworth,  W.  Bolton,  and  Signor 
Ferrari.     Mr.  W.  Thomas  was  principal  violin, 
Mr.  Grattan  Cooke  first  oboe,  and  Mr.  E.  J. 
Hopkins  was  at  the  organ,  the  new  instrument 
by  Gray  and  Davison  being  used  on  this  occasion 
for  the  first  time.    The  English  version  of  the 
words  was  by  Miss  Helen  F.  H.  Johnston.    A 
second  performance  was  given  at  St.  Martinis 
Hall  on  March  33,  1858,  Dr.  Bennett  again  con- 
ducting.   The  audience  on  this  occasion  included 
the  late  Prince  Consort.    On  June  21,  1859,  the 
Society  gave  a   performance   of  miscellaneous 
works  by  Bach,  including  the   Concerto  in  C 
minor  for  two  pianofortes,  the  Chaconne  for  vio- 
lin (bv  Herr  Joachim),  and  the  Solo  Fugue  for 
pianoforte  in  D.    The  concert  of  1S60,  on  July 
24,  included  the  first  eleven  movements  from  the 
Mass  in  B  minor.    Three  years  later,  on  June 
13,  1861,  the  Society  gave  the  first  performance 
in  Englajid  of  'The  Christmas  Oratorio'  (Weih- 
nachts-Oratorium)  also  under  Sir  W.  S.  Bennett's 
direction.    The  Society  was  dissolved  on  March 
21,  1870,  when  the  library  was  handed  over  to 
the  Royal  Academy  of  Music.  [C.  M.] 

BACHE,  Fbanois  Edwabd,  bom  at  Birming- 
ham Sept.  14,  1833  ;  died  there  Aug.  24, 1858,  in 
his  twenty-fifth  year.  As  a  child  he  showed  very 
great  fondness  and  aptitude  for  music,  studied 
the  violin  with  Alfred  Mellon  (then  conductor  of 
the  Bizmingham  theatre),  and  in  1846  was  allowed 


BACHELOR  OF  MUSIC- 

to  play  in  the  festival  orchestn  wlaen 
sohn  conducted '  Elijah.' 

In  the  autumn  of  1849  be  left  scbool  st 
Birmingham  to  study  under  StemdsJe  Beaogct 
in  London.  His  first  overture  was  perforated  s& 
the  Adelphi  Theatre  in  Nov.  1850,  and  mh^m  a 
year  later  his  *  Three  Impromptus'  (his  first  jBa» 
piece)  came  out.  He  remained  studying  *Jsi 
Bennett,  and  during  the  latter  part  of  the  t=B& 
writing  for  Addison,  HoUier,  and  Lucas,  frts 
1849  to  53.  In  Oct.  53  he  went  to  LaafBo, 
studied  with  Hauptmann  and  Plaidy,  and  loek 
occasional  oigan  lessons  from  Schneider  at  Dv9> 
den.  He  returned  to  London  (after  a  short  viet 
to  the  opera,  'William  Tell,'  etc.,  at  Paris)  earir 
in  1855.  At  the  end  of  55  he  was  dfivea  W 
severe  illness  to  Algiers,  but  returned  to  Jjmjmc 
for  the  summer  and  autumn  of  56  ;  then  w&A  t» 
Rome  for  the  winter,  calling  on  old  Cxmy  a 
Vienna^  who  was  much  pl^ised  with  him,  and 
wrote  to  that  effect  to  Kistner.  He  reached 
England  very  ill  in  June  57,  passed  that  wiafer 
in  Torquay,  and  returned  to  Birmingham,  whic^ 
he  never  again  left,  in  April  58. 

Bache's  published  compositionB  are  namerossr 
and  include  four  mazurkas,  op.  13  ;  five  chsne- 
teristic  pieces,  op.  15  ;  Souvenirs  d'  Italie,  op.  19. 
for  piano  solo ;  andante  and  rondo  pol<Hiaiie,  ^ 
piano  and  orohestra ;  trio  for  piano  and  strings 
op.  25 ;  romance  for  piano  and  violin ;  tax  uca^ 
op.  16 ;  barcarola  Veneziana.  Also  a  oanoerto  n 
£  for  piano  and  orchestra,  and  two  operas,  *Bb- 
bezahl'  and  'Which  is  Which,*  aU  unpublished. 
With  all  their  merit,  however,  none  of  these  csa 
be  accepted  by  those  who  knew  him  as  adeqnsvi 
specimens  of  his  ability,  which  was  nnquesticc- 
ably  very  great.  His  youth,  his  impresaionsUe 
enthusiastic  character^  and  continual  ill-health 
must  all  be  considered  in  forming  a  judgment  uf 
one  who,  had  he  lived,  would  in  all  probabihsj 
have  proved  a  lasting  ornament  to  the  Fngli*^ 
school.  [G] 

BACHELOR  OF  MUSIC.  'Bachelor,'  » 
word  whose  derivation  has  been  mu<di  d^ated, 
is  the  title  of  the  inferior  degree  oorafeiTed  in 
various  faculties  by  the  Universities  of  thi» 
country.  In  Music,  as  in  Divinity  and  Mt&- 
cine,  the  degrees  given  are  those  of  Badiekr 
and  Doctor.  There  is  no  d^ree  of  Master,  as  ia 
*  Arts.'  The  letters  M.D.  and  M.B.  being  af- 
propriated  to  degrees  in  Medicine,  the  abbrevia- 
tions Mus.  D.  and  Mus.  B.  are  employed  to 
distinguish  those  in  Music.  The  degree  c4 
Bachelor  must,  in  the  ordinary  course,  precede 
that  of  Doctor;  it  is  permitted,  howevo*,  ia 
cases  of  great  merit,  and  especially  where  the 
candidate  has  obtained  a  high  reputation  in  the 
art  before  offering  himself  for  the  degree,  to  pasi 
at  once  to  the  degree  of  Doctor  of  Music  withooi 
having  previously  taken  that  of  Bachelor. 

*  Music '  was  one  of  the  so-called  seven  ai^ 
taught  in  the  monastic  schools  which  aroi»  in 
Western  Europe  under  Charlemagne  and  his  sac- 
cessors.  The  Universities,  an  expansion  of  thoe 
schools,  inherited  their  curriculum ;  and  dnrii^ 
the  Middle  Ages  the  'Ais  Musics'  was  studied. 


} 


HACHELOB  OF  MUSIC. 


BACK. 


121 


oilier  InncfhoB  of  knowledge,  in  tlie 
books  of  SoeUdu,  a  Eoman  author  of  the  6th 
r,  ^riiose  writings  f araished  the  Dark  Ages 
le  poor  shreds  of  the  science  of  the 
it  ivoild.    The  study  of  Boethius  was  a 
pedanftie   z^q)etition  of  mathematical  forms  and 
pru|Mj&  lions,  in  keeping  with  the  spirit  of  seho- 
ZasdciaBi,  and  calculated  to  retard  rather  than 
advanoe  the  progress  of  the  .art.     Althoogh  it 
was   sk   common   thing  fiar   the  scholar  in  the 
Middle   Ages  to  play  upon  an  instrument  or 
two   (see  e.g.  Chaucer's  Cleric  of  Oxenford  in 
th&   *  I*roJogue'),  it  is  probable  that  no  practi- 
cal aoqiiaxntanoe  with  music  was  originally  re- 
quixed   for  a  degnOf  but  that  the  sdiolar  had 
«ily   to    read  in  pubUo  a  certain  number   of 
'tsxx^aaem*  <Mr  disoounes  upon  Boethius,  a  cere- 
mcoT  ^rhich  held  the  place  of  examination  in  the 
Middle  Ages.     We  cannot,  however,  speak  with 
eertainty ;  for  the  earliest  mention  of  graduates 
m  music,  viz.  Thomas  Seynt  Just  and  Henry 
Habjngton  at  Cambridge,  dates  no  further  back 
ihaik  1463.     Forty  years  later  a  more  or  less 
^abocate  composition  appears  to  be  regularly  de- 
manded of  candidates  for  a  degree.     In  1506 
Richard  £de  was  desired  to  compose  'a  Mass 
with  an  Ajitapbonay*  to  be  solemnly  sung  before 
the  Unirenity  of  Oxford  on  the  day  of  his  ad- 
nuKion  to  the  degree  of  Bachelor;  and  in  1518 
John  Charde  was  desired  '  to  put  into  the  hands 
of  the  Proctors'  a  mass  and  antiphona  which 
be  bad  already  composed,  and  to  compose  another 
msfss  of  five  parts  on  'Kyrie  rex  splendens.' 
The  statutes  given  to  the  Univendty  of  Oxford 
by  Laud  in  1636  enact  that  every  candidate  for 
the  degree  of  Bachelor  of  Music  shall  compose  a 
pifice  for  five  voices  with  instrumental  acoom- 
pamments,  and  have  it  publicly  peribnned  in  the 
'  Musk:  Si^col' ;  and  though  uie  words  in  which 
the  degree  was  conferred  still  contained  a  per- 
ndssioai '  to  lecture  in  every  book  of  Boethius,*  it 
woold  seem  that  music  was  more  seriously  and 
Kiccettfully  cultivated  at  Oxford  during  the  1 7th 
ceatury  than  it  has  been  before  or  since/   The 
torpor  into  which  the  English  Universities  fell 
during  the  i8th  century  afiected  the  value  of 
their  musical  diplomas.    Compositions  were  in- 
deed still  required  of  candidates  for  degrees; 
but  the    absence  of  a   bond  Jide  examination 
rendered  the  degree  of  little  value  as  a  test  of 
poBoiial  merit.    The  reforming  n>irit  of  our  own 
day  has  howev^  extended  itself  m  this  direction, 
aaad  the  following  rules,  depending  in  part  upon 
&e  statutes  of  the  XJniversitieB,  in  part  upon 
regulations  drawn  up  by  the  present  professors 
in  pursuance  of  the  statutes,  are  now  in  force  as 
to  the  degree  of  Bachelor  of  Musio. 

At  Oxford  the  candidate  must  (i)  pass  a  pre- 
liminaiy  examination  (partly  in  writing,  paortly 
tird  voce)  in  Harmony  and  Counterpoint  in  not 
more  than  four  parts.  He  has  then  (a)  to  pre- 
sent to  the  Professor  of  Music  a  vocal  composition 
mwtMTiiwg  pmre  five-part  harmony  and  good  fugal 
ommterpoint,  with  accompaniment  for  at  least  a 
quitttett  stringed  band,  of  such  length  as  to 
occupy  from  twenty  to  forty  minutes  if  it  were 


performed,  no  pabUc  performance  however 
being  required.  (3)  A  secood  examination 
follows  after  the  interval  of  half  a  year,  em- 
bracing Harmony,  Counterpoint  in  five  parts, 
Canon,  Imitation,  Fugue,  Form  in  Composition, 
Musical  History,  and  a  critical  knowledge  of 
the  full  scores  of  certain  standard  compositions. 
If  the  candidate  is  not  already  a  member  of  the 
University,  he  must  become  so  before  entering 
the  first  examination;  but  he  is  not  required 
to  have  resided  or  kept  terms.  The  fees  amount 
in  all  to  about  £18. 

The  Cambridge  regulations  are  nearly  to  the 
same  effect.  There  is,  however,  onlv  one  ex- 
amination ;  and,  in  addition  to  the  subjects  given 
above,  a  knowledge  of  the  quality,  pitch,  and 
compass  of  various  instruments  is  required.  The 
rales  of  Trinity  College,  Dublin,  state  that  the 
degree  of  Bachelor  of  Music  in  that  college  is 
intended  to  show  'that  a  sound  practical  luow- 
ledge  of  music  has  been  attained,  sufficient  to 
manage  and  conduct  a  choir,  or  to  officiate  in 
cathedral  or  church  service.'  The  number  of 
persons  annually  taking  the  degree  of  Mus.  Bac. 
at  Oxford  has  increased  considerably  during  the 
last  ten  years;  in  1866  the  number  was  three, 
in  1874  eleven.  There  does  not  seem  to  have 
been  a  similar  increase  at  Cambridge.  The  de- 
gree of  Mus.  Bac.  does  not  exist  in  foreign 
Universities.  [C.  A.  F.] 

BACHOFEN,  Johakv  Caspab,  bom  at 
Zurich,  1692,  in  1718  singing-master  in  the 
Latin  school,  and  cantor  of  one  of  the  Zurich 
churches.  Succeeded  Albertin  as  director  of 
the  * Chorherm-geaellsohaft*  Association;  died 
at  Zurich,  1755.  His  hynms  were  very  popular 
all  over  Switzerland,  and  his  works  give  abundant 
evidence  of  his  diligence  and  the  wide  range  of 
his  talent,  (i)  ' Musicalisches  Halleluja  oder 
schSne  und  geistreiche  GresSnge,*  etc.  (no  date), 
containing  600  melodies  for  two  and  three  veioes, 
with  organ  and  figured  bass.  Eight  editions 
down  to  1767.  (1)  'Psalmen  Davids  . .  .  sammt 
Fiist  und  KirchengesSngen,*  etc.,  8vo.,  1759 
(second  edition).  (3)  'Vermehrte  Zusatz  von 
Morgen,  Abend  ....  Gesftngen,*  1738.  (4) 
Twelve  monthly  numbers  containing  saored  airs 
arranged  in  concert-style  (conoert-weise)  far  two 
and  three  voices;  1755  (4^  ^O*  (5)  Brookes* 
'Irdisches  Veigniigen  in  Grott,'  set  to  music; 
1740  (1000  pages).  (6)  '  Musicalische  Erget- 
zungen* ;  1755.  (7)  'Der  fur  die  Siinden  der 
Welt,'  etc.  (Brookes* '  Passion'),  1 759.  (8)  '  Mu- 
sic. Notenbuchlein,'  an  instruction- book  in  music 
and  singing.  [F.  G.] 

BACK.  The  back  of  the  instruments  belong- 
ing to  the  violin-tribe  appears  to  have  two  dis- 
tinct functions.  It  has  on  the  one  hand  to 
participate  in  the  vibrations  of  the  whole  body 
of  the  instrument,  and  on  the  other  to  act  as 
a  sounding-board  to  throw  back  the  waves  of 
sound.  Tbis  is  the  reason  why  the  back,  as  a 
rule,  is  made  of  hard  wood  (maple),  which, 
although  not  as  easily  set  into  vibration  as  deal, 
the  usual  material  for  the  beUy,  is  better  adapted 


122 


BACK. 


BAGATELLE. 


( 


to  the  fulfilment  of  the  above  functions.  Now 
and  then  we  meet  with  a  violonoello  by  one  of 
the  old  makers  with  a  back  of  pine  or  lime-wood. 
But  the  tone  of  such  an  instrument,  however 
good  in  quality,  is  invariably  wanting  in  power 
and  intensity. 

The  backs  of  violins,  tenors,  and  violoncellos 
are  shaped  after  one  and  the  same  model :  most 
elevated  and  thickest  in  the  centre ;  somewhat 
thinner  and  slanting  towards  the  edges.  They 
are  made  either  of  one  piece,  or  of  two,  joined 
lengthwise  in  the  middle.  The  back  of  the 
double-bass  has  retained  that  of  the  older  viol- 
di-gamba  tribe  r  it  is  flat,  and  at  the  top  slants 
towards  the  neck:  u..  Close  to  the  edges  the  back 
is  inlaid  with  a  sing^  or  double  line  of  purfling, 
which  is  merely  intended  to  improve  the  outward 
appearance  of  the  instrument.  [P.  B.] 

BADLALI,  Cesabe,  a  very  distinguiBhed 
basso  cantante;  made  his  first  appearance  at 
Trieste,  1827.  After  achieving  a  brilliant  success 
at  every  one  of  the  chief  theatres  of  Italy,  and 
especially  at  Milan,  where  he  sang  in  1830, 
1831,  and  183  a,  he  was  engaged  for  the  opera 
of  Madrid,  then  at  Lisbon,  and  did  not  return  to 
Italy  till  1838.  On  his  reappeazance  at  Milan,  he 
was  welcomed  with  enthusiasm;  and  continued 
to  sing  there,  and  at  Vienna  and  Turin,  until 
184  a,  when  he  was  appointed  principal  chamber- 
singer  to  the  Emperor.  He  sang  afterwards  at 
Home,  Venice,  Trieste,  Turin,  and  other  towns 
of  less  importance.  In  1845  he  was  at  Leghorn. 
The  Aocademia  di  S.  Cecilia  of  Rome  received 
him  as  a  member  of  its  body.  In  1859  he  made 
his  first  appearance  in  London,  when  he  made 
the  quaint  remark,  'What  a  pity  I  did  not 
think  of  this  dty  fifty  years  ago!*  He 
retained  at  that  time,  and  for  some  years  longer, 
a  voice  of  remarkable  beauty,  an  excellent 
method,  and  great  power  of  executing  rapid 
passages.  He  was  one  of  the  few  who  have 
ever  sung  the  music  of  Assur  in  Eossini^B 
*  Semiramide '  as  it  was  written :  in  that  part 
he  was  extremely  good,  and  not  less  so  in  that 
of  the  Conte  Bobinson  in  the  *  Matrimonio 
Segreto.'  A  singular  feat  is  ascribed  to  him. 
It  is  said  that,  when  supping  with  firiends,  he 
would  drink  a  glass  of  darai^  and,  while  in 
the  act  of  swallowing  it,  sing  a  scale;  and  if 
the  first  time  his  execution  was  not  quite  perfect, 
he  would  repeat  the  performance  witJi  a  full 
glass,  a  loud  voices  and  without  missing  a  note 
or  a  drop. 

He  was  a  good  musician,  and  left  a  few  songs 
of  his  own  composition.  For  the  last  ten  years 
of  his  life  he  resided  and  sang  in  Paris,  where  he 
died  about  the  year  1870.  [J.  M.] 

BABMAlNN.  The  name  of  a  remarkable 
femily  of  musicians,  (i)  Heikbich  Joseph, 
one  of  the  finest  of  darinet  players — 'a  truly 
great  artist  and  glorious  man*  as  Weber  calls 
him — bom  at  Potsdam  Feb.  1 7, 1 784,  and  educated 
at  the  oboe  school  there,  where  his  ability  pro- 
cared  him  the  patronage  of  Prince  Louis  Ferdi- 
naud  of  Plrussia.    The  peace  of  TUsit  (1807)  I 


released  him  from  a  French  prison,  and  he  then 
obtained  a  place  in  the  court  band  at  Mltmich. 
He  next  undertook  a  tour  through  Genxutny, 
France,  Italy,  England,  and  Russia,  which   ei»- 
tablished  his  name  and  fame  far  and  wide,      fiis 
special  claim  on  our  interest  arises  from    hLs 
intimate  connection   with  C.   M.   von  Weber, 
who  arrived   in   Munich    in   181 1,  and    -wrote 
various  concert-pieces  for  Barmann,  which    re- 
main acknowledged  masterpieces  for  the  clarinet. 
Meyerbeer  also  became  closely  acquainted  -with 
him  during  the  congress  at  Vienna  in   1813. 
Not    less    interesting    and  creditable   was    his 
intimacy  with  Mendelssohn,  who  was  evidently 
on  the  most  brotherly  footing  with  him  and  his 
fSsmily,  and  wrote  iat  him  the  two  duets   for 
clarinet  and  basset-horn  published  as  Op.   X13- 
He   died  at  Munich  June   11,    1847,   leaving 
compositions  behind  him  which  are  highly  es- 
teemed  for    their   technical    value.      (^2)     His 
brother  Kabl,  bom  at  Potsdam  1782  aiid  died 
1842  ;  a  renowned  bassoon  player,  and  belonged 
to  the  royal  band  at  Berlin.     More  important 
was  (3)  Karl,  the  son  of  Heinrich,  and  the 
true  scholar  and  successor  of  his  faUier.      He 
was    bom    at    Munich    1820,    and   during    a 
lengthened  toiur  in  1838  was  introduced  by  his 
father  to  the  musical  world  as  a  virtuoso  of  the 
first  order.     After  this  he  at  onoe  took  the  place 
of  first  clarinet  in  the  Munich  court  band,  -with 
which  he  had  indeed  been  accustomed  to  play 
since  the  age  of  fourteen.    His  compositions  for 
the  clarinet  are  greatly  esteemed,  especially  his 
'Clarinet  School     (Andre,   Offenbadi)   in   two 
parts,  the  second  of  which  contains  twenty  grand 
studies ;  also  a  supplement  thereto,  '  Materiallen 
zur  weiteren  te<jmischen  Ausbildung,* — a   col- 
lection of  difficult  passages  firom  hb  own  works. 
(4)  His  son,  Karl  jun.,  a  fine  pianoforte  player, 
is  teacher   at  this  time  (1S75)  in  the  music 
school  at  Munich. 

Weber*8  friendship  for  the  Barmanns  has 
been  already  mentioned.  Two  of  his  letters  to 
them  will  bo  found  in  '  Letters  of  Distinguished 
Musicians*  (pp.  351,  381).  The  same  collection 
contains  no  lees  than  thirteen  letters  from 
Mendelssohn  to  Heinrich,  and  one  to  Carl — 
letters  delightful  not  only  for  their  fun  and 
devemess,  but  for  the  dose  intimacy  which 
they  show  to  have  existed  between  tilie  two, 
and  the  very  great  esteem  which  Mendelssohn— 
a  man  who  did  not  easily  make  friends— evidently 
felt  for  the  great  artist  he  addresses.  Other 
references  to  B&rmann  will  be  found  in  Men- 
delssohn^s  '  Beisebriefe.'  [A.  M.] 

BAGATELLE  (IV.  'a  trifle').  A  short  piece 
of  pianoforte  music  in  a  light  style.  The  name 
was  probably  first  used  by  Beethoven  in  his 
'Seven  Bagatelles,*  op.  33,  who  subsequently 
also  wrote  three  other  sets,  two  of  which  are 
published  as  ops.  1 19  and  1 26 ;  the  third  is  still 
in  manuscript  (Thayer,  'Chron.  Verz.*  No.  287). 
As  bearing  upon  the  title,  it  is  worth  while  to 
mention  that  Beethoven's  manuscript  of  his  op. 
119  has  the  German  inscription  '  Kleinigkeiten,* 
instead  of  the  French  equivalent.  Thefonnofthe 


BAGATELLE. 


BAOPIPK 


faagsteOe  is  entirely  at  the  diBcretion  of  the  com' 
poser,  the  only  restriction  being  that  it  must  be 
short  and  not  too  serioas  in  its  character.  [E.  P.] 

BAGOE.  SnJTAB,  musician  and  critic,  bom 
St  Cobnz^  June  30,  18:3,  son  of  the  Becter  of 
the  GymnasBom  there.  His  musical  studies 
began  «arfy>  and  in  1837  he  entered  the  Con- 
servakniuxn  at  Pragoe  under  D.  Weber.  Later 
still  he  was  a  pupil  of  Sediter  at  Vienna,  where 
in  185 1  he  became  profiassor  of  composition  at 
the  0>UBer  v atui inm,  and  in  1853  organist  of 
one  of  the  churches.  In  1855  he  resigaed  his 
profiaaaofrahip  and  took  to  writing  in  ^e  'Mo- 
natsachrift  far  Theater  und  Musik/  but  he  soon 
tnmed  it  into  the  'Deutsche  Musikzeitung/  of 
whidi  periodical  he  was  founder  and  editor.  In 
1863  lie  txanafenred  himself  to  Leipsio  as  editor 
of  the  'Dentachen  Allgemeine  Musikzeitung/ 
bat  this  he  relinquished  in  1868  for  the  director- 
ship of  the  music  school  at  Basle.  Bagge  is  a 
strong  ccmservmtiTe  and  an  able  writer.  Beetho- 
ven and  Schumann  are  his  models  in  art,  and 
he  has  no  mexx^  on  those  who  differ  from  him, 
eapeaaRj  on  the  New  Gennan  school.  His 
muse  ia  oorreot  and  fluent,  but  poor  in  inrention 
and  melody.  [G.] 

BAGNOLESI,  Ahva.  An  Italian  contralto, 
who  sang  in  London,  173a,  in  Handel^s  operas. 
Sie  made  her  first  appearance,  Jan.  15,  in  '  Esio,' 
izui  aai^  subsequently  in  '  Sosanne,'  in  a  revival 
of  'Flavio,'  and  in  'Ads  and  Galatea'  at  its  first 
public  perfonnanoe,  June  10^  and  the  succeeding 
owsasiami  in  that  year.  She  also  appeared  in  a 
reprise  of  Aiiosti*s '  Cajo  Manio  Coriolano.*  Ko- 
tlu2^  is  now  known  of  her  aflerKsareer.     [J.  M.] 

BAGPIPE  (Er.  Comemtue;  ItaL  Comamuia ; 
Gtnn.  Saekpfeife),  An  instrument^  in  one  or 
other  of  ita  forms,  of  veiy  great  antiquity.  By 
the  Greeka  it  was  named  iaitavKoM  or  cvfi/^inFua ; 
bv  the  Romana  T&na  tttricularii.  Mersennus 
calls  it  Surdeline,  and  Bonani  Piva  orCiaramella. 
In  Lower  Brittany  it  is  termed  Bignou,  firom  a 
Breton  word  b/^^io— 'se  renfler  beauooup.*  It 
Itas  been  named  Musette  (possibly  after  Colin 
Moset^  an  officer  of  Thibaut  de  Champagne, 
king  cf  Navarro).  Corruptions  of  these  names, 
neh  as  Sampomia  cor  8amphan^<i,  and  ZampufftM, 
are  also  common. 

It  appears  on  a  coin  of  Nero,  who,  aooor^ng 
to  Suetonius,  was  himself  a  paianner  upon  it. 
It  is  mentioned  by  Procopius  as  the  instrument 
of  war  of  tlte  Bconan  infimtiy.  In  the  crosier 
given  by  William  of  Wvkeham  to  New  College, 
Ozfbidy  in  1403,  there  is  the  figure  of  an  angel 
playing  it.    Cfaauoer's  miller  perlbnned  on  it— 

'A  bagpipe  well  oouth  he  Uowe  and  sowne.* 

Shakespeare  often  alludes  to  it.  He  speaks 
of  'the  drone  of  a  Linoohuhire  bagpipe,'  of 
the  antipathy  some  people  have  to  its  sound, 
sad  of  some  who  laugh  like  parrots  at  a  bagpiper. 
At  the  dose  of  the  15th  century  the  bi^ipe 
seems  to  have  oome  into  general  &vour  in 
Seotbnd. 

Until  recently  music  for  the  bagpipe  was  not 
writtfn  aoDQidinflr  to  the  nsoal  svatem  of  nfttatifip  1 


but  was  taught  by  a  language  of  its  own,  the 
notes  having  each  names,  such  as  hodroho, 
hananin,  hiechin,  hachin,  etc.  A  collection  of 
piobaireachd  (pibroohs)  in  this  form  was  pub- 
lished by  Capt.  Niel  Madeod  at  Edinburgh  in 
i8a8. 

In  Louis  Xiy*B  time  the  bagpipe  formed  one 
of  the  instruments  included  in  the  band  of  the 
'Grande  Ecurie,*  and  was  played  at  court 
oonoerts. 

Its  essential  charaoteristios  have  always  been, 
first,  a  combination  of  fixed  notes  or '  drones,'  with 
a  melody  or  'chaunter' ;  secondly,  the  presence  of 
a  wind-chest  or  bag.  From  these  peculiarities, 
the  Greek,  and  from  the  second  of  them  the 
Latin  names  clearly  come.  Although  it  has  no 
doubt  been  re-invented  in  various  times  and 
places,  it  seems  to  be  connected  with  the  Keltic 
raoe,  whether  in  Ireland,  Scotland,  or  Brittany. 

Tlie  wind  has  been  variously  supplied,  either 
from  the  breath  of  the  player,  or  from  a  small 
pair  of  bellows  placed  under  one  aim,  the  sac  or 
bag  being  under  the  other.  In  the  latter  fimn  it 
oontains  all  the  essentials  of  the  onran.  It  is 
somewhat  remarkable  that  the  use  of  the  lungs 
themselves  as  the  wind-chest  to  reed  instruments 
should  have  been  adopted  later  and  less  uni« 
veisally. 

At  the  present  time  there  are  four  principal 
forms  of  the  instrument  used  in  this  country — two 
Scotch  (Highland  and  Lowland),  the  Irish,  and 
the  Northumbrian.  The  Scotch  Highland  pipe 
is  blown  firom  the  chest,  the  others  fii^m  bellows. 
The  Irish  bagpipe  is  perhaps  the  most  powerful 
and  elaborate  instrument^  keys  producing  the 
third  and  fifth  to  the  note  of  the  chaunter  having 
been  added  to  the  drones.  The  Northumbrian 
is  small  and  sweeter  in  tone ;  but  the  Scotch  pipe 
is  probably  the  oldest  and  certainly  the  most 
charaoteristic  form :  it  will  therefore  be  conaidered 
first,  and  at  the  greatest  length. 

In  this  instrument  a  valved  tube  leads  tcom 
the  mouth  to  a  leather  sir-tight  bag,  which  has 
four  other  orifices ;  three  laige  enough  to  contain 
the  base  of  three  fixed  long  tubes  termed  drones, 
and  another  smaller,  to  which  is  fitted  the 
chaunter.  The  former  are  thrown  on  the  shoulder ; 
the  latter  is  held  in  the  hands.  All  four  pipes 
are  fitted  with  reeds,  but  of  different  kinds.  The 
drone  reeds  are  made  by  splitting  a  round  length 
of  'cane'  or  reed  backwwds  towards  a  joint  or 
knot  firom  a  cross  out  near  the  open  end  ;  they  thus 
somewhat  resemble  the  reed  in  organ  pipes,  the 
loose  flap  of  cane  replacing  the  tongue,  the  uncut 
part  the  tube  or  reed  prt^Mr.  These  are  then  set 
downwards  in  a  oluunber  at  the  base  of  the 
drone,  so  that  the  current  of  air  issuing  from  the 
bag  tends  to  close  the  fissure  in  the  cane  caused 
by  the  quinging  outwards  of  the  out  fli^,  thus 
setting  it  in  vibration.  The  drone  roods  are 
only  intended  to  produce  a  single  note,  which 
can  be  tuned  bv  a  slider  on  the  pipe  itself, 
varying  the  length  of  the  consonating  air-odumn. 

The  chaunter  reed  is  different  in  fonn,  be^ng 
made  of  two  approximated  edges  of  cane  tied 
together,  and  is  thus  essentially  a  double  reed. 


124 


BAGPIPE. 


like  that  of  the  oboe  or  bassoon,  while  the  drone 
reed  roughly  represents  the  single  beating  reed 
of  the  organ  or  clarinet.  The  drone  reed  is 
an  exact  reproduction  of  the  'squeaker'  which 
children  in  the  fields  fashion  out  of  joints  of 
tall  grass,  probably  the  oldest  form  of  the  reed 
in  existence. 

The  drone  tubes  are  in  length  proportional  to 
their  note,  the  longest  being  about  three  feet 
high.  The  chaunter  is  a  conical  wooden  tube, 
about  fourteen  inches  long,  pierced  with  eight 
sounding  holes,  seven  in  front  for  the  fingers,  and 
one  at  the  top  behind  for  the  thumb  of  the  right 
hand.  Two  additional  holes  bored  across  the 
tube  below  the  lowest  of  these  merely  regulate 
the  pitch,  and  are  never  stopped. 

The  compass  is  only  of  nine  notes,  from  G  to 

A  inclusive  ^i     J     ^^^ .    They  do  not  form  any 


i 


diatonic  scale  whatever,  nor  indeed  are  they 
accurately  tuned  to  one  another.  The  nearest 
approximation  to  their  position  can  be  obtained 
by  taking  the  two  common  chords  of  G  and  A 
superposed,  and  adding  one  extra  note  in  the 
neighbourhood  of  F,  or  FS.  In  the  former 
common  chord,  which  is  tolerably  true,  we  have 
G,  B,  D,  G,  upwards,  and  in  the  latter  A,  C  f, 
£,  A,  which  is  far  less  accurate.  G  to  A  is 
not  however  a  whole  tone,  only  about  f  of  one. 
G4^  unlike  that  of  the  tempered  scale,  which  is 
nearly  a  comma  sharp,  is  here  as  much  flat. 
The  B  and  D  accord  with  the  low  G,  and  not 
with  the  low  A.  It  appears  to  the  writer  better 
thus  to  describe  the  real  sounds  produced  than 
to  indulge  in  speculation  as  to  Lydian  and  Phry- 
gian modes. 

In  the  tuning  of  the  drones  there  seems  to  be 
difference  of  practice.  Glen's '  Tutor  for  the  Great 
Highland  Bagpipe  *  states  that  the  drones  are  all 
tuned  to  A;  tiie  two  smaller  in  unison  with 
the  lower  A  of  the  chaunter,  the  largest  to 
the  octave  below;  whereas  fi^>m  other  works 
it  s^pears  that  the  sequence  G,  D,  G,  as 
well  as  D,  A,  D,  are  both  admissible.  But  the 
Northumbrian  or  border  pipe,  a  far  more  accurate 
instrument  according  to  modem  musical  notions 
than  the  Scotch,  provides  for  a  possible  change  of 
key  by  the  addition  of  a  fourth  supplementary 
drone;  probably  the  three  notes  G,  D,  and  A, 
might  be  tolerated,  in  alternate  pairs,  according 
to  the  predominant  key  of  G  or  A  in  the  melody. 
There  is  good  ground,  however,  for  believing  that 
any  attempt  to  accommodate  the  bagpipe  to  modem 
scalo-notation  would  only  result  in  a  total  loss 
of  its  archaic,  semi-barbarous,  and  stimulating 
character. 

Some  confirmation  of  the  view  here  taken  as  to 
the  scale  of  the  bagpipe  may  be  derived  from  an 
examination  of  the  music  written  for  it.  It  is 
known  to  all  musicians  that  a  fiurly  passable 
imitation  of  Scotch  and  Irish  tunes  may  be 
obtained  by  playing  exclusively  on  the  'black 
keys.*  This  amounts  simply  to  omission  of  semi- 
tones ;  and  in  semitones  lies  the  special  character 
of  a  scale,  whether  major  or  minor.    The  minor 


BAGPIPE. 

effect  may  indeed  be  obtained ;  and  is  nssalh 
remarkable  in  all  tunes  of  the  Keltic  fiunily,  bcs 
it  is  done  by  chord  rather  than  by  scale.  Nose 
of  the  oldest  and  most  characteria;tic  Soc>£e& 
melodies  contain  scales ;  all  proceed  more  or  kai 
by  leaps,  especially  that  of  a  sixth,  with  abundim 
use  of  heterogeneous  passing  notes.  If  ib&  ssa 
of  the  pibro<&  be  read  with  a  view  to  map  cos 
the  resting  or  sustained  notes  in  the  melodr, 
it  will  be  found,  in  the  most  characteristic  s»j 
original  tunes,  that  the  scale  is  Al,  B,  D,  £,  Ff 
and  high  A.  This  is  equivalent  to  the  Idack- 
key  scale,  beginning  on  Db.  *  Mafikinnoa's 
lament'  is  a  good  example.  The  minor  eSui 
named  above  is  gained  through  the  major  axU^ 
with  the  help  of  the  drone  notes ;  »  fact  wbidi, 
though  rather  startling,  is  easily  demoostrabie. 

This  use  of  ornamental  notes  has  in  ooime  of 
time  developed  into  a  new  and  prominsi 
character  in  bagpipe  music.  Such  a  developmeei 
is  only  natural  in  an  instrument  possesBii^  so 
real  diatonic  scale,  and  therefore  relying  fx 
tolerance  of  jarring  intervals  on  perpetual  sa- 
pension,  or  on  constant  discord  and  reeolutice; 
with  a  'drone  bass*  in  the  strictest  sense  of  tbe 
term.  The  ornamental  notes  thus  introduced  are 
termed  'warblers,*  very  appropriately,  after  iht 
birds,  who,  until  trained  and  civilised,  sometiznes 
by  the  splitting  of  their  tongues,  entirely  disregani 
the  diatonic  scale,  whether  natural  or  tempsed. 
First-rate  pipers  succeed  in  introducini^  a '  wmrbla'' 
of  eleven  notes  between  the  last  np>beat  and  the 
first  down-beat  of  a  bar.  Warblers  of  sevca 
notes  are  conmion,  and  of  five  usual. 

The  Irish  bagpipe  differs  from  the  Scotch  m 
being  played  by  means  of  bellows,  in  having  % 
softer  reed  ana  longer  tubes,  with  a  chaunter 
giving  ten  or  even  twelve  notes.  The  scale  is 
said  to  be  more  accurate  than  the  Sootch.  Hie 
Northumbrian,  of  which  a  beautiful  specimen 
has  been  lent  to  the  writer  by  Mr.  Charles  h^. 
Keene,  is  a  much  smaller  and  foebler  instrumesit. 
The  ivory  chaunter  has,  besides  the  seven  hcks 
in  front,  and  one  behind,  five  silver  keys  producing 
additional  notes.  It  is  moreover  stoppied  at  the 
bottom,  so  that  when  all  holes  are  doaed  no 
sound  issues.  The  long  wail  with  which  a  Sootdi 
pipe  begins  and  ends  is  thus  obviated.  Eac^ 
hole  is  opened  singly  by  the  finger,  the  othen 
remaining  dosed,  contrary  to  the  practice  cf 
other  reeds.  The  gamut  of  the  Northumbrian  or 
Border  pipes  is  given  as  fifteen  notes,  including 
two  chromatic  intervals,  C  and  Ct,  "D  and  D|. 
The  drones  can  be  tuned  to  G,  D,  G,  ix  to 
B,  A,  D,  as  above  stated. 

Considering  the  small  compass  of  the  bagpipe, 
the  music  written  for  it  appears  singuJariy 
abundant.  '  Tutors'  for  the  instrument  have  been 
published  bv  Donald  MacDonald  and  Angus 
Mackay.  Glen's  collection  of  music  for  the  great 
Highland  bagpipe  contains  instructions  for  ^le 
management  of  the  reeds,  etc.,  with  213  tunea. 
Ulleam  Boss,  the  present  Queen's  Piper,  pub- 
lished a  collection  of  pipe  music  in  1869  consist- 
ing of  343  marches,  piobaireachds,  or  pibroda, 
strathspeys,  and  reels,  selected  from  a  thousand 


BAGPIPE. 


BAILLOT. 


125 


a^n,  amaaeed  dming  thirty  yetn  firom  old  pipers 
&M  other  local  lotiroei.  llie  chief  oolleotion  of 
Xdrthmnlzrian  miuio  it  known  as  Peacxx:k*s;  a 
book  which  is  now  so  scaunce  as  to  he  almost 
CBprocnrable. 

3f any  oomposers  hare  imitated  the  tone  of  the 
bagpipe  hy  the  orchestra ;  the  most  fiuniliar  cases 
iKsar  in  the  'Dame  Blanche*  of  Boieldieu  and 
ue  '  Dinonh'  of  Meyerbeer.  [W.  H.  S.] 

BAI,  T0MMA8O,  was  bom  at  Creralcaore,  near 

B(^ogna»  towards  the  end  of  the  17th  century, 

aad  was  €br  many  years  one  of  the  tenor  singers 

m  the  chapel  of  the  Vatican.    In  1713  he  was 

made  naaestro  of  that  basilica,  according  to  an 

extnct  firom  the  diapel  books  cited  by  Baini, 

herauMe  he  was  the  oldest  and  most  accomplished 

member  of  the  choir.  ^     He  died  in  the  year 

f  jCowing  this  recognition  of  his  excellence.     His 

&me  rests  on  a  single  achievement.    His  '  Mise- 

reie,^  written  at  the  request  of  his  choir,  is  the 

only  one  (if  we  except  that  by  Baini)  out  of  a 

long  aeries  by  composers  known  and  unknown, 

iodiidii^  NiJdini,  Felice  Anerio,  Tartini,   and 

Alessandro  Scarlatti,  which  has  been  thought 

worthy  to  take  permanent  rank  with  those  of 

Allegri  and  Palestrina.    Other  works  by  Bai 

exist,  but  ihey  are  in  manuscript.    They  consist 

of  a  mass,   twelve  motetti  for  four,  five,  and 

eight  voices,   and  a  'De  Profnndis'  for  eight 

T^aes.     They  are  all  enumerated  in  the  cata- 

logae   of  iho   ooQection    made   by  the    Abb^ 

SsndnL  [K  H.  P.] 

BAXLDON,  Joseph,  a  gentleman  of  the 
Clttpd  Royal,  and  lay-vicar  of  Westminster 
Abbey  in  the  middle  of  the  i8th  century.  In 
1763  he  obtained  one  of  the  first  prizes  given 
bj  the  Catoh  Club  for  a  catch,  and  in  1766  was 
ftmuded  a  priae  for  his  fine  glee,  'When  gay 
Bsochus  fills  my  breast'  In  1768  he  was 
appointed  organist  of  the  churches  of  St.  Luke, 
Uld  Street,  and  All  Saints,  Fulham.  Ten  catches 
»Bd  four  glees  by  him  are  contained  in  Warren*s 
cdlectioDB,  and  others  are  in  print.  Baildon 
published  a  collection  of  songs  in  two  books 
entitled  'The  Laurel/  and  'Four  Favourite 
^xmes  mmg  by  Mr.  Beard  at  Ranelagh  Gar- 
dens.' [W.  H.  H.] 

BAILLOT,  PiXBRB  Maris  Fbak^ois  db 
Sales,  takes  a  prominent  place  among  the  great 
French  violin-players.  He  was  bom  Oct.  I, 
1 771,  at  Passy,  near  Parisi,  where  his  &ther  kept 
a  KfaooL  He  shewed  veiy  early  remarkable  mu- 
■ical  talent*  and  got  his  first  instruction  on  the 
violin  finom  on  Italian  named  Polidori.  In  1 780 
Sointe- Marie,  a  French  riolinist,  became  his 
teacher,  and  by  his  severe  taste  and  methodical 
iotftroction  gave  him  the  first  training  in  those 
artistic  qnaUties  by  which  Baillot's  playing  was 
afterwards  so  much  distinguished.  When  ten 
yean  of  age,  he  heard  Viotti  play  one  of  his 
concertos.  His  performance  filled  the  boy  with 
intense  admiration,  and,  although  for  twenty 
Tears  he  had  no  second  opportunity  of  hearing 
him,  he  often  related  later  in  life^  how  fifom  that 

0  irfkaatieo  •  TtartwModdla  Oippc^A.' 


day  Viotti  remained  for  him  the  model  of  a  violin- 
player,  and  his  style  the  ideal  to  be  realised  in 
his  own  studies.  After  the  loss  of  his  &ther  in 
1783  a  Mons.  de  Bouchepom,  a  high  government 
official,  sent  him,  with  his  own  children,  to  Rome^ 
where  he  was  placed  under  the  tuition  of  the 
violin-player  Pollani,  a  pupil  ot  Nardini.  Al- 
though his  progress  was  rapid  and  soon  enabled 
him  to  play  successfuUy  in  public,  we  find  him 
during  the  next  five  years  livins:  with  his  bene- 
factor alternately  at  Pau,  Bayonne,  and  other 
places  in  the  south  of  Franoet,  acting  as  his 
private  secretary,  and  devoting  but  little  time 
to  bis  riolin.  In  1791  he  came  to  Paris,  de- 
termined to  rely  for  the  future  on  his  musical 
talent.  Viotti  procured  him  a  place  in  the 
opera-band,  but  Baillot  veiy  soon  resigned  it,  in 
order  to  accept  an  i4>pointment  in  the  Ministfere 
des  Finances,  whicli  he  kept  for  some  years, 
devoting  merely  his  leisure  hours  to  music  and 
violin*piaying.  After  having  been  obliged  to  join 
the  army  for  twenty  months  he  returned,  in 
1795*  ^  Puis,  and,  as  F^tis  relates,  beoune 
accidentally  acquainted  with  the  violin-compo- 
sitions of  Corelli,  Tartini,  Geminiani,  Locatelli, 
Bach  (t)  and  Handel.  The  study  of  the  works 
of  these  great  masters  filled  him  with  fresh 
enthusiasm,  and  he  once  more  determined  to 
take  up  music  as  his  profession.  He  soon 
made  his  appearance  in  public  with  a  concerto  of 
Viotti,  and  with  such  success,  that  his  reputation 
was  at  once  established,  and  a  professorship  of 
violin-playing  was  given  him  at  the  newly-opened 
Conservatoire.  In  1802  he  entered  Ni4>oieon*8 
private  band,  and  afterwards  travelled  for  three 
years  in  Bussia  (1805-1808)  together  with  the 
violoncello-player  Lamare,  earning  both  fome  and 
money.  In  18 14  he  started  concerts  for  chamber- 
music  in  Paris,  which  met  with  great  success,  and 
acquired  him  the  reputation  of  an  unrivalled 
quartett-player.  In  1 815  and  1816  he  travelled 
in  Holland,  Belgium,  and  England,  where  he 
performed  at  the  Philharmonic  concert  of  Feb. 
26,  1 8 16,  and  afterwards  became  an  ordinary 
member  of  the  Society.  From  1821  to  1831  he 
was  leader  of  the  band  at  the  Grand  Opera ;  from 
1835  he  filled  the  same  place  in  the  Royal  Band ; 
in  1833  he  made  a  final  tour  through  Switzerland 
and  part  of  Italy.  He  died  Sept.  15,  1842, 
working  to  the  end  with  unremitting  freshness. 
He  was  the  last  representative  of  the  great 
classical  Paris  school  of  violin-playing.  After 
him  the  influence  of  Paganini's  style  became 
paramount  in  France,  and  Baillot  s  true  disciples 
and  followers  in  spirit  were,  and  are,  only  to  be 
found  among  the  violinists  of  the  modem  Ger- 
man school.  His  playing  was  distinguished  by  a 
noble  powerful  tone,  great  neatness  oi  execution, 
and  a  pure,  elevated,  truly  musical  style.  An 
excellent  solo-player,  he  was  unrivalled  at  Paris 
as  interpreter  of  the  best  classical  chamber-music 
Mendelssohn  and  Hiller  both  speak  in  the  high- 
est terms  of  praise  of  Baillot  as  a  quartett- 
player.  An  interesting  account  of  some  of  his 
personal  traits  will  be  found  in  a  letter  of  the 
former,  published  in  *  Goethe  and  Mendehnohn* 


126 


BAILLOT. 


(187a).  Although  his  ooanporitions  are  alxxioat 
entirely  forgotten,  his  'Art  du  Yiolon*  still  main- 
tains its  pliK»  as  a  standard  work. 

He  also  took  a  prominent  part  with  Bode  and 
Kreutzer  in  compiling  and  editing  the  '  Methods 
de  Violon  adopt!^  par  le  Conservatoire,'  and  a 
similar  work  for  the  yiolonoello.  His  obituary 
notices  of  Gr^try  (Paris,  1814)  and  Niotti  (1835), 
and  other  occasional  writings,  shew  remarkable 
critical  power  and  great  elegance  of  style. 

His  published  musical  compositions  are: — 15 
trios  for  a  violins  and  bass ;  6  duos  for  a  violins; 
I  a  Etudes  for  violin;  9  concertos;  symphonic 
ooncertante  for  a  violins,  with  orchestra ;  30  airs 
varies;  3  string  quartette;  i  sonata  for  piano 
and  violm ;  34  preludes  in  all  keya^  and  a  num- 
ber of  smaller  pieces  for  the  violin.  [P.  D.] 


BAKER, 


■,    Mus.   Doc.,   was  bom  at 


Exeter  in  1768.  Taught  by  his  aunt,  he  was 
able  at  seven  years  of  age  to  play  upon  the 
harpsichord,  and  about  the  same  time  was  placed 
under  the  tuition  of  Hugh  Bond  and  William 
Jackson,  then  oiganist  of  Exeter  cathedral.  He 
also  received  lessons  on  the  violin  from  Ward. 
In  1775  he  quitted  Exeter  for  London,  where  he 
was  received  into  the  flEunily  of  the  Earl  of 
XJxbridge,  who  placed  him  under  William  Cramer 
and  Duasek  for  instruction  on  the  violin  and 
pianoforte.  He  afterwards  obtained  an  appoint- 
ment as  organist  at  Stafford.  He  took  the  degree 
of  Doctor  of  Music  at  Oxford  i^bout  1801.  He 
died  about  1835.  Dr.  Baker*s  compositions 
comprise  anthems,  glees,  organ  voluntaries, 
pianoforte  Bonatas,  and  other  pieces,  the  music 
to  an  unfortunftte  musical  entertainment  called 
'  The  Cafires,'  produced  for  a  benefit  at  Covent 
Garden  Theatre,  June  a,  i8oa,  and  at  once 
condemned,  and  numerous  songs,  many  of  them 
composed  for  Indedon,  his  former  fellow-pupil 
under  Jackson.  [W,  H.  H.] 

BALBI,  Luioi,  bom  at  Venice  towards  the 
middle  of  the  i6th  century,  a  Cordelier  monk, 
pupil  of  Costanzo  Porta.,  director  of  the  music  in 
the  church  of  S.  Antonio  at  Padua,  and  afterwards 
in  the  convent  of  his  order  at  Venice  (1606). 
He  composed  masses,  motetts,  and  msdrigals 
(Venice,  15  76-1 606),  and  died  in  1608.  One 
seven-part  and  five  eight-part  motets  by  him  are 
printed  in  Bodeiyschatz's  'Florilegium  Pox^ 
tense,*  Pt  a.  [M.  C.  C] 

BALDASSARRI,  Benedetto,  an  eminent 
Italian  singer,  who  sang  the  tenor  part  of  Timante 
in  Handel's  opera  '  Floridante,*  at  its  first  and  suc- 
ceeding performances  in  1 7  2 1 .  He  appeared  also 
in  Buononcini*s  'Crispo,*  and  other  pieces,  in  the 
next  year.  He  had  already  sung  in  '  Numitor ' 
by  Porta,  and  other  operas,  with  Durastanti  and 
her  companions  of  the  old  troupe.  [J.  M.] 

BALDENECKER,  Nicolaus,  member  of  an 
extensive  family  of  musicians,  bom  at  Mayence 
178a,  first  violin  at  the  Fraoikfort  theatre  from 
1803  to  51,  and  joint-founder  with  Schelble  of  tiie 
amateur  concerts  which  resulted  in  the  famous 
'  Cacilien  -Verein'  of  that  dty. 


BALFB. 


BALDI,  a  eomiter*tenor  singer,  who  sang 
London  in  operas  of  Handel,  Buononcini, 
others,  from  1735  to  a8.  In  the  first  year  he 
in '  Elisa*  and  Leonardo  Vinci*8 '  Elpidia, '  replacii 
Pacini  in  the  latter,  who  previously  san^^  in  11 
In  1726  he  appeared  in  HandeVs  '  Aleasandro^^ 
'Ottone,*  and  'Scipione';  in  1727  in  '  Admeto 
and  '  Riccardo,*  as  well  as  in  Buononcini's  '  Astij 
anatte*;  and  in  1728  he  sang  in  'Tolozneo,' 
'Siroe,'  and  'Radamisto,'— all  by  HandeL  H^ 
seems  to  have  been  an  excellent  and  usefa| 
artist,  only  eclipsed  by  the  great  Seneaino,  who 
monopolised  the  leading  parts.  £J.  M.], 

BALELLI,  an  Italian  basso  engaged  at  tha! 
opera  in  London  towards  the  end  of  the  i8th 
century.  In  1787  he  sang  in  'Giulio  Cesare 
in  Egitto,'  a  pasticcio,  the  music  selected  by 
Arnold  firom  various  works  of  Handel's ;  and 
in  itie  *  Re  Teodoro,*  a  comic  opera  of  Paisiello. 
In  1788  he  appeared  in  Sarti*s  'GiuUo  Sabino' ; 
and  the  next  year  in  Chenibini*s  'Ifigenia,* 
and  in  operas  both  comic  and  serious  by 
Tarohi.  [J.  M.] 

BALFE,   Michael  William,  was  bom  at 
Dublin,  May  15,  1808.   When  he  was  four  years 
old  his  family  resided  at  Wexford,  and  it  was 
here,  in  the  eager  pleasure  he  took  in  listening 
to  a  militaiy  band,  Uiat  Balfe  gave  the  first  sign 
of  his  musical  aptitude.     At  five  years  of  age 
he  took  his  first  lesson  on  the  violin,  and  at 
seven  was  able  to  score  a   polaoca  composed 
by  himself  for  a  band.     His  father  now  sought 
better  instruction  for  him,  and  placed  him  under 
0*Rourke    (afterwards    known    in   London    as 
Rookb\  who  brought  him  out  as  a  violinist  in 
May  1 81 6.     At  ten  years  old  he  composed  a 
ballad,   afterwards    sung    by  Madame  Vestris 
in  the  comedy  of  'Paul  Pry,'   under  the  title 
of  '  The  Lover's  Mistake,'  and  which  even  now 
is  remarkable  for  the  freshness  of  its  melody, 
the   gift    in  which    he  afterwards   proved    so 
eminent.      When  he   was    sixteen   his   £&ther 
died,  and  left  him  to  his  own   resources ;   he 
accordingly  came  to  London,  and  gained  con- 
siderable  credit  by  his  performance  of  violin  solos 
at  the  so-called  oratorios.    He  was  then  engaged 
in  the  orchoRtra  at  Drury  Lane,  and  when  T. 
Cooke,  the  director,  had  to  appear  on  the  stage 
(which  was  sometimes  the  case  in  the  important 
musical  pieces),  he  led  the  band.    At  this  period 
he  took  lessons  in  composition  from  O.  F.  Horn, 
organist  of  St.  Geoige's  Chapel,  Windsor,  and 
father  of  ibe  popular  song-writer.    In  1825  he 
met  with  a  patron,  the  Count  Mazzara,  whom  he 
accompanied  to  Italy.    At  Rome  he  was  located 
in  the  house  of  his  patron,  and  studied  counter- 
point  under  Erederici,  afterwards  head  of  the 
Conservatorio   at   Milan.      He   next   went  to 
Milan,  and  studied  singing  under  Filippo  Galli. 
Here  he  made  his  first  public  essay  as  a  dramatic 
composer   by   writing   the   music  to   a   ballad 
entitled  'La  Perouse,*  the  melody  and  instru- 
mentation in  which  created  a  fiivourable  sensa- 
tion.    He  was  now  in  his  aoth  year.    Visiting 
Paris,  he  was  introduced  to  Rossini,  then  director 


BALFE. 


BALFB. 


127 


d  ihe ItaHtfi  Opem;  the  maestro  was  not  slow 
to  poveive  lus  talent»  and  ofiTered  him  an  en- 
gagement as  principal  barytone,  on  condition  that 
be  ihoold  take  a  oonrse  of  pr^Muratory  lessons  from 
BatdogiiL  He  made  his  first  appearance  at  the 
dose  ai  1838  in  'Figaro^'  with  decided  success. 
At  the  ckwe  of  hia  p£ris  engagement  he  returned 
to  Italy,  and  was  welcomed  by  a  new  patron, 
the  Goant  Sampieit  of  Bologna.  In  the  carnival 
leuQD  of  1829-30  he  was  principal  barytone  at 
Pileraio,  and  here  produced  his  first  complete 
•^en  'I  Bivali  di  se  stesei/  written  in  the  short 
^nce  of  twenty  days.  This  was  followed  in 
npid  fooDession  by  '  Un  AvTerttmento  ai  gelosi,' 
produced  at  Pavia>  and  'Enrico  Quarto*  at 
Milan,  where  he  was  engaged  to  sing  with  Mali- 
brui  it  the  Scala.  At  Beigamo  he  met  Mile. 
Rosen,  a  Gennaa  singer,  whom  he  married.  He 
ctffltaned  to  sing  on  the  stage  in  Italy  until  the 
^ffing  of  1835,  when  he  came  to  London,  and 
appeued  at  serenJ  public  and  private  concerts. 

fiil&'a  career  as  a  writer  of  English  operas 
commenced  from  this  year,  when  he  produced  the 
'  Siege  of  Bochelle'  at  Dnuy  Lane  (Oct.  39),  with 
distinguished  snooess.    It  was  played  ior  mora 
tbn  three  months  without  intermission,  and  com- 
pletely established  the  composer^s  fiime.    *The 
Haidof  Artois'  came  out  in  the  following  spring, 
id  soooeas  heightened  by  the  exquisite  singing 
of  ^blibran.     '  The  Light  of  other  days'  in  this 
opera,  aays  one  of  his  biographers,  '  is  perhaps 
tite  most  popular  song  in  England  that  our  days 
bare  known.'    In  the  autumn  of  this  year  BaUe 
appealed  as  a  singer  at  Drury  Lane.    In  1837 
he  brought  out  his  '  Catherine  Grey '  and  '  Joan 
of  Arc'— himself  singing  the  part  of  Theodore ; 
and  in  the  following  year  (July  19, 38), '  Falstaff* 
wai  prodooed  at  Her  Majesty's  Theatre,  the  first 
lulian  opera  written  for  that  establishment  by 
aa  English  composer  since  Ame's  '  Olympiade.' 
Two  months  previously  'Diadeste*  was  given  at 
Dnn  Lsne.     In  1839  he  was  much  on  the 
boardi,  playing  Farinelli  in  Bamett's  opera  of 
that  name  at  Drury  Lane^  and  in  an  English 
maxm.  of  Biod'a  'Scaramuccia'  at  the  Lyceum. 
In  1S40  he  entered  the  field  as  manager  of  the 
Lfoonn  (the   TgngliA   opera-house),  and   pro- 
daced  his  '  Keolanthe'  for  the  opening  nighty 
with  Madame  Balfe  in  the  principal  character ; 
bat  with  all  its  merited  success  the  opera  did 
not  aave  the  enterprise  from  an  untoward  close. 

fiilfe  now  migrated  to  Paris,  where  his  genius 
*»  leoqgnised,  and  MM.  Scribe  and  St.  George 
faniahed  him  with  the  dramatic  poems  which 
inspired  him  with  the  charming  music  of  'Le 
Pattfl  d'Amour*  (performed  in  London  under 
tbe  title  of  'Geiakline'),  and  'Les  Qoatre  fils 
dAymon'  (known  here  as  'The  Castle  of 
Aymon'),  both  given  at  the  Op<^ra  Comique. 
^^Iiile  thtis  maintaining  his  position  before  the 
OKwt  faatidioos  audience  of  Europe,  Balfe  returned 
n  poMnnt  to  Fjigland,  and  produced  the  most 
foeomfvl  of  all  his  works,  ' The  Bohemian  Giri* 
!^^OT.  37, 1843).  This  opemk  has  been  translated 
t&to  afanost  every  European  language,  and  is  as 
g'c&t  a  fsToorite   on   the    other  side   of  the 


Atlantio  at  00  this.    ]bi  1844  he  brought  out 

*  The  Daughter  of  St.  Mark,'  and  in  the  following 
year  'The  Enchantress' — ^both  at  Drury  lsne. 
In  1845  he  wrote  'LlEtoile  de  Seville*  for  the 
Acad^nie  Boyale,  in  the  oourse  of  the  re> 
hearsals  of  wUch  he  was  called  to  London  to 
arrange  his  engagement  as  conductor  of  Her 
Miyeaty's  Theatre ;  which  office  he  filled  to  the 
closing  of  that  establishment  in  185a.  'The 
Bondman'  came  out  at  Drunr  Ijme  in  the  winter 
of  1 846,  Balfo  having  arrived  from  Vienna  spedaily 
for  the  rehearsals.  In  Deo.  1847  he  brought  out 
'  The  Maid  of  Honour/ — ^the  subject  of  which  is 
the  same  as  Flotow's  '  Martha,' — at  Drury  Lane. 
In  1849  he  went  to  Berlin  to  reproduce  some 
of  his  openw,  when  the  king  offered  him  the 
decoration  of  the  Prussian  Eagle,  which  as  a 
British  subject  he  was  unable  to  accept.  Between 
this  year  and  1853,  when  the  'Sicilian  Bride' 
was  g^ven  at  Drury  Lane,  and  a  few  weeks  later, 
at  the  Surrey  Theatre,  'The  Devil's  in  it,' 
Balfe  had  undertaken  to  oonduot  a  series  of 
National  Concerts  at  Her  Majesty's  Theatre: 
the  plan  of  these  perfonnanoes  was  devised  with 
a  view  to  the  finiherance  of  the  highest  pur- 
poses of  art,  and  several  important  works  were 
produced  in  the  course  of  the  enterprise^  which 
did  not,  however,  meet  with  success. 

At  the  dose  of  185a  Balfe  visited  Si.  Peters- 
burg with  letters  of  introduction  from  the  Prince 
of  Prussia,  now  Emperor  of  Germany,  where 
he  was  received  with  all  kinds  of  distinction. 
Besides  popular  demonstrations  and  imperial 
favour  he  realised  more  money  in  less  time 
than  at  any  other  period.  The  expedition  to 
Trieste,  where  his  next  work  'Pittore  e  Duca.' 
was  given  during  the  Carnival,  with  such  success 
as  the  failure  of  his  prima  donna  could  permit, 
brings  us  to  1856,  when,  after  an  absence  of  four 
years,  he  returned  to  England. 

In  the  year  after  his  return  Bslfe  brought 
out  his  daughter  Yictoirs  (afterwards  married  to 
Sir  John  Crampton,  and  subsequently  to  the 
Duke  de  Frias),  as  a  singer  at  the  Italian  opera 
at  the  Lyoeum ;  and  his  next  work,  '  The  Rose 
of  CastQe,'  was  produced  by  the  English  company 
also  at  this  theatre  on  Oct.  29,  1857.  This  was 
succeeded,  in  1858,  by  '  La  Zingara,'  the  Italian 
vernon  of  'The  Bohemian  Girl,'  at  Her  Majesty's 
Theatre,  and  by  *Satanella*  at  the  Lyoeum. 
'Satanella'  had  a  long  run,  and  one  of  the  songs, 
'  The  power  of  Love,'  became  very  popular.  His 
next  operas  were  'Bianca,'  i860  ;  *  The  Puritan  s 
Laughter,'  1861 ;  '  The  Armourer  of  Nantes'  and 

*  Blanche  de  Nevers'  in  Feb.  and  Nov.  1863. 

In  December  1869  the  French  version  of  his 
'Bohemian  Girl'  was  produced  at  the  Theatre 
Lyrique  of  Paris  under  the  title  of  'La  Bohe- 
miexme,'  for  which  the  composer  wrote  several 
additional  pieces,  besides  recasting  and  extending 
the  work  into  five  acts.  The  success  attending 
this  revival  procured  him  the  twofold  honour  of 
being  made  Chevalier  de  la  Legion  d'Honneur  by 
the  Emperor  of  the  French,  and  Commander  of 
the  Order  of  Carlos  III  by  the  Regent  of  Spain. 

In  1864  Balfe  retired  into  the  country,  became 


J 


1 


128 


BALFE. 


BALLAD. 


the  proprietor  of  a  gmall  landed  property  in 
Hertfordshire,  called  Bowney  Abbey,  and  turned 
gentleman  fiumer.  Here  he  amused  himself 
with  agriculture  and  music,  making  oocaainnal 
visits  to  Paris.  He  had  several  severe  attacks 
of  bronchitis,  and  suffered  much  from  the  loss 
of  a  favourite  daughter,  which  much  weakened 
his  constitution.  £i  September  1870  he  caught 
a  violent  cold,  which  caused  a  return  of  his  old 
complaint,  and  on  October  ao  he  expired. 

'II  Talismano,'  the  Italian  version  of  Balfe's 
last  opera,  *  The  Knight  of  the  Leopard,'  was 
produced  at  Drury  Lane,  on  June  11, 1874 ;  and 
on  September  25  in  the  same  year  a  statue  to 
his  memory,  by  a  Belgian  artist,  M.  Mallempre, 
was  placed  in  the  vestibule  of  Drury  Lane,  the 
scene  of  so  many  of  his  triumphs. 

Balfe*s  miscellaneous  pieces  are  numerous, 
including  the  operetta  of  '  The  Sleeping  Queen,' 
performed  at  the  GraUery  of  Illustration ;  three 
cantatas — '  Mazeppa,'  performed  in  London ;  and 
two  others  composed  at  Paris  and  Bologna. 
Many  of  his  ballads  are  not  likely  to  be  soon 
forgotten.  His  characteristics  as  a  composer 
are  summed  up  by  a  brother  artist  (Professor 
Macfarren)  in  the  following  words: — 'Balfe 
possesses  in  a  high  degree  the  qualifications  that 
make  a  natural  musician,  of  quickness  of  ear, 
readiness  of  memory,  executive  facility,  almost 
unlimited  and  ceaseless  fluency  of  invention, 
with  a  felicitous  power  of  producing  striking 
melodies.  His  great  experience  added  to  these 
has  given  him  the  complete  command  of  orchestral 
resources,  and  a  remarkable  rapidity  of  pro- 
duction. Against  these  great  advantages  is 
balanced  the  want  of  conscientiousness,  which 
makes  him  contented  with  the  first  idea  that 
presents  itself,  regardless  of  dramatic  truth, 
and  considerate  of  luomentary  effect  rather  than 
artistic  excellence ;  and  this  it  is  that,  with  all 
his  well-merited  success  with  the  million,  will 
for  ever  prevent  his  works  from  ranking  among 
the  classics  of  the  art.  On  the  other  hand  it 
must  be  owned  that  the  volatility  and  spontaneous 
character  of  his  music  would  evaporate  through 
elaboration,  either  ideal  or  technical ;  and  that 
the  element  which  makes  it  evanescent  is  that 
which  also  makes  it  popular.'  {Imp,  Did.  of 
Univ.  £iog. ;  Kenney's  Memoir,  1875).  [E.  F.  R.] 

BAUNO,  see  Fabri. 

BALL,  Wtlliav,  an  English  litterateur,  who 
died  in  London  on  May  14,  1869,  aged  85,  and 
deserves  a  place  in  a  Dictionary  of  Music  for 
having  adapted  to  English  words  the  librettos  of 
various  great  musical  compositions — Masses  of 
Haydn,  Mozart,  and  Beethoven  (No.  i),  Mozart's 
'Requiem,'  Spohr's  'God,  thou  art  great,'  Kos- 
sini^s  'Stabat  Mater,'  and  especially  Mendels- 
sohn  s  ' St.  Paul'  and  '  Lobgesang.' 

BALLABILE  (Ital.,  from  ballare,  to  dance). 
A  piece  of  music  adapted  for  dancing.  The  term 
can  be  applied  to  any  piece  of  dance  music. 
Meyerbeer  frequently  uses  it  in  his  operas,  e.g. 
in  *  Robert  le  Diable,'  where  the  three  dances  in 
the  scene  of  the  resurrection  of  the  nuns  in  the 


third  act  are  entitled  in  the  score '  1^.  2^.  and  3<'*i 
ballabile.*  He  also  applies  the  term  to  the  dance' 
music  of  the  ball-room  scene  at  the  oommence- 
of  the  fifth  act  of  the  'Huguenots.'  More 
recently  Dr.  Bbms  von  Billow  has  given  the  title 
of  'Ballabili'  to  the  dance-numbers  of  his 
'Gaznevale  di  Milano,'  these  dances  being  re- 
spectively a  polacca,  a  waltz,  a  polka,  a  quadrille, 
a  mazurka,  a  tarantella^  and  a  galop.  [E.  P.] 

BALLAD,  from  the  Italian  hal-lata,^  a  dance, 
and  that  again  from  hallare,   to  danoe.      The 
form  and  application  of  the  word  have  varied 
continually  from  age  to  age.     In  Italy  a  Balletta 
originally  signified  a  sung  intended  to  be  sung  in 
dance  measure,  accompanied  by  or  intermixed 
with  dancing;   'in  the  Crusca  dictionary,'  says 
Bumey,  'it  is  defined  as  Canzone,  che  si  canta 
ballando' — a  song  sung  while  dancing.     The  old 
English  ballads  are  pieces  of  narrative  verse  in 
stanzas,  occasionally  followed  by  an   envoi   or 
moral.     Such  are  'Chevy  Chase,'  'Adam  Bell, 
Clym  of  the  Clough  and  William  of  doudeslee/ 
'  The  Babes  in  the  Wood' ;  and,  to  come  to  more 
modem  times,  such  are  '  Hosier's  Ghost '  ( Wal- 
pole's  favourite),  Goldsmith's  'Edwin  and  An- 
gelina,' and  Coleridge's  'Dark  Ladie.*     But  the 
term  has  been  used  for  almost  every  kind  of 
verse — historical,  narrative,  satirical,  political,  re- 
ligious, sentimental,  etc.     It  is  difficult  to  dis- 
cover the  earliest  use  of  the  word.     Many  refer- 
ences which  have  been  made  to  old   authors 
reputed  to  have  employed  it   are  not  to  the 
point,  as  it  will  be  found  in  such  cases  that  the 
original  word   in   the  old   Latin  chrpnides  is 
some  form  of  the  noun  '  cantilena.' 

In  a  MS.  of  the  Cotton  collection,  said  to  be 
as  ancient  as  the  year  1326,  mention  is  made  of 
ballads  and  roundelays  (Hawkins,  Hist,  of  Mu- 
sic). John  Shirley,  who  lived  about  1440,  made 
a  collection  of  compositions  by  Chaucer,  Lydgate, 
and  others,  and  one  of  the  volumes,  now  in  the 
Ashmolean  collection,  is  entitled  '  A  Boke  deped 
the  abstracte  brevyaire,  compyled  of  diverse 
baladety  roundels,  . . .  collected  by  John  Shirley/ 
In  the  devices  used  at  the  coronation  of  Heniy 
VI  (Dec.  17,  1 431)  the  king  was  portrayed  in 
three  several  ways,  each  '  with  a  ballad'  (Sharon 
Turner).  Coveidale's  Bible,  printed  in  1535,^ 
contains  the  word  as  the  title  of  the  Song  of 
Solomon — 'Salomon's  Balettes  called  Cantica 
Canticorum.' 

Ballad  making  was  a  fashionable  amusement 
in  the  reign  of  Henry  VIII,  who  was  himself 
renowned  for  '  setting  of  songes  and  makyng  of 
ballettes.'  A  composition  attributed  to  him,  and 
called  'The  Kynges  Ballade'  (Add.  MSS.  Brit. 
Mus.  5665),  became  very  popular.  It  was  men- 
tioned in  '  The  Complainte  of  Scotland,*  published 
in  1 548,  and  also  made  the  subject  of  a  sermon 
preached  in  the  presence  of  Edward  VI  by  Bishop 
Latimer,  who  enlarged  on  the  advantages  of 
'Passetyme  with  good  companye.'  Amongst 
Henry's  effects  after  his  decease,  mention  is 
made  of  '  songes  and  ballades.'    In  Queen  Eliza- 

>  BaUata  b  a  dimclns  ptooe.  h  Snotiafi^  s  Mundlns  pl*ca,  aod 
QtMUUUt  S  slllKillS  pltOC 


BALLAD. 


BALLARD. 


129 


beth's  rc^  InlladB  and  ballad  nngen  came  into 
ilNi^pute,  and  were  made  the  subject  of  repfee- 
sirs  legislafcion.  '  Musicians  held  ballads  in  con- 
%anfi,  and  great  poets  rarely  wrote  in  ballad 

Morley,  in  his  '  Plaine  and  easie  introduction 
t.1  Pracdcall  Musicke/  1597,  myb,  after  speaking 
cf  VUimeiU,  '  there  is  another  kind  more  light 
•^  this  which  they  tearm  BcUUU  or  daunoes, 
utd  are  scngs  which  being  sung  to  a  dittie  may 
Ekewise  be  danced,  these  and  other  light  kinds 
of  mnsicke  are  by  a  general  name  called  atret.' 
Six^  w«re  the  songs  to  which  Bonny  Boots,  a 
v&I-known  singer  and  dancer  of  Elizabeth^s 
eusrt,  both  *  tooted  it '  and  '  footed  it.'  In  1 636 
Bitler  pablished  '  The  Principles  of  Musicke/ 
aod  m  that  woik  ipoke  of '  the  infinite  multitude 
(i  Ballads  set  to  sundry  pleasant  and  delighi- 
fil  times  by  cunning  and  witty  composers,  with 
fovn/ry  dance$  fitted  unto  them.'  After  this  the 
tiCe  became  common. 

The  name  has  been  applied  to  a  pastoral  song, 
'?^um&  is  icumen  in,'  preserved  in  the  Harleian 
MSS.,  which  dates  from  the  13th  century,  and 
fumihes  the  earliest  example  known  (though  it  is 
cOTioas  that  so  finished  a  composition  cannot 
baTe  been  the  first)  of  part  music.  The  music 
u  in  triple  measure,  and  a  sort  of  dance 
rfarthm.  but  the  song  can  in  no  sense  be  called 
ft  ballad.  [See  Suhxb  is  icdmen  ik.]  The 
music  of  many  real  old  ballads  has  however  sur- 
▼ired,  for  which  the  reader  may  be  referred  to 
Mr.  W.  Chappell's  well-known  work.  '  Chevy 
Cbue'  appears  to  have  been  sung  to  three  tunes. 
Thett  Chase.]  One  of  these, '  The  hunt  is  up,' 
vu  a  favourite  popular  air,  of  which  we  give 
tiuBotes-^ 


This  old  tone  was  otherwise  employed.  In  1 5  3  7 
i&fannaticQwas  sent  to  the  Council  against  John 
^(^00,  who^  'with  a  crowd  or  a  fyddyll,'  sang  a 
*fog  with  a  political  point  to  the  tune  '  The  hunt 
i^  V  'If  ft  man,*  says  Fletcher  of  Saltoun, 
'were  permitted  to  make  all  the  ballads,  he  need 
Bot  care  who  should  make  the  laws  of  a  nation.' 
•Uffibuikro'  ^beloved  of  my  uncle  Toby),  is  a 
cfriking  proof  of  the  truth  of  Saltoun's  remark, 
anee  it  helped  to  turn  James  II  out  of  Ireland. 
Tbe  tone  aod  the  history  of  the  song  will  be 
foond  onder  LiLLiBtJRLBito.  'Marlbrouk,'  the 
'Maneillaise,'  and  the  'Wacht  am  Rhein,'  are 
otW  instaDoes  of  ballads  which  have  had  great 
political  influence. 

B»llad8  have  sunk  from  their  ancient  high 
«»te.  Writing  in  i8oi  Dr.  Bumey  said,  'A 
i^uad  is  a  mean  and  trifling  song  such  as  is  gen- 
m&s  rong  in  the  streets.  In  the  new  Fr«ich 
'^opedie  we  are  told  that  we  Englif«h  dance 
l^sbgoQr  ballads  at  the  same  time.  We  have 
^  beard  ballads  sung  and  seen  country  dances 
uQoed;  but  never  at  the  same  time,  if  there 


was  a  fiddle  to  be  had.  The  movement  of  our 
country  dances  is  too  rapid  for  the  utterance  of 
words.  The  English  ballad  has  long  been  de- 
tached from  dancing,  and,  since  the  old  transla- 
tion of  the  Bible,  been  confined  to  a  lower  order 
of  song.'  Notwithstanding  the  opinion  of  Dr. 
Bumey  the  fact  remains  incontrovertible  that  the 
majority  of  our  old  ballad  tunes  are  dance  tunes, 
and  owe  their  preservation  and  identification  to 
that  circumstance  alone — the  worda  of  old  bal- 
lads being  generally  found  without  ^the  music 
but  with  the  name  of  the  tune  attached,  the 
latter  have  thus  been  traced  in  various  collec- 
tions of  old  dance  music.  The  quotation  already 
made  from  Butler  shews  that  the  use  of  vocal 
ballads  as  dance  tunes  implied  in  the  name  had 
survived  as  late  as  the  reign  of  Charles  I.  One 
instance  of  the  use  of  the  word  where  dancing 
can  by  no  possibility  be  connected  with  it  is  in 
the  title  to  Goethe  s  <£rste  Walpurgisnacht/ 
which  is  called  a  Ballad  both  by  him  and  by 
Mendelssohn,  who  set  it  to  music.  The  same 
may  be  said  of  Schiller's  noble  poems  'Der 
Taucher,'  'Bitter  Togenbui^,'  and  others,  so 
finely  composed  by  Schubert,  though  these  are 
more  truly  '  ballads '  than  Goethe's  'Walpurgis- 
nacht.' So  again  Mignon's  song  'Kennst  du 
das  Land,'  though  caUied  a  '  Lied '  in  Wilhelm 
Meister,  is  placed  by  Groethe  himself  at  the  head 
of  the  'Baltaden'  in  the  collected  edition  of  his 
poetry.  In  £act  both  in  poetiT  and  music  the 
term  is  used  with  the  greatest  freedom  and  with 
no  exact  definition. 

At  the  present  time  a  ballad  in  music  is  gen- 
erally understood  to  be  a  sentimental  or  romantic 
composition  of  a  simple  and  unpretentious  cha- 
racter, having  two  or  more  verses  of  poetry^  but 
with  the  melody  or  tune  complete  In  the  first, 
and  repeated  for  each  succeeding  verse.  '  Ballad 
concerts'  are  ostensibly  for  the  performance  of 
such  pieces,  but  the  programmes  often  contain 
songs  of  all  kinds,  and  the  name  is  as  in- 
accurate as  was  'Ballad  opera'  when  applied 
to  such  pieces  as  'The  Beggar's  Opera,*  which 
were  made  up  of  well-known  airs  with  fresh 
words.     [Engush  Opera.]  [W.  H.  C] 

BALLADE,  a  name  adopted  by  Chopin  for 
four  pieces  of  pianoforte  music  (op.  23,  38, 47,  53) 
which,  however  brilliant  or  beautiM,  have  no 
peculiar  form  or  character  of  their  own,  beyond 
being  written  in  triple  time,  and  to  which  the 
name  seems  to  be  no  more  specially  applicable 
than  that  of  'Sonnet*  is  to  the  pieces  which 
Liszt  and  others  have  written  under  that  name. 
Brahms  has  also  published  four '  Balladen'  (op.  10) 
and  Liszt  two. 

BALLARD,  a  family  of  printers,  who  for 
nearly  200  years  virtually  enjoyed  the  monopoly 
of  printing  music  in  France.  Their  types  were 
made  by  GuiUaume  le  B^  in  1540,  and  remained 
in  use  as  late  as  1 750.  The  fint  patent  was 
granted  to  Robert  Ballard  by  Henri  II  in  1552, 
and  he  and  his  sonrin-law  Adrien  Leroy  printed 
many  taUatures  for  the  lute  and  other  music. 
They  wore  followed  by  Pierre,  and  he  again  by 


180 


BALLABD. 


bis  son  Robert,  under  whom  the  house  rose 
to  its  greatest  height  both  in  privileges  and 
position.  He  was  succeeded  by  Christophe, 
T.  B.  Cfaristophe,  and  Christophe  «fean  Francis, 
who  died  in  1765.  His  son  held  the  patent  until 
Ir  was  abolished  during  the  Revolution.  One  of 
the  earliest  specimens  of  their  art  of  printing 
is  'The  Psalms  of  Marot/  156a.  Lully*B  operas 
were  printed  by  the  Ballards— first  about  1 700, 
from  moveable  types,  aud  afterwards  from  en- 
graved copper  plates.  [F.  G.] 

BALLERINA  (ItaL),  a  female  ballet-dancer. 

BALLET.    The  ballet  is  a  more  modem  en- 
tertainment even  than  the  opera,  with  which  it 
has  long  been  intimately  connected.    The  name 
seems  to  have  been  derived  from  the  Italian 
halkUat  the  parent  of  our  own  'ballad';  and 
the   earliest   ballets   (Ballets  de  Cour),   which 
corresponded  closely    enough    to    our    English 
masques,  were  entertainments  not  of  dancing 
only,  but  also  of  vocal  and  instrumental  music. 
M.  Castil  Blaze,  in  an  interesting  monograph  ('La 
Dance,'  etc.;  Paris,   Paulin),  traces  back  the 
ballet  from  iVance  to  Italy,  firom  Italy  to  Greece, 
and  through  the  Greek  stage  to   festivals   in 
honour  of  Bacchus.    But  the  baUet  as  signifying 
an  entertainment  exclusively  in  dancing  dates 
from  the  foundation  of  the  Acad^mie  Royale  de 
Musique,  or  soon  afterwards.     In  1671,  the  year 
in  which  Cambert's  'Pomone,'  the  first  French 
opera  heard  by  the  Parisian  public,  was  produced, 
'Psyche,*  a  so-called  trag^die-ballet  by  Moli^re 
and  Comeille  was  brought  out.    Ballets  however 
in  the  mixed  style  were  known  much  earlier ;  and 
the  &mous  'Ballet  comique  de  la  Royne,*  the 
'mounting*  of  which  is  said  to  have  cost  three- 
and-a-half  millions  oi  francs,  was  first  performed 
at  the  marriage  of  the  Duke  of  Joyeuse  in  1581. 
[Baltakarini.]    The  work  in  question  consisted 
of  songs,  dances,  and  spoken  dialogue,  and  seems 
to  have  differed  in  no  important  respect  from  the 
masques  of  an  earlier  period.  Another  celebrated 
ballet  which  by  its  historical  significance  is  better 
worthy  of  remembrance  than  £e  'BaUet  comique 
de  la  R<^ne,'  was  one  repres^ited  on  the  occasion 
of  Louis  XIV 's  marriage  with  Marie  Thdr^e,  and 
entitled  'II  n'y  a  plus  de  Pyr^n^es.*    In  illus- 
tration of  this  supposed  political  £»ct  half  the 
dancers  were  dressed  in  the  French  and  half  in 
the  Spanish  costume,  while  a  Spanisli  nymph  and 
a  French  nymph  joined  in  a  vocal  duet.     Other 
ballets  of  historical  renown  were  the  'Hercule 
amourenx,'  at  which  more  than  700  persons  were 
on  the  stage,  and  the  'Triomphe  de  T Amour'  in 
1681.    Louis  XIV  took  such  a  delight  in  ballets 
that  he  frequently  appeared  as  a  ballet- dancer,  or 
rather  as  a  figurant,  himself.    For  the  most  part 
his  majesty  contented  himself  with  marching 
about  the  stage  in  preposterous  costumes,  and 
reciting  verses  in  celebration  of  his  own  great- 
ness.   Occasionally,  however,  he  both  sang  and 
danced  in  the  court  ballets.    When  in  1669  the 
'Great  Monarch'  assumed,  ostensibly  for  the  last 
time,  the  part  of  the  Sun  in  the  ballet  of '  Flora,* 
it  was  thought  that  His  Majesty's  theatrical 


BALLET. 

eareer  had  really  oome  to  an  end.     He  felt, 
however,  as  so  many  great  performers  have  since 
done  under  similar  circumstances,  that  he  had 
retired  too  soon  ;  and  the  year  afterwards  he  ap- 
peared again  in  '  Les  Amants  magnifiques,'  com- 
posed by  the  king  himself,  in  collaboration  with 
Moli^re.     In  this  work  Louis  executed  a  solo  on 
the  guitar — ^an  instrument  which  he  had  Ktudied 
under  Francesco  Corbetta,  who  afterwards  went 
to  England  and  obtained  great  success  at  the 
court  of  Charles  II.    It  is  indeed  recorded  of  him 
that    in  connection  with    'Les  Amants   mag- 
nifiquee,*  he  played  the  part  of  author,  balkt- 
master,  dancer,  mimic,  singer,  and  instrumental 
performer.     As  Louis  XIV  did  not  think  it  be- 
neath his  dignity  to  act  at  court  entertainments,  he 
had  no  objection  to  his  courtiers  showing  them- 
selves publicly  on  the  stage.   In  the  royal  letters 
patent  granted  to  the  Abb^  Perrin,  the  first  di- 
rector of  the  French  Opera^  or '  Acad^mie  Royale 
de  Musique'  as  from  the  beginning  it  was  called, 
free  permission  was  given  to  '  all  gentlemen  and 
ladies  wishing  to  sing  in  the  said  pieces  and 
representations  of  our  royal  academy   without 
being  considered  for  that  reason  to  derogate  from 
their  titles  of  nobility,  or  from  their  privileges, 
rights,  and  immunities.'  The  right  to  sing  seems 
to  have  been  interpreted  as  including  the  right 
to  dance;  and  several  ladies  and  gentlemen  of 
good  hixibi  profited  by  the  king's  liberality  to 
appear  in  the  ballet-s  represented  at  the  Academie 
Royale.    The  music  of  Louis  XIV's  ballets  was 
for  the  most  part  written  by  Lulli,  who  also 
composed    the  songs  and   symphonies   for   the 
dance-interludes  of  Moli^re*s  comedies.   The  dra- 
matic ballet  or  ballet  d'cuAion  ia  said  to  have 
been  invented  by  the  Duchesse  du  Maine,  cele- 
brated for  her  evening  entertainments  at  Sceaux, 
which  the  nobles  of  Louis  XIV^s  court  found  so 
exhilarating  after  the  formal  festivities  of  Ver- 
sailles.   With  a  passion  for  theatrical  representa- 
tion the  Duchess  combined  a  taste  for  literature ; 
and  she  formed  the  project  of  realising  on  the 
stage  of  her  ovm  theatre  her  idea  of  the  panto- 
mimes of  antiquity,  as  she  found  them  described 
in  the  pages  of  her  favourite  authors.     She  went 
to  work  precisely  as  the  arranger  of  a  ballet  would 
do  in  the  present  day.    Thus  taking  the  fourth 
act  of  'Les  Horaces'  as  her  libretto  (to  use  the 
modem  term),  she  had  it  set  to  music  for  orchestra 
alone,  and  to  the  orchestral  strains  caused  the 
parts  of  Horace  and  of  CamiUe  to  be  performed  ia 
dumb  show  by  two  celebrated  dancers  who  had 
never  attempted  pantomime  before.     Balon  and 
Mademoiselle  Pr3vost,  the  artists  in  question, 
entered  with  so  much  feeling  into  the  chebracters 
assigned  to  them,  that  they  drew  tears  from  the 
spectators. 

Mouret,  the  musical  director  of  the  Duchesses 
'  Nuits  de  Sceaux,*  composed  several  ballets,  on 
the  principle  of  her  ballet  of '  Les  Horaces,'  for  the 
Academic  Royale.  During  the  early  days  of  the 
French  opera>  and  until  nearly  the  end  of  the 
17th  century,  it  was  difficult  to  obtain  dancers 
in  any  great  number,  and  almost  impossible  to 
find  female  dancers.    The  company  of  vocalists 


BALLET. 

Teerulied  from  the  cathedral  cbofrs,  but  for 
(he  baUtft  there  were  only  the  dancing  masters 
fft  the  capital  and  their  papila  of  the  nude  sex  to 
^ect  frocn.    There  were  no  dancing  mistresseB, 
Mod  ladies  would  not  under  any  circuumtances 
kare   oooaented  to  dance  in  pnblic.     On  this 
p:4niy  howerer,  the  &Bhian  was  destined  soon  to 
citang^.     l<fymphs,    diyads,    and    shepherdesses 
w&e  Ibr  a  time  represented  by  boys,  who  equally 
with  the  fauns  and  satyrs  wore  masks.    But  at 
last  ladies  oi  the  highest  position,  with  Madame 
la  DaopUine  and  the  Princesse  de  Gonti  amongst 
tbem,  appeared  by  express  desire  of  the  king  in 
the  baQeta  at  YersaiUes;  and  about  the  same 
time  several  ladies  of  title  taking  advantage  of 
the  royal   permission,  joined  the  opera  in  the 
character  of  ballet-dancers.  The  first  professional 
Wleriiia  of  note  at  the  Acad^mie  was  Mile.  La- 
fentalne,   who  with  three  other  danseuses  and 
a  befittiDg  number  of  male  dancers,  fonned  the 
entire  ballet  company.     It  is  not  necessary  to 
Tdate  the  stories,  more  or  lens  scandalous,  told  of 
Ttfioas  ballet  daaoers  —  of  the  Demoiselles  de 
Camargo^  of  Kile.  P^liarier  (who,  expelled  from 
Pans,  visited  London,  where  she  was  warmly 
receiv«i  in  1 734)  ;  of  MUe.  Petit,  dismissed  from 
the  opera  for  misoonduet^  and  defended  in  a 
pamj^let  by  the  Abb^  de  U  Marre ;  of  Mile. 
Masii,   who,  mined  by  Law*B  financial  scheme, 
dreaaed  henelf  in  her  most  brilliant  costimier 
and  drowned  herself  publicly  at  noon;   or  of 
Mile.   Sobli^ny,    who  came   to  England   with 
liters  of  introduction  from  the  Abb^  Dubois  to 
Lc«ke.     The  eminent  metaphysician,  who  had 
hitherto  paid  more  attention  to  the  operations  of 
the  human  mind  than  to  the  art  of  dancing,  did 
hoBoor  to  the  abb^*s  recommendation,  and  (as 
F<mteBdle  declared  in  a  letter  on  the  subject) 
'coastltated  himself  her  man  of  business.*    We 
BOW,  however,  oome  to  a  ballerinay.  Mile.  Sall^, 
who  beddea  being  distinguished  in  her  own  par- 
ticular art,  introduced  a  general  theatrical  reform. 
Ib  the  early  part  of  the  i8th  century — as  indeed 
at  a  much  later  period — all  sorts  of  anachronisms 
sad  etrora  of  taste  were  committed  in  connection 
with  costume.    Assyrian,   Greek,   and  Boman 
vanion  appeared  and  dsoced  pas  aeult  in  the 
baUets  of  the  Acad^mie  Bojyrale,  wearing  laced 
tosies  and  powdered  wigs  with  pigtails  a  yard 
long.    The  wigs  were  surmounted  by  helmets, 
and  the  manly  breasts  of  the  much-beribboned 
wsiriors  were  encased  in  a  cuirass.    Mile.  Sall^ 
proposed  that  each  character  should  wear  the 
cGitume  of  his  country  and  period ;  and  though 
tiiis  startling  innovation  was  not  accepted  gene- 
rally in  the  drama  untU  nearly  a  century  later, 
MQe.  SsUtf  succeeded  in  causing  the  principles 
Ae  advocated  to  be  observed  at  the  opera — at 
least  during  her  own  time,  and  so  far  as  r^^arded 
the  ballet.     Mile.  SaI16*s  reform  was  not  main- 
tained even  at  the  Acad^ie ;  for  about  'half  a 
century  later  Galatea^  in  Jean  Jacques  RousMau's 
'  PyguMlion,'  wore  '  a  damaak  dress  made  in  the 
Poluh  style  over  a  basket  hoop,  and  on  her  head 
an  enoimoas  pouf  surmounted  by  three  ostrich 
ftatheiB.'    It  has  been  said  that  Mile,  de  Sub- 


BALLET. 


181 


\  ligny  brought  to  London  letters  front  the'  Abb6 
Dubois  to  Locke.  MUe.  Sall^  arrived  with  an 
introduction  from  Fontenelle  to  Montesquieu, 
who  was  then  Ambassador  at  the  court  of  St. 
James*s.  This  artist  was,  indeed,  highly  es- 
teemed bv  the  literary  society  of  her  time.  She 
enjoyed  the  acquaintance  not  only  of  Fontenelle, 
Montesquieu,  and  our  own  Locke,  but  also  of 
Voltaire,  who  wrote  a  poem  in  her  honour.  In 
London  Mile.  Sall^  produced  a  'Pygmalion'  of 
her  own,  which,  at  least  as  regards  the  costumes, 
was  very  superior  to  the  'Pygmalion*  of  Bousseaa 
brought  out  some  fi>rty  or  fifty  years  afterwards. 
In  representing  the  statue  about  to  be  animated, 
she  carried  out  her  new  principle  by  wearing  not 
a  Polish  dress  but  simple  drapery,  imitated  as 
doeely  as  possible  from  the  statues  of  antiquity. 
A  full  and  interesting  account  of  Mile.  Salle*s  pei^ 
formance,  written  by  a  correspondent  in  London, 
possibly  Montesquieu  himself,  was  published  on 
March  15,  17^,  in  the  'Mercure  de  France.' 
'She  ventured  to  appear,' says  the  correspondent^ 
'without  skirt,  without  a  dress,  in  her  natural 
hair,  and  with  no  ornament  on  her  head.  She  wort 
nothing  in  addition  to  her  bodice  and  under 
petticoat  but  a  simple  robe  of  muslin  atranged 
in  drapeiy  after  the  model  of  a  Greek  statue. 
You  cannot  doubt,  sir,'  he  adds,  'the  prodigious 
success  thii  ingenious  ballet  so  well  executed 
obtained.  At  the  request  of  the  king,  the  queei^ 
the  royal  iiunily,  and  all  the  court,  it  will  bs 
performed  on  the  occasion  of  Mile.  SiJl^'s  benefit^ 
for  which  all  the  boxes  and  places  in  the  theatre 
and  amphitheatro  have  been  taken  for  a  month 
past.' 

Madeleine  Guimard,  a  celebrated  dan»eu$e  at 
the  French  opera  during  the  Gluck  and  Piocinni 
period,  is  frequently  mentioned  in  the  correspond- 
ence of  Grimm  and  of  Diderot.  Houdon,  the 
sculptor,  moulded  her  foot.  Fragonard,  ths 
painter,  decorated  her  rooms,  until  presuming  to 
fall  in  love  with  her  it  was  found  necessary  ts 
replace  him  by  Louis  David— afterwards  so  famous 
as  a  historio&l  painter  in  the  classical  style ; 
Marie  Antoinette  consulted  her  on  the  subject  of 
dress,  and  when  by  an  accident  on  the  stage  she 
broke  her  arm,  prayers  were  said  at  Notre  Dams 
for  MUe.  Guimard*s  injured  limb.  Marmontel, 
referring  to  her  numerous  acts  of  diarity,  ad« 
dressed  to  her  a  flattering  epistle  in  verse ;  and  a 
popular  divine  made  her  munificence  the  lubieot 
of  a  sermon.  The  chronicles  of  the  time  laid 
stress  on  Guimard's  excessive  thinness,  and  she 
was  familiariv  known  as  the '  Spider,'  while  a  wit 
of  the  period  called  her  la  tqueUUe  de§  Ordcea, 
The  fVench  Revolution  drove  numerous  French 
artists  out  of  the  country,  many  of  whem  visited 
London.  'Amongst  them,'  says  Lord  Mount- 
Edgeeumbe  in  his  Memoirs,  'came  the  £unous 
Mite.  Guimard^  then  near  sixty  years  old^  but 
still  full  of  grace  and  gentility ;  and  she  had  nevei^ 
poeee&^ed  more.' 

Gaetan  Vestris,  the  founder  of  the  Veslris^ 
family,  was  as  remarkable  for  his  prolonged 
youthfulness  as  MUe.  Guimard'  herself — who^. 
however,  inHtrfwfcd  of  being  'near  sixty/  was  not 

K  2 


132 


BALLET. 


more  than  fortj-rix  when  she  arrived  in  London). 
Gaetan  Vestris  made  his  debut  at  the  French 
opera  in  1 748 ;  and  M.  Castile  Blaze,  in  his 
'Histoire  de  TAcad^mie  Royale  de  Musique/ 
tells  us  that  he  saw  him  fifty -two  years  afterwards, 
when  he  danced  as  well  as  ever,  executing  the 
steps  of  the  minuet  'avec  autant  de  grace  que 
de  noblesse.*  The  family  of  Vestris— originally 
•  Yestri — came  from  Florence.  Gaetan  had  three 
brothers,  all  .dancera ;  his  son  Auguste  was  not 
less  famous  than  himself  ('Auguste  had  Gaetan 
Yestris  for  his  fathel*/  the  old  man  would  say — 
'an  advantage  which  nature  refused  me');  Au- 
guste's  nephew  was  Charles  Yestris,  and  Au- 
gu8te*s  favourite  pupil  was  Peirot,  who  married 
Carlotta  Grisi,  and  who  by  his  expressive  pan- 
tomime more  even  than  by  his  very  graceful 
dancing,  enjoyed  in  London  an  amount  of  success 
which  male  dancers  in  this  country  have  but  rarely 
obtained.  Innumerable  anecdotes  are  told  of  the 
vanity  and  self-importance  of  Gaetan  Vestris,  the 
head  of  this  family  of  ai-tists.  On  one  occasion 
when  his  son  was  in  disgrace  for  having  refused, 
on  some  point  of  theatrical  honour,  to  dance  in 
the  divertissement  of  Gluck's  '  Armide,*  and  was 
consequently  sent  to  Fort-l'Ev^que,  the  old  man 
exclaimed  to  him  in  presence  of  an  admiring 
throng:  'Go,  Augustus;  go  to  prison!  Take 
my  carriage,  and  ask  for  the  room  of  my  friend 
the  King  of  Poland.'  Another  time  he  reproved 
Augustus  for  not  having  performed  his  duty  by 
dancing  before  the  King  of  Sweden,  'when  the 
Queen  of  France  had  performed  hers  by  asking 
hdm  to  do  so.*  The  old  gentleman  added  that 
he  would  have  'no  misunderstanding  between 
the  houses  of  Vestris  and  of  Bourbon,  which  had 
hitherto  always  lived  on  the  best  terms.'  The 
ballet  never  possessed  in  London  anything  like 
the  importance  which  belonged  to  it  in  F^rance, 
from  the  beginning  of  the  18th  century  until 
a  comparatively  recent  time.  For  thirty  years, 
however,  from  1820  to  1850,  the  ballet  was  an 
attractive  feature  in  the  entertainments  at  the 
King's  (afterwards  Her  Majesty's)  Theatre  ;  .and 
in  1 8  21  the  good  oflBces  of  the  British  ambasisador 
at  th«  court  of  the  Tuileries  were  employed  in 
aid  of  a  negooiation  by  which  a  certain  number 
of  the  principal  dancers  were  to  be  temporarily 
*  ceded '  every  year  by  the  administration  of  the 
Acad^mie  Royale  de  Musique  to  the  manager 
— at  that  time  Mr.  Ebers,  of  our  Italian  Opera. 
Miles.  Noblet  and  Mercandotti  seem  to  have  been 
the  first  danseuses  given,  or  raUier  lent,  to  Eng- 
land by  this  species  of  treaty.  Mile.  Taglioni, 
who  appeared  soon  afterwards,  was  received  year 
after  year  with  enthusiasm.  Her  name  was  given 
to  a  stage  coach,  also  to  a  great  coat;  and — 
more  enduruig  honour — Thackeray  has  devoted 
some  lines  of  praise  to  her  in  the  'Newcomes,' 
assuring  the  young  men  of  the  present  genera- 
tion that  they  will '  never  see  an3^ing  so  grace- 
ful as  Taglioni  in  La  Sylphide.'  Among  the 
celebrated  dancers  contemporary  with  Taglioni 
must  be  mentioned  Fanny  Ellsler  (a  daughter  of 
Haydn's  old  copyist  of  the  same  name)  and 
Cerito,  who  took  the  principad  part  in  the  once 


BALLETS. 

favourite  ballet  of  'Alma*  (music  by   Costa). 
Fanny  Ellsler  and  Cerito  have  on  rare  ooca&ions 
danced  together  at  Her  Majesty's  Theatre  the 
minuet  in  '  Don  Giovanni.'    To  about  the  same 
period  as  theee  eminent  hallerine  belonged  Carlotta 
Grisi,  perhaps  the  most  charming  of  them  all. 
One  of  her  most  admired  characters  was  that  of 
Esmeralda  in  the  ballet  arranged  by  her  husband, 
the  before-mentioned  Perrot,  on  the  basis  of  Victor 
Hugo's  '  Notre  Dame  de  Paris.*     Pugni,  a  com- 
poser, who  made  bidlet  music  his  speciality,  and 
who  was  attached  as  composer  of  ballet  music  to 
Her  Majesty's  Theatre,  wrote  music  for  Esme- 
ralda full  of  highly  rhythmical    and  not    le.s8 
graceful  melodies.     In  his  passion  for  the  ballet 
Mr.  Lumley  once  applied  to  Heinrich  Heine  for 
a  new  work,  and  the  result  was  that  '  Mephisto- 
phela,*  of  which  the  libretto,  written  out  in  great 
detail,  is  to  be  found  in  Heine's  complete  works. 
The  temptation  of  Faust  by  a  female  Mephisto- 
pheles  is  the  subject  of  this  strange  production, 
which  was  quite  unfitted  for  the  English  stage, 
and  which  Mr.  Lumley,  though  he  duly  paid  for 
it,  never  thought  of  producing.     In  one  of  the 
principal  scenes  of '  Mephistophela'  the  temptress 
exhibits  to  her  victim  the  most  celebrated  dan- 
seuses  of  antiquity,  including  Salome  the  daugh- 
ter of  Herodias.     King  David  too  dances  a  pas 
sevl  before  the  ark.     Probably  the  most  perfect 
ballet  ever  produced  was  '  Giselle,*  for  which  the 
subject  was  furnished  by  Heine,  the  scenario  by 
Theophile  Grautier,  and  the  music  by  Adolphe 
Adam.    Adam's  musig  to  'Giselle*  is,  as  Lord 
Mount-Edgcumbe  said  of  Madeleine  Guimard, 
'  full  of  grace  and  gentility.*    The  'Giselle  Waltz ' 
will  long  be  remembered  :  but  we  must  not  expect 
to  see  another  '  Giselle'  on  the  stage  until  we  have 
another  Carlotta  Grisi ;  And  it  is  not  every  day 
that  a  dancer  appears  for  whom  a  Heine,    a 
Gautier,  and  an  Adam  will  take  the  trouble  to 
invent  a  new  work.     Beethoven's  '  Prometheus ' 
is  perhaps  the  only  ballet  which  has  been  per- 
formed entire  in  the  concert  room,  for  the  sake  of 
the  music  al<me.  The  Airs  de  Ballet  from  Auber's 
*  Gustavo'  and  Eossini's  '  William  Tell'  are  occa- 
sionally found  in  concert  programmes,  and  those 
in  Schubert's  'Bosamunde'  and  Gounod's  '  Reine 
de  Saba'  have  immortalised  those  operas  after 
their  failure  on  the  stage.  [H.  S.  £.] 

BALLETS,  compositions  of  a  light  character, 
but  somewhat  in  the  madrigal  style,  frequently 
with  a  '  Fa  la'  burden  which  could  be  both  sung 
and  danced  to ;  these  pieces,  says  Morley 
(Introduction),  were  'commonly  called  Fa  las? 
Gastoldi  is  generally  supposed  to  have  invented 
or  at  all  events  first  published  ballets.  His  col- 
lection appeared  in  1 59  7,  and  was  entitled '  Balletti 
a  cinque  voci,  con  li  suore  versi  per  cantare, 
suonare  et  ballare.*  The  first  piece  in  the  book  is 
a  musical '  Introduzioue  a  i  Bialletto,'  with  direc- 
tions for  the  performers  '  Su  cacciam  man  a  gli 
stromenti  nostri,  e  suoniam  et  cantiam  qualche 
Balletti.*  These  must  therefore  have  had  both 
instrumental  and  dancing  accompaniments.  In 
1595  Morley  published  a  collection  of  'Ba'lets 
for  five  voices/  professedly  in  imitation  of  Gas- 


BALLETS. 

tolfli,  aoid  was  followed  three  yean  later  by 
Weelkes,  with  'Ballets  and  Madrigals  to  5 
^ioea.*  '  B&lletto*  is  used  by  Bach  for  an  allegro 
in  o(»azDoii  time.  See  Catalogue,  Anh.  t.  Ser.  3. 
Inv.  a  &  6.  [W.  H.  C] 

BALIX)  IN  MASCHEBA,  IL.  Opera  in 
foar  acts,  lilo^etto  by  Somma,  music  by  Verdi. 
Produced  at  Home  in  1859;  at  Paris,  Th^tre 
des  Italiens,  Jan.  13,  1861 ;  and  in  London, 
Lycenm,  June  15,  61. 

BALTAZARINI  (or  Baltagebini^  an  It*. 
l<an  musician  ;  the  best  violinist  of  his  day. 
He  was  brought  firom  Piedmont  in  1577  by 
Marakal  de  Brissac  to  Catherine  de'  Medicis, 
vho  made  him  intendant  of  her  music  and  her 
^rst  Tslet  de  chambre,  and  changed  his  name  to 
31.  de  Beaujoyeulx,  which  he  himself  adopted. 
He  seems  to  have  been  the  first  to  introduce 
the  Italian  dances  into  Paris,  and  thus  to  have 
heen  the  founder  of  the  ballet,  and,  through 
the  ballet,  of  the  opera.  He  associated  the  b^t 
musicians  of  Paris  with  him  in  his  undertaking. 
Thus  in  the  entertainment  of  '  Circe/  produced 
by  him  at  the  nuuriage  of  the  Due  de  Joyeuse 
and  Mile,  de  Vaudemont,  on  Sunday  Oct.  15. 
If  Si,  known  under  the  title  of  'Ballet  comique 
de  la  royne.*  etc.  (Paris,  1582),  he  states  in  the 
pre&ce  that  the  music  was  by  Beaulieu  and 
3iaijstre  Salmon.  Several  numbers  from  it  are 
given  by  Bumey  (HLit.  iii.  279-283) ;  and  the 
BaUet  in  all  its  details  and  itn  connexion  with 
the  opertk  has  been  made  the  subject  of  a  work 
'Les  origines  de  I'Opdra,  etc.;  par  L.  Cellier' 
(Paris,  i86S).>  The  MSS.  of  others  of  Baltzarini*s 
boUets  are  in  the  Biblioth^ue  Nationale.      [G.] 

BALTZAR,  Thohas,  bom  at  Liibeck  about 
1630;  the  finest  violiniat  of  his  time,  and  the 
fint  really  ^reat  performer  heard  in  England. 
He  came  to  this  country  in  1656,  and  stayed 
for  some  time  with  Sir  Anthony  Cope,  of  Han  well, 
Ozon.  Evelyn  heard  him  play  March  4,  1656, 
and  has  left  an  account  which  may  be  read  in 
his  Diary  under  that  date.  Anthony  Wood  met 
him  on  July  24,  1658,  and  'did  then  and  there 
to  his  very  great  astonishment,  heare  him  play 
on  the  -violin.  He  then  ssiw  him  run  up  his 
Fingers  to  the  end  of  the  Fingerboard  of  the 
Violin,  and  run  them  back  insensibly,  and  all 
with  alacrity,  and  in  very  good  tune,  which  he 
nor  any  in  England  saw  the  like  before  .  .  . 
Wilson  thereupon,  the  public  Professor,  .  .  .  did, 
aft^'  his  humouTRome  way,  stoop  downe  to  Balt- 
z.ir*s  Feet,  to  see  whether  he  had  a  Huff  on ;  that 
is  to  say,  to  see  whether  he  was  a  Devill  or  not, 
because  he  acted  beyond  the  parts  of  a  man. 
....  Being  much  admired  by  all  lovers  of 
muack,  his  company  was  therefore  desired  ;  and 
company,  especially  musicall  company,  delighting 
in  drinking,  made  him  drink  more  than  ordinary, 
which  brousfht  him  to  his  grave.'  At  the 
Beitoratton  Baltzar  was  appointed  leader  of  the 

t  like  air  mMA  of  lata  joan  has  been  somewhat  loTOffoe  abroad  and 
at  home,  nndnr  the  Ulle  of '  Gavotte  de  Lonia  Xin/  U  Ukrn  from  this 
Belles,  where  the  Bnt  stnUn  appears  as '  L«  iod  de  la  Clochette  anquci 
<  tree  aortit  de  soo  Jardhi'— '  an  son  fort  gaj.'  Iha  Trio  to  th« '  (iaTotte ' 
has  becB  added  br  the  modern  arraoser. 


BANCHIERL 


133 


King's  celebrated  band  of  twenty-four  violins, 
but  died  soon  after,  and  was  buried  in  the 
cloister  of  Westminster  Abbey.  He  is  entered 
on  the  Begister  as  '  Mr.  Thomas  Balsart,  one  of 
the  violins  in  the  King*B  Service  July  27,  1663.* 

Baltzar  did  much  towards  placing  the  violin 
in  England  in  its  present  position,  at  the  head 
of  all  stringed  instruments.  He  appears  from 
Wood's  account  to  have  introduced  the  practice 
of  the  sJiift^  till  then  unknown,  and  the  use  of 
the  upper  part  of  the  finger-bonrd.  Playford's 
'Division  Violin*  contains  all  that  sppear  to 
have  been  printed  of  his  compositions,  but 
Burney  speaks  in  high  terms  of  some  MS.  solos 
in  his  possession ;  and  a  set  of  sonatas  for  a 
•lyra  violin,  treble  violin,  and  bass  viol'  were 
sold  at  the  auction  of  Thomas  Britton  the 
'musical  small  coal  man.'  [M.  C.  C.] 

BANCHIERI,  Adbiako,  bom  at  Bologna, 
I567»  pupil  of  Crerami  the  organist  of  the 
cathedrnl  of  Lucca  and  afterwards  of  S.  Marco 
in  Venice.  He  was  first  organist  at  Imola,  of 
S.  Maria  in  Begola;  then  in  1603  we  find 
him  at  S.  Miciiele  in  Bosoo  near  Bologna. 
Gerber's  statement  that  he  was  chosen  abbot 
of  Bosco  is  unsupported,  and  appears  to  be 
contradicted  by  the  fact  that  on  his  works  he 
IS  uniformly  described  as  'Monaco  olivetano.* 
His  first  work,  *  Conclusioni  per  organo,*  appear- 
ed at  Lucca  in  1591 ;  and  Zuchelli  gives  the 
date  of  his  death  as  1634.  He  was  great  in  all 
departments,  theory,  the  chiurcb,  and  the  theatre. 
His  most  important  theoretical  work  is  probably 
his  *L'Oi^ano  suonarino'  (Amadius,  Venice, 
1605),  which  was  often  reprinted.  It  contains 
the  first  precise  rules  for  accompanying  from 
a  figured  bass — afterwards  published  separately 
by  Lomazao  at  Milan.  In  a  later  work, 
'Modema  practica  musicale'  (Venice,  161 3), 
he  treats  of  the  influence  of  the  basso  continuo 
on  the  ornaments  in  singing,  and  the  altera- 
tions necessary  in  consequence  thereof.  At  the 
same  time  he  mentions  the  changes  in  harmony 
and  tonality  which  were  at  that  time  b^inning 
to  prevail,  as  incomprehensible.  In  addition  to 
his  many  compositions  for  the  church,  Banchieri 
wrote  what  were  then  caMed  Mntermedi*  for 
comedies.  In  his  'La  Pazzia  senile,  raggiona* 
menti  vaghi  e  dilettevdie,  compo&ti  e  dati  in  luce 
colla  musica  a  tre  voci,'  publisheob  at  Venice  in 
1598  and  reprinted  at  Cologne — itself  a  kind 
of  imitation  of  the  'Antipamasso'  of  Orazio 
Veochi — the  transition  from  the  madrigal  to 
the  new  form  of  the  intermedio  is  very  obvious ; 
the  work  may  be  almost  called  the  first  comio 
o^)era.  He  afterwards  composed  a  pendant  to 
it  under  the  name  of  'La  prudenza  giovenile,' 
to  which  he  boldly  affixed  the  title  of  *  Comedia 
in  musica,'  and  which  was  published  at  Milan 
by  Tini  in  1607.  Another  analogous  work  is 
'  La  barca  di  Venezia  a  Padua*  (Venice,  1623), 
and  still  more  so  'La  fida  fanciuUa,  comedia 
esemplare,  con  musical!  intermedi  apparente  ed 
inapparenti,'  Bologna,  1628  and  1629.  Banchieri 
was  a  poet  as  well  as  a  musician,  and  wrote 
comedies  under  the  name  of  Camillo  Scaligeri 


m 


BANCHIERI. 


delU  fraUa.  Laatly,  in  his  '  Cartella  mnsicale* 
(1 614)  we  find  a  project  for  the  foundation  of 
an  academy  of  Bdence  and  art  in  his  monastery 
at  Bologna.  [F.  G.] 

BAND.  A  combination  of  variouB  instru- 
ments for  the  performance  o^  music.  The  old 
English  term  was  'noipe.'  The  French  word 
'bande'  was  applied  to  the '  vingt-quatre  violins' 
of  Louis  XIV.  (Littr^.)  Charles  II  had  his 
*  four-and-twenty  violins,'  and  the  word  doubt- 
less accompanied  the  thing.  It  first  appears  in 
a  MS.  order  (Ld.  Chamberlain's  Warrt.  Bks.  May 
31,  1661)  that  the  King's  band  of  violins  shall 
take  insifuclions  from  Hudson  and  Mell.  (See 
also  State  Papers,  Domestic,  Ixxvii.  No.  40, 
and  Ixxix.  Aug.  19,  63.)  It  is  not  mentioned 
by  Johnson  (nor  indeed  in  Latham's  Johnson), 
Richardson,  .or  Webster.  The  various  kinds 
of  bands  will  be  found  under  their  separate 
heads,  viz.  Harmonie-Musio;  Militabt  Band; 
Orchest&a;  King's  Private  Band;  Wind 
Band.  Bandmaster  and.  Bandsmen  are  re- 
spectively the  leader  and  members  of  a  Military 
Band.  [G.] 

BANDERALI,  Daviddb,  bom  at  Lodi  1780, 
died  in  Paris  1849 ;  first  appeared  as  a  buffo 
tenor  singer,  which  part  may  be  said  to  have 
been  created  by  him.  He  soon  relinquished  the 
stage,  and  became  professor  of  singing  in  the 
Conservatoire  first  of  Milan,  and  afterwards — 
on  the  recommendation  of  Rossini — in  that  -of 
Paris  (1828).  In  both  places  he  trained  singers 
who  became  celebrated.  [M.  C.  C] 

BAN  DORA,  Ital.  Afandora,  or  Mandola; 
Neapolitan  dial.  Pandura ;  Span.  Bandolon ; 
Old  £ng.  Pandore,  are  the  Romance  names  of 
varieties  of  the  cither  in  the  countries  desig-  , 
nated^  Like  the  lute  in  size  and  in  the  form 
of  the  pear-shaped  body,  they  are  classed  with  the  j 
cither  because  they  have  generally  wire  strings  . 
(tuned  in  pairs)  and  are  played  with  a  plectrum 
of  tortoiseshell  or  quill.  The  mandoline  is  a 
small  and  very  beautiful  instrument  of  the  kind. 
These  instruments,  with  their  names,  were  de- 
rived from  the  East.  In  the  heyday  of  the 
Renaissance  they  became  very  generally  used 
to  accompany  the  voice  and  support  the  recitals 
of  improvisatori,  as  well  as  for  solo  performance. 
Although  wavSovpa  appears  in  Greek,  it  was  not 
a  true  Greek  instrument,  but  an  exotic.  Athe- 
nasus  states  that  Pythagoras,  writing  about  the 
Red  Sea,  says  the  Troglodytes  made  the  pan- 
doura  of  daphne,  i.e.  laurel,  which  grew  near 
the  seashore.  According  to  Mr.  Engel  ('Musi- 
cal Instruments,'  1874)  the  tambour  or  tam- 
boura  is  their  Eastern  representative.  There 
are  several  varieties  of  these  pear-shaped  instru- 
ments used  in  Turkey  and  Bulgaria.  The  large 
Turkish  tamboura  has  a  circular  body,  the  open 
strings  producing  four  tones :  it  has  thirty-five 
frets  of  thin  catgut  bound  round  the  neck  and 
disposed  for  the  intervals,  smaller  than  halftones, 
belonging  to  the  Arabic  scale.  The  tamboura  is 
also  found  in  Persia,  Egypt,  and  Hindostan. 
The  ancient  Egyptian  no/re,   hieroglyphic  for 


BANISTER. 

'good,*  was  a  tamboura;  and  the  Assyrians  hac3 
an  instrument  of  the  land,  also  played  with  a^ 
plectrum.  The  idea  of  tension  would  seem  tc» 
bn  inherent  in  the  first  syllable  of  names  of  the 
bandora  or  tamboura  family  of  instruments,  i^^— 
serving  everywhere  so  remarkable  an  identity. 
(See  Banjo,  Calascione,  Cither,  Lute,  Man- 
doline.) [A.  J.  H.3 

BANISTER,  John,  bom  1630,  son  of  one  of  tho 
waitts  of  the  parish  of  St.  Giles*- in- the -Fielda, 
London.      He    received   the  rudiments   of    hi^ 
musical  education  from  his  ^Either,  and  arriveil 
at  great   proficiency  on   the  violin.      He   woa 
noticed  by  Charles  II,  who  sent  him  to  France 
for  improvement ;    and  on  his  return  he    wsla 
appointed  leader  of  the  king*s  band.     The  State 
Papers  infonn  us,  '1663,  Mr.  Banister  appointt^ 
to  be  chief  of  His  Majesty's  violins.*     Pepys,  ia 
his  Diary,   under   the  date  Feb.    20,    1666-7, 
says  :  —  *  They    talk    how   the    King's    violin. 
Banister,   is  mad   that  a  Frenchman  is   come 
to    be    chief    of    some    part    of    the     Kind's 
musique.'     The  Frenchman  here  alluded  to  was 
the  impudent  pretender   Louis  Grabu.      It    is 
recorded,   we  know  not  upon  what  authority, 
that  Banister  was  dismissed  the  King's  service 
for  saying,  in  the  hearing  of  His  Majesty,  that 
the  English  performers  on  the  violin  were  superior 
to  those  of  France.     This  musician  is  entitled  to 
especial  notice  as  being  the  first  to  establish 
lucrative   concerts  in   London.     These  concerts 
were  made  known  through  the  medium  of  the 
'London  Gazette' ;  and  on  December  30,  1672, 
there  appeared  the  following  advertisement : — 
'These  are  to  give  notice  that  at   Mr.  John 
Banisters  house,  now  called  the  Musick  school, 
over  against  the  George  Tavern  in  White  Friars, 
this  present  Monday,  will  be  musick  performed 
by  excellent  masters,  beginning  precisely  at  four 
of  the  clock  in  the  afternoon,  and  every  afternoon 
for  the  future,  precisely  at  the  same  hour.*    Many 
similar  notices  may  be  found  in  the  same  paper 
(1673  to    1678),   from  which   it  appeals   that 
Banister  carried  on  these  concerts  till  near  the 
period  of  his  decease,  which  occurred  on  the  third 
of  October,  1679.    He  was  buried  in  the  cloisters 
of  Westminster  Abbey.    Banister  wrote  the  m usic 
to  the  tragedy  of  '  Circe,*  written  by  Dr.  Charles 
Davenant,  eldest  son  of  Sir  William  Davenant, 
performed  at  the  Duke  of  York's  Theatre   in 
1676.      Downes    ('Roscius   Anglicanus,'   1703) 
calls  it  an  'opera,*  and  says  'AH  the  musick  was 
set  by  Mr.  Banister,  and  being  well  performed, 
it  answered   the  expectation  of  the  company.* 
One  of  the  songs  is  printed  in  the  second  book 
of  'Choice  Ayree  and  Songs,*  1676,  and  a  MS.    ' 
copy  of  the  first  act  is  preserved  in  the  library 
of  the  Sacred  Harmonic  Society.    Jointly  with 
Pelham  Humphrey  he  wrote  the  music  to  *  The 
Tempest,*  performed  in  1676,  some  of  the  songs 
of  which  were  published  in  the  same  year.     He 
contributed    to    Playford's    'Coiutly   Masquing 
Ayres,*  1662;    and   some   lessons  for  'viols   or 
violins  of  his  are  appended  to  a  small  volume 
entitled    *  New    Ayres    and    Dialogues,*    1678. 
(Hawkins ;  Notes  to  NortKa  Mtmoirs  of  Muaick, 


BANISTER. 


BANTI. 


135 


tkX  Hk  wn,  John,  was  educated  in  mneie 
BDiier  his  fiiiher,  and  attained  great  excellence 
»  a  performer  on  the  violin.  He  was  one  of 
the  'niusidanB*  of  CbarleH  II,  James  II,  William 
tad  Msay  and  Anne ;  and,  at  the  beginning  of 
tbe  iSth  centory.  when  ItaJian  operas  were  first 
kaoduoed  in  English  form  into  this  country, 
k  oocapied  tlie  pott  of  principal  yiolin.  Ue 
nrnposed  some  mosic  for  the  theatre,  and,  in 
ofrnjimction  with  Grodfrey  Finger,  pnhliahed  a 
saaH  collection  of  these  pieces.  He  was  also 
\  ocatributor  to  Henry  Playford*s  'Division 
Vf-liii,'  16S5,  the  first  printed  book  for  the 
ridin  pat  forth  in  this  country.  He  resided 
kx  nuny  years  in  Brownlow  Street,  Drury  Lane, 
vberehedied  ini735.  There  is  a  fine  mezzotint 
ei^ni^  of  him  by  Smith.  [E.  F.  K.] 

BANJO  (American).  An  instrument  of  the 
g:iitar  kind,  played  with  the  fingers,  but  without 
tk  aid  of  frets  to  guide  the  stopping  in  tune 
of  the  strings.  The  banjo  has  a  long  neck,  and 
1  body  like  a  drumhead,  of  parchment,  strained 
^'cni  a  hoop  to  the  required  writhe  or  degree  of 
difsew  for  resonance.  There  is  no  back  to  it. 
Banjoes  have  five,  six,  seven,  or  nine  catgut 
orings,  the  lowest  in  pitch  being  often  covered 
vith  wire.  The  chanterelle  or  melody -string  is 
called  from  its  position  and  use  the  thumbstring, 
i&d  is  placed  not,  as  in  other  fingerboard  inatru- 
meati,  highest  in  series,  but  on  the  bass  side 
of  (he  lovest-tuned  string,  the  tuning-peg  for 
it  bang  inserted  halfway  up  the  neck  instead 
of  in  the  head.  The  length  of  the  thumb- 
string  is  given  as  sixteen  inches  from  the  nut 
tothebri^e,  and  that  of  the  others  twenty  four 
iochefl.    The  five-stringed  banjo  is  tuned  either 

the  last  note  being  the 
1 ,  thumbstring,  or  in  G, 

a  note  lower.  The  six- 
The  seven- 
•  stringed  in- 
troduces the 


i 


. ..  J  • 


itringed 
ia  toned 


^m 


± 


t 


Buddie  C  in  the  lowest  octave,  and  Jf  ^  \ 
the  nine  has  three  thumb-strings  W 

but  is  rarely  used.  The  pitch  of  the  banjo,  like 
that  of  the  guitar,  is  an  octave  lowor  than 
the  notation.  'Barre*  designates  the  false  nut 
niade  by  placing  the  first  finger  of  the  left  hand 
taoea  the  whole  of  the  strings  at  certain  lengths 
from  the  bridge  to  effect  transposition.  [See 
Capo  Tasto.] 

As  to  the  origin  of  the  banjo  the  existence 
of  in:stnimeats  of  the  lute  or  guitar  kind  im- 
plies a  certain  grade  of  knowledge  and  culture 
among  the  people  who  know  how  to  stretch 
Bti^ngs  over  soundboards,  and  to  determine  the 
tequired  intervals  by  varying  the  vibrating 
jei^ha  of  the  strings.  Such  instruments  found 
b  use  by  savage  or  very  uncivilised  peoples 
suggest  their  introduction  through  political  or 
Kligious  conquest  by  a  superior  raca  The 
Anbs  may  thus,  or  by  trade,  have  bestowed  a 
guitar  instrument  upon  the  negroes  of  Western 
Africa^  and  the  Senegambian  *bania*   be^   as 


Mr.  Carl  EngeT suggests  ('Musical  Instruments,* 
1874,  p.  151),  the  parent  of  the  American 
negro*s  banjo.  Others  derive  the  name  from 
Buidore.  [A.  J.  H.] 

BANTI,  BniGrrTA  Giorot,  said  to  have  been 
the  daughter  of  a  Venetian  gondolier,  was  bom 
at  Crema>  Lombardy,  1759.    She  began  life  as  a 
'  cantante  di  piazza,'  or  street-singer ;  and  re- 
ceived some  little  instruction  at  the  expense  of 
a  rich  amateur.    At  the  age  of  19  she  set  out 
for  Paris,  to  seek  her  fortune,  supporting  herself 
by  singing  at  inns  and  cafds  by  the  way.     De 
Vismee,  Director  of  the  Acad^nde,  happudng  to 
hear  a  splendid  voice  on  &e  Boulevard  at  Paris 
one  evening,  stopped  at  the  caf^  where  the  girl 
was  singing,  and  slipping  a  louis  into  her  hand 
desired  her  to  come  to  him  at  the  Opera  the  next 
day.     Here,   upon  hearing  an  air  of  Saochini 
twice  or  thrice,  she  astonished  the  Director  by 
singing  it  perfectly  from  banning  to  end.     He 
engaged  her  for  the  Opera,  where  she  made  a 
triumphant  dibnt  in  a  song  between  the  second 
and  third  acts  of  'Iphig^nie  en  Aulide.'  While 
singing. in  Paris,  though  she  never  made  the 
slightest  mistake  in  concerted  pieces,  she  some- 
times executed  her  airs  after  a  ve^  strange 
fashion.    For  instance :  in  the  allegro  of  a  cava- 
tina  she  would.  In  a  fit  of  absence,  recommence 
the  air  from  the  very  b^^inning,  go  on  with  it  to  the 
turning-point  at  the  end  of  the  second  part,  again 
reconmience,  and  continue  this  proceeding  until 
warned  by  the  conductor  that  she  had  better 
think  of  ending.    In  the  meantime  the  public, 
delighted  with  her  voice,  is  said  to  have  been 
quite  satisfied.     Agujari  having  left  London,  the 
managers  of  the  Pantheon  gave  the  young  singer 
—  stifi  called  Giorgi  —an  engagement,  on  con* 
dition  that  ;€ioo  a  year  should  be  deducted  from 
her  salary  for  the  cultivation  of  her  voice.    Sac- 
chini  was  her  first  master,  but  he  soon  gave  her 
up  in  despair.    Pioszi  followed,  with  no  better 
success.     Abel  was  the  last.    She  was  at  this 
time,  without  doubt,  a  very  bad  singer  with  a 
very  beautiful  voice;  and  of  so  indolent  and 
careless  a  disposition  that  she  never  could  be 
made  to  leam  the  first  rudiments  of  music.     In 
1 780  she  left  England,  and  sang  to  enthusiastic 
audiences  at  sevexal  foreign  courts.    Lord  Mount" 
Edgcumbe  heard  her  at  Reggio  in  1 785,  where, 
he  says,  her  sin^ng  was  delightful.    In  1799 
she  returned  to  London,  making  her  dibut  in 
Bianchrs  '  Semiramide,'  in  which  she  introduced 
an  air  from  Guglielmi*s   *Debora,'  with  violin 
obligate,  originally  played  by  Cramer,  afterwards 
by  Viotti,  Salomon,  and  Weichsell,  the  brother 
of  Mrs.  Billington.    This  song,  though  long  and 
very  fatiguing,  was  always  encored,  and  Banti 
never  failed  to  repeat  it.     Genius  in  her  seemed 
to  supply  the  want  of  science ;   and  the  most 
correct  ear,  with  the  most  exquisite  taste,  en- 
abled her  to  sing  with  more  effect,  expression, 
and  apparent  knowledge  of  her  art,  than  many  a 
better  singer.     She  never  was  a  good  musician, 
nor  could  sing  at  sight  with  ease ;  but  having 
once  learnt  a  song,  and  mastered  its  character, 
she  threw  into  it  deeper  pathos  and  truer  feeling 


186 


BANTI. 


than  any  of  her  rivals.  Her  voice  was  of  most 
£xtensive  compass,  rich  and  even,  and  without 
a  fault  in  its  whole  range, — a  true  voce  di  petto 
throughout.  In  her  youth  it  extended  to  the 
highest  pitch,  and  was  so  agile  that  she  excelled 
most  singers  in  the  bravura  style ;  but,  losing  a 
few  of  her  upper  notes,  she  modified  her  manner 
by  practisini?  the  cantabile,  to  which  she  de- 
votcKl  herself,  and  in  which  she  had  no  equal. 
Her  acting  and  recitative  were  excellent.  Her 
most  favourite  pieces  were  the  'Alceste*  of 
Gluck,  in  which  she  very  greatly  excelled,  three 
of  her  songs  in  it  having  to  be  repeated  every 
night;  his  'Ifigenia  in  Tauride';  Paisiello's 
'Elfrida*  and  'Nina';  'Mitridate,*  by  Naso- 
lini;  'Alzira,'  'Merope,'  'Cinna,*  and  others 
comixMed  expressly  for  her  by  Bianchi.  She 
also  acted  in  comic  operas,  and  was  particularly 
successful  in  PaisieUas  'Serva  Padrona.'  Her 
spirits  never  flagged  ;  nor  did  her  admirers  ever 
grow  weary  of  her.  They  never  wished  for  an- 
other singer;  but  Mrs.  BiUington  had  now  re- 
turned, and  astonished  the  public  with  her 
marveUoufl  execution.  The  manager  engaged  her 
for  the  next  season,  and  idlowed  Banti,  whose 
health  was  now  failing,  to  depart.  Before  the 
close  of  her  last  season  (1802),  however,  an  in- 
teresting performance  took  place.  Banti  pre- 
vailed on  Mrs.  BiUington  to  sing  with  her  on  the 
night  of  her  benefit,  leaving  her  the  choice  of 
opera  and  character.  Portogallo's  '  Merope '  was 
chosen,  Mrs.  BiUington  acting  the  part  of  the 
heroine,  and  Banti  that  of  PoUfonte,  though 
written  for  a  tenor.  Banti  died  at  Bologna, 
February  18,  1806,  bequeathing  her  larynx  (of 
extraordinary  size)  to  the  town,  the  municipality 
of  which  caused  it  to  be  preserved  in  spirits.  Her 
husband  was  the  dancer  Zaccaria  Banti,  who 
was  danciog  in  London  as  early  as  1777  in 
Sacchini*s  '  Creso.'  She  left  a  daughter,  married 
to  Dr.  Barbieri,  who  raised  to  her  memory  a 
monument  in  the  cemetery  outside  the  waUs  of 
Bologna,  which  was  afterwards  repaired  and 
adorned  by  her  husband,  and  from  which  we 
learn  the  places  and  dates  of  her  birth  and  death 
(*  Harmonicon,*  viii.).  [J.  M.] 

BAPTISTE,  a  violin-player,  whose  real  name 
was  Baptiste  Anet,  a  pupil  of  Corelli,  and  ap- 
parently one  of  the  first  to  introduce  the  works 
and  style  of  his  great  master  at  Paris,  thereby 
materially  influencing  the  development  of  violin- 
playing  in  France.  When  French  writers  of  the 
period  speak  of  him  as  an  extraordinaiy  pheno- 
menon, and  as  the  first  of  aU  violinists,  we  must 
remember  that  at  that  time  instrumental  music, 
and  especiaUy  the  art  of  violin-pla3nng,  was  stiU 
in  its  infancy  in  Fmnoe.  Baptiste  did  not  settle 
in  Paris,  in  spite  of  his  great  success,  owing 
probably  to  the  circumstance  of  Louis  XIV 's 
exclusive  liking  for  old  French  music  and  for 
Lully.  From  Paris  he  went  to  Poland,  where 
he  spent  the  rest  of  his  life  as  conductor  of  the 
private  band  of  a  nobleman.  He  published  three 
sets  of  sonatas  for  the  violin ;  two  suites  de 
pieces  pour  deux  musettes,  op.  2 ;  and  six  duos 
pour  deux  musettes,  op.  3.  [P.  D.] 


BAB. 

BAPTISTIN,   Jeak,   a  violoncellist    wlioatt 
real    name   was    Johann   Baptist    Struck  ;     oC 
German  parentage,  bom  at  Florence  about  1  6qo. 
He  came  to  Paris,  and  he  and  Labb^  were  the 
earUest  players  of  the  ceUo  in  the  orchestra  of  tho 
Op^ra.     He  had  two  pensions  from  the  kin^, 
fixing  him — the  first  to  France,  and  the  second 
to  Paris.     He  produced  3  operas  and  15  ballets, 
and  published  4  books  of  cantatas.     He   died. 

1755. 

BAK.     A  vertical  line  drawn  across  the  st&ve 
to  divide  a  musical  composition  into  portions  of 
equal  duration,  and  to  indicate  the  periodical  re- 
currence of  the  accent.    The  word  bar  is  also 
commonly,   though   incorrectly,   applied   to    the 
portion  contained  between  any  two  sudi  vertical 
lines,  such  portion   being  termed  a  'measure.' 
In    the  accurately  ancient    'measured    music* 
{mimca  mensuralis — that  is,  music  consisting  of 
notes  of  various  and  determined  length,  and  so 
called  to  distinguish  it  from  the  still  older  mutica 
choralU  or  plana,  in  which  all  the  notes  wei-e 
of  the  same  length)  there  were  no  bars,   the 
rhythm — which  was  always  triple — being  shown 
by  the  value  of  the  notes.     But  as  this  value 
was  not  constant,  being  aflected  by  the  order  in 
which  the  longer  or  shorter  notes  followed  each 
other,  doubtful  cases  occasionally  arose,  for  the 
better  understanding   of  which   a   sign    called 
punctum  diviaionis  was  introduced,  written  ,  or 
y/ ,  which    had   the  efiect   of  separating    the 
rhythmic  periods  without  aflecting  the  value  of 
the   notes,  and  thus  corresponded  precisely   to 
the*  modem  bar,  of  which  it  was  the  earliest 
precursor. 

The  employment  of  the  bar  dates  from  the 
beginning  of  the  1 6th  century,  and  its   object 
appears    to    have    been    in  the  first  place    to 
fiM;Uitate  the  reading  of  compositions  written  in 
score,   by  keeping  the  diflerent  parts  properly 
under    each  other,  rather    than    to  mark    the 
rhythmic  divisions.     One  of  the  earliest  instances 
of  the  use  of  the  bar  is  found  in  AgriooWs 
'Musica  Instrumentalis*   (1529),  in  which  the 
examples  are  written  on  a  single  stave  of  ten  Unes, 
the  various  parts  being  placed  above  each  other 
on  the  same  stave  (the  usual  arrangement    in 
the  earliest  scores),  with  bars  drawn  across  the 
whole    stave.      Morley  also  in  his    'Practical 
Musick*  (1597)   makes  a  similar  use   of  bars 
in  aU  examples  which  are  given  in  score ;  but 
the  introduction  of  the  bar  into  the  separate 
voice  parts  used  for  actual  performance  is   of 
much  later  date.     The  works  of  Tallis  (1575), 
Byrd  (1610),  and  Gibbons  (161  a),  were  all  pub- 
lished   without    bars,    while    in    Ravenscroft^s 
Psalter  (1631)   the  end  of   each   line    of  the 
verse  is  marked  by  a  single  bar.     This  single 
bar  is  termed   by  Butler  ('Principles  of  Mu- 
sick,*  1636)  an  imperfect  close,  w^hich  he  says 
is  introduced  'at  the  end  of  a  strain,  or  any 
place    in    a    song   where    all    the   parts   meet 
and   close   before   the   end,*   while    the   perfect 
close   (the   end    of  the  whole   composition)    is 
to  be  marked  with  '  two  bars  athwart  aU  the 
Bules; 


BAB. 


BABBAJA. 


187 


Hemy  Lawes  appears  to  have  been  the  tint 
English  nmsiciaii  who  regularly  employed  bars 
in  hk  oiimpositionB.  His  '  Ayree  and  Dialogues/ 
published  in  165.7,  are  barred  throughout,  though 
the  'Choice  Psalmes  put  into  Musick  for  Three 
Voices'  by  H^iry  and  William  Lawes,  published 
only  five  years  previously,  is  still  without  bars. 
The  part-writing  of  the  '  Choice  Psalmes  *  is  in 
many  cases  varied  and  even  elaborate,  and  there 
most  have  been  considerable  difficulty  in  pei^ 
i^nmng  them,  or  indeed  any  of  the  compositions 
of  that  date,  without  the  assistance  of  any  signs 
d  rfavthmic  division,  especially  as  they  were  not 
printed  in  score,  but  only  in  separate  parts. 
Tbfiir  g«8iefal  character  may  be  judged  from 
the  following  example,  which  has  been  translated 
in*^  modem  notation  and  plaoed  in  score  for 
greater  convenienoe  of  reading.  It  may  be  ob- 
tened  that  although  without  bars,  the  *  Choice 
Psalmes'  are  intended  to  be  sung  in  common 
t'lne,  and  that  all  have  the  sign  C  at  the  com- 
mtroc^nent ;  some  of  the  *  Ayres  and  Dialosrues,* 
OD  the  other  hand,  are  in  triple  time,  and  are 
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In  modem  music  the  use  of  bars  is  almost 
universal.  Nevertheless  there  are  some  cases  in 
which  for  a  short  time  the  designed  irregularity 
of  the  rhythm  requires  that  they  should  be  dis- 
pensed with.  An  example  of  tiiis  is  found  in 
certain  more  or  less  extended  passages  termed 
cadences  (not  to  be  confounded  with  the  har- 
monic cadence  or  dose),  which  usually  occur 
near  the  end  of  a  composition,  and  serve  the 
purpose  of  affording  variety  and  displayini^  the 
powers  of  execution  of  the  performer.  (See 
the  close  oF  the  Largo  of  Beethoven's  Concerto  in 
C  minor,  op.  37.)  Also  occasionally  in  past^ages 
in  the  style  of  £antasia,  which  are  devoid  of  any 
definite  rh3rthm,  examples  of  which  may  be  found 
in  the  Prelude  of  HandeVs  first  Suite  in  A,  in 
Emanuel  Bach*B  Fantasia  in  C  minor,  at  the 
beginning  of  the  last  movement  of  Beethoven's 
Sonata  in  Bfiat.  op.  106,  and  in  the  third  move- 
ment of  Mendelssohn*s  Sonata,  op.  6. 

But  even  in  this  kind  of  unbarred  music  the 
relative  value  of  the  notes  must  be  approximately 
if  not  absolutely  preserved,  and  on  this  account 
it  is  often  expedient  during  the  study  of  such 
music  to  divide  the  passage  into  imaginary  bars, 
not  always  necessarily  of  the  same  length,  by 
the  help  of  which  its  musical  meaning  becomes 
more  readily  intelligible.  This  has  indeed  been 
done  by  Von  BUlow  in  regard  to  the  passage  in 
the  Sonata  above  alluded  to,  and  it  is  so  pub- 
lished in  the  '  Instructive  Edition  of  Beethoven^s- 
Works*  (Stuttgart,  Cotta^,  1871),  the  result  being 
a  considerable  gain  in  point  of  perspicuity.  Simi- 
lar instances  will  occur  to  every  student  of  piano- 
forte music. 

A  double  bar,  consisting  of  two  parallel  verti- 
cal lines,  is  always  placed  at  the  end  of  a  com- 
position, and  sometimes  at  the  close  of  a  section  or 
strain,  especially  if  the  strain  has  to  be  repeated, 
in  which  case  the  dots  indicating  repetition  are 
placed  on  one  or  both  sides  of  the  double  bar, 
according  as  they  may  be  required.  Unlike  the 
single  bar,  the  double  bar  does  not  indicate  a 
rhythmic  period,  as  it  may  occur  in  the  middle  or 
at  any  part  of  a  measure,  but  merely  signifies  the 
rhetoncdl  close  of  a  portion  of  the  composition 
complete  in  itself,  or  of  the  whole  work.    [F.  T.] 

BARB  A  J  A,  DoMENico,  bom  1778  at  Milan, 
of  poor  parentage;  was  successively  waiter  at 
a  coffeehouse  on  the  Piazza,  manager  of  an 
English  riding-circus,  lessee  of  the  Cucai^na 
playhouse  at  Naples,  and  director  of  the  San 
Carlo  theatre.  Wliile  at  Naples  he  made 
the  acquaintance  of  Count  Gallenberg,  the 
Austrian  ambassador,  followe<l  him  to  Vienna 
in  1821,  and  obtained  the  direction  of  both  the 


izi 


BABBAJA« 


BARCAEOLE. 


'Kamtlmer-thor^  theatre  and  tbat  'auf  der 
Wien,'  which  he  held  tUl  1 828.  He  was  the  first 
to  introduce  a  subscription  into  the  Vienna  the- 
atres. During  his  management  the  company 
embraced  the  best  talent  of  the  day,  including 
Mesdames  Colbran-Bossini.  Sontag,  Esther  Mom- 
belli,  Giuditta  Grisi,  Mainvielle-Fodor,  Feron, 
Oanticelli ;  Signori  DonzelU,  Gidmarra,  Bassi, 
Tamburini,  Kubini,  David,  Nozzari,  Lablache, 
Ambrogi,  Benedetti,  and  Botticelli.  The  ballet 
was  sustained  by  Duport,  Salvatore,  and  Tagiioni. 
Though  Barbaja  introduced  Rossini  into  Vienna^ 
he  by  no  means  neglected  German  opera»  and 
under  his  management  Weber's  'Euryanthe*  was 
produced  Oct.  25,  1825.  He  was  at  the  same 
time  manager  of  the  two  most  celebrated  opera- 
houses  in  Italy,  La  Scala  at  Milan,  and  San 
Carlo  at  Naples;  not  to  mention  some  smaller 
operatic  establishments  also  under  his  direction. 
Bellini's  first  opera,  'Bianca  e  Ferdinando,'  was 
written  for  Barbaja  and  produced  at  Naples. 
His  second  opera, '  U  Pirata,*  was  also  composed 
for  Barbaja,  and  brought  out  at  Milan.  Several 
of  Donizetti's  works,  and  all  Rossini's  later  works 
for  the  Italian  stage,  were  first  presented  to  the 
public  by  the  famous  impresario,  who  was  destined 
one  day  himself  to  figure  in  an  opera.  Barbaja 
is  at  least  introduced  by  name  in  '  La  Sir^ne,'  by 
Scribe  and  Auber.  From  his  retirement  till  his 
death,  Oct.  16,  1841,  he  resided  on  his  property 
at  Posib'ppo.  He  was  very  popular,  and  was 
followed  to  his  grave  by  an  immense  concourse 
of  people.  [C.  F.  P.] 

BARBELL  A,  Euanuele,  violinist.  Bom  at 
Naples  in  the  earlier  part  of  the  i8th  century. 
The  following  short  account  of  his  musical 
education  was  written  by  himself  at  the  request 
of  Dr.  Bumey,  who  gives  it  in  his  History  (iii. 
570)  :  —  '  Emanuele  Barbella  had  the  violin 
placed  in  his  hand  when  he  was  only  six  and 
a  half  years  old,  by  his  father  Francesco  Barbella. 
After  his  father's  decease  he  took  lessons  of 
Angelo  Zaga,  till  the  arrival  of  Pasqualino  Bini, 
a  scholar  of  Tartini,  in  Naples,  under  whom  he 
studied  for  a  considerable  time,  and  then  worked 
by  himself.  His  first  instructor  in  counterpoint 
was  Michele  Gfibbalone  ;  but  this  master  dying, 
he  studied  composition  under  the  instructions  of 
Leo,  till  the  time  of  his  death.'  He  adds,  '  Non 
per  questo,  Barbella  e  un  vero  asino  che  non  sa 
idente' — '  Yet,  notwithstanding  these  advantages, 
Barbella  is  a  mere  ass,  who  knows  nothing.'  He 
wrote  six  sonatas  for  violin,  and  six  duos  for 
violin  and  bass,  adhering  closely  to  the  principles 
of  Tartini.  Bumey  gives  an  example  of  his 
composition,  and  says  that  his  tone  and  manner 
were  'marvellously  sweet  and  pleasing,  even 
without  any  other  accompaniment  than  the  drone- 
bass  of  an  open  string.  He  died  at  Naples  in 
1773.  [E.  H.  D.] 

BARBER  OF  SEVILLE,  THE.  Operas  of 
this  name,  founded  on  the  celebrated  play  of 
Beaumarchais  (1775),  have  been  often  produced. 
Two  only  can  be  noticed  here:  (I)  that  of 
Paisielloy  first  performed  at  St.  Petersburg  in 


1780,  and  at  Paris  in  1789— at  the  'Th6&tte  de 
Monsieur,'  in  the  Tuileries,  July  12,  and  at  the 
The&tre  Feydeau,  July  2a  ;  (2)  that  of  Rossixii — 
libretto  by  Sterbini — produced  at  Rome,  r>t«. 
26,  1 816,  and  at  Paris,  in  the  Salle  Liouvois, 
Oct.  26,  1819.  Rossini  hesitated  to  unflertake 
the  subject  previously  treated  by  Paisiello,  and 
before  doing  so  obtained  hin  permiasion.  I£e  is 
said  to  have  completed  the  opera  in  15  days. 
On  itrt  appearance  in  Paris  an  attempt  was  made 
to  <2ru8h  it  by  reviving  Paisiello's  opera,  but  the 
attempt  proved  an  entire  failure ;  Paisiello's  <lay 
was  gone  for  ever.  [Cr.] 

BARBERS  OF  BASSORA,  THE.  A  comic 
opera  in  2  acts ;  words  by  Madison  Morton  ; 
music  by  John  Hullah.  Produced  at  Covent 
Garden,  Nov.  11,  1837. 

BARBIERI,  a  Spanish  dramatic  compoecr 
of  the  present  day,  and  chief  promoter  of  an 
association  for  instituting  a  Spanish  national 
opera  in  oppos^ition  to  the  Italian.  *  Jugar  con 
fuego'  (1 851),  'La  Hechicera,'  'La  £s{»da  de 
Bernardo,'  and  'EI  Marques  de  Caravaca,'  are 
the  names  of  some  of  his  operas  which  have  been 
performed  in  Madrid  with  success* 

BARBIREAU/  Maitre  Jacques,  a  cele- 
brated musician  of  the  15th  century,  choir- 
master and  teacher  of  the  boys  in  the  cathedral 
of  Antwerp  from  1448  till  his  death  in  1491. 
Many  of  the  great  musicians  of  the  15th  and 
1 6th  centuries  were  his  pupils;  he  maintained 
a  correspondence  with  Rudolph  Agricola,  and 
is  constantly  quoted  by  his  contemporary  Tine  tor 
as  one  of  the  greatest  authorities  on  music  of 
his  time.  Of  his  compositions,  a  mass  for  five 
voices,  'Virgo  parens  Christi,'  another  for  four 
voices,  *Faulx  porverae,'  and  a  Kyrie  for  the 
sauje,  are  in  the  imperial  library  at  Vienna,  and 
some  songs  for  three  and  four  voices  in  that  of 
Dijon.  Kiesewetter  has  scored  the  Kyrie  from 
the  first-named  mass  and  a  song  for  thiee  voices, 
'  Lome  (rhomme)  bany  de  sa  plaisance.'  [M.  C.  C] 

BARCAROLE  (Ital.),  i.e.  a  'boat-song.' 
Pieces  of  music  written  in  imitation  or  recollection 
of  the  songs  of  Venetian  barcaroli  as  they  row 
their  gondolas — or  as  they  formerly  did;  for 
their  songs  at  present  appear  to  have  little  in 
them  either  agreeable  or  characteristic.  Barca- 
roles have  been  often  adopted  by  mod^n  com- 
posers ;  as  by  Harold  in  '  Zampa' ;  by  Auber 
in  'Masaniello*  and  'Fra  Diavolo* ;  by  Doni- 
zetti in  'Marino  FaJiero';  by  Schubert,  'Auf 
dem  Wasser  zu  singen'  (Op.  72) ;  by  Chopin 
for  Piano  solo  (Op.  60) ;  and  by  Stemdale  Ben- 
nett for  Piano  and  Orchestra  in  his  4th  Con- 
certo. Mendelssohn  has  left  several  examples. 
The  first  'Song  without  words'  that  he  com- 
posed— published  as  Op.  19,  No.  6 — ^is  the  *  Ve- 
netianisches  Gondelli^'  in  G  minor,  which 
the  autograph  shows  to  have  been  written  at 
Venice  Oct.  16,  1830.  Others  are  Op.  30,  No.  6; 
Op.  62,  No.  5  ;  and  the  beautiful  song,  Op.  57, 
No.  5, '  Wenn  durch  die  Piazzetta.'    One  essential 

1  Pronounced  BarUriMui ;  called  also  lUrbkoIa,  finrb/rUuiiu,  aod 
BarbiiiiuutU 


BARBIBEAU. 


BARKER. 


139 


cbincterislic  In  all  ftiiese  is  the  akemfttion  of 
a  Strang  and  a  ligbt  beat  in  the  movement  of 
M  time— Chopin  8  alone  being  in  i2-8 — with 
a  triplet  figure  pervading  the  entire  composition, 
^  object  bein^  perhaps  to  convey  the  idea  of 
^  ritie  and  fall  of  the  boat,  or  the  r^ular 
BPDotonous  strokes  of  the  oars.  The  autograph 
af  Bennett's  barcarole  is  actnallj  marked  '  In 
nring  time.*  The  tempo  of  the  barcaroles 
:}aoted  sbove  differs  somewhat,  bat  is  mostly 
uf  a  tranquil  kind.  The  'Gondoletta*  entitled 
'La  Biondina,*  harmonised  by  Beethoven,  and 
pTeo  in  hi^  *  I  a  verschiedene  VollcKlieder '  (Notte- 
bohms  Catalogue,  p.  176),  though  of  the  same 
cbneter  as  the  boatmen's  songs^  is  by  Pistrucci, 
IQ  Italian  composer.  [W.  H.  C] 

BARCROFTE,  Thomas,  said  to  have  been 
iT^it  of  Ely  Cathedral  drc.  1535.  Nothing 
is  known  of  his  biography.  A  Te  Deum  and 
iantdictxis  (in  F),  and  two  anthems  are  aHcribed 
tu  Hm  in  Tadway*8  J^S.  Collection.  The  former 
ire  dated  153a,  a  date  much  too  early  for  an 
EDgiish  setting  of  these  hymns.  It  seems  much 
iQcre  probable  that  the  author  of  these  compoei- 
^m  was  George  fiarcrofte,  A.B ,  vicar-chonJ  and 
organist  of  Ely  Cathedral  in  1 5  79.  The  latter 
£ed  in  1609.  The  service  above  mentioned,  and 
in«  of  the  anthenos,  'O  Almighty  God,'  were 
printed  by  the  Motett  Society.  [  £.  F.  B.] 

BAKDELLA,  Antonio  Naldi,  called  <11 
Banlello,*  diamber  -  musician  to  the  Duke  of 
Ta«canv  at  the  end  of  the  i6th  and  beginning 
of  die  17th  centuries,  and,  according  to  Arteaga, 
inventor  of  the  Theorbo.  Caccini  states  that  he 
w  an  admirable  performer  on  that  instrument. 

BARDI,  Giovanni,  Count  of  Vemio,  a 
Florentine  noble,  lived  in  the  end  of  the  16th 
Century,  an  accomplished  scholar  and  mathe- 
QiAtician,  member  of  the  aca<iemy  Delia  Crusca, 
an*}  of  the  Alterati  in  Florence,  maestro  di 
caiLera  to  Pope  Clement  VIII.  Doni  attributes 
t*)  iiim  the  first  idea  of  the  opera,  and  it  is 
ceruin  that  the  first  performances  of  the  kind 
vere  held  in  his  house  by  his  celebrated  band 
of  friends,  Vicenzo  Galilei,  Caccini,  Strozzi. 
C')rsi,  Peri,  and  Rinuccini,  and  that  he  himstilf 
MQipoaed  ihe  words  for  more  than  one  Huch 
pisce,  e.g.  '  L^amico  fido,'  and  '  II  combattimento 
d'ApoOino  col  serpente.*  [M.  C.  C] 

BAKGAGLIA,  Scipionk,  a  Neapolitan  com- 
poier  and  contrapuntist,  mentioned  by  Cerreto, 
lived  m  the  second  half  of  the  i6th  century. 
Aoconlmg  to  Bumey  the  word  •  Concerto '  occurs 
for  the  first  time  in  his  work  '  Trattenimenti 
...  da  luonare*  (Venice,  1 58 7). 

BARGIEL,  WoLDEH AR,  son  of  a  teacher  of 
monc  at  Berlin,  and  step-brother  of  Mme.  Clara 
Wieck-i^umann  ^his  mother  being  the  divorced 
vife  of  Priedrich  Wieck),  was  bom  at  Berlin, 
Oct.  3, 1838.  He  was  made  to  play  the  piano, 
iheTi<^  and  organ  at  luxne,  and  was  instructed 
in  coonterpoint  by  Dehn.  Ais  a  youth  of  1 8,  and 
in ucordanoe  with  the  advice  of  his  brotherin- 
^v.  Bob^  Schumann,  he  spent  two  years  at  the 
Conmratorium  of  Leipzig,  which  was  then  (1846) 


under  Mendelssohn's  snpervision  :  and,  beforo 
leaving  it>  he  attracted  general  attention  by  an 
octet  for  strings,  which  was  perfonned  at  one 
of  the  public  examinations. 

After  his  return  to  Berlin,  in  1850,  he  com* 
menoed  work  as  a  teacher,  and  increased  his 
reputation  as  a  composer  by  the  publication  of 
various  orchestral  and  chamber  works,  as  well  aa 
pianoforte  pieces.  In  1859  he  was  called  to  a 
professorship  at  the  Conservatorium  of  Cologne, 
which,  in  1865,  he  exchanged  for  the  post  of 
Capellmeister,  and  director  of  the  school  of  musio 
at  Rotterdam.  Latterly  (1S74),  he  has  found  a 
field  still  more  fit  for  his  powers,  at  the  Kon^- 
liche  Hochschule  fUr  Musik,  which  is  now  flourish- 
ing under  the  leadership  of  Joachim,  at  Berlin. 

As  a  composer,  Bargiel  must  be  ranked  among 
the  foremost  disciples  of  Schumann.  He  makes 
up  for  a  certain  lack  of  freshness  and  spontaneity 
in  his  themes  by  most  carefully  elaborated  treat- 
ment. Besides  his  pianoforte  pieces,  op.  1-5,  and 
his  trios  for  pianoforte  and  strings,  two  overtures 
for  full  orchestra,  *Zu  einem  Trauerspiel,*  and 
'  Medea,'  and  the  a  3rd  Psalm  for  female  voices 
should  be  particularly  mentioned.  [£.  D.] 

BARITONE,  the  name  usually  applied  to  the 
smaller  baas  saxhorn  in  Bb  or  C.  It  stands  in 
the  same  key  as  the  euphonium,  but  the  bore 
being  on  a  considerably  less  scale,  and  the 
mouthpiece  smaller,  it  gives  higher  notes  and  a 
less  volume  of  tone.  It  is  almost  exclusively 
used  in  reed  and  brass  bands,  to  the  latter  of 
which  it  is  able  to  furnish  a  certain  variety  of 
quality.  [W.  H.  S.] 

BARKER,  Chahlks  Spackm an,  was  bom  at 
Bath  Oct.  10,  1806.  Left  an  orphan  at  five 
years  old,  he  was  brought  up  by  his  godfather, 
who  ffave  him  such  an  education  as  would  fit 
him  for  the  medical  profession.  But  Barker, 
accidentally  witnessing  the  operations  of  an 
eminent  London  organ-builder,  who  was  erecting 
an  organ  in  his  neighbourhocKl,  determined  on 
following  that  occupation,  and  placed  himself 
under  the  builder  tor  instruction  in  the  art. 
Two  years  afterwards  he  retiuned  to  Bath  and 
established  himself  as  an  oigan-builder  there. 
About  1833  the  newly-built  large  organ  in  York 
Minster  attracted  general  attention,  and  Barker, 
impressed  by  the  immense  labour  occasioned  to 
the  player  by  the  extreme  hardness  of  touch  of 
the  keys,  turned  his  thoughts  towards  devising 
some  means  of  overcoming  the  reaistance  offered 
by  the  keys  to  the  fingers.  The  result  was  the 
invention  of  the  pneumatic  lever,  by  which 
ingenious  contrivance  the  pressure  of  the  wind 
which  occasioned  the  resistance  to  the  touch 
was  skilfully  applied  to  lessen  it.  Barker 
offered  his  invention  to  several  English  organ- 
builders,  but  finding  them  indisposed  to  adopt 
it,  he  went  to  Paris,  where  he  arrived  about 
the  time  that  Cavaille-Col  was  buiMing  a  large 
j  organ  for  the  church  of  St.  Denis.  To  that 
eminent  builder  he  addressed  himself,  and  Ca- 
vaille,  seeing  the  importance  of  the  invention, 
I  immediately  adopted  it.  Barker  afterwards 
!  took  the  direction  of  the  business  of  Daublaine 


140 


BABKER. 


BARNETT. 


and  Callinet  (afterwardB  Ducroquet,  and  later 
Merklin  and  Schtitz),  and  built  in  1845  a  large 
organ  for  the  church  of  St.  Eustache,  which 
was  unfortunately  destroyed  by  fire  six  months 
after  its  erection.  He  also  repaired  the  fine 
organ  of  the  church  of  St.  Sulpice.  Later  the 
pneumatic  lever  came  gradually  into  use  in 
England.  Barker  is  also  the  inventor  of  the 
electric  action.  He  has  returned  to  England,  and 
at  present  (1875)  resides  in  London.    [ W.  H.  H.] 

BARNARD,  Rev.  John,  a  minor  canon  of 
St.  Paul's  cathedral  in  the  time  of  Charles  I,  was 
the  first  who  published  a  collection  of  cathedral 
music.  His  work  appeared  in  1641  under  the 
title  of  'The  First  Book  of  Selected  Church 
Musick,  consisting  of  Services  and  Anthems, 
such  as  are  now  used  in  the  Cathedrall  and 
Collegiat  Churches  of  this  Kingdome.  Never 
before  printed.  Whereby  such  Bookes  as  were 
heretofore  with  much  difficulty  and  charges, 
transcribed  for  the  use  of  the  Quire,  are  now 
to  the  saving  of  much  Labour  and  expence, 
publisht  for  the  general  good  of  all  such  as  shall 
desire  them  either  for  publick  or  private  exercise. 
Collected  out  of  divers  approved  Authors.'  The 
work  was  printed,  without  bars,  in  a  bold  type, 
with  diamond  headed  notes,  in  ten  separate  parts — 
medius,  first  and  second  contratenors,  tenor  and 
bassus  for  each  side  of  the  choir,  Decani  and 
Cantoris.  A  part  for  the  organ  is  absolutely 
necessary  for  some  of  the  verse  anthems  in  which 
intermediate  symphonies  occur,  but  it  is  extremely 
doubtful  whether  it  was  ever  printed.  From 
many  causes  -  the  wear  and  tear  resulting  from 
daily  use  in  choirs,  the  destruction  of  service- 
books  during  the  civil  war,  and  others— it 
happened  that  a  century  ago  no  perfect  copy  of 
this  work  was  known  to  exist,  the  least  imperfect 
set  being  in  Hereford  cathedral,  where  eight  of 
the  ten  vocal  parts  (some  of  them  mutilated) 
were  to  be  found,  the  bassus  decani  and  medius 
cantoris  being  wanting.  It  so  remained  until 
January  1862,  when  the  Sacred  Harmonic  Society 
acquired  by  purchase  a  set  consisting  also  of 
eight  vocal  parts,  including  the  two  wanting  in 
the  Hereford  set,  and  some  also  being  mutilated. 
A  duplicate  of  the  bassus  decani  which  had 
been  with  this  set  was  purchased  by  the  Dean 
and  Chapter  of  Hereford,  and  a  transcript  of  the 
imperfect  medius  cantoris  was  permitted  by  the 
society  to  be  taken  for  them,  so  that  the  Hereford 
set  still  retains  its  pre-eminence.  The  work  does 
not  include  the  compositions  of  any  then  living 
author,  the  compiler  in  his  preface  declaring  his 
intention  of  giving  such  in  a  future  publication. 

Its  contents  are  as  follows : — 


Tallli,  1st  Serr.  4  voices.  D  mln. 
N.  Strogers.  4  ▼.  D  min. 
S.  Bavin,  4  and  5  ▼.  D  mln. 
W.  Bird.  4,  5  and  6  ▼.  D  mia. 
O.  Gibbons.  4  v.  F. 
W.  Mundy,  4.  6  and  6  t.  D  mln. 
K  Parsons,  4,  5,  6  and  7  ▼.  F. 
T.  Motley,  1, 2,  S,  4  and  6  ▼.  D  min. 
Pr.  Gyles.  1.  2.  3,  4.  6  and  6  v.  C. 
ITtte  above  are  Mg.  and  Ev. 

Senrioes  complete,  and  are  each 

eDUUed'Ist8er%iceM 
Air.  Ward.  Ma«.  and  K.  D.  1,  2.  8, 

4  aad  S  V.  O  min. 


Mr.  Woodson.  T«  Demi.  4  ▼.  Dmtn. 
Bird.  3nd  Serv.  wiUi  verses.  Itag. 

and  N.  D.  G  min. 
Bird.  3rd  S.,  Ma«.  and  N.  D.  0  v.  C. 
Morlcy.  2nd  8.,  Mag.  and  V.  D.  S 

V.  G. 
O.  Gibbons.  2nd  S.,  Mg.  and  Sv.  1,  S, 

8.  4  and  5  v.  D  minor 
Tallis,  1st  Preces. 
Do.  1st  Ps.  to  do.  WherewtthalL 
Do.  2nd  Ps..  O  doe  veil. 
Do.  Srd  Ps..  My  soul  claaveth. 
Kird's  1st  Preces. 
iDo.  1st  I^  to  do.  O  dapb 


Da  2nd  Ph.,  BtLft  mt  o  God. 
Do.  Slid  Preces. 
Do.  Ist  Ps.  to  do.  When  Isnd. 
Do.  2nd  Ps..  Hear  my  prayer. 
Do.  Srd  Ps.,  Teach  me  o  Lord. 
O.  Gibbons,  Ut  Preces. 
Do.    Ps.  to  da  Thou  opeDeatt. 
Tallis,  Responses,  Prayer,  ote. 
Da  Litany. 

FuD  AntktmM,  4  porta. 
TaUis.  O  Lord  give  thy  U.  Spirit 
B.  Hooper.  Teach  me. 
Farntnt,  Hide  not  thoo. 
Do.    Call  to  remembrinoa. 
J.  8hepheard,  Haste  Thee. 
Do.    (2ud  pt)  But  let  all. 
W.  Mundy.  O  Lord  the  maker. 
Da    O  Lord  the  world's  Bavioor. 
O.  (iibbons.  Deliver  us. 
Da    (2ud  pt.)  Bleued  be. 
O.  (Jtbbons.  Almighty  A  ererlasting. 
Batten.  O  praise  the  Lord. 
Da    Hide  not  Thoa. 
Do.    Lord  we  beseech  Tb«a 
Do.   Haste  Thee  o  God. 
Da    (SndpOButletallthosa. 
Do.    When  the  Lord. 
Dr.  Tre.  I  will  exalt  Thee. 
Do.    (2nd  pt.)  Sing  anto  the  Lord. 
Do.    Deus  misereatur.     [Divided 
Into  S  little  anthems.] 

Ftdl  Anihfnu  t/i  parU. 
lUIls.  With  all  our  hearts. 


Da  BleMedbeTliy 

K.  Hooper.  O  Thou  G. 

Tallis.  I  call  and  cry. 

Mundy.  O  Lord,  I  bow. 

Bird.  Prevent  us. 

K.  Hooper.  Behold  tt  Is  Ohrfvt. 

liobt.  White.  The  Lord  blew  u«. 

Tallis,  Wipe  away. 

Bird,  O  God  whom  oar  oifencefc. 

Do.  O  Ld.  make  thy  aarT«at  Cba& 

Dr.  Tte.  I  lift  my  heart. 

Bird.  O  Lord  turn. 

Do.  (2nd  pL)  Bow  Thine  ( 

Dr.  Giles  O  give  thanks. 

Fun  Amikfma  fw  6. 7.  • . 
Bird.  Sing  Joyfully.  6  r. 
iR.  Parsons.  Deliver  me.  6  r. 
O.  GlbboiiS,  Uoiaiina.  6  t. 
Do.    Lift  np  yonr  heads.  6  r. 
Weelkes.  0  Lord  grant.  6  aiHl  7  r. 


Bird.  O  Ld.  rebuke  me  noc 
Do.  Hear  my  prayer. 
W.  Mandy.  Ah  helpless 
Morley.  Out  of  the  deep. 
O.  Ciibbons.  Behold  Thou 
Batten,  Out  of  the 
iWard.Iwillpralsa 
Bird,  Thou  God. 
Do.  Chrtot  rising. 
Do.  0iid  pt.)  Christ  is 
I  Dr.  Bull.  Deliver  me. 
IWanLLetGodarlsa 


From  the  printed  and  manuscript  parts,  aided 
by  other  old  manuscript  organ  and  voice  part^ 
Mr.  John  Bishop  of  Cheltenham  has  made  a  score 
of  the  work,  which,  it  is  to  be  regretted,  remains 
unpublished.     It  is  now  in  the  British  Museum. 

Seven  separate  parts  of  the  MS.  collections 
made  by  Barnard  for  his  work,  comprising  upwards 
of  1 30  services  and  anthems  besides  those  included 
in  the  published  work,  are  now  in  the  library  of 

^'^^^^NETTf  J?HN,  tJ^      at  Bedford  July  i, 
1802.     His  mother  was  a  Hungarian,  and   his 
father  a  Prussian,  whose  name  was   Bemhard 
Beer,  which  was  changed  to  Bamett  Bamett  on 
his  settlement  in  this  country  as  a  jeweller.      In 
his  infancy  John  shewed  a  marked  predilection 
for  music,  and  as  his  childhood  aivanced  proved 
to  have  a  fine  alto  voice.     At  the  age  of  eleven 
he  was  articled  to  S.  J.  Arnold,  proprietor  of 
the  Lyceum,  Arnold  engaging  to  provide  him 
with  musical  instruction  in  return  for  his  ser- 
vices as  a  singer.    The  young  vocalist  accordingly 
appeared  upon  the  stage  at  the  Lyceum,  and 
continued  a  successful  career  until  the  breaking 
of  his  voice      During  this  time  he  was  receiving 
instruction  in  music,  first  from  C.  £.  Horn,  and 
afterwards    from   Price,   the    chorus -ma-iter    of 
Drury  Lane.     He  wrote,  while  yet  a  boy,  two 
masses  and  many  lighter  pieces,  some  of  which 
were  published.     At  the  expiration  of  his  term 
with  Arnold  he  took  pianoforte  lessons  of  PeresL, 
organist  of  the   Spanish    embas.sy,   and   subse- 
quently of  Ferdinand  Ries.     From  the  latter  he 
received  his  first  real  lesson  in  harmony. 

His  first  essay  for  the  stage  was  the  musical 
farce  of  'Before  Breakfistst'  (Lyceum,  1825),  the 
success  of  which .  induced  him  to  continue  the 
line  he  had  commenced.  Among  the  pieces  he 
subsequently  wrote  may  be  enumerated  'Mon- 
sieur Mallet,' '  Robert  the  Devil/ '  Country  Quar- 
ters,' 'Two  Seconds,'  'The  Soldier's  Widow,* 
'The  Picturesque,* '  Married  Lovers,'  'The  Deuce 
is  in  her/  'Charles  the  Twelfth'  (which  con- 


BARNETT, 

teined  ilie  popular  ballad  'Rise  gentle  Moon*), 
ted  'The  Carnival  of  Naples/  the  latter  per- 
l^med  at  Covent  Garden  in  1830.  Meantime 
h  vas  not  onmindful  of  the  higher  branches  of 
hi  art,  and  in  1829  published  his  oratorio  of 
'The  Omnipresence  of  the  Deity/ which  has  never 
}^esi  performed  in  public.  In  31  he  brought 
nt  ai  Sadler^s  Wells  'The  Pet  of  the  Petticoats/ 
subsequently  transplanted  to  the  greater  theatres. 
Tlu^  was  hu  most  important  dramatic  work  up 
t)  thi^  period.  It  was  deservedly  popular,  and 
ctrntained  dramatic  music  then  new  to  the 
Esfliah  etage. 

hi  1S52  Bamett  was  engaged  by  Madame 
Ve^trb  as  music-director  of  the  Olympic  Theatre, 
ht  which  he  wrote  a  number  of  popular  musical 
p^oes— 'The  Paphian  Bower/  'Olympic  Revels/ 
'The  Goort  of  Queen's  Bench/  '  Blanche  of  Jer- 
m!  etc.  Also  for  Drury  Lane  a  lyrical  version 
of  Hn.  Centlivre*s  '  Bold  stroke  for  a  Wife/  with 
Bnham  in  the  principal  character.  Under  the 
title  of '  Win  her  and  Wear  her'  this  piece  was 
played  for  a  few  nights,  but  failed  to  obtain  the 
ncres  it  merited,  partly  owing  to  the  inappro- 
pritaess  of  the  subject.  The  music  contains 
many  gems  introduced  by  the  composer  into  his 
ktffworics. 

In  1834  he  published  his  '  Lyrical  Illustrations 
«i  the  Modem  Poets,'  a  collection  of  songs  of 
xemsrkable  beauty  and  poetic  feeling ;  and 
ibortlj  afterwards  'Songs  of  the  Minstrels/ 
and  'Amusement  for  Leisure  Hours.'  These 
productions,  the  first  especially,  raised  him  in  the 
eoimstion  of  the  musical  world. 

Banett's  great  work  'The  Mountain  Sylph* 
was  produced  at  the  Lyceum  in  August  1834 
with  remarkable  success.  It  was  originally  de- 
signed as  a  musical  drama  for  one  of  the  minor 
thoatres,  and  afterwards  extended  into  complete 
q^eratic  form.  It  met  with  some  opposition  on 
the  first  night,  but  soon  became  a  standard 
hvwirite.  '  Here  then/  says  Professor  Maclarren, 
'wag  the  first  English  opera  constructed  in  the 
acknowledged  form  of  its  age  since  Ame^s  time- 
ho&oored  Artaxerxes ;  and  it  owes  its  import- 
ance as  a  work  of  art,  not  more  to  the  artistic 
nmild  in  which  it  is  cast  than  to  the  artistio, 
cooscieotioos.  emulous  feeling  that  pervades  it. 
Its  production  opened  a  new  period  for  music  in 
this  coantry,  from  which  is  to  be  dated  the 
establishment  of  an  Enu'lish  dramatic  school, 
which,  if  not  yet  accomplished,  ha«i  made  many 
notable  advances.'  Bamett  dedicated  the  work 
to  bis  old  master,  Arnold,  extolling  him  as  the 
fosterer  of  the  British  Muse;  but  before  the 
year  was  out  he  changed  his  tone,  complaining 
in  tbe  public  prints  that  this  saine  manager 
had  refoaed  to  pay  him  for  the  composition  of  a 
new  opera. 

He  now  spent  some  time  in  Paris,  with  the 
pvpoee  of  producing  there  his  opera  of  'Fair 
Kocaooond,'  bat  returned,  on  the  invitation  of 
Bonn,  to  bring  out  the  work  at  Drury  Lane. 
It  vas  perfiormed  in  February  1837,  with  in- 
<^ere&t  success^  mainly  owing  to  its  ill-con- 
fi^rocted  libretto.    It  is  full  of  charming  music. 


BARNETT. 


141 


and,  wedded  to  a  new  poem,  would  command 
attentioa  from  an  audience  of  the  present  day. 
In  this  year  Bamett  married  the  daughter  of 
Lindley  the  violoncellist,  with  whom  he  went  to 
Frankfort,  with  the  view  of  studying  Yogler  s 
system  of  harmony  and  the  principles  of  oompoeition 
under  Snyder  von  Wartensee.  Here  he  wrote  a 
symphony  and  two  quartets,  which  are  still  un- 
published. On  his  return  to  London  in  1838,  he 
produced  his  opera  of '  Farinelli'  at  Drury  Lane, 
perhaps  his  best  work.  In  this  year,  in  con- 
junction with  Morris  Bamett,  the  actor,  dra- 
matist, and  journalist,  he  opened  the  St.  Jameses 
Theatre,  with  the  intention  of  founding  an  Eng- 
lish opera  house ;  but  (owing  to  unforeseen  cir^ 
cumstances)  the  theatre  prematurely  closed  at 
the  end  of  the  first  week. 

At  the  beginning  of  1841  Bamett  established 
himself  as  a  singing  master  at  Cheltenham, 
where  he  remains  (1876)  in  extensive  practice. 
In  the  following  year  he  published  a  pamphlet 
of  sixty  pages,  entitled  '  Systems  and  Singing 
Masters :  an  analytic  conmient  upon  the  Wilhem 
System  as  taught  in  England  — cleverly  and 
caustically  written,  but  unjustly  severe  upon 
Mr.  Hullah. 

Mr.  Bamett  has  at  least  three  operas  which 
have  never  been  performed.  '  Kathleen,'  the  li- 
bretto by  Sheridan  Knowles,  is  highly  spoken  of 
by  those  who  have  heard  the  music.  His  single 
songs  are  said  to  number  nearly  four  thousand. 

Bamett's  music  is  highly  dramatic.  His  melo- 
dies are  marked  by  decided  character,  and  his 
skill  in  orchestration  is  great.  It  is  much  to  be 
regretted  that  he  has  withheld  his  later  works 
from  the  public.  {Imp.  lAct.  of  Univ.  Biog. ; 
Private  sources.)  [E.  F.  R.] 

BARNETT,  John  Francis,  nephew  of  the 
preceding,  stm  of  Joseph  Alfred  Bamett,  a 
professor  of  music,  was  bom  Oct.  6,  1838.  He 
began  the  study  of  the  pianoforte  when  six  years 
old  under  the  guidance  of  his  mother.  When 
eleven  he  was  placed  under  Dr.  Wylde.  The  boy 
progressed  rapidly  in  his  studies,  and  a  twelve- 
month later  became  a  candidate  for  the  Queen's 
Scholarship  at  the  Royal  Academy  of  M  usic.  This 
he  gained,  and  at  the  expiration  of  two  years,  the 
duration  of  the  scholarship,  he  competed  again, 
and  was  again  successful.  During  the  first  year 
of  his  scholarship  he  was  engaged  and  played 
(from  memory)  Menrlelssohn's  Concerto  in  D 
minor  at  the  New  Philharmonic  Society,  under 
the  direction  of  Spohr  (July  4,  1853).  The 
second  scholarship  coming  to  an  end  in  1857, 
he  visited  Germany,  studied  under  Hauptmann 
and  Rietz  at  the  Conservatorium  at  Leipsic, 
and  performed  at  the  Gewandhaus  (Mar.  a  a, 
i860).  At  the  expiration  of  three  years  he 
returned  to  London  and  played  at  tiie  Phil- 
harmonic, June  10,  1861.  The  first  compo- 
sition that  brought  the  young  composer  into 
notice  was  a  symphony  in  A  minor,  produced 
at  the  Musical  Society  of  London  (June  15, 
1864).  He  has  sinoe  written  several  quartets 
and  quintets  for  string  instruments,  pianoforte 
trios,  as  well  as  an  'Overture  Syniphonique'  for 


u% 


BARNETT. 


the  Philhannonic  Society  (May  it,  1868),  ft  con- 
certo in  D  minor,  and  other  works.  In  1867,  at 
the  reqaest  of  the  oommitiee  of  the  Birmingham 
Festival,  he  composed  his  cantata  '  The  Ancient 
Mariner/  on  Coleridge^s  poem,  which  was  an 
acknowledged  success.  In  1870  he  received  ft 
second  commission  from  the  Birmingham  Festival 
committee  to  write  a  cantata,  and  tliis  time  he 
chose  '  Paradise  and  the  Peri/  which  was  per- 
formed the  same  year  with  great  success.  Both 
these  works  have  been  given  repeatedly  in 
England  and  the  Colonies.  Mr.  Bamett  next 
wrote  his  overture  to  Shakspeara's  'Winter's 
Tale*  ibr  the  British  Orchestral  Society,  which 
performed  it  Feb.  6, 1873.  In  the  same  ye»r  he 
produced  his  oratorio  'llie  Raising  of  Lazarus,* 
which  may  be  regarded  as  his  moat  important 
work.  In  the  following  year  he  received  a  com- 
mission to  compose  an  instrumental  work  for  the 
Liverpool  Festival,  when  he  chose  for  his  theme. 
Scott's  '  Lay  of  the  Last  Minstrel.'  This  was 
produced  on  Oct.  i,  1874.  Besides  the  works 
enumerated,  Mr.  Biumett  has  written  a  number 
of  pianoforte  and  vocal  compositions,  including  a 
*  Tantum  Ergo*  in  eight  parts.  [E.  F  R.] 

BARON,  Ernst  Theophilus,  a  famous  lute 
player,  bt^rn  at  Breslau  Feb.  27,  1696.  His 
first  instruction  was  obtained  from  Kohatt,  a 
Bohemian,  in  1710,  next  in  the  Coll^um 
Elizabethan um  at  Breslau ;  and  he  afterwards 
studied  law  and  philosophy  at  Leipsic.  After 
residing  in  Halle,  Cothen,  Zeltz,  Saalfeld,  and 
Rudolstadt,  he  appeared  in  Jena  in  1720, 
whence  he  made  an  artistic  tour  to  Gassel, 
Fulda,  Wurzburg,  Nuremberg,  and  Regensburg, 
meeting  everywhere  with  brilliant  success.  In 
Nuremberg  he  made  some  stay,  and  there  pub- 
lished his  'Historisch-theoretisch  und  practisclie 
Untersuchung  des  Instruments  der  Lauten* 
(J.  F.  Riideger,  1727),  to  which  he  afterwards 
added  an  appendix  in  Marpurg's  'Historisch- 
kritischen  Beitr^e,*  etc.  In  1727  Meusel,  lute- 
*  nist  at  the  court  of  Gotha,  died,  and  Baron 
obtained  the  post,  which  however  he  quitted 
in  1732,  after  the  death  of  the  duke,  to  join 
the  couit  band  at  Eisenach ;  there  he  remained 
till  1737,  when  he  undertook  a  tour  by  Merse- 
buTg  and  Cothen  to  Berlin,  and  was  engaged 
by  King  Friedrich  Wilhelm  I.  as  theorbist, 
though  he  pos.sessed  no  theorbo,  and  was  com- 
pelled to  obtain  leave  to  procure  one  in  Dresden. 
Weiss,  the  great  theorbist»  was  at  that  time 
living  in  Dresden,  and  from  him,  Hofer,  Kropf- 
gans,  and  Belgratzky,  a  bom  Circassian,  Baron 
Boon  learnt  the  instrument.  After  this  he  re- 
mained in  Berlin  till  his  death,  April  20,  1 760 ; 
and  published  there  a  great  number  of  short 
papers  on  his  instrument  and  music  in  general. 
Many  of  his  compositiunjs  for  the  lute  were 
published  by  Breitkopfs.  [F.  G.] 

BARONESS,  THE,  an  artist  of  German  origin, 
88  is  supposed,  who  sang  in  the  operas  abi^oad 
and  in  Ix>ndon,  and  was  known  by  no  other 
name.  She  sang  the  part  of  Lavinia,  in  the 
opera  of  '  Camilla^'  by  Buononckii  (Drtiiy  Lane, 


BARRE. 

1 7o6\  and  that  of  Eurilla  in  *  Love's  Tritimpb,'  a 
the  Haymarket,  some  time  afterwards.    Bhe  ^wi 
a  perfect  mistress  of  the  grandest  method 
singing,  an  art  which  was  even  then  becoming 
rare,  and   she   shared  that  proud  pre-eminence 
with  but  a  few  such  singers,  as  Comelio  Galls* 
Tosi,  and  Siface.     She  took  a  great  part,  %vit2& 
Sandoni,   in    the   teaching   and   cultivation    of 
Anastasia  Robinson,  so  far  as  that  singer  would 
submit  to  receive  any  instruction  at  all ;  being' 
herself,  at  the  same  time,  engaged  at  the  Opera, 
and  'greatly  caressed,*  as  Hawkins  informs   ns. 
Her  name  must  not  be  confounded  with  tha>t  ojT 
Hurtensia,  the  mistress  of  Stradella,  as  was  <lone 
by  Humfrey  Wanley,  the  compiler  of  the  BCar- 
leian  Catalogue,  relying  on  the  informatioxi   of 
his  friend  Berenclow ;  for  that  unfortunate  taudy 
was,  according  to  the  best  accounts,  assassinated 
at  the  same  time  with  her  lover.  [J.  AC.] 

BARRE,  Antonio,  was  of  French  extraction, 
but  the  place  and  date  of  his  birth  are  unknoiNm. 
We  find  him  as  a  composer  of  established  repute 
at  Rome  in  1550.     In  1555  he  started  in   that 
capital  a  printing-press,   which    he    afterwards 
removed  to  Milan,  and  from  which  he  published 
a  series  of   six  volumes  containing  pieces    by 
himself  and  other  writers.     The  tiUes  of  iheae 
are  as  follows: — (i)   'Prime  Libro  delle  Muse 
a   5   voci,    Madrigali   di   diversi  Autori.'      (2) 
'Prime  Libro  deUe  Muse  a  4  voci,  Madrig^idi 
ariosi  di  Antonio  Barre  ed  altri  diversi  autori.' 
Both  of  these  volumes   were  dated  1555,   and 
were  dedicated,  the  first  to  Onofrio  Viig^  the 
second  to  the  Princess  Felice  Orsini.     (3^  'Se- 
condo  Libro  delle  Muse  a  quattro  voci,  Madrigali 
ariosi  di  diversi  excellentissimi  Autori,  con  due 
Canzoni  di  Gianetto,  di  nuovo  raooolti  e  dati  in 
luce.     In  Roma  appresso  Antonio  Barre  1558.' 
(4)   'Madrigali    a  quattro   voci    di    Francesco 
Menta  novamente  da  lui  composti  e  dati  in  luoe ; 
in   Roma  per  Antonio  Barre   1560.*     (5)    'H 
Prime  Libro  di   Madrigali  a  quatbro  voci   di 
Ollivier  Brassart.    In  Roma  per  Antonio  Barre 
1564.*     Of  this  last  only  the  alto  part  is  known 
to  exist,  having  been  actually  seen  by  F^tis. 
(6)  '  Liber  Primus  Musarum  cum  quatuor  voci* 
bus,  sen  sacne  cantionea  quas  vulgo   Mottetta 
appellant.    Milan,  Antonio  Barre,  1588.*     Out 
of   these   six   volumes  even    the    learned    and 
indefatigable  Baini  had  only  thoroughly  satisfied 
himself  as  to  the  existence  of  the  two  fmst.     The 
last  is  said  to  contain  no  less  than  twenty-nine 
pieces  by  Palestrina,  besides  specimens  of  the 
work  of  Orlando  Lasso^  Rore,  Animuccia,  and 
other  rare  masters.  [E.  H.  P.] 

BARRE,  Leonard,  a  native  of  Limoges,  and 
pupil  of  Willaert,  a  singer  in  the  Papal  Chapel 
in  1537,  and  thus  contemporary  with  Arcadelt* 
He  was  one  of  the  musicians  sent  by  the  P(^e 
to  the  Council  of  Trent  in  1545  to  give  advice 
on  church  music  His  claims  as  a  composer  rest 
on  some  motets  and  madrigals  published  in  a 
collection  at  Venice  in  1544,  and  on  many  MS. 
compositions  preserved  in  the  library  of  the 
Papal  ChapeL  [J.  R.  S.  B.] 


BARREL  ORGAK. 

BARREL  ORGAN.  A  muncal  in§tniment, 
•f  all  othen  the  most  easy  of  mjtiiipulatioD,  m 
it  reqoiraB  nothing  beyond  the  regular  rotary 
Btodon  of  a  handle  to  keep  it  playing.  In  some 
civDpSes  even  thia  power  is  implied  mechani- 
oHt,  eithtf  hy  means  of  dock -work,  or  by 
vsights.  Thete  instruments  are  of  the  most 
TariooB  capacitiea,  from  the  simple  street  organ 
— tbie  'burel  organ*  of  ordinary  parlance — to 
Ui^  and  complicated  machines  representing  the 
isil  orchestra.  But  the  principle  of  action  is  the 
ai&e  in  alL  A  wooden  cylinder,  or  harrel,  placed 
^jrisontsUy,  and  anned  on  its  outside  circum- 
fcFoioe  with  farass  stapUa  or  pini,  slowly  re- 
TolTea,  in  the  direction  from  back  to  front ;  and 
in  (king  so  the  pins  raise  certain  trigger-shaped 
Up,  which  correspond  with  simple  mechanism 
ftvuTTimii/Mfctiwg  with  Talves  that  on  being  opened 
illow  wind  to  enter  the  required  pipes.  In  this 
ny  dther  melody  or  harmony  is  produced.  The 
«iffil  ii  produced  by  bellows  which  are  worked 
bv  the  same  motion  which  turns  the  barrel. 
Be  most  simple  kind  of  instrument  of  this  na- 
ture ic  the  small  *  bird  organ,'  used,  as  its  name 
impliei,  for  teaching  bulfinches  to  pipe — which 
plaja  the  simplest  music  in  melody  only. 

it  ii  not  positively  known  when  barrel  organs 
vere  first  made,  but  they  are  supposed  to  date 
from  about  the  beginning  of  the  last  century. 
An  ogsn-builder  <^  the  name  of  Wright,  the 
gnat-grandfiither  of  the  present  firm  of  iiobson, 
nnde  a  banel  organ  for  Fulham  Church,  which 
akne  would  cany  the  date  a  long  way  back  in 
Uie  last  century.  Bir.  Flight  of  £xeter  Change, 
tk  gntfid£ftther  of  the  present  builder  of  that 
oaoie,  was  also  »  celebrated  maker  of  barrel 
f^T^DB  in  his  day.  The  finest  and  most  elabo- 
rate ipedmen  of  »  'Fingw  and  Barrel'  oxgan 
that  was  ever  made,  was  the  Afollovioov,  con- 
itnided  by  Flight  and  Robson  at  a  cost  of  nearly 
£10,000,  and  first  exhibited  by  them  about  the 
jtxt  1815.  This  has  been  already  described 
mider  its  own  head.  The  firms  of  Flight  and 
BofasoD,  and  of  Bryoeson,  father  of  the  present 
hdUer  of  that  name,  made  perhaps  the  greatest 
Bmnber  of  barrel  oigans,  which  kind  of  instru- 
ment was  in  mudi  demand  some  fifty  years  ago, 
for  diorches  and  chapels,  though  now  seldom 
m^  with  there,  "niese  were  set  with  psalm  and 
hTinn  tonesy  chants,  and  occasionally  with  volun- 
tiriei. 

A  chnrdi  barrel  oigaa  had  raiely  a  chromatie 
moiMui  of  notes,  bat  usually  only  a  greater 
or  leaa  approximation  thereto.  Thus  it  would 
gBMsUy  have  either  8,  14,  17,  ax,  27,  a8,  or  31 
^ep.  hk  the  case  of  one  haying  14  keys,  two 
^ioimc  scales,  of  short  range,  would  be  pro- 
Mated,  namely  G  and  D,  into  which  all  the  tunes 
•maifced'  upon  the  bairel  would  be  transposed, 
ud  a  few  pipes  at  somewhat  laige  intervals 
apvt  would  be  supplied  by  way  of  boss,  such  as 
B  and  G.  In  organs  with  more  keys,  the  G$ 
voold  be  inserted,  allowing  the  scale  of  A  to  be 
naed.  In  aigaua  having  a  further  increased 
anxaber^  of  keys  the  D|  would  be  introduced. 
penoittiBg  the  scale  of  £  to  be  employed ;  and 


BARREL  ORGAK. 


141 


80  <m.  Strange  to  say,  scales  with  flats  were 
never  planned  unless  q>ecially  ordered ;  nor  was 
there  much  provision  fir  tunes  in  the  minor  mode 
in  organs  with  comparatively  but  few  '  keys.' 

Some  organs  are  made  having  the  complete 
oompass  and  with  all  the  chromatic  semitones, 
and  are  'marked'  to  play  overtures,  movements 
of  symphonies,  selections  from  operas,  sets  of 
waltzes,  and  other  music  of  that  class  in  th* 
most  beautiful  manner.  The  place  oooupied  in 
the  making  of  these  instruments  by  the  late 
John  Robson  has  been  taken  by  Messrs.  Imhof 
and  Mukle  of  London,  who  supply  a  large  nunii> 
ber  of  mechanical  organs  to  private  houses  in  the 
coun^  at  prices  ranging  firam  £100  to  £1500. 
One  of  the  oompletest  of  these  instruments  ooik- 
tains  8  ordinary  stops,  ranging  through  a  com- 
plete chromatic  scale  of  5^  00-  ^*^*/3  ^ 
taves,  and  six  solo  stops ;  with  a  fc-  /u 
swell  of  three  stops  in  addition  I  y 
to  drums,  triangle,  cymbals,  and  3 
castanet» — in  fact  a  representation  of  the  entire 
orchestra.  Three  machhies  work  the  whole  of  this 
elaborate  f4>paratus.  The  barrels  can  be  changed 
very  rapidly,  and  as  each  bairel  takes  1 1^  minute* 
to  complete  its  rev(dutions  there  are  few  move- 
ments of  the  great  symphonies  and  few  overtures 
which  cannot  be  performed,  and  in  fact  the  best 
machines  contain  barrels  for  such  movements  as 
well  as  for  the  operatio  selections  more  usually 
found  on  them.  The  mechanical  contrivances  in 
these  instruments  are  highly  ingenious,  the  music, 
as  already  remarked,  is  often  of  the  best,  and  the 
effect  in  a  suitable  space  and  under/ proper  cir- 
cumstances is  very  pleasing.  Instruments  of  thie 
character  are  occasionally  furnished  with  a  man- 
ual, and  are  then  known  as  'Barrel  and  Finger 
Oigans.' 

The  ordinaiT  street  organ  was  first  made  by  a 
builder  named  Micks  at  the  beginning  of  tiiie 
century.  At  present  the  smallest  kind  has  24 
keys,  sounding  the  following  notes :— 


^^^^^ 


x± 


In  the  second  size  an  A  is  added  on  the  fifth 
line  of  the  bass  stave,  and  a  Cf  in  the  treble  ;  i& 
the  third  size  an  F,  F|,  G,  and  A  in  alt ;  and 
in  the  fourth,  the  laigest  of  all,  the  scale  is  con- 
turned  up  to  £,  and  C|  is  added  in  alt.  The 
effect  even  of  simple  modulations  with  such  ixn* 
perfect  means  will  be  easily  understood.  In  fact 
the  'setdiig'  the  barrels  of  a  street  organ — like 
the  hearing  them — must  be  a  constant  struggle 
with  difficulties.  There  are  2  stops,  an  open 
(rarely  of  metal)  and  a  closed  (wood).  The  bar- 
rel is  set  to  play  9  or  10  tunes.  These  instru- 
ments weigh  from  40  to  56  lbs.,  and  cost  from 
£18  upwards.  The  pipes  and  all  other  parts  are 
made  at  the  fiiM^ry  of  the  firm  already  mentioned, 
in  the  Black  Forest,  but  the  barrels  are  'set* — 
i.e.  the  pins  are  inserted — and  the  whole  put 
together  in  London.  Street  organs  are  chiefly 
used  in  England,  but  are  also  lately  exported  to 
South  A.m«iriwv,  the  West  Indiee,  uid  other  plaoea. 


144 


BARREL  ORGAN. 


Tbe  annexed  illustration  ibowB  a  cron  seetion 
of  an  otdinoiy  barrel  organ,  a  u  the  barrel, 
'set'  round  iM  circumrerence  with  'pins,'  at  the 
varioai  Interralg,  and  of  the  TarJoiu  tengths, 
neo«ur7  for  the  music,  and  turned  b;  the  worm 
b  <Hi  the  shaft  e;  dd  are  the  bellows  worked  by 
the  cranks  c «  on  the  shaft  and  the  connecUng 
rods  //,  and  deliTering  the  wind  into  an  air 
chamber  g,  which  runs  to  the  further  end  of  the 
oan,  and  is  kept  at  a  uniform  pressure  bir  the 
spiral  springs  h  A,  The  air  vesttl  again  deliTen 
^e  wind  into  Che  wind-chest  m,  which  oommuni- 
cates  with  the  pipes  nn.  Each  pips  has  its 
valve  0,  which  is  kept  dosed  b;  a  spring  until 
the  corresponding  pin  on  the  bairel  raises  the 
trigger  p,  and  forcing  down  the  connecting  wire 
r,  opens  the  valve  and  admits  wind  to  the  pipe. 
ts  IS  the  case.  Space  being  vei;  valuable  in 
these  instruments  tbe  pipes  are  packed  together 
vary  closely,  and  are  itftea  bent  in  shape  to  fit 
the  demands  of  the  case.  Id  the  diagram  one  is 
shown  Ij'ing  beneath  the  floor  of  the  bellows. 

The  barrel  is  made  of  itacei,  about  l^  inches 
wide,  of  the  beet  pine  wood  without  knots  or 
sap,  and  seasoned  for  many  years  befbce  beini; 
need.  At  each  end  of  the  barrel,  and  sometimes 
also  In  the  middle,  is  a  circular  piece  of  hard 
mahogany  called  a  barrd-litad,  to  which  the 
staves  are  glued  and  p^ged.  lie  barrel  is  then 
handed  to  the  turner,  who  makes  it  perfectly 
cylindrical,  and  it  is  then  covowl  with  cartridge 
paper  and  sometimes  painted.  At  one  end  of 
the  barrel  the  '  head '  is  furnished  with  a  circle 
of  teeth  for  the  mona  connected  with  the  handle 
to  work  in  when  slowly  rotating  the  barrel. 
Projecting  from  this  'head'  is  uie  notch-pin. 
The  number  of  notches  in  the  pin  corresponds  to 
the  number  oT  tunee  played  by  the  barrel.  A 
Jcnift  lowered  into  the  notch  prevents  the  barrel 
from  shifting  its  position.  The  aimpleat  arrange- 
ment is  for  the  barrel  to  ptay  a  tune  completely 
throagh  in  the  courae  of  a  single  revolution. 

The  keys  are  usually  7-8ths  of  an  inch  apart, 
and  the  intervening  ^laoe  upon  the  barrel  may  be 
filled  either  with  pins  for  producing  &esh  tunes 
to  the  number  of  nine  or  ton,  or  with  a  continua- 
tion of  the  original  piece  lasting  for  the  same 
number  of  revolutions  of  the  barret.  In  the 
latter  case  the  '  notches'  are  arranged  in  a  spiral 
■0  as  to  allow  the  barrel  to  shift  horizontally  to 
left  or  right  at  the  end  of  each  revolution  with- 
out the  intervention  of  the  hand. 

It  is  not  within  the  scope  of  this  article  to 
speak  of  the  players  of  the  street  organs,  but  it 
nity  be  mentioaed  that  there  are  some  tour 
'  masters '  in  London,  employing  bam  30  to  £0 
men  each,  to  whom  the  organs  are  let  out  on 
hire.  The  number  of  organs  sold  for  use  in 
London  alone  by  the  house  already  named  is 
about  30  a  year,  but  the  export  trade  to  the 
West  Indies,  Brazil,  eto.,  is  also  oonsiderable. 

Barrel  organs  have  been  made  with  three  and 
four  barrels  in  a  circular  revolving  iron  &ame. 
The  fimt  of  the  kind,  containing  four  barrels, 
was  made  by  Mr.  Bishop,  sen.,  the  bther  of  the 
present  organ-builder  of  that  nam^  for  North- 


BARRINGTOR-. 


Many  years  later  Messrs.  Grraj  a 


made  grinder  organs  with  three  barrels  in  one 
frame.  [B.  J.  H.] 

BARRET,  Afollon-  MahIB-Rosb,  a  remark- 
able oboe  player,  bom  in  llie  south  of  Franco 
in  1804,  pupil  otVogt  at  the  Conservatoire,  solo 
player  at  the  Odton  and  Op^ra  Comirjue,  and  at 
lasj  permanently  attached  to  the  Italian  Oper* 
in  London  till  TS74.  Barret  is  the  author  of  the 
'  Complete  Method  for  the  Oboe,  oompriBing  hU 
the  new  fingerings,  new  tablts  of  shakes,  scales, 
eiereiaea,'  eto.  (Jullien  and  Co.).  [F.  G,] 

BAEHETT,  Johh,  a  pupil  of  Dr.  Elo«,  was 
music  master  at  Christ's  Hospital  and  organist 
of  tlie  church  of  St.  Mary  at -Hill  about  1710. 
Many  songs  by  him  are  iu  the  collections  of  the 
period,  partLcdarly  in  D'Urfey'a  '  Wit  and 
Mirth,  or,  Pills  to  puige  Melancholy,'  in  which 
is  'lanthe  the  lovely,'  which  fumiahed  Gay  with 
the  tune  for  his  song  '  When  hs  holds  up  his 
band'  in  'The  Bf^ar's  Opera.'  Barrett  com' 
posed  overtures  aud  act  tunes  for  '  Love's  last 
shift,  or,  The  Fool  in  Fashion,'  1696,  "Tun- 
bridge  Walks,'  1703,  and  'Mary,  Queen  of 
Soots,' 1703.  [W.H.  H.] 

BARRINGTON,  Daikeb,  the  Hon..  bom  in 
London  1737,  died  tbeie  iSoo,  Reciirder  of 
Bristol  and  puisne  judge  in  Wales,  is  mentioned 
here  as  the  author  of  an  account  of  Uoiait 
during  his  visit  to  London  in  1764,  at  «gbt 
yeara  of  age,  in  the  '  Philosophical  Tnuisactions ' 
for  1780  (vol.  li.^  Barrington  also  publitlied 
'Miscellanies'  (London,  1781),  in  which  the 
foregoing  account  is  repeated,  nnd  a  siiiLilar  ac- 
count is  given  of  the  early  powers  of  four  other 
children,  William  Crotch,  CharleB  and  Samuel 
Wesley,  and  Lord  Momingtoo.  [M.  C.  C] 


BARNBY. 

BARNBY,  JosKPH,  born  »t  YoA  Ang.  ij, 
1838,  a  chorister  in  York  Minster,  and  student 
u  the  Royal  Academy  of  Music :  was  for  nine 
Tean  ofganist  of  St.  Andrew^s,  Wells  Street, 
Lf4ui<«,  and  ecmtributed  much  to  the  exeellenee 
^  the  tervioes  at  that  church.  Conductor  of 
'Baraby's  Choir/  of  the  '(>rat<^o  Concerts,'  and 
of  the  Royal  Albert  Hall  Choral  Society;  and 
ippointed  to  the  important  post  of  suocentor  and 
director  of  musical  instruction  at  Eton  College, 
1S75.  Mr.  Bamby  has  published  an  oratorio, 
'  K^xkah,*  which  contains  some  channing  modem 
Et&ac,  and  many  other  compositions,  both  sacred 
and  secolsr.  He  edited  the  'Hymnary'  for 
Mean.  NoTello,  to  which  he  contributed  many 
tsnss,  justly  admired  for  beauty  of  melody  and 
brawoy.  [E.  F.  R.] 

BAKSANTI,  Francesco,  bom  at  Lucca 
abi)ut  1690.  In  1 7 1 4  he  accompanied  Geminiani 
to  England,  which  country  henceforth  became 
kts  own.  He  played  both  the  flute  and  oboe,  the 
Utter  for  many  years  in  the  opera  band.  He 
yd  a  lacrative  situation  in  Scotland,  and  while 
tbsre  made  and  published  '  A  Collection  of  Old 
Scots'  Tunes,  with  the  Bass  for  Violoncello  or 
Htfpaicbord,*  etc  (Edinburgh,  1 743).  After  his 
mnni  to  England  about  1750,  he  played  the 
nok  at  the  opera  in  winter  and  Vauzhall  in 
nrnmer.  At  the  dose  of  his  life  he  was  de- 
prndent  upon  the  exertions  of  his  wife  and  his 
daagfater,  a  singer  and  actress  of  considerable 
ability.  His  other  publications  include  '  Twelve 
concotosfor  violins,'  and  Six  '  Antifone'  in  tiie 
strle  of  Palestrina.  [M.  C.  C] 

BABTEI,  GiBOLAM o,  general  of  the  Augustin 
order  of  monks  at  Borne  in  the  beginning  of  the 
i^tli  century.  From  two  somewhat  obscure 
pongea  in  Baini^s  '  Memorie'  we  gather  that  he 
publiahed  at  Rome  in  16]  8  some  masses  for  eight 
voices,  some  rioercari  for  two  voices,  and  two 
^Kokiofoonoerti  for  two  voices.  To  these  F^tis 
>dds  some  '  Responsoria*  for  four  equal  voices, 
pinted  at  Venice  in  1 607. 

BAKTHEL,  Johanit  Chbistiait,  bom  at 
Pknen  1776,  a  musician  from  a  very  early 
3gc>  in  1789  played  at  the  house  of  Doles 
before  Monrt,  who  praised  him  highly,  and 
non  after  entered  the  school  of  St.  Tbomss 
^  I^ipno  as  a  pupil  of  J.  A.  Hiller.  At 
Bxteen,  on  Hfflers  recommendation,  he  was 
*pp(»iited  concert-conductor  to  the  court  of 
Sdidneboig,  and  some  time  afterwards  occupied 
a  ninilar  post  at  Greitz.  In  1806,  on  the 
death  of  J.  G.  Krehs,  was  appointed  organist 
to  the  ooort  of  Altenbniig,  where  he  remained 
tin  hia  death  in  1831.  [M.  C.  C] 

BABTHELEMON,  Fban^om  Hippolite, 
vxa  at  Boordeaux  July  27,  1741,  was  the  son 
of  a  French  government  officer  and  an  Irish 
^J.  He  commenced  life  as  an  officer  in  the 
^^  brigade,  but  being  induced  by  the  Earl 
<H  Kelly,  a  well-known  amateur  composer,  to 
^^|Dge  his  profession  for  that  of  music,  he 
ufuoe  one  of  the  most  distinguished  violinists 
<»  bit  time.    In  1 765  he  came  to  Inland,  and  1 


BARTHOLOMEW. 


145 


was  engaged  as  leader  of  the  opera  band.  In 
1766  he  produced  at  the  Kind's  Theatre  a 
serious  opera  called  'Pelqpida/  and  in  the 
same  year  married  Miss  Mary  Young,  a  niece 
of  Mrs.  A  me  and  Mrs.  Lampe,  and  a  favourite 
singer.  In  1 768  Garrick  engaged  him  to  com- 
pose the  music  for  the  burletta  of  'Orpheus,' 
introduced  in  his  £aroe  'A  Peep  behind  the 
Curtain,'  the  great  success  of  which  led  to  his 
composing  the  music  for  other  pieces  brought 
out  at  the  same  theatre.  In  1768  he  went  to 
Paris,  and  produced  there  a  pastoral  opera  called 
'Le  fleuve  Scamandre.'  In  1770  Barth^emon 
became  leader  at  Vauxhall  Gardens.  In  1776 
he  left  England  with  his  wife  for  a  professional 
tour  through  Germany,  Italy,  and  Fnoce.  At 
Florence  BartheUmon,  at  the  request  of  the 
Grand  Duke  of  Tuscany,  set  to  music  the  Abate 
Semplici's  oratorio  'Jefte  in  Masfa.'  He  re- 
turned to  England  late  in  1777.  An  ac- 
quaintance with  the  Rev.  Jacob  Duch^,  chap- 
lain to  the  Female  Orphan  Asylum,  led  to  his 
composing,  about  1780,  the  well-known  tune 
for  the  morning  hynm  'Awake,  my  soul.'  In 
1784  Barthi^l^mon  and  his  wife  made  a  pro- 
fessional visit  to  Dublin.  In  179 1-9  he  con- 
tracted an  intimacy  with  Haydn,  then  in  Lon- 
don. On  Sept  20,  X799,  Mrs.  Barthel^mon 
died.  Besides  the  compositions  above  named 
Barth^l^mon  wrote  the  music  for  the  following 
dramatic  pieces: — 'The  Enchanted  Girdle'; 
'The  Judgment  of  Paris,' 1768;  '  The  Election,' 
I  77a  ;  '  The  Maid  of  the  Oaks,'  1 774 ;  '  Belphe- 
gor,  1778;  and  several  quartets  for  stringed 
instruments,  concertos  and  duos  for  the  violin, 
lessons  for  the  pianoforte,  and  preludes  for  the 
organ.  As  a  player  he  was  ustinguished  by 
the  finnness  of  his  hand,  the  purity  of  his  tone, 
and  his  admirable  manner  of  executing  an 
adagio.     He  died  July  ao,  1808.        [W.  H.  H.] 

BARTHOLDY,  Jaoob  Salomon,  of  a  Jewish 
family,  bom  at  Berlin  1779.  ^^^  ^°  Rome 
1825,  a  Prussian  diplomatist,  and  author  of  an 
important  article  in  the  Berlin  *  Musikalischer 
Zeitung'  for  1805,  *  Ueber  den  Volksgesang  der 
Sicilianer.'  [M.  C.  C] 

BARTHOLOMEW.  Williav,  bom  in  London 
1793;  ^^  •^ug.  18,  1867.  A  man  of  many 
accomplishments — chemist,  violin-player,  and  ex- 
cellent flower-painter ;  but  to  the  English  public 
£amiliar  as  the  translator  or  adapter  of  the  words 
of  most  of  Mendelssohn's  vocal  works.  '  St.  Paul ' 
and  the  'Lobgesang'  were  adapted  by  others, 
but  'Antigone'  {for  which  he  received  the  gold 
medal  of  merit  from,  the  King  of  Prussia), '  Atha- 
Ue,'  'CEdipuB,"LaudaSion,'  the'Walpurgisnight,' 
the  Finale  to  'Lweley,'  'Elijah,*  and  the  frag- 
ments of '  Christus,'  with  most  of  Mendelssohn  s 
songs,  were  Mr.  Bartholomew's  work — not,  as 
anv  one  familiar  with  Mendelssohn's  habits  will 

ft 

believe,  without  constant  suggestion  and  super- 
vision  from  the  composer.  '  Hear  my  Prayer' 
was  composed  at  Mr.  Bartholomew's  request 
for  the  concerts  of  Miss  Mounsey,  a  lady  whom 
he  married  in  1853.    Besides  the  above,  Mr. 

L 


IM 


BARTHOLOMEW. 


Bartholomew  wrote  English  wordi  for  HAol'* 
'Joaepb'  (b;  comaiAnd  of  tha  Queen);  Spohr'i 
'Je«8ond>'i  Co»ta'»  'Eli,'  'N»»in»B,'  and  'The 
Pre&m';  and  Mrs.  Butholoiaew'a  'The  Nati- 
vity.' etc.  For  the  Uat  few  jenrs  of  his  life  he 
WAS  confined  to  his  ruom  by  paralysis  of  the  lower 
Umbs.  [G.] 

BARTLEMAN,  James,  was  bom  Sept.  19, 
1769.  probably  at  WefltminBter,  and  educated 
under  Dr.  Cooke  in  the  choristora'  school  of 
Westminster  Abbey.  He  soon  showed  voice 
and  capacity  far  beyond  hia  fellow  pupils,  and 
became  ■  great  faToiirite  with  his  master.  His 
Toice  while  it  remained  a  soprano  was  remark- 
able for  strength  and  fine  quality  of  tone.  H« 
distinguished  himaelf  sa  a  boy-singer  by  his 
relined  and  expressive  rendering  of  Dr.  Greene' 
■olo  anthem,  '  Acquunt  thyself  with  God.'  Hi 
was  greatly  patronised  by  Sir  Jolin  Hawkins,  ii 
whose  ftjnily  he  was  a  frequent  visitor  (see  Miss 
Hawkins's  'Anecdotes').  In  1788  hie  name 
appears  for  the  first  time  as  a  baas  chorister, 
at  the  Concerts  of  Ancient  Music,  where  he 
remained  till  i;9l,  when  he  quitted  it  to 
assume  the  poet  of  first  solo  bass  at  the  newly 
eetablished  Vocal  Concerts.  Id  i795beretarDed 
to  the  Ancient  Concerts,  and  immediately  took 
the  station  which,  till  compelled  by  ill  health, 
he  never  quitted,  of  jirincipal  bass  singer  in  the 
first  concert  of  the  metropolis.  Before  Bartle- 
man's  time  only  one  bass  solo  of  Purcell's  had 
been  heard  at  these  concerts— that  of  the  Cold 
Genius  in  the  'Frost  Scene'  of  '  King  Arthur.' 
It  is  to  liim  we  are  indebted  for 

riinted  with  those  magnificent 
giant  of  English  compoeen, '  Let  the  dreadful 
Engines.'  "Thy  Genius,  lol'  'Ye  twice  ten 
hundred  Deitiea,'  'Hark,  my  Daridcar.'  In  the 
shortcourseof  one  season  he  revived  them  all,  and 
continued  to  ung  them  with  unabated  applause 
nntil  he  sang  no  more.  Bartlemau's  execution 
waa  that  of  his  time  and  school,  and  confined 
chiefly  to  written  divisions  ;  bis  own  ornaments 
were  few,  simple,  and  chaste,  and  always  in  strict 
keeping  with  the  feeling  of  the  air  in  which  thov 
were  introduced.  The  latter  yean  of  his  Uite 
were  embittered  by  disease  which  he  vainly 
struggled  sgainst.  He  died  April  15,  iSii,  and 
wsa  buried  in  the  cloisters  of  Westminster.  His 
epitaph  is  by  Dean  Ireland.  He  formed  a  large 
and  valuable  musical  library,  which  was  sold  by 
auction  by  White  of  Storey's  Gate,  shortJy  after 
his  death,  [l/armoiticon,  1830;  Boalit  ufAneitnt 
ConcerU ;  PriaUe  Sourea. )  [E.  F.  R  ] 

BAETLETT,  JoRit,  an  English  musician  of 
tha  early  part  of  the  1 7th  century.  He  pub- 
lished a  work  entitled  '  A  Book  of  Ayrea,  with  a 
Triplicitie  of  Musicke,  whereof  the  Fint  Part  ' 


1  Trebles,  to  sing  to  the  Lute  and  Viole:  The 
Third  Part  is  for  the  Lute  and  one  Vo<roe, 
and  the  Viols  di  Gamba,'  1606.  It  is  dedicated 
to  the  '  Rigbt  Honourable  his  singular  good  Lotd 
and  Maiater,  Sir  Edward  Seymore.'    Bartlett 


BARYTON. 

took   his   degree  as  Mus.  Bac.  at    Oxfrvd   i 

1610.    (Wood,  AUitiuB  0am.;  BunbBuIt.  Si 

Mad.)  [E.  F.  R 

BARTOLINT,  YncENZio,  a  verjr  good  moot 

sr^irano,    appeared   in    London,   1782,    in    ' 

Convito,'   a  comio  opera   by    Bertoni.      In    tl 

next  season  he  took  part  in   '  L' Uliznpiade.' 

pasticcio;    and   in    1784   he    sang    in    Anfoasi 

'Iseipile'  and  'Due  Gemelle,'  and   the    'Demi 

foonte  *  of  Bertoni.     He  sang  also  in    the  Cod 

□lemoration  of  Handel  in  IVeetminster    Abbe 

that  year,  and  in  1786  we  find  him  atiH  in  Lot 

don,  performing  in  Tarchi's  '  Virginia.'      He  «a 

singing  vrith  BUCCesB  at  Cassel  is  I7i>3.        [J.  M. 

bARYTON,    also    Vioi.A    DI   Baiii>one    0 

BoBDONl.  .SorJoRfisthe  Italian  for 'drone,'an< 

Leopold   Moiart 

in    his     -Violin 

School,*   contend 

that  tha  tone  o 

this     inBtninienl 


the  ayrnipatbelit 
metal-string-.  n*ai 
■u^eittive  of  the 
hum  of  the  hee, 

Tlie  Baryti'O, » 
■tringod      instru- 


to  the  end  of  the 
l8th  century,  but 
owing  probalily  to 
Its       cnrnpHcated 


rendered  it  unfit 


Bolete.      Its  nn-lc 


mounted       with 

■i  I  oraeven  caU-tit 

Wrings,  stretched 

over   the   fin^'ei^ 

board,  and  p)s  vcd 

OD  with  the  bo^v ; 

while   the    metal 

strings,     vaniJi? 

in  number  from  nine  to  twenty-four,  and  ruunin;!' 

underneath  the  fimierboird,   were  pinched  vith 

the  thumb  of  the  left  hand,  and  acted  at  the 

same  time  as  syitipathetic  strings.    The  calgLit 

strings  were  tuned  aa  follows : — 


=g^= 


3E 


BASYTON. 

Leopold  Moxvt  cooridered  it  one  of  fhe  loveliest 
cf  xzks^-iznientB ;  and  when  we  hear  that  Haydn 
ks  %  ocnaiderable  time  tried  hard  to  learn  to 
play  it,  we  must  regret  its  being  now  so  entirely 
ik:glected. 

C.  F.  Poihl,  in  his  Biography  of  Haydn  (Berlin, 
1^75%  gi^o^  OS  ^d  following  notices  oonceming 
ttebarytoii. 

1.  Makers : — M.  Fddlen  (1656),  H.  Kramer 
(1 714),  D.  A.  Stadhnann  (173a),  J.  Stadlmann 
(1 750),  all  of  Vienna ;  Joachim  Tielke  at  Ham- 
bsag  [  1686),  maker  of  the  fine  specimen  in  the 
S.  Keosingtoti  Museam,  from  wh'ch  our  cut  is 
taken ;  and  Andrews  Stainer,  of  Absom  in  the 
Tyrol  (1660). 

2.  Pel  fin  met  s : — ^M.  A.  Berti,  Vienna  (172 1- 
1740);  ^gnor  Farrant,  London  (1744);  Abell, 
LoadoQ  (1759-87).  Anton  Kraft,  Karl  Frvnz 
tad  Andreas  Lidl,  m^nbers  of  Prince  Esterhazy's 
pRTate  band  under  Haydn  (Udl  played  in  con* 
arts  in  England  in  1776);  Friedel,  member  of 
the  Tojal  band  at  Berlin  at  the  end  of  the  last 
aad  beginning  of  the  present  century.  Fauner 
^1794)  and  V.  Hauschka  (1795-1823)  are  named 
iBaeoompliahed  amateur-performers. 

3.  Camposers : — Niemecz,  L.  Tomasini  and  A. 
Kraft  of  Esterbaz,  Wenzl  Pichl,  Ferd.  Paer, 
Weigi  and  Ejbler,  all  of  Vienna ;  and  last,  but 
»« least,  Haydn.  Pohl  enumerates  no  less  than 
175  compositions  of  Haydn's  for  the  instrument ; 
viz.  6  Duets  for  two  barytons,  12  Sonatas  for 
baiytoQ  and  Tiolonoello^  1  a  Divertimenti  for  two 
baiytoDs  and  bass,  1 25  Divertimenti  for  baryton, 
▼ioU  and  violfnioello ;  17  so-called  Cassations ;  3 
Coooertos  for  hazyton  with  aooompaniment  of 
twii  Yixinm  and  bass.  [P.  D.] 

BARYTON  (Ital.  Baryton;  Fr.  BoMfe-TaitU, 
Csmtordant).  The  male  voice  intermediate  to 
tke  hsas  and  the  tenor.  The  compound  BQfwff' 
rmet  signifies  'of  heavy  timbre^ — in  this  in- 
stance, tft  relation,  to  the  tenor.  It  is  therefore  a 
misuHner ;  for,  however  dose  their  approximation 
in  compass,  the  quality  of  what  is  now  understood 
bj  the  baiyton  voice  unmistakeably  marks  it  as 
s  high  bass»  not  a  low  tenor.  The  recognition 
of  t£js  impoErtant  (JBct  is  manifest  in  the  works 
of  the  majority  of  modem  composers.  One  in- 
itaooe  oat  of  many  will  suffice.  The  principal 
part  in  Mendelssohn's  oratorio  'Elijah*  ranges 
frxn  the  C  in  the  baas  stave  to  the  F  above  it, 
^ery  rarely  descending  below  the  former  note. 
Sung,  as  it  might  be  with  perfect — or  too  much — 
ease,  by  a  low  tencnr,  it  would  obviously  lose  all 
ita  dignity  and  breadth.  Since  the  production  of 
Mosart's  *Nocze  di  Figaro*  and  'Don  Giovanni' 
the  baryton  voice  has  found  much  &vour  with 
oomposen,  and  been  cultivated  with  unpre- 
cedented success.  Innumerable  principal  parts 
hare  been  written  for  it^  and  not  to  speak  of 
artists  of  this  class  still  before  the  public,  the 
names  of  Bartleman  in  Fn^and,  of  Ambrogetti 
m  Italy,  and  of  Martin  in  France,  are  historical. 

[BasbJ.  [J.  H.] 

BASEVI,  Abbamo,  a  learned  Florentine  mu- 
■dan,  Ibonder  and  proprietor  of  the  muidcai 


BASS. 


147 


periodical  'Armenia*  and  of  its  continuation 
'  Boocherini,*  and  one  of  the  originators  of  the 
Society  del  Quartette,*  which  has  done  much  to 
introduce  German  music  into  Italy.  Basevi  is 
the  composer  of  two  operas,  *  Komilda  ed  Foe- 
lino,*  pixxluced  at  the  Teatro  Alfieri  in  March 
1840,  and  'Enrico  Odoardo*  at  the  Pergola  in 
1847 ;  the  author  of  theoretical  works  on  musio, 
of  a  treatise  '  Sulla  divinazione/  and  a  '  Studio 
delle  opere  di  G.  Verdi,  1859.*  [F.  G.] 

BAJSni,  or  BASILY,  Doirvico  Andbea, 
chapel-master  at  Loreto  in  the  middle  of  last 
century.  He  rlied  in  1775.  Santini's  collection 
contained  works  by  him ;  and  a  set  of  twenty- 
ibur  studies  of  his  for  the  clavier,  entitled 
'  Musica  univenale/  etc  was  printed  by  Aless- 
andri  of  Venice,  and  is  not  without  merit.  His 
son  Francbsco  was  bom  in  1766,  and  on  tbe 
death  of  his  fadier  the  boy  was  sent  to  Rome 
and  became  a  scholar  of  Jannacovi.  While 
still  young  he  was  made  chapel  •  master  at 
Foligno.  His  first  i^peamnce  in  opera  was 
at  Milan,  in  'La  bellia  incognita,*  when  he 
was  twentv-two.  For  Rome  he  wrote  'La 
Locnndiera  ( 1 789) ;  for  Florence  ' Achille  nell* 
assedio  di  Troja*  (1798)  and  the  'Ritomo 
d'Ulysse*  (1799),  and  for  Venice  'Antigone.* 
Later  he  became  chapel- master  at  Macenta, 
and  wrote  a  large  number  of  comic  operas  for 
Venice,  not  all  equally  successful.  He  then 
made  a  rich  marriage,  which  enabled  him  to 
give  up  work,  but  the  marriage  turned  out 
unhappy,  and  after  a  separation,  in  1816,  he 
returned  to  his  former  })oet  at  Loreto.  For 
the  San  Carlo  at  Naples  Basili  composed  an 
oratorio,  'Sansone,'  in  which  Lahlache  sang  the 
chief  part.  A  requiem  which  he  had  written 
for  Jannaconi  was  performed  on  March  23, 1816, 
at  the  ApoNtles*  Church  in  Rome.  In  1827  he 
was  appointed  director  of  the  Conservatorio  at 
Milan,  where  it  was  hia  fortune  to  refuse 
admission  to  Verdi.  In  August  1837  he  was 
called  to  Rome  to  take  the  place  of  chapel- 
master  at  St.  Peter*s,  vacant  by  the  death. of 
Fioravanti,  and  remained  there  tiU  his  own  death 
on  March  25,  1850.  M'hile  at  Rome  he  was 
made  veiy  unhappy  by  his  inability  with  the 
means  at  his  disposal  to  perform  the  great 
masterpieces  of  old  Italian  church  music.  If 
supported  in  his  wish  a  great  revival  mii^ht 
have  been  accomplished,  but  with  Basili  the 
last  hope  of  a  resurrection  of  Italian  church 
music  has  perished,  a  doom  which  neither  Ros- 
sini nor  Verdi — whose  style  the  rigid  Basili 
would  hardly  have  approved — have  done  much  to 
avert.  In  addition  to  many  operas,  besides  those 
already  named,  and  much  church  music,  Basili 
composed  symphonies  in  the  style  ef  Haydn,  one 
of  which  used  often  to  be  pUyed  at  Brussels 
under  F^tis*  conducting,  and  always  with  great 
applause.  [F.  G.] 

BASS.  (Ger.  J^om;  Yt.  Baue\  Ital.  fosso.) 
The  lower  or  grave  part  of  the  musical  system, 
as  contradistinguished  from  the  treble,  which  ii 
the  high  or  acute  part.    The  limits  of  the  two 

L2 


148 


BA3S. 


are  generaUy  rather  vague,  bat  middle  C  is  the 
practical  division  between  them.  Attempts  have 
been  made  to  spell  the  word  'base';  but  this 
proceeds  from  a  mistake.  'Bass*  derives  its 
form  from  the  French  or  Italian,  though  ulti- 
mately from  the  Greek  fiaatt  in  its  sense  of 
foundation  or  support,  the  bass  being  that  which 
supports  the  harmony.  In  former  times  this 
was  much  more  obvious  than  it  is  now,  when 
a  single  bass  line  represented  a  whole  piece,  and 
an  accompanyist  was  satisfied  with  the  addition 
of  figures,  from  which  he  deciphered  the  rest  of 
the  harmony  without  having  it  written  out  in 
full.  The  importance  of  melody,  which  is  a 
development  of  more  modem  styles,  has  some- 
what obliterated  this  impression,  and  music 
seems  to  most  people  now  a- days  to  depend 
more  upon  the  upper  part  than  to  rest  upon  the 
lower.  [C.  H.  H.  P.] 

BASS  is  also  the  lowest  or  deepest  of  male 
voices. 

By  the  old  masters  those  notes  of  the  bass  voice 
only  were  employed  which  could  be  placed  on  the 
bass  stave,  eleven  in  number.  By  the  moderns 
this  compass  has  been  largely  extended,  chiefly 
upwards.  For  whereas  even  the  employment  of 
the  lower  £  is  now  exceptional,  and  that  of  the 
D  below  it  most  rare,  its  double  octave,  and 
even  the  F  and  Ft  above  it,  are  not  unfre- 
quently  called  into  requisition,  even  in  choral 
music.  Examples  dating  even  as  far  back  as  the 
end  of  the  17th  century  |>oint  to  the  existence  of 
bass  voices  of  extraordinary  extent.  The  Ser- 
vices (intended  for  choral  performance)  of  Blow 
and  his  contemporaries  abound  in  deep  notes; 
and  in  a  solo  Anthem,  '  They  that  go  down  to  the 
sea  in  ships.*  composed  no  doubt  for  an  excep- 
tional performer,  Mr.  Grostling,  of  His  Majesty's 
Chapel  Royal,  as  well  as  for  a  special  oc- 
casion— the  escape  of  King  Charles  II  and  the 
Duke  of  York  from  shipwreck  —  Pureell  has 
employed  repeatedly  both  the  lower  D  and  the 
£  two  octaves  and  a  tone  above  it.  Handel 
however  has  employed  a  still  more  extended 
compass.  In  a  song  for  Polifemo,  'Nel,Africauo 
selve,*  from  his  early  Acis  and  Galatea,  is  the 
following  passage,  quoted  by  Chrysander  (Handel, 


feV.i^gg^^ 


M 


3^ 


m 


A  contemporary  singer,  BoscHi,  might  by  all  ac- 
counts have  sung  these  passages — the  groups  of 
high  notes  in  the  third  or  falsetto  re^ster. 

No  theory  resting  on  difference  >ef  piteh  will 
account  for  such  passages.  If  the  chureh-pitch 
of  the  17th  century  was  lower  than  that  of  our 
own  time,  the  lower  notes  employed  in  them  be- 
come still  more  astonishing  to  us  than  they  are 
already ;  if  (as  is  probable  if  not  certain)  that 
pitch  was  higher  than  our  own,  the  higher  notes 
will  stand  in  the  same  predicament.  The  un- 
questionably greater  compass  of  the  basses,  and 


BASS. 

evan  tenors,  of  former  times,  is  however  «• 
plained  by  the  £act,  that  judicious  trahus;;, 
while  it  increases  the  intensity  and  flexiHiKf, 
and  improves  the  quality  and  eqaality  of  & 
voice,  diminishes  its  compass.  Voices  of  ezto- 
sive  range  are  rarely  homogeneous;  and  theirfiat^ 
or  quality  is  generally  found  to  be  in  inrene 
ratio  to  tiieir  extent.  More  than  one  paaBir; 
in  Milton,  beyond  doubt  a  competent  judge,  is- 
dicates  the  existence,  at  any  rate  in  ItaJv.  d 
considerable  vocal  skill  even  in  the  iTtb  centcrr; 
and  if  half  that  has  come  down  to  us  respectiBg 
the  accomplishments  of  Balthazar  Ferbi  he  tree. 
one  singer  at  least  flourished  in  the  first  half  of 
that  century  of  extraordinary  skilL  Bat  pric7  ^ 
the  end  of  it,  when  the  first  Italian  ftchools  w^n 
opened  at  Bologna  under  Pjstocchi,  singinz.  is. 
the  full  sense  of  the  word,  was  an  art,  skill  ii 
which  was  confined  to  a  small  number  of  per- 
sons, and  instruction  in  which  had  not  extenki 
beyond  the  land  of  its  origin.  It  is  not  extraor- 
dinary therefore  that  in  the  North  of  Europe 
very  extensive — in  other  words,  untrxined — vwera 
existed  in  the  17th  century  in  greater  nomli^ 
than  now. 

The  intensity  or  power  of  the  bass  voice  19  due  *» 
the  same  causes  as  that  of  the  tenor,  the  ccmtnlui, 
the  soprano,  or  indeed  of  any  other  wind-instru- 
ment— the  capacity  and  free  action  of  the  ap- 
paratus by  wnich  it  collects  and  ejects  ^— a 
the  human  body,  the  lungs.  Its  'volonie'  St- 
pends  on  the  capacity  of  the  pharynx,  the  cavitr 
at  the  back  of  the  mouth,  between  the  rout  ot 
the  tongue  and  the  veil  of  the  palate,  the  part 
of  the  vocal  mechanism  most  easily  <^>ai  to 
inspection.  As  with  all  well-endowed  vocaltsu, 
the  jaw  of  the  bass  is  generally  wide,  xh* 
tongue  large,  the  teeth  small,  and  the  mooti 
capable  of  easy  expansion.  The  bass  singer  ii 
generally  above,  as  the  tenor  is  generally  bekv, 
the  middle  height. 

The  bass  voice  is  of  three  kinds ;  the  Bas» 
profondo,  the  Basso  eantante,  and  the  Barytm. 
To  these  may  be  added  the  altogether  ex- 
ceptional Contra-Ba880,  standing  in  the  samt 
relation  to  the  Basso  profondo  as  the  instrumess 
so  called  does  to  the  violoncello.  This  voice, 
found  or  at  least  cultivated  only  in  Russia,  is  bv 
special  training  made  to  descend  with  &cility  to 

C  below  the  bass  stave,  W)         »  and  even  t«A 

three,  and  four  notes  lower. 

The  Basso  profondo  and  the  Basao  camiauU  art 
distinguished  rather  by  their  quality  than  their 
compass ;  that  of  both  extending  oocasdoDallT 
from  the  E  flat  below  the  bass  stave  to  the  F 
above  it.  This  possible  compass  is  frequently  in- 
creased by  a  thini  register,  or  falsetto,  of  a  qualitr 
wholly  distinct  from  that  of  the  first  or  second. 
The  English  male  counter-tenor  is  in  genenl 
a  bass  whose  second  and  third  regists^  hare 
been  cultivated  exclusively,  alwajrs  to  the  de- 
terioration, sometimes  to  the  destruction,  of  tba 
first. 

The  employment  of  basses  and  barytoos  ia 


BASS. 

principal  ciianMsUts  <m  the  operaiio  itage,  tboDgli 
Ireqnent  only  siiioe  the  Utter  part  of  the  last 
caaiaj,  dates  firom  a  much  earlier  epoch.     In- 
itanoeB  of  it  may  he  found  in   the  operas  of 
LoUt  and  bis  imitatorB,  native  and  foreign.    Its 
iQbeeqoe&tlj   bicreaeed  frequency  may  still  be 
actribated  to  the  French,  with  whom  dramatic 
pn>tHieiy,  in  opera,  has  always  taken  precedence 
c(  raoaical  efifect    Gluck  and  his  contemporary 
P:ocinniy  whose  laureLi  were  chiefly  gathered  on 
^  French  stage,  both  employ  this  class  of  voice 
bzvely ;  but  it  first  assumed  its  still  greater  im- 
portance ia  the  operas  of  Moxart,  who  would  seem 
to  have  been  the  first  composer  to  recognise  the 
fictthat  the  baiyton  or  higher  bass  is  the  average 
a^  therefore  typical,  voice  of  man.    To  the  pro- 
minence given  both  to  the  bass  and  the  baryton 
Toke  in  his  later  operas  he  was  doubtless  urged 
br  a  variety  of  causes,  not  the  least  being  a 
faudty  of  competent  tenors  in  the  companies 
for  which  he  had  to  write.     To  this  however 
aost  be  added  the  decline,  in  number,  excel- 
kooe,  and  popularity,  of  the  class  of  vocalists 
o{  which   Faiinelli   may  be  regarded   as   the 
iTpe;  and  (doeely  connected  with  this)  to  an 
iocreased  craving  for  dramatic  effect,  only  at- 
tunable  by  the  employment  of  basses  and  bary- 
kioa,  amoi^  whom  as  a  rule — liable  however  to 
tfAeadid  exceptions — singing  adon  have  always 
beat  found  in  the  greatest  excellence  and  num- 
ber,   lliis  change  in  the  once  established  order 
of  Uiings  has  not  been  brought  about  without 
potest     A  distinguished  amateur,  the  Earl  of 
Mount- Edgecombe,   whose  'Musical  Reminis- 
ctdMcs*  embody  an  account  of  the  Italian  Opera 
in  Ei^and  from  1773  to  1834,  says,  in  reference 
to  it:— 'The   genendity  of   voices  are    (now) 
InsBss,  which,  for  want  of  better,  are  thrust  up 
into  serious  operas  where  they  used  only  to 
occapy  the  last  place,  to  the  manifest  injury  of 
melody,   and  total  subversion  of  harmony,   in 
vhidi'the  lowest  part  is  their  peculiar  province. 
Tbese  new  singers  are  called  by  the  novel  appella- 
tka  i)i  has90  canlanU  (which  by-the-bye  is  a  kind 
of  spology,  and  an  acknowledgment  that  they 
ought  not  to  sing),  and  take  the  lead  in  operas 
with  as  much  propriety  as  if  the  double-bass 
were  to  do  so  in  the  orchestra,  and  play  the  part 
<^  the  first  fiddle.    A  bass  voice  is  too  unbend- 
ing MMJ  deficient  in  sweetness  for  single  songs, 
uxi  fit  only  for  those  of  inferior  character,  or 
of  the  boffo  style.  In  duettos  it  does  not  coalesce 
so  well  with  a  female  voice,  00  account  of  the 
too  great  ^«fc4^«ftft  between  them,  and  in  fuller 
pieces  the  ear  cannot  be  satisfied  without  some 
good  intermediate  voices  to  fiU  up  the  interval, 
&nd  complete  the  hannony.*    And  he  adds  in  a 
note,  '  It  has  always  surprised  me  that  the  prin- 
cipal cbuneiers  in  two  d  Mozart's  operas  should 
hare  been  written  for  basses,  namely,  Count 
Almariva  and  Don  Giovanni,  both  of  which 
seem   particularly    to    want    the   more^  lively 
tonfis  of  a  tenor ;  and  I  can  account  for  it  in  no 
odier  wise  fc*""*  by  supposing  tbey  were  written 
iar  some  particular  singer  who  had  a  bass  voice, 
in  he  has  done  so  in  no  other  instance/    In 


BASS  CLARINET. 


149 


making  this  last  assertion  the  venerable  writer 
forgot  or  ignored  Mocart's  'Cosl  fim  tutte,* 
'Die  Zauberflote,*  and  'Die  Entfiihrung  aus 
detn  Serail,*  in  all  of  which  basses  are  employed 
for  principal  characters.  His  argument,  how- 
erer,  though  ingenious^  is  based  on  an  assump- 
tion unjustified  and  unjustifiable  by  either 
theory  or  practice  —  that  melody  inevitably 
occupies,  or  is  only  effective  in,  an  upper  part. 
The  example  of  Mozart,  which  he  so  severely 
denounces,  has  been  followed  largely  by  Ros- 
sini and  all  the  operatic  oemposers  of  later 
times.  In  the  majority  of  their  operas  haui 
eantanH  appear  in  large  numbers,  without  any 
*kind  of  apology/  and  persons  who  'ought 
not  to  sing'  do  so,  greatly  to  the  enhancement 
of  dramatic  effect  and  Uia  pleasure  of  their 
hearers.    [Babyton.]  [J.  H.] 

BASS-BAR,  an  oblong  piece  of  wood,  fixed 
lengthwise  inside  the  belly  of  the  various  instru- 
ments belonging  to  the  violin-tribe,  running  in 
the  same  direction  with  the  strings,  below  the 
G  string,  and  acting  ta  a  beam  or  girder  to 
strengthen  the  belly  against  the  pressure  of  the 
left  foot  of  the  bridge,  as  the  sound-post  does 
against  that  of  the  right  fool  It  is  the  only 
essential  part  of  the  instrument  which,  owing  to 
the  gradual  elevation  of  the  pitch,  has  had  to 
undergo  an  alteration  since  Stradivari's  time. 
Tartini  states,  in  the  year  1 734,  that  the  tension 
of  the  strings  on  a  violin  was  equal  to  a  weight 
of  63  lbs.,  while  now-a-days  it  is  calculated  at 
more  than  80  lbs.  This  enormous  increase  of 
preesure  requires  for  the  belly  a  proportionate 
addition  of  bearing-power,  and  this  could  onlv 
be  given  by  strengthening,  the  bass-bar,  which 
has  been  done  by  giving  it  a  slight  additional 
depth  at  the  centre,  and  adding  considerably 
to  its  length.  In  ccMisequence  of  this  we  liardly 
ever  find  in  an  old  mstrument  the  original  bass- 
bar  of  the  maker,  just  as  rately  as  the  original 
sound-post  or  bridge,  all  of  which,  however, 
can  be  made  as  w^  by  any  experienced  living 
violin-maker  as  by  the  original  Stradivari  or 
Amati,  [P.  D.] 

BASS  CLARINET,  an  instrument  of  the 
same  construction  as  the  ordinary  clarinet,  but 
speaking  an  octave  lower.  The  one  most  gen- 
erally used  is  that  in  Bb,  but  Wagner  writes  for 
one  m  A,  and  a  third  in  C  has  l^en  employed. 
They  are  all  slow -speaking  hollow -toned  in- 
struments, rather  wanting  in  power.  The  clarinet 
quality  is  less  marked  Uian  in  the  aouter  forms 
of  the  instrument,  insomuch  that  they  more  re- 
semble an  organ  pipe  of  bourdon  tone.  Meyer- 
beer, firom  his  friendship  with  Sax,  who  paid 
particular  attention  to  this  instrument,  has  in- 
troduced it  in  his  operas  and  other  works.  In 
the  fifth  act  of  '  The  Huguenots '  there  is  a  fine 
declamatory  passage  for  it  in  Bb,  exhibiting  its 
extreme  lower  compass  :^ 


BASS  CLARINET. 


In  tbfl  CoronatEon  Mirch  of  the  '  Prophtte^  it 
takes  the  metwlj,  and  in  Auber'g  Eibibition 
MUTsh  two  luch  iaatrumentB  tie  employed.  It  in 
written  in  the  treble  or  tenor  clef,  the  latter  being 
better,  u  ABBitniUting  ita  p&rt  to  that  for  the 
baaaooD.  Although  occuioiuUy  of  value  for  pro- 
ducing  exceptional  efTecta,  it  doee  not  pieeent  any 
great  advantagea  for  orcbestral  use.        j^W.H.S] 

BASS  CLEF.  The  well-known  mark  of  the 
modificatioQ  of  tbe  letter  F,  which 


clef,  5 


=  hM  ii 


the« 


B  way  that  the 


indicated  that  the  mi 
baryton  voioe  ;  the 
called  the  baryton 
epoch  the  baw  clef  w 


B  pre(«nt  ihape, 
a  and  C  have  altered  their  fo 

The  earl;  lub-divinon  of  the  graver  male 
Toicea  ia  atteated  b;  the  variety  of  poaitiona  on 
.  the  atave  oooupied  by  the  baaa  or  F  clef.  Since 
the  beginning  of  the  iSth  century  this  clef  (for 
whatever  variety  of  bass  voice)  haa  occupied 
the  fouith  line  eicluaively.  Up  to  tliat  period 
ita  oocaaional  poaition  on  the  ihSrd  line  R;^^^ 

0  fidlowiug  it  waa  for  the 
tave  so  initialed  being 
we.  At  a  Blill  earlier 
Bometimes  placed  on  the 
^fth  line,  ^^-  This  bauo  profondo  atave, 
irhich  makea  room  for  two  more  notes  below 
than  can  be  placed  on  the  baaa  fit<-ive  proper,  ia 
uaed  (among  others)  by  L.  Loaaiua  in  hia  '  Paal- 
modia'  (Wittenbacb,  1579),  and  more  recently 
by  Praetoriua  in  his  'Oaniionea  Sacrae'  [Ham- 
buig,  16]]).  It  doe*  not  seeta  however  at  any 
time  to  have  met  with  general  &vour.  On  the 
other  hand,  the  barjtoo  atave  waa  much  em- 
ployed, not  only  for  choral  music,  hut  for  aolos, 
up  to  the  b^iiniog  nt  the  laat  ceutury.  Some 
of  PurceU'e  aongg  (e.g.  'Let  the  dreadful  en- 
ginea')  in  the  'OrpiieuB  Britannicus'  are  written 
upon  it,  and  with  raason,  for  it  takes  in,  with 
tbe  aid  of  a  aingle  leger-line,  the  entire  compaas 
emplovBd,  from  the  lower  A  to  the  upper  F. 
[Clef.]  \Z.  H.] 

BASS-DRUH.  Thia  ia  the  largeat  of  aU 
drums,  and  is  uaed  in  military  banda  and  modem 
orcheatraa.     [Drum,  3.]  [V.deP.] 

BASS  FLUTE.  There  were  in  former  timea 
four  fomii  of  the  flute  i  bee  or  flageolet,  the 
loweat  being  the  boas  flute,  and  the  othera 
teapectively  tsnor,  alto,  and  descant  flute*.  These 
are  now  all  but  iligused.  A  ban  flute  gtill  exists, 
though  it  is  rarely  heard,  and  is  not  written  for 
by  any  oompoeer  of  eminence.  Ita  compasa  ia 
from  ^   I  -   uiiwardi.     In  older  forma  of  the 


BASSBt-HOBN. 

Baaa-flute,  to  bring  the  mouttpieoe  witldn  Red 
of  the  fii^^r  holea  the  tabs  was  b«ot,  and  t^ 
turned  upon  ileelC  as  in  the  Baooan;  bn  u 
made  by  Boehm  it  reaemblaa  an  ordinuy  flsCe  d 
large  size — 31  inches  Icog,  and  one  inch  diaiPfliT. 
The  Baaa-flute  requirea  a  great  deal  of  bcatti, 
and  the  tone  ia  not  atrooz,  but  it  ia  of  van  toe 
qu  Jity.  [W.  U.  b-l 

BASS  TRUMPET.     [Tbokbomk.] 
BASS  TUBA.    The  lowest  of  the  kiIom. 

BASSANI,  GIOVAKNI  BiTTisTA,  aa  cmtliKid 
violin-player  and  compnger,  waa  txvn  at  Padii 
about  1657.  He  lived  for  Bome  y«an  M 
Bologna  HS  conductor  of  the  cathadrxl-miHi; 
and  from  1685  in  a  similar  podtion  M  F«nn 
where  he  waa  a  member  of  the  '  Aocademia  deila 
Morte.'  He  waa  also  made  a  member,  and  u 
itiSi  'principe'  of  the  'Accademia  dei  Filar, 
monici'  of  Bologna.  From  1680  to  1710  bt 
published  ail  operas  and  thirty-one  vocal  lul 
iostrumontal  worka,  viz.  masaea,  cantatas  fa 
one,  two,  or  threo  voicea  with  instrumenu. 
anil  two  sets  of  aoDatas  for  two  violins  mi 
baaa — a  complete  liat  ia  given  hy  F^tis.  llmr 
works,  copies  of  which  are  now  vei^  rare,  are 
■aid  to  be  written  in  a  noble  pathetic  tMf. 
and  to  be  marked  by  good  and  correct  mrtr 
manahip.  Kent  borrowed  from  them  lar^r 
Am ongat  others  the  chorus  'Thy  lightsouBmi.' 
in  hia  anthem  'Lord  what  love.'  ia  taken  trot 
Bossani's  Magniflcat  in  G  minor  witli  vsr 
Bli>;ht  alteration.  The  'Hallelujaha' in 'Uarta 
unto  this'  are  traiucribed  note  for  note  (tbi 
Bansani's  'Alma  Mater.'  But  Kent  waa  a  std 
appropriator. 

"n~""'  died  at  Ferrara  in  1716.     It  ia  gat- 
,    erally   believed,    though    not    ab*>- 
lutely  proved,  that  Cnrelli  waa  hii 
pupil.  IP.  D.] 

BASSKT-HORN  (Pr.  Cor  de  Bat- 
taUi  Ital.  Como  di  Ilartnto;  Gam. 
CiuietAarTi).  A  tenor  clarinet  atwid 
ing  in  F,  furnished  with  additiuail 
low  keya  and  a  prolonged  bore,  en- 
abling it  to  reach  the  octave  C.  which 
ia  equivalent  to   F  below  the  tan 


With  the  eznptka 


clflt  i 


a  clarinet,  and  the  n 

Etntion  will  be  found  1 
ading.  Theae  four  notes  are  ob- 
tuned  by  meana  of  long  keys  worked 
by  the  thumb  of  the  right  hand, 
wbich,  in  the  ordinary  cl^inet,  baa 
no  other  function  beddaa  thM  of  sup- 
porting the  instrument.  For  con- 
veniance  of  handling,  the  iDatrununI 
hu    been   made    in    varioua    curral 

«  shapes;  with  a  bend  either  betwKB 

the  right  and  left  handa,  or  in  tba 

upper  part  Just  b^w  the  mouthpiece.    Oooa^in- 


BASSETHOKN. 

lU?  it  liM  been  made  with  a  bore  abruptly  befit 
no  iteelf  like  that  d  the  faoasoon.  Its  oompaas  is 
iwjk  extensTe  than  even  the  darinet,  and  iti 
i>«e  Mler  and  more  reedy. 

Moart  is  the  oompoeer  who  has  written  most 
f<r  this  instrument.  In  one  great  work,  hla 
'fief^uiem,'  it  replaces  the  clarinety  there  being 
independent  parts  for  two  players.  Perhaps  the 
£l^  instance  of  its  use  is  in  the  opening  of  the 
>R«coTdsre.'  In  his  opera  'Clemenza  di  Tito* 
it  is  also  employed,  and  a  fine  obbligato  is 
lUoOed  to  it  in  the  song  'Non  piu  di  fiori.*  In 
hj  dumber  music  there  are  often  parts  for  two 
or  eveii  three  bassethoms. 

MendelMohn  has  also  written  for  it,  especially 
tr>  ooBcert-pieoes  for  clarinet  and  bassethom, 
opiii}  snd  114,  intended  to  be  played  by  the 
BaiTDsimay  fikther  and  son,  with  pianoforte  ao- 
^•mpaniiiient.  Other  composers  have  occasion- 
iUt  employed  it,  but  it  is  to  be  regretted  that 
it  \m  never  taken  so  prominent  a  place  in  or- 
cikesnl  music  as  its  foie  tone  and  focility  of 
eiwutkfik  entitle  it  to  hold.  It  is  often  confused 
with  the  CoE  AKOLAis,  or  English  horn,  which 
ia  an  oboe  of  similar  pitch  to  the  Basset- 
bora.  [W.  H.  S.] 

BASSI.  Lnioi,  bom  at  Pesaro  1 766,  died  at 
Drrdcn  1825.  An  eminent  baritone  singer, 
iKt  appeared  on  the  stage  in  women's  parts  at 
the  age  of  thirteen ;  a  pupil  of  Ls^hi  at 
Floreuce.  In  1784  he  went  to  Prague,  where 
k  made  a  great  reputation,  especially  in  Paisi- 
dlo'a  'Re  Teodoro/ and  'Barbiere  di  Siviglia.' 
sDd  MArtinfi  *  Com  rara.'  Mozart  wrote  the 
part  of  Don  Juan  for  him.*  He  is  said  to  have 
asked  Moiart  to  write  him  another  air  in  place 
of  *Fin  c'han  dnl  vino*  in  Don  Juan,  but 
Moort  replied  •  Wait  till  the  performance  :  if 
tbe  air  is  not  applauded,  I  will  then  write  you 
aaother.'  A  hearty  encore  settled  the  question. 
Ht  vi  also  said  to  have  induced  Mozart  to  re- 
write *La  d  darem'  five  times  to  suit  him. 
Bat  these  stories  are  probably  mere  legends  of 
Mo£irt*8  good  humour.  In  1806  Bassi  left 
Pngne  in  consequence  of  the  war.  For  some 
Tears  he  was  in  the  pay  of  Prince  Lobkowitz« 
n^hoven's  friend,  appearing  occasionally  in 
public  in  Vienna;  but  in  1814  be  returned  to 
Prague,  when  Weber  had  the  direction  of  the 
op«T%,  and  in  1815  was  called  to  Dresden  as 
i  member  of  the  Italian  company  there,  but 
•hortly  afterwards  became  manager  of  the  opera 
in?t«td,  and  died  there  in  1 8 25.  Bassi  was  gifted 
with  a  fine  voice,  even  thioughout  the  re*jiflter, 
»  prepostiessing  i4>pearanoe,  and  considerable 
dnmatic  ability.  He  is  not  to  be  confounded 
with  Niook)  or  Vincenzo  Basid.  [M.  C.  C] 

BASSIBON.  Philipps,  a  native  of  the 
Ketberltnds,  living  in  the  15th  century,  and 
coatemporaiy  with  Josquin  des  Pres.  Some  of 
his  masses  were  printed  by  Petrucci  of  Fossom- 
^*Me  in  1508.  [J.  K.  S.  B.] 


IftASSOON. 


151 


J^bwdr  Mid  to  Into 
?J«;  te  adiii  IneoRwt, 


tlMorlBiMl 


AlBMVfVB  la 


BA&SO  CONTINUO,  Bassb  CownvuM,  at 
simply  CoNTiMUO,  is  the  same  thing  as  our 
English  term  Thorough-Bass  in  its  original  and 
proper  signification,  as  may  be  seen  by  com- 
parison of  Englitth  with  foreign  works  where 
these  terms  occur.  For  instance,  in  the  score 
of  the  'Matthaus  Passion'  of  Bach  the  lowest  line 
in  the  accompaniments  of  the  choruses  is  for  the 
violoncellos  and  basses  and  'organ  e  continue," 
for  the  two  latter  of  which  figures  are  added ; 
while  in  the  recitative  a  single  line  and  figures 
is  given  for  the  'continue*  alone.  The  eiition 
of  Purcell*s  '  Orpheus  Britannicus,*  published  in 
1 698  - 1 70a,  has  the  title  '  A  collection  of  choicest 
songs  for  i,  2,  and  3  voices^  with  symphonies  for 
violin  and  flutes  and  a  tkorough-bc»t  to  each 
song  figured  for  the  Organ,  Harpsichord,  or 
TheorbchLute.'  The  origin  of  the  name  is  the 
same  in  both  cases,  aa  it  is  the  ba«s  which  con- 
tinues or  goes  through  the  whole  piece,  from  which 
with  the  aid  of  figures  the  accompaniment  used 
to  be  played.  (For  complete  discussion  of  the 
subject  see  Thobodgh-Bass.)         [C.  H.  H.  P.J 

BASSO  DI  CAMERA,  Italian  for  a  chamber- 
bass;  that  is,  a  small  double  bass,  such  as  is 
generally  used  by  double-bass  players  for  solo 
performances. 

BASSO  OSTINATO  is  the  same  as  the 
English  Grodnd-Bajbs,  which  see.  It  means  the 
continual  repetition  of  a  phrase  in  the  bass  part 
through  the  whole  or  a  portion  of  a  movement^ 
upon  which  a  variety  of  hanuonies  and  figures 
are  successively  built.  [C.  H.  H.  P.] 

BASSOON  (Fr.  JSoMon,  Ital.  Fagotto,  Ger. 
PaaoU).  A  wooden  double -reed  instrument  of 
eight-foot  tone.  The  English  and  French  names 
are  derived  from  its  pitch,  which  is  the  natural 
bass  to  the  oboe  and  other  reed  instruments; 
the  Italian  and  German  names  come  from  its 
resemblance  to  a  faggot  or  bundle  of  sticks. 

It  is  probably,  in  one  form  or  another,  of  great 
antiquity,  although  there  exists  circumstantial 
evidence  of  its  discovery  by  Afranio,  a  Canon  of 
Ferrara.  This  occurs  in  a  work  by  the  inventor's 
nephew,  entitled  '  Introduotio  in  Chaldaicam  lin- 
guam,  mystica  et  oabalistica,  a  Theseo  Albonesio 
utriusque  juris  dootori,'  etc.  (Pavia>  1539).  It 
is  illustrated  by  .two  rough  woodcuts,  and 
is  termed  'Descriptio  ac  simulacrum  Phagoti 
Afranii,*  from  which  it  would  appear  that  the 
author,  although  an  Italian,  did  not  realise  the 
etymological  origin  of  the  name.  A  class  of  in- 
struments  named  bombards,  ponuners,  or  brum- 
mers,  which  were  made  in  many  keys,  seeow 
to  have  been  the  immediate  predecessor  of  the 
bassoon.  Some  of  the  older  forms  are  well 
described,  with  representations  of  their  shape, 
in  the  '  Metodo  complete  di  Fagotto'  of  Willent. 
They  possess  a  contrivance  which  does  not  exist 
at  the  present  day  on  any  reed,  though  it  some- 
what anticipates  the  'crooks'  and  'transposing 
slides'  of  brass  instruments.  Besides  the  holes 
to  be  stopped  by  the  fingers,  there  are  other 
intermediate  apertures  stopped  by  pegs,  and 
only  to  be  opened  in  certain  keys.    No  doubt 


152 


BASSOON. 


in  the  older  style  of  music  this  mechanism 
may  have  been  useful;  but  it  would  hardly 
adapt  itself  to  the  rapid  modulations  of.  later 
composers. 

The  Bassoon  is  an  instrument  which  has  evi- 
dently originated  in  a  fortuitous  manner,  de* 
velopied  by  successive  improvements  rather  of  an 
empirical  than  of  a  theoretical  nature ;  hence  its 
general  arrangement  has  not  materially  altered 
since  the  earliest  examples.  Various  attempts 
have  been  made  to  give  greater  accuracy  and 
completeness  to  its  singularly  capricious  scale; 
but  up  to  the  present  time  all  these  seem  either 
to  have  diminished  the  flexibility  of  the  instru- 
ment in  florid  passages,  or  to  have  impaired  its 
pecidiar  •  but  telling  and  characteristic  tone. 
Almenrader  in  Germany  is  credited  with  certain 
improvemoite,  but  one  of  the  best  of  these  efibrts 
at  reconstruction  was  shown  in  the  Exhibition  of 
1 85 1  by  Cornelius  Ward,  and  it  has  already  fallen 
entirely  into  disuse.  Hence  bassoons  by  the  older 
makers  are  generally  preferred  to  newer  speci- 
mens, and  they  therein  alone  resemble  stringed 
ahiong  wind-instruments.  Those  of  Savary  espe- 
cially are  in  great  request,  and  command  high 
prices.  The  copies  of  these  made  by  Samme  in 
this  country  are  not  far  inferior  to  them,  though 
they  lack  &e  particular  sweetness  and  singing 
tone  of  the  French  maker. 

The  compass  ia  from  sixteen-foot  Bb  to  Ab 


in  the  treble 


m 


$ 


T 


if 

The  upper  limit  has  been 
greatly  raised  in  modem 
instruments  by  additional 
mechanism,  so  that  the  C, 
and  even  the  F  above  the 
Ab  referred  to,  can  be 
reached.  The  natural  scale 
is  however  that  named,  the 
notes  above  Ab  being  un- 
certain and  somewhat  dif- 
ferent in  quality  from  those 
below. 

Like  the  oboe,  of  which  it 
is  the  bass,  the  bassoon  gives 
the  consecutive  harmonics  of 
an  open  pipe,  a  fact  which 
Helmholtz  has  shown  mathe- 
matically to  depend  on  its 
conical  bore. 

It  consists  of  five  pieces, 
named  respectively  the  crook, 
wing,  butt,  long  joints,  and 
bell.  These,  when  fitted  to- 
gether, form  a  hollow  cone 
about  eight  feet  long,  tapering 
from  Y^  of  an  inch  at  the  reed 
to  If  mches  at  the  bell  end. 
In  the  butt  joint  this  bore 
is  bent  abruptly  back  upon 
itself  both  sections  being 
pierced  in  the  same  block  of  wood,  and  united 
at  the  lower  end ;  the  prolongation  of  the  double 
tube  being  in  general  stop^d  by  means  of  a 


BASSOON. 

flattened  oval  cork.    The  whole  length  of  the 
strument,  by  internal  measurement,  being  •ain&t.y' 
three  inches,   about  twelve  are  in    the 
thirty -two  in  the  downward  branch,  and 
remaining  forty -nine  in  the  ascending    joiKat:<s,< 
The  height  is  thus  reduced  to  a  little  over  ~ 
feet,  and  the  various  holes  are  brought 
reach  of  the  fingers.  They  would  still  be 
too  £ar  apart  for  an  ordinary  hand  if  they 
not  pierced  obliquely ;  the  upper  hole  for 
forefinger  passing  upwards  in  the  substance    o£' 
the  wood,  and  those  for  the  third  or  ring-fio^rei 
passing  downwards  in  a  similar  way.    There 
three  holes  in  the  wing  joint — so  named 
a  projecting  wing  of  wood  intended  to  ocmtakiD. 
them;    three  others  on  the  front  of  the    b-u^^ 
joint — to  be  closed  by  the  first  three  fingers    of 
the  left  and  right  hands  respectively;   a  edng^o  , 
hole  on  the  iMMsk  of  the  butt  joint,    for    fclio 
thumb  of  the  rig^t  hand ;  and  a  series  of  inter*- 
locking  keys  on  the  long  joint,  producing^   t^lie 
lowest  notes  of  the  scale  by  means  of  the   lef% 
thumb.     It  will  thus  be  seen  that  the  instra- 
ment  is  held  in  the  hollow  of  the  two  hajwlw, 
with  the  left  uppermost,  -at  the  level   of  the 
player^s  breast,  the  right  hand  being  some^^l&at 
below  and  behind  the  right  thigh.     A    strap 
round  the  neck  supports  the  bulk  of  the  weiglit. 
The  little  finger  of  the  right  hand  touches  t^vro 

keys  which  produce  Ab  and  F  \^   ^j    jz .   Witli 

this  latter  note  the  real  fundamental  scale  ends, 
exactly  as  it  does  in  the  oboe ;  all  the  mechanism 
of  the  long  joint  and  bell  only  strengthening'  the 
tone  and  producing  the  seven  lowest  semitones 
upwards  from  Bb.     In  comparing  the  bassoon 
with  its  kindred  treble  instrument,  the  oboe,  it 
must  be  remembered  that  it  has  this  supple- 
mentary prolongation  of  its  compass  downwards, 
which  the  other  lacks.     The  seven  lowest  holes 
and    keys    therefore    produce   only  one    sound 
apiece;   but  the  case  is  totally  different  with 
those  following  next  above  them,  from  the  little 
linger  of  the  right  hand  to  the  forefinger  of  the 
left.    These  eight  holes  and  keys  can  each   be 
made  to  give  two  sounds  at  an  interval  of  an 
octave  by  varying  the  pressure  of  the  lip.     After 
the  double  raster  thus  obtained  has  been  ruA 
through,  there  still  remain  a  few  notes  to  be  got 
by  cross -fingerings  at  the  interval  of  a  twelfth, 
namely  the  Ftf,  Gi),  and  Ab,  with  which  the 
natural  scale  has  been  stated  to  end.     In  modem 
insti'uments  two  or  even  three  keys  are  added  at 
the  top  of  the  wing- joint,  to  be  worked  by  the 
thumb  of  the  left  hand  stretched  across   from 
the  other  side.     They  open  small  harmonic  holes 
close  to  the  crook,  and  enable  seven  semitones  to 

it 

be  added,  from  A  to  Eb  inclusive 


$ 


t 


Even  above  this  there  are  two  outlying  notes, 
Elj   and   F    ^     f     ^.,  to  be  obtained  by 


exceptional  players  without  mechanism;  and  it 
ia  not  improbable   that  still   hi«rher,   although 


BASSOON. 

oKksB,  hanooiucB  might  by  Mstdaoui  siiidy  be 
exacted  from  tbis  remarkable  inBtrument. 

It  mil  thus  be  seen — what  indeed  was  affirmed 
in  the  outoefc — that  the  scale  of  the  bassoon  is 
explicated  and  capridous.  To  this  it  must  be 
added  that  it  is  variable  in  different  patterns, 
iod  that  even  a  fine  player  cannot  play  upon  an 
cmfiuiullu' iDstrament.  £ach  has  to  be  learned 
biepeodaitly ;  and  although  the  theoretical 
isiperfection  of  such  a  course  is  obvious,  it  has 
a  catain  compensation  in  the  fact  that  a  bassoon- 
{ja?er  most  necessarily  rely  upon  his  ear  alone 
for  conect  intonation,  and  that  he  thus  more 
oetrir  approximates  to  the  manipulation  of 
enn^  instruments  than  any  member  of  the 
acb»tny  ezo^  the  trombones.  In  some  of  the 
jjuA  important  and  delicate  notes  there  are  two, 
three,  or  even  four  alt^natives  of  fingering  open 
to  the  perfonner ;  as  these  produce  sounds  lightly 
Maing  in  pitch  and  quality,  they  may  be 
employed  by  a  judicious  musician  for  obtaining 
aorarate  consonance  and  for  &cilitating  difficult 
pasagea.  But  it  must  be  admitted  that  the 
n2e  of  the  baoBoon  is  a  sort  of  compromise, 
ix  the  construction  of  which  no  precise  formula 
oa  be  given. 

Whatever  its  theoretical  imperfeotionB,  it 
onodt  he  denied  that  the  musicid  value  of  the 
baooop  is  very  great,  and  it  has  for  about  two 
e^tones^  been  lai^gely  used  by  composers.  Its 
poati<m  in  the  orchestra  has  somewhat  changed 
in  the  course  of  time.  Originally  introduced — 
probably  first  in  Camberts  'Fomone*  (Paris, 
i67i)--a8  a  purely  baas  instrument,  it  has  grad- 
wllyriaai  to  the  position  of  tenor,  or  even  alto, 
&«qaently  doubling  the  high  notes  of  the  vio- 
kacdlo  or  the  lower  register  of  the  viola.  The 
aiue  of  the  change  is  evidently  the  greater 
11^  of  basB  instruments  such  as  trombones  and 
ofibkleides  in  modem  orchestral  scores,  on  the  one 
Itt&d,  and  the  improvements  in  the  upper  register 
of  the  baoBoon  itself  on  the  other.  Theie  is  a 
peculiar  sweetneas  and  telling  quality  in  these  ex- 
treaie  aoanda  which  has  led  to  their  being  named 
Toi  hmnana  notes.  We  have  good  evidence  that 
erea  in  Haydn's  time  they  were  appreciated,  for 
inthegraceful  minuet  of  his  '  Militiy  Symphony' 
we  find  a  melody  reaching  to  the  treble  A^. 
The  panage  afibrds  an  excellent  specimen  of  good 
»)lo  writing  for  the  instrument,  though  requiring 
a  fint-nte  player  to  do  it  justice. 


BASSOON. 


153 


Indeed  it  is  between  the  time  of  Handel  and 
Haydn  that  the  above-mentioned  change  seems 
V)  have  taken  pUoe.  Handel's  scores  contain 
few  haanoin  parte,  and  those — with  one  remark- 
»le  eiception.  the  Witch  music  in  the  oratorio 
of  Sanl— mogay  of  a  ripieno  character ;  Haydn 
on  the  other  hand  uses  it  as  one  of  the  most 


prominent  vdoee  of  his  orchestra.  Boieldieu  also, 
who  dates  a  little  later,  has  assigned  to  the  bas- 
soon the  principal  melody  in  the  overture  to  the 
'  Dame  Blanche,'  repeating  it  afterwards  with  in- 
creased elaboration  in  the  form  of  a  variation. 


i 


5^ 


jirffrii-jNifrfr 


Variation. 


etc. 


HvtP^^ShfeF# 


etc 

Bach  uses  it  frequently,  sometimes  merely  to 
reinforce  the  basses,  but  often  with  an  inde- 
pendent and  characteristic  part.  The'Quoniam* 
In  the  Mass  in  B  minor  has  two  bassoons  obli- 
gate throughout,  and  other  instances  of  its  use 
will  be  found  in  the  cantatas  'Am  Abend  aber' 
(No.  42),  and  'Ich  hatte  viel  BekUnmiemiss  * 
(No.  21),  in  the  volumes  of  the  Bach-Gesell- 
schaft.  In  the  Score  of  the  Matthew  Passion 
the  bassoon  does  not  appear.  Boyoe,  a  writer 
who  can  hardly  have  known  much  of  foreign  music, 
gives  it  a  fine  part  in  the  song  '  Softly  rise  thou 
southern  breeze,'  in  his  'Solomon*  (1743). 

Cherubini  has  given  it  a  fine  solo  in  his  opera 
of '  MM^,'  which  is  remaricable  for  its  difficulty, 
and  also  for  its  extraordinary  compass,  ^nriiTig  on 
the  extreme  hiffh  notes. 

MoEart,  besides  a  concerto  with  orchestra  which 
is  hardly^  known,  constantly  employs  the  bas* 
soon  in  his  scores.  It  figures  prominentiy  in  his 
symphonies,  even  when  other  wind-parts  are  de- 
ficient ;  most  of  his  masses  contain  fine  phrases 
for  it ;  in  the  Requiem,  of  which  the  instrumenta* 
tion  is  peculiar,  it  fills  a  leading  place,  contrasting 
with  three  trombones  and  two  comi  di  bassetto. 
All  his  operas  moreover  assign  it  great  promi- 
nence ;  he  seems  fully  aware  of  its  beauty  as  an 
accompaniment  to  the  voice,  which  it  supports 
and  intensifies  without  the  risk  of  overpowering 
the  singer. 

Beethoven  never  fails  to  employ  it  largely, 
reinfiMvdng  it  in  some  works  by  the  oontra&gotto. 
The  First  Symphony  is  remarkable  for  the  as- 
signment of  subject  as  well  as  counter-subject  in 
the  slow  movement  to  first  and  second  bassoons 
working  independently ;  both  afterwards  joining 
with  the  two  clarinets  in  the  curious  dialogue 
of  the  trio  between  strings  and  reeds.  The 
Second  Symphony  opens  with  a  prominent  pas- 
sage in  unison  with  bais  strings ;  in  the  Adagio 
of  the  Fourth  is  an  effective  figure  exhibiting  tiie 
great  power  of  staccato  playing  possessed  by  the 
bassoon ;  in  the  first  movement  of  the  Eighth  it 
is  employed  with  exquisite  humour,  and  in  the 
minuet  of  the  same  symphony  it  is  entrusted 
with  a  melody  of  considerable  length.  Perhaps 
the  most  remarkable  passage  in  Beethoven's 
writing  for  this  instrument,  certainly  the  least 
known,  occurs  in  the  opening  of  the  Finale  of  the 
Ninth  or  Choral  Symphony,  where  the  theme  of 
the  movement,  played  by  cellos  and  violas  in 
unison,  is  accompanied  by  the  first  bassoon  in  a 

»  In  itflM,  compoMd  1774   KocImI.  No.  UU 


154 


BASSOON. 


BATES. 


long  independent  melody  of  the  greatest  in* 
genuity  and  intereBt. 

Mendelssohn  shows  some  peculiarity  in  dealing 
with  the  bassoon.  He  was  evidently  struck,  not 
only  with  the  power  of  its  lower  register,  a  fact 
abundantly  illustrated  by  his  use  of  it  in  the 
opening  of  the  Scotch  Symphony  and,  with  the 
trombones,  in  the  grand  chords  of  the  overture  to 
*Ruy  Bias";  but  he  evidently  felt,  with  Bee- 
thoven, the  oomic  and  rustic  character  of  its  tone. 
This  is  abundantly  shown  in  the  music  to  the 
'Midsummer  Night's  Dream,*  where  the  two 
bassoons  lead  the  quaint  clowns*  march  in  thirds ; 
and  still  further  on  in  the  funeral  march,  which 
is  obviously  an  imitation  of  a  small  country  band 
consisting  of  clarinet  and  bassoon,  the  latter 
ending  unexpectedly  and  humorously  on  a  soli- 
tary low  C.  In  the  Overture  the  same  instru- 
ment also  suggests  the  braying  of  Bottom.  It  is 
worth  notice  how  the  acute  ear  of  the  musician 
has  caught  the  exact  interval  used  by  the  animal 
without  any  violation  of  artistic  propriety.  As 
if  in  return  for  these  vile  uses,  ib»  same  com- 
poser has  compensated  the  instrument  in  num- 
berless fine  figures,  of  ^hich  it  is  unnecessary  to 
specify  more  than  the  quartett  of  horns  and  bas- 
soons in  the  trio  of  the  Italian  Symphony,  the 
majestic  opening  phrases  of  ihe  so-CAlled  fPil- 
grim*s  March/  and  the  flowing  cantabUe  in  oc- 
taves with  the  oboe  which  forms  the  second 
movement  of  the  introductory  symphony  to  the 
'Hymn  of  Praise.' 

Weber  exhibits  the  same  knowledge  of  its 
powers  as  his  predecessors.  Although  the 
French  horn,  and  after  it  the  clarinet,  are 
obviously  his  favourite  instruments,  the  basso*  >n 
comes  very  little  behind  them.  One  of  the 
loveliest  phrases  ever  assigned  to  this  instrument 
occurs  in  the  'Agnus  Dei*  of  his  mass  in  G-. 


^^^^ 


f^'  »• 


5r. 


:^=^ 


PP 


T 


^^ 


L^L^  I  W\  £^ 


It  is  absolutely  alone  on  the  telling  G  of  the 
upper  register;  the  voice  following  in  imitation 
and  the  bassoon  then  repeating  the  passage.  In 
the  Concert-Stiick,  for  piano  and  orchestra,  there 
is  a  difficult  but  beautiful  point  for  bassoon 
alone,  which  leads  into  the  march  for  the  clari- 
nets. His  two  symphonies  are  marked  by  the 
same  character,  especially  the  first,  in  which 
the  bassoon  leads  throughout,  with  some  effective 
organ  points.  The  overtures,  and  indeed  all 
his  operas,  are  very  fully  scored  for  bassoons. 
His  bassoon  concerto  in  F  and  his  Hungarian 
rondo  are  grand  works,  scored  for  full  orchestra. 

Meyerbeer  has  somewhat  neglected  the  bassoon 
for  the  bass  clarinet — in  the  Proph^te  March 
for  instance ;  but  he  has  given  it  many  passages 
of  importance,  and  some  of  a  grotesque  character, 
as  in  the  incantation  scene  of  '  Robert  le  Diable.' 
He  frequently  employs  four  instead  of  two  in- 
stinments. 

The  Italian  writers  use  it  freely.  Donizetti 
assigns  it  an  obbligato  in  the  air  'Una  furtiva 
lagrima.*  Rossini  opens  the  'Stabat  Mater*  with 
the  effective  phrases^ 


for  bassoons  and  cellos  in  unison,  which 
I  occur  at  the  end  of  the  wo(rk.    In  his  l&tesi<{ 
composition,  the  'Messe  Solennelle*  it  is  alznoe^ 
too  heavily  written  for,  and  is  at  times  oomic  and 
!  ineffective. 

I      Auber  writes  but  little  for  the  bassoon,  uedng 

'  it  chiefly  in  sustaining  high  notes  at  the  very  top 

of  its  register.    There  is  however  a  melodious' 

passage  for  the  two,    with  the  horns,    ia   t^e' 

overture  to  the  *  Sirfene.' 

The  following  list  of  music  for  bassoon,   bqIo 
and  concertante,  may  be  found  useful.       The 
writer  desires  to  acknowledge  the  valuable  a.i<l 
he  has  received  in  its  compilation  and  elsewhere 
from  Mr.  Charles  Evans  of  the  British  Museum. 
Mozart,  concerto  in  Bb  ;  Ferdinand   David, 
concertino    in    Bb,    op.    1 2 ;     Kalliwoda,    v&r. 
and  rondeau  in  Bb,  op.  57 ;    Weber,   andante 
and  rondo  ongareee  in  C.  op.  55,  concerto  in   F, 
op.  75 ;  Kummer,  concerto  in  C,  op.  25  ;   Nea- 
klrchner,  fantasia  with  orchestra;  Jacobi,   pot- 
pourri with  orchestra;    Dotzauer,  quatuor,    op. 
36,  with  violin,  viola,  and  cello;  twelve  pieces 
for  three  bassoons,  by  G.  H.  Kummer,  op.  1 1 ; 
twelve  trios  for  three  bassoons,  by  G.  H.  Kummer, 
op.  13;    forty- two  caprices  for  bassoon,    by  £. 
Ozi;  six  duos  concertants  for  two  bassoons,   by 
E.  Ozi ;  lindpaintner,  op.  24,  nmdeau  in  Bb. 

Other  works  will  be  found  under  Clarinet, 
Oboe,  etc.  [W.  H.  S.] 

BASTARDELLA,  or  BASTARDINA.    See 

AOUJARI. 

BASTIEN   ET   BASTIENNE,    a   German 

operetta  or  pastoral  in  one  act  (15  Nob.),  words 
by  Sciiachtner  from  the  French,  the  music  by 
Mozart  '  in  his  1 2th  year,*  1 768  ;  performed  iu 
a  Garden-house  at  Vienna  belonging  to  his 
friends  the  Messmers.  (Kochel,  No.  50  ;  Jahn, 
ist  ed.  1.  122).  The  subject  of  the  Intrade  (in 
G)  is  by  a  curious  coincidence  aU  but  identical 
with  the  principal  theme  of  the  first  movement 
of  Beethoven's  '  Eroica'  Symphony : — 


^     t^^  I  Jj:B^^f  lJ_jN^J::^iiU^- 


etc 


B ASTON,  JosQUiN,  a  Flemish  composer  of 
the  first  half  of  the  i6th  century,  and  still 
living  in  1566.  Unlike  most  of  his  contempora- 
ries, he  does  not  seem  to  have  visited  Italy,  as  his 
published  works,  consisting  of  motets  and  chan* 
sons,  form  part  of  collections  printed  either  at 
Louvain  or  Antwerp.  [J.  B.  S.  B.] 

BATES,  JOAH,  was  bom  in  1740  at  Halifax, 
where  he  received  his  early  education  under  Dr. 
Ogden,  and  learned  music  from  Hartley,  organist 
of  Bochda'e.  He  subsequently  removed  to 
Manchester,   where   he  studied   oigan  -  playing 


BATES. 

sader  Bobert  Wainwright,  odgsniit  of  the  | 
odkgttte  cfanrdi,  now  the  cathedr»l.  He  next 
TtfflOTed  to  £ton  and  thence  to  Cambridge,  where 
be  became  fellow  and  tutor  of  King^s  College. 
He  then  becajne  private  secretary  to  the  Earl  of 
Sandwich,  first  Lord  of  the  A(hniralty,  and  a 
vdl  known  musical  amateur.  About  that  time 
^  ooDoeiTed  tbe  pUui  of  the  Concert  of  Ancient 
Mooe  which  was  establiahed  in  1776,  Bates 
being  appointed  conductor.  In  1780  he  was 
appointed  a  oonunisBdoner  of  the  Victualling 
OSee,  and  nuurried  Miss  Sarah  Harrop,  a  pupil 
cf  Saccfainij,  and  a  favourite  concert  singer,  who 
had  studied  under  him  the  music  of  Handel  and 
the  elder  masters.  He  next,  in  17^3,  in  con- 
jjacdon  witli  Viscount  Fitzwilliam  and  Sir 
Watkin  Williams  Wynne,  projected  the  Com* 
maocffalicMi  of  Hand^,  which  was  carried  into 
efect  the  following  year.  Bates  officiating  as 
omdactor.  He  was  afterwards  appointed  a 
eanmisdooer  of  the  Customs  and  a  director  of 
irrb^iwich  Hospital.  Having  projected  the 
Albion  Mills^  of  the  success  of  which  he  was 
»  anguine  as  to  invest  the  whole  of  his  own 
aod  faia  wife's  fortunes  in  them,  he  was  nearly 
rsined  by  their  destruction  by  fire  in  1791. 
Im  1795  he  resigned  the  conductonhip  of  the 
Concert  of  Ancient  Music.  He  died  June  8, 
1799.  A  fine  painting  of  Joah  Bates  and  his 
vife.  by  F.  Coates,  R.  A.,  is  in  the  possession  of 
the  Sacred  Haiinonic  Society.  [W.  H.  H.] 

BATES,  William,  a  composer  of  the  i8th 
eestozy,  produced  music  ibr  the  following  dra- 
matic pieces; — 'The  Jovial  Crew,*  comic  opera, 
1760;  'Phamaces,*  opera»  1765;  'The  Ladies' 
FnOidc,'  an  alteration  of  'The  Jovial  Crew* 
(jdntly  with  Dr.  Ame),  1770  ;  'The  Theatrical 
Caodidatea^'  musical  prelude,  177^.  He  was 
akc^  tiie  composer  of  *  Songs  sung  at  Marybon 
Garden%  i7f>H,*  and  of  several  glees,  catches, 
imi  caaoDSi,  eleven  of  which  are  included  in 
Warren's  ciJlections.  It  has  been  conjectured 
a^  he  was  a  member  of  one  of  the  theatrical 
flRsfaestraa.    [See  Catlet,  Anne.]      [W.  H.  H.] 

BATBSON,  Thomas,  one  of  the  great  English 
aadrigalian  composers  of  the  Elizabethan  period. 
The  dates  of  his  birth  and  decease  are  unknown  ; 
bat  we  may  infer  that  he  was  a  young  '  practi- 
troaer  in  the  art  *  when  he  produced  his  '  First 
Sec  c^  Madrigals*  in  1604,  wherein  he  compares 
his  compositions  to  'young  birds  feared  out  of 
tbdr  nesft  befive  they  be  well  feathered,*  and 
hopes  they  will  be  '  so  shrouded '  in  '  the  leaves 
of  his  patron's  good  liking,*  so  that  neither  any 
'nvenous  kite  nor  craftie  fowler,  any  open 
mouthed  Momus  or  mere  shy  detractor  may  de- 
Tour  or  harm  them  that  cannot  succour  or  shift 
for  themselves.'  At  the  back  of  the  dedication 
to  his  *  honourable  and  most  respected  good 
friend  Sir  William  Norres,'  is  the  madrigal 
'  When  Oriana  walkt  to  take  the  ayre,*  with  the 
fallowing  note.  'This  song  was  sent  too  late, 
and  shoold  have  been  printed  in  the  set  of 
Orianas '  (a  set  of  madrigals  in  praise  of  Queen 
Elizabeth,  published  in  160 1).    In   1599,  five 


BATTEN. 


155 


yean  prior  to  the  date  of  his  first  poblication,  he 
was  appointed  organist  of  Chester  Cathadral, 
which  situation  he  held  till  161 1.  Shortly  after 
this  date  he  went  to  reside  in  Ireland,  under  the 
patronage  of  Lord  Chichester,  and  in  161 8  pub- 
lished his  '  Second  Set  of  Madrigals.*  On  the 
title-page  of  this  work  he  styles  himself '  Bachelor 
of  Musick,  Oi^nist,  and  Master  of  the  Children 
of  the  Cathedral  Church  of  the  Blessed  Trinity, 
Dublin.*  In  the  university  of  the  latter  city  he 
is  supposed  to  have  taken  his  degree.  Batesons 
first  set  of  Madrigals  was  reprinted  by  the  Musi* 
cal  Antiquarian  Society,  and  specimens  of  his 
church  music  are  in  the  same  society's  '  Anthems 
by  Composers  of  the  Madrigalian  Era.*  {The 
eompoter't  vsorhs ;  Private  Sourcu.)      [E.  F.  R.] 

BATON,  Charles,  called  'le  jeune'  to  dis- 
tinguish him  from  his  elder  brother  Henri,  who 
performed  on  the  musette.  Was  a  player  on  the 
Vielle  or  hurdy-gurdy  in  Paris  in  the  middle 
of  the  1 8th  century.  He  puldish^'d  an  '  Ezamen 
de  la  lettre  de  M.  Rousseau  sur  la  musique 
Fran^aise'  (Paris,  1754^  and  a  'Memotre  sur 
la  Vielle'  in  the  'Mercure'  for  1757.  He 
improved  his  iuKtrument,  and  composed  much 
for  it — Suites  for  two  vielles,  musettes,  etc. 
Baton  died  at  Paris  in  1758. 

BATON  (Fr.  BaUm\  the  stick  with  which  the 
conductor  of  an  orchestra  beats  the  time.  Hence 
the  expression  '  under  Mr.  — *s  baton,*  1. 1.  under 
his  direction.  The  first  baton  employed  in  Eng- 
land was  probably  the  'Taktirstabchen*  used  by 
Spohr  at  the  Philharmonic  in  1820  (Selbstbiog. 
ii.  87).  Batons  are  usually  turned  out  of  maple- 
wood  for  lightness,  a  i  or  22  inches  long,  and 
tapering  finom  3-4ths  to  3-8ths  of  an  inch  in 
diameter.  They  are  occasionally  given  as  '  testi- 
moidals,*  in  which  case  they  are  niade  of  metal  or 
of  ivory  ornamented  with  silver  or  gold. 

When  Berlioz  and  Mendelssohn  met  at  Leipsio 
in  1 84 1  they  exchanged  batons,  and  Berlioz  ac- 
companied his  with  the  following  letter,  in  the 
vein  of  Fenimore  Cooper:  —  'Au  chef  Men- 
delssohn.  Grand  chef!  nous  nous  sommes  promis 
d'echanger  nos  toinahawcks ;  void  le  mien  !  II 
est  grossier,  le  tien  est  simple ;  les  squaws  seules 
et  les  visages  pales  aiment  les  armes  om^es.  Sois 
mon  fr^re !  et  quand  le  Grand  Esprit  nous  aura 
envoy^s  chasser  dans  les  pays  des  ftmes,  que  nos 
guerriers  suspendent  nos  tomawcks  &  la  porte 
du  con  eil.*  Mendels8ohn*s  reply  is  not  extant, 
but  no  doubt  it  was  quite  d  propos.  [G.] 

BATTEN,  Adrian,  the  date  of  whose  birth 
is  not  known,  was  brought  up  in  the  Cathedral 
Choir  of  Winchester,  under  John  Holmes  ^e 
organist,  and  in  1614  appointed  vicar-choral  of 
Westminster  Abbey.  In  1624  he  removed  to 
St.  Paul's  Cathednl,  where  he  held  the  same 
office  in  addition  to  that  of  organist.  Batten's 
name  is  well  known  in  our  cathedral  choirs  from 
his  short  full  anthem  'Deliver  us,  O  Lord.* 
Bumey  says  of  him  :  '  He  was  a  good  harmonist 
of  the  old  school,  without  adding  anything  to 
the  common  stock  of  ideas  in  melody  or  modu- 
lation with  which  the  art  was  fnnushed  long 


156 


BATTEN. 


before  he  was  bom.  Nor  did  be  correct  any  of 
the  errors  in  accent  with  which  former  times 
abomided.*  This  criticism  is  hardly  just.  Bat- 
ten's anthem,  '  Hear  my  prayer/  is,  in  point  of 
construction  and  effect,  equal  to  any  composition 
of  his  time.  He  composed  a  Morning,  Com- 
munion, and  Evening  Service  in  the  Dorian 
Mode,  and  a  huge  number  of  anthems;  the 
words  of  thirty-four  may  be  found  in  Clifford. 
Six  are  printed  in  Bamiurd,  two  more  in  Boyce, 
and  1 8  others  are  comprised  in  Barnard's  MS. 
collection  in  the  library  of  the  Sacred  Harmonio 
Society. 

The  date  of  Batten's  death  is  uncertain.  He 
was  living  in  1635,  when  he  made  a  transcript  of 
some  anthem  music,  to  which  the  following  note 
is  appended: — 'All  these  songs  of  Mr.  John 
Holmes  was  priokt  from  his  own  pricking  in  the 
year  1635,  by  Adrian  Batten,  one  of  the  vickers 
of  St.  Paul's  in  London,  who  sometime  was  his 
scholar.'  He  is  supposed  to  have  died  in  1640. 
(Bumey,  Hist.;  MiS,  Accounts  of  We.<tmin8ler 
and  St.  Paul's,)  [E.  F.  R.] 

BATTISHJLLy  Jonathan,  the  son  of  Jona- 
than Battishill,  a  solicitor,  and  grandson  of  the 
Kev.  Jonathan  Battishill,  rector  of  Sheepwash, 
Devon,  was  bom  in  London  in  May  173^.     In 
1 747  he  became  a  chorister  of  St.  Paul  s  Cathe- 
dral under  William  Savage,  and  on  the  breaking 
of  his  voice  his  articled  pupil.    On  the  expiration 
of  his  articles  he  officiated  for  Dr.  Boyce  at  the 
organ  of  the  Chapel  Royal,  and  composed  some 
songs  for  Sadler's  Wells  Theatre.     Soon  after- 
wards he  was  engaged  to  play  the  harpsichord 
at  Covent  Garden  Theatre,  an  early  result  of 
which  engagement  was  his  marriage   in  1763 
to  Miss  Davies,  a  singing-actress  at  that  theatre, 
and  the  original  performer  of  Madge  in  'Love 
in  a  Village.'     On  her  marriage  Mrs.  Battishill 
retired  from  the  exercise  of  her  profession.     In 
1764  Battishill  composed,  in  conjunction  with 
Michael  Ame,    the    music    for    the   opera    of 
'Almena.*      liie  piece,   owing  to  the  poverty 
of  the  dialogue,  was  soon  withdrawn,  but  for 
proof  that   want  of  merit  in   the  music  had 
nothing  to  do  with  the  withdrawal  it  is  only 
necessary  to  refer  to  Battishill's  songs   'Thus 
when  young  Ammon  march'd  along'  and  '  Poised 
in  Heavens  eternal  scale,*  written  bo   display 
the  fine  bass  voice  of  Samuel  Champness.     In 
the  same  year  Battishill  composed  the  music 
for  the  pantomime  'The  Rites  of  Hecate.*     At 
a  later  period  he  abandoned  the  theatre  and 
devoted    his   attention    to   the   composition   of 
church  music,   and    produced  several  anthems 
(including   that    beautiful    one    '  Call    to    re- 
membrance'),   in    which    melody    and    skilful 
treatment  of  the  parts  are  admirably  combined. 
In  1 77 1   he  gained  the  Catch  Club  prize  for 
his  fine  Anacreontic  glee  '  Come  bind  my  hair.* 
About  this  time  he  was  appointed  organist  of 
the  united  parishes  of  St.  Clement,  Eastcheap, 
and   St.  Martin,    Orgar,   and    soon   afterwards 
of  Christ  Church,  Newgate  Street.    In  1775  he 
lost  his  wife,  and  her  death  so  affected  him 
that  he  desisted  fiom  composition,  and  devoted 


BATTON. 

much  of  his  time  to  his  books,  of  whidi  }» 
had  collected  between  six  and  seven  thotaa&i 
volumes,  chiefly  classical  works.  He  died  mi 
Islington  Dec.  10,  1801,  aged  sixty-three  Tears. 
and  was  buried,  pursuant  to  his  dying  wuh,  ii 
St.  Paul's  Cathedral,  near  the  grave  of  Ik. 
Boyce.  Battishill  published  two  coUecti<w  d 
songs  for  three  and  four  voices,  and  a  oollectk« 
of  &vourite  songs  sung  at  the  poblic  gankai 
and  theatres.  Several  of  his  glees  and  atiebs 
are  printed  in  Warren's  and  other  oullecti^a. 
Four  of  his  anthems  are  included  in  Pi^'s 
'Harmonia  Sacra.*  In  1804  Page  edited  'Six 
Anthems  and  Ten  Chants,'  with  a  finely  engnved 
portrait  of  the  composer  prefixed.  In  the  sma 
year  Page  also  in8^*ted  in  a  collection  of  hpisi 
twelve  psalm  tunes  and  an  ode  composed  hjBti- 
tishill.  The  popular  son^  '  Kate  of  Ab^dees' 
was  composed  by  Battishill  for  Ranelagh  Garden 
Battishill's  compositions  are  distinguished  by  u 
uncommon  combination  of  energy  and  vi^rjur 
with  grace  and  elegance.  [W.  H.  H.] 

BATTLE  OF  PRAGUE,  THE.     A  peee  of 
military   programme-music   describing  the  a- 
gagement  between  the  Prussians  and  Austriane 
before  Prague,  in  1757.     It  was  coinpoeed  bj 
Kotzwara — a  native  of  Prague— for  Piano,  wiih 
Violin  and  Cello  ad  libitum,  and  was  publishal 
at  Hamburg  and  Berlin   (according   to  Firos* 
about  1792,  and  in  London  in  I7g3.     The  pitce 
had  an  immense  success  at  the  time  and  for  > 
quarter  of   a   century  after,  and  was  the  pre- 
cursor of  the  '  Siege  of  Valenciennes,*  and  maar 
others  of  the  same  kind— culminating^  in  Bee- 
thoven's 'Battle  of  Vittoria.*    The  English  edi- 
tions contain  '  God  save  the  Eaug,*  as  the  Hjma 
of  triumph  after  the  victory,  and  a  drum-caU 
'Go   to   bed     Tom.'      Now    as    'HeU    dir  ia 
Siegerkranz,'  which  has  become  a  kind  of  Pn» 
sian  nationid  hymn,  to  the  tune  of  'God  8s?e 
the    King,'    was    not    produced    till     1 799,  it 
seems  probable   that  the  tune  and  the  name 
have  been  put  into  the    English   editions  far 
the  English  market^  and  that  if  the    Germsi 
edition  could  be  seen  (which  the  writer  has  mc 
been  able  to  do)  it  would  be  found  that  soex 
Prussian  air  and  call  were  there  instead  of  tbo^ 
named.  [G.] 

BATTLE  SYMPHONY.  The  ordinwy 
English  name  for  Beethoven's  '  Wellingtons  Sieg, 
oder  die  Schlachc  bei  Vittoria.'  It  was  first  pa^ 
formed  in  London,  under  the  direction  of  ^ 
George  Smart,  at  Drury  Lane  Theatre  on  Feb. 
10,  18 1 5. 

BATTON,  DisiRlfc  Alexandre .  bom  in  Parii 
1797,  died  there  1855  ;  the  son  of  an  artificUl 
flower  maker.  Was  a  pupil  at  the  Conservatoire 
(including  counterpoint  under  Chei^bioi)  frc^n 
1806  to  181 7,  in  which  year  he  won  the  'Graod 
Prix*  for  his  cantata  *La  mort  d' Adonis,'  enti- 
tling him  to  travel  for  five  years  in  Italy  and 
Germany  at  government  expense,  and  he  ac- 
cordingly started  in  1818,  after  the  performance 
of  his  comic  opera  '  La  FenStre  secrbte '  at  the 
Theatre  Eeydeau.    During  his  tour  he  composed 


BATTON. 

sreral  waricB,  chiefly  ncred  music,  in  Rome, 
and  »  symphony  perfonned  in  Munich.  After 
^  retam  to  Pam  in  1823  he  brought  out  three 
opens*  the  fiulure  of  which  drove  him  to  adopt 
faia  Other's  trade.  *  La  Marquise  de  Brinvilliers,* 
eompoacd  in  1833  in  conjunction  with  Auber, 
Herold,  and  Can&k,  was  however  better  received. 
Bafcton's  failure  aa  a  dramatic  oompoeer  may  in 
great  part  be  attribnted  to  the  poverty  of  his 
^ilaetti.  [M.  C.  C] 

BATTUTA  (ItaL  beat,  or  measure).  'Abat- 
tsta^'  like  '  a  tempo,*  means  a  return  to  the  strict 
bestw  Beethoven  uses  the  word  in  the  Scherzo  of 
tfe  Choral  Symphony — <Ritmo  di  tre  battute,' 
'Riteio  di  quattro  battute/  to  signify  that  the 
nrtlun  in  tihoee  places  goes  in  groups  of  three 
ban  or  fbnr  bars  respectively.  £1  the  Presto  of 
his  £  flat  Qaartett  (Op.  74),  where  the  time 
diu^es  to  'Piii  presto,  quasi  prestissimo/  he 
adrja  the  direction  'Si  ha  s'immaginar  la  battuta 
di  6-8' —  tile  movement  being  written  in  3-4. 

BAULDTHN,  or  BAUDOUIN,  Nobl,  a 
xative  of  the  Netherlands,  contemporary  with 
Jotqmn  dea  Pr^  and  from  151 3  to  151 8  chapel- 
ooiter  of  the  church  of  Notre  Dame  at  Antwerp, 
vl^re  he  died  in  1529.  Two  of  his  motets  were 
printed  by  Petruoci  of  Fosaombrone  in  15 19, 
wkidi  suggests  Uiat  he  visited  Italy,  and  proves 
ia  any  case  that  his  fame  had  reached  that 
o^mtrj  doxing  his  lifetime.  The  rest  of  his 
Toi^  many  of  which  are  preserved  in  the  Papal 
Cb^ttl,  are  included  in  collections  published 
tome  time  after  his  death.  [J.  B.  S.  B. j 

BAUMG ARTEN,  C.  F.,  a  native  of  Germany, 
aad  pupil  of  the  fiunous  organist  J.  P.  Kunzen ; 
cuDe  early  to  London  and  never  left  it ;  was 
organist  at  the  Lutheran  Chapel  in  the  Savoy, 
ud  leader  of  the  band  of  the  English  opera, 
Corent  Garden.  He  was  also  composer  and 
leader  of  the  Duke  of  Gumberiands  private 
liSZKi,  whi<di  contained  Blake,  Waterhouse,  Shield, 
Pvlie,  and  the  elder  Cramer.  Baupigarten  wrote 
much  for  the  'Professional  Concetts*  of  1783  and 
User,  various  operas  and  pantomimes — amongst 
Gtbera,  Blue  Beard,  1793.  As  an  organist  he 
bd  great  skill  in  modulation  and  a  thorough 
Immledge  of  his  instrument,  but  aa  a  violhi- 
pUyer,  both  in  concerted  music  and  as  a  leader, 
ke  was  languid  and  wanting  in  enei^ — *  a  sleepy 
orchestraiy"  says  Haydn  in  his  diary.  His  theo- 
ffcical  knowledge  was  acknowledged  by  Haydn 
and Gyroweta.  'He  was  the  man  to  mix  leam- 
ii^  wiUi  effect,  and  therefore  to  write  capttva- 
tioiB  that  are  felt  by  all*  ('The  World,'  1787). 
Wben  he  made  Haydn's  acquaintance  in  1792  he 
bad  whanMt  forgotten  his  mother  tongue.  In 
1794  he  lost  his  position  at  Covent  Ganlen,  and 
na  succeeded  by  Mountain  ('The  Oracle,'  Sept. 
19).  After  this  nothing  is  known  of  him.  Baum- 
garten  was  a  man  of  much  ability  and  culture ; 
ld»  pupils  were  numerous  and  distinguished. 
He  wrote  an  admirable  treatise  on  music,  and 
«as  a  keen  student  of  astronomy,  mathematics, 
and  history ;  but  he  does  not  seem  to  have  pos- 
lessed  the  art  of  making  use  of  his  advantages* 


BEALE. 


157 


and  was  quickly  forgotten.  A  song  of  his, 
'Her  image  ever  rose  to  view,'  from  'Netley 
Abbey,*  is  preserved  in  Ayrton's  'Musical  Li- 
braiy.'  [C.  F.  P.] 

BAYADERES,  dancing  girls  attached  to  the 
Hindoo  temples.  The  nature  of  their  pro- 
fession may  be  inferred  from  Goethe's  Ballad 
'  Der  Gott  und  die  Bajadere/  which  forms  the 
groundwork  of  Catel's  opera  'Les  Bayaderes,*  ^ 
and  of  Auber's  opera-ballet  'Le  Dieu  et  la 
Bayadere.'  They  are  a  prominent  feature  in 
Spohr's  '  Jessonda.' 

BAYLY,  Rev.  Anselm,  D.C.L,  son  of  An- 
selm  Bayly  of  Haresfield,  Gloucestershire,  was 
bom  in  the  year  1719.  He  matriculated  at 
Exeter  College,  Oxford.  Nov.  4,  1740.  On  Jan. 
23,  1 74 1,  he  was  appointed  lay  vicar  of  West- 
minster Abbey,  and  on  the  39th  of  the  same 
month  was  admitted  a  gentleman  of  the  Chapel 
Boyal,  both  places  being  vacant  by  the  death 
of  John  Church.  On  March  13,  1744,  having 
resigned  his  place  as  gentleman,  he  was  ad- 
mitted priest  of  the  Cha|wl  Royal.  He  graduated 
as  B.C.L.  June  13,  1749,  and  D.C.L.  July  10, 
1764.  In  the  latter  year,  on  the  death  of  the 
Rev.  Dr.  Fifield  Allen,  Bayly  was  appointed 
his  successor  as  sub-dean  of  the  Chapel  Royal. 
He  died  in  1793.  He  was  author  of  'A 
Practical  Treatise  on  Singing  and  Playing,' 
1771,  and  'The  Alliance  of  Musick,  Poetry, 
and  Oratory,'  1789,  and  of  several  tiieological 
and  grammatical  works.  In  1769  he  edited  a 
collection  of  the  words  of  Anthems,  to  which 
he  contributed  an  interesting  pre&oe  on  cathedral 
music.  [W.  H.  H.] 

BAZZINI,  Aktoitto,  eminent  yiolinist,  was 
bom  in  181 8  at  Brescia.  From  1840  he  has 
played  with  great  success  in  most  of  the  prin- 
cip;il  towns  of  Italy,  Germany,  France,  and 
Belgium.  As  a  peribrmer  he  belongs  to  the 
school  of  Paganini,  his  playing,  although  not 
free  from  mannerism  and  a  certain  sentimen- 
tality,  being  distinguished  by  a  most  brilliant 
technique  of  the  left  hand  and  the  bow,  and 
by  great  vivacity  of  style.  As  a  composer  for  his 
instrument  Bazzini  shews  more  earnest  artistic 
feeling  than  most  modem  Italians.  Having  pub- 
lished in  earlier  years  a  number  of  operatic 
fimtasias,  many  piicea  de  salon,  a  concertino  and 
and  an  aUegro  de  concert,  he  has  of  late  come 
forward  with  works  for  the  chamber  and  church, 
which  have  met  with  great  success  at  Milan  and 
other  Italian  places.  Bazzini  is  now  (1876) 
Professor  of  Composition  at  the  Milan  Con- 
servatorio.  [P.  D.] 

BEALE,  John,  a  pianist,  bom  in  London 
about  1 796,  was  a  pupil  of  John  Baptist  Cramer. 
In  1820  he  was  elected  a  member  of  the 
Philharmonic  Society,  and  in  1821  was  an 
active  promoter  of  a  concert  given  to  celebrate 
the  birthday  of  Mozart.  On  the  establish- 
ment of  the  Royal  Academy  of  Music  he  was 

For  mn  amoslng  uieodote  connected  with  thb  open  and  with 
the  dldlke  of  Napoleoa  I  to  Wad  mute  aee  Ctemeat, '  JDietionnaln 
I  l4FTl4ue,'p.9S>i. 


158 


BEALR 


named  one  of  the  profeasora  of  the  pianoforte  ! 
there.  [W.H.H.]  I 

B£ALE,  William,  was  bom  at  Landrake 
Jan.  I,  1784,  and  brought  up  as  a  chorister  of 
Westminster  Abbey  under  Dr.  Arnold  and 
Robert  Cooke.  In  181 3  he  gained  by  his 
madrigal,  *  A  wake,  sweet  muse,  the  prize  cup 
given  by  the  Madrigal  Society.  He  published 
in  i8ao  a  collection  of  his  glees  and  madrigaU. 
On  the  title-page  of  his  madrigal  *  What  ho ! 
what  ho!'  published  in  181 6,  he  is  styled 
'Gent",  of  His  Majesty's  Chapels  Royal.'  It 
is  certain,  however,  that  he  never  held  such  an 
appointment.  He  died  in  London  on  the  3rd  of 
May,  1854.  [W.H.H.] 

BEARD,  John,  one  of  the  most  eminent  of 
English  tenor  singers,  bom  about  171 7,  was  in 
his  boyhood  a  chorister  of  the  Chapel  Royal 
under  Bernard  Gates.  He  first  appeared  as  a 
tenor  singer  in  Handel's  performances  at  Covent 
Garden  Tiieatre  in  1 736,  singing  in  '  Alexander's 
Feast,' '  Acis  and  Galatea,'  and  *  Atalanta.'  On 
Aug.  30,  1737*  he  appeared  at  Drury  Lane 
Theatre  as  Sir  John  Loverule  in  Coffey's  ballad 
opera  '  The  Devil  to  Pay,'  and  in  the  following 
season  was  regularly  engaged  there.  In  1739 
he  married  Lady  Henrietta,  the  young  widow 
of  Lord  Edward  Herbert,  and  daughter  of  the 
Earl  of  Waldegrave,  on  which  he  retired  for 
a  short  time  i'rom  professional  life.  After 
fourteen  years  uninterrupted  happiness,  Lady 
Henrietta  died  in  1753,  aged  thirtynsix.  Beard 
performed  at  Drury  Lane  until  1 743,  after  which 
he  was  engaged  at  Covent  Garden  until  1 748 ; 
he  then  returned  to  Drury  Lane,  where  he 
continued  until  1759.  in  which  year  he  married 
Charlotte,  daughter  of  John  Rich,  proprietor  of 
Covent  Garden  Theatre,  and  was  again  engaged 
at  that  house.  Rich  dying  in  1761,  Beard 
became,  in  right  of  his  wife,  proprietor  and 
manager  of  the  theatre,  and  so  continued  until 
an  increasing  deafness  determined  him  to  dispose 
of  his  interest  in  it  and  quit  the  stage.  He  took 
his  leave  of  the  public  as  Hawthorn  in  '  Love  in 
a  Village'  May  23,  1767.  After  his  retirement 
he  resided  at  Hampton,  where  he  died,  Feb. 
4,  1 79 1,  in  his  seventy-fourth  year.  His  wife 
survived  him  until  August  26,  181 8,  when  she 
died  at  Hampton  at  the  great  age  of  ninety-two. 
Beard  throughout  life  bore  the  reputation  of 
being  a  highly  honourable  and  upright  man. 
To  form  an  estimate  of  his  abilities  as  a  singer 
it  is  only  necessary  to  remember  that  Handel 
composed  for  him  the  great  tenor  parts  in 
'Israel  in  Egypt,'  'Messiah,'  'Samson,  'Judas 
Maccabeus,'  and  *  Jephthah.'  [W.  H.  H.] 

BEAT.  The  name  given  in  English  to  a 
melodic  grace  or  ornament,  but  with  considerable 
uncertainty  as  to  which  particular  ornament  it 
denotes,  the  word  having  been  very  variously 
applied  by  different  writers. 

With  some  authors  it  signifieB  the  AooiA- 
CATURA,  but  it  appears  to  be  most  generally 
understood  to  mean  the  Mordent  (Ger. 
Beuur)  (Ex.  i),  in  which  connection  it  seems 


BEAT. 

not  impossible  that  its  English  name  n&v  Wf 
been  originally  *  bite.*  Dr.  Cailoott  however.  ^ 
his  Grammar  of  Music,  speaks  of  the  beat  u  » 
reversed  shake,  and  derives  its  name  from  Bofv- 
ment,  giving  an  example  as  in  Ex.  z.  Batt^mni 
again,  according  to  Rousseau  (Dictionnaire  ^ 
Musique\  is  a  shake  beginning  on  the  opfe 
instead  of  the  princij>al  note  (EIx.  3) 


I.    Written.       3. 


i 


<«IV 


I 


:»: 


^ 


Pki9€tk 


[f^rrr'rrrip:^^^ 


It  is  doubtless  owing  to  this  uncertainty  that  tk 
word  has  now  almost  fallen  into  disuse.     L^-^. 

BEAT.  The  movement  of  the  hand  cr  ba&ui 
by  which  the  rhythm  of  a  piece  of  music  is  ii 
dicated,  and  by  which  a  conductor  ensures  p€^ 
feet  agreement  in  tempo  and  accent  on  the  pan 
of  the  orcliestra  or  chorus ;  also,  by  analogy.  tl» 
different  divisions  of  a  bar  or  measure  vi^ 
respect  to  their  relative  accent. 

Among  the  ancients  the  ordinary  method  d 
beating  time  was  by  striking  the  foot  upon  t£« 
ground.  The  person  who  exercised  this  funcGL«. 
corresponding  to  our  modem  conductor,  vai 
called  by  the  Greeks  Coryphaeus  (principal  \  tiki 
by  the  Romans  PedaHus  or  PediculartHt,  fr\m 
the  custom  of  employing  the  foot  to  beat  wit^ 
and  it  was  usual  for  him  to  wear  sandalB  cft  wood 
or  metal,  called  ptdicula  or  BcabHla,  in  orde 
by  their  percussion  to  render  the  rhythm  mcR 
evident.  Sometimes  the  measure  was  marked 
by  clapping  the  hands — in  which  case  the  tins- 
beater  was  called  Manuductor ;  and  sometimei  Ij 
the  striking  together  of  oysterHshells,  bones,  etc 

To  our  ears  this  incessant  and  noiay  percossioB 
would  be  unendurable,  and  a  modem  oonducta 
would  be  severely  criticised  who  ooold  not  keep 
his  performers  in  time  by  the  noiseless  moT«- 
ments  of  his  baton ;  nevertheless,  the  iraprofre- 
ment  is  of  comparatively  recent  date,  for  we  fiad 
Rousseau  in  1 768  complaining  that  the  listener 
at  the  Paris  opera  should  be  'shocked  by  ik^ 
continual  and  disagreeable  noise  made  bj  hia 
who  beats  the  measure.' 

The  method  of  beating  now  conunonlj  in  jat 
in  England,  France,  and  Germany  is  as  foUows  :— 
the  first  note  of  each  bar  (which  has  always  tht 
strongest  accent)  is  indicated  by  a  downward 
movement  of  the  hand  or  baton,  and  this  part  d 
the  bar  is  therefore  usually  known  as  the  'dovi- 
beat';  in  triple  time  this  is  followed  by  two 
unaccented  beats,  which  are  shown  by  a  movf^ 
ment  first  to  the  right  and  then  upwards,  unksi 
in  scherzos  or  other  movements  in  rapid  Mnub, 
where  it  is  usual  to  give  merely  a  down  beat  si 
the  beginning  of  the  bar.  In  common  time  tber* 
may  be  either  one  or  three  non-accents,  in  the 
first  case  the  simple  up-beat  suffices,  in  the  latter 
the  beats  following  the  down-beat  are  to  the  left, 
to  the  rij^ty  and  then  upwards.     In  all 


BEAT. 

ti»  movmu&ot  immediately  preceding  the  down- 
bat  is  en  up  beat. 

In  hftftting  compound  time  (that  is,  time  in 
which  each  beat  is  made  up  of  three  parts)  it  is 
cssUmary  to  give  each  beat  three  times  in  suo- 
cc^on.  thoa  in  12-8  time  there  would  be  three 
cimn,  three  left»  three  right,  and  three  up-beats, 
except  in  r^pid  tempo,  when  the  ordinary  number 
ai  beats  will  suffice,  Gfne  beat  being  equivalent 
to;hree  notes. 

In  the  '^TiMiter  part  of  Italy  a  somewhat  different 
oethod  of  beating  is  adopted,  there  being  no  beats 
to  the  right  or  left;  when  therefore  there  are 
more  than  two  beats  in  a  bar,  two  down-beats 
sre  g;iTen  in  soocession,  followed  in  triple  time  by 
oae  and  in  csommon  time  by  two  up-bcAts. 

In  theoretical  works,  the  down-beat  or  ao- 
oait  and  the  up-beat  or  non-accent,  are  usually 
spokea.  of  by  their  Greek  names  of  thuis  and 
ami.  [F.  T.] 

BEATRICE  DI TENDA.  Italian  opera,  the 
Hbretto  by  T.  Bomani,  the  music  by  Bellini ; 
produced  at  Venice  in  1833.  and  at  the  Th^tre 
des  Italiens,  Paris,  Feb.  S,  1841,  and  in  London, 
St  the  King*s  Theatre,  March  22,  1836. 


BEATEL 


159 


BEATS  are  a  wavy  throbbing  effect  produced 
by  the  soonding  together  of  certain  notes,  and 
o»»t  noticeable  in  unisons  and  consonances,  when 
£0t  perfectly  toned  to  one  another. 

To  explaui  their  origin  reference  must  be  made 
to  dementaiy   &cts  in  the   science   of  sound. 
Soand  is   oonveyed  to  our  ears  by  the  waves 
into  which  the  air,  or  other  medium,  is  thrown 
br  the  Tibration  of  what  is  called  the  sounding 
bodj.    These  waves  are  proportionally  relative 
to  the  rapidity  of  the  vibrations  of  the  note 
sooDdJng,  and  therefore  also  to  its  pitch ;  they 
oooast  of  alternate  condensation  and  rarefaction, 
each  vibration  being  considered  (in  England  and 
Genoany)  to  comprise  both  the  compression  and 
disteiifflon  of  the  particles  of  the  air  analogous 
to  the  crest  and  trough  of  a  wave  of  water, 
llwse  are,  as  it  were,  opposite  forces,  and  can 
be  made  to  counteract  each  other  if  two  waves 
be  Bimultaneously  produced  which  start  at  such 
ft  distance  from  each  other  that  the  condensation 
oi  one  exactly  corresponds  to  the  rare&ction  of 
the  other.     A  very  simple  proof  of  this  may  be 
obtained  by  striking  a  hffge  tuning-fork   and 
holding   it    dose   to   the   ear,   and  turning  it 
■lowly  roond;  when  a  particular  point  will  be 
found  on  either  side  of  the  fork  at  which  the 
•Dond  ceases,   although  the  fork  continues  to 
Tibrate,  because  the  two  prongs  are  in  such  a 
pontion  relative  to  the  ear  Uiat  their  sound- 
waves in  that  direction  mutually  counterbalance 
one  another. 

Beats  aie  produced  by  sound -waves  which 
have  sudi  relations  in  size  and  rapidity,  that  at 
certain  intervals  they  cross  one  another  and,  con- 
dfosation  and  rarefi»ction  being  simultaneous  for 
the  moment,  produce  silence.  For  instance,  if 
two  notes  which  vibrate  respectively  100  and  loi 
tiznes  in  a  second  be  sounded  together,  it  is  dear 
that  the  soond-waves  of  the  latter  will  gain  ^^^ 


on  ihe  former  at  eadi  vibration,  and  half-way 
through  the  second  will  have  gained  so  much 
that  its  condensation  will  exactly  correspond 
with  the  rarefaction  of  the  other  note  (or  vice 
verB&),  and  for  the  moment  sUenoe  will  result ; 
and  so  for  each  second  of  time. 

If  the  notes  be  further  apart,  as  100  to  102,  the 
latter  will  gain  twice  as  much  in  every  vibration, 
and  there  will  be  two  places  where  the  waves 
counteract  each  other,  and  therefore  two  beats  in 
each  second.  Hence  the  rule  that  the  number  of 
hectU  per  $econd  is  equal  to  the  difference  bUveei^ 
the  raiee  of  vibration  of  the  notet. 

It  is  found  practically  that  it  is  not  necessary 
for  the  waves  to  be  exactly  in  opposition ;  for  in 
the  case  of  one  note  with  100  vibrations  in  a 
second  and  another  with  103,  though  the  three 
beats  will  be  heard  aooording  to  the  rule  above 
given,  it  is  proved  mathematic^y  that  there  will 
be  only  one  point  at  which  the  condensation  and 
rarefaction  are  exactly  simultaneous,  and  the 
other  two  extremes  of  opposition  are  not  ex- 
act, though  within  yv^w  ^^  *  second  of  coinci- 
dence. 

In  point  of  fact  the  sound  will  be  lessened  to 
a  minimum  up  to  the  extreme  of  opposition  in  the 
position  of  the  waves,  and  increased  to  the  full 
power  of  the  two  sounds  up  to  the  perfect  coin- 
ddence  of  the  vibrations. 

It  will  have  been  observed  that  the  beats  in- 
crease in  number  as  the  notes  become  more  wide 
apart.  Aooording  to  Helmholtz  they  are  most 
disagreeable  when  they  number  about  33  in  a 
second,  which  is  nearly  the  number  produced  by 
the  sounding  together  of  treble  C  and  Db.  From 
that  point  they  become  less  and  less  harsh  till 
with  such  an  interval  as  treble  G  and  £,  which 
produces  128  beats  in  a  second,  there  is  no  un- 
pleasant sensation  remaining. 

Beats  are  of  three  kinds.  Hie  first  and  most 
commonly  known  is  produced  by  the  sounding 
together  of  two  notes  nearly  in  unison — to  which 
the  above  description  applies  simply.  They  are 
awodated  with  the  name  of  the  great  violinist 
Tartini,  for  reasons  concerning  which  a  contro- 
versy has  arisen,  and  which  are  too  long  to  be 
here  set  down. 

The  second  kind  arises  from  the  imperfect 
tuning  of  consonances— -such  as  the  third,  fourth, 
fifth,  sixth,  or  octave.  Here  the  notes  are  too 
wide  apart  for  the  primary  beats  as  described 
above  to  be  noticeable  But  the  primary  beats 
are  in  this  case  thrown  into  grou|}s  or  cydes, 
which  produce  the  effect  of  beats.  These  were 
first  investigated  by  Dr.  Robert  Smith,  Master  of 
Trinity  CoU.  Cambridge  (died  1768),  and  are 
called  after  him. 

The  third  kind,  also  due  to  the  imperfect 
tuning  of  consonances,  is  that  which  has  been 
most  carefully  investigated  by  Hdmholtz,  and  is 
called  by  him  the  over-tone  be€U.  It  is  produced 
exactly  in  the  manner  first  described  between  the 
harmonics  of  one  note  and  another  fundamental 
note  which  is  not  in  tune  with  the  first,  or  be- 
tween the  harmonics  of  two  fundamentals  which 
are  out  of  tune. 


160 


BEATS. 


BECHSTEIN. 


For  instance,  if  baas  G  be  sounded  with  middle 
C,  and  the  latter  be  slightly  out  of  tune,  middle 
C  and  the  first  harmonic  of  the  lower  C  will  be 
in .  the  position  of  imperfectly  tuned  unisons, 
and  beats  will  be  produced.  If  C  and  G  be 
Boimded  together,  and  the  latter  be  out  of  tune, 
the  second  harmonic  of  the  former  and  the  first  of 
the  latter  will  clash  in  a  similar  manner,  and 
beats  will  be  produced  between  them.  And  ao 
with  other  consonances. 

The  value  of  beats  to  organ-tuners  is  well 
known,  as  their  disappearance  when  the  notes 
are  in  tune  is  a  much  safer  criterion  of  exactness 
than  thd  musipal  sense  unaided.  Moreover  it  is 
possible  to  discover,  by  simple  calculation  of  the 
number  of  beats  in  a  second  relative  to  the  num- 
ber of  vibrations,  the  exact  amount  any  note  is 
out  of  tune  with  another. 

For  more  complete  discussion  of  this  subject, 
see  an  article  by  W.  Pole,  Mus.  Doc..  F.R.S.,  in 
'Nature'  for  1876,  Nos.  324,  325.    [C.  H.  H.  P.] 

BEAULIEU,  Mabie  Desire,  whose  &mily 
name  was  Martin,  s<m  of  an  artillery  officer 
of  Niort,  bom  in  Paris  1791-  He  studied  under 
Bodolph  Kreutzer,  Benincori,  and  Mehul,  and 
obtained  the  'Grand  Prix*  at  the  Conservatoire 
in  1 8 10.  He  did  not  accept  the  five  years*  tour 
to  which  the  prize  entitled  him,  and  settled  at 
Niort.  Here  he  founded  quartet  meetings,  and 
in  1829  a  Philharmonic  Society,  which  was  after- 
wards expanded  intu  the  '  Association  musicale 
de  rOuest*  (1835).  This  society  was  the  first 
of  its  kind  in  provincial  France,  and  through 
the  untiring  zeal  of  its  founder  has  attained 
a  h^h  pitch  of  excellence.  Yearly  festivals  are 
held  in  turn  at  Niort,  Poitiers,  La  Bocheile, 
Angouldme,  Limoges,  and  Rochefort ;  and  Men- 
delssohn's *  St.  Paid'  and  *  Elijah '  were  performed 
at  Rochelle  by  this  society  long  before  they  were 
heard  in  Paris.  Beaulieu  wrote  in  all  styles,  but 
excelled  in  church  music.  His  principal  work 
was  a  requiem  on  the  death  of  M^hul,  composed 
1819,  performed  1840.  He  also  wrote  much 
on  music.  A  complete  list  of  hia  compositions 
is  given  by  F^tis.  [M.  C.  C] 

BEAUMAVIELLE,  a  baritone  singer, 
brought  from  Toulouse  by  Perrin  to  sing  in 
*Pomone,'  the  first  French  opera  by  Cambbbt, 
produced  in  1671.  After  Lulli  had  obtained 
the  transference  of  Perrin's  monopoly  to  himself, 
Beaumavielle  was  one  of  the  best  singers  at  his 
opera-houHC.  He  died  in  1688,  soon  after  Lulli, 
and  was  succeeded  by  Th^venard.        [M.  C.  C] 

BEBUNG  (Ger.;  Fr.  Balancement ;  Ital. 
Tremolo),  a  certain  pulsation  or  trembling  efiect 
given  to  a  sustained  note  in  either  vocal  or  in- 
strumental music,  for  the  sak^  of  expression.  On 
stringed  instruments  it  is  effected  by  giving  an 
oscillating  movement  to  the  finger  while  pressing 
the  string ;  on  wind  instruments  and  in  singing 
by  the  management  of  the  breath. 

The  word  Bebung  refers,  however,  more  parti- 
cularly to  an  effect  peculiar  to  the  old  clavichord, 
but  not  possible  on  the  modem  pianoforte,  in 
which  the  continuous  and  uninterrupted  repeti*  | 


tion  of  a  note  was  produced  not  by  a  fresh  hhw, 
but  by  a  movement  of  the  tip  of  the  finger  vit^ 
out  leaving  the  key.  This  effect  was  farmerij 
held  in  high  estimation  aa  a  means  of  nrprrMirr. 
and  Emanuel  Bach  in  the  introduction  to  hi 
*  Versuch  iiber  die  wahre  Art  das  Clavia'  r: 
spielen,'  says,  comparing  the  then  newly-inTemed 
pianoforte  with  the  clavichord,  '  I  believe,  Xkere?. 
theless,  that  a  good  clavichord  pooacspeg— wiii 
the  exception  that  its  tone  ii  weaker — all  tk 
beauties  of  the  former  (the  pianoforte),  and  ii 
addition  the  Bebung  and  the  power  of  aastusk^ 
the  tone,  inasmiich  as  afler  striking  each  m^  I 
can  give  a  fresh  pressure.' 

The  Bebung  was  not  often  marked,  excE^ 
sometimes  by  the  word  tretnolo,  Marpuig,  bor. 
ever  ('Principes  du  Clavecin'),  gives  the  f<dIo«iB£ 
as  the  sign  of  its  employment,  uaing  as  many  drc^ 
over  the  note  as  there  were  to  be  repetitiims  d 


the  sound — 


[F.T.] 


BECHEB,  Alfbed  Julius,  bom  of  Genu&s 
parents  at  Manchester,  1803 ;  educated  at  Hfi- 
delberg,  Gottingen,  and  Berlin.  His  life  w 
one  of  perpetual  movement  and  adventure.  Beibn* 
he  was  40  he  had  lived  in  Elberfeld,  Cok^ie. 
DtLsseldorf,  the  Hague,  and  London,  had  pKracusei 
as  an  advocate,  edited  a  mercantile  newspiipa, 
and  twice  filled  the  post  of  Professor  of  Cocl- 
position.  But  whatever  else  he  did  he  vu 
always  faithful  to  music.  In  1841  his  wajiderin^ 
came  to  an  end  in  Vienna,  and  at  the  instAan 
of  Mendelssohn  he  took  up  musical  criticism,  h 
which  he  was  very  successful,  associating  >iiTTw*^H 
with  the  '  Wiener  Musik-Zeitung'  and  th^ 
'  Sontagsblattem.'  He  was  equally  enthusix^ 
for  the  old  masters  and  for  Berlioz.  In  1848  hs 
threw  himself  into  politics  as  a  violent  democnt, 
became  editor  of  the  '  Radikale,'  was  tried  br 
court  martial  and  shot  on  Nov.  23,  1848,  in  t2» 
Stadtgraben  of  Vienna.  Becher  published  saoiTs 
sonatas,  and  pianoforte  pieces,  many  of  whh:^ 
became  favourites.  He  composed  a  sympboDT, 
a  violoncello  fantasia  (performed  at  a  conc^t  kt 
which  he  had  the  aid  of  Jenny  Lind),  and  string 
quartets.  But  these,  though  full  of  ability  vai 
intelligence,  never  made  any  impression  on  the 
public.  Becher's  literary  works  were  aimers 
entirely  fugitive,  but  he  published  a  biographr 
of  Jenny  Lind  (1846).  [C.  F.  P.] 

BECHSTEIN,  Fbiedbich  Wilhklm  Kabl 
The  first  half  of  this  centuiy  was  not  marked 
by  any  noteworthy  progress  in  North  Gemua 
pianoforte-making,'  the  instruments  made  bein? 
far  behind  the  Viennese.  But  this  reproach 
cannot  now  be  applied  either  to  Berlin  <x 
Leipsic.  Herr  Bechstein  established  his  work- 
shops in  the  former  city  in  1855.  By  ihs 
adoption  of  the  American  system  of  iron  framing 
and  of  an  action  based  upon  the  English,  he  han 
raised  a  reputation  for  his  concert  instrumenu 
reaching  beyond  Pmssian  limits.  Herr  Becb- 
stein  is  a  native  of  Gk>tha.  [A.  J.  fi.] 


BECK. 

BECK,  FRAin,  bora  st  Mannheim  1731,  died 
tx  Bonrdeaux  1809,  violinitt  and  campoaer. 
VTben  quite  joang  he  took  refuge  in  Paris  from 
±i  effeeto  of  a  duel,  and  thence  removed  to 
Knirdeaax.  Here  he  became  director  of  a  leries 
jfcnocerte  (1780),  and  trained  many  eminent 
midciiDa;  among  others  Blanchard  and  Bochaa. 
Uif  compoiitioDs  are  excellent,  though  com- 
piradvdj  &w  in  number.'  They  comprise  34 
SnDpbooieB  ( 1 776) ;  a  '  Stabat  Mater/  performed 
1:  jhe  Concerts  S|^taels  in  1 783  ;  *  Pandore/  a 
Ddadnma  (1789);  a  'Gloria*  and  'Credo*; 
US.  (ksoataa  for  Pianofbarte,  and  Quartets  for 
&tnags.  [M.  C.  C] 

BETKEB.  In  Russia  the  pianoforte-makers 
bre  been  Germans.  The  leading  Russian 
bocse  ftt  the  present  time  owes  its  origin  to 
Jioib  Becker,  a  native  of  the  Bavarian  Pala* 
tnste.  who  founded  it  in  1841.  Although 
^«ufe>fcrte  -  making  had  eariy  in  this  century 
beta  introduced  in  St.  Petenbuig,  imtil  about 
1^50  pianists  had  imparted  their  instruments 
fv  poblic  performance.  From  that  time  how- 
e^  Becker  succeeded  in  making  concert  instru' 
CRSts,  and  smce  1871  Mr.  Paul  Peterssen,  the 
present  head  of  the  house,  by  adopting  modem 
{nnriples  of  framing,  has  made  an  effectual 
ibcd  against  this — ^to  Russian  interests — dis- 
adTutageotts  competition,  and  it  has  now 
bvoome  as  much  a  matter  of  course  to  hear  the 
K:»ian  pianofortes  ot  Becker  in  the  concerts  of 
Pesenboig  and  Moscow  as  it  is  to  hear  the  Rus* 
BaalaDgiuge  in  polite  society.  [A.  J.  H.] 

BECKER,  Carl  Fkbdjuasd,  oiganist  and 

profesnr  at  the  Conaervatorium  of  Leipsic,  bom 

ia  1S04,  studied  the  piano,  hannony,  and  com- 

pradiin,  under  Schicht  and  Schneider.     Played 

the  piano  in  public  at  fourteen  years  old,  but 

kfWvards  paid  more  attention  to  the  oigan, 

iQii  loie  by  dorses  to  be  oiganist  of  the  Nicolai- 

^sf^  m  Leipsia     On  the  foundation  of  the 

('aierTat<irinm  at  Leipsic  he  was  invited  by 

Xdkddsnim  to  join  the  new  enterprise.     The 

^Aimadaa  which  Becker  enjoyed  in  Germany 

*M  doe  less  to  his  compositions  than  to  his 

P'wioctions  in  musical  literature.     Prominent 

uy^  these  are  his  'Systematisch-chronolo- 

p^  Dantdlung    der   musik-Iiterator/   etc. 

U^S^),  with  a  supplement  (1839),  in  which 

Becker  is  said  to  have  been  assisted  bj  Anton 

iHmid,  costos  of  the  Hofbibliothek  at  Vienna. 

He  also  wrote  '  Hansmusik  in  Deutschland  in 

1^  iTteo,  iSten  Jahrh.*  (1840):  also  'Die 

Timverke  des  i6ten  nnd  I7ten  Jalu*h.* — a  cata- 

1'^  of  the  music  printed  during  that  period 

(1^47);  and  a  catalogue  of  his  own  oollectit  a— 

'Alpfaabetisch  und  chranologisch  geordnetes  Ver- 

nckin.*  etc.  (Brsitkopt  1847).    The  ooUection 

itttU;  containing  worics  of  the  greatest  rarity,  he 

beqoeathed  to  the  dty  of  Leipaio  at  his  death 

Oct.  26, 1877.  [F.  G.] 

BECKER,  CovsTAiniir  Julius,  bom  at  Frei- 
bn{^Feb.  3,  x8ii.  Showed  an  eariy  talent  for 
Busic,  whidi  was  well  developed  by  his  master 
AiAcua.   In  1835  he  came  to  Leipsic  and 


BBCKWITh. 


161 


assisted  Schumann  in  editing  the  'Neoe  Zeit- 
schrift  fUr  Musik*;  but  in  1843  removed  to 
Dresden  and  occupied  himself  in  teaching  sing- 
ing. In  1846  he  returned  to  Oberlossnits,  and 
lived  there  in  solitude  till  his  death,  Feb.  36, 
1859.  A  symphony  of  his  was  performed  with 
great  applause  at  the  Gewandhaus  in  1843. 
and  his  opera  'Die  Belagerung  von  Belgrad 
was  produced  at  Leipsic  on  May  31,  1848.  But 
the  work  by  which  he  will  be  remembered  is 
his  'Mannerffcsang-Schule,'  1845.  He  was  the 
author  of  'Die  Neuromantiker,*  a  romance 
(1840),  and  of  a  translation  of  Berlioa*s  '  Voya^re 
Musicale.'  [F.  G.] 

BECKER,  Dietrich,  violinist  and  composer 
to  the  Hamburg  senate  towards  the  middle  of 
the  17th  century;  one  of  the  earliest  German 
instrumental  composers;  published  sonatas  on 
chorales  for  violin,  viol  di  gamba,  and  bass 
(Hamburg,  1668),  as  well  as  'Die  musikalischen 
Friihlingsfruchte/  consisting  of  pieces  for  in- 
struments in  four  and  five  parts,  with  basso  con- 
tinue. [F.  G.] 

BECKER,  JSAN,  eminent  violin-player,  bom 
at  Mannheim  in  1836.  His  first  teacher  was 
Kettenus,  then  leader  of  the  Mannheim  orchestra, 
and  he  afterwards  learned  from  Alard  in  Paris. 
He  began  to  perform  in  public  when  only  eleven, 
and  was  still  very  young  when  he  beoame  the 
successor  of  Kettenus.  In  1859  he  played  with 
great  success  in  Paris,  and  ^lence  went  to 
London,  where  he  ai^eared  at  the  Monday 
Popular  Concerts,  and  was  for  one  season  leader 
of  the  Philharmonic  Concerts.  After  travelling 
for  some  years  throujj^h  most  parts  of  Europe, 
he  settled  in  1866  at  Florence,  and  associated 
himself  with  two  Italian  musicians,  Masi  and 
Chiostri,  and  the  Grerman  violoncellist  Hilpert. 
These  artists,  well  knovn  under  the  name  of  the 
*Florentiner  Quartett,*  have  earned,  by  their 
careful  and  spirited  performances  of  the  classical 
masterpieces  of  quartet  literature,  a  great  and 
well-deserved  reputation  in  most  musical  centres 
of  the  continent.  Becker's  style  as  a  solo-player 
j^pears  to  be  a  compromise  between  the  severe 
style  of  the  German  school  and  the  lighter  and 
more  brilliant  one  of  the  French.  [P.  D.] 

BECKWITH,  John  Chbistmas,  Mub.  Doc^ 
was  bom  Dec.  25,  1759,  and  studied  music 
under  Dr.  Philip  Hayes.  He  succeeded  Garland 
as  organist  of  the  cathedral  and  St.  Peter's  Man- 
croft,  Norwich,  about  1780.  On  July  5,  1803, 
he  took  his  degrees  as  Mus.  Bao.  and  Mus.  Doc. 
At  Oxford.  He  composed  many  anthems — six 
of  them  published  by  Clementi— and  a  few  vocal 
pieces,  some  of  which  became  popular.  He  was 
considered  a  good  singing-master,  and  was  the 
instructor  of  Thomas  Vaughan.  In  1808  he 
published  a  set  of  chants  under  the  following 
title : — '  The  First  Verse  of  every  Psalm  of  Da- 
vid, with  an  Ancient  or  Modem  Chant,  in 
Score,  adapted  as  much  as  possible  to  the  Senti- 
ment of  each  Psalm.'  The  preface  to  this  work 
contains  'a  short  history  of  chanting,'  which 
displays  ^"ft^^^g  and  research,  and  contains  the 

M 


162 


BECKWITH. 


BEETHOVEN. 


first  Bug^restion  of  marked  pHalten.  Dr.  Buck, 
who  was  his  pupil  and  successor  at  Norwich 
Cathedral,  describes  his  master  as  being  almost 
as  proficient  in  painting  as  in  music.  He  died 
June  3,  1809.  [E.  F.  R.] 

BEDOS  DE  CELLES,  DoM  FBAN9018,  a 
learned  Benedictine,  bom  at  Caux  in  the  diocese 
of  Bezi^ree  in  1706,  entered  the  order  at  Toulouse 
in  1726,  and  died  at  St.  Maur  on  Nov.  25,  1779. 
Author  of  *L*art  du  facteur  d'orgues*  (Paris, 
1766-78),  an  admirable  work  for  the  time, 
written  at  the  request  of  the  Acad^mie  des 
Sciences ;  also  of  an  account  of  the  new  organ  at 
St.  Martin  of  Tours,  in  the  '  Mercure  de  France' 
for  Jan.  1762,  of  which  a  Grerman  translation 
by  J.  F.  Agricola  vnll  be  found  in  Adelung's 
'Musica  mechanica  organoedi.*  De  Celles  was 
a  member  of  the  Academle  des  Sciences  of 
Bourdeauz,  and  corresponding  member  of  that 
of  Paris.  [F.  G.] 

BEER,  Jacob  Mbteb,  the  original  name  of 
GiACX)MO  Meyebbbbb. 

BEER,  Joseph  (sometimes  written  BOER), 
a  remarkable  clarinet -player;  bom  1744  at 
Griinwald  in  Bohemia,  served  as  trumpeter  first 
in  the  Austrian  and  then  in  the  French  army 
during  the  Seven  Years*  War.  In  1771  he  went 
to  Paris,  and  there  took  up  the  clarinet,  on  which 
he  rap  dly  became  the  first  performer  of  his  time. 
In  1782  he  left  Paris,  and  travelled  through 
Holland,  Italy,  Russia,  and  Hungary,  exciting 
everywhere  the  greatest  possible  enthusiasm.  He 
died  at  Potsdam  in  181 1.  As  a  performer  Beer 
united  a  masterly  execution  to  great  power  of 
expression,  and  indeed  effected  a  complete  revo- 
lution in  the  clarinet^  which  he  greatly  improved 
by  the  addition  of  a  fifth  key.  Till  nearly  fifty 
vears  old  he  had  heard  only  French  players,  and 
nad  insensibly  acquired  their  loud  harsh  tone ; 
but  having  heard  in  Brussels  a  German  per- 
former, Sdiwartz,  he  discovered  what  the  in- 
strument was  capable  of,  and  finally  became  as 
celebrated  for  the  softness  and  purity  of  his  tone, 
for  the  delicacy  of  his  nuances,  and  especially 
his  decrescendo,  as  he  was  for  his  execution. 
In  fact  he  marks  an  epoch  in  the  history  of  the 
instrument.  His  compositions  comprise  three 
concertos  for  two  clarinets,  variations,  and 
duets.  [M.  C.  C] 

BEETHOVEN,  Ludwio  van»,  bom  at  Bonn, 
probably  Dec.  16,  1770.^  The  earliest  form  of 
the  name  is  that  with  which  we  are  familiar, 
but  it  takes  many  other  shapes  in  the  uncertain 
spelling  of  the  time,  such  as  Biethoffen,  Biethofen, 
Bietboven,  Bethoven,  Betthoven,  and  Bethof.  He 
himself  appears  to  have  always  spelt  it  as  we 
know  it.*  The  family  belonged  originally  to  a 
village  near  Louvain  ;  thence  in  1650  they  moved 
to  Antwerp,  where  in  1 685  the  name  appears  in 
the  regist^.     His  &ther  Johann  or  Jean,  and 

*  Van  In  Dutch  Is  not.  Uke  von  or  de,  a  rign  of  nobilltf. 

>  The  baptism  is  regtstored  on  the  I7th.  and  it  was  the  castom  to 
baptise  on  the  day  following  birth.  Beethoren's  own  belief  was  that  he' 
mis  bom  In  ITTi,  which  accounu  for  an  occasional  mistake  In  hisesti- 
niAte  of  the  a«e  at  which  he  wrote  his  early  works. 

=*  III  his  letters :  but  In  an  advertisement  <M  hla,  31  March,  1801,  it  if 
Bethoten  CMotttbohm.  Bettkovtiiiaiuk,  p.  4). 


his  grandfather  Ludwig,  were  both  moaksans  ta 
the  Court  band  of  the  Elector  of  Cologi^  a 
Bonn — the  latter  a  bass-singor,  and  afb^irardi 
Capellmeister,  appointed  March  1733,  ^^  ^^m^ 
a  tenor  singer,  March  27,  1756.  The  grandfuhc; 
lived  till  Dec.  24,  1773,  when  the  little  Lodwig 
had  just  completed  his  third  year.  He  was  a  muL 
lively  person  with  extraordinarily  bright  eye*, 
much  respected  and  esteemed  as  a  moaiciaD,  aiid 
made  an  indelible  impression  on  hia  grands:^ 
His  portrait  was  the  only  one  which  Beetk^vi^ 
took  from  Bonn  to  Vienna,  and  he  oft^i  spoke  A 
it  to  the  end  of  his  life.  Beethoven*s  m>>^ier— 
daughter  of  the  chief  cook  at  E^hrenbreitsidn— 
was  married  to  Johann  on  Nov.  12,  1767.  Sl^ 
was  twelve  years  younger  than  her  husband ;  L:r 
original  name  had  been  Keverich,  but  at  tb>: 
time  of  the  marriage  she  was  a  widow — M^ra 
Magdalena  Leym  or  Laym.  She  died  aSier  % 
long  illness  on  July  17,  1787,  a  woman  of  ttA 
heart  and  easy  ways,  much  beloved  by  htr  »«. 
The  father,  on  the  other  hand,  was  a  severe 
hard  man  of  irr^^lar  habits,  who  evidently  lav 
his  son's  ability,  gave  him  the  best  instriK^tSu 
that  his  poverty  would  allow,  and  kept  him  u 
his  music  with  a  stem,  strict,  perhaps  cruel.  L&i>i 
It  is  perhaps  fortunate  he  did  90.  The  fiir^ 
house  they  occupied  in  Bonn,  that  in  which  iL* 
great  composer  was  bom,'  was  5 1 5  in  the  Bc^is- 
gasse,  now  designated  by  a  tablet  erected  in  187:^ 
Besides  their  eldest,  Ludwig  Maria,  who  was  b^ 
April  I,  1769,  and  lived  but  sue  days,  the  Bee- 
thovens  had  three-^ther  boiia — Caspai^  Aai^^ 
Carl,  April  7,  1774;  Nikohfus  Johann,  Oct.  i, 
1776 ;  and  August  Franz  Georg,  Jan.  16,  i;Si, 
died  Aug.  1 6, 1 783 ;  a  daughter,  Feb.  2  3, 1 779,  vb.^ 
lived  only  four  days,  and'  a*  second  ^iri,  Mim 
Margaretha  Josepha,  Mayr4,  1786.  ^he  first  of 
these  was  the  father  of  tKe  ill-fated  youth  vb> 
gave  his  uncle  so  much  distress,  and  was  pr«>baUT 
the  ultimate  cause  of  his  death.  He  died  at 
Vienna,  Nov.  5,  181 5.  The  second,  Johann,  «r^ 
an  apothecary,  at  Lin2  and  Vienna,  the  'Gcs- 
besitzer '  of  the  well-known  anecdote,  his  broths*  1 
bete  noirt,  and  the  subject  of  many  a  compl^ntssi 
many  a  nickname.  He  died  at  Vienna  Jan.  1 1, 
1848.  From  the  Bonngasse  the  family  migTaee>i 
to  7  or  8  on  the  Dreieck,  and  thence  to  the  Kheb- 
gasse,  No.  934.  To  the  latter  they  came  in  1775 
or  76,  and  there  they  remained  for  a  few  ve&rs. 
Johann  Beethoven's  income  from  the  Chapel  ysM 
300  florins  a  year  (^£25^ — a  miserable  pittacre, 
but  that  of  most  musicians  of  the  chapel ;  ai^ 
this  appears  to  have  been  his  sole  means  of  sub- 
sistence, for  his  voice  was  nearly  gone,  and  Uiat 
is  no  sign  of  his  having  had  other  employment.* 
According  to  Beethoven's  own  statement  in  tl^e 
dedication  to  his  earliest  publication — Uie  3  S'jca- 
tas  for  Pianoforte  (1781  or  82) — he  began  music 
in  his  fourth  year.  The  few  traits  preserved  4 
that  early  period  show  that,  like  other  childio. 
he  did  not  acquire  it  without  tears.  His  fatkr 
was  his  first  teacher,  and  from  him  he  leanx^i 
both  violin  and  clavier ;  reading,  writing,  arlib- 
metic,  and  a  little  Latin  he  obtained  in  one  d 

«  See  the  register  In  Tbajer.  Lmiwig  m»  BmOomm  Lc^m.  Ll£. 


BEETHOVEN. 


BEETHOVEN. 


168 


tibe  commoa  publk  schoob,  and  even  this  ceased 
•whok  he  waa  thirteen.    At  achool  he  was  shy  and 
jafnauniinicatiTe,  and  cared  for  none  of  the  or- 
•iisanr  games  of  b<^8.    Befiiro  he  was  nine  his 
Eiisic  had  adTanoed  so  fiir  that  his  father  had 
»3  lioger  anything  to  teach  him,  and  in  1779  ! 
tx  was  haDded  over  to  Pfeiffer,  a  tenor  singer  j 
vho  had  recentij  joined  the  opera  in  Bonn,  and  I 
tfx3a  to  haTe  lodged  with  the  Beethovens,  and 
S5  whom  he  was  taugfat>  irregularly  enough,  but 
4f>f«raitl7  with  good  and  lasting  effect,  for  a 
At  the  same  time  he  fell  in  with  a  certain 


Ttar. 


ZASibaoa,  who  taught  him  Latin^  French,  and 

lulian,  and  otherwise  assisted  his  neglected  edu- 

r&'^jn.     The  oi^gan  he  learned  from  Van  den 

Eciicfi,  orgaaist  to  the  Court  Chapel,  and  an  old 

^Uad  of  lus  grand&ther's.  About  this  time,  1 780, 

^i. there  is  reason  to  believe  that  the  Beethovens 

fijiid  a  friend  in  Mr.  Creasener,  the  English 

daryi  d'affaireM,  long  time  resident  at  Bonn, 

u>i  that  he  assisted  them  with  a  sum  of  400 

dxrios.  He  died  on  Jan.  1 7, 1 781,  and  BeethoTen 

lixQ  josfc  past  ten)  is  said  to  have  written  a 

F'jisal  Cantata  to  his  memoiy,'  which  was  per- 

S  fined.     The  Cantata,  if  it  ever  existed,  has 

ji'i^erto  been  loet  sight  of.     One  composition  of 

\iii  year  we  have  in  9  Variations  on  Dressler^s 

March  in  C  minor,*  which  though  published  in 

i:S3,  are  stated  00  the  title  to  be  'compost  .... 

V^r  vsk  jenne  amateur  L.  v.  B.  ag^  de  dix  ana. 

i;^/    In  Feb.  1781  Neefe  sucoMded  Van  den 

Eolea  as  Ozganist  at  the  Court,  and  Beethoven 

itcame  hia  scholar.     This  was  a  great  step  for 

tbe  boy,  since   Neefie,   though  somewhat  over 

0€»erT^ve  aa  a  musician,  was  a  sensible  man, 

&2d  became  a  real  friend  to  his  pupiL 

Thae  is  ground  for  supposing*  that  during  the 
winter  of  1781  Ludwig  and  his  mother  made  a 
jxaniey  in  Holland,  during  which  he  played  at 
[•rirase  houaea,  and  that  the  tour  was  a  pecuniary 
r^octm.  On  June  29,  1782,  old  Van  den  Eeden 
««!i  buried,  and  on  the  next  day  the  Elector's 
laad  followed  him  to  Munster,  where  as  Bishop 
bt;  bad  a  palace,  Neefe  leaving  Ludwig,  then  1  il 
5^aR  old,  behind  him  as  his  regularly  appointed 
drf'Uty  at  the  chapel  organ,  a  post  which,  though 
cnpaid.  was  no  sinecure,  and  required  both  skill 
isA  judgment.  This  ^ows  Neefe's  confidence 
ia  his  pupil,  and  agrees  with  bis  account  of  him, 
ThUen  a  few  months  later,  aa  'playing  with 
f*7c«  and  finiah,  reading  well  at  sight,  and,  to 
frim  ap  all,  playing  the  greater  part  of  Bach's 
WeU-tempCTed  Clavier,  a  feat  which  will  be 
lo^eretood  by  the  initiated.  This  young  genius," 
««tma£s  he,  'deserves  some  assistance  that  he 
may  traveL  If  he  goes  on  aa  he  has  begun,  he 
viU  certainly  become  a  second  Mocart.' 

On  the  26th  April  1 783,  Neefe  was  promoted 
to  the  direction  of  both  sacred  and  secular  music, 
v»\  at  the  same  time  Beethoven  (then  1 2  years 
and  4  months  old),  was  appointed  '  Cembalist  im 
<-^:hegter,'  with  the  duty  of  accompanying  the 
nbearsals  in  the  theatre  ;  in  other  words  of  con^ 
docting  the  opesa-band,  with  all  the  responai* 


•ThBrr.LllS. 
*IU.t«r.Ll]a 


>  B.* H.  Cdoplate  BdUloo.  No.  Mk 


bilitiea  and  advantages  of  practice  and  experience 
which  belong  to  such  a  position.  No  pay  ac- 
companied the  appointment  at  first,  but  the 
duties  ceased  when  the  Elector  was  absent,  so 
that  there  was  leisure  for  composition.  The  pieces 
published  in  this  year  are  a  song,  'Schilderung 
eines  *  Miidchens.*  and  3  Sonatas  for  Piano  solo,* 
composed,  according  to  the  statement  of  the 
dedication,  in  1781.  On  Aug.  16,  1783,  the 
youngest  boy,  August  Franz,  died,  the  £ather*s 
voice  began  still  further  to  fail,  and  things 
generally  to  go  from  bad  to  worse. 

The  work  at  the  theatre  was  now  rather  on 
the  increase.  From  Oct.  83  to  Oct.  85,  2  operas 
of  Gluck,  4  of  Salieri,  2  of  Sarti,  5  of  Paisiello, 
with  a  dozen  others,  were  studied  and  performed ; 
but  Ludwig  had  no  pay.  In  Feb.  84  he  made 
an  application  for  a  salary,  but  the  consideration 
was  postponed,  and  it  was  probably  as  a  set-off 
that  he  was  shortly  afterwards  appointed  second 
Court-organist.  Meantime,  however,  on  April 
15,  84,  the  Elector  Max  Friedrich  died,  and  thia 
postponed  still  farther  the  prospect  of  emolument. 
The  theatrical  company  was  dismissed,  and  Neefe 
having  only  his  organ  to  attend  to,  no  longer 
required  a  deputv.  The  Beethovens  were  now 
living  at  No.  476  in  the  Wenzelgaase,  whither 
they  appear  to  have  moved  in  83,  and  Ludwig 
played  the  organ  in  the  Minorite  church  at  the 
six  o'clock  mass  every  morning. 

The  musie  of  84  consists  of  a  Bondo  for 
the  Piano  in  A,*  published  early  in  the  year, 
and  a  song  'An  einen  ^8&ugling*:  a  Concerto 
for  Piano  and  a  piece  in  3-part  harmony,  both 
in  MS.,  are  mentioned  as  probably  belonging  to 
this  year.* 

One  of  the  first  acts  of  the  new  Elector  Max 
Franz,  was  to  examine  his  establishment,  and 
on  June  27,  84,  he  issued  a  list  of  names  and 
salaries  of  hia  band,*  among  which  Beethoven's 
father  appears  with  a  salary  of  300  florins,  and 
Beethoven  himself,  as  second  organist,  with  150 
florins,  equivalent  to  jti^  and  £15  respectively. 
A  memorandum  of  the  same  date^*  shows  that 
an  idea  was  entertained  of  dismissing  Neefe  and 
putting  Beethoven  into  his  place  as  chief  organist. 
In  fact  Neefe's  pay  was  reduced  from  400  to  200 
florins,  BO  that  50  florins  a  year  was  saved  by 
the  appointment  of  Beethoven.  An  eoouomioal 
Elector  1  In  the  Holy  Week  of  1 785  the  incident 
occurred  (made  too  much  of  in  the  books)  of 
Beethoven's  throwing  >oiit  the  solo  singer  in 
Chapel  by  a  modulation  in  the  accompaniment, 
which  is  chiefly  interesting  as  showing  how  early 
his  love  of  a  joke  show^  itself."  During  this 
year  he  studied  the  violin  with  Franz  Riea— 
lather  of  Ferdinand.  The  muaic  of  1785  is  3 
Quartets  for  Piano  and  Strings,**  a  Minuet  for 
Piano  in  Eb,*'  and  a  song  'Wenn  jemand  eine 
Beise  thut'  (Op.  52,  No.  i). 

In  1786  nothing  appears  to  have  been  either 
composed  or  published,  and  the  only  incident  of 
this  year  that  Jias  survived,  is  the  birth  of  a 

•  aAB.Ho.ssR.      ■ibid.iw-ifiA.     •ibid.iff.     TnM.ni. 

■  Thayer.  L  \».  >  Ibid.  I.  IM.  »  IMd.  L  WL 

U  Fchindler.  giognijJbfa,  i.  7 ;  Thayer.  I.ISL 
a  B.* H.7&-77.  »  Ibid.  US. 

M2 


[a  fint  jourDey  to  Vieiuia.  Con- 
Cemiiu;  this  there  is  an  absolute  want  of  datea 
and  detwis.  Same  one  must  have  been  touad  to 
suppi/  the  meani  for  lo  expensive  a  journey,  but 
no  name  ii  preeerred.  Aa  to  date,  hia  dutiea  aa 
orgaaiat  nould  probably  prevent  bin  lenving- 
B<«iD  before  the  work  of  Holy  Week  and  Easter 
Haa  over.  The  two  peraons  who  were  indelibly 
impressed  on  hie  recolleotion  by  the  visit '  were 
Mozart  and  the  Kmperor  Juxeph,  From  the 
fonnoF  he  had  a  few  tesaims,  and  carried  avay  a 
difltiaci — and  not  very  ftppreoiative'— recollection 
of  hia  ploying ;  but  Moiart  must  have  been  so 
much  occupied  by  the  death  of  hia  father  (May 
■S)  and  the  approaching  production  of  'Don  Gio- 
varmi'  (Oct,  39)  that  it  is  probable  they  hod  not 
muob  intorcourae.  The  well-known  atory  of  Bbo- 
thoven'a  introduction  to  him,  when  diveated  of  Che 
omamenta'  of  Seyfried  and  othera,  atandi  u 
followa: — Mozart  aaked  him  to  play,  but  thinking 
that  hia  performance  waa  a  prepued  piece,  paid 

treated  Moiart  to  give  him  a  aubject,  which  he 
did  ;  and  tbe  boy,  getting  excited  with  the  occa- 
iion,  played  eo  findythat  Mourt,  stepping  sofUy 
Into  thsnextro<Hn,  aaid  to  hisfHeoda  ^ere,'Pay 
attention  to  him ;  he  will  make  a  noiae  in  tbe  world 

lasted  mora  than  three  months,  but,  as  we  have 
aaid,  all  certain  information  ia  wanting.  He  re- 
turned by  Augsburg,  where  he  had  to  borrow 
three  Carolins  (£3)  from  Dr.  von  Schaden.  Hia 
return  was  hastened  by  the  illnesa  of  Ms  mother, 
who  died  of  consumption  July  17,  '17S7,  and  hia 
account  of  himself  in  a  letter*  to  Von  Schaden, 
written  seven  weeks  after  that  date,  is  not  en- 
couraging. A  short  time  more  and  the  little 
Margaretha  followed  her  mother,  on  Nov.  3,^,  so 
that  17R7  must  have  closed  in  very  darlily.  'The 
only  eompowti       '  .    >   .         .... 


a  Trio  ii 


ir  for 


Piano  aolo:'  However,  matters  began 
be  made  the  acquaintance  of  the  von  Breuning 
family — his  first  permanent  fnenda — a  mother, 
three  boys,  and  ■  girl.  He  gave  leeaona  to  tJie 
girt  and  the  youngest  boy,  and  aoon  became  an 
inmate  of  the  house,  a  &r  better  one  than  he  had 
before  frequented,  and  on  terms  of  close  intimacy 
with  them  all.  The  bmily  was  a  cultivated  and 
intellectual  one.  the  mother—the  widow  of  a  man 
of  some  distinction  '  a  woman  of  reniarkable  sense 
and  refinement;  the  children,  more  or  le«s  of 
his  own  age.  Here  he  seems  to  have  been  first 
initiated  into  the  literature  of  hie  country,  and  to 
have  acquired  the  love  of  English  aiithora  which 
remained  with  him  through  life.  The  intimacy 
rapidly  Ijecame  strong.  He  often  passed  whole 
days  and  nights  with  hiefriends,  and  accompanied 
them  on  excuraiona  of  several  weeks  duration  to 
their  uncle's  house  B'.  Kerpen,  and  elsewhere. 
At  the  aanie  time  he  made  the  acquaintance  of 


BEETHOVEN.  I 

Connt  Waldata'n,  a  young  noblenuui  (■•ht  nsi  ' 
hia  eenior,  an  aniateur  muaician,  whose  actiaue-.-  ' 
ancs  was  peculiarly  useful  in  enooiiragiiK  1:. 
developing  Bsethovoi's  talent  at  a  time  wiis  i 
naturally  wanted  support.  On  Waldatein  Bee- 
thoven eierdaed  the  aame  chaim  that  he  <!iii 
later  on  the  proud  aristocracy  of  VienDa.  TV 
Count  used  to  visit  him  in  Ma  poor  roook.  ei*i 
him  a  piano,  got  him  pecuniary  bdp  imder  tic 
guise  of  allowances  from  the  Elector,  and  inmiie 
way*  sympathised  with  him.  Either  an*  •• 
shortly  afterwards,  Beethoven  composed  a  tet  .^ 
Tariations  for  4  hands  on  a  theme  of  the  Coiu':!.' 
and  in  1S05  made  him  immortal  by  dedii^ni^ 
to  him  the  grand  sonata  (op.  ;3\  which  i*  unuJli 
known  by  his  name.  Another  acquaintance  ■■> 
the  Countess  of  HatiFeld,  to  whrau  he  dediateJ 
a  set  of  Variations,  which  were  for  long  hia  ilm- 
piece. 

In  the  auminer  of  1788,  when  BeeUiovai  n 
17J  yean  old,  theElector  altered  the  plan*  bf  Li 
music,  and  formed  a  national  theatre  un  6i 
,  model  of  that  of  his  brother  the  Elmperur  JimjIl 
I  Seicha  was  made  director,  and  Neefe  pianici  u>l 
stage -manager.  The  band  was  31  strong,  uri 
contains  names  auch  aa  Riea,  the  two  Rombrni-- 
yimroak,  Stumpff — which  often  recur  in  Btt- 
thoien's  life.  He  himself  played  second  vi-ii. 
both  in  the  oper»  and  the  chapel,  and  n»  si^• 
assistant  Hof-organiat.  In  this  position  he  n- 
mained  for  four  years ;  the  opera  repertoire  "n 
large,  good,  and  various,  Ae  aingera  vren  iS 
the  beat,  and  the  exparjence  must  have  hea  ^ 
g;reat  practical  use  to  him.  Among  the  Ofsu 
played  in  S9  and  90  were  Momrt'a  '  Entfuhnm:.' 
'  Figaro,'  and  'Don  Giovanni' — the  two  Grsi  sp- 
parently  often.  Meantime  Johann  Beeihi;>ai 
was  going  from  bad  to  worse.  Stephen  Breoniic 
once  saw  Ludwig  take  hia  drunken  bther  00:  ( 
the  hands  of  the  police,  and  this  oould  hafili 
have  been  ^a  only  occasion.  At  leni^lu  <-^ 
Nov,  10,  1789,  a  decree  was  issued  ordeiim;  1 
portion  of  the  father's  salary  to  be  paid  over  » 
the  aon,  who  thus,  before  he  wae  nineteen,  be* 
came  the  head  of  the  famtly. 

The  compoaitiona  of  1 789  and  90  are  1  Pn- 
ludes  for  the  Piano  (op.   39),    24  Variaf'     "    " 
Bighini'a  'Venni'Amore,  a  Song  'Da 
Mann,'  and  probably  a  Cantata  on  the  1 
the  Emp«r<Dr  Joseph  II,  still  in  MS."     1 
extra  musical  event  nf  this  year  was  t! 
of  Haydn  and  Salomon  on  their  road  to  i 
They  arrived  on  Christmas  Day.     One  of  J 
Masses  was  performed ;  be  was  complinw 
the  Elector,  and  entertained  the  chief  m 
at  dinner  at  his  lodgings,     17Q1  operted 
Beethoven  with  a '  Ritter  BaUet.'  a  kindof  ma^fc^l 
ball,  in  antique  style.     Count  .Waldstein  ^ipean 
to  have  arranged  the  plan,  and  Beethoven  com(-.srd 

connected  with  it  at  the  time,  and  it  r^uaiirJ 
unpublished  till  1871,  when  it  appeared  anan^vl 
for  piano.  In  the  autumn  the  troupe  accompau^ei 
the  Elector  to  Meij^ntheim,  near  Ascbaffeobui^ 


BEETHOVEN. 

^  X  coadave  of  the  Ikutmhen  Orden ;  tbe  joamey 
las  bf  water  aloig  the  Rhine  and  Main,  the 
rcatJitf  was  ^endid, — there  was  unj^e  leisure, 
i&l  (be  ame  lan^  remained  in  fieethoven's  reool- 
ktioa  'a  fruitful  source  of  charming  images.* 
At  Aichaffenbuig  he  heard  a  fine  player — the 
lihe  Stdrkel.  and  showed  his  instant  appre- 
cMxM  of  the  Abhc's  graceful  finished  style  by 
uoiutiBg  it  in  extemporising.  In  Mergentheim 
ie  oMupany  remained  for  a  month  (i8  Sept. — 
»  Ud).  An  interesting  account  of  the  daily 
Bjikal  proceedings  is  given  by  Junker,  the 
li^iLun  at  Kirchbeig,*  including  an  account  of 
Beedwren's  extempore  playing.  He  compares  it 
rtk  that  of  Yogler,  whom  he  knew  well,  and 
pftaiRiBoes  it  to  have  displayed  all  Yogler*s  ex- 
oLOtMa,  witii  much  more  force,  feeling,  and  ex- 
^«c«doa,  and  to  have  been  in  the  highest  degree 
oflgioaL 

ibe  Beethovens  were  still  living  in  the  Wen- 

se^gasBe,  Call  leaniii^  music,  and  Johann  under 

i^  Court  Apothecary.    Ludwig  took  his  meals 

ftt  the  Zehigarten' — a  great  resort  of  the  Univer- 

cty  profeaiors,  artists,  and  literary  men  of  Bonn, 

aad  vhen  the  lovely  Babette  Koch,  daughter 

'<f  Uie  proprietress,   was   doubtless  an  attrac- 

tLA  to  him.'    His  intimacy  with  the  Breunings 

^•bsinaed  and  increased ;    Madame  von  Breun- 

ifi^  vas  one  of  the  very  few  people  who  could 

laioge  him,  and  even  she  could  not  always 

Mke  him  go  to  his  lessons  in  time :   when  he 

proved  too  obstinate   she   would  give   up  the 

todaavoor  with  the  remark  '  he  is  again  in  his 

nfitvi,''  an  expression  which  Beethoven  never 

pTgoC   Mosio  was  their  great  bond,  and  Bee- 

u^iTeiiB  improvisations  were  the  delight  of  tbe 

^1t.    His  duties  at  the  organ  and  in   the 

jfcbotra  at  this  time  were   not  very  great; 

tbe  Bector's  absences  were  frequent,  and  gave 

^  mttch  time  to  himself,  which  he  spent  f*artly 

m  hmoM,  partly  in  the  open  air,  ^f  which  he 

^u  ahcady  very  fond,  and  partly  in  assidu<)us 

fnctbe  and  eompositkm.     The  sketch-books  of 

tiiat  time  are  Grammed  with  ideas,  and  confirm 

]a  Btatonent,  made  many  years  Uter/  that  he 

i«gaa  thas  early  the  methoid  of  working  which 

m  aaphaticaUy  distinguishes  him. 

In  July  1792  Haydn  again  passed  through 
Bonn  on  hit  return  from  London.  The  Elector's 
^  gave  him  a  dinner  at  Godesberg,  and  Bee- 
(lio^eiiiobinitted  a  cantata  to  him,  '  which  Haydn 
greatly  pnuaed,  warmly  encouraging  the  composer 
w  proceed  with  his  studies/  What  the  cantata 
«ai  ig  not  known,  though  it  is  conjectured  to 
bare  been  on  the  death  of  the  Emperor  heo- 

Tbe  compoations  which  can  be  fixed  to  the 
yetn  1791  md  ^2  cx>nsist  of  Songs  (portions  of 
°P-  52),  a  Rmdino*  for  Wind  instruments,  the  Trio 
iTir  ^kringg,  op.  3,  an  Allegro  and  Minuet  for 
2  Flatei  ^Aog.  23,  MS.),  and  perhaps  a  set  of  14 

>ni9Er.La»fl&  SIMiLLSU. 

>He«M«t«teu)lMrwMiiii  A  TMT  &ner  iM  leftBonn.  8m  hb 
K^tb  Omoor  SramlDs.  Km.  %  MSB. 

*(^tartoAiefalBedol|ifa.Ja]r«.l8]&  SkatdtH  of  ths Bonn  date 
iRjttbetftabdiXBKaiii. 

'I)afw.L9L  H«diedHuchl.l1Kl  ■aaH.No.OO. 


BEETHOVEN. 


165 


Yariations^  for  Pianoforte,  Violin, and  Cello,  in  Eb, 
published  in  1804  as  op.  44  ;  12  Variations*  for 
Piano  and  Violin  on  *Se  vuol  ballare*;  13  ditto 
for  Piano*  on  *  £s  war  einmal*;  and  1 2  ditto *^  for 
Piano,  4  hands,  on  an  air  of  Count  Waldstein's. 

Hitherto  the  Elector  seems  to  have  taken  no 
notice  of  the  most  remarkable  member  o(  his 
orchestnL  But  in  the  course  of  this  year — 
whether  prompted  by  Neefe  or  Waldstein  or  by 
his  own  observation,  or  possibly  by  Haydn's  ap- 
probation— ^he  determined  that  Beethoven  should 
visit  Vienna  in  a  more  perman^it  manner  than 
before,  for  the  purpose  ot  studying  at  his  expense. 
Haydn  was  communicated  with,  and  in  the  very 
beginning  of  November  Beethoven  left  Bonn,  as 
it  proved,  never  to  return  to  it  again.  His  part- 
ing words  to  Neefe  are  preserved  :  ^^ — '  Thank 
you  for  the  counsel  you  have  so  often  given  me 
on  my  progress  in  my  divine  art.  SShould  I 
ever  become  a  great  man  you  will  certainly  have 
assisted  in  it,  which  will  be  all  the  more  gratify- 
ing to  you,  since  you  may  be  convinced  that'  etc. 
The  Album  in  which  his  friends — Waldstein,  the 
Breunings,  the  Kochs,  Degenhart,  and  others — 
inscribed  their  farewells  is  still  existing,**  and 
the  latest  date  is  Nov.  i.  £.  Breuning's  lines 
contain  allusions  to  *  Albion,'  as  if  Beisthoven 
were  preparing  to  visit  England — ^possibly  with 
Haydn  ?  Waldstein's  entry  is  as  follows : — '  Dear 
Beethoven,  you  are  travelling  to  Vienna  in  ful- 
filment of  your  long-cherished  wish.  The  genius 
of  Mozart  is  sUU  weeping  and  bewailing  the 
death  of  her  favourite.  With  the  inexhaustible 
Haydn  she  tound  a  refuge,  but  no  occupation,  and 
is  now  waiting  to  leave  him  and  join  herself  to 
some  one  else.  Labour  assiduously,  and  receive 
Mozart's  spirn  from  the  hands  of  Haydn.  Your 
true  friend  Waldstein.     Bonn,  October  ap,  1 79a.* 

What  provision  the  Elector  made  for  him  be- 
yond his  modest  pay  of  1 50  florins  is  not  known. 
An  entry  of  25  ducats  (i£ia  los.)  is  found  in  his 
notebook  shortly  after  he  reached  Vienna,  but 
there  is  nothing  to  show  what  length  of  time 
that  moderate  sum  represented,  or  even  that  it 
came  from  the  Elector  at  all. 

Thus  ended  the  first  period  of  Beethoven's  life. 
He  was  now  virtually  twenty-two.  The  list  of 
his  known  competitions  to  this  time,  has  been 
given  year  by  year.  If  we  add  the  Bagatelles 
i^o\}.  33),  the  a  easy  Sonatas  (op.  49),  the  a  Violin 
Kondos  (op.  51),  the  Serenaide  Trio  (op.  8),  and 
a  lost  Trio  for  Piano,  Flute,  and  Bassoon, "— all 
probably  composed  at  Bonn — and  compare  them 
with  those  of  other  composers  of  the  first  rank, 
such  as  Mosart,  tSchubert,  or  Mendelssohn,  it 
must  lie  admitted  that  they  are  singularly  few 
and  unimportant.  For  thd  orchestra  the  Kitter- 
ballet  alreiady  referred  to  is  the  single  composition 
known,  while  Mozart — to  mention  him  only-— 
had  in  the  same  period  written  36  Symphonies, 
including  so  mature  a  masterpiece  as  the '  Parisian' 
in  D.  Against  Mozart's  28  Operas,  Cantatas,  and 
Masses,  tor  voices  and  full  orchestra,  composed 


1  Nottcbohm.  AvOotMw'aM,  HI. 
•  1  btd.  No.  17fi.  1"  Ibid.  Vo.  ISS. 

12  Nuttebuhm.AwOofwinVuMi.XZVlI. 
UTliAyer,  F0ri«ichiii'w.No.23. 


U  Tbajw,  L  SSL 


166 


N 


BEETHOVEN. 


before  lie  was  23,  Beethoven  has  absolutely  no- 
thing to  show.  And  the  same  in, other  depart- 
ments. That  he  meditated  great  works,  though 
they  did  not  come  to  paper,  is  evident  in  at 
least  one  case.  A  resident  in  Bonn,  writing  to 
Schiller's  sister  Charlotte,  on  Jan.  36,  1793,' 
says  : — *  I  enclose  a  setting  of  the  Feuer-farhe  on 
which  I  should  like  your  opinion.  It  is  by  a 
young  man  of  this  place  whose  talent  is  widely 
esteemed,  and  whom  the  Elector  has  now  sent 
to  Yienua  to  Haydn.  He  intends  to  compose 
Schiller's  Freude,  and  that  verse  by  verse.  I 
expect  something  perfect;  for,  as  far  as  I  know 
him,  he  is  all  for  the  grand  and  sublime.  Haydn 
informs  us  that  he  shall  set  him  to  great  operas, 
as  he  himself  will  shortly  leave  off  composing. 
He  does  not  usually  occupy  himself  with  such 
trifles  as  the  enclosed,  which  indeed  he  composed 
only  at  the  request  of  a  lady.*  This  letter, 
which  shows  how  early  Schiller's  *Hymn  to 
Joy*  had  taken  possession  of  Beethoven — there 
to  remain  till  it  formed  the  finale  to  the  Ninth 
Symphony  thirty  years  later — is  equally  inter- 
esting for  the  light  it  throws  on  the  impression 
which  Beethoven  had  already  made  on  those 
who  knew  him,  and  who  credited  him  with  the 
intention  and  the  ability  to  produce  great  works, 
although  he  had  not  yet  produced  even  small 
ones.  This  impression  was  doubtless  due  mainly 
to  the  force  and  originality  of  his  extempore 
playing,  which  even  at  this  early  age  was  pro- 
digious, and  justified  his  firiends  in  speaking  of 
him*  as  one  of  the  finest  pianoforte-players  of 
the  day. 

By  the  middle  of  November  Beethoven  was 
settled  at  Vienna.  His  first  lodging  was  a  garret 
at  a  printer's  in  the  '  Alservorstadt*'  outside  the 
walls,  in  the  direction  of  the  present  Votive- 
Church  ;  but  this  was  soon  exchanged  for  one  '  on 
the  ground  floor,**  of  which  we  have  no  nearer 
description.  On  the  journey  from  Bonn  we  And 
him  for  the  first  time  making  notes  of  little  oc- 
currences and  expenses — a  habit  which  never  left 
him.  In  the  entries  made  during  his  first  few 
weeks  in  Vienna  we  can  trace  the  purchase  of  a 
wig,  silk  stockings,  boots,  shoes,  overcoat,  writing- 
desk,  seal,  and  hire  of  piano.  From  the  same  source 
we  can  infer  the  banning  of  his  lessons.  The 
first  payment  to  Haydn  is  8  groschen  (say  g^d., 
we  may  surely  presume  for  one  hour)  on  Dec.  1  a. 
The  lessons  took  place  in  Haydn's  house  ^  (Ham- 
berger  Haus,  No.  993)  now  destroyed.  They 
were  lessons  in  'strict  counterpoint/  and  the  text- 
book was  Fux's  'Gradus  ad  Pamassum.'  Of 
Beethoven's  exercises  345  have  been  preserved,' 
of  which  Haydn  has  corrected  43.  Haydn  was 
naturally  much  occupied,  and  it  is  not  surprising 
that  Beethoven  should  have  been  dissatisfied  with 
his  slow  progress,  and  with  the  cursory  way  in 
which  his  exercises  were  corrected,  and  have  se- 
cretly accepted  the  offer  of  additional  instruction 
from  Schenk,  a  well-known  Vienna  composer. 

I  Thayer,  Xe6ni.  1. 237.        >  Ibid.  L  227  and  213.        •Ibld.U.UB. 

«  IblU.  1. 255. '  »uf  der  EnL'  •  Ibid.  \.  289. 

*  For  all  th«  exercises  here  mentioned  and  an  able  faithful  com- 
Dicntarr.  we  Nottebohm's  inraluable  edition  of  BeelJtoveH't  StwUen, 
Toi.  i.  UTS. 


BEETHOVEN. 

But  no  open  rupture  as  yet  took  place.  B««- 
thoven  accompanied  Haydn  to  Eisenstadt  wfrnit 
time  in  1793,  and  it  was  not  until  Hajdni 
departure  for  England  on  Jan.  19,  94,  that  be 
openly  transferred  himself  to  another  uas^e. 
He  then  took  lessons  from  Albrechtaberger  m 
counterpoint,  and  from  Schuppanagh  on  tb 
violin,  three  times  a  week  each.  In  the  ^dtid!? 
the  text-book  was  Albrechtsberger'a  own  'Ai- 
weisung  zur  Composition,'  and  Uie  subject  w 
taken  up  where  Haydn  had  left  it,  and  porsried 
much  farther.  No  less  than  363  exercises  are  m 
existence  under  the  following  heads — Simple  strit: 
counterpoint ;  Free  composition  in  simple  oonnser- 
point;  Imitation;  Simple  fugue;  Fugued  ek- 
rale ;  Double  fugue,  with  triple  oount^pcHnt  m 
the  8th,  loth.  and  1 3th ;  Triple  counterpoint  aad 
Triple  fugue  ;  Canon.  Nottebohm  has  potnvd 
out  the  accuracy  and  pains  which  Albrechtsber^cr 
bestowed  on  his  pupil,  as  well  as  ^  the  care  with 
which  Beethoven  wrote  bis  exercises,  and  ik 
characteristic  way  in  which  be  n^lected  them  ia 
practice.  He  also  gives  his  reasons  for  bcdieTiai 
that  the  lessons  did  not  last  longer  than  Marct 
1795.  The  impression  they  left  on  Albr&ehte- 
be^r  was  not  flattering :  '  Have  nothing  k> 
do  with  him,*  said  the  old  contrapuntist  to  aa 
enquiring  lad,  *he  has  learnt  nothing-,  and  viH 
never  do  anything  in  decent  style.'*  In  fsrs 
what  was  a  contrapuntist  to  do  with  a  pupil  vbo 
rej^arded  everything  in  music-— even  conaecotiTc 
fifths' — as  an  open  question,  and  also  thought  it 
a  good  thing  to  Meam  occasicmally  what  » 
according  to  rule,  that  one  may  here&fiea*  eaoR 
to  what  is  contrary  to  rule  ?*  *'  Besides  tk 
lessons  v^ath  Haydn  and  Albrechtaber^ger,  f^mse 
exercises  exist  in  Italian  vocal  compioeition,  dating 
from  1793  to  1803,  and  showing  that  Beethovtn 
availed  himself  of  Salieri's  well-known  ldnditt«$ 
to  needy  musicians,  to  submit  his  pieces  to  hiio. 
Salieri's  corrections  are  chiefly  in  tiie  ^visic€i  <n 
the  Italian  syllables.  Another  musacmn  wIkvq 
he  consulted,  especially  in  his  early  attempte  &t 
quartet  writing,  was  Aloys  Forster,  to  whom  be 
r^nained  long  and  greatly  attached.^ 

Meantime  Beethoven  kept  up  coxnmunicatHm 
with  Bonn.  On  Dec.  18,  93,  his  poor  father  dit^i 
and  the  100  thalers  applied  to  the  support  of  kij 
brothers  naturally  stopped.  On  Beethoven*!  sup- 
plication, however,  the  grant  was  allowed  to  r> 
on,  in  addition  to  his  own  pay.  Ries  drew  aa^ 
transmitted  the  money  for  him.*'  The  Breunin^ 
still  held  their  place  in  his  heart;  two  lett»«  to 
Eleonore,  full  of  affection,  are  preserved,  and  bs 
mentions  having  also  written  twice  to  one  resident 
of  Bonn,  and  three  times  to  another,  in  tbe 
course  of  the  first  twelvemonth.  In  January 
1794  the  Elector  visited  Vienna,  and  with  th<e 
March  quarter-day  Beethoven's  allowance  ceaBei. 
In  the  following  October  the  Emperor  declArwl 
war  with  France,  Bonn  was  taken  po««e8si<»  -i 
by  the  republican  army,  and  the  Elector  fled. 

1  Nottebohm,  B*iihovm*$  Stmdiem,  11.198. 
S  Dolenlek.  te  Thayer.  U.117. 
•  Rlen.  JiiofrrophiM^a  Nolitfm,  p.  87. 

1"  rz«rn7,  qu(.  ted  In  note  to  Ladj  W«llaM*B  edlHon  of  the  L^en. 
U.  12.  u  Th  ver,  I.  ao.  «>  IbkL  £6.  £i:. 


BEETHOVKN. 

"Sffw  QuA  BeefclwTen  ii  landed  in  Yienna — m 

it  turns  oat,  ne?er  again  to  leave  it — and  is  left 

to  his  own  reeooroeB,  it  may  be  convenient  to 

pu£se  in  the  nanative  of  his  life,  and  sketch  his 

dancter  and  person  as  briefly  as  poarible.     He 

bd  already  a  large  acquaintance  among  the  aria- 

tocraey  of  Tlenna.     Among  his  kindest  friends 

and  moei  devoted  admirers  were  the  Prince  and 

PnoccsB  Karl  lichnowsky.    They  devoured  his 

sQisic.  gave  him  a  quartet  of  valuable  instru- 

^t« '  ftr  the  pei&raianoe  of  it,  put  up  with  his 

apneas  and  eocentricitiee,  gave  him  an  annuity 

d  £60,  and  made  him  an  inmate  of  their  house 

■ir  jesTB.    He  was  also  frequently  at  the  houses 

«f  Baron  van  Swieten,  Prince  Lobkowitz,  Ck>imt 

Friee,  and  other  noblemen,  at  once  leaders  of 

ft^on.  and  devoted  amateurs.    At  these  houses 

k  was  in  the  constant  habit  of  playing,  and  in 

BttBTof  them  no  doubt  he  taught,  but  as  to  the 

»M  reeolts  of  this  no  record  remains — ^nor  do  we 

bow  the  prices  which  he  obtained  for  his  pub- 

Ibbed  works,  or  the  value  of  the  dedications,  at 

tik  period  of  his  career.   Musical  public,  like  that 

vbkb  supported  the  numerous  concerts  flourish- 

k^  in  Ltndon  at  this  date,'  and  enabled  Salonum 

to  rid^  the  expense  of  bringing  Haydn  to  £ng< 

kttl  Uiere  was  none;  musicians  were  almost 

directly  dependent  on  the  appreciation  of  the 

valthy. 

That  Beethoven  shotdd  have  been  so  much 

frasiTBd  by  the  aristocracy  of  Vienna  notwith- 

Esaidixig  hk  personal  drawbacks,  and  notwith- 

iUadiiig  the  gap  which  separated  the  nobleman 

&offl  the  nturitr,  shows  what  an  immense  power 

tha«  must  have  been  in  his  genius,  and  in  the 

ibaoliite  amplicity  of  his  mind,  to  overcome  the 

■braptoeai  of  his  manners.     If  we  are  to  believe 

tbe  anecdotes  of  his  contemporaries  his  sensitive- 

tts  vu  extreme,  his  temper  ungovernable,  and 

bii  mode  of  expression  often  quite  unjustifiable. 

At  tbe  house  of  Count  Browne,  when  playing  a 

d%t  vtth  Ries,  a  young  nobleman  at  the  other  end 

of  ti»  room  persisted  in  talking  to  a  lady :  several 

acempto  to  quiet  him  having  fiftiled,  Beethoven 

Kukknly  lifted  Ries's  hands  from  the  keys,  say- 

ii^  in  a  load  voice  '  I  play  no  longer  for  such 

l><gB*;  nor  would  he  touch  another  note  nor  allow 

Bi^  to  do  so,  though  entreated  by  all.'  On  another 

wcadon,  when  living  in  the  house  and  on  the 

boanty  of  the  Lichnowskys,  the  prince,  knowing 

W  BeoaikiTe  Beethoven  was  to  neglect,  ordered 

^  Krvaats  whenever  they  heard  Beethoven's 

l>ell  aod  his  at  the  same  time  to  attend  to  Bee- 

^tox'b  first.    No  sooner  however  did  Beethoven 

Stover  that  such  an  order  had  been  given  than 

he  oigiaged  a  servant  of  his  own  to  answer  his 

^*   During  one  of  the  rehearsals  of  '  Leonora,* 

^  third  baasoun  was  absent,  at  which  Beethoven 

was  furious.    Prince  Lobkowitz,  one  of  his  best 

^^ndg,  tried  to  laugh  off  the  matter,  saying  that 

u  the  first  and  second  were  there  'the  absence 

of  the  third  could  not  be  of  any  great  consequence. 

• 

'^I^VBXtaMiiMMMflrion  Sir  more  thmnSOyMn.  uid  are  now  In 
ucEUiottdtttBerHii.    Fohi,  JakrttUridU  d,»  CmafrratoHmmM  ke. 

<  9nt  ibo  the  Utier  to  Zmeakall  on  the  Coontea  XrdMj't  Influenee 
"«i berimtai:  X<ttal.  BrU/t  JktOunfM.  Xo.  St. 


BEETHOVEN. 


1«7 


But  so  implacable  was  Beethoven  that  in  crossing 
the  Platz  after  the  rehesnal  he  could  not  resist 
running  to  the  great  gate  of  the  Lobkowitz  Palace 
and  shouting  up  the  entrance,^ '  Lobkowitzscher 
Esel* — 'ass  of  a  Lobkowitz.*  Any  attempt  to 
deceive  him,  even  in  the  most  obvious  pleasantry, 
he  could  never  forgive.^  When  he  composed  the 
well-known  'Anduite*  in  F*  he  played  it  to 
lUes  and  Krumpholz.  It  delighted  them,  and 
with  difficulty  they  induced  him  to  repeat  it. 
From  Beethoven's  house  Bies  went  to  that  of 
Prince  Lichnowsky,  and  not  being  able  to  contain 
himself  played  what  he  cotdd  recollect  of  the  new 
piece,  and  the  Prince  being  equally  delighted,  it 
was  repeated  and  repeated  till  he  too  could  play 
a  portion  of  it.  The  next  day  the  Prince  by  way 
of  a  joke  asked  Beethoven  to  hear  something 
which  he  had  been  composing,  and  thereupon 
played  a  large  portion  of  his  own  'Andante.* 
Beethoven  was  furious ;  and  the  result  was  that 
Ries  was  never  again  allowed  to  hear  him  play  in 
private.  In  fact  it  led  in  the  end  to  B6ethoven*s 
ceasing  to  play  to  the  Prinoe*s  circle  of  friends.* 
And  on  the  other  hand,  no  length  of  friendship 
or  depth  of  tried  devotion  prevented  him  from 
treating  those  whom  he  suspected,  however  un- 
justly, and  on  however  insufficient  grounds,  in 
the  most  scornful  manner.  Ries  has  *  described 
one  such  painful  occurrence  in  his  own  case  k  pro- 
pos  to  the  Weetphalian  negotiations ;  but  all  his 
friends  suffered  in  turn.  Even  poor  Schindler, 
whose  devotion  in  spite  of  every  drawback  was  so 
constant,  and  who  has  been  taunted  with  having 
'  delivered  himself  body  and  soul  to  Beethoven,' 
had  to  suffer  tbe  most  shameful  r^roaches  be- 
hind his  back,  the  injustice  of  which  is  most  surely 
proved  by  the  fSnct  that  they  are  dropped  as 
suddenly  as  they  were  adopted.'  When  Moritz 
Lichnowsky,  Schuppanzigh,  and  Schindler  were 
doing  their  utmost  to  get  over  the  difficulties  of 
arranging  a  concert  for  the  perfcnrmance  of  the 
Choral  Symphony  and  the  Mass  in  D,  he 
suddenly  suspected  them  of  some  ulterior  pur- 
pose, and  dismissed  them  with  the  three  following 
notoi:* — 'To  Count  Lichnowsky.  Falsehoods 
I  despise.  Visit  me  no  more.  There  will  be 
no  concert.  Beethoven.*  'To  Herr  Schindler. 
Visit  me  no  more  till  I  send  for  you.  No  concert. 
Beethoven.'  '  To  Herr  Schuppanzigh.  Visit  me 
{htHucke  er  mio/i)  no  more.  I  give  no  concert. 
Beethoven.' 

The  style  of  the  last  of  these  three  precious 
productions — the  third  person  singular — ^in  which 
the  very  lowest  rank  only  is  addressed,  seems  to 
open  us  a  little  door  into  Beethoven's  feeling 
towards  musicians.  When  Hummel  died,  two 
notes  from  Beethoven^'  were  found  among  his 
papers,  which  tell  the  story  of  some  sudden 
violent  outbreak  on  Beethoven  s  part.  '  Komme 
er  (the  same  scornful  style  as  before)  nicht  mehr 
zu  mirl  er  ist  ein  falscher  Hund,  und  falsche 
Hunde  hole  der  Schinder.  Beethov«n.'  And 
though  this  was  followed  by  an  apology  couched 
in  the  most  ultra-affectionate  and  coaxing  terms — 

•  Tliftjer.  H.  M.     •Ries.p.KB.      ribld.p.90b      ■  Bcblndler,  U.  OS. 

•  Bat MrUft, Sowing, in, Va.  W  Thajer. U. aiL 


168 


BEETHOVEN. 


BEETHOVEN. 


'  Herzens  Natzerl,*  '  Dich  kiisst  dein  Beethoven/ 
and  80  on — yet  the  impression  must  have  remained 
on  HummePs  mind.  There  can  be  no  doubt  that 
he  was  on  bad  terms  with  most  of  the  musicians 
of  Vienna.  With  Haydn  he  seems  never  to  have 
been  really  cordial.  The  old  man^s  neglect  of  hia 
lessons  embittered  him,  and  when  after  hearing 
his  first  three  Trios,  Haydn«  no  doubt  in  sincerity, 
advised  him  not  to  publish  the  third,  which 
Beethoven  knew  to  be  the  best,  it  was  difficult 
to  take  the  advice  in  any  other  light  than  as 
prompted  by  jealousy.  True  he  dedicated  his 
three  Pianoforte  Sonatas  (op.  2)  to  Haydn,  and 
they  met  in  the  concert-room,  but  there  are  no 
signs  of  cordial  intercourse  between  them  after 
Beethoven^s  first  twelve  months  in  Vienna.  In 
fact  they  were  thoroughly  antagonistic.  Haydn, 
though  at  the  head  of  living  composers,  and  as 
original  a  genius  as  Beethoven  himself,  had 
alwa3r8  been  punctilious,  submissive,  subservient 
to  etiquette.  Beethoven  waa  eminently  in- 
dependent  and  impatient  of  restraint.  It  was 
the  old  world  and  the  new— Do  Br^z^  and  Mira* 
beau  *— and  it  was  impossible  for  them  to  agree. 
They  probably  had  no  open  quarrel,  Haydn's 
tact  would  prevent  that,  but  Haydn  nick-named 
him  *  the  Great  Mogul/  and  Beethoven  retorted 
by  refusing  to  announce  himself  as  'Haydn's^ 
scholar,'  and  when  they  met  in  the  street  their 
remarks  wer«  unfortunate,  and  the  antagonism 
was  but  too  evident. 

For  Salieri,  Eybler,  Gyrowetz,  and  Weigl, 
able  men  and  respectable  contrapuntists,  he  had 
m  sincere  esteem,  though  little  more  intimate 
feeling.  Though  he  would  not  allow  the  term 
as  regarded  Haydn,  he  himself  left  his  char- 
acteristic visiting  card  on  Salieri's  table  as  his 
*  scholar ' — *  Der  Schuler  Beethoven  war  da.'  *  But 
with  the  other  musicians  of  Vienna,  and  the 
players  of  his  own  standing,  Beethoven  felt 
no  restraint  on  open  war.^  They  laughed  at  his 
eccentricities,  his  looks  and  his  Bonn  dialect,* 
made  game  of  his  music,  and  even  trampled  *  on 
it,  and  he  retorted  both  with  speech  and  hands. 
The  pianoforte-players  were  Hummel,  Woelffl, 
Lipawsky,  Gelinek,  Steibelt.  Steibelt  had  dis- 
tinctly challenged  him,'  had  been  as  thoroughly 
beaten  as  a  man  could  wish,  and  from  that  day 
forward  would  never  again  meet  him.  Gelinek. 
though  equally  vanquished,  compensated  himself 
by  listening  to  Beethoven  on  all  occasions,  and 
Stealing  his  phrases '  and  harmonies,  while  Bee- 
thoven retorted  by  enga^ng  his  next  lodging 
where  Gelinek  could  not  possibly  come  within 
the  sound  of  his  piano.  Woelffl  and  Hummel 
were  openl}^  pitted  against  him,  and  no  doubt 
there  were  people  to  be  found  in  Vienna  in  1 795, 
as  there  are  in  London  in  1876,  to  stimulate 
such  rivalry  and  thus  divide  artists  whom  a 


>  Carijte's  Fmuh  RerohUom,  bk.  ▼.  ch.  2.  I  Ble^.  p.  88. 

*  Ams  Mo$ekei>§'  Lrben,  1.10. 

*  He  calls  them  bU  *  deadly  enamlet.'    Letter  to  Bleanore  ron 
BrruniDg,  Not.  2,  W.  •  ThiTer,  11. 66. 

*  Kozeluch.  see  Thajer.  U.  108.   BombenK  did  the  same  thing  acme 
yean  later ;  and  lee  8pohr*8  curious  story  of  bim,  Setb^Uog,  L  86. 

7  Bee  the  story  in  Ries,  p.  81. 

'*  Letter  to  Eleonore  t.  Breonlng,  Nor.  %  1798,  irttb  Wegeler's 
reniarks,  B.  JTodccm  pw  Stl. 


little  care  might  have  united.  Hummel  it  aid 
to  have  excelled  him  in  clearness,  elegancr,  aad 
purity,  and  Woelffl's  proficiency  in  oounterprisi 
was  great,  and  his  huge  hands  g»ve  him  ex- 
traordinary command  of  the  keys ;  but  for  ^. 
and  imagination,  and  feeling,  and  wealth  of  ideac 
in  extempore  playing,  none  of  them  can  have  ap- 
proached Beethoven.  '  His  improvisation,'  aji 
Gzemy,"  '  was  most  brilliant  and  striking ;  m 
whatever  company  he  might  chance  to  be,  ^ 
knew  how  to  produce  such  an  effect  upon  ex&j 
hearer,  that  frequently  not  an  eye  remainoi  dry. 
while  many  would  break  out  into  loud  aobe ;  fer 
there  was  bomething  wonderful  in  his  expreasoo, 
in  addition  to  the  beauty  and  originality  of  hu 
ideas,  and  his  spirited  style  of  rendering  tb^i.' 
He  extemporised  in  r^ular  *  form,*  and  }m 
variations — when  he  treated  a  theme  in  that 
way — were  not  mere  alterations  of  figure,  bat 
real  developments  and  elaborations  of  the  subject^' 
*  No  artist,*  says  Ries,*^  '  that  I  ever  heard  canx 
at  all  near  the  height  which  Beethoven  attained 
in  this  branch  of  playing.  The  wealth  of  hlem 
which  forced  themselves  on  him,  the  caprices  t«? 
which  he  surrendered  himself,  the  Turietr  <A 
treatment,  the  difficulties,  were  inexhanstiUe.' 
Even  the  Abb^  Vogler's  admirers  were  oompelkd 
to  admit  as  muoh.^^  He  required  much  pressia^. 
often  actual  force,  to  get  him  to  the  piano,  ajaid 
he  would  make  a  grimace  or  strike  the  keys  vith 
the  back  of  his  hand  ^  as  he  sat  down  ;  but  w^ 
there  he  would  extemporise  fur  two  hours  and 
even  more  at  a  time,  and  after  ending  one  of  kii 
great  improvisation8,..he  would  burst  into  a  roai 
of  laughter,  and  banter  his  hearers  on  thai 
emotions.  'We  artists,*  he  would  say,  'don't 
want  tears,  we  want  applause.*  ^^  At  otiier  times 
he  would  behave  as  if  insulted  by  such  indicaticnts 
of  sympathy,  and  call  his  admirers  fools,  aad 
spoiled  children. 

And  yet  no  outbursts  of  this  kind  seem  to 
have  made  any  breach  in  the  regard  with  which 
he  was  treated  by  the  nobility — ^the  cmly  ua- 
professional  musicid  society  of  Vienna.  Certainly 
Beethoven  was  the  first  musician  who  had  ever 
ventured  on  such  independence,  and  ther«  «» 
possibly  something  piquant  in  the  mere  noTeltj ; 
but  the  real  secret  of  his  lasting  influence  maM 
have  been  the  charm  of  his  personality — his 
entire  simplicity,  joined  to  his  prodigious  genius. 
And  he  enjoyed  good  society.  'It  is  good,'  i«id 
he,  '  to  be  with  the  aristocracy ;  but  one  naust  be 
able  to  impress  them.*  ^ 

This  personal  fascination  acted  most  strongly 
on  his  immediate  friends— (»i  Krumpholz  t,wbio 
seems  to  have  played  the  part  of  Ck>leridg«'s 
humble  follower  John  Chester**),  on  the  s4jiDe- 
what  cold  and  self  possessed  Breuning,  as  well  ai 
on  Hies,  Zmeskall,  SchindltiT,  Holz.  and  othen, 
who  had  not,  like  Haslinger  or  Streicber,  anv- 
thing  to  gain  from  him,  but  who  suffered  bis 


•  Thayer,  II.  10. 

i^  Ciemy  gires  the  rarloos  forms  of  hU  Improrbatkym.  TTiaytc  £. 
317.         II  Notiten.  p.  100.        "  Thayer,  ii.  S6.        U  Ibid.  U.  .<t«a.  ilL 

H  Gonrersation  with  Bettioa.  Thayer.  U.  IS.  U  ibM.  ii.  HX 

M  '  One  of  those  who  were  attracted  to  Coleildge  a&  ties  to  h..«cy,  «r 
bee*  tu  the  sound  ofabraaa  pan.'   liazlitt.  in  nu  Liftmii. 


BEETHOVEN. 


BEETHOVEN. 


169 


ragb£Si  words  tnd  mosl  ■curvy  treatment,  and 
letomed  again  and  again  to  their  wanhip  with 
aitcai^hingcoiiBtawy.  Excepting  Breuning  nona 
uf  these  seem  really  to  have  had  his  contidenoe, 
or  to  have  known  anything  of  the  inner  man 
whxh  lay  behind  the  rough  hiuik  of  his  exterior, 
ud  yet  they  all  clang  to  him  as  if  they  had. 

Of  his  tour*  de  force  in  performancd  too  mnoh 
i»  p«rhapB  made  in  the  books.  His  transposiiig 
the  Concerto  in  G  into  Cf  at  rehearsal  was 
exactly  rq»eated  by  *  Woelffl  ;  while  his  playing 
tki  piuio  parts  of  his  Horn  Sonata,  his  Ejneutzer 
Susiata,  or  his  G  minor  Concerto  without  book, 
a-  diflScCult  pieces  of  Bach  at  first  sight,  is  no 
more  than  has  been  done  by  Mozart,  Mendelssohn, 
Stemdale  Bennett,  and  many  mferior  artists. 
Xo,  it  was  no  quality  of  this  kind  that  got  him 
ik  name  of  the  'giant  among  players';  but  the 
k^tioesB  and  elevaiion  of  his  style,  and  his  great 
pyver  of  expreaaion  in  dow  movements,  which 
v^  exerased  on  his  own  noble  music  fixed  his 
baren  and  made  them  insensible  to  any  faults 
cf  polish  or  mere  mechanism. 

It  was  not  men  alone  who  were  attracted  by  him, 
be  was  an  equal  favourite  with  the  ladies  of  the 
Cuort.  The  Princess  Lichnowsky  watched  over 
bxa^— ss  Madame  von  Breoning  had  done — like 
a  moiber.*  Tiie  Countesses  GiUlenberg  and  £r- 
dfidy.  the  Princess  Odescalchi,  the  Baroness 
Ei^oaon,  the  sisters  of  the  Count  of  Bruns- 
wick, and  many  more  of  the  reigning  beauties 
of  Vienna  adored  him,  and  would  bear  any 
nKkneaa  from  him.  These  young  ladies  went 
ft>  Ills  lodgings  or  received  him  at  their 
palaces  as  it  suited  him.  He  would  storm  at 
\1m  least  Inattention  during  their  lessons,  and 
vQold  tear  ap  the  music  and  throw  it  about." 
He  laay  have  used  the  snuffers  as  a  toothpick  in 
Msdame  Ertmann's  drawing-room;  but  when 
^  lost  her  child  he  was  admitted  to  console 
b»;  snd  when  Mendelssohn  saw  her*  fifteen 
?<an  later  she  doted  on  his  memory  and  recalled 
tbeimallest  traits  of  his  character  and  behaviour. 
He  waa  constantly  in  love,  and  though  his  taste 
«M  very  promiscuous,'  yet  it  is  probably  quite 
tne  tliat  tiie  majority  of  his  attachments  waa  for 
Totoea  of  rank,  and  that  they  were  returned  or 
■sfeied.  Unlike  poor  Schubert,  whose  love  for 
the  Connteas  Marie  Esterhacy  was  so  carefully 
concealed,  Beethoven  made  no  secret  of  his 
u^adunents.  Many  of  them  are  perpetuated  in 
the  dedications  of  his  sonatas.  That  in  £b  (op.  7 ), 
d-tlicated  to  the  Countess  Babette  de  Keglevics, 
Tu  called  in  allusion  to  him  and  to  her,  *  die 
Ttrliebte.'  To  other  ladies  he  writes  in  the  most 
intiinate,  nay  affectionate  style.  He  addresses 
the  Baroneas  Ertmann  by  her  Christian  name 
u  'Laebe.  werthe,  Dorothea  Ciicilia,*  and  the 
Coontess  Eidody — whom  he  called  his  confessor 
— »  'Liebe,  liebe,  liebe,  liebe,  liebe,  Grafin.'* 
Thayer's  investigations'  have  destroyed  the  ro- 

*Tlii|«r.iL9. 

'  Efae  moll  Im*«  put  nM  mder  %  clan  ease  If  di«  eoald,*  nld 
BMboccB.  *  Count  aM  GaUeabeiv.  in  Tlmjcr.  U.  112. 

« Letter  oTJi^rM,  MSI. 

>  tae  tbe  gaeoaote  In  Ttaicr.  fl.  IDA:  and  Blei^  nmark  about  tha 
tiiiursdmBMafa,  JTotfites.  p.  lis. 

^^^*^s^tmBrit/€,'&o.^a^  V  8aa Tol. IL IM. ale. 


mance  of  his  impending  marriage  with  Giulietta 
Guiociardi  (afterwards  Countess  Galienberg) ; 
yet  the  fact  tiiat  the  itory  has  been  so  long 
believed  shows  its  abstract  probability.  One 
thing  is  certain,  that  his  attachments  were  all 
honourable,  and  that  he  had  no  taste  for  im- 
morality. *  Oh  God  1  let  me  at  last  find  her  who 
is  destined  to  be  mine,  and  who  thall  ttrengiktu 
me  in  virtue.*  Those  were  his  sentiments  as  to 
wedded  love. 
His  dedications  have  been  mentioned.     The 

Eractice  seems  virtually  to  have  begun  with 
im,"  to  have  sprung  from  the  equal  and  in- 
timate relation  m  which  he  —  earliest  among 
musicians  —  stood  to  his  distinguished  friends; 
and  when  one  looks  down  the  list,'  from  op.  i  to 
op.  I  $5 — unsurpassed  even  by  any  later  composer 
•^and  remembers  that  the  majority  were  inspired 
by  private  friendship,^  and  that  only  a  minority 
speak  of  remuneration,  it  is  impossible  not  to  be 
astonished. 

Formal  religion  he  apparently  had  none ;  his 
religious  observances  were  on  a  par  with  his 
manners.  It  is  strange  that  the  Bible  does  not 
appear  to  have  been  one  of  his  favourite  bodes. 
He  once  says  to  a  friend,"  *It  happens  to  be 
Sunday,  and  I  will  quote  you  something  out  of 
the  Gospel  —  Love  one  another';  but  such 
refisrences  are  very  rare.  But  that  he  was  really 
and  deeply  religious,  'striving  sacredly  to  fulfil 
all  the  duties  imposed^  on  him  by  humanity, 
God,  and  nature,'  and  full  of  trust  in  God,  love 
to  man,  and  real  humility,  is  shown  by  many  and 
many  a  sentence  in  his  letters'  And  that  in 
moments  of  emotion  his  thoughts  turned  up- 
wards is  touchingly  shewn  by  a  fragment  of  a 
hymn — 'G^tt  allein  ist  unser  Herr' — which 
Mr.  Nottebohm"  has  unearthed  from  a  sketch- 
book of  the  year  1818,  and  which  Beethoven 
has  himself  noted  to  have  been  written,  '  Auf 
dem  Wege  Abends  awischen  den  und  auf  den 
Bergen.*  The  following  passages,  which  he 
copied  out  himself  and  kept  constantly  before 
him,  served  him  as  a  kind  of  Creed,  and  sum  up 
his  theology : — 

I  am  that  which  is. 

I  am  all  that  is,  that  was,  and  that  shall  be. 
Ko  mortal  man  hath  lifted  my  veil. 

He  is  alone  by  Himself,  and  to  Him  alone  do 
all  things  owe  their  being. 

How  he  turned  his  theology  into  practice  is 
well  exemplified  in  his  alteration  of  Moscheles* 
pious  insc.iption.  At  the  end  of  his  arrange* 
ment  of  Fidelio  Moscheles  had  written  *Fine, 
With  God's  help.'  To  this  Beethoven  added, 
'  O  man,  help  thyself.' '« 

In  his  early  Vienna  days  he  attempted  to  dreat 


•  Moarfk  itz  qnartati  are  dedleatoil  to  Hajdn.  but  tkh  b  quHo  aa 
exoepi  ion.  Uaf  dn  tiadfcatad  a  Sonata  or  two  In  London,  but  It  waa  not 
his  practloe. 

*  As  ffiren  in  Nottcbohoal  n^maHttket  VentMtmUt,  Anbaog  Ir.o. 
Vi  In  dedioatlnc  ojnis  90  to  Friooa  M oritt  Licltnowikf  b«  aayi,  that 

'  anything  approachiof  a  gUl  in  retain  would  only  diatreM  him.  and 
that  h«  should  decidedly  reftue  it.'  See  alio  tbe  letter  to  ZmedcaU 
(Dec.  1ft.  L816)  dedlcatii«  op.  96. 

"  Frau  Streleher.  BrU/*.  So.  90a 

U  Utter  to  Archd.  Roitolpb.  July  11; : 

U  N»me  Bf^Oiovfmiama,  No.  VII. 

MUuMbaIes.i.«6c».i.lll. 


170 


BEETHOVEK 


in  the  fashion,  wore  silk  stockings,  perruque,  long 
boots,  and  sword,  carried  a  double  eye-glass  and  a 
seal-ring.  But  dress  must  have  been  as  unbearable 
to  him  ^  as  etiquette,  and  it  did  not  last ;  '  he 
was  meanly  dressed/  says  one  of  his  adorers, 
'  and  very  ugly  to  look  at,  but  full  of  nobility  and 
fine  feeling,  and  highly  cultivated/  *  Czemy  . 
first  saw  him  in  his  own  room,  and  there  his 
beard  was  nearly  half  an  inch  long,  his  block 
hair  stood  up  in  a  thick  shock,  his  ears  were 
filled  with  wool  which  had  apparently  been 
soaked  in  some  yellow  substance,  and  his  clothes 
were  made  of  a  loose  hairy  stuff,  which  gave 
him  the  look  of  Robinson  Crusoe.  But  we  know 
tiiat  he  never  wore  his  good  clothes  at  home ;' 
at  any  rate  the  impression  he  usually  made  was 
not  so  questionable  as  this.  Those  who  saw  him 
for  the  first  time  were  often  charmed  by  the 
eager  cordiality  of  his  address,  and  by  the  absence 
of  the  bearishness  and  gloom  ^  which  even  then 
were  attributed  to  him.  His  face  may  have  been 
ugly,  but  all  admit  that  it  was  remarkably  ex- 
pressive. When  lost  in  thought  and  abstracted 
his  look  would  naturally  be  gloomy,  and  at  such 
times  it  was  useless  to  expect  attention  firom 
him ;  but  on  recognising  a  Mend  his  smile  was 
peculiarly  genial  and  winning.*  He  had  the 
breadth  of  jaw  which  distinguishes  so  many 
men  of  great  intellect ;  the  mouth  firm  and  de- 
termined, the  lips  protruded  with  a  look  almost 
of  fierceness :  but  his  eyes  were  the  special  feature 
of  the  face,  and  it  was  in  them  that  the  earnestness 
and  sincerity  of  his  character  beamed  forth.  They 
were  black,  not  laige  but  bright,  and  when 
uhder  the  influence  of  inspiration — the  raptus  of 
Madame  von  Breuning — they  dilated  in  a  peculiar 
way.  His  head  was  large,  the  forehead  both  high 
and  broad,  and  the  hair  abundant.  It  was 
originally  black,  but  in  the  last  years  of  his  life, 
though  as  thick  as  ever,  became  quite  white, 
and  formed  a  strong  contrast  to  the  red  colour  * 
of  his  complexion.  Beard  or  moustache  he  never 
wore.  His  teeth  were  very  white  and  regular, 
and  good  up  to  his  death  ;^  in  laughing  he 
shewed  them  much.  The  portraits  and  busts 
of  Beethoven  are  with  few  exceptions  more  or 
less  to  blame ;  they  either  idealise  him  into  a 
sort  of  Jupiter  Olympus,  or  they  rob  him  of  all 
expression.  It  must  have  been  a  difiScult  face 
to  take,  because  of  the  constant  variety  in  its 
expression,  as  well  as  the  impatience  of  the 
sitter.  The  most  trustworthy  "likenesses  are 
(i)  the  miniature  by  Homemann,  taken  in  i8ca, 
and  photographed  in  Breuning's  'Schwarzspa- 
nierhaus*  ^Vienna,  1874)  ;  (2)  the  head  by  I<e- 
tronne,  engraved  by  Hofel,  and  (badly)  by  Kiedel 
for  the  A.  M.  Z.,  1817  ;  (3)  the  little  full  length 

1  *  It  b  no  object  to  me  to  hare  my  hair  drened.*  taj*  he.  k  propos 
to  ft  lerrant  who  posacased  that  aecompllahinent.  Feb.  2S.  IMS. 
3  CouDtew  Galleubers.  in  Thayer,  ii.  172.       *  I^etter  of  June  15b  18SB> 

*  Spobr.  StUutbtog.  196.    E.  B.,  in  1  hayer  II.  297. 

*  Bochiitc.  Fir  Frtvuh  <i.  Tomkutul.  iv.  SOD :  and  the  charming 
account  (by  a  niece  of  Dr.  Bumey)  in  the  Hamumieomt  Dec  lUSb. 

*  f4r  JuUas  Benedict's  recollection. 

T  Breuninir,  Aum  dem  Srkvartapanierhaua,  p.  €7. 

*  I  heartily  wish  It  wen  in  my  power  to  give  thete  two  portraits,  ao 
Ml  of  character  and  to  unlike  the  ordinary  engravings.  The  fint  of 
the  two  ba»  a  special  interest  as  ha? Ing  been  sent  by  Beetho? eu  to 
Breuulng  as  a  pledge  of  reoondllatton.    bee  the  letter,  p.  182. 


BEETHOYEir. 

sketch  by  Lyser,  to  the  accuracy  of  w^hicli  Brem 
ing  expressly  testifies,  except  that  the  hat  ahoul 
be  straight  on  the  head,  not  at  all  on  one  sid< 


He  was  below  the  middle  height — not  more  than 
5  feet  5  inches;  but  broad  across  the  shoulders 
and  very  firmly  built — 'the  image  of  strength.'' 
His  hands  were  much  covered  with  hair,  the  &igers 
strong  and  short  (he  could  barely  span  a  tenth), 
and  the  tips  broad,  as  if  pressed  out  with  long 
practising    from    early    youth.     He    was   very 
particular  as  to  the  mode  of  holding  the  handii 
and  placing  the  fingers,  in  which   he  was  a 
follower  of  Emanuel  Bach,  whose  Method  he  em- 
ployed in  his  earlier  days.    In  extempore  playing 
he  used  the  pedal   far  more  than  one  would 
expect  from  his  published  sonatas,  and  this  made 
his  quick  playing  confused,  but  in  Adagioi  he 
played  with  divine  clearness  and  expression.'^ 
His  attitude  at  the  piano  was  perfectly  quiet  and 
dignified,  with  no  approach  to  griuiace,  except  to 
bend  down  a  little  towards  the  keys  as  his  deafness 
increased.^^     This  is  remarkable,  because  as  a 
conductor  his  motions  were  most  extravagant.'' 
At  a  pianissimo  he  would  crouch  down  so  as  to 
be  iiidden  by  the  desk,  and  then  as  the  crescendo 
increased,  would  gradually  rise,  beating  all  the 
time,  until  at  ihefoHissimo  he  would  spring  into 
the  air  with  his  arms  extended  as  if  wishing  to 
float  on  the  clouds.     When,  as  was  sometimes 
the  case  after  he  became  deaf,  he  lost  his  place, 
and  these  motions  did  not  coincide  with  the 
music,  the  effect  was  very  unfortunate,  though 
not  so  unfortunate  as  it  would  have  been  had 

•  BeTfHed.  JNo^r.  Kotiten,  13.—'  In  that  limited  tpaee  was  concen- 
trated the  pluck  of  twenty  battalioni.'— £o<Arii.  ch.  x%ill. 
»«  Cioniey.  in  Thay w.  H.  WH.  "  Thayer,  IL  2K. 

B  Seyfried,  p.  17,  oonilmMd  by  Spohr.  BdbtOAog.  i.  ^1. 


BEETHOVEN", 


BEETHOVEN. 


in 


be  himself  been  aware  of  tbo  mistake.  In  the 
CTcbestr*,  as  at  the  piano,  he  was  ui^ent  in 
•icm&ndhig  expression,  exact  attention  to  piano 
aad  forUf  and  the  slightest  shades  of  nuance, 
and  to  Umiio  rabaio.  Generally  speaking  he 
vas  extremity  courteous  to  the  hand,  though 
t>  this  mle  th^e  were  now  and  then  exceptions. 
Thof^h  80  easily  made  angry  his  pains  aH  a 
teauc^er  must  hare  been  great.  'Unnaturally 
f^dent,^  Bays  one  pupil/  'he  would  have  a  pas- 
sa^  repeated  a  dozen  times  till  it  was  to  his 
mixkd* ;  'infinitely  strict  in  the  smallest  detail/ 
says  another/  'until  the  right  rendering  was 
oUaioied.'  'Comparatively  careless^  as-  to  the 
lizht  zfeotea  being  played,  but  angry  at  once  at 
hay  fiailnre  in  expression  or  naanct^  or  in  ap- 
preh^ision  of  the  character  of  the  piece  ;  saying 
tlbat  the  fiist  might  be  an  accident,  but  that 
:}»  other  showed  want  of  knowled'^^e,  or  feeling, 
or  atsention.'  What  his  practice  was  as  to  re- 
m^meration  does  not  appear,  but  it  is  certain 
tkat  in  swne  cases  he  would  accept  no  pay  from 
bin  pupils. 

His  simplicity  and  absence  of  mind  were  now 
ai&l  then  oddly  shown.  He  could  not  be  brought 
b>  undostand  why  his  standing  in  his  nightshirt 
ai  xhe  open  window  should  attract  notice,  and 

asked  with  perfect  simplicity  '  what  those  d d 

\nyi  were  booting  at/^  At  Penzing  in  1823  he 
^v^  at  his  window  in  full  view,  and  when  the 


people  collected  to  see  him,  changed  his  lodging 
rather  than  forsake  the  practice.^  Like  Newton 
he  was  uuctmscious  that  he  had  not  dined,  and 
urged  on  the  waiter  payment  for  a  meal  which 
he  had  neither  ordered  nor  eaten.  He  forgot 
that  he  was  the  owner  of  a  hone  until  recallel 
to  the  fact  by  a  long  bill  for  its  keep.  In  fact 
he  was  not  made  for  practical  life ;  never  could 
play  at  cards  or  danoe,  dropped  everything  that 
he  took  into  his  hands,  and  overthrew  the  ink 
into  the  piano.  He  cut  himself  horribly  in 
shaving.  *  A  disorderly  creature*  (^ein  unordent- 
licher  Mensch)  was  his  own  description,  and  '  ein 
konfuser  Kerl*  that  of  his  doctor,*  who  widely 
added  the  saving  clause  *  though  he  may  still  be 
the  greatest  genius  in  the  world.'  His  ordinary 
handwriting  was  terrible,  and  supplied  him  with 
many  a  joke.  '  Yesterday  I  took  a  letter  myself 
to  the  post-office,  and  was  asked  where  it  w^s 
meant  to  go  to.  From  which  I  see  that  uiy 
writing  is  as  often  misunderstood  as  I  am  myself.' ' 
It  was  the  same  twenty  yean  before—'  this  cursdd 
writing  that  I  cannot  alter.*'  Much  of  his 
difficulty  probably  arose  from  want  of  pens, 
which  he  often  b^  from  Znieskall  and  Breun* 
ing ;  for  some  of  his  MSS.  *  are  as  clear  and 
flowing  as  those  of  Mozart,  and  there  is  a  truly 
noble  oharaoter  in  the  writing  of  some  of  his 
letters,  e.g.  that  to  Mr.  Broadwood  \jiee  p.  194 J, 
of  which  we  give  the  signature. 


Cl/K 


Notwithstanding  his  ill^ble  hand  Beethoven 
Tsi  a  ooosiderable  letter  vmter.  The  two  col- 
lectiooa  published  by  Nohi  contain  721,  and 
ibfse  are  probably  not  more  than  half  of  those 
W  wrote.**  Not  a  lai^  niunber  when  compared 
^th  those  of  Mendelssohn  or  even  Mozart — both 
■^  whom  died  so  early, — but  large  under  all  the 
(nicumstanoes.  'Good  letters*  they  cannot  be 
e^ed.  They  contain  no  descriptions  or  graces 
<^f  itvle ;  they  are  often  clumsy  and  inc  rrect. 
But  they  are  also  often  eminently  interesting 
from  being  so  brimf ull  of  the  writer's  personality. 
Tlie?  are  all  concerned  with  himself,  his  wants 
Ukl  wishes,  his  joys  and  sorrows;  sometimes 
vben  they  speak  of  his  deafness  or  his  ill  health, 
oromiesa  his  faults  and  appeal  to  the  affection 
^  kii  correspondent,  they  overflow  with  feeling 
ud  rise  into  an  affecting  eloquence,  but  always 
to  the  point.  Of  these,  the  letters  to  Wegeler 
uid  Eleanare  von  Breuning,  and  that  to  his 
brothers  (called  his  '  Will '),  are  fine  specimens. 
HaDj  of  those  addressed  to  his  nephew  are  inex- 
pewbly  touching.    But  his  letters  are  often  very 

>  EfaiV pwX.  *  CountMi Galtanbeiv,  io TlMjer.  U.I7L 

'Kw,p.M.  «MaKheles.i^«ft««.L17. 

*lRU3nt.p.M.  •Thaier.U.SMi 

^  Uncr  10  ZaMakaO,  Oct.  9.  DOS. 


short.  Partly  perhaps  from  his  deafness,  and 
partly  from  some  idiosyncrasy,  he  would  often 
write  a  note  where  a  verbal  question  would  seem 
to  have  been  more  convenient.  One  constant 
characteristic  is  the  fun  they  contain.  iSwift 
himself  never  made  worse  puns  with  more  plea* 
sure,  or  devised  queerer  spelling  "  or  more  miser- 
able rhymes,  or  bestowed  more  nicknames  on  his 
friends.  Krumpholz  is  *my  fool' ;  he  himself  is 
' the  Generalissimus,*  Haslinger  'the  Adjutant,* 
Schindler  'the  Samothracian '  and  *Papageno*; 
Schuppanzigh  is  'Falstaff* ;  Bernard,  '  Bermurdus 
non  Sanctus ' ;  Leidesdorf  is  '  Dorf  des  Leides* ; 
HoffmiCnn  is  adjured  to  be  *kein  H^Sfinann/ 
Kiihlau  is  *  Kiihl  nicht  lau,*  and  so  on.  Nor 
are  they  always  comme  il  faut,  as  when  he 
addresses  Holz  as  'lieber  Holz  vom  Kreuze 
Christi,'  or  apostrophises  'Monsieur  Friederich, 
nomme  Liederlich.'  Sometimes  such  names  bite 
deeply : — his  brother  J  ohann  is  the  '  Braineater,* 
'  Pseudo-brother,*  or  *  Asinus,*  and  Caspar's  widow 
the  '(^ueen  of  Night.'  No  one  is  spared.  A 
canon  to  Count  Moritz  Lichnowsky  runs  '  Bester 

•  Letter  to  Stmrock.  Kug.  %  1794. 

•  For  Instance  a  MS.  of  the  B  flat  Concerto,  formerly  in  postenlon  of 
Mr.  )*uwk1L     1"  Thayer's  two  voU.  contain  maoy  aol  before  publii^edi 

U  E«e  Koft.  2W.  9U-i  of  Nobis  Bnc/t, 


172 


BEETHOVEN. 


BEETHOVEK 


Herr  Graf,  du  bist  ein  Schaf.'  The  anecdote 
about  his  brother  already  alluded  to  is  a  case  in 
point.'  Johann,  who  lived  on  his  own  property, 
called  on  him  on  some  jour  de  fete^  and  left  l:ds 
card  '  Johann  van  Beethoven,  Gutsbesitzer'  (land 
proprietor),  which  Beethoven  immediately  re- 
turned after  writing  on  the  back  'L.  van 
Beethoven,  Hirnbesitzer  *  (brain  proprietor). 
This  fondness  for  joking  pervaded  lus  talk 
also;  he  liked  a  home-thrust,  and  delivered  it 
with  a  loud  roar  of  laughter.  To  tell  the  truth 
he  was  fond  of  horse-play,  and  that  not  always 
in  good  taste.  The  stories — some  of  them  told 
by  himself — of  his  throwing  books,  plates,  ^gs, 
at  the  servants  ;  of  his  pouring  the  dish  of  stew 
over  the  head  of  the  waiter  who  had  served  him 
wrongly ;  of  the  wisp  of  goat*s  beard  sent  to  the 
lady  who  asked  him  for  a  lock  of  his  hair — are 
all  instances  of  it.  No  one  had  a  sharper  eye 
or  ear  for  a  joke  when  it  told  on  another.  He 
was  never  tired  of  retailing  the  delicious  story  of 
Simon  the  Bohemian  tenor  who  in  singing  the 
sentence  'Auf  was  Art  Elende'  transformed  it 
into  *  Au  !  fwa !  Sartellen  Thee ! '  *  But  it  must  be 
confessed  that  his  ear  and  his  enjoyment  were  less 
keen  when  the  joke  was  against  himself.  When 
at  Berlin  in  1 796  he  interrupted  Himmel  in  the 
middle  of  an  improvisation  to  ask  when  he  was 
going  to  begin  in  earnest.  But  when  Himmel, 
months  afterwards,  wrote  to  him  that  the  latest 
invention  in  Berlin  was  a  lantern  for  the  blind, 
Beethoven  not  only  with  characteristic  simplicity 
did  not  see  the  joke,  but  when  it  was  poin  ^  out 
to  him  wad  furious,  and  would  have  nothing 
more  to  do  with  his  correspondent. 

The  simplicity  which  lay  at  the  root  of  so 
many  of  his  characteristic  traits,  while  it  gave 
an  extraordinary  force  and  freshness  to  much 
that  he  did  and  said,  must  often  have  been  very 
inconvenient  to  those  who  had  intercourse  with 
him.  Gne  of  his  most  serious  quarrels  arose 
from  his  divulging  the  name  of  a  very  old  and 
intimate  friend  who  had  cautioned  him  privately 
against  one  of  his  brothers.  He  could  see  no 
reason  for  secresy ;  but  it  is  easy  to  imagine  the 
embarrassment  which  such  disregajrd  of  the  ordinary 
rules  of  life  must  have  caused.  Bochlitz  describe 
the  impression  he  received  from  him  as  that  of 
a  very  able  man  reared  on  a  desert  island,  and 
suddenly  brought  fresh  into  the  world.  One 
little  trait  from  Breuning's  recollections  ex- 
emplifies this — that  after  walking  in  the  rain 
he  would  enter  the  living  room  of  tihe  house  and 
at  once  shake  the  water  from  his  hat  all  over 
the  furniture,  regardless,  or  rather  quite  unaware, 
of  the  damage  he  was  doing.  His  ways  of  eating 
in  his  later  years  became  quite  unbearable. 

One  fruitful  source  of  di^culty  in  priEu:tical  life 
was  his  lodgings.  His  changes  of  residence  were 
innumerable  during  the  first  year  or  two  of  his 
life  in  Vienna;  it  is  impossible  to  disentangle 
them.  Shortly  after  his  arrival  the  Lichnowskys 
took  him  into  their  house,  and  there  for  some 
years  he  bad  nominally  a  j^ied  a  terre ;  but  with 


t  Schindler  Ost  ed.)  HL 


*  Thajer,  11. 2S7. 


all  the  indulgence  of  the  Prince  and  Princee 
the  restraint  of  being  forced  to  dress  for  diim^, 
of  attending  to  definite  hours  and  definite  ral^ 
was  too  much  for  him,  and  he  appears  Tery  9<.-.« 
to  have  taken  a  lodging  of  his  own  in  the  tc^v^ 
which  lodging  he  was  constantly  changing.  L: 
1803,  when  an  opera  was  contemplate,  he  Lid 
free  quarters  at  the  theatre,  which  came  io  la 
end  when  the  house  changed  hands  early  in  1^04. 
A  few  months  later  and  he  was  a^adn  lodgtd  is 
the  theatre  free.  At  Baron  Pasqualati's  hous<r  n 
the  ramparts  he  had  rooms — with  a  beauuf^il 
look-out' — which  were  usually  kept  for  liim, 
where  he  would  take  refuge  when  compoaii^ 
and  be  denied  to  every  one.  But  even  wti 
this  he  had  a  separate  and  fresh  quarter  neam 
every  winter.^  In  sununer  he  hated  the  city,  aci 
usually  followed  the  Vienna  custom  of  leavix: 
the  hot  streets  for  the  delicious  woodtrd  enTirtais 
of  Hetzendorf,  Heiligenstadt,  or  Dobling,  at  ih^i 
time  little  villages  absolutely  in  ihe  country,  r 
for  Modling  or  Baden,  further  offl  To  thi>  bs 
*  looked  forward  with  the  delight  of  a  child. . . . 
No  man  on  earth  loves  the  country  more.  Wcok 
trees,  and  rocks  give  the  response  which,  man  rt 
quires.*  *  Every  tree  seems  to  say  Hoiy,  "  Hclv.' 
Here,  as  already  remarked,  he  was  out  of  dcm.^ 
for  hours  together,  wandering  in  the  woodes,  or 
sitting  in  the  fork  of  a  favourite  lime-tree  in  liic 
Schonbrunn  gardens  *  sketch-book  in  hand ;  htK 
his  inspiration  flowed,  and  in  such  circumstanced 
the  'Mount  of  Olives,*  'Fidelio,'  the  *  Ep*^ 
Symphony,*  and  the  majority  of  his  great  vrjri- 
were  sketched  and  re-sketched,  and  erased  aoi 
re-written,  and  by  slow  degrees  brou^t  far  '<l. 
to  perfection. 

Hia  difficulties  with  his  lodgings  are  not  hard  to 
understand ;  sometimes  he  quarrelled  with  tbem 
because  the  <iun  did  not  shine  into  the  room^  and 
he  loved  the  light ;  sometimes  the  landlord  inter- 
fered. Like  other  men  of  genius  whose  appearan«.« 
would  seem  to  belie  the  tact,  Beethoven  was  ex- 
tremely fond  of  washing.^  He  would  pour  w^ntr 
backwards  and  forwards  over  his  hands  for  a  long 
time  together,  and  if  at  such  times  a  musical 
thought  struck  him  and  he  became  absorbed,  be 
would  go  on  until  the  whole  floor  was  swimmii^ 
and  the  water  had  found  its  way  through  xht 
cieling  into  the  room  beneath.  On  one  occauoA 
he  abandoned  a  lodging  for  which  he  had  paid 
heavily  in  advance,  because  his  landlord,  Bano 
Pronxy.  insisted  on  taking  off  his  hat  to  him 
whenever  they  met.  One  of  the  most  momentoos 
of  his  changes  was  in  1804.  After  he  was  turned 
out  of  his  lodgings  at  the  theatre  Beethoven  acd 
Stephen  Breuning  inhabited  two  sets  of  rooms  in 
a  building  called  the  Jtothe  Ha  us.  As  each  sec 
was  large  enough  for  two,  Beethoven  soon  taoved 
into  Breuning's  rooms,  but  n^lected  to  give  the 
necessary  notice  to  the  landloid,  and  thus  afier  s 
time  lound  that  he  had  both  lodgings  on  hii 

>  Thayer.  11. 2SR. 

*  See  the  list  for  1822.  S,  ftnd  4.  In  BreanlnB.  4S-4S. 

'  Letter  to  Mme.  too  DnMsdlck.  Bri^t.  No.  81 ;  also  to  ArcM.  B^ 
dolpb.  May  27, 1813,  uid  to  HMUchka,  No.  2la    Nuhl.  LAm,  IL  SSL 

*  Thayer.  JL  278. 

7  In  a    letter  to   Counieaa  Briddj  aoceptlng    aa    liniluiaii  bt 
stipulates  for '  a  little  bath  rooaa.' 


BEETHOTEN'. 

bods  at  onee.  The  result  was  a  yiolent  qoaiv 
itl  vhicfa  drove  Beethovea  off  to  Baden,  and 
r<na^  the  two  friends  for  a  time.  We  have 
iVrthuven  8  version  of  the  aiiair  in  two  letters  to 
Kii*-Jaly,  and  July  24, 1804— angry  implacable 
kten,  bot  throwing  a  strong  light  on  his  cha- 
ncter  and  circomstanoes,  showing  that  it  was 
St  ihe  loss  of  the  money  that  provoked  him,  but 
in  impntstion  of  meannen ;  showing  further  that 
^cK,  a&  K>  often  elsewhere,  his  brother  was  his 
e.O  gmus ;  and  wwifa.fniT>g other  highly  intersst- 
k:  peraofial  traits. 

Besides  the  difficulties  of  the  apartments  there 
vrK  those  with  servants.  A  man  whose  prin- 
trM  were  so  severe  as  to  make  him  say  of  a 
MTsnt  who  had  told  a  AJsehood  that  she  was 
Kitp'jre  at  heart,  and  therefore  oould  not  *make 
g><i<ii  9oap ;  who  punished  his  000k  for  the  stale- 
iL:^  of  the  eggs  by  throwing  the  whole  batch  at 
Ita  one  by  one,  and  who  distrusted  the  expend- 
'.{ ^nr  of  every  hal^MUiy — must  have  had  much  to 
intend  wiih  in  his  kitchen.  The  books  give 
HI  details  on  this  subject,  which  need  not  be 
r^ted,  and  indeed  are  more  unpleasant  to 
9€i;e!npiaie  thui  many  other  drawbacks  and  dis- 
cartes  of  the  Ufa  of  this  great  man. 

In  the  earlier  part  of  ^  career  money  was  no 
<^j«ct  to  him,  and  he  speaks  as  if  his  purse  were 
alvij3  open  to  his  firiends.*  But  after  the  charge 
'4  hu  nephew  was  thrust  upon  his  hands  a  great 
chu^e  in  this,  as  in  other  respects,  came  over 
^iifl.  After  1813  complaints  of  want  of  money 
ftb»<iQd  in  his  letters,  and  he  resorted  to  aU 
p^jtfiUe  means  of  obtaining  it.  The  sum  which 
hs  had  been  enabled  to  invest  aflter  the  congress 
be  cunsidered  as  put  by  for  his  nephew,  and 
tberefore  not  to  be  touched,  and  he  succeeded  in 
s^uining  it  till  his  death. 

Ii  ii  hard  to  arrive  at  any  certain  conclusion 
'« the  nature  and  prioress  of  Beethoven's  deaf- 
tec  owing  to  the  vagueness  of  the  information. 
ItjScalty  of  hearing  appears  first  to  have  shown 
iudf  about  1 798  in  singing  and  buzzing  in  his 
«U8,  luH  of  power  to  distinguish  words,  though 
be  oould  hear  the  tones  of  voice,  and  great  dislike 
fc>  sodden  load  noise.  It  was  even  tlien  a  subject 
of  the  greatest  pain  to  his  sensitive  nature;' 
Uie  Byron  with  his  club-foot  he  lived  in  morbid 
inaa  of  his  infirmity  being  observed,  a  temper 
which  naturally  ofben  kept  him  silent ;  and  when 
iiev  Tears  later'^  he  found  himself  unable  to  hear 
tbe  pipe  of  a  peasant  playing  at  a  short  dis- 
tuce  is  the  open  air,  it  threw  him  into  the 
•l^epeit  melancholy,  and  evoked  the  well-known 
ItUe:  tu  his  brother  in  1 803,  which  goes  by  the 
nune  of  his  WilL  Still  many  of  the  anecdotes 
<jf  hit  behavour  in  society  show  that  during  the 
earij  years  of  the  century  his  deafness  was  but 
y^^ ;  and  Ries,  intimate  as  he  was  with  his 
muter,  admits  that  he  did  not  know  it  till  told* 
I'V  S.  Breiming.  It  is  obvious  from  i^hindler's 
s'-atonent  thai  he  must  have  been  able  to  hear 
the  ydlowhammers  in  the  trees  above  him  when 

*  MKr  to  Wepeler.  Jima  ».  INOL 

>  liMxtQ  AuBdft  ciaxDc  W«tfer.  June  »  Xor.lS  (WHy.  Blai,  ^ML 


BEETHOVEN. 


17S 


he  was  composing  the  Pastoral  Symphony  in  1807 
and  1 808.  A  few  facts  may  be  mentioned  bearing 
on  the  progress  of  the  malady.  In  1805  he  was 
able  to  judge  severely  of  the  niuinces  in  the 
rehearsal  of  his  opera.  In  1807,  1809,  181 3  he 
conducted  perfoimanoss  of  his  own  works.  In 
1 8 14  he  played  his  B  flat  trio^his  last  appearance 
in  public  in  concerted  music.  From  1 8 16  to  1 818 
he  used  an  ear  trumpet.*  At  the  opening  of  the 
Josephstadt  Theatre  in  1822,  he  conducted  the 
performance — ^nearly  to  ruin  it  is  true,  but  at  the 
same  time  he  was  able  to  detect  that  the  soprano 
was  not  singing  in  time,  and  to  give  her  the 
necessary  advice.  A  subsequent  attempt  (in 
Nov.  1823)  to  conduct  *Fidelio/  led  to  his  hav- 
ing to  quit  the  orchestra,  when  his  mortification 
was  so  great  that  Schindler  treats  the  occurrence 
as  an  epoch  in  his  life.*  At  this  time  the  hear- 
ing  of  the  right  ear  was  almost  completely  gone  ; 
what  he  did  hear  —  amongst  other  things  a 
musical  box^  playing  the  trio  in  *  Fidelio,'  and 
Cherubini's  overture  to  *  Medea ' — ^was  with  the 
left  ear  only.  After  this  he  conducted  no  more, 
though  he  stood  in  the  orchestra  at  the  per- 
iormanoe  of  the  *  Choral  Symphony,*  and  had 
to  be  tuned  round  that  he  might  see  the  applause 
which  his  music  wtm  evoking.  From  this  to  the 
end  all  communication  with  him  was  carried  on 
by  writing,  for  which  purpose  he  always  had  a 
book  of  rough  paper,  with  a  stout  pencil,  at  hand. 
The  connexion  between  this  cruel  malady  and 
the  low  tone  of  his  general  health  was  closer  than 
is  generally  supposed.  The  pott  mortem  examina* 
tion  showed  that  the  liver  was  shrunk  to  half  its 
proper  siie,  and  was  hard  and  tough  like  leather, 
with  numerous  nodules  the  size  of  a  bean  woven 
into  its  texture  and  appearing  on  its  surface. 
There  were  aUo  marks  of  ulceration  of  the 
pharynx,  about  the  tonsils  and  Eustachian  tubes. 
The  arteries  of  the  ears  were  athrumatous,  and 
the  auditory  nerves — especially  that  of  the  right 
ear — were  degenerated  and  to  all  af>pearanoe 
paralysed.  The  whole  of  these  appearances  are 
most  probably  the  result  of  syphilitic  affections 
at  an  early  period  of  his  life.*  The  pains  in  the 
head,  indigestion,  colic,  and  jaundice,  of  which 
he  frequently  complains,  and  Uie  deep  depression 
which  gives  the  key  to  so  many  of  his  letters, 
would  all  follow  naturally  from  the  chronic  in- 
flammation and  atrophy  implied  by  the  state  of 
the  liver,  and  the  digestive  derangements  to  which 
it  would  g^ve  rise,  aggravated  by  the  careless  way 
in  which  he  lived,  and  by  the  bad  food,  hastily 
devoured,  at  irregular  intervals,  in  which  he 
too  often  indulged.  His  splendid  constitution 
and  his  extreme  fondness  for  the  open  air  must 
have  been  of  great  assistance  to  him.  How 
thoroughly  he  enjoyed  the  country  we  have  al* 
ready  seen,  for,  like  Mendelssohn,  he  was  a  great 
walker,  and  in  Vienna  no  day,  however  busy  or 
however  wet,  passed  without  its  'constitutional* 
— a  walk,  or  rather  run,  twice  round  the  ramparts, 

•  8ehlndl«r.  IL 170.  •  n>td.  It.  t  Ibid.  S. 

*  This  dlaccQutLt.  which  I  owe  to  the  Idndnem  of  my  friend  Dr. 
Laufler  Bruuton.  is  oonflrmed  b7  tlM  exKtenre  of  two  pnwriptloni.  •  f 
willed.  Mitoe  the  pave^ie  In  thr  text  was  writtrit.  I  liare  been  twld  bj 
Sir.  IbATer,  who  beard  of  Uiem  from  Or.  BartoUnl. 


174 


BEETHOVEN. 


a  part  of  the  city  long  sinoe  obliterated ;  or  far- 
ther into  the  environs. 

Beethoven  was  an  early  riser,  and  from  the 
time  he  left  his  bed  till  dinner — which  in  those 
days  was  taken  at,  or  shortly  after,  noon — the 
day  was  devoted  to  completing  at  the  piano  and 
writing  down  the  compositions  which  he  had 
previously  conceived  and  elaborated  in  his  sketch- 
books, or  in  his  head.  At  such  times  the  noise 
which  he  made  playing  and  roaring  was  some- 
thing tremendous.  He  hated  interruption  while 
thus  engaged,  and  would  do  and  say  the  most 
horribly  rude  things  if  disturbed.  Dinner  —  wh^i 
he  remembered  it — he  took  sometimes  in  his  own 
room,  sometimes  at  an  eating-house,  latterly  at 
the  house  of  his  friends  the  Breunings;  and  no 
sooner  was  this  over  than  he  started  on  his  walk. 
He  was  fond  of  making  appointments  to  meet  on 
the  glacis.  The  evening  was  spent  at  the  theatre 
or  in  society.  He  went  nowhere  without  his 
sketch-books,  and  indeed  these  seem  to  distin- 
guish him  £rom  other  composers  almost  as  much 
as  his  music  does.  They  are  perhaps  the  most 
remarkable  relic  that  any  artist  or  Hterary  man 
has  left  behind  him.  They  afford  us  the  most 
precious  insight  into  Beethoven's  method  of  com- 
position. They  not  only  show — what  we  know 
from  his  own  admission — that  he  was  in  the 
habit  of  working  at  three,  and  even  four,  things 
at  once,'  but  without  them  we  should  never 
realise  how  extremely  slow  and  tentative  he  was 
in  composing.  Audacious  and  impassioned  be- 
yond every  one  in  extemporising,  the  moment  he 
takes  his  pen  in  hand  he  becomes  the  most 
cautious  and  hesitating  of  men.  It  would  al- 
most seem  as  if  this  great  genius  never  saw  his 
work  as  a  whole  until  it  actually  approached 
completion.  It  grew  like  a  plant  or  tree,  and 
one  thing  produced  another.'  There  was  nothing 
sudden  or  electric  about  it,  all  was  graduid 
and  organic,  as  slow  as  a  work  of  nature  and  as 

Sermanent.  One  is  prompted  to  believe,  not  that 
e  had  the  idea  first  and  then  expressed  it,  but 
ihat  the  idea  came  in  the  process  of  finding  the 
expression.  There  is  hardly  a  bar  in  his  music 
of  which  it  may  not  be  said  with  confidence  that 
it  has  been  re-written  a  dozen  times.  Of  the  air 
'  O  Hofihung '  in  Fidelio  the  sketch-books  show 
1 8  attempts,  and  of  the  concluding  chorus  lo. 
Of  many  of  the  brightest  gems  of  the  opera,  says 
Thayer,  the  first  ideas  are  so  trivial  iiiat  it 
would  be  impossible  to  admit  that  they  were 
Beethoven's  if  they  were  not  in  his  own  hand- 
writing. And  so  it  is  with  all  his  works.  It 
is  quite  astonishing  to  find  the  length  of  time 
during  which  some  of  his  best-known  instru- 
mental melodies  remained  in  his  thoughts  till 
they  were  finally  used,  or  the  crude  vague  com- 
monplace shape  in  which  they  were  first  written 
down.  The  more  they  are  elaborated  the  more 
fresh  and  spontaneoiu  do  they  become. 

To  quote  but  two  instances  out  of  many.    The 
theme  of  the  Andante  in  the  C  minor  Symphony, 

I  Letter  to  Wegeler,  Jane.  UOOi 

3  Thus  the  S-bar  rhythm  of  the  Bcheno  of  the  9th  Bjnnphony 
pa^liiAlly  came  u  he  wrote  and  re-wrote  a  ftigue  suhJect  apparently 
destined  for  a  reiy  dUferent  work.  KottebObm,  2^.  &  XXIIL 


BEETHOVEN. 

oompleted  in  1808,  is  first  found  in  a  sketch-booi^ 
of  the  year  1800,  mixed  with  memoranda  for  tbd 
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and  finally,  after  several  pages  more  of  writing 
and  rewriting,  it  assumes  its  present  incisive  and 
spontaneous  shape. 

In  these  books  every  thought  that  occurred  to 
him  was  written  down  at  the  moment ;  he  even 
kept  one  by  his  bedside  for  use  in  the  night.' 
Abroad  or  at  home  it  was  all  the  same,  only 
out  of  doors  he  made  his  notes  in  pencil,  and 
inked  them  over  on  his  return  to  the  house.  It 
is  as  if  he  had  no  reliance  whatever  on  his  me- 
mory. He  began  the  practice  as  a  boy*  and 
maintained  it  to  the  last.  In  the  sale  catalogue 
of  his  effects  more  than  50  of  such  books  are 
included.  Many  of  them  have  been  parted  and 
dispersed,  but  some  remain  intact.  They  are 
usually  of  large  coarse  music  paper,  oblong,  300 
or  even  more  pages,  16  staves  to  the  page,  and 
are  covered  from  banning  to  end,  offcen  over 
the  margin  as  well,  with  close  crowded  writing. 
There  is  something  very  affecting  in  the  sight  of 
these  books/  and  in  being  thus  brought  so  close 
to  this  mighty  genius  and  made  to  realise  the 
incessant  toil  and  pains  which  he  bestowed  on 
all  his  works,  small  and  great.  In  this  he 
agreed  with  Groethe,  who  says,  k  propoe  to  his 
'Ballad,*  'Whole  years  of  reflection  are  com- 
prised in  it,  and  I  made  three  or  four  trials 
before  I  could  bring  it  to  its  present  shape.' ' 
The  sketch-books  aL<o  show  how  immense  was 
the  quantity  of  his  ideas.  '  Had  he,*  says  Notte- 
bohm,'  'carried  out  all  the  symphonies  which 
are  begun  in  these  books  we  should  have  at  least 
fifty.' 

But  when,  after  all  this  care  and  hesitation, 
the  works  were  actually  completed,  nothing  ex- 

>  First  given  by  Thayer.  Ckrm.  Verteidmin.  No.  14a  For  farther 
information  on  this  interesting  !iahi«et  we  Kottebohm's  JCw  Skuxtm 
bnrh  BrHhovrn't.  *  Nottebohm.  N.  B.  VU. 

•  Breuning.  9i.  •  Letter,  July  23.  IKIA. 

7  There  Is  one  In  the  M8.  department  of  the  British  Vnseinn. 

•  Conwrtntiont  vrith  Eekfrmann,  Oxenford's  translation.  IL IIL 

•  N*m4  BftOioveniama,  XIIL 


BEETHOVEN. 


BEETHOVEN. 


175 


ional  made  him  change  them.  No  conTemenoe 
tJ  sDgoB  or  playen  weighed  for  a  moment 
a;juiisc  the  integrity  of  his  finished  composition. 
\VhdSi  Soaniaig  and  Ungher  protested  against 
tiie  imsingable  psaaages  in  the  Ninth  Symphony, 
aad  besought  him  to  bring  them  within  the 
comjAS  of  ihtar  voices,  '  Nein  und  immer  nein/ 
waii  the  dry  answer.*  When  Kraft,  the  cellist  in 
tbc  Schuppaxuigh  Quartet,  complained  that  a 
p^age  'did  not  lie  within  his  hcmd,*  the  answer 
vae  'it  most  lie* — 'muss  liegen.*^ 

A  man  to  whom  his  art  was  so  emphatically 

tie  business  of  his  life,  and  who  was  so  insatiable 

is  his  standard  of  perfection,  must  have  been 

livaTS  advsjicing.     To  him  more  than  to  any 

odi^  musician  may  be  applied  Goethe^s  words 

<ai  Schiller : — 'Every  week  he  altered  and  grew 

i&ce  complete,  and   every  time  I  saw  him  he 

Uipeued  to  me  to  have  advanced  since  the  last 

ID  kaowledge,  learning,  and  judgment.*'    It  is 

£ci  wonder  then  that  h9  did  not  care  for  his 

«irlj  works,  and  would  sometimes  even  have 

iie»troved  '  Adelaide,**  the  Septet,  and  others  of 

his  Toathfol  pieces,  if  he  could.    Towards  the 

tiki  of  his  life  he  heard  a  friend  practising  his  3a 

Vuiations^  in  C  minor.    After  listening  for  some 

time  he  said  '  Whose  is  that  ?*     '  Yours,*  was  the 

asfver.*   'Minef   That  piece  of  folly  mine?'  was 

ia  retort;'  'Oh,  Beethoven,  what  an  ass  you 

veie  in  those  days  ! '    A  good  deal  of  this  may 

bsTe  been  momentary  caprice ;  but  making  aU 

allowanoe,  atte  can  imagine  his  feelings  at  the 

ejose  ci  his  life  on  receiving  a  commission  from 

an  English  amateur  for  a  'Symphony  in  the 

Ajle  of  his  Second  or  of  his  Septet,*  or  on  reading 

ik  contemporary  effusions  on  the  Eroica  and 

C  QuiKff  Symphonies,  in  which  his  honest  and 

veil-meaning  critics*  entreated  him  to  return  to 

*^  ckaniess  and  conciseness  of  his  early  works. 

Hai^y  less  characteristic  than  the  sketch- 
boob  are  his  diaries  or  journals,  in  which  the 
a^  passionate  and  personal  reflections,  resolu- 
^mi,  prayers,  aspirations,  complaints,  are  mixed 
^p  with  memorandums  of  expenses  and  house- 
^M  matters,  notes  about  his  music,  rules  for  his 
coedgct,  quotations  from  books,  and  every  other 
c!i«8avable  kind  of  entry.  These  books  have 
l«efl  toni  up  and  dispersed  as  autographs  ;  but 
a  copy  of  one  extending  from  i8ia  to  1818  for- 
tisatelj  exists  and  has  been  edited  with  copious 
&tiia  sfld  elucidations  by  Herr  Nohl,  the  whole 
tboving  great  light  on  that  unfortunate  period 
^  his  life.  A  ray  of  light  is  also  occasionally 
to  be  gained  from  the  ocmversation -books  already 
laentioned,  some  of  which  have  been  preserved, 
thoagh  ss  Beethoven's  answers  were  usually 
t|i>ik£n  this  sooroe  is  necessarily  imperfect. 

If  sow  we  ask  what  correepondence  there  is 
be  ween  the  traits  and  characteristics  thus  im- 
p»fectly  sketched  and  Beethoven  s  music,  it  must 
be  confessed  that  the  question  is  a  d'fiicult  one 
to  answer.  In  one  point  alone  the  parallel  is 
obTioas—nsmely,  the  humour,  which  is  equally 


>8cU3»Qer,p.1SL 
*KckmwM.Jao.1S^1f8L 
♦  I«!er  to  Hstditoii.  *— 
«.      (HtWer.ILSM. 


*  Thayer.  U.  OB. 

:.  4, 1800L   CxemT.  In  ThaTar,  H.  M:  abo 
•  Sea  tha  qaotatiooi  In  Tliayer,  IL  tO, 


salient  in  both.  In  the  finale  of  the  7th  and  8th 
Symphonies  there  are  passages  which  are  the 
exact  counterparts  of  the  rough  jokes  and  horse- 
play of  which  we  have  already  seen  some 
instances.  In  these  we  almost  hear  his  loud 
laugh.  The  Scherzo  of  Symphony  No.  2,  where 
the  Ff  chord  is  so  suddenly  taken  and  so 
forcibly  held,  might  almost  be  a  picture  of  the 
unfortunate  Kellner  forced  to  stand  still  while 
the  dish  of  stew  was  poured  over  his  head.  The 
bassoons  in  the  opening  and  closing  movements 
of  No.  8  are  inimitably  humorous ;  and  so  on 
in  many  other  instances  which  will  occur  to 
every  one.  But  when  we  leave  humour  and  go 
to  other  points,  where  in  the  life  shall  we  look  for 
the  grandeur  and  beauty  which  distinguish  the 
music?  Neither  in  letters  nor  anecdotes  do  we 
find  anything  answering  to  the  serene  beauty  of 
the  slow  movements  (No.  a.  No.  4,  No.  9*),  or 
the  mystic  tone  of  such  passages  as  those  of  the 
horns  at  the  end  of  the  Trio  of  the  Eroica  or 
of  certain  phrases  in  the  finale  of  the  Choral 
Fantasia  and  of  the  Choral  Symphony,  which 
lift  one  so  strangely  out  of  time  into  eternity. 
These  must  represent  a  state  of  mental  absorption 
when  all  heaven  was  before  his  eyes,  and  in 
which  he  retired  within  himself  far  beyond  the 
reach  of  outward  things,  save  his  own  divine 
power  of  expression. 

Equally  difficult  is  it  to  see  anything  in  Bee- 
thoven's life  answering  to  the  sustained  nobility 
and  dignity  of  his  first  movements,  or  of  such 
a  piece  as  the  'Overture  to  Leonora,  No.  3.' 
And  then  if  we  come  to  the  most  individual 
and  characteristic  part  of  all  Beethoven*s  artistic 
self,  the  process  by  which  his  music  was  built 
up — the  extraordinary  caution  which  actuated 
him  throughout,  the  hesitation,  the  delays,  the 
incessant  modification  of  his  thoughts,  the  re- 
jection of  the  first  impressions—of  the  second— of 
the  third — in  favour  of  something  only  gradually 
attained  to,  the  entire  subordination  01  his  own 
peculiarities  to  the  constant  thought  of  his 
audience,  and  of  what  would  endure  rather  than 
what  pleased  him  at  first — to  all  this  there  is 
surely  nothing  at  all  corresponding  in  his  life, 
where  his  habit  was  emphatically  a  word  and 
a  blow.  The  fact  is  that,  like  all  musicians, 
only  in  a  greater  degree  than  any  other,  in 
speech  Beethoven  was  dumb,  and  of^en  had  no 
words  for  his  deepest  and  most  characteristio 
feeling^.  The  musician  has  less  connexion  with 
the  outside  world  than  any  other  artist,  and  has 
to  turn  inward  and  seek  his  art  in  the  deepest 
recesses  of  his  being  only.^  This  must  naturally 
make  him  less  disposed  to  communicate  with 
others  by  the  ordinary  channels  of  speech  and 
action,  and  will  account  for  much  of  the  irritability 
and  uncertainty  which  often  characterise  his 
dealings  with  his  fellow  men.  But  the  feelings 
are  there,  and  if  we  look  closely  enough  into  the 
life  we  shall  be  able  to  detect  their  existence 
often  where  we  least  expect  it.  In  Beethoven, 
for  example,  what  was  his  treatment  of  his 
nephew — the  strong  devotion  which  seized  him 

t  GoaUia.  WiOnim  MtitUn  Wmdtridkn.  Bk.  ft  obapL  a 


^l^ 


17« 


BEETHOVEN, 


directly  afiber  his  brother^a  death,  and  drove  him 
to  sacrifice  the  habits  of  a  lifetime;  his  in- 
exhaustible forgiveness,  his  yearning  tenderness — 
what  are  these,  if  properly  interpreted,  but  a 
dumb  way  of  expressing  that  noble  temper  which, 
when  uttered  in  his  own  natural  musical  language, 
helps  to  make  the  first  movement  of  the  Eroica 
80  lofty,  so  dignified,  and  so  impressive  ? 

We  must  now  return  to  the  chronicle  of  the 
events  of  Beethoven*B  life. 

His  position  at  Bonn  as  organist  and  pianist 
to  the  Emperor  8  brother,  his  friendship  with 
Count  Waldstein,  who  was  closely  related  to 
some  of  the  best  families  in  Vienna,  and  his 
connexion  with  Haydn,  were  all  circumstances 
sure  to  secure  him  good  introductions.  The 
moment  was  a  favourable  one,  as  since  Mozart^s 
death,  a  twelvemonth  before,  there  had  been  no 
player  to  take  his  place  ;  and  it  was  as  a  player 
that  Beethoven  was  first  known.  It  is  pleasant 
to  know  that  his  show  piece,  with  which  he  took 
the  Vienna  connoisseurs  by  storm,  was  his  Varia- 
tions on  '  Venni  amore,*  which  we  have  already 
mentioned  as  composed  before  he  left  Bonn.  Pub- 
lic concerts  in  our  sense  of  the  word  there  were 
few,  but  a  player  had  every  opportunity  at  the 
musical  parties  of  the  nobility,  who  maintained 
large  orchestras  of  the  best  quality,  and  whose 
music-meetings  differed  from  public  concerts 
chiefly  in  the  hct  that  the  audience  were  better 
educated,  and  were  all  invited  guests.  Prince 
Lichnowsky  and  Baron  van  Swieten  appear  to 
have  been  the  first  to  secure  Beethoven,  the 
former  for  his  regular  Friday  morning  chamber 
performances,  the  latter  for  soir^,  when  he  had 
either  '  to  bring  his  nightcap  in  his  pocket*  or 
else  to  stay  after  the  other  guests  had  gone,  and 
send  his  host  to  bed  with  half-a  dozen  of  Bach's 
fugues  as  an  Ahendsegen,  The  acquaintance 
prol>ably  b^an  shortly  after  Beethoven^s  arrival; 
and  after  a  twelvemonth  of  unpleasant  expe- 
rience in  the  Vienna  lodgings,  the  Prince  in- 
duced him  to  Accept  apartments  in  his  house. 
His  wife  was  a  Princess  of  Thun,  famous  for 
her  beauty  and  her  goodness;  he  himself  had 
been  a  pupil  of  Mozart ;  and  both  were  known 
as  the  best  amateur  musicians  of  Vienna.  Bee- 
thoven was  poor  enough  to  be  tempted  by  such 
hospitality,  but  it  was  an  absurd  arrangement, 
and  he  very  soon  infringed  it  by  disregarding 
the  Prince's  hours,  often  dining  at  the  Gasthof, 
having  a  lodging  of  his  own  dsewhere,^  and 
other  acts  of  independence.  Here  however  he 
was  frequently  heard,  and  thus  became  rapidly 
known  in  the  most  musical  circles,  and  Kies*s 
anecdotes  show  (after  making  allowance  for  the 
inaccuracy  of  a  man  who  writes  30  years  after 
the  events)  how  widely  he  was  invited^  how 
completely  at  his  ease  he  was,  and  how  en- 
tirely his  eccentricities  were  condoned  for  the 
sake  of  his  playing  and  his  great  qualities. 
Not  that  we  are  to  suppose  tliat  Beethoven  gave 
undue  time  to  society.  He  was  too  hard  a 
worker  for  that.  His  lessons  with  Haydn  and 
Albrechtsberger  (from  the  latter  he  had  three 
a  week)  were  alone  enough  to  occupy  a  great 


BEETHaVEN". 

deal  of  thne,  and  his  own  studies  in  ars- 
terpoint  exist  to  show  that  he  did  noto.e- 
fine  himself  to  the  mere  tasks  that  wen  ki 
him.  Moreover  his  lessons  with  Albredj- 
berger  contain  sketches  for  various  cmyi 
tions,  such  as  *  Adelaide,*  a  part  of  one  of  ^ 
Trios  (op.  I ),  and  the  Symphony  in  C*  ^  ibnr. 
ing  how  eager  he  was  to  be  something  mit 
than  a  mere  player  or  even  a  splendid  imp^ 
viser.  These  sketches  afford  an  early  iietuiK  [>^ 
his  habit  of  working  at  several  compodtiiiff  t 
one  and  the  same  time.  The  date  of  on  ct 
them,  about  Feb.  1795,  seems  to  imply  eiik 
that  the  story — grounded  on  Ries*8  statemtsi- 
that  the  Trios  were  in  MS.  for  manj  inoiiib' 
before  they  were  printed  is  inaccurate,  or,  isci 
probably,  that  Beethoven  re-wrote  one  d  '2i 
movements  very  shortly  before  deliTering  u* 
work  to  the  publisher,  which  he  did  on  M&v !» 
In  this  case  it  would  show  the  wisdom  of  the  pb 
which  he  adopted  with  most  of  his  early  work  i 
keeping  them  in  MS.  (or  some  time  and  pUni-; 
them  frequently,  so  as  to  test  their  qiulitjs&i 
their  effect  on  the  hearers,  a  practice  Terr  ci:& 
sistent  with  his  habitual  caution  and  fae^di"^ 
ness  in  relation  to  his  music.  At  any  nte  ti.' 
Trios  were  published  first  to  the  subecnb^  by 
July  1795,  and  then,  on  Oct.  a  i,  to  the  patk 
They  were  shortly  followed  by  a  work  of  eqa 
importance,  the  first  three  Pianoforte  Scvu^* 
wluch  were  first  played  by  their  satbor  s^ 
one  of  the  Prince's  Fridays  in  preeeace  -^ 
Haydn,  and  published  on  the  9th  of  tiie  foUorio^ 
March  as  op.  a,  dedicated  to  him.  He  lud  not 
then  written  a  string- quartet,  and  at  this  vsn^ 
Count  Appony*  proposed  to  Beethoven  to  cas- 
pose  one,  offering  him  his  own  terms,  and  r^ 
ing  to  make  any  conditions  beyond  the  siiifi« 
one  that  the  quartet  should  be  written— a  j^* 
sant  testimony  to  the  enthusiasm  excited  bv  i^ 
new  Sonatas,  and  to  the  generosity  of  an  Ac$ 
trian  nobleman.  In  addition  to  the  Trios,  tia 
publications  of  his  three  first  years  in  ATena 
include  the  1 2  Variations  on  *  Se  vnol  baflare 
(July  1793)  ;  the  13  on  •  Es  war  einmal'  (ariy 
in  1 794) ;  the  8  for  4  hands  on  (}oant  WsiJ- 
stein's  theme  (1794) ;  and  9  for  Piano  Solo « 
'  Quant'  e  piCi  bello'*  (Dec.  30, 1 795).  The  osi- 
positions  are  more  numerous,  and  beada  u 
Trios  and  Sonatas  (op.  1  and  a)  include  a  Trv> 
for  Oboes  and  Ck)rrio  inglese  (op.  87),  w^ 
remained  unpublished  till  1806 ;  a  Rondo  inl' 
for  Pianoforte  and  Violin,^  which  he  sent  i-j 
Eleanore  von  Breuning,  and  which  itmai^^ 
unpublished  till  1808;  the  two  Concertos  t« 
Piano  and  Orchestra,  of  which  'No.  ^^  '^ 
earlier,  and  *  No.  1 '  was  composed  before  Marc^ 

1  8e6  Nottebohm'B  BeeOtooenB  Shtdjcm  L  902.  ,_^ 

>  Haydn  left  VletuiA  for  London  on  Jan.  l»,  W,  »nd  <Bd  w*  we^ 
till  Sept.  '9B,  when  the  Trios  had  been  printed  and  in  tbe  ^>^^ 
hands  for  some  weekx.  If  he  therefor  j  adriaed  heeibofn  »*  " 
publish  the  third  It  moat  have  been  before  be  left  Vi^n*.  t^ 
stotcment  U  so  explicit  that  the  altematif*  nsr  M^  In  tbt  text  iss 
the  only  escape  fW>m  the  dlfflculty.  .^ 

>  He  maintained  thbi  plan  till  IFI%  when  he  tnfonns  Vvpa^^ 
he  never  publishes  until  a  year  after  composition.   Lettw  ^:^''l!l 

4  In  the  Adaffio  of  No.  1  the  correspondinfc  movement  in  Nu  ^  '<  ^ 
early  I'iano  Quhrtets  is  partially  adupted-a  nra  tbiug  vith  B<<^ " 
»  Weueler. p.2».  •  B.1  U.  167.  MokL W. 


BEETHOVEN. 

i^  95:  SoDga,  'Adelaide,'  and  'Opferlied/*  both 
tD  Mfttthiaon'B  words,  and  *  Seu&er  einea  Unge- 
.liebteo,*'  all  probably  composed  in  95;  Canon 
' la  Aim'  der  Idebe,*  an  exercise  with  Albrechts- 
hsTTer ;  la  Minuets  and  la  '  Deutsche  T&nze'  for 
Ordbestra,*  composed  Not.  95. 

On  Msfch  39,  95,  Beethoven  made  his  first 
if<peannoe  belbre  Uie  outside,  public  at  the  an- 
scsl  concert  in  the  Buig  Theatre,  for  the  widows* 
hod  of  the  Artists'  Society.  He  played  his  Con- 
certo in  C  major.*  The  piece  had  probably  been 
si^geeted  by  Salieri,  and  with  it  Beethoven  began 
t  pncdoe  wbich  he  more  than  once  followed 
wien  the  work  was  bespoken — of  only  just 
fanhiag  the  composition  in  time ;  the  Bondo 
«i8  written  on  the  afternoon  of  the  last  day  but 
Gse,  dnrii^  a  fit  of  colic.  At  the  reheanal,  the 
poBo  being  half  a  note  too  flat,  Beethoven  played 
mC|.*  Two  days  after  he  appeared  again  at 
&e  aunetiieatre  at  a  performance  for  the  benefit 
flf  MoEsrt's  widow,  playing  a  Concerto  of  Mo- 
xtft's  between  the  acts  dT  the  'Clemenza  di 
TSto.*^  Later  in  the  year  he  assisted  another 
beaevtilent  object  by  writing  I  a  minuets  and  i  a 
valtaet  for  orchestra  for  the  ball  of  the  '  Gesell- 
daftder  bSdenden  Kunstler'  on  the  a  and  Not. 
He  VS8  evidently  a  &Yocirite  with  the  Artists, 
1A0  advertise  '  the  master-hand  of  Herr  Ludwig 
vao  Beethoven^'  while  they  mention  SuBsmayer 
—ysho  also  oontaributed  music — ^without  an  extra 
vwd.  These  dances,  after  publication,  remained 
ia  &Toor  for  two  more  seasons,  which  is  men* 
t»aed  as  a  great  exception  to  rule.  On  Dec.  18  he 
1^  appeared  in  public  at  a  concert  of  Haydn's 
ia  tbe  'fittle  Bedootensaal,*  playing  a  Concerto 
of  hit  own — but  whether  ihe  aame  as  before  is 
kA  ststed.  The  dedication  of  the  Sonatas  and 
iu!  co-operatian  at  Haydn's  concert  allow  us  to 
1^  that  the  ill-feeling  already  alluded  to  had 
wished.  So  dosed  tl^  year  1 705.  Bonn  was 
it  thk  time  in  the  hands  of  the  Bepublican 
vffij,  and  Beethoven's  brother  the  Apotheker 
«M  wrnng  as  a  '  phannaden  de  3^™*  dasse.' 

1796  VBS  a  year  of  wandering.  Haydn  and 
^  appeared  together  at  a  second  concert  on 
Jaaoaty  la'  In  the  hrterval  Beethoven  went 
P^^«  to  Prague,  certainly  to  Nuremberg.  On 
I'eh.  19  he  was  in  Prague  again,  where  he 
offipoied  the  Seen**  'Ah  1  perfido'  for  Madame 
Diachek,  the  friend  of  Mosart.  From  thence  he 
tzsTdled  to  Berlin,  played  at  court,  amongst 
odur  things  the  two  cello  sonatas  op.  5,  probably 
empoaed  for  the  occasion,  and  received  from  the 
Slag  a  box  of  loois  d'or,  wbich  he  was  proud 
of  ihoviag  as  'no  ordinary  box,  but  one  of  the 
kiod  usably  pseaented  to  ambassadors.'  At 
Beitin  his  time  was  passed  pleasantly  enough 
vith  HmwiAl  the  composer  and  Prince  Louis 
Fodinand.  He  went  two  or  three  times  to  the 
Sagakademie,^  heard  the  choir   sing   Fasch's 

*i^AB.aB.  *I1lU.9BB.  «T1ild.Ke.  «IbU.ia»17.    •Tba9m.L9k 
'ViRrier.pLK       ^  Whi— ck.  Cknma  Jw  E^flmrttkmltr,  p.  ML 
*  BmEck.  Ccmimtmtmm  m  Wltm,  p.  10& 

EH.'_k  BealbOTHili  own  titl*  qiottrtwhin.  BeePko9niama,  p.  1,  note). 
niiVer  n.  la    atnagt  Uukt  bltcr  {Corr.  WA 
■toUriKvWL   Mmti  T«B  V«ark  Joonial,  toOk  to 


BEETHOYEN. 


177 


psalms,  and  extemporised  to  them  on  themes 
from  those  now  forgotten  compositions.  In  July 
the  Court  left  Berlin,  and  Beethoven  probably 
departed  also;  but  we  lose  sight  of  him  till 
Nov.  15,  the  date  of  a  'fiurewell«song'"  addressed 
to  the  volunteers  on  their  leaving  Vienna  to 
take  part  in  the  universal  military  movement 
provoxed  by  Ni^Mleon's  campaigns  in  Italy. 
The  war  was  driving  all  Germans  home,  and 
amongst  others  Bee^oven's  old  colleagues  the 
two  BombergB  passed  through  Vienna  from  Italy, 
and  he  played  for  them  at  a  concert. 

The  publications  of  1796  oonstst  of  the  3 
Piano  Sonatas,  op.  a  (March  9)  ;  i  a  Variations  on 
a  minuet  d  la  Vigano^  (Feb.),  and  6  on  '  Nel  cor 
piii  aento* "  (Mar.  2^);  o  Minuets  (idao  in  March) 
for  Piano,  originally  written  for  orchestra — per- 
haps the  result  of  his  success  with  the  '  bildender 
KUnstler.'  ^*  Of  the  compositions  of  the  year,  be- 
sides those  already  named,  may  be  mentioned  as 
probable  the  Piano  Sonata  in  G,"  the  second  of 
the  a  small  ones  {op,  49) ;  and  another  of  the 
same  rank  in  C  for  Meanore  von  Breuning; 
we  may  also  ascribe  to  the  latter  part  of  this 
year  the  Duet  Sonata  (op.  6) ;  11  Variations  on 
a  Russian  dance  ;^  the  Strmg  Quintet  (op.  4), 
arranged  from  an  Octet  fiur  wind  instruments, 
very  probably  of  his  pr»- Vienna  time.  The 
Russian  Variations  were  written  for  the  Countess 
Browne,  wife  of  an  officer  in  the  Russian  aervice, 
and  were  acknowledged  by  the  ffift  of  the  horse 
which  we  have  already  mentioned  as  affording  an 
instance  of  Beethoven*s  absence  of  mind.  But 
the  winter  months  must  have  been  occupied 
by  a  more  serious  work  than  variations — ^the 
Quintet  for  piano  and  wind  (op.  16),^*  which 
Beethoven  produced  at  a  concSert  of  Schup- 
panzigh's  on  April  6,  1 797,  and  which  is  almost 
like  a  challenge  to  Mcnart  on  his  own  ground, 
and  the  not  less  important  and  far  more  original 
Pianoforte  Sonata  in  Eb  (op.  7).  This  great 
work,  'quite  novel,  and  wholly  peculiar  to  its 
author,  the  origin  of  which  can  be  traced  to 
no  previous  creation,  and  which  proclaimed  his 
originalitv  so  that  it  could  never  afterwards  be 
disputed,  was  published  on  Oct.  7,  '97,  but  must 
have  been  oft^  played  before  that  date.  The 
aketches  for  the  3  Sonatas,  op.  10,  are  placed  by 
Nottebohm  in  this  period,  with  the  Variations 
on  the  'Une  fi^vro  brdlante.'  The  three  String 
Trios,  op.  9,  also  probably  occupied  him  during 
some  part  of  the  year.  The  Serenade  Trio,  op.  8, 
though  published  in  1797,  more  probably  belongs 
with  op.  3  to  the  Bonn  date,  l^e  Variations  on 
'See  tne  conquering  hero'  for  Pianoforte  and 
Cello,  dedicated  to  the  Princess  Lichnowsky,^ 
were  published  during  this  year,  and  were 
probably  written  at  the  time. 

Vienna  was  full  of  patriotism  in  the  spring  of 
1797.  Haydn's  'Emperor's  Hymn*  had  been 
sung  in  the  theatre  for  the  first  thne  on  Feb.  la,^ 
and  Beethoven  wrote  a  second  military  lied, '  EJn 

uB.AB.S90l         uibU.l«L  lsiliid.UL  M  ibld.1M. 

W  NottelxAm.  CofotovM.  !>.*«.        M  b.  *  H.  US.        ^  ibid.  1TB. 
u  An  unufoal  oombtnaUoo,  wfaMi  mtf  expklii  whj  lo  flu*  &  wotk 
raiiaiiMdlnMB.tmUIIL  WB.*H.Ua 

»  BAmld,  Jfttyk  JJaj^i  mti  S.  Mtm§mrtm,  9U.  ( Vlapm^  mft  p^  %. 

N 


178 


BEETHOVEN, 


BEETHOVEN. 


grooies  dentsches  Volk  sind  wir/^  to  Friedel* 
berg*8  wordfly  which  is  dated  April  14,  but  did 
not  prove  more  succeeBful  than  his  former  one. 
In  May  he  writes  to  W^eler  in  terms  which 
show  that  with  publications  or  lessons  his 
pecuniary  position  is  improving ;  bat  from  that 
time  till  Oct.  i — the  date  of  an  affectionate 
entry  in  Lenz  von  Breuning's  album — we  hear 
notlung  whatever  of  him.  A  severe  illness  has 
to  be  accounted  for,^  and  this  is  probably  the  time 
at  which  it  happened.  In  November  occurred 
the  annual  ball  of  the  '  Bildenden  Kiinstler/  and 
his  dances  were  again  played  for  the  third  time ; 
the  seven  Landler,'  ascribed  to  this  year,  were 
not  improbably  written  for  the  same  ball.  His 
only  other  publications  of  1 797  not  yet  mentioned 
are  the  Pianoforte  Bondo  in  G  major,  which 
many  years  afterwards  received  the  opus  number 
51,  and  last,  but  not  least,  'Adelaide.*  Some 
variations^  for  a  Oboes  and  Como  Inglese  on 
'La  d  darem'  were  played  on  Dec.  23  at  a 
concert  for  the  Widows  and  Orphans  Fund,  but 
are  still  in  MS. 

The  chief  event  of  1 798  is  one  which  was  to 
bear  fruit  later — Beethoven's  introduction  to 
Bemadotte  the  French  ambassador,  by  whom 
the  idea  of  the  Eroica  Symphony  is  said^  to 
have  been  first  suggested  to  him.  Bemadotte 
was  a  person  of  culture,  and  having  B.  Kreutzer, 
the  violin-player,  as  a  member  of  his  establish- 
ment may  be  presumed  to  have  cared  for  music. 
Beethoven,  who  professed  himself  an  admirer  of 
Bonaparte,  frequented  the  ambassador's  levees ; 
and  there  is  ground  for  believing  that  they  were 
to  a  certain  extent  intimate.  On  April  a  Bee- 
thoven played  his  Piano  Quintet  (op.  16)  at  the 
Cfmoert  for  the  Widows  and  Ghrphans  Fund. 
The  publications  of  this  year  show  that  the 
connexion  with  the  von  Brownes  indicated  by 
the  dedication  of  the  Russian  Variations  was 
kept  up  and  even  strengthened;  the  3  String 
Trios,  op.  9  (published  July  ai),  are  dedicated 
to  the  Count,  and  the  3  Sonatas,  op.  10  (sub- 
scribed July  7,  published  Sept.  26),  to  the 
Countess.  The  3rd  of  these  sonatas  forms  a 
landmark  in  Beethoven's  progress  of  equal  sig- 
nificance with  op.  7.  Tbe  letter*  which  he 
appended  to  the  Trios  speaks  of  'munificence 
at  once  delicate  and  liberal';  and  it  is  obvious 
that  some  extraordinaiy  liberality  must  have 
occurred  to  draw  forth  such  an  expression  as 
'the  first  Maecenas  of  his  muse'  in  reference  to 
any  one  but  Prince  Lichnowsky.  In  other 
respects  the  letter  is  interesting.  It  makes 
music  depend  less  on  *the  inspiration  of  genius' 
than  on  'the  desire  to  do  one's  utmost,'  and 
implies  that  the  Trios  were  the  best  music  he 
had  yet  composed.  The  Trio  for  Piano,  Clarinet, 
and  Cello  (op.  11),  dedicated  to  the  mother  of 
Princess  Lichnowsky,  was  published  on  Oct.  3. 
This  is  the  composition  which  brought  Steibelt 

IB.AH.2S1.  •ThuTW.iLU.  »B.*H.1ML 

*  Not  the  Tito.  op.  87  (Nottebohm.  Ntu$  BteOuwmtanaX 

*  By  Schlndlar,  on  the  statement  of  BeettioTen  himaelf  and  othen. 

*  See  Thayer,  il.  3S.  and  Nottebohm'a  Catalogue,  op.  9.  Why  are  not 
inch  interwitlnc  matter*  as  this  Letter  or  the  Padlcatloni  reprinted 
hi  all  OBSW  with  BeetboTen'i  works  ? 


and  Beethoven  into  ooUiaon,  to  the  sad  di4 
comfiture  of  the  former.^  Steibelt  had  showi 
him  studied  neglect  till  they  met  at  Conn 
Fries's,  at  the  first  performance  of  this  Trio,  an< 
he  then  treated  him  quite  de  haut  en  ba*.  i 
week  later  they  met  again,  when  Steibelt  pre 
duced  a  new  Quintet  and  extemporised  on  thi 
theme  of  Beethoven's  Finale — an  air  from  Weigl  i 
'  Amor  marinaro.'  Beethoven's  blood  was  noi 
fairly  up;  taking  the  cello  part  of  Steibelt*! 
quintet  Ike  placed  it  upside  down  before  him,  an< 
making  a  theme  out  of  it  played  with  such  effec 
as  to  drive  Steibelt  frt>m  the  room.  Passiblj 
this  fracas  may  account  for  Beethoven's  knowi 
dissatisfaction   with   the   Finale.^      The    othej 

?ublications  of  1798  are  Variations:  la  fo] 
'iano  and  Cello  on  an  sir  in  the  '  Zauberflote, 
afterwards  numbered  as  op.  66;  6,  easy,*  fcH 
Piano  or  Harp,  possibly  written  for  some  ladj 
friend,  and  published  by  his  old  ally  Slmrock  ai 
Bonn ;  and  8  on  'Une  fi^vre  brulante.'"^ 

This  year  he  again  visited  Prague,  and  pep 
formed  at  two  public  concerts,  making  an 
immense  impression.^^  After  his  return,  on  OcXi 
a  7,  he  played  one  of  his  two  Concertos  at  the 
l^eatre  auf  den  Wieden.  Wolfl  was  in  Vienna 
during  this  year,  and  in  him  Beethoven  eni 
countered  for  the  first  time  a  rival  worthy  o^ 
his  steel.  They  seem  to  have  met  often  ai\ 
Count  Wetzlar's  (Wolfl's  Mend),  and  to  have 
made  a  great  deal  of  music  together,  and  alwaya 
in  a  pleasant  way."  It  must  have  been  wonderful 
to  hear  them,  each  excited  by  the  other,  playing 
their  finest,  extemporising  alternately  and  together 
(like  Mendelssohn  and  Moscheles),  and  making 
all  the  fun  that  two  such  men  at  such  an  age 
and  in  capital  company  would  be  sure  to  make, 
Wolfl  commemorated  tiieir  meeting  by  dedicating 
three  sonatas  to  Beethoven,  but  met  with  no 
response. 

But  Beethoven  did  not  allow  pleasure  to  in^ 
terfere  with  business,  as  the  pubhcationB  of  the 
following  year  friUy  show.  The  3  Sonatas  for 
Piano  and  Violin,  dedicated  to  SaUeri  (op.  1 2), 
published  on  Jan.  la,  1799,  though  possibly 
composed  earlier  must  at  any  rate  have  occupied 
him  in  correction  during  the  winter.  The  little 
Sonata  in  O  minor  (op.  49,  No.  i)  is  a  child  of 
this  time,  and  is  immediate^  followed  in  the 
sketch  books  by  the  'Grande  Senate  path^tique' 
— Beethoven's  own  title — (op.  13),  dedicated  to 
Prince  Lichnowsky,  as  if  to  uaake  up  for  the 
little  slight  contained  in  the  reference  to  Count 
Browne  as  his  'first  Msecenas.'  The  well* 
known  Hondo  to  the  Sonata  appears  to  have 
been  originally  intended  for  the  third  of  the 
String  Tnos."  Of  the  origin  of  the  a  Sonatas, 
op.  14  (published  Dec.  ai),  little  is  known.  The 
sketclies  for  the  first  of  tlie  two  are  coincident 
in  time  with  those  for  the  Concerto  in  Bb,  which 
was  completed  in  1 794,^*  and  there  is  ground  for 
believing  that  it  was  originally  conceived  as  a 
string   quartet,   into  which    indeed  Beethoven 

TBiea,p.8L      ■  Thayer.  H.  8^  nota.     •B.AH.178.      uwd.l'n. 
u  Bee  Tmnasdidili  interesting  aoeount  in  Thayer,  IL  S. 
u  See  Seyfried,  Natiun,  6.  »  Kottebduo.  JT.  &  Ko.  XZ. 

M  Nottebolitt.  jr.  &  No.  IL 


BBETHOTEN. 


BEETHOVEN. 


119 


coaT«rled  it  »  few  yean  after.  The  leeond  is 
piTobably  modi  later,  and  is  specially  interesting 
fnxm  thie  &ct  that  Beethoven  explained  it '  to-  be 
a  dialogue  between  two  lovers,  he  entreating 
aad  site  x^esistuig.  The  Sonatas  are  dedicated  to 
die  Baronesa  Braon. 

The  <yfch«'  publications  of  1799  are  variations : 
20  on  Salieri  s  'La  Stessa' ;  7  on  Winter's  *  Kind, 
villst  du*;  and  8  on  Sossmayer's  'Tandeln/' 
A  ctmparison  of  the  dates  of  publication  with 
those  of  the  appesianoe  of  the  operas  from  which 
the  themes  are  taken,  diows  that  two  of  these 
were  written  shortly  before  publication. 

B^stboven  was  now  about  to  attack  music  of 
larger  dimensions  than  beibra.  His  six  string 
Qoarteta^  the  Septet,  the  ist  Symphony,  and 
&e  '  Mount  of  Olives,*  are  last  i^proaching,  and 
must  all  have  occupied  him  more  or  less  during 
the  last  year  of  the  century.  In  fact  the 
sketdMS  for  the  three  first  of  the  quartets  (first 
in  date  of  compo(dtion),  Nos.  5,  i,  6,  are 
jwsitividy  assigned  to  this  year,  though  there  is 
eridenoe  that  the  earliest  of  the  three  had  been 
"begun  as  fiu*  bade  as  94  or  95.*  And  though 
Aetchea  of  the  Septet  have  not  yet  been  made 
pohik,  yet  H  is  contrary  to  all  Beethoven's 
kal»tB  in  the  esse  of  so  important  a  piecei,  and 
spparently  quite  spontaneously  undertaken,  that 
be  should  not  have  been  at  work  at  it  for  a  long 
'vhile  before  its  production.  The  sam6  with 
regard  to  tlie  ist  Symphony.  Both  were  pro- 
dcoed  on  April  a,  1800.  Traces  of  the  Sym> 
phcmy,  or  of  a  previous  one  in  the  same  key,*  are 
foBsd  as  early  as  the  begiiming  of  95,  and  there 
ii  BO  doubt  that  two  such  experiments  in  a  new 
feU  most  have  occupied  much  time  and  labour, 
l^sides  these  he  waff  working  on  a  very  im- 
portant new  Sonata  in  Bb  (op.  2  a). 

Tbe  few  recorded  events  of  x8oo  are  all  doeely 
GMsected  with  music.  On  Wednesday,  April  a, 
B^tiioven  gave  the  first  concert  which  he  had 
sUenqited  in  Vienna  for  his  own  benefit.  It 
took  plaoe  at  the  Buxg  Theatre,  which  was  given 
kirn  lor  tbe  occasion,  at  7  p.m.,  and  the  pro- 
gnune  waa  as  foUows  : — i.  Symphony,  Mozart. 
1.  Air  fix>m  the  Creation.  3.  A  grand  Pianoforte 
Concoio^  'played  and  composed'  by  Beethoven. 
4.  The  Sei^et.  5.  Duet  fircxn  the  Creation.  6. 
ImproTiaaticm  by  Beethoven  on  Haydn's  £mpe- 
nrsHymn.  7.  Symphony,  No.  i.  The  Concerto 
vas  dottfailees  one  of  the  two  already  known — the 
S^>tet  had  been  previously  performed  at  Prince 
Sdnranenberg^s,*  had  pleased  immensely,  and 
Beethoven  was  evidently  proud  of  it.  '  It  is  my 
Creatioii,'  said  he — let  us  hope  not  in  Haydn's 
presenoe.  He  had  not  forgotten  Bonn,  and  the 
theme  of  the  variations  is  said  by  Czemy*  to  be 
»  Rhine  VMditd.  The  work  was  dedicated  in 
adTsooe  to  the  Empress,  and  though  not  published 
&r  some  time,  became  rapidly  popular.  So  much 
f?  the  compositions,  but  the  performance  appears 
from  the  report  in  the  Leipdc  paper*  to  have 


1L19L 


JNoffrayM*  QS«|,  p^ 

XVL  «  lUd.  Ho.  ZDL 

•  Ilild.fl.Ml 


been  shamefol ;  the  band  disliked  Wranitzky  the 
conductor,  and  vented  their  dislike  on  the  music. 
In  addition  to  this  it  appears  that  the  rehearsal, 
if  it  took  place  at  all,  was  a  veiy  imperfect  one. 
A  reference  in  one  of  Beethoven's  letters  (April 
aa,  1 801)  shows  that  it  was  his  custom  not  to 
write  in  the  piano  part  into  his  Concertos,  and 
therefore  to  play  them  firom  memory. 

On  the  1 8th  of  the  same  month  Beethoven 
appeared  acain  at  the  concert  of  Punto  the  horn- 
player,  with  a  Sonata  for  Horn  and  Piano,  com- 
posed for  the  occasion.  This  he  had  naturally 
not  been  able  to  touch  while  preparing  for  his 
own  concert,  and  in  fiujt  it  was  written  down  on 
the  day  before  the  performance.*  Here  again 
there  cannot  have  been  much  chance  of  reheanaL 
But  with  two  such  players  it  was  hardly  needed ; 
and  so  much  did  the  Sonata  delight  the  hearers, 
that  in  defiance  of  a  rule  forbidding  applause  in 
the  Court  Theatre  the  whole  work  was  unani- 
mously encored.  On  the  27th,  the  anniversary  of 
the  day  on  which  he  first  entered  Bonn,  Beetho- 
ven's old  numter,  the  Elector,  returned  to  the 
capital.  In  May  Steibelt  made  his  appearance 
in  Vienna  firom  Prague,  where  his  eharlatanerie 
and  his  real  ability  had  gained  him  prodigious 
finandal  success.  We  have  already  alluded  to 
his  conflict  with  Beethoven.  In  Vienna  he  does 
not  appear  to  have  succeeded,  and  in  August  ha 
was  again  in  Paris. 

The  announcement  of  Beethoven's  benefit 
concert  names  No.  241  'im  tiefen  Graben,'  3rd 
storey,  as  his  residence.  He  had  now  left  Prince 
Lichnowsky^s,  and  he  maintained  this  lodging 
for  two  years.  In  this  year  we  hear  for  the  first 
time  of  his  going  to  the  country  for  the  autumn. 
He  selected  TJnter-Dobling,  a  village  two  miles 
north  of  Vienna,  and  his  lodging  was  part  of 
the  house  occupied  by  the  Grillpaner  family. 
Madame  Grillparzer  long  recollected  his  fuiy  on 
discovering  her  listening  to  his  playing  outside 
the  door,  and  the  stem  revenge  he  took.* 

As  regards  publications  1800  is  a  blank,  but 
composition  went  on  with  immense  energy.  If 
we  throw  back  the  Symphony  and  the  Septet 
into  1 797,  we  have  still  the  Horn  Sonata  and  the 
Piano  Sonata  in  Bb  (op.  a  a)— a  work  of  great 
moment — ^the  Six  Quartets,  the  String  Quintet 
in  C,  the  Piano  Concerto  in  C  minor.  Of  all 
Hkeae  very  important  works  we  have  Beethoven's 
own  mention  in  a  letter  of  Dec.  15,  1800,  in 
addition  to  the  evidence  as  to  date  afforded  by 
the  sketch-books.'  And  besides  these  we  are 
bound  to  believe  that  the  Ballet  of  Prometheus, 
performed  March  a8, 1801,  occupied  him  at  least 
during  the  latter  portion  of  the  year.  An  inddent 
of  this  summer  was  Beethoven's  letter  to  Matthi- 
son  (Aug.  4)  sending  him  his  'Adelaide,'  a  letter 
interesting  for  its  courteous  and  genial  tone,  for 
its  request  for  another  poem,  and  ft^  its  confession 
that  his  eariy  works  had  already  begun  to  dis- 
satisfy him.  After  his  return  to  town  occuired 
Czemy's  introduction  to  him.  Czemy,  then  a 
lad  ox  just  upon  10,  became  Beethoven's  pupil 


TBki.p.1 


•  IIM9W.U.1M. 


•Md.li.llB. 

K2 


180 


BEETHOYEK. 


in  inanoforte  playing,  ftnd  hfta  left  a  delightful 
aooount  of  his  first  interview,  and  of  much  which 
occurred  after  it.^  Among  the  letters  of  this 
winter  and  the  spring  of  1801  are  some  to  Hoff- 
meister,  formerly  a  composer,  and  then  a  music- 
publisher  in  Leipsic,  which  ended  in  his  pub- 
Ushing  the  Septet,  the  Symphony  in  C,  the  Piano 
Concerto  in  Bb,  and  the  Sonata  (op.  a  a)  in  the 
same  key.  The  price  given  for  these  works  was 
ao  ducats  each,  except  the  Concerto,  which  was 
10.  The  ducat  was  equal  to  loa.  Euj^lish.  The 
Concerto  is  priced  so  low  because  '  it  is  by  no 
means  one  of  my  best,  any  more  than  that  I  am 
about  to  publish  in  C  major,  because  I  reserve 
the  best  for  myself,  for  mv  journey  ** —  a  confes- 
sion which  proves  that  the  Concerto  in  C  minor 
was  already  in  ezistenoe.  The  letters  show  keen 
^rmpathy  with  projects  for  the  publication  of 
Bach's  works,  and  of  Mozart's  sonatas  arranged 
as  quartets.*  They  speak  of  his  having  been 
ill  during  the  winter,  but  the  vigorous  tone  of 
the  expression  shows  that  the  illness  had  not 
affected  his  spirits.  On  Jan.  30, 1 80 1,  he  played 
his  Horn  Sonata  a  second  time,  with  Punto,  at 
a  concert  for  the  benefit  of  the  soldiers  wounded 
at  Hohenlinden. 

He  was  now  immersed  in  all  tbe  wony  of 
preparing  for  the  production  of  his  Ballet  of 
Prometheus,  which  came  out  on  March  a8  at 
the  Court  (Burg)  Theatre.  Its  great  success  is 
evident  firom  £e  fact  that  it  was  immediately 
published  in  a  popular  form — ^Pianoforte  Solo,^ 
dedicated  to  Prmcess  Lichnowsky — and  that  it 
had  a  run  of  16  nights  during  1801,  and  13  dur- 
ing the  following  year.  Apart  from  its  individual 
merits  the  Px^etheus  music  is  historically 
interesting  as  containing  a  partial  anticipation 
of  the  Storm  in  the  Pastond  Symphony,  and 
(in  the  Finale)  an  air  which  aft^wards  served 
for  a  Contretanz,  for  the  theme  of  elaborate 
variations,  and  for  the  subject  of  the  last  move- 
ment of  the  Eroica  Symphony.  The  Ballet 
gave  occasion  for  an  unfortunate  little  encounter 
between  Beethoven  and  Haydn,  evidently  un- 
intentional on  Beethoven's  part,  but  showing 
how  naturally  antagonistic  the  two  men  were. 
They  met  in  the  st^et  the  day  after  the  first 
performance,  'I  heard  your  new  Ballet  last 
night,'  said  Haydn,  'and  it  pleased  me  imuch.' 
'O  lUiber  Papa^  was  the  reply,  'you  are  too 
good :  but  it  is  no  QrtatMn  by  a  long  way.'  This 
unneoessaxy  allusion  seems  to  have  startled  the 
old  man,  and  after  an  instant's  pause  he  said 
'  You  are  right :  it  is  no  Creation,  and  I  hardly 
think  it  ever  will  be  ?' 

The  success  of'  Prometheus*  gave  him  time  to 
breathe,  and  possibly  also  cash  to  spare :  he 
clumged  his  lodgings  from  the  low-lying  '  tiefen- 
GralMn'  to  the  Sailer-statte,  a  higher  situation, 

1  Pabilahed  If  0.  F.  Pohl.  Jakrta-BmriAl  Jm  OoitMrm/or/wM  der 
0«»««A4/t  (f«r  JTiuilc^^mwb  <»  Wim.  UTO.  Also  Thajwr.  IL 103.  The 
dimwtuiek  to  thli,  and  to  w  moeh  of  Um  information  nguding 
BMthoTen,  la  that  It  wm  not  wzlttan  tUl  many  y«an  aftar  the  events 
itdescribtti.  >  Letter  of  Deo.  IS,  1800. 

J  In  eunoiif  contradiction  to  the  itroiiK  expretilons  on  the  nxldect 
of  arraogementa  In  a  mkMequeni  letter,  quoted  by  Thajrer,  U.  18S. 

4  Originally  numbered  op.  M,  but  wbn  the  Overture  wia  iaued  In 
Parti  it  waanumbeied  op.  flb  and  op.  aiwaagtran  to  thaVloUn  Sonata 
InF. 


BEETHOVEN. 

with  an  extensive  prospect  over  the  xamparts.' 
For  the  summer  of  1801  he  took  a  lodging  at 
Hetzendorf,  on  the  south-west  side  of  the  city, 
^.ttraoted  by  the  glades  and  shrubberies  of  Schon- 
brunn,  outride  which  the  village  lies,  and  perhaps 
by  the  fact  that  his  old  master  the  Elector  waa 
living  in  retirement  there.    It  was  his  practice 
during  these  country  visits  to  live  as  nearly  as 
possible  in  entire  seclusion,  and  to  elaborate  and 
reduce  into  ultimate  form  and  completeness  the 
ideas  which  had  oocuned  to  him  during  the  early 
part  of  the  year,  and  with  which  his  sketch -books 
were  crowded.    His  main  occupation  during  this 
summer  was  '  The  Mount  of  Olives,'  which  Rie^ 
found  far  advanced  when  he  arrived  in  Vienna 
in  1 80 1.*    The  words  were  by  Huber,^  and  we 
have  Beethoven's  own  testimony*  that  they  were 
written,  with  his  assistance,  in  14  days.    He  was 
doubtless  engaged  at  the  same  time,  after  his 
manner,  with  other  works,  not  inferior  to  that 
oratorio  in  their  several  dassee,  which  are  known 
on  various  grounds  to  have  been  composed  during 
this  year.     These  are  a  Violin  Sonataa  in  A 
minor  and  F,  dedicated  to  Count  van  Fries — 
originally  published  together  (Oct.  28)  as  op.  2^ 
but  now  separated  fmder  independent  Noe. ;  the 
String  Quintet  in  C  (op.  29) ;  and  not  leas  than 
4  masterpieces  for  the  Piano — the  Grand  Sonatas 
in  Ab  (op.  26)  and  D  (op.  28)  ;  the  two  Sonatas 
entiUed  'Quasi  Fantasia^  in  £b  and  m  Cf  minor 
(op.  27);  which,  though  not  published  till  1802, 
were  all  four  completed  durbig  this  year.     To 
each  of  them  a  word  or  two  is  due.    The  Sonata 
in  Ab — dedicated,  like  those  of  op.  i  and  1 3,  to 
his  prime  firiend  Prince  Carl  Lichnowsky — is 
said*  to  owe  its  noble  Funeral  March  to  pique 
at  the  praises  on  a  march  by  no  means  worthy  of 
them  in  Paer's '  AchiUe.'    That  opera— produced 
at  Vienna  on  the  6th  June  of  tlds  year — is  the 
same  about  which  Paer  used  to  tell  a  good  story 
of  Beethoven,  illustrating  at  once  his  sincerity 
and   his  terrible  want  of  manners.     He  was 
listening  to  the  opera  with  its  composer,  and 
after  saying  over  and  over  again,  'O!  que  c'est 
beau,'  '0 1  que  c*est  int^ressant>*  at  last  could 
contain  himself  no  longer,  but  burst  out '  il  faut 
que  je  compose  cela.'^*    Tlie  Grand  Sonata  in  D 
received  its  title  of  'Pastorale*   (more  appro- 
priate than  such  titles  oftea  are)  firom  Cranz  the 
publisher,  of  Hamburg.    The  Andante,  by  some 
thought  inferior  to  the  rest  of  the  Soiiata,  was 
Beethoven's  peculiar  favourite,  and  very  firequently 
played  by  him."    The  flyleaf  of  the  autograph  of 
the  work  contains  a  humorous  duet  and  diorus— 
'  the  praise  of  the  fat/  making  fun  of  Schuppan- 
zigh  ^ — 'Schuppanzigh  ist  ein  Lump,  ein  Lump/ 
etc.    The  remaining  two,  qualified  as  *  Fantasia' 
by  their  author,  have  had  very  different  fates. 
One,  that  in  Eb,  has  always  lived  in  the  shadow 
of  its  sister,  and  is  comparatively  Uttle  known. 

•  Thayer,  tt.  UL 

•  Tharer  (U.  160)  haa  ihown  flint  Bte  has  miataken  the  year.anddid 
not  eome  to  Vienna  till  UOL 

f  Author  of  Wlnier% '  UntarbrodMne  OpfBrfeet,'  and  other  pterea 

•  HU  letter  of  Jan.  SB.  ISM,  printed  hr  PoU  in  Die  OmJLekqfl  im 
MmrikfrtwA*  (Vienna.  UTl).  p.  97. 

•  Biei.  p.  SB.  u  F.  mOer.  hi  Tha]rar.  tt.  IM. 

u  Oaefnr.lBTharar.lLlSA.  b  isujnar,  FerMidMn.  Vow  flL 


BEETHOYEN. 


BEETHOVBK. 


181 


T!ie  oilier,  the  MHsaHed  'MooDlight  SoiiaU>'*  is 
M  widely  played  and  as  passionately  lored  as 
sn?  c^  Beetikoreii^s  pianoftuie  works.  It  is  one 
cf  bii  most  orjgmal  productions.  The  dedication 
to  the  Gountea  Guiociudi,  upon  which  so  much 
Rsnance  has  been  boilt^  has  had  a  colder  light 
tiirown  on  it  by  the  lady  herselC  '  Beethoven,* 
aid  she,  'gmve  me  the  Kondo  in  G,  but  wanting 
to  dedicate  Bomething  to  the  Princess  Lichnowsky 
h&  iocik  the  Boodo  away,  and  gave  me  the  Sonata 
in  Cf  minor  instead.'* 

Meantune  his  deafiie«,  which   began   with 

ridfiot  none  in  his  ears,  had  gradually  merged 

into   someihing   more   serious.      He  consulted 

doctor  aft^  drctor,  Frank,  his  friend  Wegeler, 

md  Wering;  but  the  malady  constantly  increased. 

h  gave  him  the  keenest  distress ;  but  so  great 

V9e  his  resolution  and  confid^ice  that  not  even 

Ute  pra^>eet  of  this  tronendous  affliction  could 

sabdoe  him.    '  I  will  as  &r  as  possible  defy  my 

htof  thoQ^  there  must  be  moments  when  I  shall 

be  the  most  miserable  of  God's  creatures.'  .... 

'Not  miluq»py :  no,  that  I  never  could  endure  I 

1  wiU  grapple  with  &te ;  it  shall  never  dratf  pie 

down.'    The  letters  to  Wegeler  of  June  29' and 

"Sot.  16, 1801,  from  which  Uiese  words  are  taken, 

ghe  m  extraordinary  picture  of  the  mingled 

fridependenoe  and  sensilnlity  which  characterised 

this  remarkable  man,  and  of  the  entire  mastery 

vfakh  music  had  in  him  over  friendship,  love^ 

pain,  deafiiesa,  or  a^  other  external  circum- 

itane&    '  Every  day  1  come  nearer  to  th^  object 

vtich  I  can  feel,  though  I  cannot  describe  it^ 

ud  on  which  alone  your  Beethoven  can  exist. 

Ko  more  rest  &r  him  I'     '1  live  only  in  my 

iDQBc,  and  no  sooner  is  one  thing  done  than  the 

sezt  IB  begun.    As  I  am  now  writing,  I  often 

vofk  at  three  and  four  things  at  once.'    How 

tniy  this  describee   the   incessant  manner  in 

vidch  his  ideas  flowed  may  be  seen  from  the 

ibsch-book  published  by  Nottebohm,'  and  which 

n  the  oflspiing  of  this  very  period — Oct.  1801  to 

Hay  180a.     It  contains  fetches  for  the  Finale 

cf  tie  Second  Symphony,  for  the  3  Violin  Sonatas 

(^'  30) ;  lor  Piano  Sonatas  in  G  and  I)  minor 

(op.  31) ;  for  the  Variations  in  F  (op.  34),  and 

|a  £b  (op.  3$) ;   and  a  large  number  of  lees 

'mpistant  works,  the  themes  of  which  are  so 

BBxed  up  and  repeated  as  to  show  that  they 

vere  all  in  his  mind  and  his  intention  at  once. 

Tbe  qpring  of  i8oa  saw  the  publication  of 
kvobI  very  important  pieces,  the  correction  of 
I  vhieh  must  have  added  to  his  occupations — ^the 
BefcDide  (op.  35) ;  the  Sonatas  in  Bb*  (op.  a  a), 
Ab  (op.  36),  £b  and  Cf  minor  (op.  37) ;  the 
Vaiutioiis  icft  Piano  and  CSello  on  Mozart's 
ur  <Bei  Mannem,'  and  6  Contret&nse.  It  is 
oama  to  notice  that  up  to  op.  a  a  all  the  Solo 
SoDfttas,  as  well  as  the  Buet  (op.  6)  and  the  3 
liih  Violin  (op.  J  a)  are  published  'for  Clavecin 

'Styawliclrw  tn  tbm 
aili  feat  TI1190  OL  IflOw  6}  hM 


tnm  *  critletam  on  ttaa  norit  by 
Am  IaIh  of  LoomM. 

oTttMlsttar.  WflgdtfplMMtttB 
proTBd  H  to  bek»c  toUXO. 
LetpKig.B.*H. 
to  HoOlBMiiMr, '  but  yoa  ban  bMB 


or  Pianoforte.*  The  Sonata  in  Bb  Is  the  first  to 
break  the  rule,  which  comes  to  an  end  with  the 
two  quari-fantaHJas,  op.  37.  One  would  Uke  to 
know  if  this  is  a  mere  publisher's  freak— which, 
knowing  Beethoven's  care  of  details,  it  is  hard 
to  believe — or  whether  great  works  like  op.  7 ; 
op.  10,  No.  3;  and  op.  a6  were  intended  for 
instruments  so  unlike  the  Piano  as  the  whisper- 
ing Clavichord  or  the  prancing  Harpsichord — for 
*  Qavedn '  may  mean  either.  All  the  works  just 
enumerated  were  out  by  April,  and  were  followed 
in  the  later  months  by  the  Septet,  issued  in  two 
portions;  the  Sonata  m  D  (op.  a8) ;  6  Landler;* 
the  Bondo  in  G  (Op.  51,  No.  a) ;  and  in  December 
by  the  Quintet  in  C  (op.  ag). 

Beethoven  had  recently  again  changed  his  doc- 
tor. Vering  did  not  satidy  him,  and  he  consulted 
Schmidt,  a  person  apparently  of  some  eminence, 
and  it  was  possibly  on  his  recommendation  that 
he  selected  the  village  of  Heiligenstadt,  at  that 
time  a  most  retired  spot,  lying  beyond  Unter- 
Dobling,  among  the  lovely  wooded  valleys  in  the 
direction  of  the  Kahlenbeiv  and  Leopoldsberg. 
Here  he  remained  till  October,  labouring  at  the 
completion  of  the  works  mentioned  above,  which 
he  IumI  sketched  early  in  the  year,  and  which  he 
probably  completed  before  returning  to  Vienna. 
Here  too  he  wrote  the  very  affecting  letter 
usually  known  as  'Beethoven  s  will,'  dated  Oct. 
6,  and  addressed  to  Us  brothers,  to  be  opened  after 
his  death,'  a  letter  full  of  depreision  and  distress, 
but  perhaps  not  more  so  than  that  written  by  many 
a  man  of  sensibilitv  under  adverse  temporary  cir- 
cumstances, and  which  does  not  give  us  a  high  idea 
of  Dr.  Schmidt's  wisdom  in  condemning  a  dys- 
peptic patient  to  so  long  a  course  of  solitude.  At 
any  rate,  if  we  compare  it  with  the  genial,  cheer- 
ful strains  of  the  music  which  he  was  vnriting 
at  the  time — ^take  the  Symphony  in  D  as  one 
example  only — and  remember  his  own  words: 

'  I  live  only  in  my  music, letter-writing 

was  never  my /orFe' — ^it  loses  a  good  deal  of  its 
significance.*  Once  back  in  town  his  spirits 
returned ;  and  some  of  his  most  fi»cetious  letters 
to  ZmeskaU  are  dated  from  this  time.  On  re- 
turning he  changed  his  residence  from  the  Sailer- 
Statte,  where  we  last  left  him,  to  the  Peters- 
Platz,  in  the  very  heart  of  the  city,  and  at  the 
top  of  the  house.  In  the  storey  above  Beethoven 
lived  his  old  friend  Forster,  who  had  won  his 
affection  by  giving  him  hints  on  quartet  writing 
on  his  first  arrival  in  Vienna.  Forster  had  a 
little  son  whom  Beethoven  undertook  to  instruct* 
and  the  boy,  then  just  6,  long*  remembered  having 
to  get  up  in  the  dark  in  the  winter  mornings  and 
descend  the  stairs  for  his  lessons.  This  winter 
again  there  were  many  proofr  to  correct — the  a 
Piano  Sonatas  (op.  31,  i  &  a),  the  3  Violin  ditto,  a 
sets  of  Variations  (op.  34,  35),  all  which  appeared 
early  in  1803.  The  Piano  Sonatas  he  regarded 
as  a  change  in  his  style  '* — which  they  certainly 
are,  the  D  minor  especially.    The  Variations  he 


•B.AH.UT. 
7  The  Mitamith  li  fai 
wbom  It  WM  glren  by  Brast. 
■  Bm  Um  wnilbla  ranailBi  of 
•  Thajw.U.lW.'iOUL 


Iliid 


.ILIML 
M  IUd.UB. 


182 


BEETHOVEN. 


mentionB^  as  distinct  in  kind  firom  hk  earlier 
ones,  and  therefore  to  be  included  in  the  series 
of  his  large  works,  and  numbered  accordingly. 
In  addition  there  were  published  a  Prelude 
(op.  39),  dating  from  1789 ;  7  Bagatelles,  some 
of  them  as  old  as  1782,  but  one  at  least  (No.  6) 
written  within  the  last  twelve  months.  Also  the 
Romance  in  G  for  Violin  and  Orchestra  (op.  40), 
which  was  published  this  year,  and  6  Sacred 
Songs  (op.  48),  dedicated  to  his  Russian  firiend 
Count  von  Browne.  And  proofs  at  that  date 
appear  to  have  been  formidable  things,  and 
to  have  required  an  extraordinary  amount  of 
vigilance  and  labour.  Not  only  had  the  en- 
gravers* mistakes  to  be  guarded  against,  and  the 
obscurities  of  Beethoven*s  writing,  but  the  pub- 
lishers were  occasionally  composers  and  took  on 
themselves  to  correct  his  heresies  and  soften  his 
abruptnesses  as  they  passed  through  their  hands. 
Thus  in  the  Sonata  in  G  (op.  31,  No.  i),  Nageli 
of  Zurich  inteipolated  four  bars.*  Of  course  Bee- 
thoven discovered  the  addition  on  hearing  Ries 
play  from  theproof,  and  his  rage  was  naturally 
unbounded.  ITie  mistakes  were  corrected,  and 
an  amended  proof  was  transmitted  at  <mce  to 
Simrock  of  Bonn,  who  soon  got  out  an  '  Edition 
tr^s  correcte* ; — ^but  Nageli  adhered  to  his  own 
version  of  Beethoven's  music,  and  editions  are 
still  issued'  containing  the  four  redundant  bars. 
It  is  needless  to  say  that  after  Opus  31  he 
published  no  more  for  Beethoven.  But  even 
without  such  intentional  errors,  correcting  in 
those  days  was  hard  work.  'My  Quartets,  he ^ 
complains,  'are  again  published  full  of  mistakes 
and  errata  great  and  small;  they  swarm  like 
fish  in  the  sea — innumerable.*  The  Quintet  in  0 
(op.  39),  published  by  Breitkopf,  was  pirated  by 
Artaria  of  Vienna,  and  being  engraved  from  a 
very  hasty  copy  was  extraordinarily  full  of 
blunders.'  Beethoven  adopted  a  very  character* 
istic  mode  of  revenge ;  fifty  copies  had  been 
struck  off,  which  he  offered  Artaria  to  correct, 
but  in  doing  so  caused  Ries  to  make  the 
alterations  with  so  strong  a  hand  that  the  copies 
were  quite  unsaleable.*  It  was  an  evil  that 
never  abated.  In  sending  off  the  copies  of  the 
A  minor  Quartet  twenty  years  later,  he  says, 
*  I  have  passed  the  whole  forenoon  to-day  and 
yesterday  afternoon  in  correcting  these  two 
pieces,  and  am  quite  hoarse  with  stamping  and 
BweaJring* — and  no  wonder  when  the  provocation 
was  so  great.  The  noble  Sonatas,  op.  31,  to  the 
first  of  which  one  of  the  above  anecdotes  refers, 
were  unfortunate  in  more  ways  than  one.  They 
were  promised  to  Nageli,  but  Caspar  Beethoven^ 
by  some  blunder— whether  for  his  own  profit  or 
his  brother's  does  not  appear — ^had  sold  them  to 
a  Leipsio  house.'  The  discovery  enraged  Bee- 
thoven, who  hated  any  appearance  of  deceit  in 

I  8Mhlilettcr(D«e.9B,t8Ga)tnTlM]rer.l{.8UL 

•  Between  the  SBth  and  97th  ban  from  the  end  of  the  flntmomnent. 
■Kg.  that  of  HoUe  of  WolfenbiitUiL  An  eqomUj  gxmtultoiu  alteration 

has  been  made  In  the  Sonata  op.  81a.   See  Thajer.  V«rBMdMM.  p.  188. 
«  Letter  to  Hofltaielitw,  April  S.  1802.  •  Bl«  ISO. 

•  Rial,  120L    He  iaoed  a  notice  to  the  poblle,  ^-nH^^iHg  them 
■ffunst  thli  incorreet  edition.  7  Bici.  87. 

•  Oa»par  had  alieadf  offend  them  to  Andre  of  Ofltobacfa.    Sea 
Thayer,  U.  908. 


BEETHOVEN. 

his  dealings  ;  he  challenged  his  brother  vrith  tl 
fact,  and  the  quarrel  actually  proceeded  to  blov 
Knowing  how  much  Beethov^i  disliked  his  ear 
works,  it  is  difficult  not  to  imagine  thAt  the  a 
pearance  of  the  two  boyish  Preludes,  op.  39,  ai 
of  the  Variations,  op.  44  (179a  or  3),  both  pu 
lished  at  Leipsic — was  due  to  the  interlerence 
Caspar. 

A  great  event  in  1803  was  the  production 
'  The  Mount  of  Olives,*  his  first  vocal  oompositit 
on  a  larger  scale  than  a  scena.  The  conce 
took  place  in  the  Theatre  *an  der  liVien'  < 
April  5,  and  the  programme  included  three  ne 
works— the  Oratorio,  the  Symphony  in  D,  ai 
the  Pianoforte  Cbncerto  in  0  minor,  {dayed  I 
himself.  Interesting  accounts  of  the  rehears 
(in  which  Prince  Lichnowsk^'  showed  himself  t 
friendly  as  ever)  and  of  the  performance  w: 
be  found  in  Ries  and  Seyfriedi.  Difficult  as 
is  to  conceive  of  such  a  thing,  the  Symphos 
appears  to  have  been  found  too  laboured  by  tl 
critics,  and  not  equal  to  the  former  one.''  Tl; 
success  of  the  Oratorio  is  shown  by  the  fa< 
that  it  was  repeated  three  times  (making  foi 
performances)  by  independent  piuties  in  th 
course  of  the  neact  twelve  months.  The  Sonat 
for  Piano  and  Violin,  now  so  well  known  a 
the  '  Kreutzer  Sonata^"  was  first  played  on  Ma 
17,  at  the  Augarten,  at  8  ajn.  There  was 
curious  bombastic  half-caste  English  violii 
player  in  Vienna  at  that  time  named  Bridge 
tower.  He  had  engaged  Beethoven  to  writ 
a  sonata  for  their  joint  performance  at  hi 
concert.  Knowing  Beethoven's  reluctance  t 
complete  bespoken  works,  it  is  not  surprising 
to  find  him  behind  time  and  Bridgetowe 
clamouring  loudly  for  his  music.  The  Finali 
was  easily  attainable,  having  been  wnttei 
the  year  before  for  the  Sonata  in  A  (op.  30 
No.  1),  and  the  violin  part  of  the  first  movemen 
seems  to  have  been  ready  a  few  days  before  th 
concert,  though  at  the  performance  the  piano 
forte  copy  stUl  remained  almost  a  blank,  witl 
only  an  indication  here  and  there.  But  tht 
Variations  were  literally  finished  onlv  at  the  las 
moment,  and  Bridgetower  had  to  play  them  a1 
sight  from  the  blurred  and  blotted  autograph  o 
the  composer.  Beethoven*s  rendering  of  th( 
Andante  was  so  noble,  pure,  and  chaste,  as  U 
cause  a  universal  d^'mand  for  an  encore.  A 
quarrel  with  Bridgetower  caused  the  alteratioi 
of  the  dedication. 

Before  Beethoven  left  town  this  year  he  mad( 
an  arrangement  to  write  an  opera  for  Schikane 
der,  Mozart*s  old  comrade,  the  manager  of  thfl 
Theatre  *  an  der  Wien.*  ^^  Beyond  the  bare  facf 
nothing  is  known  on  the  subject.  It  is  possible 
that  a  MS.  Trio  ^  preserved  in  the  library  of  the 
'  Gesellschaft  der  Musikfreunde*  at  Vienna,  and 
afterwards  worked  up  into  the  duet  in  '  Fidelio/ 
is  a  portion  of  the  proposed  work,  but  thia  if 
mere  conjecture.  The  arrangement  was  an« 
nounoed  on  June  29,  and  Beethoven  had  before 

•  Bfea.  76;  SoyMad.  JfofJMR.U:  and  m  Tliajor.  IL  SSSL  SM. 

10  See  the  report  In  Tharer,  IL  23Bw  u  See  Ibajrer,  IL  221, 9ft 

tt  Kottebohm.  Btttkopttuamot  p.  A 


BEETHOYEN. 


BEETHOVEN. 


188 


Uiat  &te,  periutps  m  early  as  April,  taken  up 
htt  qoacters  at  the  theatre  with  his  brother 
Cft^nr,  who,  with  all  his  faults,  was  necessary  to 
t  person  so  inapt  at  business  as  Ludwig.  His 
nmmer  and  automn  were  again  spent — after  a 
few  weeks  £itr  at  Baden  ^ — at  Ober-dobling, 
and  were  occupied  principally  with  his  thini 
Symphony  on  *  Napoleon  Bonaparte,*  the  idea  of 
whidk,  sisoe  its  suggestion  in  1798,  appears  to 
lure  ripened  with  the  contemplation  of  the 
iplfenJid  cazeer  of  the  first  Consul  as  soldier, 
Uvgiyer,  statesman,  and  hero^  until  it  became 
&B  actual  fact. 

Of  the  order  in  which  the  movements  of  this 
■dghty  work  were  composed  we  have  not  yet  any 
inf  nnatioii,  but  ihen  is  no  doubt  that  when 
BaethoTen  letnmed  to  his  lodgings  in  the  theatre 
in  the  automn  of  1803  the  Finale  was  complete 
ewugh,  at  least  in  its  general  outlines,*  to  be 
fdayed  thxou^  by  its  aqthor.     There  are  traces 
ot  Beethoven  bemg  a  great  deal  in  society  this 
vinter.  Two  young  Rhinelanders — Gleicheustein, 
s  friend  and  fellow  official  of  Breuning's  in  the 
War  Office,  and   M&hler,  also   a   government 
o&cial  and  an  amateur  portrait  painter,  were 
sow  added  to  his  circle  *    With  another  painter, 
Maeco,  be*  appears  to  have  been  on  terms  of 
gn^t  intimacy.    The  Abb^  Vogler  was  in  V  ienna 
iLii  «eauna  with  his  pupil  Gari  Maria  von  Weber, 
ud  a  record^  survives  of  a  soiree  given  by 
Sjan^ikjaer,  at  which  Yogler  and  Beethoven 
Biei,,  and   eiich   gave   the   other   a   subject  to 
eitemporise  upon.     The  subject  given  by  Bee- 
tL'jven  to  Vogler  we  merely  know  to  have  been 
4^  ban  long,  while  that  on  which  he  himself 
beld  forth  was  *  the  scale  of  C  major,  three  bars, 
eila  hreve,*     Vogler  was  evidently  the  more  ex- 
pat contrapuntist,   but   Beethoven   astonished 
trea  his  rival^s  adherents  by  his  extraoriiinary 
plsni^,  and  by  a  prodigious  flow  of  the  finest 
itieu.    N0CU9  ccaueque  deorvan, — Clementi  too 
wii  in  Vienna  about  this  time,  or  a  little  later, 
vidi  his  pupil   Klengel.     He  and  Beethoven 
often  dined  at  the  same  restaurant,  but  neither 
voold  speak  firsts  and  there  was  no  intercourBe.* 
Not  far  want  of  respect  on  Beethoven's  side,  for 
k  had  a  very  high  opinion  of  Clementi,  and 
tiuraght  his  method  one  of  the  best.   This  winter  ^ 
ttw  the  beginning  of  a  conespondenoe  which  was 
not  destined  to  bear  fruit  till  some  years  later — 
vith  Thomson  the  music-publisher  of  Edinburgh. 
Thomson  had  already  published  arrangements  of 
Scctch  airs  by  Pleyel  and  Kozeluch,  and,  with 
the  troe  eye  of  a  man  of  business,    was  now 
uzbos   to   obtain   fit>m   a  greater   and   more 
&1D0QS  musician   than  either,    six  sonatas  on 
Scotch  thanes.     Beethoven  replies  on  Oct.  5, 
offeriag  to  compose  six  sonatas  for  300  ducats 
(^150).     Thomson  responded  by  offering  half 
the  sum  named,  and  there  for  tiie  present  the 
eorropondenoe  dropped.      The  prospect  of  an 
open  fipoai  Beethoven  was  put  an  end  to  at  the 


bath  16  or  If  Bilrt  aoati)  of 
■  Ibid.  SI.  «  niM.  9<L 

•lUd.Mft 
.tt.». 


beginning  of  1804  by  the  theatre  passing  out  of 
Schikaneaer*s  haiads  into  those  of  Baron  von 
Braun,  and  with  this  his  lodiang  in  the  theatre 
naturally  ceased.*  He  moved  into  the  same  house 
with  Stephen  Breuning — ^the  'Kothe  Haus,*  near 
the  present  Votive  Church,  and  there  the  rupture 
already  spoken  of  took  place. 

The  early  part  of  1804  ^^'^^  taken  up  in 
passing  through  the  press  the  Symphony  No.  a 
^dedicated  to  Prince  Carl  Lichnowsky),  and  the 
three  4-hand  Marches,  which  were  published  in 
March — but  the  real  absorbing  occupation  of 
the  whole  winter  must  have  been  the  completion 
of  the  Bonaparte  Symphony.  At  length  the 
work  was  done,  a  fair  copy  was  made,  the  out* 
side  page  of  which  contained  the  *  woids  '  Kapo- 

leon  Bonaparte Louis  van  Beethoven,* 

and  it  lay  on  the  composer*s  table  for  the  proper 
opportunity  of  official  transmission  to  Paris.  On 
May  3  the  motion  for  making  Napoleon  emperor 
passed  the  Assembly,  and  on  the  i8th,  after  hii 
election  by  pl^btteite,  he  assumed  the  title.  The 
news  must  have  quiokly  reached.  Vienna,  and 
was  at  once  communicated  to  Beethoven  bv  Ries. 
The  story  need  not  be  given  here  in  detail.  In 
a  fury  of  disappointment  and  with  a  torrent  of 
reproaches  he  tore  off  the  title  page  and  dashed 
it  on  the  ground.  At  some  future  time  it  re- 
ceived the  new  name  by  which  we  know  it,  and 
under  which  it  was  published — '  Sinfonia  eroica 
per  festeggiare  il  sowenire  d*im  gran  uomo'^* 
but  this  was  probably  an  afterthought,  and  the 
cover  of  the  MS.  now  in  the  Bibliothek  at 
Vienna^ — 


Sinfonia  giande 

Napoleon  Bonaparte 

804  im  August 

del  Sigr. 

Louis  van  Beethoven 


Onfonls  8 


Op.  56 


an  intermediate  title.  The  right  to  use  the  Sym- 
phony was  purchased  by  Prince  Lobkowitz,  to 
whom  it  is  dedicated.  It  was  played  at  his 
house  during  the  winter,  and  remained  in  MS. 
till  October  1806. 

The  fraoat  at  Breuning's  rooms  ended  by  Bee- 
thoven's dashing  off  to  Baden,  and  then  returning 
to  his  old  quarters  at  Dobling.  There  he  com- 
posed the  Grand  Sonata  in  0,  whidh  he  afterwards 
dedicated  to  Count  Waid«itein,  and  that  in  F, 
op.  54,  which  though  only  in  two  movements  and 
dedicated  to  no  one  is  not  infsrior  in  originality  to 
its  longer  companion.  It  is  to  the  Finide  of  this 
work,  and  not  that  of  the '  Appaasionata'  as  usually 
believed,  that  Ries^s  story  applies.  Ries  M)pears 
to  have  often  gone  out^  as  he  often  md,  to 
Dobling — within  an  easy  walk  of  Vienna — ^and 
to  have  remained  with  his  master  all  the  after 


•  Th«7«r.  II.  9M. 

•  Theie  wardi  oaa  itfll  b* 
Vktma. 


out  00  tb«  eovtr  of  tlM  MB. 


184 


BEETHOVEN. 


part  of  the  day.  They  went  for  an  immense 
-walk,  and  did  not  get  home  till  eight  in  the 
evening.  During  the  whole  time  Beethoven  had 
been  humming  and  growling  to  himself,  but 
without  anything  like  a  tune.  On  Riee  asking 
him  what  it  was,  he  replied  that  it  was  a  theme 
for  the  finale  of  the  Sonata.  The  instant  they 
reached  the  house  he  sat  down  to  the  piano 
without  taking  off  his  hat,  and  for  more  than  an 
hour  pounded  away  at  his  new  idea.  Ries  sat  in 
a  comer  listening. — ^The  Sonata  in  C,  just  men- 
tioned, contained  when  completed  a  long  An- 
dante in  F — ^the  subject  of  a  very  characteristic 
story,  already  alluded  to  (p.  167).  This,  how- 
ever, at  the  advice  of  some  judicious  critic, 
he  was  induced  to  take  out  and  replace  by  the 
present  short  introductory  Adagio,  after  which 
it  was  published  separately,  uid  became  the 
well-known  'Andante  fitvori.*^  During  this 
summer,  on  July  19  or  26,  ihen  was  a  con- 
cert at  the  Augarten,  at  which  Beethoven  con- 
ducted ;  the  Symphony  in  D  was  performed,  and 
Bies  made  his  first  public  appearance  as  Bee- 
thoven's scholar  in  the  C  minor  Concerto.  Ries's 
story  of  his  cadence  is  too  long  for  these  pages, 
but  should  be  read.'  The  Pianoforte  part  having 
to  be  written  out  for  Ries,  the  Concerto  was  at 
last  ready  for  publication,  and  in  fact  made,  its 
appearance  in  November,  dedicated  to  Prince 
Louis  Ferdinand  of  Prussia,  an  amateur  of  re- 
markable musical  gifts,  whose  acquaintance  Bee- 
thoven made  when  he  visited  his  father's  court 
in  1796,  and  who  while  in  Vienna  at  this  very 
time  was  one  of  the  first  to  hear  and  appreciate 
the  new  Symphony.  When  Beethoven  came  back 
it  was  to  a  new  lodging,  in  a  house  of  Baron  Pas- 
qualati*s,  on  the  Molker-Bastion  near  Prince 
Lichnowsky's,  and  in  some  sense  this  was  his 
last ;  for  though  he  left  it  more  than  once  yet  the 
Baron  always  forbid  the  roon^  to  be  let,  saying 
that  Beethoven  was  sure  to  come  back  to  iJiem 
again.  Breuning  and  he  soon  met,  and  a  reoon- 
cUiation  took  place  which  was  not  interrupted 
for  manv  years — ^but  they  never  again  put  uieir 
friendship  so  far  to  the  proof  as  to  Uve  together. 
Breuning's  attitude  through  the  whole  affair  is 
in  keeping  with  his  solid  sensible  character,  and 
does  him  infinite  credit.  His  letter  .to  Wegeler 
of  November  13  gives  no  hint  of  a  quarrel,  but  is 
full  of  the  deepest  svmpathy  with  Beethoven 
under  the  affliction  of  his  deamees.  In  addition 
to  the  works  already  mentioned  as  published 
during  1804  must  be  named  the  great  Sonata  in 
Eb,  which  ultimately  became  the  3rd  of  opus  31 ; 
7  Variations  on  'Grod  save  the  King/'  and  5  on 
'Rule  Britannia';  a  song,  'Der  Wachtelschlag,'^ 
and  '  Ah  I  perfido.'  Why  he  selected  these  two 
English  airs  does  not  appear.  At  a  later  date 
he  said,  k  propos  to  its  use  m  his  Battle  Symphony, 
'  I  must  snow  the  English  a  little  what  a  blessing 
they  have  in  Grod  save  the  King.''  It  is 
satisfactory  to  find  him  so  fond  of  it. — ^The  first 
trial  of  the  Eroica  took  place  in  December'  at 

>B.*H.19I.      *  Nofitm,p.nL      *  B.AH.1T».180.      «IUd.SM. 
•  In  hb  JouriMl  1812-lta8.  Nohl.  Dit  BtttkovmrFtim'  (ISn),  9.  B&, 
•itaajtr.iLaa:  •adUki.p.TSl 


BEETHOVEN. 

Prince   Lobkovrits's.     The   opinions    ezpi 
concerning  it  are  collected  by  ^nutyer,  and  shoiv 
be  read  and  digested  by  all  who  are  temptedl 
regard  music  fiom  the  '  finality'  point  of  view. 

Beethoven's  connection  with  the  Theatre    i 
der  Wien,  though  interrupted,  was  not  at  an  ezi 
Baron  von  Braun  took  Schikaneder  into  his  s« 
vice,  and  one  of  their  first  acts  was  to  renew  tl 
offer.     Bouilly's  opera,  which  had  been  aJirewc 
set  by  Gaveauz^  and  Paer,'  was  choeen,   mx 
Sonnleithner  was  employed  to  make  the  Gertna 
translation.    Beethoven  went  back  to  his  rooiz 
at  the  theatre,  and  set  to  work  with   enei^g;^ 
But,  remembering  his  habit  of  doing   seven 
things  at  once,  we  need  not  suppose  that,  thoug 
at  work  on  an  opera,  he  dropped  other  compo«3 
tions.    A  letter  to  Artaria  shows  that  on  June  i 
1805,  he  was  engaged  on  a  new  Quintet,  th* 
suggestion  of  Count  Fries.'    Though  he  had  evei 
proceeded  so  &r  as  to  mention  it  to  the  publisher 
its  ultimate  h.te  must  be  left  to  the  discovery  o; 
Herr  Nottebohm;  it  certainly  never  arrived  a1 
publication.    He  also  completed  the  Sonata  in  E 
(op.  54),  and  probably  entirelv  oompoeed    the 
Triple  Concerto  (op.  56).    But  the  opera  was  his 
main  and  absorbing  business.    During  the  whole 
of  the  spring  he  was  hard  at  work,  and  in  Jane 
he  betook  himself  to  Hetzendorf,  there  to  put  his 
sketches  into  shape,  and  to  get  inspiration  fix»m 
his  favourite  woods  and  fields.    To  give  an  idea 
of  the  extraordinary  amount  of  labour  and  pains 
which  he  bestowed  on  his  work,   and  of  the 
strangely  tentative  manner  in  which  so  great  a 
genius  proceeded,  we  may  mention  *'  that  in  the 
sketch-book  whidi  contains  the  materials  far  the 
opera — ^a  thick  oblong  volume  of  300  pages,  16 
staves  to  the  page — there  are  no  leas  than  18 
distinct  and  different  beginnings  to  Flore8tan> 
air  *In  des  Lebens  Friihlingstagen,'  and  10  to 
the  chorus  *Wer  ein  holdes  Weib.'    To  redace 
these  chaotic  materials  to  order,  and  to  score  the 
work,  was  the  entire  occupation  of  these  summer 
months.     Closely  as  he  was  occupied  he  could 
occasionally  visit  Vienna,  and  on  one  occasion  in 
July  ^'  we  find  him  at  Sonnleithner  s  rooms  with 
Cherubini   and  Vogler.     Cherubini  arrived  in 
Vienna  with  his  wife  early  in  the  month,  and 
remained  till  the  following  ApriL     His  operas- 
had  long  been  favourites  on  the  Viemia  stage. 
The  'Deux  Joum^es'  was  performed  under  his 
direction  shortly  after  his  arrival,  and  'Faniska* 
was  produced  for  the  first  time  on  Feb.  15, 1806. 
Beethoven  knew  them  well,   and  has  left  on 
record  "  that  he  esteemed  their  author  above  all 
then   living  writers  for  the  stage.     He  also 
thought  so  highly  of  Cherubini's  Requiem  as 
to  say  that  he  should  boixow  largely  from  it  in 
the  event  of  his  writing  one.    But  tiie  influence 
of  Cherubini   on   Bee^oven's   vocal  music   is 
now  "  acknowledged.    The  two  artists  were  much 

">  *  LtoDora  OQ  ramour  ooqjuskle,  open  oomiqoa,'  Feb.  U,  17K 
>  '  Leonoim  a«l»  llunore  eonjuipite,'  DmdM,  Oct  I,  UDi 
•  LeUer  to  ArUria.  June  1, 180B. 
>o  Thayer,  il.  281.  u  IWdLSl 

»  Seyfriei  1,11.  SS;  also  Cnray  In  C&Oia.  Bee  Ttaajer,  D.  SBI. 
IS  See  HOlor,  In  MhemtUau't  MagaMiua,  July  UTS;  abo  the  npoit  of 
a  oonreraatiun  with  MeDdelaaohn  In  Marzl  Mmtie  of  (htMA  eattvf, 
,  A  fragBMot  of  a  iketch-book  of  fieethorea's  In  Mr.  JoMhlmli  jKawHioo 


BEETHOVEN. 


BEETHOVEN. 


185 


toigether,  and  agieed  as  well  as  two  men  of  snoh 
itroog  character  and  open  speecli  were  likely  to 
agree  Cherabim  presented  the  oomposer  of 
'  Fideiio '  with  a  copy  of  the  Mithode  of  the  Gon- 
aoraioire,  and  the  scores  of  '  M^to '  and  '  Fa- 
Disks*  are  oonspicuous  in  the  sale  catalogue  of 
Beethoven's  scanty  library.  ^ 

One  proof  that '  Fideiio '  was  complete  before 
fais  retom  to  town  is  afforded  by  the  fact  that  i 
be  allowed  others  to  hear  it.  On  one  occasion  , 
ke  played  it  to  a  select  set  of  friends,'  when 
Bies  (as  already  mentioned)  was  excluded ;  and 
thaa — as  he  was  shortly  afterwards  called  to  ^ 
£(3in  by  the  conscription — lost  his  chance  of 
hearing  the  opera  at  iJl  in  its  first  shape.  That 
Beethoven's  Toioe  in  singing  was  'detestable*' 
wOl  ziot  have  diTninished  &e  interest  of  the  triaL 
The  work  of  rehearsing  the  music  now  began, 
aad  was  evidently  attended  with  enormous  diffi- 
caMaai,  espooaMLy  in  regard  to  the  singers.  They 
oomplained  that  their  passages  were  unsingable, 
ubite  Beethoven  on  his  part  was  determined  to 
make  no  alterations — and  apparently  none  were 
made.*  With  the  band  he  &red  little  better. 
Be  even  invokes  his  deafiiess  as  an  assistance. 
Writing  only  two  days  before  the  first  perform- 
aooe,  he  saya»'  'Fray  try  to  persuade  Seyfried 
to  oondoct  my  opera  to-day,  as  I  wish  to  see 
aod  hear  it  from  a  distance;  in  this  way  my 
pstknoe  will  at  least  not  be  so  severely  tried  by 
ihe  rdieanal  as  when  I  am  close  enough  to  hear 
my  music  so  bungled.  I  really  do  beUeve  it  is 
dcae  on  purpose.  Of  the  wind  I  will  say  no- 
thing, but .    All  pp.  erae,,  all  deerese.,  and 

an  /.  /.  may  as  well  be  struck  out  of  my  music, 
EDce  not  one  of  them  is  attended  to.  I  lose  all 
dedxe  to  write  anything  more  if  my  music  is  to 
be  so  played.'  And  again, ' '  the  whole  business 
of  the  opera  is  the  most  distressing  thing  in  the 
^orid.* 

The  peribrmance  was  fixed  finr  Wednesday, 
Kov.  20.  Extemsl  events  could  hardly  have 
baen  more  unpropitious.  The  occupation  of  Ubn 
lod  Salzburg  had  been  fiillowed  on  Nov.  15  by 
i^.«ntr7  of  the  French  army  into  Vienna.  Bona- 
jAite  took  np  his  quarters  at  Schonbrunn ;  the 
'.ikDperar  of  Austria,  the  chief  nobility  and  other 
vealdiy  persons  and  patrons  of  music  had  de- 
serted the  town,  and  it  was  a  conquered  city 
tenanted  by  Frenchmen.  It  was  in  such  circum- 
itanoes  that  '  Fideiio,  oder  die  eheliche  liebe ' 
vaa  produced.  The  opera  was  originally  in  3 
lets.  It  was  performed  on  the  20th,  2ist»  and 
32Dd,  and  was  then  withdrawn  by  the  00m- 
pQKr.''  The  overture  on  these  occasions  appears 
to  have  been  that  known  as  'Leonora  No.  2.  It 
va<  felt  by  Beethoven*s  friends  that,  in  addition 
to  the  drawbacks  of  the  French  occupation  and 
of  the  advanced  character  of  the  music,  the  opera 
vu  too  long ;  and  a  meeting  was  held  at  Prince 
Lk^inowsky^s  house,  when  tiie  whole  work  was 

CDUtln  the  TMo  in  tba  'Deoz  Jouroffas*  and  a  ptooe  tnm  the 
'ZtstMcSSia.' aiijad  ap  wtth  biU  of' Flddto '  and  of  Uw  Flnala  of  Ui« 
B  lu  Brapboair.  *  Thsyer,  (Arom.  VgntitltMiu,  vp.  180.  UL 

•  flddndls  (IflBO),  L  UB.  UIL  •  LatUr  toJUaTK. 

I  Ta  TntlKiikcw  in  ScUndlfBr.  L  Ul 
>  BnadagnHettv  of  J  ana  ^  18ML 


gone  through  at  the  piano,  and  after  a  battle 
lasting  from  7  till  i  in  the  morning,  Beethoven 
was  induced  to  sacrifice  three  entire  numbers. 
It  is  characteristic  of  Beethoven  that  though 
f^ous  and  unpleasant  to  the  very  greatest  de- 
gree while  the  struggle  was  going  on,  yet  when 
once  the  decision  was  made  he  was  in  his  most 
genial  temper.'  The  libretto  was  at  once  put 
into  the  hands  of  Stephen  Breuning.  by  whom  it 
was  reduced  to  two  acts  and  generally  improved, 
and  in  this  shortened  form,  and  with  the  revised 
Overture  known  as  'Leonora  No.  3,'  it  was 
again  performed  on  March  20,  1806,  but,  owing 
to  Beethoven's  delays  over  the  alterations,  with 
only  one*  band  rehearsal.  It  was  repeated  on 
April  10,  each  time  to  fuller  and  more  apprecia- 
tive houses  than  before,  and  then,  owing  to  a 
quarrel  between  Beethoven  and  Baron  Braun, 
the  intendant  of  the  theatre,  suddenly  and  finally 
withdrawn.  Attempts  were  made  to  bring  it 
out  at  Berlin,  but  they  came  to  nothing,  and  this 
great  work  was  then  practically  shelved  for  seven 
or  eight  yean. 

It  is  an  astonishing  proof  of  the  vigour  and 
fertility  of  the  mind  of  this  extraordinary  man 
that  in  the  midst  of  all  this  work  and  worry  he 
should  have  planned  and  partly  carried  out  tnree 
of  his  greatest  instiumental  compositions.  We 
have  the  assurance  of  Mr.  Nottebohm'  that  the 
Piano  Concerto  in  6  and  the  Symphony  in  G 
minor  were  both  begun,  and  the  two  first  move- 
ments of  the  latter  composed,  in  1805.  The  two 
last  of  the  String  Quartets,  op.  59,  appear  to  have 
been  written  during  this  winter-->before  that  in 
F,^  which  now  stands  first.  There  are  many 
indications  in  his  letters  that  his  health  was  at 
this  time  anything  but  good,  and  the  demands  of 
society  on  him  must  have  been  great.  Against 
them  he  could  arm  himself  by  such  reflections 
as  the  following  pencil  ^  note  in  the  margin  of  m 
sketch-book  of  this  very  date.  '  Struggling  as 
you  are  in  the  vortex  of  society,  it  is  yet  possible^ 
notwithstanding  all  social  hmdranoes^  to  write 
operas.  Let  your  deafiiess  be  no  longer  a  seoet-^ 
even  in  your  Art  I ' 

On  April  10, 1806, '  Fideiio'  was  performed  for 
the  last  time :  on  May  25  ^  the  maniage  contract 
of  Caspar  Carl  Beethoven  with  Johanna  Beis 
was  signed — harbinger  of  unexpected  suffering  for 
Ludwig — and  on  May  26  he  began  the  scoring  of 
the  first  of  the  three  Quartets,  which  were  after- 
wards dedicated  to  the  Russian  Ambassador, 
Count  Rasoumoffsky,  as  op.  59.  So  says  his  own 
writing  at  the  head  of  the  autograph."  These 
Quartets,  the  Russian  airs  in  which  it  is  natural 
to  suppose  were  suggested  by  the  Ambassador  (a 
brother-in-law  of  Prince  lidmowsky),  are  another 
link  in  the  chain  of  connection  between  the  re- 
publican composer  and  the  great  Imperial  court 
of  Petersburg,  which  originated  some  of  his  noblest 
works. 

His  fikvourite  summer  villages  had  been  de- 
fined by  the  French,  and  perhaps  for  this  reason 

•  Saa  Boackal't  aeeooBt  of  ttia  whola  tn 

*  Nottebohm.  Oalaioifm*,  op.  tf  and  SBl 
M  Letter  to  Bnnuwick*  Mmj  IL 
Blba7ar.U.SU.  »OatAgm§, 


In  Tbayar,  tt.  1 
nThafvr.lLai. 


18« 


BEETHOVEN. 


Beethoven  did  not  pass  the  Bommer  of  1806  at 
the  usual  spots,  but  went  to  the  counlay-house  of 
his  friend  Count  Brunswick — whose  sisters^  were 
also  his  great  allies — in  Hungary.  Here  he 
wrote  the  magnificent  Sonata  in  F  minor,  than 
which  nothing  more  impetuous,  more  poetical,  or 
more  ^iduiing  ever  came  from  his  pen.  His 
letters  may  have  been  full  of  depression^ — but 
it  vanished  when  he  spoke  in  music,  and  all 
is  force,  elevation,  uid  romance.  In  October 
he  left  Count  Brunswick  for  the  seat  of  Prince 
Lichnowsky,  near  Troppau,  in  Silesia,  40  miles 
N.  E.  of  Olmiitz.  The  war  was  in  full  progress 
(Jena  was  fought  on  Oct.  16),  and  the  Prince 
had  several  French  officers  quartered  upon  him. 
They  were  naturally  anxious  to  hear  Beethoven, 
but  he  refused  to  play  to  them  ;  and  on  being 
pressed  by  his  host  and  playfully  threatened  with 
confinement  to  the  house,  a  terrible  scene  took 
place — he  made  his  escape,  went  oif  by  night 
post  to  Vienna,  and  on  his  arrival  at  home  was 
still  so  angry  as  to  demolish  a  bust  of  the  Prince 
in  his  possession.  He  brought  back  with  him 
not  only  the  Sonata  just  named,  but  the  Piano- 
forte Concerto  in  6,  the  Symphony  in  B  fiat 
(No.  4),  the  BasoumoiFsky  Quartets,  and  the 
32  Variations  in  C  minor.  The  Quartets  were 
played  frequently  in  MS.  during  the  winter 
at  private  concerts,  but  the  larger  orchestral 
works  were  not  heard  till  later.  The  Violin  Con- 
certo (op.  61)  was  first  played  by  Clement — a 
well-known  i;tr(uofo,  and  at  that  time  principal 
violin  of  the  Theatre  an  der  Wien— at  his  concert 
on  Dec.  23,  and  there  is  evidence  to  show,  what 
might  have  been  assumed  from  Beethoven's  habit 
of  postponing  bespoken  works  to  the  last,  that  it 
was  written  in  a  hurry,  and  Clement  played  his 
part  without  rehearsal,  at  sight.  What  chance 
can  such  great  and  difficult  wcnrks,  new  in  spirit 
and  teeming  with  difficulties,  have  had  of  in- 
fluencing the  public  when  thus  brought  forward  ? 
No  wonder  that  the  Concerto  was  seldom  heard 
till  revived  by  Joachim  in  our  own  time.  The 
MS.  shows  that  the  solo  part  was  the  object  of 
much  thought  and  alteration  by  the  composer — 
evidently  after  the  performance. 

The  publications  of  1806  consist  of  the  Sonata 
ui  F,  op  54  (April  9) ;  a  trio  for  two  Violins 
and  Viola  (April  12),  adapted  from  a  trio'  for 
two  Oboes  and  Cor  Anglais,  and  afterwards  num- 
bered op.  87 ;  the  Andante  in  F  (May)  already 
mentioned  as  having  been  originally  intended  fur 
the  Waldstein  Somita ;  and  lastly,  on  October  29, 
in  time  for  the  winter 'season,  the  Eroica  Sym- 
phony, dedicated  to  Prince  Lobkowitz.  In  ad- 
dition to  these  an  arrangement  of  the  2nd  Sym- 
phony as  a  Pianoforte  ^o,^  by  Beethoven's  own 
hand,  was  published  at  Vienna. 

The  first  external  musical  event  of  1807  was 
the  performance  of  the  new  Symphony,  No.  4, 
which  took  place  before  a  very  select  audience  in 
the  middle  or  end  of  March.*    The  concert  was 

1  *  Lleber.  Ueber  Braiuwlclc Idiate  delne  Bchwester  Therese.' 

Lettar.  Maj  U.  HU  favoarite  Son&t&.  op.  78,  m»  dedicated  to  this 
lady.  '  BreunlnR*!  lettsr  of  October,  In  Thayer,  11.  SIS, 

s  CompoMd  la  or  about  17M.   Nottebohm,  CanOogmtt  oP'  87t 

•  B.4II.90.  •^.jc:z.iz.«». 


BEETHOVEN. 

organised  for  Beethoven's  benefit,  no  doubt  t 
compensate  him  for  his  disapp(»intment  "wiih.  thi 
Opera,  and  was  largely  subscribed  to.  No  pre 
gramme  of  equal  length  was  probably  ever  pu 
together;  it  contained  the  ist  and  and  SyiQ 
phonies,  the  Eroica — hardly  known  as  yet,  an^ 
in  itself  a  programme — and  the  new  ^vork — 2 
hours  of  solid  orchestral  music  without  relief !  J 
second  performance  of  the  Symphony  was  givei 
at  a  public  concert  on  Nov.  15.  The  overture  V 
'Coriolan* — a  tragedy  by  Collin — must  havi 
occupied  him  during  the  opening  of  the  yeai 
since  it  is  included  with  the  new  Sympliony,  tin 
new  Concertos  for  Violin  and  Piano,  and  the  \ 
String-quartets  in  a  sale  of  copyrights  far  £ng 
land,*  which  Beethoven  effected  on  April  2< 
to  Clen^enti,  who  had  for  some  years  been  at  th< 
head  of  a  musical  business  in  London.  IToi 
these  and  an  arrangement  of  the  Violin  Con^ 
certo  for  Piano  (dedicated  to  the  i^fe  oi 
Stephen  von  Breuning\  Clementi  paid  J620C 
down,  Beethoven  binding  himself  to  compoM 
three  new  Sonatas  for  the  sum  of  £60  more  —  a 
part  of  the  bargain  which  was  not  carried  out, 
Beethoven's  finances  were  thus  for  the  time 
flourishing,  and  he  writes  in  high  spirits  on  his 
prospects.^ 

Another  overture  belonging  to  this  period  is 
that  in  C,  known  as  op.  138,  and  erroneously 
styled  *  Leonora  No.  1/  the  fact  being  that  it  was 
written  as  *  a  new  Overture'  for  the  production  of 
'Fidelio'  in  Prague  in  the  spring  of  this  year.* 
Another    great    work   approaching   completion 
during  the  summer  was  the  Mass  in  C,  which 
was  written  for  Prince  Esterhazy,  Haydn's  patron, 
and  after  considerable  delay  was  first  sung  in  the 
Chapel  at  Eisenstadt  on  Sept.  1 3,  the  name-day  of 
the  Princess  Marie  of  Esterhazy.    Beethoven  and 
his  old  rival  Hummel — tiien  the  Prince's  Chapel- 
master — were   both   present.    After  the   mass 
the  Prince,  perhaps  puzzled  at  the  style  of  the 
music,  so  different  from  that  to  which  he  was  ac- 
customed in  his  Chapel — hinted  as  much  to  Bee* 
thoven,  in  the  strange  question  '  What  have  you 
been  doing  now  ?'     Hummel  overheard  the  re- 
mark, and  probably  amused  at  the  naiveti  of  the 
question  (for  Hummel  can  have  found  nothing 
to  question  in  the  music)  unfortunately  smiled. 
Beethoven  saw  the  smile,  misinterpreted  it,  and 
left  the  Palace  in  a  fury.    This  occurrence  possibly 
explains  why  the  name  of  Esterhazy,  to  whom 
the  mass  is  dedicated  in  Beethoven's  autograph, 
is  replaced  by   that  of  Prince  Kinsky  in   the 
publitihed  copy  (181 2). 

The  date  of  the  C  minor  Symphony  has  not 
yet  been  conclusively  ascertained,  but  there  iB 
good  ground  for  believing  that  it  and  the  Pas- 
toral Symphony  were  completed,  or  at  any  rate 
much  advanced,  during  this  year,  at  Heiligen- 
stadt  and  in  the  country  between  that  and  the 
Kahlenberg,  as  Beethoven  pointed  out  to  Schind- 
ler  in  1823* — the  visit  to  Eisenstadt  being  prob- 
ably undertaken  for  the  sake  of  the  Mass  only. 

•BeMndler.I.14S. 

t  To  Brunswick, '  an  einem  ir«rtacs,'   Kohl.  lf«u  BHtf^  No.  7. 

•  Nottebolun,  ^MOovMiaiia,  p.  70^  etc  *  Schlndler.  L IBL 


BjaETHOVEN. 

Of  hiB  actiirfty  in  town  daring  the  winter  there  ^ 
sre  more  certain  traces.  A  musical  society  of 
as:atearB  'wma  formed,  who  held  their  concerts  in 
tbc  Hall  of  the  Mehlgrube.  At  one  of  these,  in 
Lecemb^g  the  Eroica  Symphony  was  performed, 
is^  the  overture  to  Coriolan  played  for  the  first 
tise.  At  another  the  B  fliat  Symphony  was 
pevf«rniied  fix  the  second  time,  with  immense 
a^jaeciatioii.  Beethoven  himself  condacted  both 
«f  these  concerts.  Deosnber  is  also  the  date  of 
a  manorial  to  the  directors  of  the  Ck>art  Theatre, 
^jiz^  that  he  might  be  engaged  at  an  annual 
salaryof  2400  florins,  with  benefit  performances,  to 
(smpose  one  grand  opera  and  an  operetta  yearly — 
a  meoiarial  evidently  not  fiivourably  received. 

The  pablications  of  1807  are  not  niuneroas, 
ibey  ooDsist  of  the  Sonata  in  F  minor  (op.  57), 
<tedicatad  to  Count  Brunswick  (Feb.  18),  and 
enoe  dedginated  'Appas»ionata*  by  Cranz  of 
Hambm^  ;  the  33  Variations  for  Piano  ^  (April) ; 
ud  the  Triple  Concerto  (op.  56),  dedicated  to 
Count  Lobkowits  (July  i). 

1 80S  opened  with  the  publication  of  the  over- 
tare  to  'Coriolan*  (op.  63),  dedicated  to  the 
aothfflr  of  the  tragedy,  and  the  3  new  String- 
qoartets  (op.  59).     There  is  reason  to  believe* 
that  Beethoven  again  passed  the   summer   at 
Heiligenstadt,  whence  he  returned  to  Vienna, 
bringing  with  him  ready  for  performance  the  two 
Snophonies,    C  minor  and   Pastoral,    the    two 
Fiaooforte  Trios  in  D  and  £  flat,  and  the  Choral 
Fantuia,  a  woi^  new  not  only  in  ideas  and 
eSects  but  also  in  form,  and  doubly  important  as 
the  precuzEor  of  the  Choral  Symphony.     It  and 
the  Symphonies  were  produced  at  a  Concert  given 
br  fieethoven  in  the  theatre  an  der  Wien  on 
Bee.  33.    It  was  announced  to  consist  of  pieces 
of  bis  own  oompotdtion  only,  all  performed  in 
paUie  for  the  first  time.     In  addition  to  the 
tbz«e  already  mentioned  the   programme   con- 
tained the  Piano  Concerto  in  G,  played  by  him- 
sdlf;  two  extracts  from  the  Eisenstadt  Mass; 
*  'Ak !  perfido* ;  and  an  extempore  fantasia  on  the 
piaDcfarte.      Tie  result  was  unfortunate.      In 
•ddition  to  the  enormous  length  of  the  programme 
ud  the  difficult  character  of  the  music  the  cold 
was  intense  and  the  theatre  unwarmed.     The 
perfofinanoe  appears  to  have  been  infamous,  and 
in  the  Choral  Fantasia  there  was  actuiJly  a 
breakdown.* 

The  Concerto  had  been  published  in  August, 
aod  was  dedicated  to  Beethoven's  new  pupil  and 
friend  the  Archduke  Bodolph.  It  commemorates 
the  acquisition  of  the  most  powerful  and  one  of 
the  best  friends  Beethoven  ever  possessed,  for 
wham  he  showed  to  the  end  an  unusual  d^ree 
of  regard  and  consideration,  and  is  the  first  of  a 
long  series  of  great  works  which  bear  the  Arch- 
duke's name.  The  Sonatina  in  G,  the  fine  Sonata 
for  Piano  and  Cello  in  A,  and  the  Piano  Fantasia 
inG  minor — ^the  last  of  less  interest  than  usual — 

•t.*E.ia.  >8dilndlar. 

>Ecidardt  In  BtUaSIm,  LUO  note;  and  Ms  BMOtonn'*  note  to 
hokiBof  •nK.iwa* 

*  On  Cbs  oecHdaB  tiw  Jatrodnctlon  to  the  Cbonl  Frataiia  «m 
poraad:  it  ra  not  witttoi  down  for  Sort  monUn  later.  Motto- 
,  IT.  ABOUT. 


BEETHOVEN. 


187 


complete  the  compositions  of  1808,  and  the 
Pianoforte  adaptation  of  the  Violin  Concerto,' 
dedicated  to  Madame  Brexming,  closes  the  pul^ 
lications. 

Hitherto  Beethoven  had  no  settled  income 
beyond  that  produced  by  actual  labour,  excopt 
the  small  annuity  granted  him  since  1800  by 
Prince  lachnowsKy.  His  works  were  all  the 
property  of  the  publishers,  and  it  is  natural 
that  as  his  life  advanced  (he  was  now  39)  and 
his  aims  in  art  grew  vaster,  the  necessity  of 
writing  music  for  sale  should  have  become  more 
and  more  irksome.  Just  at  this  time,  however, 
he  received  an  invitation  firam  Jerome  Bonaparte, 
King  of  Westphalia,  to  fill  the  post  of  Maltre  de 
Chapelle  at  Cassel,  with  a  ssiairy  of  600  gold 
ducats  (£300)  per  annum,  and  150  ducats  for 
travelling  expenses,  and  with  very  easy  duties. 
The  first  trace  of  this  oflTer  is  found  in  a  letter  of 
his  own,  dated  Nov.  i,  1808  ;  but  he  never  seems 
seriously  to  have  entertained  it  except  as  a  lever 
for  obtaii^ng  an  ^pointmolt  under  the  Court  of 
Austria.  In  fret  the  time  was  hardly  one  in 
which  a  German  could  accept  service  under  a 
French  prince.  Napoleon  was  at  the  height  of 
his  career  of  ambition  and  conquest,  and  Austria 
was  at  this  very  time  making  immense  exertions 
for  the  increase  of  her  army  with  a  view  to  the 
war  which  broke  out  when  the  Austrians  crossed 
the  Inn  on  April  9.  With  this  state  of  things 
imminent  it  is  diificult  to  imagine  that  King 
Jerome^s  oflTer  can  have  been  seriously  made  or 
entertained.  But  it  is  easy  to  understand  the 
consternation  into  which  the  possibility  of  Bee- 
thoven's removal  from  Vienna  must  have  thrown 
his  friends  and  the  lovers  of  music  in  general, 
and  the  immediate  result  appears  to  have  been 
an  undertaking  on  the  part  of  the  Archduke  Bo- 
dolph, Prince  Lobkowitz,  and  Prince  Kinsky, 
dated  March  i,  1809,  guaranteeing  him  an  annual 
income  of  4000  (paper)  florins,  payable  half-yearly, 
until  he  should  obtain  a  post  of  equal  value  in 
the  Austrian  dominions.*  He  himself,  however, 
naturally  preferred  the  post  of  Imperial  Kapell- 
meiater  under  the  Austrian  Government,  and 
with  that  view  drew  up  a  memorial,^  which 
however  appears  to  have  met  with  no  success, 
even  if  it  were  ever  presented.  At  this  time, 
owing  to  the  excessive  issue  of  bank  notes,  the 
cash  value  of  the  paper  florin  had  sunk  from  a«. 
to  a  little  over  is.,  so  that  the  income  secured  to 
Beethoven,  though  nominally  £400,  did  not 
really  amount  to  more  than  £210,  with  the  pro- 
bability of  still  further  rapid  depreciation. 

Meantime  the  work  of  publication  went  on 
apace,  and  in  that  respect  1809  is  the  most  bril- 
liant and  astonishing  year  of  Beethoven's  life. 
He  now  for  the  first  time  entered  into  relations 
with  the  great  firm  of  Breitkopf  &  HarteL 
Simrock  published  (in  March)  6ie  4th  Sym- 
phony, dedicated  to  Count  Oppersdorf  as  op.  60, 
and  Breitkopf  and  Hartel  head  their  splendid 
list  with  the  Violin  Concerto,  dedicated  to 
Breuning  as  op.  60,  and  also  issued  in  March. 

•  B.aH.  No.  73.  •  Scfalndler,  I.  IV. 

f  See  .Nobl,  AW*.  K«. «.  «i  «nd  Vtm»  Xhrufu  41. 


BEETHOViV. 

■  they  (blloffsd  in  April  ti;  tlie  C  tniiuv 
Putoral  Symphoniea  (op.  67  and  68),  dedi- 
id  joinlly  to  Prince  Lobkowiti  Kiid  Count 
lOumofiBky,  uid  b;  tlie  Cello  Soiutta  in  A 
,  69),  dedicated  to  the  Buon  von  Gieichen- 
a,  who  witli  ZmealuU  almred  BeethoTen's 
m»te  friendahip  kt  thii  date  ;  and  theae  again 
October,"  by  the  two  Pianoforte  Trioa  (op.  70), 
icated  to  the  Couuteu  Eidody,  in  whooe 
iflo  BeethoTon  bad  been  liring  liuce  hiji  rup- 
^  with  '  Lichnowiky ;  and  lastly  on  Nov.  la  by 
ong,  '  All  die  Geliebte  aich  trennen  woUte.'' 
)ii  Hay  1 1  the  Frenoh  again  entered  TiennA ; 
the  lilt  Aj^iem  waa  fought,  and  Napoleon 
k  pouenion  of  the  iiland  of  Lobau,  cloee  to 
dty.  Wignm  took  plaoa  on  July  6,  and 
whole  aummer,  till  the  peaoe  of  Bchonbruiin 
,  mint  have  been  ■  very  disturbed 
le  inhabitanta  of  Yienna.  Beethoveu'i 
^□g  being  on  the  wall  wu  mach  exposed  to 
tiring.  Thanoiae  disturbed  him 'greatly,  and 
least  on  one  occasion  he  took  refu((e  in  the 
ju  of  his  brother^B  house  in  ofder  to  escape  it- 
had  hia  eyes  open  however  to  the  proceediogs 
aba  IWioh,  and  astonished  a  viiiUr  many 
n  aflerwarda  with  hia  reooUections  of  the 
le.*  It  is  remarkable  how  little  eitemal 
nti  interfered  with  hii  powers  of  production. 
for  as  quality  goes  the  Piano  Concerto  in 
lat  and  the  Stnng  Quartet  in  the 
h  of  which  bear  the  data  1809— are  equal 
r  in  the  whole  range  of  hii  works.  The  6 
riationi  in  D  (op.  76) — the  theme  afterwatda 
d  t<s  tht  March  in  Uie  'Buini  of  Athens'— 
not  remarkable,  but  the  Piano  Sonata  in  Ff 
tten  in  October  is  very  ao.  Though  not  ao 
LOOS  as  some,  it  ia  not  surpassed  foe  beauty 
1  chaim  by  any  of  the  inunintal  33.  It  aeema 
liave  been  a  special  hvourite  of  Uie  author'a 
sople  are  always  talking  of  the  C|  minor 
lata,'  aaid  he  onoe,  '  but  1  have  written  bett«r 
Dga  than  that.  The  F|  Sonata  ii  something 
J  different.'*  A  mots  important  (thoagh  not 
re  delightful)  Sonata  had  been  bqpm  on 
■J  14  to  oommemotate  the  departure  of  the 
ubdidce  from  Vienna  on  that  day.  It  is  dated 
L  inscribed  by  Beethoven  himself  and  fomu 
Bnt  movement  of  that  known  as '  Lea  Adienx, 
beence  et  le  Retour.'  Among  the  iketchea 
the  Adieui  is  found  a  note'  'Der  Abachied 
4ten  Mai — gewidmet  und  aus  dem  Heraen 
chrieben  S.  K.  E.' — words  which  ihow  that 
parting  really  inspired  Beethoven,  and  waa 
a  mere  aocident  for  Ids  genius  to  tranamute, 
>  the  four  knocks  in  the  Violin  Concerto,  or  the 
k'a  question  in  the  laat  Quartet.  A.  March 
a  militaiy  band  in  F,  compoaed  for  the  Bohe- 
ui  liandwehr  under  Archduke  Anton,  and  3 
igs — 'L'aruante  impaiiente'  (op.  61,  Na  4), 
ied  Aua  der  Feine,''and  'i>te  laute  Klage'* — 


Sfto 


BEETHOVEN. 


BEETHOVEN'. 


189 


bpL  8i  ft) — ^psobaUy,  like  that  jost  mentloiied,  an 
■riy  work  —  was  issued  by  Simrook,  and  four 
BOmga  of  Goethe's  *Sehn8ucht,'  with  a  few 
k3K  songs  hy  other  publishers.  The  frequent 
ppesranoe  of  Goethe's  name  in  the  music  of  this 
w  is  remarkable,  and  coupled  with  the  allusion 
&  his  letter  to  Bettina  of  Aug.  ii,  implies  that 
b  great  poet  ¥rss  beginning  to  exercise  that 
idaoioe  0B&  him  which  Beethoven  described  in 
■  interview  with  Bochlitz  in  1823. 
The  Trio  in  B  flat  was  completed  during  the 
riater,  and  was  written  down  in  its  fimshed 
gna  between  liarch  3  and  26,  as  the  autqgraph 
Bf«ms  ns  with  a  particularity  wanting  in  Bee- 
boren's  earlier  works,  but  becoming  more  fro- 
{ae&t  in  fiiture.  The  Archduke  (to  whom  it 
ns  nltiniately  inscribed)  lost  no  time  in  making 
u  aoqnaintanoe,  and  as  no  copyist  was  obtain* 
lUe,  seems  to  have  played  it  first  from  the  auto- 
tnkfk}  The  principal  compositions  of  181 1  were 
ute  music  to  two  drsmatio  pieces  written  by 
Kociebue,  for  the  opening  of  a  new  theatre  at 
Pesth,  and  entitled  'Hungary*s  first  hero/  or 
■King  Stephen,'  and  the  *  Ruins  of  Athens.' 
Tbe  Litroduction  to  the  Chorsl  Fantasia^  which 
nay  be  taken  as  a  representation  of  Beethoven*s 
iiD^ioTisation,  inasmuch  as  it  was  actually  ez- 
tenporised  at  the  perfonnance— was  written  down 
«  pnpot  to  the  publication  of  the  work  in  July, 
ted  a  Song '  An  die  Geliebte*  *  is  dated  December 
h  the  oampoeer*s  own  hand. 

The  publications  of  the  year  are  all  by  Breit- 
bopf,  and  include  the  Overture  to  '  Egmont'  in 
Februsiy;  the  Piano  Concerto  in  Eb,  and  the 
SonsU  in  the  same  key  (op.  81  a),  in  May  and 
Joly  reipectiyely,  both  dedicated  to  the  Arch* 
duke;— the  CSioral  Fantasia  (op.  80),  dedicated 
to  the  King  of  Bavaria  (July),  and  the  '  Mount 
rf  Olives'  (Nov.).  The  prepuation  of  the  last- 
ffiUDed  mxk  ibr  the  press  so  long  after  its  com- 
pQRtiaD  must  have  involved  much  time  and  con- 
udeiation.  There  is  evidence  that  an  additional 
cboroa  was  proposed ;'  and  it  is  known  that  he 
VK  dwatisfied  with  the  treatment  of  the  prin- 
epal  diaracter.  A  note  to  Treitschke  (June  6) 
leena  to  show  that  Beethoven  was  contemplating 
u  open.  The  first  mention  of  a  me^ionome* 
oocon  in  a  letter  of  this  autumn.  ^ 

The  depreciation  in  the  value  of  paper  money 
W  gone  on  vrith  fearful  rapidity,  and  by  the 
end  of  1810  the  bank  notes  had  fiaUen  to  less 
than  i-ioih  of  their  nnminal  value— i.  e,  a  5-florin 
note  was  only  worth  half  a  florin  in  silver.  The 
Fwna  Patent  of  Feb.  ao,  18x1,  attempted  to 
remedy  this  by  a  truly  dirastrous  measure — ^the 
abolition  of  the  bank  notes  {Banco-zeUel)  as  a 
W^  tender,  and  the  creation  of  a  new  paper 
ctOTency  called  BhilStwugmeheine,  into  whicn  the 
tank  notes  were  to  be  forcibly  converted  at  i  -5th 
q(  their  ostensible  value,  i.e.  a  xoo-flcrin  note 
vtt  exduuDigeable  for  a  ao-florin  S%fUdiwng$8ehtin. 
BeetboTen*B  income  might  possibly  have  been 


*TofeOa«taaalr;HoMebolim,ir.&ZXV.   This 

■RMa. 

*  Letter  to  Zmeikall,  Svt.lO-'ai^w  tiM  Dtm  B0l  of ' 

¥aoi'-  - 


nwM  lltf  back 


thus  reduced  to  800  florins,  or  £80,  had  not  the 
Archduke  and  Prince  Lobkowitz  agreed  to  pay 
their  share  of  the  pension  (1500+ 700  «  2200 
florins)  in  EinlOtungueheine  instead  of  bank  notes. 
Prince  Einsky  would  have  done  the  same  as  to 
his  1800  florins,  if  his  residence  at  Pkague  and 
his  sudden  death  (Nov.  13,  181 2)  had  not  pre- 
vented his  giving  the  proper  instructions.  Bee- 
thoven sued  the  Kinskv  estate  Ibr  his  claim,  and 
succeeded  after  several  vears»  many  letters  and 
much  heart-burning,  in  obtaining  (Jan.  18, 181 5) 
a  decree  for  1200  florins  SinloBungitcheine  per 
annum ;  and  the  final  resultof  the  whole,  according 
to  Beethoven's  own  statement  (in  his  letter  to  Bies 
of  March  8,  1816),  is  that  his  pension  up  to  his 
death  was  3400  florins  in  Einl6$ung8»chHne,  which 
at  that  time  were  worth  1360  in  silver,  =  £136, 
the  EiftldtungMMcheine  theniselves  having  fallen  to 
between  ^  and  ^rdof  their  nominal  value. 

18 13  opens  with  a  correspondence  with  Vi^ 
renna,  an  ofiicial  in  Grata,  as  to  a  concert  for  the 
poor,  which  puts  Beethoven's  benevolence  in  a 
strong  light.  He  sends  the  'Mount  of  Olives,' 
the  'Choral  Fantasia,'  and  an  Overture  as  a 
gift  to  the  Institution  for  future  use— promises 
other  (MS.)  compositions,  and  absolutely  declines 
all  offer  of  remuneration.  The  theatre  at  Pesth 
was  opened  on  Feb.  9  with  the  music  to  the 
•Buins  of  Athens'  and  'EJng  Stephen,'  but 
there  is  no  record  of  Beethoven  himself  having 
been  present.  This  again  was  to  be  a  great  year 
in  composition,  and  he  was  destined  to  repeat 
the  feat  of  1808  by  the  production  of  a  second 
pair  of  Symphonies.  In  fiust  from  memoranda 
among  the  sketches  for  the  new  pair,  it  appears 
that  he  contemplated*  writing  three  at  the  same 
time,  and  that  the  key  of  the  third  was  already 
settled  in  his  mind — 'Sinfonia  in  D  moU — 3te 
Sinf.'  However,  this  was  postponed,  and  Uie 
other  two  occupied  him  the  greater  part  of  the 
year.  The  autograph  score  of  the  first  of  the 
two,  that  in  A  (No.  7),  is  dated  May  13;  so 
that  it  may  be  assumed  that  it  was  fiiJshed  be- 
fore he  left  Vienna.  The  second — in  F,  No.  8— 
was  not  completed  till  October.  His  journey 
this  year  was  of  unusual  extent.  His  health  was 
bad,  and  Malfibtti,  his  physician,*  ordered  him  to 
try  the  baths  of  Bohemia — possibly  after  Baden 
or  some  other  of  his  usual  resorts  had  fiuled  to 
recruit  him,  as  we  find  him  in  Vienna  on  July  4, 
an  unusually  late  date.  Before  his  departure 
there  was  a  fitrewell  meal,  at  which  Count 
Brunswick,  Stephen  Breuning,  Madzel,  and 
others  were  present.^  Maelzel's  metronome  was 
approaching  perfection,  and  Beethoven  said  good- 
ies to  the  inventor  in  a  droll  canon,  which  was 
sung  at  the  table — ^he  himself  singing  soprano' 
— and  afterwards  worked  up  into  the  lovely 
Allegretto  of  the  8th  Symphony.  He  went 
by  Prague  to  TSplitx,  and  Carlsbad — where  he 
notes  the  postilion's  horn*  amoug  the  sketches 

•  Vottebohm,  IT.  A  VL  >  Lrttor  to  Fobneliw.  Kodial.  No.  1. 

T  SehlndlOT.  1. 19B.  For  ttw  etoon  tee  B.  *  H.  83S,  No.  2.  Tbov  ft 
some  Kreat  error  In  tbo  dates  of  this  period— possibly  there  were  two 
Journeys.   The  whole  will  be  settled  In  Mr.  Thajer's  new  ToluoMb 

a  CkiDTermtloa-book,  Nohl,  L§bm,  lU.  8«L 

tHoltobohm,jr.&VL 


lie  Sth  Sjmphoaj — Fmueiubnmii,  and  tbsn 
liti  again;'  and  lastly  to  hia  brother  Johaun't 
Lini,   where  he  remuned  through   October 

into  Norember,  m  the  inacriptioiu  on  the 
igraphi  of  ths  Sth  Symphony  uid  of 
e  '["rombone  piece*  written  for  All  Souii 

demonstrate.  The  Trombone  piacea  be- 
e  hia  own  requiem.  At  Tiipliti  he  met 
the,  and  the  etnnge  aosne  occurred  in  which 

0  unnectsaarily  ihowed  hia  contempt  (or  hia 
id  the  Archduke  Rudolph  and  the  other 
iben  of  the  Imperial  fcioily.'  At  Topli 
net  Amalia  Seflkld,  and  a  aeriea  of  ' 
ler  abowa  that  the  Symphony  did 
;  him  from  Tutting  lore  with  much  ardour, 
lie  In  Carlibad  he*  gave  a  concert  for  the 
Bfit  of  the  sufTerera  in  a  fire  at  Badan.'     Tbe 

of  hia  extemporiaing  at  the  concert,  and 
nng  the  poatilion's  call,  as  well  aa  an  entry 
ing  the  aketchea  for  the  Stb  Symphony,  to  the 
A  that '  cotton  in  hia  eara  when  playing  took 
the  unpleaaant  'noiae^ — perhape  imply  that 
jealnsaa  at  this  time  waa  itill  only  partial, 
ue  of  hia  &rat  work*  after  returning  to 
ana  waa  the  Sne  Sonata  for  Piano  and  Violin, 
liehed  >■  op.  96.  It  wai  completed  by  the 
B  of  the  year,  and  waa  fint  played  by  the 
bduke   and   Rode— whoie   atyle    Beethoven 

1  in  view  in  the  violin'  part — at  the  houae  of 
ice  Lobkowiti.  early  in  1813.  A  comparative 
e  ia  the  '  lied  an  die  Gelicbte,'  *  written 
ng  this  winter  in  the  album  of  Regina  Lang. 

only  work  publiahed  in  iSii  ia  the  Maaa 
!,  dedicated — poaaibly  aa  an  acknowledgment 
ia  share  in  the  guarantee — to  Prince  Kinaky, 

iaaued  in  Nov.  a>  op.  86  by  Breitkopf  ft  Ear- 
The  atate  of  hia  financea  about  thia  time 
pelled  him  to  borrrow  3300  floiina  from  the 
itanoa  of  Frankfort,  old  &ienda  who  had 
wn  and  loved  him  from  the  Grst.  A  trace 
he  transaction  is  perhaps  diaoemible  in  the 

a,  *  fbr  hie  little  friend  Maximiliana  Breptano, 
inooumge  bar  in  playing,'  The  effect  of  the 
emian  baths  soon  passed  away,  the  old  ail- 
ta  and  depression  returned,  the  disputes  wid 
rise  with  the  serrante  increased,  and  hia 
ita  became  worse  than  they  had  been  since 

C'  1803, 
oly  oompoaiUon  which  can  be  attributed 
ihe  spring  of  1813  ii  a  Triumphal  March, 
;tea  for  Kuffnor'i  Tragedy"  of  'Tarpeia,' 
:h  waa  produced— aritb  the  March  advertiasd 
newly  composed' — on  March  ]6.  On  April 
the   two   new  Symphonies   appear  to   have 

Uilayed  through   for  the  Grst  time  at  the 
iike's."    On  the  advice  of  his  medical  men 
rent  at  tha  end  of  May  (O.Baden,  where"  he 


Hither  h 

Streicher 
and  took  I 
appear  to 


letters*  ,  the  last  1 


Symphon 


ofLutien 
minating 

whide  of 
must  ha< 
wonder  I 
form  ofU 
'Wellingi 

the  'Batt 
of  his  ge 
the  Gkct  tl 
themechi 
knew  the 


produced 
formed  bi 
Battle  Sj 
the  best 
Maysedei 
Beethovei 
testimony 


thoven  G 
phony  to 
accompan 


BEETHOVEN. 


BEETHOVEN. 


191 


Bee&DnB  fSelt  tike  negkct  keenly.  The  work  wm 
produced  at  I>niTy  I^ne  a  year  afterwards — Feb. 
fo,  1815,  and  had  a  great  nm,  but  thia  was 
tknN^h  the  exortioiis  of  Sir  George  Smart,  who 
khnaelf  pcocored  the  copy  from  Vienna. 

Eaily  in  January  1814  a  third  oonoert  was 
(iveD  in  the  great  Redoatensaal  with  the  tame 
pgmmne  and  neariy  the  same  performers  as 
yhse,  except  that  some  numbers  fixnn  the  *  Buins 
d  Athens*  were  sabstitnted  for  Maelsel's  march ; 
ud  en  the  a  7th  Feb.  a  fourth,  with  similar  pro- 
enmme  and  with  the  important  Edition  of  the 
^^nphany  in  F — ^placed  last  but  one  in  the  list. 
tim  huge  programme  speaks  of  Beethoven  himself 
H  deariy  as  the  two  fint  did  of  the  m<»e  practical 
iiaelzd.    The  7th  Symphony  was  throughout  a 
•seoees,  its  AU^jretto  being  r^Mated  three  times 
cm  of  the  four.    But  the  8th  Symphony  did  not 
pkaK,  a  &ct  which  greatly  discompoeed  Beetho- 
vm   On  April  1 1  Beethoven  played  the  Bb  Trio 
tX  3chappaiiagh*s  benefit  concert,  and  in  the 
eTening  a  Chorus  of  his  to  the  words  '  Germania, 
Gennafoia,'  was  song  as  the  finale  to  an  operetta 
of  Tteitachke's,   a  propos  to  the  fall  of  Paris 
(March  31).     Moscheles  was  present  at  the  con- 
cat,  sad  gives  ^  an  interesting  account  of  the  style 
4.  Beethoven's  playing.    Spohr  heard  '  the  same 
tna,  tmt  under  leas  favourable  circumstances. 
A  month  later  Beethoven  again  played  the  Bb 
ttio— his  last    public   appearance   in  chamber 
auaic.    The  spring  of  1814  was  remarkable  for 
the  reyival  of  'Fidelio.'     TVeitschke  had  been 
BDplojed  to  revise  the  libretto,  and  in  March 
ve  find  Beethoven  writing  to  him — *  I  have  read 
ftnr  rsTision  of  the  opera  with  great  satisfaction. 
It  bas  derided  me  oince  mora  to  rebuild  the 
deeobte  ruins  of  an  anrient  fortress.'     This  de- 
eiaii  involved  the  entire  re-writing  and  re-ar* 
nBgemcnt  d  oonsiderable  portions ;  others  were 
i^tly  altered,  and  some  pieces  were  reintro- 
diKed  fixnn  the  first  score  of  all.    The  first  per- 
foRQanoe  took  place  at  Uie  Eamthnerthor  The* 
ttt  on  May  23.    On  the  26th  the  new  Overture 
k  E  was  first  played,  and  other  alterations  were 
nbnquently  introduced.     On  July  18  the  opera 
VM  played  for  Beethoven's  benefit.    A  Viano- 
ftrte  Kara,  made  by  Moscheles  under  Beethoven's 
Qvn  direction,'  carefully  revised  by  him,  and 
dedicated  to  the  Archduke,  was  published  by 
Aitaiia  in  August.    One  firiendly  face  must  have 
Wa  misBed  on  all  these  occasions — that  of  the 
Friaee  Lichnowsky,  who  died  on  April  1 5. 

During  the  winter  of  181 4-1 5  an  unfortunate 
iB^nmdBatanding  arose  between  Beethoven  and 
ilAebeL  The  Battle  Symphony  was  originally 
written  at  the  latter's  SQgg»tion  for  a  mechanicid 
iutRBoent  of  his  called  the  Panharm<micon,  and 
VIS  afterwards  orchestrated  by  its  author  for  the 
OQBoert,  with  the  riew  to  ft  projected  tour  of 
Maelttl  in  England.*  Beethoven  was  at  the 
^  greatly  in  want  of  funds,  and  Maelzel  ad- 
vsoflod  him  £25,  which  he  professed  to  regard  as 


I 

MotaDted 


LUL 
.  1.20B.    Htamtt 

Ln.ia. 


aMwlHolnD.1mktlM 
•  ^.Ji:X.I8Ukp.Tl. 


a  mere  loan,  while  the  other  alleged  it  was  for  the 
purchase  of  the  work.  Maelzel  had  also  engaged 
to  make  ear-trumpets  for  Beethoven,  which  were 
delayed,  and  in  the  end  proved  failures.  The  mis- 
understanding was  aggravated  by  various  state- 
ments of  Maelxel,  and  by  the  interference  of  out- 
siders, and  finally  by  Maelxei's  departure  throufl^ 
Germany  to  England,  with  an  imporfect  copy  of  the 
Battle  Symphony  clandestinely  obtained.  Such 
a  complication  was  quite  sufficient  to  worry  and 
harass  a  sensitive,  obstinate,  and  unbusinesslike 
man  like  Beethoven.  He  entered  an  action  against 
Maelael,  and  his  deposition  on  the  subject,  and 
the  letter'  which'  he  afterwards  addressed  to  the 
artists  of  England,  show  how  serious  was  his  view 
of  the  harm  done  him,  and  the  motives  of  the  doer. 
Maelzers  case,  on  the  other  hand,  is  stated  with 
evident  animtiM  by  Beethoven*s  adherents,*  and  it 
should  not  be  overlooked  that  he  and  Beethoven 
appear  to  have  continued  friends  after  the  imme- 
diate quarrel  blew  over.  If  to  the  opera  and  the 
Maelzel  scandal  we  add  the  Kinsky  lawsuit  now 
in  progress,  and  which  Beethoven  watched  in- 
tently and  wrote  much  about,  we  shall  hardly 
wonder  that  he  was  not  able  to  get  out  of  town 
tiU  long  past  his  usual  time.  When  at  length  he 
writes  finom  Baden  it  is  to  announce  the  comple- 
tion of  the  Sonata  in  E  minor,  which  he  dedicates 
to  Count  Merits  lichnowsky.  The  letter^  gives 
a  charming  statement  of  his  ideas  of  the  relation, 
of  a  musician  to  his  patron. 

The  triiunphant  success  of  the  S3rmphony  in  A, 
and  of  the  Battle-piece,  and  the  equally  successful 
revival  of  Fidelio,  render  1814  the  culminating 
period  of  Beethoven's  life.  His  activity  during  the 
autumn  and  winter  was  very  great ;  no  bad  h^th 
or  wtnries  or  anything  else  external  could  hinder 
the  astonishing  flow  of  his  inward  energy.  The 
Sonata  is  dated  <  Vienna,  16th  August,*  and  was 
therefore  probably  completed— as  far  as  any  music 
of  his  was  ever  completed  till  it  was  actually 
printed — before  he  left  town.  On  Aug.  23  he 
conmiemorated  the  death  of  the  wife  of  his  kind 
friend  Pasqualati  in  an  'Elegischer  Gesang' 
(op.  1 18>.  On  Oct.  4  he  completed  the  Overture 
in  G  ('Namensfeier,*  op.  115),  a  work  on  which 
he  had  been  employed  more  or  less  for  two 
years,  and  whicdi  has  a  double  interest  from  the 
fact  that  its  themes  seem  to  have  been  originally 
intended*  to  form  part  of  that  composition  of 
Schiiler^s  '  Hymn  to  Joy'  which  he  first  contem- 
plated when  a  boy  at  Bonn,  and  which  kee{>s 
coming  to  the  suifiace  in  different  forms,  until 
finally  embodied  in  the  9th  Symphony  in  1823. 
Earlier  in  the  year  he  had  made  some  progress 
with  a  sixlh  Piano  Concerto — in  D^f  which 
not  only  are  extensive  sketches  in  existence,  but 
rixty  pages  in  complete  score.  It  was  composed 
at  the  same  time  with  the  Cello  Sonatas  (op. 
loa) ;  and  finally  gave  way  to  them.*  But  there 
was  a  less  oongemal  work  to  do — ^Vienna  had 

•  The  wiiole  erUsDoe  ^riO  be  glvm  by  Mr.  Tbayer  In  hb  forthoomlBS 
ToluflM.   He  MniTM  me  itat  MMliel  haa  beeo  maeh  sinned  againit. 

T  Hept.  21. 1814.  •  Nottebohm,  A^OoMtttono,  XIV. 

•  See  NotUbohm,  J.B.  J.;  vid  Orgtial  Paltte*  Fr«grtmmt,Vor.9 
U7&. 


•deeUd  M  tha  teaoo  of  the 

lioveo  wt»  bound  to  Mize  the  opportonity 
mlj  of  performing  his  lateat  Symphoiuei,  but 
mpoaing  *ome  new  moiio  >ppropri>te  to  so 
■■  an  occuion.'  He  selected  in  September*  > 
kta  by  WeineDbaol],  entitled  '  Die  gloTreiche 
mbliok' — an  unhappy  cboioe,  aa  it  turned 
-compoaed  it  more  qoicklj  than'  wai  hii 
,andmcludeditwitb  the  Symphony  inA,  and 
battle  of  Vittoria,  in  a  oonoert  for  tiii  benefit 
ov.ig.  Hie  manner  in  which  this  coDcrat  was 
ed  out  girca  a  itriking  idea  of  the  eitraoc^ 
rj  position  that  Beethoven  held  in  Vienna, 
(wo  Halls  of  the  Bedonten-Saal  were  placed 
is  ^posal  for  two  evenings  by  the  govem- 
i,  and  he  himself  sent  wson»l  invitations 
is  own  name  to  the  various  sovereigns  and 
!  notabiliUes  collected  in  Vienna.  The  room 
crowded  with  sji  audience  of  6000  pflmnu, 
Beethoven  describa*  Iiimself  as  'quite  ex- 
ted  with  fatigue,  worry,  pleasure,  and  de- 
.'  At  a  second  perfbrmance  on  Deo.  a  the 
was  less  crowded.  One  of  the  fites  provided 
ig  the  Congrfss  was  a  tournament  in  the 
og  School  on  Nov.  13,  and  for  this  Beethoven 
d  appear'  to  have  composed  music,  though 
race  of  it  lias  yet  been  found.  During  the 
nnacce  of  the  Congress  he  seems  to  have 

much  Tinted  and  notioed,  and  many  droll 
a  doubtless  occurmd  between  him  and  his 
«d  worshippers.  The  Archduke  and  Prince 
iiimoffsky,  as  Russian  AmbssBBdor,  were 
jiouous  among  the  given  of  f£tea,  and  it 
at  the  house  of  the  latter  that  Beethoven 
presented  to  the  Empress  of  Russia. 
additiontotheprofit  of  the  ooooerts  Behind' 
mplies   that   Beethoven  received   presents 

the  various  foreign  sovereigns  in  Viemia. 

pecnniai;  result  of  the  winter  was  therefore 

He  was  able  for  the  first  time  to  lay  by 

ly,  which  be  invested  in  shares  in  the  Banl 

le  news  of  Bonapaiie's  cACape  from  Elba 
9  up  the  Congresa,  snd  threw  Europe  agun 
a  state  of  perturbation.  In  Vienna  the  re- 
n  alW  the  recent  extra  gaiety  must  have 

great.  Beethoven  was  himself  occupied 
ig  the  year  by  the  Eiosky  lawsuit;  his 
rs  upon  the  subject  to  his  advocate  Kauka 
omn;  and  long,  and  it  Is  plain  troai  such  ei- 
ions  as  the  following  that  it  serioosly  in- 
pted  his  musio.  '  I  am  again  very  tired, 
ig  been  forced  to  discuHs  many  tilings  with 
Such  things  exhaust  me  more  than  the 
est  efforts  in  composition.  It  is  a  new  field, 
oil  of  which  I  ought  not  to  be  required  to  till, 
vbich  has  cost  me  many  tears  and  much  sor- 

....  'Do  not  forget  me,  poor  tormented 
ure  that  I  am.'' 

ider  the  circumataDCes  it  is  not  surprising 
he  composed  little  during  1S15.  The  two 
tas  for  Piano  and  Cello  {op.  101),  dated 


'July'  and  'Angnal 
bracht,'  as  finale  to 
duced  to  celebnte  th 
the  'Meeresstille  nn 
couple  of  Songs,  '8t 
niae"— are  sU  the  o 
certainty  be  traced  ti 
ful  and  passionate  S 
was  inspired  by  and 

cilia' — was  probably 

1816,  though  not  pu1 
national  airs  whitdi  I 
Thomson  of  Edinbu 
time,  sinoe  he  oouli 
thoughts  were  too  i 
compositioD — a  paro 
May  1815. 

"The  pubUcations  < 
the  compontions.  T 
dedicated  to  the  Ei 
greatly  distinguished 
RasoumotFakj^B  rece| 
the  Sonata  op.  90,  ■ 
sohied,'  in  June.  T 
wrote  to  Salomon,  th 
ing  his  works  from  0 
with  'Fidelio,'  the 
Battle  Symphony.  . 
vember  by  letters  t 
pieces.     Salomon  di« 

The  seoond  quan 
must  have  occurred 
nrged  him  to  warn  1 
relations  with  his  brc 
in  moaey  matters  WBi 
conveyed  the  hint  I 
characteristie  eamei 
with  that  strange 
brothers  which  amo 
at  once  divulged  U 
warning  but  the  u 
serious  quarrel  natnn 
and  Caspar,  which 
himself,  and  the  r«su 
were  again  separated 
The  letter  in  whic 
pardon  of  his  old  fii 
&om  this  sketch.  TI 
in  1816."  ItoonUil 
Eomemann  in  180], 
inal  has  Du  and  dein 

'  Beneath  this  por 


that  h 


hidden.  I  know 
For  this  the  emotion 
noticed  in  me  has  beei 
feeling  towards  you 
should  no  longer  be 
it  was  passionate  lovt 
doubted  you  dreadful 


BEETHOVEN. 

a  vlio  w&e  unworthy  of  va  both.  My  poitrut 
W  ksag  been  intended  for  you.  I  need  not  tell 
Toa  that  I  never  meant  it  for  any  one  else.  Who 
ccM  I  give  it  to  with  my  warmest  love  bo  well 
11  to  too,  true,  good,  noble  Stephen  ?  Forgive 
Sfc  for  diatresnng  yon  >  I  have  suffered  myself 
M  msch  as  yoa  have.  It  was  only  when  I  had 
pn  no  longer  with  me  that  I  first  really  fialt 
kv  dear  yon  are  and  always  will  be  to  my 
beut.    Come  to  my  anns  once  more  as  you  used 

October  wns  passed  in  Baden*  chiefly  in  bed. 

On  Not.  15  of  this  year  Caspar  Carl  Beethoven 
oed — a  troly  unfortunate  event  for  Ludwig. 
Csepar  had  for  long  received  pecuniary  assistance 
fr^.<m  his  brother,  and  at  his  death  he  charged  him 
Tith  the  nuhintenance  of  his  son  Carl,  a  lad  be- 
Uee&Sandp.  This  boy,  whose  charge  Beethoven 
G&dertook  with  all  the  simplicity  and  fervour  of  his 
lassae,  thoij^h  no  doubt  often  with  much  want  of 
^nd^ent,  w&s  quite  unworthy  of  his  great  uncle. 
The  charge  nltered  Beethoven*s  nature,  weaned 
kia  &am  hia  music,  embroiled  him  with  his 
fcieods,  emlHttered-  his  existence  with  the  worry 
of  ooatinned  contentions  and  reiterated  disap- 
fointmi^itB,  and  at  last^  directly  or  indirectly, 
bpT'Oght  the  lifis  of  the  great  composer  to  an  end 
kng  before  its  natural  team. 

OnChiistniasDay,  ataconoertintheBedouten 
Sttl  for  the  benefit  of  the  Burger  Hospital,  Bee- 
t^ven  produced  his  new  Overture  and  Meeres- 
idjk,  and  performed  the  '  Mount  of  Olives.'  As 
«a  acknowledgment  for  many  similar  services 
die  moniiapal  council  had  recently  conferred  upon 
Hm  the  fieedom  of  the  dty — £hrmburgertkum. 
It  was  the  first  public  title  that  the  great  raturier 
lud  received.  He  was  not  even  a  Gapellnieister, 
M  both  ^Mosart  and  Haydn  had  been,  and  his 
adrocate  waa  actually  farced  to  invent  that  title 
tx  him,  to  procure  Ihe  necessary  respect  for  his 
iBanoriala  in  the  lawsuit  which  occupied  so  many 
ef  his  years  after  this  date. '  It  is  a  curious 
cridaioe  of  the  singular  position  he  held  among 
Bwwnans.  He  was  afterwards  made  a  member 
^  the  Philiiarmonic  Societies  of  Stockholm  and 
Aaitezdam,  and  received  Orders  from  some  of  the 
Courts  in  exchange  for  his  Mass,  but  the  one 
title  he  valued  was  that  of  TofkiiichUr — *  Poet 
b  music.'* 

The  -reauacitation  of  his  Oratorio  is  perhaps 
eaonected  with  a  desire  in  Beethoven's  mind  to 
ocmpose  a  fresh  one.  At  any  rate  he  was  at 
this  time  in  communication  both  with  the  Ton* 
kcsstler  Societat  and  the  Gesellschaft  dsr  Musik- 
Freimde  of  Yiemia  on  the  subject.  By  the 
latter  body  the  matter  was  taken  up  in  earnest. 
Subject  and  poet  were  left  to  himself  uid  a  pay* 
laeot  of  300  gold  ducats  was  voted  to  him  for 
the  use  c^  the  oratorio  for  one  year.  The  nego- 
tiatian  dragged  on  till  1824  and  came  to  nothing, 
fa  the  aame  ostendble  reason  that  his  second 

*  'ITuhalM  ■toda?*mttiM  eDqater  of  tb«  *  priynafliU  BetUcrin' 
«fmtha  bane  draw  np  with  Mozart's  body  •&  the  gate  of  thtOem*- 
iR7.'  Ba  OkpeBiaeisier '  «a»  tba  anmer.  i  Behlndlar.  1.  MZ. 

'  fce  tnoBiam.  UH ;  and  compare  lettar  to  KDa.  Btreicber,  Bri^ 
Sa.9H»:  and  tte  SM  of  iha  woid 'gadlohtat '  iB  tha  tftla  of  tba  Ovw- 


BEETHOVEN. 


199 


Opera  did,  that  no  good  libretto  was  ibrth« 
coming.* 

1 816  was  a  great  year  for  publication.  The 
Battle  Symphony  in  March;  the  Violin  Sonata 
and  the  Bb  Trio  (op.  96,  97)-— both  dedicated  to 
the  Archduke — in  July ;  the  7th  Symphony-^ 
dedicated  to  Count  Fries,  with  a  pianoforte 
arrangement,  to  the  Empress  of  Russia;  the 
String  Quartet  in  F  minor  (op.  95) — to  Zmeskall ; 
and  the  beautiful  liederkreis  (op.  98)  to  Prince 
Lobkowitz ;  all  three  in  December.  These,  with 
the  8th  Symphony  and  three  detached  Songs, 
form  a  list  rivalling,  if  not  surpassing,  that  of 
1809.  The  only  compositions  of  this  year  ar> 
the  Liederkreis  (April),  a  Military  March  in  V, 
'for  the  Grand  Parade  (Wachtparade),  June  4, 
1816;'  a  couple  of  songs;  and  a  trifle  in  the 
style  of  a  birthday  cantata  for  Prince  Lobkowita.* 
This  is  the  date  of  a  strange  temporary  &ncy  for 
German  in  preference  to  Italian  which  took  pos- 
session of  him.  Some  of  his  earlier  pieces  contain 
German  terms,  as  the  Six  Songs,  op.  75,  and  the 
Sonata  Si  a.  They  reappear  in  the  Liederkreis 
(op.  98)  and  Merkenstem  (op.  100)  and  come 
to  a  head  in  the  Sonata  op.  loi,  in  which  all  the 
indications  are  given  in  German,  and  the  word 
'  Hammerklavier  *  appears  for  'Pianoforte'  in  the 
title.  The  change  is  the  subject  of  two  letters 
to  Steiner.^  He  continued  to  use  the  name 
'Hammerklavier'  in  the  sonatas  op.  106,  109, 
and  1 10 ;  and  there  apparently  this  vernacular 
fit  ceased.* 

Beethoven  had  a  violent  dislike  to  his  brother's 
widow,  whom  he  called  the  *  Queen  of  Night,' 
and  believed,  rightly  or  wrongly,  to  be  a  person 
of  bad  conduct.  He  therefore  lost  no  tune  in 
obtaining  legal  authority  for  taking  his  ward 
out  of  her  hands  and  placing  him  with  Gian- 
natasio  del  Kio,  the  head  of  an  educational  in- 
stitution  in  Vienna;  allowing  his  mother  to 
see  him  only  once  a  month.  This  was  done  in 
February  1816,  and  the  arrangement  existed  till 
towards  the  end  of  the  year,  when  the  widow 
appears  to  have  appealed  with  success  sgainst  the 
first  decree.  The  cause  had  been  before  the  Land- 
rtchiB  court,  on  the  assumption  that  the  van 
in  Beethoven's  name  indicated  nobility.  This 
the  widow  disputed,  and  on  Beethoven's  being 
examined  on  the  point  he  confinned  her  argument 
by  pointing  successively  to  his  head  and  his  heart 
saying — 'My  nobility  is  here  and  A«rs.'  The 
case  was  then  sent  down  to  a  lower  court,  where 
the  magistrate  was  notoriously  inefficient,  and 
the  result  was  to  take  the  child  firom  his  uncle 
on  the  ground  that  his  deafioess  unfitted  him  for 
the  duties  of  a  guardian.  Carl's  affairs  were 
then  put  into  the  hands  of  an  official,  and  all 
that  Beethoven  had  to  do  was  to  pay  for  hif 
education.  Against  this  decree  he  entered  an 
appeal  which  was  finally  decided  in  his  fsvour, 

«  flaatlM  Terr  eorlow  latter  fronBaattaofan  of  Jan.  SS,UB«,  In  Pohl's 
pamphlet.  OmcBmM^  etc  un. 

•  B.AH.1&.  •SaeTltBiiai'sOUakiaa.No.flOBL 
T  Brirf:  No«.  187,  IflB. 

*  The  Geraoas  eooiea  oat  bowarer  tvhen  ha  to  deeplj  mewd.  as  In 
the '  Bitta  Vox  innern  and  aOsaarn  Frieden,* and  the '  Aongstlieh '  in  the 
'Dona'  of  the  IUm.  tha  'Mdenait*  la  the  Oavatina  of  the  B  Art 
Quartet,  ale. 


19< 

])at  DOttillJui.7,  iSao.  Heantime  bli  enarg!e* 
were  taken  up  with  the  coDtest  uul  the  variooi 
worries  and  quoirele  which  aroee  out  of  it,  in- 
Tolvin^  the  writing  of  ft  Iftrge  number  of  loug  ftnd 
■erioiu  letten.  Uow  he  struggled  ftnd  auffered 
the  following  enlij  in  hii  diuj  of  the  eftrly  pkrt 
of  1818  will  ihowi—'Gott,  Gott,  meiu  Uort, 
mein  Fela,  o  mein  AUea,  da  liehat  mein  Innerei 
and  weiut  wie  weha  mir  ee  thut  Jemftnden 
leiden  machen  mlluen  bei  meinem  gutea  Warke 
fltr  meinen  theiiren  KftrL  O  hore  eteti  Unftui- 
■prechlicher,  hSre  mich — deinen  ungliickliohen 
unglDcldichiten  bIIbt  Sterblichen.'  Between 
the  dfttea  just  mentioned,  of  the  beginning  and 
ending  of  the  Uw-auite,  he  completed  no  or- 
chestnl  moiic  at  ilL  Aput  trota  lympath; 
fbr  ft  g^^ftt  Gompoee^  in  diftreee,  and  annoyance 
•t  the  painful  and  undignified  figure  whioh  he 
■o  often  presented,  we  have  indeed  no  reuon 
to  complain  of  a  period  which  produced  the 
three  gigantic  Pianoforte  Souataa.  op.  106,'  op. 
109,*  and  op.  no' — which  were  the  net  product 
of  the  period ;  bnt  euch  worlu  producs  no  ade- 
quate remuneration,  and  it  ie  not  difficult  to 
noderetand  that  during  the  law-suit  he  muit 
hftTe  been  in  very  straitened  ciicomstanoet,  cheap 
as  education  and  living  were  in  Vienna  at  that 
date.  His  frequent  lettots  to  Rie*  and  Birchall 
in  London  at  this  time  urging  his  works  on  them 
for  the  Ti;ngli»ti  market  are  enough  to  prove  ^e 
truth  of  thu.  One  result  of  these  negotiations 
was  the  purchase  by  the  Philharmonic  Society, 
through  Mr.  Meale,  nnder  minute  of  July  11, 
1S15,  of  the  MS,  cvBTturei  to  the  '  Buins  of 
Atheoi,' '  King  Stephen '  aad  op.  115,  for  75  guin- 
eas. To  moke  matters  worse  Prince  Lobkowits 
died  on  Dec.  16,  1816,  and  with  him — notwith- 
standing that  here  too  Beethoven  appealed  to 
the  law. — ^all  benefit  from  that  quarter  ceased. 
Bis  pension  was  therefore  from  that  date  dimin- 
ished to  about  £110.  The  few  compositions 
attributable  to  this  period  are  an  arrangement 
of  hi«  eady  C  minor  Trio  (op.  i)  as  ■  String 
Quintet  (op.  104) ;  two  sets  1^  national  aire  wiCh 
varifttJona  for  Piano  and  Flute  (op,  105  and  107), 
a  few  son^jS — 'So  odsr  so,'  ■  Abendlied,'  and 
the  Hymn  of  the  Monks  in  'William  Tell"  in 
memory  of  hia  old  friend  Erompholi,  who  died 
May  3 — and  othen.      None  of  these  can  hare 


D  a>ct  s. 


e  of  U 


certainly  presented  to  the  publiehers. 

An  incident  of  this  date  which  gratified  him 
much  wae  the  arrival  of  a  piano  from  Broadwoods. 
Mr.  Thomas  Broodwood,  the  then  head  of  the 
house,  had  recently  mods  his  acquaintance  in 
Vieima,  and  the  piano  seems  to  have  been  tiie 


times  cieditsd  with  the  gift,  but  no  resolution 
or  minute  to  that  effect  existi  in  their  reooids. 
The  books  of  the  firm,  bowerer,  show  that  on 
Deo.  17,  1817,  the  gnuid  piano  So.  736a*  was 


fbrwarded  to 

time  by  Mr. '. 
Beethoven  in 


'A  Moosie 

Londres  (en  j 

Mon  trtsc 


deoettePian 
bire  prdeent 
je  depoaeiai 
eaprit   an   di 


de  votre  insti 
Mon  cher 

grandaconnd 


tried  by  Mr.  C 

trial  of  it  w 
further  cMni 
Broadwoods. 
A  correspo 
Biea  with  thi 
ject  of  his  vii 
Society  waa  I 
the  spring  of 
phoniaa  tobe 
were  to  give 
manded  400,- 

5th  of  the  fol 
health  has  pi 
to  be  efiacti 
summer  oF  18 
ed  Archbiiho 
in  the  middle 
and  of  onothe 


during  the  fo 
other  musical 
pleted  for  pr 
other  {decas  1 
C^un  for  3' 


BEETHOVEN. 


BEETHOVEN. 


196 


■ad  10  Variations  of  National  Aln  (op.  107).  [ 
the  Sonata  just  referred  to,  the  greatest  work  ; 
yet  writteo  far  the  piano,  and  not  unjustly  com*  { 
pared  with  the  Ninth  Sjrmphony,  belonged  in  a 
^>eciil  sense  to  the  Aichdoke.     The  first  two 
BioTeDients  were  presented  to  him  for  ^  his  Nama- 
daj:  the  whole  work  when  published  was  dedi- 
ct&ed  to  him,  and  the  sketch  of  a  piece  for  solo 
loi  chorus  '  exists  in  which  the  subject  of  the  first 
Alkgro  is  set  to  the  words  '  Vivst  Rodolphus.' 
In  addition  the  Archduke  is  said  to  have  been 
kble  to  play  the  Sonata.    Beethoven  may  have 
hated  his  *  Dienstschaft/  but  there  is  reason  to 
bdi£Te  that  he  was  sincerely  attached  to  his 
deva,  sympathetic,  imperial  pupil. 

Hietummer  and  autumn  of  both  1818  and  19 

vere  apent  at  Modling.    His  health  at  this  time 

vai  excellent^  and  his  devotion  to  the  Mass 

B^aardinary.     Never  had  he  been  known  to 

be  10  entirdy  abstracted  from  external  things, 

10  inuQersed   in   the  struggle  of   composition. 

Schiodler'  has  well  described  a  strange  scene 

vbidi  oocmred  during  the  elaboration  of  the 

Credo— the  hoose  deserted  by  the  servants,  and 

deaaded  of  every  comfort ;  the  master  shut  into 

hi  room,  singing,  shouting,  stamping,  as  if  in 

ictDsi  (xmflict  of  life  and  death  over  the  fugue 

'  £t  Titsm  venturi ' ;  his  sudden  appearance  w^d, 

dialieTelled,  fidnt  with  toil  and  34  hours  fiEwtl 

Tbeaeivere  indeed  '  drangvollen  *  Umstanden* — 

vretched  oonditioDS — but  they  are  the  conditions 

vhich  accompany  the  production  of  great  works. 

Dming  the  whole  of  this  time  the  letters  *  show 

that  fau  nephew  occupied  much  of  his  thoughts. 

^Hule  at  work  on  this  sublime  portion  of  the 

Kan*  JTut  mentioned,  he  was  inspired  to  write 

&  beantifid  Sonata  in  E  major  (op.  109^  the 

£nt  of  that  unequalled  trio  which  terminate  that 

dta  of  bis  compositions. 

It  IB  hardly  necessary  to  say  that  the  Installi^ 
tioD  vent  by  without  Beethoven's  Mass,  which 
idM  'was  not  completed  till  the  begiiming  of 
1S23.  He  snnounces  its  termination  on  Feb. 
27)'  sod  the  perfect  c€py  of  the  score  was  de- 
^Tered  into  his  patrons  hands  on<  March  19, 
exactly  two  years  after  the  day  for  which  it  was 
projected.  As  the  vast  work  came  to  an  end,  his 
thooghts  reverted  to  his  darling  pianoforte,  and 
the  dates  of  Dec.  25,  i8ai,  and  Jan.  13,  i8aa, 
are  affixed  to  the  two  immortal  and  most  afiect- 
iog  Sonatas,  which  vie  with  each  other  in  grandeur, 
beauty,  and  pathos,  as  they  dose  the  roll  of  his 
^!e  compositions  for  the  instrument  which  he 
■0  deady  loved  an4  so  greatly  ennobled. 

£ut  neither  Mass  nor  Sonatas  were  sufficient 
to  absorb  the  energy  of  this  most  energetic  and 
P^iiuiaking  of  musicians.  The  climax  of  his 
^v^^itffitnl  compositions  had  yet  to  be  reached. 
^f  have  seen  that  when  engaged  on  his  last 
P^  of  Symphonies  in  181 2,  Beethoven  contem- 
plated a  third,  for  which  he  had  then  fixed  the 

>VoM»bohiB.V.AVIL 


flM  pradoetlon  of  tiM  Soaalft 


•  SeUadln.  L  SRL 
*fflia«aiiatdstoBI«lD 

*  To  Hodiiasv  (8e^  M),  to  ArtMte  (Oet.  IS).  •!«. 
>ltid  Qi  WB  «^  ^^iBBjng  of  inOL    Votteboha,  Op.  KS,  la 

V  I«ttartefh*ATClidiilM.Kfieb«L 


key  of  D  minor.  To  this  he  returned  before 
many  years  were  over,  and  it  was  destined  in  the 
end  to  be  the  'Ninth  Symphony.'  The  very 
characteristic  theme  of  the  Scherzo  actually 
occurs  in  the  sketch-books  as  early  as  18 15,*  as 
the  subject  of  a  '  fugued  piece,*  though  without 
the  rhythm  which  now  characterises  it.  But  the 
practical  beginning  of  the  Symphony  was  made  in 
181 7,  when  large  portions  of  tiie  first  movement 
— headed  'Zur  Sinfonie  in  D,*  and  showing  a 
considerable  approach  to  the  work  as  carried  out — 
together  with  a  further  development  of  the  subject 
of  the  Scherzo,  are  found  in  the  sketch-books. 
There  is  also  evidence*  that  the  Finale  was  at  thai 
time  intended  to  be  orchestral,  and  that  the  idea 
of  connecting  the '  Hymn  of  Joy'  with  his  9th  Sym- 
phony had  not  at  that  time  occurred  to  Beethoven, 
The  sketches  continue  in  18x8,'®  more  or  less 
mixed  up  with  those  for  the  Sonata  in  Bb ;  and, 
as  if  not  satisfied  with  carrying  on  two  sudi 
prodigious  works  together,  Beethoven  has  left  a 
note  giving  the  scheme  of  a  companion  symphony 
which  was  to  be  choral  in  both  the  Adagio  and 
Finale."  Still,  however,  there  is  no  mention 
of  the  'Ode  to  Joy,'  and  the  text  proposed  in 
the  last  case  is  eodesiasticaL 

We  have  seen  how  1819,  1820,  and  i8ai  wen 
filled  up.  The  summer  and  autumn  of  i8aa 
were  spent  at  Baden,  and  were  occupied  with 
the  Grand  Overture  in  G  (op.  ia4),  for  the  open- 
ing of  the  Josephstadt  Theatre  at  Vienna, 
whence  it  derives  its  title  of '  Weihe  des  Hauses' 
— and  the  arrangement  of  a  March  and  Chorus 
from  the  'Buins  of  Athens'  for  the  same  occa- 
sion, and  was  followed  by  the  revival  of '  Fidelio ' 
at  the  Kimthnerthor^  theatre  in  November. 
That  the  two  symphonies  were  tiien  occupying 
his  mind — 'each  different  firom  the  other  and 
from  any  of  his  former  ones' — is  evident  from 
his  conversation  with  Bochlitz  in  July  1822, 
when  that  earnest  critic  submitted  to  him 
Breitkopf's  proposition  for  music  to  Faust.** 
After  the  revival  of  'Fidelio'  he  resumed  the 
Symphony,  and  here  for  the  first  time  Schiller's 
hymn  appears  in  this  connexion.  Through  the 
summer  of  1823  it  occupied  him  incessantly,  with 
the  exception  of  a  few  extras — ^the  33  Variations 
(op.  lao),  which  were  taken  up  almost  as  a 
jeu  cCaprit,  and  being  published  in  June  must 
have  been  completed  some  time  previously,  a 
dozen  'Bagatelles'  for  the  Piano  (op.  119,  1-6, 
and  op.  136),  which  can  be  fixed  to  the  end 
of  i8aa  and  beginning  of  1823,  and  a  short 
cantata  for  the  birthday  of  Prince  Lobkowits 
(April  13)  for  soprano  solo  and  chorus,  the  auto- 
graph of  which  is  dated  the  evening  previous  to 
the  birthday.**  He  began  the  summer  at  Hetzen- 
dorf,  but  a  sudden  dislike  to  the  civilities  of  the 
landlord  drove  him  to  forfeit  400  florins  which  he 
had  paid  in  advance,  and  make  off  to  Baden. 
But  wherever  he  was,  while  at  work  he  was  fully 
absorbed;  insensible  to  sun  and  rain,  to  meals* 

•  1lott«boh]B,jr.B.nllL        •IbM.        »XbU.        *Ibld, 
W  Schlndler.  U.  11.   A.  M.  S,  for  1882,  M. 
U  RoehliU.  J<Sr  JVwwwfa  d*r  Timkmui,  Ir.  SST.  it 
MriliitadbfHohl,arMMAri4^Mo.SDb  _  _ 

02 


id6 


BEETHOVEN". 


to  the  difloomforts  of  his  house  and  the  n^lect 
of  the  servantSt  roBhing  in  and  out  without  his 
hat,  and  otherwise  showing  how  completely  his 
great  symphony  had  taken  possession  of  him. 
Into  the  details  of  the  composition  we  cannot 
here  enter,  farther  than  to  say  that  the  subject  of 
the  vocal  portion,  «nd  its  connexion  with  the 
preceding  mstmmental  movements  were  what 
gave  him  most  trouble.  The  story  may  be 
read  in  Schindler  and  Nottebohm,  and  it  is  full 
of  interest  and  instruction.  At  length,  on  Sept. 
5,  writing  from  Baden  to  Bies,  he  announces 
that  'the  copyist  has  finished  the  score  of  the 
Symphony/  but  that  it  is  too  bulky  to  forward 
by  post.  Ries  was  then  in  London,  and  it  is 
necessary  to  go  back  a  little  to  mention  that  on 
Nov.  lo,  1 8a a,  the  Philharmonic  Society  passed 
a  resolution  offering  Beethoven  £50  for  a  MS. 
symphony,  to  be  ddivered  in  the  March  follow- 
ing. Tlus  was  communicated  to  Beethoven  by 
Ries,  and  accepted  by  him  on  Dec.  ao.  The 
money  was  advanced,  and  the  MS.  copy  of  the 
9th  Symphony  in  the  Philharmonic  libraiy  carries 
a  statement  in  his  aut(^;raph  that  it  was  '  written 
for  the  society.'  How  it  came  to.  pass  not- 
withstanding this  that  the  score  was  not  received 
by  the  Philharmonic  till  after  its  performance 
in  Vienna,  and  that  when  published  it  was 
dedicated  to  the  King  of  Prussia,  are  &cts 
difficult  to  reconcile  wit£  Beethoven's  usual  love 
of  fiumess  and  justice. 

Notwithstanding  the  announcement  to  Ries 
the  process  of  final  polishing  went  on  for  some 
months  longer.  Shortly  before  he  left  Baden,  on 
Oct.  5,  he  received  a  *  visit  from  Weber  and  his 
pupil  young  Benedict,  then  in  Vienna  tor  the 
production  of  Euryanthe.  The  visit  was  in  con- 
sequence of  a  kind  wish  for  the  success  of  the 
work  expressed  by  Beethoven  to  Haslinger,  and 
was  in  every  way  successful.  In  former  times' 
he  had  spoken  very  depreciatingly  of  Weber,  but 
since  the  perusal  of  Freischiitz  had  'changed  his 
mind.  No  allusion  was  made  to  Weber's  youthful 
censures  on  the  4th  and  7th  Symphonies ;  Bee- 
thoven was  cordial  and  even  confidential,  made 
some  interesting  remarks  on  opera  books,  and 
they  parted  mutually  impressed.  He  returned 
to  town  at  the  end  of  October  to  a  lodging  in 
the  Ungergasse,  near  the  Landstrasse  gate,  and 
by  February  i8a4  began  to  appear  in  the  streets 
again  and  enjoy  his  favourite  occupation  of  peering 
with  his  double  eyeglass  into  the  shop  windows,^ 
and  joking  with  his  acquaintances. 

The  publications  of  i8a3  consist  of  the  Over- 
ture to  the  'Ruins  of  Athens'  (op.  114),  and 
the  ' Meeresstille'  (op.  11  a),  both  in  February; 
and  the  Sonata  (op.  iii)  in  April. 

The  revival  of  'Fidelio'  in  the  previous 
winter  had  inspired  Beethoven  with  the  idea  of 
writing  a  new  Grerman  opera,  and  after  many 
propositions  he  accepted  the  *Melusina'  by  Grill- 
parzer,  a  highly  romantic  piece,  containing  many 
effective  situations,  and  a  comic  servants  part, 
which  took  his  fancy  extremely.   Grillparzer  had 

1  C.Jr.«aiiire&«r,«oi»JI<w«.F.lL80B-5U.  >  Scjfrtod.  & 

•  0.iL  voM  lF«Ur. ILSOa.  «  Bohloidler, U.Be. 


BEETHOVEN. 

many  conferences  with  him,  and  between  th 
two  the  libretto  was  brought  into  practical  ahap< 
While  thus  engaged  he  received  a  oonunissioi 
firom  Count  BriUd,  intendant  at  the  Beriij 
Theatre,  for  an  opera  on  his  own  terms.  Be< 
thoven  forwarded  him  the  MS.  of  'Melnmns 
for  his  opinion,  but  on  hearing  that  a  ballet  C 
a  somewhat  similar  character  was  then,  beinj 
played  at  Berlin,  he  at  once  renounced  all  idta 
of  a  German  opera>  and  broke  out  in  abase  0 
the  German  singers  for  their  inferiority  to  tbi 
Italians,  who  were  then  playing  Roesizu  h 
Vienna.  In  fiict  this  season  of  i8a3  had  bronghi 
the  Rossini  fever  to  its  height,  no  operas  but  hii 
were  played.  Beethoven  had  indeed  heard  ihi 
'Barbiere'  in  i8aa,'  and  had  even  prcxmised  U 
write  an  opera  for  the  Italian  company  in  tb< 
same  style,  a  promise  which  it  is  unneoessarj 
to  say  was  never  redeemed.  Like  Mendelssohi 
he  was  in  earnest  in  pursuit  of  an  opera-book] 
but,  like  Mendelssohn,  he  never  succeeded  ii 
obtaining  one  to  his  mind.  What  he  wanted  h< 
told  Breuning  on  his  death-bed — something  t« 
interest  and  absorb  him,  but  of  a  moral  and 
elevating  tendency,  of  the  nature  of  '  Les  Deux 
Joumte'  or  '  Die  Vestalin,'  which  he  thoroughly 
approved;  for  dissolute  stories  like  those  ci 
Mozart's  operas  had  no  attraction  for  him,  and 
he  could  never  be  brought  to  set  them.  After 
his  death  a  whole  bundle  of  libretti  was  found 
which  he  had  read  and  rejected.* 

But  opera  or  no,  it  was  quite  a  different  thing 
to  find  the  public  so  taken  up  with  Rossini  that  no 
one  eared  for  either  his  Mass  or  his  new  Sym> 
phony .^    He  had  written  early  in  1 8a 3  to  Prussia, 
France,  Saxony,  Russia,  proposing  a  subscription 
for  the  Mass  of  50  ducats  from  tiie  sovereigns  of 
each  of  those  countries — but  the  answers  were 
slow  and  the  subscriptions  did  not  arrive,  and  he 
therefore  made  use  of  the  opportunity  afforded 
him  by  Count  Briihl  to  propose  the  two  works  to 
him  for  production  at  ^rlin.    The  answer  was 
favourable,  and  there  appeared  good  prospect  of 
success.     But  the  disgrace  of  driving  their  great 
composer  to  the  northern  capital  for  the  produc' 
tion  of  his  last  and  greatest  works  was  too  much 
for  the  music-loving  aristocracy  of  Vienna — and 
an  earnest  memorial  was  drawn  up,  dated  February 
i8a4,  signed  by  the  lichnowskys,'  Fries,  Die- 
trichstein,  Palfy,  and  25  others  of  the  persons 
principally  concerned  with  music  in  that  city, 
beseeching  him  to  produce  the  Mass  and  Sym- 
phony, azid  to  write  a  second  opera,  which  should 
vindicate  the  claim  of  classical  music,  and  show 
that  Grermany  could  successfully  compete  with 
Italy.    Such  an  address,  so  strongly  signed,  natu- 
rally gratified  him  extremely.     The  tiieatre  '  an 
der  Wien'  was  chosen,  and  after  an  amount  of 
bargaining  and  delay  and  vacillation  which  is 
quite  incredible — ^partly  arising  from  the  cupidity 
of  the  manager,  partly  firom  the  extraordinary 
obstinacy  and  suspiciougneBS  of  Beethoven,  from 

•  Schindler,  1L«. 

•  Brminliv.  M,  60  moU,  H«  tboaSbt  th«  two  Ubrettl  BMstloxMd  tb« 
bnt  In  •xlftenos. 

1  Dietriohstein  In  Schindler. 

t  The  Archduke  WMawVt  and  M>  alio  mnilLobkowitx  hive  been. 


BISETHOVSK. 


BEETHOVEN. 


W 


tfee  T^gokUioii  of  tlie  oeoBonhip^  and  from  the 

d'lficolties  of  the  miiaio — ^but  which  was  all  in 

tiB»  sannoonted  by  the  tact  and  deTotion  of 

Uchnowaky,  Schindler,  and  Schuppanzigh,  the 

ii^yceri  took  place  in  the  Kainthnerthor  theatre 

OB  Biay  7.^      The  programme  consisted  of  the 

Orertnra  in  C — 'Weihe  dee  Hauses* — the  Kyrie, 

Credo,  Agnus  and  Dona,  of  the  Mass  in  D,  in 

iht  form  of  three  hymns,'  and  the  9th  Symphony. 

Tbe  boose  was  crowded,  and  the  musiCy  espe- 

diJy  the  Symphony,  excited  the  greatest  enthu- 

CdOii.    It  was  on  this  occasion  that  the  aflbcting 

iaddent  oocnned  of  the  deaf  composer  being 

toraed  roimd  by  Mile.  Ungher  that  he  might  tee 

tbfs  applausa   he  and  his  mnsio  were  evoking. 

Bat  financially  the  oonoert  was  a  fidlnre.    The 

ose  of  the  theatre,  including  band  and  chorus, 

eoei  1000  florins,  uid  the  copying  800  more,  but 

the  prices  rsmained  as  usual,  so  that  the  net 

MoIt  to  Beothoven  was  but  420  florins,  or  under 

I'^o.   Well  might  he  say  that '  after  six  weeks  of 

e^  diseuBsioiL  he  was  boiled,  stewed,  and  roasted.* 

Kt;  was  profbandly  distressed  at  the  result,  would 

e&t  Qotlmig,  and  psssod  the  night  in  his  clothes. 

Thtd  concert,  however,  was  repeated  on  the  a3rd 

At  noon,  the  theatre  guaranteeing  Beethoven  500 

6(»uis.   On  the  second  occasion  all  the  Mass  was 

nppresMd  but  the  Kyrie;  the  trio '  Tremate*  and 

pTiad  Italian  solos  were  introduced ;  the  Overture 

ad  Symphony  remained.    The  result  of  this  was 

s  kn  to  the  management,  and  furnishes  a  curious 

traitof  Beethoven's  character.   He  could  not  with- 

tfst  difiSoulty  be  induced  to  accept  the  guaranteed 

Kim,  but  he  invited  Schindler,  Schuppanzigh,  and 

Umlauf  to  dinner,  and  then  accused  them  in  the 

moat  furious  manner  of  having  combined  to  cheat 

him  over  the  whole  transaction !    This  broke  up 

the  party;  itue  three  faithful  friends  went  off  else- 

vhoe,  and  Beethoven  was  left  to  devour  the 

dinner  with  his  nephew.    The  immediate  effect 

d  the  outbreak  was  to  put  an  end  to  a  pro- 

loimig  negotiation  which  he  was  carrying  on 

vith  Neate,  who  in  a  letter  of  Deo.  ao,  1823, 

hd,  on  the  part  of  the  Philharmonic  Society, 

oSered  him  300  grnineas  and  a  benefit  guaranteed 

tx  £500  fat  a  visit  to  London  with  a  Symphony 

ud  a  Coooerto.     The  terms  had  been  accepted, 

ud  the  arrangements  for  the  journey  were  in  a 

fcrward  state ;  and  although  it  is  probably  true 

that  Beethoven's  attachment  to  his  nephew  was 

too  BtroQg  to  allow  of  his  leaving  him  when  it 

ome  to  the  point,  yet  it  is  equally  true  that 

the  event  just  related  was  the  ostensible  cause. 

Foot  days  after  he  was  at  his  beloved  Baden, 

and  cnvii^  for  music  paper.' 

The  subscriptions  to  the  Mass  had  come  in 
ilovlj,  and  in  nine  months  amounted  only  to  350 
dnrata  (£175)  for  seven  copies.^  This  was  too 
ilcw  to  Hhtid^  the  wishes  of  the  oomposer.  In- 
iixA  he  had  &r  some  time  past  been  negotiating 


1  Sciiiodlw.  U. 
'ThoBiMn  thai 

teblMlfaMMt  of  th* 

hidSBtdt  tX  BxaMr  BaJL 
Tiec'  fbmvttmummtat. 
*<fUuSkr,1Ln, 


butoflf  tha  GifiOtaB  Vante  aft  IkwkfBrti 


to  Owii  nortb.  vmtag  to 

oad  tho  doivy.   A  iliiillor  itliNilotion 

A  Mm*  wami  be  opnouaeod  ••  a  '  Bor- 

>  Uttorto  8t«tn«r.  Moj  AT. 

tho  wmrttof  Pnuria,  Franea, 

:  Prtnm  BadUvflUand  llr.8«halUa,  the 


in  a  much  more  mercantile  style  than  before 
for  the  sale  of  Mass,  Symphony,  and  Overture. 
He  offered  them  to  various  publishers.'  It  is  an 
unexpected  trait  in  his  character,  and  one  for 
which  we  may  thank  his  devotion  to  his  nephew, 
to  whom  he  was  now  sacrificing  eveiything,  that 
he  might  leave  him  well  provided  for.  It  re- 
sulted in  his  dealing  for  the  first  time  with 
Sohott,  of  Mayenoe,  who  purchased  the  Mass  and 
the  Symphony  for  1000  and  600  florins  respect- 
ively on  July  19, 1834.  He  appears  at  this  time 
to  have  taken  generally  a  more  commercial  view 
of  his  position  than  usual,  to  have  been  occupied 
with  plans*  for  new  collected  editions  of  his 
works  (which  however  came  to  nothing),  and 
generally  to  have  shown  an  anxiety  to  make 
money  very  unlike  anything  before  observable 
in  him.  In  such  calculations  he  was  much  as- 
sisted by  a  young  man  named  Carl  Holts,  a 
government  employ^,  a  good  player  on  the  violin 
and  cello,  a  dever  caricaturist,  a  bon  vivant,* 
and  generally  a  lively  agreeable  fellow.  Holti 
obtained  an  extraordinary  influence  over  Bee- 
thoven. He  drew  him  into  society,  induced  him 
to  be  godfikther  to  his  child,  to  appoint  him  his 
biographer,'  and  amongst  other  things  to  forsake 
his  usual  sobriety,  and  to  do  that  which  has  been 
absurdly  exaggerated  into  a  devotion  to  drink. 
That  these  commercial  aims — too  absurd  if  one 
reflects  on  the  simple  unbusinesslike  character  of 
Beethoven — and  the  occasional  indulgence  to 
which  we  have  alluded,  did  not  impair  his  In- 
vention or  his  imagination  is  evident  firom  the 
£m^  that  at  this  time  he  composed  his  last  Quar- 
tets, works  which,  though  misunderstood  and 
naturally  unappreciated  at  the  time,  are  now  by 
oonmion  consent  of  those  who  are  sble  to  judge 
placed  at  the  head  of  Beethoven's  oompositians 
for  individuality,  depth  of  feeling,  and  expres- 
sion. The  relations  with  Russia,  which  Bee- 
thoven had  originally  cultivated  through  the 
Ck>unt  de  Browne,  and  the  works  dedicated 
to  the  Emperor  of  Russia  and  the  Prince  Bason- 
mof&ky,  and  which  had  been  deepened  by  the  per- 
sonal attention  shown  him  in  1814  by  the  im- 
press were  now  to  bear  their  full  fruit.  Early  in 
1834  he  received  a  letter  from  Prince  Galitsin, 
a  Russian  nobleman  living  at  Petersburg,  and 
subsequently  others,  requesting  him  to  compose 
three  string  quartets  to  be  dedicated  to  the  Prmoa 
and  handsomely  paid  for.  The  first  of  these,  that 
in  £b,  sketched  at  Baden  in  the  autumn  of  1834, 
was  sold  to  Schott  *  in  advance  for  the  sum  d[ 
50  ducats,  and  was  completed  after  his  return  to 
Vienna  early  in  October.  It  was  first  played  on 
March  6,  1835,  and  published  in  the  following 
March.  With  the  Quartet  Schott  received  the 
Overture  op.  ha,  the  <Opferlied'  (op.  I3i), 
and  'Bundedied*  (op.  133),  an  air  'An  Ohloe' 
(op.  138),  and  II  Bsigatelles  (op.  ia6),  for  which 
he  paid  the  sum  of  130  ducats.    The  Quartet  was 


•  Letter  to  Faten.  Janoft.  USS. 
'  Bri^»,ii<M.9B^SrU  •Ibld.Vo.ffTI. 

•  Letter  of  Sapt.  n.  Hera  Main  wa  are  poizled  by  the  feet  that  Iba 
quartet  waaioid  to  Sebotte  before  Prlaea  QaJltiln  had  alttaw  paid,  or 
deoliaad  to  paj.tha  tun  be  promlad. 


198 


BEETHOVEN". 


played  by  Scbuppanzigli,  Weiss,  Linke,  and  Holtz, 
and  it  was  a  numorous  idea  of  the  Master^s  to 
make  each  player,  after  so  long  an  interval,  sign 
a  oompact  *  pledging  his  honour  to  do  his  best, 
and  vie  with  his  comrades  in  zeal.*  ^ 

The  second  Quartet  was  that  which  now  stands 
third — in  A  minor,  op.  133.  It  was  first  played 
on  Nov.  6,  1825,  ana  was  published  on  Sept.  27 
by  Sohlesinger.  For  this  he  seems  to  have 
obtained  80  ducats.  In  a  letter  to  Peters  it  is 
mentioned  as  'a  Quartet,  and  a  grand  one  too.' 

The  third,  in  B  flat  (op.  130),  originally  ended 
with  a  fugue  of  immense  length  and  still  greater 
obscurity,  which  was  afterwturds  published  sepa- 
rately as  op.  133.  It  was  completed  in  1825, 
and  was  played  in  its  first  form  on  March  ai,  26. 
The  new  finale — so  gay  and  fiill  of  spirit — was 
written  (at  Artaria^s  instance)  in  great  discomfort 
at  his  brother's  house  at  Gneizendorf  on  Nov.  26, 
just  before  leaving  on  the  journey  which  cost  him 
his  life.  It  is  ms  last  completed  composition. 
The  Quartet  was  published  by  Artaria,  May  7, 
1827.  The  relations  between  Beethoven  and 
Prince  Galitidn  have  been  the  subject  of  much 
controversy.  It  will  be  sufiicient  here  to  say  that 
Beethoven  is  not  known  to  have  received  the 
promised  payment,  and  that  the  quartets  were 
■old  by  him  to  the  publishers  already  named. 

Beethoven  remamed  at  Baden  till  October 
1824.  On  his  return  to  Vienna  his  nephew 
entered  the  University  as  a  student  in  philology. 
The  career  of  this  worthy  may  be  summed  up  in 
a  few  lines.  He  went  in  for  his  degree  and  was 
plucked,  abandoned  literature  for  trade,  stood 
for  the  necessary  examination  in  the  Polytechnic 
School,  and  was  plucked  again ;  in  despair  at- 
tempted to  shoot  himself,  and  fiuled  even  to  do 
that.  He  was  then,  as  a  suicide,  taken  charge  of 
by  the  police,  and  after  a  time  ordered  out  of  Vienna 
at  a  day's  notice,  and  at  last  joined  the  aimy.' 
And  through  it  all  his  old  unde  clung  to  him 
with  truly  touching  affection.  He,  most  simple- 
minded  of  men,  could  not  believe  that  any  one 
should  really  not  desire  to  do  his  best ;  and  so  on 
the  least  appearance  of  contrition  or  amendment 
he  forgives  and  embraces  him,  he  bathes  him  in 
tendemedb  and  confidence,  only  each  time  to  find 
himself  again  deceived.  The  letters  which  this 
more  than  father  wrote  to  his  unworthy  prodigal 
■on  are  most  affecting — ^injudicious  no  doubt,  but 
full  of  tenderness  and  simplicity. 

The  first  few  weeks  of  the  winter  of  1824  were 
occupied  in  scoring  the  E  flat  Quartet,  the  com- 
position of  which  had  been  the  work  of  the  sum- 
mer, but  it  was  hardly  complete  before  Beethoven 
was  taken  with  a  severe  illness  in  the  lower  part 
of  the  stomach.*  For  this  he  called  in  Stauden- 
heim,  a  surgeon  of  eminence,  who  however  was 
soon  cashiered  as  too  brusque,  and  replaced  by 
Braunhofer.  The  malady  hung  about  him  tiU 
his  next  visit  to  the  country ;  and  its  disappear- 
ance is  commemorated  in  the  camona  di  rin- 
graziamerUo  in  modo  lidico  offeria  aUa  divinita 
da  im  guariio,  which  forms  so  noble  a  feature  in 


1  Bri*^,  S22. 
•8olUiiiUar.iLm.m. 


s  B«di«l  In  VlniM.  April  13,1£8I. 


BEETHOVEN. 

the  A  nunor  Quartet.  His  stay  at  Baden  in  182^ 
was  of  unusual  length,  lasting  from  May  2  til 
October  15,*  by  whidb  date  the  Quartet  vraa  com 
pletely  finished.  It  had  already  been  tried,  strictl  j 
m  private,  as  early  as  August  at  the  desire  of  th< 
publisher,  Beethoven  sitting  close  to  the  player^ 
and  perhaps  profiting  by  the  rehearsal  to  inak< 
many  alterations;  and  on  Nov.  6  waa  played 
still  in  private  but  to  a  densely  crowded  room,' 
by  Schuppanzigh  and  Linke  s  quartet  party. 

The  Bb  Quartet  was  his  next  work,  and  it  wa4 
first  performed  in  public  by  the  party  just  men^ 
tioned  on  March  21,  1826.  The  Preato  and 
danza  tedesca*  were  encored,  but  the  Cavatinq 
seems  to  have  made  no  impression,  and  the  fugue, 
which  then  served  as  finale,  was  universally 
condemned.  In  the  case  of  the  fugue  hia  judg^ 
ment  agreed  ¥rith  that  of  his  critics ;  it  'was  pub« 
lished  separately  (op.  133)  and  a  new  finale 
written ;  but  he  did  not  often  give  way  to  the 
judgments  of  his  contemporaries.  'Your  new 
quartet  did  not  please,'  was  one  of  the  bits  ot 
news  brouelit  to  him  on  his  death-bed  by  some 
officious  friend.  '  It  will  please  them  some  day,' 
was  the  answer.^ 

Between  the  <2ate  ilast-mentioned  and  October 
1826  occurred  the. series  of  disasters  with  young 
Carl  already  alluded  to;  and  the  latter  month 
found  both  uncle  and  nephew  at  Johann  Bee- 
thoven*s  residenoe  at  Gneixendorf.  It  is  a  village 
near  Krems,  on  the  Danube,  about  50  miles  west 
of  Vienna,  and  here  his  brother  had  settled  on  the 
property  {Out)  which  gave  occasion  to  Ludwig's 
famous  joke  (see  p.  1 72  a).    The  party  must  have 
been  a  curiously  ill-assorted  one.     The   some- 
what pompous  money-loving  OuttherUzer ;    his 
wife,  a  common  firivolous  woman  of  questionable 
oharacter;"  the  ne*er-do-weel  nephew,  intensely 
selfish  and  ready  to  make  game  of  his  uncle  or 
make  love  to  his  aunt ;  and  in  the  midst  of  them 
all  the  great  composer — deai^  untidy,  unpresent- 
able, setting  every  household  rule  and  household 
propriety  at  defiance,  by  turns  entirely  absorbed 
and  pertinaciously  boisterous,  exploding  in  rough 
jokes  and  horse-laughter,  or  bursting  into  sudden 
fiiry  at  some  absolute  misconception; — such  a 
group  had  few  elements  of  permanence   in  it. 
But  nothing  could  stop  the  wonderful  flow  of 
Beethoven^s  thoughts.    In  fsust,  music  being  to 
him  the  language  of  his  emotions,  the  more  agi- 
tated he  was  the  more  he  composed,  and  his  very 
deafiiess,  which  fortunately  must  have  made  him 
insensible  to  much  that  went  on  around  him, 
drove  him  more  completely  into  himself  and  com- 
pelled him  to  listen  to  the  workings  of  his  own 
heart  unalloyed  by  anything  external.    To  hii 
deafness  we  no  doubt  mainly  owe  the  very  in- 
dividual and  original  style  of  the  later  Quartets. 
Thanks  to  Michael  Krenn,*  who  was  engaged  by 
Frau  Johann  to  wait  on  him,  we  can  see  him 
with  our  own  eyes.     *  At  half-past  5  he  was  up 
and  at  his  table,  beating  time  with  hands  and 
feet)  singing,  humming,  and  writing.    At  half- 

•  Originally  written  In  A,  tad  Intandwl  for  th«  A  mlnur  Qcuurttt. 
T  Brauninf. ».  •  Scblndler,  In  Wallace  IL.  148. 

•  Kohl.  Lebm,  ilL  718.    Dntteks  Munk-ZtilMMg.  Mar.  li.  1802. 


BEETHOVEN". 

pait  7  ma  the  fiunily  breakfast,  and  direcfly 
a&&  it  he  hurried  out  of  doors,  and  would  saun- 
vt  about  the  fields,  calling  out,  waving  his 
boda,  gdng  now  very  slowly,  then  very  fast, 
uii  then  suddenly  standing  still  and  writing  in 
a  kind  of  pocket-book.  At  half-past  1 2  he  came 
ieto  the  house  to  dinner,  and  after  dinner  he 
wfsit  to  his  own  room  till  3  or  so ;  then  again  in 
t^  fields  till  about  sunset,  for  later  than  that  he 
sight  not  go  out.  At  half-past  7  was  supper, 
lad  then  he  went  to  his  room,  wrote  till  10, 
asd9)tobed.* 

During  the  last  three  years  he  had  been  oom- 

pcesg  iooessanily,  and  yet  all  that  he  had  done 

essued  to  him  as  notlung — as  a  mere  prelude 

to  vhat  be  was  yet  to  do.     As  Newton  before 

Ilk  death  tpoke  of  himself  as  *  a  child  picking 

ip  s  few  shells  ofn  the  shore  while  the  great 

Gceu  of  truth  lay  undiscovered  before  him,*  so 

(ke«  Beethoven  in  somewhat  similar  strain  ez- 

prees  himself  at  the  close  of  his  life : — '  I  feel  as 

if  1  had  written  scarcely  more  than  a  few  notes.'  ^ 

And  again — '  I  hope  still  to  bring  a  few  great 

Ttf  ki  into  the  world,  and  then,  like  an  old  child, 

to  end  my  earthly  course  somewhere  amongst 

good  people.*'      His   wish,  however,   was  not 

fulfilled;   he  was  to  die  in  harness.     Either 

Mere  leaving  Vienna  or  immediately  after  it 

k  had  comjdeted  the  Cf  minor  Quartet,  and 

hefore  the  CTd  of  October  had  finished  another, 

tkt  in  F,  which  is  dated  with  his  own  hand 

'Godxaidorf*  am  soOktober,  i8a6.*  This  is  the 

work  the  finale  of  which  embodies  the  strange 

dialogae  between  Beethoven  and  his  cook,  'Muss 

a  sem? — Es  muss  sein,'  and  shows  how  he 

Godd  rise  from  the  particular  to  the  universal. 

A  week  or  two  later  and  he  had  written  a  fresh 

finale  to  replace    the   enormouslT   long    fugue 

vkieh  originally  terminated  the  Bb  Quartet^  and 

dated  it  *Nov.  1836.'     And  this  was  his  last 

^pQik.   By  that  time  the  fine  weather,  of  which 

h  ipeaks  shcrtly  after  his  arrival,*  had  departed. 

Tbe  economical  OuUhesUter  had  forbidden  his 

iafinn  brother  a  fire  in  his  room,  the  food  was 

not  to  his  taste,  and  he  was  informed  that  for 

both  food  and  lodging  a  charge  would  be  made ; 

K>  that  he  detenmned  to  brave  the  police  and 

Ktom  with  his  nephew  to  Vienna  on  Deo.  2. 

Tbe  journey  firom  Gneixendorf  to  Krems,  the  post 

town,  ia  not  hi,*  but  the  close  carriage  could  not 

tie  had,  and  Beethoven  was  obliged  to  perform  it 

in  an  open  chaise — the  weather  was  cold  and 

damp,  and  the  result  was  a  violent  cold  in  the 

nomach,  which  was  the  beginning  of  the  end. 

Be  took  to  his  bed  on  reaching  the  Schwann 

Bp^Bierhana.    His  former  physicians,  Braunhofer 

tod  Staudenheim,  refused  to  attend  him,  and  he 

Tas  m  the  hands  of  a  Dr.  Wawruch  who  had 

been  casually  called  to  him  by  a  billiard-marker 

^  the  rooms  frequented  by  young  Carl  Beethoven. 


I  I«ttwto  Schett,  Sept  17,  Mat 

\lf3e  to W«p|«-.  VlenDA,  Oct  7,  VK. 

MiftUQBcbndoif«fBlMtoHMUi««r.  'Thai 
■^  Bkt  At  bRtUag  of  an  aztoferM '  (Sri^«,  No.  88S). 

JUttertoBMBi^w.OetU. 

*Oixiiadecf  boo  Ite  hlgb  cnm^wbkh  fta«  abort 
niBanbafit, 


BEETHOVEN. 


199 


The  cold  had  developed  into  an  inflammation  of 
the  lungs,  and  on  this  dropsy  supervened.  Wa- 
wruch, who  appears  to  have  been  a  poor  prac- 
titioner and  a  pompous  pedant,*  drenched  his 
patient  vrith  herb  decoctions,  but  the  malady 
would  probably  have  ended  fatally  whatever 
treatment  had  been  adopted.  What  the  poor 
patient  most  required  was  good  nursing  and  oom- 
lort,  and  this  he  could  not  obtain  till  after  the 
departure  of  his  nephew  for  his  regiment  in  the 
latter  half  of  December.  Then  Schindler  and 
Stephen  Breuning  came  to  his  bedside,  and  from 
this  time  to  the  end  Gerhard  Breuning,  the  son 
of  Stephen,  a  boy  of  eleven,  was  his  constant 
attendant.  He  was  first  tapped  on  Dec.  18,  then 
again  on  Jan.  8,  and  a  tmrd  time  on  Jaa.  a8. 
It  was  during  one  of  these  operations  that  on 
seeing  the  water  he  made  the  oharaoteristio 
remark  'Better  frtnn  my  belly  than  from  my 
pen.*  The  confidenoB  both  of  Beethoven  and  his 
friends  in  Wawruch  now  became  much  shaken, 
and  an  application  was  made  to  Malfiatti,  who 
had  attended  him  years  before,  but  like  so  many 
others  had  parted  fixnn  him  in  anger.  It  was 
long  before  Malfiatti  would  answer  the  appeal, 
and  even  then  he  would  only  act  in  conjunction 
with  Wawruch.  The  treatment  was  now  changed, 
and  iced  punch  administered  in  large  quantities 
as  a  restorative.  His  faith  in  Malfiatti  was  only 
equalled  by  his  disgust  at  Wawruch.  He  would 
watch  for  the  arrival  of  the  former  with  eager- 
ness, and  welcome  him  as  if  he  were  an  angel— 
whereas  when  Wawruch  appeared  he  would  im- 
mediately stop  talking,  turn  bis  fiaoe  to  the  wall 
with  the  exclamation  '  Ach,  der  Esel  t'  and  only 
answer  his  enquiries  in  the  most  grumpy  man- 
ner.'' Under  the  change  Beethoven's  spirits 
greatly  improved,  and  if  permitted  he  would  at 
once  have  begun  to  work.  This  however  was 
forbidden,  and  reading  only  allowed.  Walter 
Scott  was  recommended  him,  and  he  began  'Kenil- 
worth,*'  but  soon  threw  it  down  with  the  ez- 
clflkmation  '  the  man  writes  only  for  money.'  He 
now  made  acquaintance  with  some  ot  Scbu* 
berts  songs*  for  the  first  time,  and  was  delighted 
with  them — *  Truly  Schubert  has  the  divine  fire,* 
were  his  words.  Handel's  works,  in  40  volumes,^ 
a  present  from  Stumpflf,  arrived  at  this  date, 
and  were  an  unfiuling  source  of  interest  to  him^ 
as  he  lay  in  bed.  A  Uthograph  of  Haydn's  birth- 
place gave  him  the  liveliest  satisfaction;  his 
delight  at  receiving  it,  his  wrath  at  the  mis- 
spelling of  the  name,  and  his  curious  care  in 
paying  for  it,  may  be  read  in  Breuning's  narra- 
tive (pp.  98-100).  During  the  four  months  of  his 
last  illness  he  wrote  and  dictated  many  letters— 
34  are  published,  some  of  them  of  considerable 
length,  and  others  no  doubt  remain  in  MS. 

His  nephew  still  retained  his  hold  on  his  alSeo- 
tions.  A  letter  to  Dr.  Bach,  his  old  advocate,  of 
Jan.  3,  declares  the  lad  his  sole  heir,  and  commits 

•  Bfeiinta«.90i  TI1rfd.tt.9QL 

•  Sehiodlor  U.  UB;  tat  set  Ml  latter  In  MoaehelM*  LAm,  1. 14t 

•  The  '  Jnnge  Monae.*  'Die  BurRsehaft.'  'Der  Taaoher.'  'VMmn,* 
tad  the  OHlan  Soogt  are  uMBtioned  by  Bdiindler.  Bat  of  then  tlit 
oDljr  one  pnblUlied  before  Beethorea't  death  yn»  the  flnt 

M  See  the  Sale  OatalogiM.  u  Bnaniog.  Mi 


y 


y 


200 


BEETHOVEN. 


him  to  Bach's  special  care.  He  was  contaimally 
tormented  with  anxiety  as  to  their  future  main- 
tenance. Notwithstanding  Prince  Galitzin's 
promise,  dated  Nov.  lo/aa,  i8a6,  no  portion  of 
the  money  due  from  him  on  the  3  Quartets  had 
yet  been  received.  The  seven  bank  shares  he 
would  not  allow  to  be  touched,  regarding  them 
as  the  property  of  his  nephew.  He  therefore 
wrote  to  his  friends^  in  London,  urging  the 
Philhannonio  Society  to  carry  out  their  old 
intention  of  giving  a  concert  for  his  benefit. 
The  reply  to  this  was  a  letter  from  Moscheles,' 
dated  March  i,  sending  £100  from  the  Phil- 
harmonic Society  on  account  of  the  proceeds  of 
a  concert  shortly  to  be  given.  His  delight  at 
this  response  was  great,  and  his  answer,  dated 
March  18  (forwarding  also  the  metronome  marks 
of  the  9th  Symphony),  is  full  of  warmth  and 
enthusiasm.  Meantime  a  fourth  tapping  had 
taken  place  on  Feb.  37,  and  a  great  disdiarge 
was  caused  by  his  emotion  at  the  receipt  of  Mos- 
cheles*  letter  on  March  17. 

During  his  illness  he  had  a  few  visitoiB  be- 
sides Schindler  and  the  two  Breunings.  who  woe 
his  daily  attendants,  and  Holta^  who  came  fre- 
quently. Breuning  mentions  Johann  Beethoven 
and  the  nephew  (in  the  early  part  of  the  time 
only),  Tobias  and  Carl  Haslixiger,  Diabelli,  Baron 
Eskeles,  Rauch,  Dolezalek,  Clement.  Strangers 
occasionally  arrived,  amongst  whom  Hummel 
with  his  pupil  Ferdinand  Hiller,  then  a  boy 
of  15,  who  saw'  him  on  March  8,  are  worthy 
of  note.  But  the  friends  of  his  earlier  days — 
Fries,  Erdody,  Ertmann,  Brunswick,  Gleichen- 
stein^  Zmeskall,  Seyfried,  the  Streichers,  Czemy, 
Schuppanzigh,  linke  —  those  who  had  been 
honoured  by  his  dedications,  or  had  reaped  the 
glorv  of  producing  his  compositions — were  either 
dead  or  otherwise  occupied;  at  any  rate  none 
appeared.  The  absence  of  all  trace  of  the  Arch- 
duke Budolph  at  this  time,  or  of  any  reference 
to  him  in  the  correspondence  of  the  last  few 
years,  is  very  remarkable. 

Neither  Beethoven  himself  nor  any  of  his 
friends  seem  to  have  been  aware  that  death  was 
near.  His  letter  to  Moscheles  of  March  18  is 
full  of  projects,  and  a  conversation  reported  by 
Breuning  (p.  97)  shows  that  he  contemplated  a 
tenth  Symphony,  a  Requiem,  Music  to  Faust, 
and  an  instruction  book  for  the  Piano — 'to 
be  something  quite  different  from  that  of  any 
one  else.'  To  Moscheles  he  speaks  of  the  Sym- 
phony as  lying  'in  his  desk  fiiUy  sketched,' — 
much  as  Coleridge  used  to  talk  of  works  as  com- 
plete of  which  the  title  pages  only  had  been 
put  on  paper ;  for  nothing  which  can  be  identified 
with  the  description  has  been  found.  Indeed, 
the  time  of  both  projects  and  fulfilment  was  over 
— ^the  night  was  come  in  which  no  man  can  work. 
The  accumulation  of  water  increased  alarmingly, 
the  wounds  inflamed,  lying  became  painful,  and 
it  was  evident  that  the  end  was  near.    On  the 


1  Feb.  8  to  Btampff :  VbIk  a  to  Moebtta  tad  to  flBtrt  I  Much  C  to 
SniArt :  and  Msreli  14  to  MoaohelQt. 
s  See  the  aoooant  In  HoMbela'  LAt^  LUt— im 


BEETHOVEN. 

12th  he  wrote  to  Schott  desiring  the  dedic&tii 
of  the  Cf  minor  Quartet  to  be  altered  in  fa.'v^oi 
of  Baron  von  Stutterheim,  in  token  of  Ziis  obi 
gation  to  him  as  colonel  of  his  nephe'^r^s    re| 
ment.    On  the  i8th,  after  dictating  his   \etter 
Moscheles,  he  settled  the  dedication  of  his   la 
Quartet  (in  F,  op.  135)  to  Johann  WolfixkAyer,* 
Vienna  merchant  for  whom  he  had  much  mespec 
On  the  following  day  he  spoke  of  writing'    \ 
Stumpff  and  Smart,  but  was  compelled    to    li 
linquish  the  task  to  Schindler.     PUiudite  atmit 
comoedia  Jinita  eat,  said  he  to  his  two   £B.ithft 
friends,  with  a  touch  of  his  old  good  hiuooui*^ 
the  play  was  over,  the  lifelong  symphony  ended 
and  it  was  time  to  draw  the  curtain.     On    th 
23rd,  with  the  help  of  Breuning,  he  added  'witJ 
his  own  hand  a  codicil  to  his  will,  appoiatinj 
his  nephew  Carl  his  sole  heir,  but  without  povcei 
over  the  capital  of  the    property  bequeatherl 
Thus  two  of  his  latest  acts  were  inspired  \>y  Mi 
nephew.    Several  people  appear  to  have  oome  in 
and  out'  during  the  last  few  days  to  look  onc« 
more  at  the  departing  composer.     Amongst  these 
Schubert  is  said  to  have  remained  a  long  time^ 
and  to  have  been  recognised  by  Beethoven,  thoug-b. 
he  failed  to  understand  the  signs  made  by  the 
dying  man.    He  left  the  room  at  length  deeply 
moved.     On  the  24th  Beethoven  received    the 
Sacraments  of  the  Roman  Church,  and  at  abont 
one  in  the  afternoon  of  the  same  day  he  sank 
into  apparent  unconsciousness,  and  a  distretssing 
conflict  with  death  b^an  which  lasted  the  rest 
of  that  day,  the  whole  of  the  next,  and  until  a 
quarter  to  six  on  the  evening  of  the  a6th,  the 
constant  convulsive  struggle  and  the  hard  rattle 
in  the  throat  testifying  at  once  too  painfully  to 
the  strength  of  his  constitution  and  the  fact  that 
he  was  still  alive.  Stephen  Breuning  and  Schind- 
ler had  gone  to  the  W&hiinger   Cemetery   to 
choose  the  spot  for  the  grave ;  &e  little  Breuning 
was  away  at  his  lessons;   Johann  Beethoven's 
wife  and  Anselm  Hiittenbrenner  (the  friend  of 
Schubert)  alone ^  were  in  the  sick  room.     As  the 
evening  dosed  in,  at  a  quarter  to  six,  there  came 
a  sudden  storm  of  hail  and  snow,  covering  the 
ground  and  roofs  of  the  Schwarz-spanierplatz, 
and  followed  by  a  flash  of  lightning,  and  an 
instant  dap   of  thimder.      So   great  was    the 
crash   as  to  rouse  even  the  dying  man.     He 
opened  his  eyes,  clenched  his  fist,  and  shook  it 
in  the  air  above  him.    This  lasted  a  few  seconds 
while  the  hail  rushed  down  outside,  and  then  the 
hand  fell,  and  the  great  composer  was  no  more. 

He  was  56  years  old  on  the  i6th  of  the 
previous  December. 

The  seven  bank  shares  (for  1000  florins  each) 
were  discovered  the  next  day  after  long  search  in 
a  secret  drawer  in  the  writing  desk,  together 
with  the  two  passionate  and  mysterious  letters 
so  often  supposed — though  to  all  appearance 
inaccurately — to  be  addressed  to  the  Countess 
Giulietta  Guiociardi. 

The  post  mortem  examination  was  made  on 
the  evening  of  the  27th  by  Dr.  Wagner  in  the 
presence  of  Wawruch.     During  the  aSth  the 


>&cbiiuUtr,U.ua. 


«  fiM  tlM  Ifufwr  .AdcnrfpoK.  2t  Oct.  1868. 


BEETHOVEN. 

body  Uy  in  oob  of  the  rooana,  ftnd  ft  ■ketch '  of 
the  fftoe  was  made  by  DanhauBor. 

The  fimeral  took  place  on  the  aQth  at  3  p.m., 

Uftl  WW  attended  by  an  immenjifl  maas  of  people, 

indoding  all  the  mniriciaiM  of  the  dty.    From 

tbe  house  to  ihe  Church  of  th^  Minoritea,  in  the 

Alaergaaee  on  the  g^ia,  a  procesEdon  was  fonned, 

m  which  Broaning;  Johann  van  Beethoven,  and 

Mosel,  were  chief  moumeia ;  the  coffin  was  borne 

br  dgbi  membera  of  the  Opera,  with  Eybler, 

Hummel,  Sejfiried,  Krentzer,  Weigl,  Gyrowetz, 

Ginabacher,  and  Wnrfel,  and  thirty-two  torch 

bearers— amongst  them  Gsemy  and  Schubert — 

roosd  it.    A  choir  of  16  men  singers  and  4  trom- 

bcQM  alternately  aang  and  played  two  Equdli 

of  BeethoTein*B»  OEriginally  written  for  trombones 

for  AH  Sools  Day  during  his  stay  in  lanz,  and 

amoged  to  the  words  of  the  'Miserere*  and 

'Amplius^  by  Seyfiied.    The  crowd  was  'enor- 

DoQfl,  KddierB  had  to  be  called  in  to  force  the 

way,  and  it  to<^  an  hour  and  a  half  to  pass  the 

i^M%  distance  from  the  house  to  the  church. 

Fran  the  church  the  body  was  taken  in  a  hearse 

dnwn  by  four  horses,  and  without  music,  to  the 

Wahringer  cemetery,  followed  by  a  long  string 

of  catriages  and  many  people. 

At  the  gate  of  the  cemetery  an  address  by 
GriUpaner  was  recited  by  Anschtitz — who  being 
to.  actor  was  not  permitted  to  speak  on  con- 
teoated  ground — and  two  poems  by  Castelli  and 
Schledita  were  read  and  distributed.  Befoie 
tbe  eaith  was  filled  in  three  laurel  wreaths  were 
plioedon  the  co6in  by  HummeL  The  gra^e  is 
iguut  the  south  wall  of  the  cemetery,  near 
the  middle.  Schubert  is  three  places  off,  and 
Clement  and  Seyfried  lie  nearly  opposite. 

On  April  5,  the  furniture  and  clothes,  with 
the  pianos  by  Graf  and  Broadwood,  were  sold  by 
uctum'  at  the  lodgings.  The  same  day  a  solemn 
IBM  was  performed  in  the  Ho4>£srrkiiche  of  the 
Aogustiiies;  Mozart's  Requiem  was  sung,  La- 
bUdie  not  <mly  taking  the  bass  part  but  paying 
Barbsja  a  sum  of  200  gulden  for  the  cost  of  the 
liogcn.  Two  days  later  Cherubini's  Bequiem 
Ytt  rang  at  the  Karlskirche. 

In  XoTember^  the  sale  of  his  musical  efiects 
took  place  by  auction.  Thayer  has  reprinted  the 
catalogue  in  his  VeneichntMt,  o.  175.  There 
were  50  lots  of  sketch  and  note>Dooks ;  19  auto- 
graphs of  unpublished  and  73  autographs  of 
pabliahfld  jpieoes;  5  MS.  copies  of  published 
pi«eB ;  40  copies  of  unpublished  works ;  10  sets 
of  MS.  parts  {  1 7  MS.  copies  of  music  by  various 
aathon—induding  Cherubini*B  'Faniska*  and 
Mocart*! '  Zaaberflote' ;  36  loto  of  printed  music ; 
6  <yf  works  on  music ;  i  autograph  symphony 
^  Haydn's;  a  pianoforte;  a  meoal;  and  two 
violisi.  The  produce  of  the  sale  was  1 1 93  florins, 
ctniooaly  little'  when  compared  with  the  prices 
vMch  ineh  treasures  would  fetch  now.  This 
"UDt  added  to  the  value  of  the  bank  shares  and 
the  Philhannomc  £100,  made  in  all,  acoOTd- 

ym^^'^^^  AftcnnidilHhoci«|)hcd.lRitMiwnu«owliictoUM 
"^■^^wiiiifankML        I  aifiOO,  a^  Bra«nli«.         >  Bnanli«.  US. 

|H1I&  ThecUaJoiwaodvaluatlooandaatdAiwttKilO. 

f*>^p«<ibi  or  BnnptwDiM  fetclMd  5  floriai  aich:  Orartani 


BEETHOYEK, 


201 


n. 


<wtMS:1li«]lMita07;  aodwoik 


1 


ing  to  Schindler,*  a  total  of  10,23a  florins  (in 
silver),  or  a  little  over  £1000. 

In  course  of  time  the  grave  fell  into  neglect, 
and  in  1863  the  Gesellsehafb  der  Musik-freunde 
undertook  to  eThume  and  re-bury*  the  remains 
of  both  Beethoven  and  Schubert.  This  wss 
done  on  Oct.  13,  and  Beethoven's  monument  now 
consists  of  a  laige  flat  stone  covering  the  grave, 
surrounded  by  an  iron  railing,  and  headed  by  an 
obelisk  in  stone  bearing  a  lyre,  the  usual  emblems 
of  eternity,  and  the  simple  name  BiETHOVEir. 

Beethoven's  music  has  been  divided  by  Hen 
von  Lens^  into  three  styles,  and  the  division  has 
evidently  some  justice  in  it,  or  it  would  not  have 
been  so  widely  accepted  as  it  is  even  by  those 
who  differ  about  its  details.  That  the  division 
is  not  chronological  is  evident  from  the  fact  thai 
M.  Lenz  indudes  the  2nd  Symphony  (op.  36), 
written  in  1802,  in  the  first  period,  while  he 
places  the  Sonatas  op.  26  and  27,  which  were 
c(»npleted  a  year  earlier,  and  tiie  3  Sonatas 
op.  31,  which  were  written  in  company  with  the 
2nd  Symphony,  in  the  second  period.  As  &r 
as  the  Sonatas  are  concerned  he  ends  the  first 
period  with  op.  22. 

But  we  may  go  fiirther  than  that.  The  first 
movement  of  the  Solo  Sonata  in  £b  (op.  7)  and 
the  Finale  of  the  Quartet  in  F,  op.  18,  No.  i, 
contain  examples  of  the  episodes  which  form 
one  of  Beethoven's  main  characteristics,  such  as 
even  the  first  movement  of  the  Eroica  can  hardly 
surpass  for  independence  and  originality.  The 
Scherzo  of  Symphony  No.  i  and  the  Scherzo  and 
Finale  of  Symphony  No.  2  contain  passages 
which  would  be  found  original  and  characteristic 
if  met  with  in  the  compositions  of  many  years 
later.  Some  will  find  it  hard  to  place  the 
Quartet  in  F  minor,  which  Mendelssohn  thought 
the  most  Beethovenith  of  all  Beethoven's  works, 
in  anything  but  the  third  style ;  while  the 
overture  in  C,  op.  124,  written  in  1822,  might 
be  classed  with  the  works  of  an  earlier  period. 
And  yet  on  the  whole  the  division  is  just,  as 
an  expression  of  the  fact  that  Beethoven  was 
always  in  progress ;  and  that,  to  an  extent 
greater  than  any  other  musician,  his  'tyle 
matured  and  altered  as  he  grew  in  life.  He 
began,  as  it  was  natural  and  inevitable  he 
should,  with  the  best  style  of  his  day — the  style 
of  Mozart  and  Haydn ;  with  melodies  and 
passages  that  might  be  almost  mistaken  for 
theirs,  with  compositions  apparently  moulded  in 
intention '  on  them.  And  yet  even  during  this 
Mozartian  epoch  we  meet  with  works  or  single 
movements  which  are  not  Mozart,  which  Mozart 
perhaps  could  not  have  written,  and  which  very, 
fully  reveal  the  future  Beethoven.  Such  are  the 
first  two  movements  of  the  Sonata  in  A  (op.  2), 
the  Sonatas  in  £b  (op  7)  and  D  (op.  10,  No.  3) 
and  Bb  (op.  22),  the  Scherzos  of  the  ist  and  2nd 

•Sfa0r^iUa.U.l«7. 

*  Sm  Um  Aetmm'iwtiga  Dmntdhmg  im  AmttnAtmi  wmi  Witdar- 
h«i»ftitmg  dtr  irdiaAmt  hMU  von  Jwrtowwi  wad  Sehubtri,  VianiM,  IMS. 

T  Beethoven  et  tm  troia  Btylea.    Fatonboaif ,  I)ifi2. 

•  fioDAla,  op.  10^  Mo.  1 :  melody  in  worUoc  out  of  lit  aottiiMBt  of 
Septet ;  Adagio  of  op.  81,  Kal :  Qnlatot,  op.  IS. 


202 


BEETHOVEN. 


SympbonioB  already  mentioned,  and  the  Coda  of 
the  Finale  to  the  2nd  Symphony.  From  this 
youthful  period  he  pasBos  by  the  3  Sonatas 
op.  31 — which  we  have  Been  him  speaking  of 
as  a  change  in  his  style  —  by  the  Kreutzer 
Sonata  (March,  1803),  by  the  Pianoforte  Con- 
certo in  C  minor,  ^  and  by  the  Eroica  (1804), 
to  his  mature  period,  a  time  of  extraordinary 
greatness,  full  of  individuality,  character,  and 
humour,  but  still  more  full  of  power  and  mastery 
and  pregnant  strong  sense. 

This  splendid  and  truly  astonishing  period 
contains  the  opera  of  Leonora  -  Fidelio^  with 
its  4  overtures ;  the  Alass  in  C ;  six  Symphonies, 
from  the  Eroica  to  the  No.  8  inclusive;  the 
overture  to  Coriolan ;  the  Egmont  music ;  the 
Pianoforte  Concertos  in  G  and  £  flat ;  the  Violin 
Concerto ;  the  Bassoumoffsky  Quartets,  and 
tiiose  in  Eb  and  F  minor ;  the  3  later  P.  F.  Trios ; 
the  Liederkreis;  and  last  not  least,  a  dozen 
Sonatas  for  Piano  solo,  of  which  the  chiefs  are 
the  £>  minor  and  the  '  Appassionata,'  though  the 
others  are  closely  akin  and  hardly  inferior. 

From  this  period  of  extraordinary  force  and 
mastery — though  abounding  also  in  beauty  and 
sentiment — he  passes  by  a  second  transition  to 
his  third  and  final  style.  This  transition  is 
perhaps  more  obvious  than  the  former.  The 
difference  between  the  9th  Symphony  and  its 
predecessors — not  only  in  dimensions  and  in  the 
use  of  the  chorus,  but  in  elevation  and  sentiment, 
and  in  the  total  impression  produced  —  is  un- 
mistakable. The  five  Pianoforte  Sonatas,  op. 
loi  to  III,  are  perfectly  distinct  firom  any  of 
the  earlier  ones,  not  only  in  individuality — for 
all  Beethoven's  works  are  distinct — but  in  a 
certain  wistful  yearning,  a  sort  of  sense  of  the 
invisible  and  vision  of  the  infinite,  mingled 
with  their  power.  The  last  Quartets,  op.  127 
to  op.  1 35,  have  the  same  characteristics  as  the 
Sonatas ;  but  they  are  also  longer,  full  of  changes 
of  time,  less  observant  than  before  of  the  tra- 
ditional forms  of  expression,  less  careful  to  make 
obvious  the  links  of  connection,  and  still  more  full 
of  intense  personality  and  of  a  wild  unimprisoned 
spirit.  All  the  sentiment  and  earnestness  of 
Schumann,  all  the  grace  and  individuality  of 
Schubert,  are  there ;  with  an  intensity,  breadth, 
and  completeness,  which  those  masters  might 
perhaps  have  attained  if  they  had  bestowed  the 
time  and  pains  on  their  work  which  Beethoven 
did.  In  ihiB  period  he  passes  from  being  the 
greatest  musician  to  be  a  great  teacher,  and  in 
a  manner  which  no  one  ever  did  before  and 
possibly  no  one  will  ever  do  again,  conveys 
lessons  which  by  their  intense  suggestiveness 
have  almost  the  force  of  moral  teaching.  The 
cause  of  this  is  not  far  to  seek.  As  we  have 
seen  in  the  preceding  portion  of  this  sketch  the 
year  1814  was  the  culminating  period  of  Bee- 
thoven's prosperity.  He  had  produced  his  latest 
and  then  greatest  works  under  such  favourable 
circumstances  as  no  musician  had  before  enjoyed. 
He  had  been  fgted  and  caressed  by  emperors  and 

1  In  the  Finale  of  this  ivork  yn  tlmoct  mr^iw  tb«  ohangt  of  ftyl*  in 
the  act  of  being  nuuto. 


BEETHOVEN. 

empresses,  and  others  of  the  greatest  of  thi^ 
world's  great;  he  had  for  the  first  time  in  hi^ 
life  been  able  to  put  by  money,  and  feel  at  al 
independent  of  daily  labour.  Immediately  01 
this  came  an  equally  great  and  sudden  reverse-^ 
and  that  not  a  material  reverse  so  much  as  i 
blow  to  his  spirit,  and  a  series  of  misfortunei 
to  mind  and  heart  such  as  left  all  his  forme] 
sufferings  far  behind.  BUs  brother's  death  ;  th< 
charge  of  the  nephew;  the  collision  -wiih.  th< 
widow  and  with  his  other  relatives  and  friendis 
the  law-suits ;  the  attempts  to  form  a  home  of  hii 
own,  and  the  domestic  worries  and  wretchedness 
consequent  thereon ;  the  last  stages  of  his  deaf 
ness ;  the  appearance  of  chronic  bad  health ;  th< 
actual  want  of  money — all  these  things,  whicl 
lasted  for  many  years,  formed  a  Valley  of  th4 
Shadow  of  Death,  such  as  few  men  have  beeo 
called  to  traverse,  and  which  must  inevitably 
have  exercised  a  great  influence  on  a  n^^iire  sc 
sensitive  and  in  some  respects  so  morbid.  Thai 
this  fiery  trial  did  not  injure  his  power  of  pro 
duction  is  evident  from  the  list  of  the  great 
works  which  form  the  third  period — firom  op.  101 
inclusive.  That  it  altered  the  tone  and  colour' 
of  his  utterance  is  equally  evident  irom  the  works 
themselves.  'He  passes,'  as  Mr.  Dannreuther 
has  finely  'said,  '  beyond  the  horizon  of  a  mere 
singer  and  poet,  and  touches  upon  the  domain 
of  the  seer  and  the  prophet;  where,  in  unison  with 
all  genuine  mystics  and  ethical  teachers,  he 
delivers  amessageof  religious  love  and  resignation, 
identification  with  the^  sufferings  of  aU  living 
creatures,  deprecation  of  self,  negation  of  per- 
sonality, release  from  the  world.' 

Beyond  the  individual  and  peculiar  character 
which  distinguishes  his  works  and  makes  them 
Beethoveniidi,   as   Haydn's  are   Haydnish   and 
Mozart's  Mozartish,  though  in  a  greater  degree 
because  of  the  stronger  character  of  the  man — 
there  are  definite  peculiarities  in  Beethoven's 
way  of  working  which  should  be  specified   as 
far  as  possible.     That  he  was  no  wUd  radical, 
altering  for  the  mere  pleasure  of  alteration,  or  in 
the  mere  search  for  originality,  is  evident  from 
the  length  of  time  during  which  he  abstained 
from  publishing   or  even  composing  works  of 
pretension,    and  from   the   likeness  which   his 
early  works  possess  to  those  of  his  predecessors. 
Jle  began  naturally  with  the  forms  which  were 
in  use  in  his  days,  and  his  alteration  of  them 
grew  very  gradually  with  the  necessities  of  his 
expression.     The  form  of  the   sonata  is    'the 
transparent  veil  through  which  Beethoven  seems 
to  have  looked  at  all  ^  music*    And  the  good 
points  of  that  form  he  retained  to  the  last— -the 
'  triune*  symmetry  of  exposition,  illustration,  and 
repetition,'  which  that  admirable  method  allowed 
and  enforced-^but  he  permitted  himself  a  much 
greater  liberty  than  his  predecessors  had  dune 
in  the  relationship  of  the  keys  of  the  different 
movements  and  parts  of  movements,  and  in  the 
proportion  of    the  clauses   aud    sections  with 
which  he  built  them  up.     In  other  words,  he 


*  Mnemaan'a  MagatiHe,  Jnl7>  1876. 


■  Ibid. 


«n>uL 


BEETHOYEK. 

ill  les  hoand  by  the  fennt  and  mniieal  roles, 
ei  rooK  iwayed  by  the  thought  which  he  had 
t8  opreu,  and  the  directiaiis  which  that  thought 
todi  in  Mb  mind. 

I.  Tb«  range  of  kejr*  within  which  the  corn- 
pen  of  gofiataa  and  aymphonies  before  Bee- 
wjrm  confined  thanselTes  was  Teiy  narrow. 
tUdi^  ike  first  xnovonent  as  an  example  of  the 
|nc^  the  first  thane  was  of  oonne  given  out 
B  tbe  tonic,  and  this,   if  major,  was  almost 
DTsrisbly  answered  in  due  course  by  a  second 
llfaoe  in  the   'dominant'  or  fifbh  above;   for 
B^aQce,  if  the  sonata  was  in  C  the  second 
Kibjeci  would  be  in  G,  if  in  D  it  would  be  in 
A.  If  the  moYonent  were  in  minor,  the  answer 
wii  in  Uie  relative  major — G  minor  would  be 
coiraed  by  Eb,  A  minor  by  C||,  and  so  on. 
Tbii  is  the  case  19  times  out  of  30  in  the 
saatM  ^d  symphonies  of  Haydn  and  Mozart. 
A  simiflr  restriction  govomed  the  key  of  the 
mnd  movement.     It  was  usually  in  the  '  sub- 
dimiuuit*  or  fifth  below^in  F  if  the  key  of 
titt  piece  were  C,  in  Bb  if  the  key  were  F,  and 
u  i3L    If  the  piece  were  in  a  minor  key  the 
leocod  movement  was  in  the  third  below.     A 
little  more  latitude  was  allowed  here  than  in  the 
isnaa  cue ;  the  subdonunant  now  and  then  be- 
asDt  the  dominant,  or,  very  rarely,  the  'mediant  * 
V 'third  above ;  and  the  relative  major  was  coca- 
vaaSLj  exchanged  for  the  tonic  major. 

Beethoven,  as  already  remarked,  adopted  very 
£fibent  relations  in  respect  of  the  change  of 
key  from  one  movement  to  another.  Out  of  81 
works  in  sonata  form  he  makes  the  transition  to 
tiie  dominant  only  5  times ;  to  the  subdominant 
19  timet ;  to  the  mediant  or  3rd  above  4  times ; 
lad  to  ihe  submediant  or  3rd  below  30  times. 
Fnsi  tonic  major  to  tonic  .minor  he  changes  i  a, 
lod  {rom  minor  to  major  8  times.  His  favourite 
ciiiDge  was  evidently  to  the  submediant  or  third 
below— that  is  to  say,  to  a  key  less  doeely  related 
to  the  tome  and  more  remote  than  the  usual  key. 
Hemakes  it  in  hisfirstwork  (Op.  I,  No.  2).  In 
^  Bb  trio  (op.  97)  be  has  it  twice,  and  in  his 
luUtioDs  oa  an  original  theme  (op.  34),  each 
of  the  first  5  variations  is  a  third  below  the 


BEETHOVEN. 


2011 


lathe  relation  of  his  first  and  second  subjects 
u  is  more  orthodox.  Out  of  26  of  the  Piano- 
^  Sonatas  tbe  usual  change  to  the  dominant 
neon  17  times,  to  the  mediant  3,  and  to  the 
labmediant  3. 

2.  Another  of  his  innovations  had  respect  to 
^e  connection  of  the  different  subjects  or  clauses. 
Hii  predecessors  were  in  the  habit  rather  of 
Kpanting  their  dauses  than  of  connecting  them ; 
^  t)us  they  did  by  conventional  passages  of 
ffltiidy  different  character  Irom  the  melodious 
tboDfii  themselves,  stuffed  in  between  the  themes 
fise  10  much  hay  or  paper  for  mere  packing. 
Any  ijmphony  of  Mo2sart  or  Haydn  will  give 
ttuaplei  of  this,  which  Wagner  *  compares  to 
ae  'rattling  of  the  dishes  at  a  royal  feast.' 
*«>art  alio  has  a  way  of  drawing  up  and  pre- 


» ■■^qrai/nhn.  tiaafrittod  hr  DuumqUiw. 


ins:ik4i 


senting  arms  before  the  appearance  of  the  second 
subject,  which  tends  to  cut  the  movement  up 
into  very  definite  portions.  Of  these  tiresome 
and  provoking  intermediate  periods  Beethoven 
got  nd  by  the  use  of  phrases  which  are  either 
parts  of  tiie  main  theme  or  closely  related  to  it ; 
and  he  thus  gives  his  movements  a  unity  and 
consistency  as  if  it  were  an  organic  growth,  and 
not  a  piece  of  work  cunningly  put  together  by 
art  or  man*s  device.  How  he  effects  this,  and 
the  very  tentative  and  gradual  way  in  which  he 
does  it,  may  be  seen  in  Symphonies  i  and  a  and 
the  Eroica,  in  which  last  all  trace  of  the  old 
plan  has  almost  entirely  disappeared. 

3.  The  first  movement  of  the  Eroica  supplies 
instances  of  other  innovations  on  the  estabUshed 
forms.  Not  only  in  the  '  exposition'  (before  the 
double  bar)  are  other  themes  brought  in  besides 
the  two  main  subjects,  but  in  the  '  illustration,* 
or,  to  use  the  more  common  term,  the  '  working 
out,'  there  is  an  unantidpated  explosion  which, 
to  say  the  least,  is  entirely  without  precedent^ 
followed  by  an  entirely  firesh  episode  as  important 
as  anything  that  has  occurred  before,  and  that 
again  by  a  new  feature  (the  staccato  bass)  which« 
while  it  accompanies  and  reinforces  the  main 
subject,  adds  materially  to  the  Interest  of  the 
music.  Again,  in  the  'repetition'  we  have  not 
only  a  great  departure  from  regular  rule  in  the 
keys  which  the  music  goes  through,  but  we  have 
a  coda  of  no  less  than  140  bars  long,  proclaiming 
itself  by  its  opening  as  an  independent  member 
of  the  movement,  and  though  made  almost  entirely 
out  of  previous  material,  yet  quite  differently 
expressed  from  anything  before,  and  full  of  fireu 
meaning.  Now  none  ot  these  alterations  and 
additions  to  the  usual  forms  were  made  by  Bee- 
thoven for  their  own  sake.  They  were  made 
because  he  had  something  to  say  on  his  subject 
which  the  rules  did  not  give  him  time  and  space 
to  say,  and  which  he  could  not  leave  unsaid. 
His  work  is  a  poem  in  which  the  thoughts  and 
emotions  are  the  first  things,  and  the  forms  of 
expression  second  and  subordinate.  Still,  even 
in  his  innovations,  how  careful  he  is  to  keep  as 
near  the  rules  as  possible !  His  chief  episodes 
occur  in  the  working  out,  where  a  oertain  licence 
was  always  lawful ;  and  codas  were  recofipiised, 
and  had  even,  as  in  Mozart's  'Jupiter,  been 
turned  to  noble  account.  The  same  characteristics 
are  found  in  the  ninth  Symphony  as  in  the  third, 
only  the  mood  of  mind  being  entirely  different^ 
the  mode  of  expression  is  different  too^  but  the 
prindple  of  the  perfect  subordination  of  the 
expression  to  the  thought,  while  adhering  as 
closely  to  the  'form'  as  was  consistent  with 
perfect  expression,  is  the  same.  One  or  two 
pieces  of  his  second  period  may  however  be 
named,  in  which  both  thought  and  mode  of 
expression  are  so  entirdy  different  from  anything 
before  them,  that  they  stand  quite  by  themselves. 
Such  movements  as  the  opening  Adagio  of  the 
Sonata  in  C$  minor,  or  the  Con  moto  of  the 
Pianoforte  Concerto  in  Gr — in  which  Schumann 
used  to  see  a  picture  of  Orpheus  taming  brute- 
nature —  have   no   prototypes;    they  are   pure 


ir  quarteU  it  must  be  iidiaitted  (hftt 
j«d  further  awa;  from  the  old  paths ; 
ht  there  aeena  eTflr;thiiig  and  the  fona 
thing.  And  thia  fact,  as  much  aa  the 
and  individualit;  of  the  thoughts  them- 
1  their  apparent  want  of  connexion  until 
I  beoome  funiliar,  is  perhapa  the  cause 
t  noble  works  are  ao  difficult  to  under- 
lie fomu,  depend  upon  it,  were  founded 
aod  nature.  They  grew  through  long 
t  he  what  Haydn  fixed  them  at ;  and 
m  the  thoughts  of  composers  did  not 
ir  limit!  thej  were  perfect,  Beethoven 
I  be  first  enlarged  and  modified  them, 
however  to  their  fundamental  principle 
•nca  and  recapitulation,  till  in  the  end, 
n  more  and  more  into  himself  by  his 

he  wrote  down  what  he  felt,  often 
thinking  of  the  siigencea  of  those  who 
hear  him.  Thia  howBTsr  only  applies 
iter  Quartets.  The  ninth  Symphony 
last  Pianoforte  Sonatas  are  as  strictly 

and  la  ooherent  and  intelligible,  as 

jiking  instance  of  this  loyalty  is  found 
>Ten'a  treatment  of  the  '  Introduction,^ 
movement  in  slow  time,  preceding  the 
iro— forms  part  of  the  original  deaign  of 
ure  by  Lully,  and  is  found  in  nice  out 
Handel's  ov^ures.     Haydn  often  has 


llyM  much  ai 


>■  prefixed 


ihm;  in  E  flat,  the  Quintet  for  Piano 
1  instruments,  and  the  famous  Quartet 
licated  to  Haydn.  Beethoven,  besides 
ine  berore  his  Quintet  for  Piano  and 
1.  i6),  which,  as  already  remarked,  is 
llenge  to  Mozart,  has  one  to  the  Sonata 
je  and  to  the  first  Symphony,  In  the 
lese  cases  it  is  13  bars  long.  In  the 
phony  it  expands  to  33  bars  long,  and 
largelyin  development.     But  even  thia 

preface  when  compared  with  the  noble 
eesive  movements  which  usher  in  the 
if  the  4th  and  7th  Symphonies — long 
pendent  movements,  the  latter  no  leas 
bars  in  length,  full  of  important  and 
9nt  ideas,  and  of  the  grandest  efiect, 
he  inatanoea  mentioned — the  tjucresaion 
the  Episodes,  the  Coda,  the  Intniduc- 
ethoven's  modifications  seem  to  have 
am  the  fact  of  hia  regarding  hia  music 
piece  of  technical  performance  than  hia 
on  had  perhapa  done,  and  mora  as  the 
1  of  the  ideaa  with  which  his  mind  was 
The  ideaa  were  too  wide  and  too 
I  be  contained  in  the  usual  limits,  and 

the  limita  had  to  be  enlarged.  He 
ist  what  he  has  to  aa; — his  thought — 
he  ahall  convey  and  enforce  and  reiter- 
Jiought,  BO  aa  to  expreaa  it  to  his  hearer 
B  he  thinks  it,  without  being  careful  to 
d  formula  in  which  to  couch  it.    Even 


oonsecDtiTe  I 

the;  gave  th 

he  used  thea 
employ  at  a 

efi*eat,  an  ei] 
No  doubt  ( 
liberties;  bn 
noons  before 
and  original 
fact  was  coni 
bad  taken  ii 
which  the  gi 
end  of  the  e 


h^tua 


thei 
haiutually  ke 

thoHght*  ani 
vent  which  1 
perpetual  oui 
they  must  li 
like  Mirabea 
the  day ;  he 
TBlarier  aa  he 
the  best  arist 
said,  both  in 
roiult  ia  beG 
we  hate  tin 


reverse;  pain 
Ged  tiU  he  hs 
able  languogi 
5.  The  Set 
category  froi: 
tioned.  It  u 
a  distinct  ne 
in  Haydn  an< 
that  in  wMcl 
neither  of  th 
To  both  of  t 
phony  was  a 
be  mads  thsj 


Albrechtsbei: 
hibited  in  si 
tiifling  ia  al 
one  would  Ir 
This  Beethoi 
first  Sympho 
Though  Ubel 


BSETHOVElf. 

EQiiet  It  is  in  fiu^  a  sdbfino,  and  m  its  little 
^aiadons  is  the  pattern  and  model  of  those 
jl^tk  moTemanta  which  in  the  Eroica,  the 
C  minor,  the  No.  7,  and  especially  the  No.  9  of 
2e  Sjmphonies;  in  the  B  flat  trio ;  in  the  So- 
■te,  op.  106 ;  Slid  the  first  of  the  Bsssonmofisky 
^Btftetiy  are  so  truly  astonishing^  and  so  charao> 
wsde  of  their  great  author. 

6.  An  ionovadon  of  great  importanoe  in  the 
{bale,  kit  which  no  precedent  can  be  found,  waa 
lb  introduction  of  the  Chorus.  In  the  ^oica 
Aphony  Beethoven  showed  how  a  set  of  or- 
jiatral  Ysriatians  could  be  employed  in  a  finale. 
Ii  the  Choral  Pantasia  aeain  he  showed  with 
ibt  effect  a  chorus  could  be  employed  in  the 
Be  part  of  the  work.  But  in  the  9th  Sym- 
^j  he  combined  the  two,  by  using  the  chorus 
B I  toocesrion  of  Tariations.  Mendelssohn  has 
IScwed  his  example  in  the  'Lobgesang/  the 
local  portion  of  wluch  is  the  last  moyement  of  a 
nrnjjtoay ;  but  he  has  not  adopted  the  Variation- 

7.  One  of  the  most  striking  chanMsteristics  of 

B^tkyen^s  music  is  the  in£vidual  variety  of 

«ch  pieoe  and  each  movement.    In  the  Sym- 

pbmei  every  one  of  the  9  first  movements  is 

icardy  distinct  from  the  other  8,  and  the  same 

ef  the  andantes,  scherzos,  and  finales.    Each  is 

b»i  on  a  distinct  idea^  and  each  leaves  a 

i^aate  image  and  impression  on  the  mind. 

M  the  same  may  be  said  of  the  majority  of 

;he6DaUer  works,  of  the  concertos  and  quartets 

td  pianofarte  trios— certainly  of  the  sonatas,  all 

bst  p^iaps  a  very  few.    The  themes  and  pas- 

■gei  have  no  family  likeness,  and  have  not  the 

air  of  baring  been  taken  out  of  a  stock  ready 

Side,  bat  are  bom  for  the  occasion.    He  thus 

^rarely  repeats  himself.    The  theme  of  the 

il3v  movement  of  the  Sonata  in  F  minor  and 

die  Moond  theme  in  the  first  movement  of  the 

SaiaU  in  C  (op.  3,  Nos.  i  and  3)  are  adapted 

&GBI  big  early  pianoforte  quartets.    The  minuet 

a  the  Septet  is  developed  from  that  in  the  little 

Se&ata  in  G   (op.  49,  Ko.  2).      The  Turkish 

Mudi  in  the  'Kuins  of  Athens^  had  already 

ffpeutd  as  a  theme  for  Variations  in  D  (op. 

)^).  The  theme  of  the  Variations  in  the  Choral 

Fi&taaa  is  a  song  of  his  own,  '  Seu&er  eines 

Ui^di^ten'  (No.  353),  composed  many  years 

^f^  The  melodies  of  two  Contretftnze  (No. 

17&]  lie  employed  in  the  Prometheus  music,  and 

HK  of  them  is  also  used  in  a  set  of  Variations 

(op-  25)  and  in  the  Finale  to  the  Broica.    In 

^  ^nale  to  Uie  Choral  Fantasia  there  are  some 

ijight  anticipations  of  the  Finale  to  the  (choral 

Sjinphony;  the  Prometheus  music  contains  sn 

H^patioii  of  the  stoim  in  the  Pastoral  Sym- 

N><nj,  and  the  subject  of  the  Allegretto  to  the 

^  Symphony  is  found  in  a  humorous  Canon 

^^  25^2) — such  are  all  the  repetitions  that 

^n  been  detected.    How  far  he  employed  Vctka- 

^  and  other  tunes  not  invented  by  himself  is 

^  jei  known.    Certain  melodies  in  the  Eroica, 

Putoral,  and  No.  7  Symphonies,  are  said  to  have 

^  Ukoa  adopted,  but  at  present  it  is  mere 


BEETHOVEN. 


205 


This  is  perhaps  the  most  convenient  place  for 
noticing  a  prominent  fact  about  his  own  melodies^ 
viz.  that  they  often  consist  wholly  or  mainly  of 
consecutive  notes.  This  is  the  case  with  some 
of  the  very  finest  themes  he  has  written,  witness 
the  Scherzo  and  Finale  to  the  Oioral  Symphony; 
and  that  to  the  Choral  Fantasia ;  the  slow  move- 
ments of  the  Bb  Trio  and  the  Symphony  in  the 
same  key;  the  Adagio  to  the  Quartet  op.  127, 
and  many  others. 

8.  In  the  former  part  of  this  sketch  we  have 
mentioned  the  extraordinary  manner  in  which 
Beethoven  wrote  and  rewrote  until  he  had  ar- 
rived at  the  exact  and  most  apt  expression  of 
his  thought.  The  same  extraordinary  care  not 
to  be  mistaken  is  found  in  the  nuances,  or 
marks  of  expression,  with  which  his  works  are 
crowded,  and  which  he  was  the  first  to  introduce 
in  such  abundance.  For  instance,  to  compare 
the  'Jupiter*  Symphony — Mozart*s  last — with 
Beethoven*B  first,  we  shall  find  that  the  violin 
part  of  the  first  half  of  the  opening  A  lUgro  has 
in  the  former  (I30  bars  long)  14  marks  of  ex- 
pression, in  the  latter  (95  bars)  42  marks.  The 
Andante  to  Mozart*s  Symphony  in  G  minor  has 
38  marks  to  131  bars,  while  that  to  Beethoven's 
No.  2  haa  155  marks  to  276  bars.  In  the  later 
works  this  attention  to  nvMnce  increases.  The 
Allegro  agitato  of  the  Quartet  in  F  minor,  125 
bars  long,  contains  95  marks ;  the  Cavatina  in  the 
Quartet  in  Bb,  66  bsn  long,  contains  58  marks. 
It  is  part  of  the  system  of  unwearied  care  and 
attention  by  which  this  great  man,  whose 
genius  was  only  equalled  by  his  assiduity, 
brought  his  works  to  their  actual  perfection,  and 
to  the  certainty  that  they  would  produce  what 
he  himself  calls  U  woo  proprio  propoato  effetto^ — 
their  own  special  and  intended  e&ct.  How 
original  and  splendid  the  effect  of  such  nuancei 
can  be  may  be  seen  in  the  Vivace  of  the  No.  7 
Symphony,  where  the  sudden  change  from  ff 
to  pp,  accompanying  an  equally  sudden  plunge 
in  the  melody  and  abrupt  change  in  the  harmony, 
produces  a  wild  romantic  effect  which  once  to 
hear  is  never  to  forget. 

In  addition,  Beethoven  here  and  there  gives 
indications  such  aa  the  'Bitte  um  innem  und 
aussem  Frieden'  at  the  'Dona*  in  the  Mass  in 
D,  the  '  beklemmt '  in  the  Cavatina  of  the  Bb 
Quartet,  the  'Arioso  dolente*  of  Sonata  op.  no, 
which  throw  a  very  personal  colour  over  the 
pieoe.  The  word  'Cantabile'  has  a  special 
meaning  when  he  employs  it. 

9.  Beethoven  used  Variations  to  a  very  great 
extent.  For  the  Pianoforte,  Solo  and  in  con- 
junction with  other  solo  instruments,  he  has  left 
29  sets,  some  on  original  themes,  some  on  airs 
by  other  composers.  But  besides  these  several 
movements  in  his  Sonatas,  Quartets,  and  Trios 
are  variations,  so  entitled  by  him.  Every  one 
will  remember  those  in  the  Septet,  in  the  '  Harp' 
Quartet,  in  the  Kreutzer  Sonata^  in  the  Solo 
Sonata  in  A  flat^  and  in  the  two  late  Sonatas 
in  £  and  C  minor  (op.  109  and  iii).     Many 

iPNaMtotteXrolMk 


SOB  BEETHOVEN. 

other  movement*  in  the  iftme  bnmchei  of  com- 

Kition  tn  vftTutioni,  althnugh  not  lo  oamed. 
i  bIov  moTements  in  theSoo&M  'appaaaionat*' 
and  the  op.  loS  are  splendid  imtaocei.  In  ths 
Symphoniee  the  ilow  movementa  of  the  C  minor, 
the  faatoral  and  the  Ninth,  are  mognilicaDt 
eiamplsii,  the  laat  the  moat  Bplendid  of  all  — vhilc 
the  coloaaeJ  Finalei  of  the  Eraica  and  the  Ninth 
Symphony  are  alio  TanaUona,  though  of  a  very 
different  order  &oia  the  reet  and  from  each 
tAhm.  Of  the  loveet  and  rooat  ahTioua  type  of 
TariatioQ,  in  which  the  tuna  remain)  in  ilolu 
qua  tH  through  the  piece,  with  mere  changea 
of  accompaaimeot  above,  below,  and  around  it — 
the  Herz-Thalbeig  type — the  near«at  approach 
to  be  found  in  Beethoren'i  work*,  ii  tha  5th 
Tariation  in  op.  i5.  Hia  &vouilte  plan  is  to 
preierve  the  harmomc  biaii  of  the  theme  and 
to  modify  and  embelliah  the  melody.  Of  thii 
type  he  makes  lue  with  aatoniihing  eaae  and 
tioly  inexhaustible  originality.  It  is  to  be  found 
In  eome  ihape  or  other  in  nearly  every  work  of 
hifl  aeoood  and  third  period*.  It  ia  not  hia  own 
luientjon,  for  fine  instancea  of  it  eiiat  in  Mozart 
and  Haydn,  but  no  one  practJaed  it  with  auch 
beauty  and  nobility  ai  he  did,  unleea  it  be 
Schubert,  who  at  any  rate  approachei  very  near 
him  in  its  use.  '  Perhapa  the  fineat  instanoe  of 
it  ia  in  the  Adagio  of  the  Ninth  Symphony,  in 
which  the  melody  i<  varied  Snt  in  common  time 
and  then  in  11-8,  with  a  grace,  lieauty.  and 
■trength  which  are  quite  unparalleled.  There 
ia,  however,  a  'third  kind  of  variation  which  ia 
all  Beethoven's  own,  in  which  evetTthing  under- 
gooa  a  change — rhylhm,  melody,  and  harmony — 
anil  yet  the  individual  theme  remaioa  dearly 
preeent.  '  Perhaps  one  melodloui  step  only  of 
the  subject  ia  taken  (op.  109;  var.  i  and  5) ; 
perhaps  the  fundamental  progresBioni  of  the 
barmony  alone  are  retained ;  perhap*  acme 
thorough  rhythmical  alteration  ia  made,  with 
an  entire  change  of  key,  as  in  the  Poco  .4niian'e, 
Fmale  of  Eroica;  in  the  Bb  variation  alia 
mareia,  of  the  Ninth  Symphony;  and  in  many 
cf  the  33  Variation!.  This  ia  no  mere  ahange 
(tf  dren  and  decoration,  but  an  actual  creation 
of  something  new  out  at  the  old  germ — we  lee 
the  chrysalis  ohange  into  the  butterfly,  and  we 
know  it  to  be  the  same  creature  despite  the 
change.'  '  In  no  other  ^rm  than  that  of  the 
Variation,'  cwitinuea  Mr.  Dannreuther,  ^doea 
Beethoven'a  creative  power  appear  more  wonder 
ful,  and  i(a  effect  cm  the  art  more  difficult  ti 

10.  or  Fuguea  Beethoven  wrote  but  few,  anr 
those  near  the  end  of  his  career,  but  he  alwayi 
knew  how  to  introduce  a  fugato  or  bit  of  con 
trapuntalvrork  with  the  happiest  effect.  Witnesa 
a  passage  in  the  working  out  of  the  Srat  move- 
ment of  the  Erotca  Symphony,  and  another  in 
the  Finale  of  tjie  same  work  ;  or  in  the  middle 
portion  of  the  Allegretto  of  N6.  7  ;  or  the  lovely 
counterpoint  for  the  Bassoon  in  the  opening  of 
the  fiiule  of  No.  9.    Of  complete  foguea  the 


Beeth 
'Tabl. 
Berge 


guarii 


BEETHOVEN, 


BEETHOVEN. 


207 


ihe  oonoori  of  Dec  aa,  1808,  at  which  the  Pm- 
Uaal  Symphcay  wai  produced,' he  prefixed  the 
fcHovin^  wards  to  the  deicription  of  the  Sym- 
rhony : — *  Phstcnd  Symohonie  :  mehr  Aiudrack 
d^  Empfindmig  ab  Malerei' — 'more  expression 
of  emotioiis  thAa  portrsiture,'  ft  cftium  which 
sbould  sorely  be  taken  as  the  goide  in  interpreting 
mil  BiTnilar  works  of  his. 

We  haye  now  endeaTOured  to  give  the  main 
extanal  characteristics  of  Beethoven*8  music ; 
but  the  music  itself,  though  it  resides  in  them,  is 
beyond  and  above  them  alL     '  While  listening/ 
Bsys  Mr.  Dannreutiter,  'to  such  works  as  the 
OTerture  to  Leoiuva,  the  Sinfonia  Eroica,  or  the 
Ninth  Symphony,  we  feel  that  we  are  in  the 
preaenoe  of  something  fitf  wider  and  higher  than 
the  mere  deveUyment  of  musical  themes.    The 
exeeutioQ  in  detail  of  each  movement  and  each 
siiooeeding  work  is  modified  more  and  more  with 
the  prevailii^  poetic  sentiment.   A  religious  pas- 
eon  and  elevation  are  present  in  the  utterances. 
Tbe  Tnmtal  and  moral  norixon  of  the  music  grows 
upon  us  with  each  renewed  hearing.  Thedifi'erent 
movcmenta — ^like  the  different  partides  of  each 
inovement — have  as  dose  a  <xnmection  with 
cste  another  as  the  acts  of  a  tragedy,  and  a 
charscteriatie  mgnytjr^w^  to  be  understood  only 
in  rehvtioik  to  tiie  whole;  each  work  is  ill  the 
fall  sense  of  the  word  a  revelation.    Beethoven 
speaks  a  language  no  one  has  spoken  before,  and 
treats  of  things  no  one  has  dreunt  of  before :  yet 
it  9eema  as  though  he  were  speaking  of  matters 
kaig  familiar,  in  one*s  mother  tongue ;  as  though 
ht  touched  upon  emotions  one  had  lived  through 
in  some  former  existence.  .  .  .  The  warmth  and 
dq>th  of  his  ethical  sentiment  is  now  felt  all  the 
vorki  over,  and  it  will  ere  long  be  universally 
reoQgnised  that  he  has  leavened  and  widened  the 
tpbm  of  men*s  emotions  in  a  manner  akin  to 
that  in  which  the  conceptions  of  great  philo- 
sophers and  poets  have  widened  the  sphere  of 
men's  intellectual  activity.*  ^ 


Beethoven's  pnbtiahed  works  may  be  smnmed 
np  as-fioliows : — 


I.  mvnxntwsTAL, 


jCD.lbdiol- 
B»,  C  Blaar.  P  (PutonO,  A. 
r.cad  n fBtoor  iChonl}. 

Tbe  Baaia  of  VttioriB:  vnaUm 
■Bd  Bade  to  PnMBBtbn 
tare  ao4  Bwlc  to  ScBMO 

lOvetBMk — CoriolftD: 

S<k  U  DoL  S0.I;  Do.  HcS:  rudiK 
Kiag  ftaphw;  BniiM  of  AtlMBl: 
«^.  115  orimimiihlir);  op.  IM 
(yfjheSMHawMrt. 

jUkmtto  Id  Kb:  MarOi  fron 
7kTpe«-ta  C ;  MIHtiuT  Mardt— Id 
D;  BMboato:  IS'dratMlM  Tln- 
m'l  13  Coocntiiiit:  BitUr  BbIM. 

1  CoeanofDr  VloUn  and  OKiM»- 
tta  ia  D:  1  bacnns  of  40.  Ilk  C; 
niSSaaaaenfardo. 

!»  Caaetrtm  for  PiaM  and  Or- 
CBb,  CBkifar;  «k 


and  lb :  1  do.  amncad  from  VI0- 
IJnConearto ;  Bondo  for  do.  In  Bb; 
1  Tripto  CoDoarto  (op.M) :  l  GhoraJ 
Faataii*  for  Piano,  Orchastra,  and 
GbonHb 

to  FlaaofDrta   Ooa- 


S  OoMb  for  WlDd-bofh  In  Sb. 

1  Boptat  for  Stfinct  aiid  Wind. 

1  Saaiet  for  ditto— In  B  b. 

1  ditto  for  Wind— in  Bb. 

9  Qalnteta  for  Btrinc*— In  Xb 
and  0;  1  ditto,  tagut  (op.  137);  1 
ditto  arraogad  fh>m  P.  F.  Ttlo  in 
0  minor. 

U  Qiiartoti  ft>r  Btrlnta-ln  P.  G, 
D.  C  minor.  A.  Bb :  In  F,  B  minor, 
O^IUaaouB^^Aky):  In  Xb  (Uarte* 


II 
piVarbrXr. 

have  qantai 

mmUli 

KVttrifft 


taSabMlla  tidf  part  or  my  ifoit  to  an  advlraUa 
a  IfiimnffTM'f  Wagmtimt  for  Jaly.  vm.   I 
U  mwc  tliaa  onoa.  and  If  X  hnva  not  dona  io  ttfll 
tk«  stria  of  hla  laaaiks  la  not  Mltod  10  tha 


ft) :  b  P  «iinor:  In  Xb ;  in  Bb : 
In  Cf  minor;  In  A  minor;  InF: 
alio  Fucua  In  Bb. 

S  Equal!  for  4  Trombonaa. 

6 Trios  for  Btringa— In  Xb :  InO, 
D,  C  minor :  In  D  (Saranado). 

1  ditto  ScrlagB  and  ftata-ia  D 
(Baranada^. 

1  ditto  for  Wind. 

5  Dnos  for  Wind— In  G,  P,  Bb- 

1  Qulntat  for  Piano  and  Wind- 
In  Xb. 

1  Quariat  for  Piano  and  Stringa— 
aftar  for^golof.  S  ditto  (JufanU^ 
InBb.  D.  andC. 

8  Trloa  for  PUno  and  Btringa— In 
Xb.O.  Cmlnor;  InD,  Xb:  InBb; 
in  Bb  (one  moTamant) ;  In  XB  (in- 
Teoila);  altar  l^mpbony  in  D: 
Variations  In  G;  14  ditto  In  Xb. 
1  Trio  for  Piano,  Clar.,  and  Callo  In 
Bb :  1  ditto  (aftar  Boptat)  In  Bb. 

10  Ponataa  for  Piano  and  Violin— 
InD.  A,Xb:lnAminor:  InF;  in 
A.  0  minor.  G :  in  A  (Krentaer) :  In 
O.  1  Hondo  in  O ;  IS  Variation* 
in  P. 

6  ditto  for  Plane  and  Oallo— In  P, 
Omlaor:lnA;inC.D.  ISVaria- 
tkma  lB0|ISdo.inVf7da.ln 

Xb. 


•or.  *• 

:inX, 
:fml. 
Cb:ln 


1  ditto  ibr  Piano  and  Hon»— In  F. 

7  books  of  Variatlooa  for  Piano 
andFlota. 

1  Bonata  for  Piano.  4  hand*— In 
D.  8  Marehaa  for  ditto-In  0,  X  b, 
D:  8  Varintions  in  0  and  6 in  D. 

88  ditto  for  Piano  Solo— in  F  mi- 
nor, A.  0;  in  Bb :  In  0  minor.  F, 
D ;  In  C  minor  ( Tathitlqua) : , 
O:  InBb:  InAb:  in  Bb,  C( 
nor :  In  D ;  in  O.  D  minor,  b| 
O  mioor  and  O  (both  unall) ;  in  O 
(Waldstein):  in  F;  in  F  minor 
(AppaflHlonltta) :  in  Pf ;  in  O (Son** 
tloa):  In  Kb  (Adieui.  etc.) ;  in  X 
minor:  In  A;  in  Bb  (op.  106):  In 
X :  in  Ab  !  in  C  minor.  In  Ep.  V 
minor,  and  D  (early);  In  0  (aaay); 
In  O  and  F  (easy). 

Variations  for  ditto,  9  wta-rls. 
8  In  F;  16  In  Bb  (Brolca) :  6  in  D 
(TarlclBh  March);  82  in  C  minor; 
88  InC :  15 in O (easy) ;  and  16 mora 
•ata.  oonialning  U4  rariatlona. 

8  Bau  of  Bagatellai  for  dttto-7. 
11. 6:  4  Bondo4  In  0,  G :  In  A :  and 
In  G  ik  capricclo) :  FantaaIn  In  O 
minor;  S  I*reludai:  Polonalaa; 
Andanta  In  F  (Ikrori);  Wnnat  la 
Xb:<doiUUndl«n. 


n.  TOCAL. 


s^lad 
nflBda. 


9  Kamaa— In  d  and  D  (BolannhX 

1  untorio— Chriitaf  am  Oal- 
beiigo.' 

lUparar-^FIdeUo.' 

'TheBolnaof  Athana.*  Anrnago- 
mcDt  of  March  and  Chora  Ikwn  do. 

'  King  Btaphen.' 

S  I'atrlotic  Flnalaa, 

*  Der  glorrelcha  Ang«bl*ek.' 

'Meemmtilla  and  siUddldia 
Fahrt' 

'Ah  parildoi'  Soprano  and  Or> 
ehestra.  Opfariladt  dou,  do^  and 
Ghorua. 


'Tremate':  Trio  with  Orehaatn. 

Bundesllad:  3  Boloa,  Chomi, and 
Wind. 

'  BIflgiadMr  Ganng*:  4  Voloaaand 
Strings 

Boagi  wttli  Ptamo  aeot-dS  and 
IDnat. 

'Hirnj^  dar  MSneha';  8  Votaa 
mace. 

isranona. 

7  Buoksof  Xngllsh.  Soot«h«  Irish, 
Walah,  and  Italian  Bongs  for  VolOik 
Piano,  VloUn.  and  OaUo. 


All  the  above  are  included  in  Breitkopf  ft 
Barters  complete  edition,  except  the  Bitter- 
Ballet,  the  Fragment  of  a  Violin  Concerto  in  C, 
and  the  two  Equali  for  Trombones. 

The  Beethoven  literature  is  veiy  large.  I 
shall  confine  myself  to  mentioning  those  portions 
of  it  which  appear  to  have  real  value  for  the 
investigator. 

I.  His  own  letters.  Of  these  there  are  several 
collections,  (i)  'Briefe  Beethovens*  ^Stuttgart, 
1865),  edited  by  Dr.  Nohl:  contains  411.  (a) 
'  83  .  . .  Original  Briefe  L.  v.  B*s  an  den  Erzher- 
zog  BudolpV  edited  by  Kochel  (Vienna,  1865). 
(3)  '  Briefe  von  B.  an  Grafin  firdody  und  Max 
Bmuchle/  edited  by  Schone  (Leipzig,  1867). 
The  two  last  were  included  with  many  others 
in  a  further  collection  of  323  'Neue  Briefe  Bee- 
thovens,' edited  by  Nohl  (Stuttgart,  1867).  (4) 
Nohl's  first  collection  and  66  of  the  letters  to  the 
Archduke  were  translated  (I  wish  I  oould  say 
carefully  translated)  by  Lady  Wallace,  and  pub* 
lished  by  Longmans  (2  vols.  8vo.  1866). 

Other  letters  are  given  by  Thayer  in  his  'Bee- 
thovens Leben,*  and  by  Pohl  in  'Die  Gresellschaft 
der  Musik  Freunde'  (Vienna,  1871),  and  many 
others  exist  in  MS.  in  collections  of  autographs. 

II.  Notices  of  him  by  fiiends  and  contempora> 
ries.  Many  of  these  must  be  taken  with  reserve, 
as  written  hmg  after  the  event,  and  with  strong 
bias. 

(i)  By  Seyfined,  as  Anhang  to  his  edition  of 
Beethoven's  '  Studien*  in  Thorough-bass  (Vienna^ 


208 


BEETHOVEN. 


March  26,  1832) — 144  pages,  oontainiiig  biogra- 
phical sketch,  anecdotes  and  traits,  letters  ^in- 
daded  in  Nohl),  three  conversations,  the  sale 
catalogue,  the  music  sung  at  the  funeral,  poems 
and  addresses,  a  catalogue  of  Beethoven's  works, 
etc. 

(2)  Wegeler  and  Bies,  'Biographische  Notizen,' 
etc.  (Coblenz,  1838),  with  'Kachtrag*  by  Wegeler 
alone  (Coblenz,  1845).  Contains  biography,  let- 
ters, and  a  host  of  anecdotes. 

(3)  Schindler,  'Biographie*  (Mttnster,  1840). 
This  is  the  first  edition  of  Schindler*s  work,  which 
was  translated  into  English  by  Moscheles,  and 
published  with  many  additions  and  modifications, 
and  with  no  mention  of  Schindler  on  the  title 
page,  in  a  vols.  8vo.  (Colbum,  1841).  It  was 
followed  by  'Beethoven  in  Paris'  (Mflnster, 
1842),  an  account  of  the  performance  of  some  of 
the  symphonies  by  the  'Society  des  Concerts,* 
with  vanous  documents  of  interest ;  by  a  second 
edition  of  the  Biography  (Mtlnster,  1845) ;  and 
finally  by  a  third  edition  in  two  volumes  (Miinster, 
i860).  This  last  has  been  very  inaccurately 
translated  into  French  by  Sowinski  (Paris,  Gar- 
nier,  1865). 

(4)  Grerhard  von  Breuning, ' Ans  dem  Schwarz- 
Bpanierhaus'  (Vienna,  1874) — the  recollections 
of  Stephen  von  Breuning's  son,  who  was  11  years 
old  when  Beethoven  died,  and  was  much  with 
him  during  the  last  years  of  his  life. 

m.  Smaller  and  more  fragmentary  notices  are 
given  of  him — ^in  1 798  or  99  by  Czemy,  in  Pohl's 

'  Jahresbericht  des  Konservatorium in 

Wien'  (Vienna,  1870)  ;  and  in  later  years  by  the 
same  in  Cocks's  '  Musical  Miscellany'  (London, 
July  and  Aug.  1852,  Jan.  1853);  in  1809  by 
Beichardt  in  'Vertraute  Briefe'  (Amsterdam, 
1810) ;  in  1814  by  Spohr  in  his  'Selbstbiographie* 
(Cassel,  i860),  and  by  Tomaschek  in  'Ldbussa' 
for  1846;  in  1822  by  Rochlitz  in  the  A.  M.  Z., 
1828,  p.  10,  printed  in  'Fflr  Freunde  der  Ton- 
kunst,  vol.  iv.  p.  348  (Leipzig,  1832);  in  1824 
[by  Mr.  Edward  Schulz]  in  tiie  'Harmonioon,' 
Jan.  1824;  and  [by  Mn.  Payne,  Dr.  Bumey's 
niece,]  in  the  '  Harmonicon,'  Deo.  1825;  in 
1825  by  Kellstab  in  'Ausmeinem  Leben,*  ii.  224. 

G^  later  biographies  must  be  mentioned  that 
of  M.  F^tis  in  his  'Biographie  universelle  des 
Musiciens';  of  Wilhelm  von  Lenz,  'Beethoven, 
eine  Kunst-Studie,'  a  Life,  with  an  extended 
critical  and  historical  catalogue  of  the  works; 
and  of  Herr  Ludwig  Nohl,  'Beethovens  Leben,'  of 
which  the  3rd  and  last  volume  was  published  in 
Sept.  1876.  Nohl  is  said  to  be  inaccurate,  and 
he  is  certainly  diffuse,  but  I  for  one  owe  Mm  a 
debt  of  gratitude  for  his  various  publications,  the 
information  in  which  can  be  found  nowhere  else. 
The  notes  to  the  biography  contain  a  mass  of 
materials  of  the  greatest  interest.  Last  and  best 
is  the  '  Ludwig  van  Beethovens  Leben '  of  A.  W. 
Thayer  (Berlin,  1866,  72),  of  which  the  3rd  vol. 
is  on  the  eve  of  publication,  and  which,  through 
the  caution,  wide  research,  and  unflagging  industry 
of  its  author  has  already  taken  a  place  far  higher 
than  any  of  its  predecessors.  Amongst  other 
■ouroes  of  infonnation  Mr.  Thayer  has  inherited 


BEETHOVEN. 

the  memoranda  collected  by  the  late  Otto  Jahi 
who  had  himself  made  some  prpgreaa  in 
biography  of  BeeUioven.  The  oorrectioiis  whic 
this  able  investigator  has  made  in  many  mo« 
material  points,  and  the  light  throvm  by  bin 
on  passages  hitherto  more  than  obscure,  ca] 
only  be  appreciated  by  those  who  read  hu 
work. 

IV.  Of  more  miscellaneous  works  the  following 
must  be  named : — W.  von  Lenz,  '  Seethoven  ^ 
see  trois  Styles'  (Petersburg,  i8^a  ;    aJso  ParisJ 
Laving,  1855) — a  book  wluch,  if  full  of  rhap^ 
sody,  is  also  full  of  knowledge,  insi^^ht,  and  en^ 
thusiasm;  Oulibioheff,  'Beethoven,  aes  critiques 
et  ses  glossateurs,'  in  direct  antagonism  to  the 
foregoing  (Paris,  1857)  ;   Berlioz,  '  £tude  ana- 
lytique  des  Symphonies  de  Beethoven'   in  his 
'Voyage  musical,*   vol.  i.   (Paris,  1844);    Otto 
Jahn,  three  papers  in  his  'Gresammelte  Au&atze' 
(Leipzig,  1866),  viz.  'Leonore  oder  Fidelio,*  'B. 
im  Malkasten,'  and  'B.  und  die  Ausgaben  seiner 
Werke '  ;    B.  Wagner,    '  Beethoven  '     (Leipzig, 
1870^ ;   Marx,  'B.'s  Leben  und  Schaffen,   3rd 
edition  (Berlin,  1875) ;  Actenmassige  Darstellung 
der  Ausgrabung  und  Wiederbeisetzung   der  ir- 
dischen    Beste   von    Beethoven   und    Schubert 
(Vienna,  1863);    Nohl,   'Beethovens    Brevier' 
(Leipzig,  1870),  a  collection  of  passages  in  his 
favourite  authors  extracted  or  marked  by  Bee- 
thoven; 'Die  Beethoven  Feier*  (Vienna,  i87i\ 
containing   amongst   other   things   Beethovens 
diary  from  1812  to  1818.     The  analytical  pro- 
grammes of  Beeth6ven*8  sonatas  by  Mr.  J.  W. 
Davison,    prepared  to  accompany  Mr.  Charles 
Hallo's  performance  in  186 1,  are  full  of  interest. 

V.  We  now  arrive  at  another  class  of  works  of 
more  importance  than  any  yet  mentioned,  except 
perhaps  the  letters,  and  absolutely  indispensable 
to  those  who  wish  to  investigate  Beethoven's 
music  chronologically,  .viz.  the  catalogues,  and 
reprints  of  the  sketch-books. 

Catalogues  of  Beethoven's  works  were  attempted 
by  Artana>  Hofineister,  and  Cranz,  but  the  first 
one  worthy  of  the  subject  was  issued  by  Breitkopf 
&  Hartel  in  185 1 — '  Thematisches  Verzeichniss,* 
etc.,  large  8vo.,  167  pp.    The  second  edition  ci 
this,  edited  and  enriched  with  copious  notes, 
remarks,  appendices,  indexes,  etc.    by  Mr.  G. 
Nottebohm  (Leipzig,  1868,   pp.  1-220),   leaves 
little  to  be  desiied.    It  is  arranged  in  the  order 
of  the  opus  numbers  of  the  pieces — ^where  they 
are  numbered — that  is  to  say,  in  the  order  of 
publication.    A  catalogue  from  a  different  point 
of  view — in  the  order  of  the  production  of  the 
works,   and    embradng   those    unpublished   u 
well  as  published,  was  issued  by  Mr.  Thayer, 
as  a  precursor,  or  mimoire  pour  tervir,  to  his 
'  Biography,'  viz.  '  Chronologisches  Verzeidmisi^^ 
etc.    (Berlin,    1865).      It  is  difficult   to   over- 
estimate the  value  of   this  unpretending  list, 
which  contains  a  vast  amount  of  information  sot 
only  before  inaccessible,  but  unknown  to  students. 
It  was  followed  by  a  work  of  equal  interest^ 
'Bin  Skizzenbuch  von  B.,'  etc.,  the  reprint  oi 
one  of  Beethoven's  sketch-books,  with  such  com- 
mentary as  is  necessary  fully  to  elucidate  it 


B£]|$THOyEN. 

Sag  VM  edited  by  Mr.  Nottebohm,  and  was 
jKoeeded  in  1 869  by  the  oommenoement  of  a  series 
«f  articles  in  the '  AUgemeine  musik.  Zeitnng '  on 
tyious  points  in  Beethoven's  works,  examined 
md  eliicidated  chiefly  through  his  sketch-books, 
fsd  printed  with  copious  quotatii>nB,  the  whole 
t£rc>wing  a  most  interesting  light  on  his  method 
^wking.  These  papers  were  collected  and  re- 
^Mi^ied  as  'Beethoveniana'  (Leipxig,  187a).  A 
f jTthi?  series,  entitled  '  Neue  Beethoveniana,*  by 
ds  same  indefatigable  explorer  is  now  (1878) 
bedsg  published  in  the  '  Mnsikalischee  Wochen- 
HiU.'  The  amount  of  new  axkd  important  infor- 
madcai  on  Beethoven^s  music  fnmiriied  by  these 
;to  8^es  no  one  can  t^  who  has  not  studied 
than.  They  are  indispensable  for  all  students 
1/ the  subject.  Mr.  Nottebohm  has  published  a 
igw  edition  of  '  Beethovens  Studien,'  in  which 
EAST  miatakes  in  Seyfried^s  edition  are  corrected 
ksd  mach  additional  information  given,  such  as 
K  one  who  has  not  the  peculiar  knowledge  poe- 
K9sd  by  Mr.  Nottebohm  would  be  competent  to 
isipart.  [G.] 

BEFFABA,  Lours  FBAKOOia,  bom  at  Nonan- 
mm,  Aug.  33,  1751;  from  179a  to  1816 
Ojminisaaire  de  Polioe  in  Paris,  where  he  died 
Feb.  2, 1838.  Benowned  for  his  collection  of 
di)ctiioentB  cm  the  Paris  operas,  which  were  un- 
fononatelycofnsnmed  at  the  burning  of  the  Hdtel 
^YUk  during  the  Commune  in  1871.  For  oom> 
pielaieas  and  genuineness  the  collection  could  not 
be  sispused,  and  its  loss  is  irr^Murable.     [F.  G.] 

BEGGAR'S   OPERA.  The.     A  celebrated 

T»ece,  vritten  in  1737  by  John  Gray,  whof  was 

aid  to  have  been  instigated  to  its  production  by 

a  fc«Ung  of  annoyance  at  having  been  offered  a 

n>an  appointment  which  he  regarded  as  beneath 

linL    It  is  sIbo  said  to  have  had  its  origin  in 

AQ  observation  of  Swift's  to  its  author,  that  '  a 

Xevgate  pastoral   might  make   an  odd  pretty 

sr-rt  of  thing.*      Under    the   thin  veil   of  ex- 

p>«iQg  the  vices  of  highwaymen,  pickpockets, 

gaolers,  receivers  of  stolen  goods,  and  their  con- 

^AeaXes  and  aeaociates,  it  brisUes  with  keen. 

^-pointed  satire  on    the  corrupt  and  venal 

f*i!iticiaa8  and  courtiers  of  the  day,  and  of  the 

pf&Tuliog&shionable  entertainment— the  Italian 

''pen.     It  has  been  denied  that  there  is  any 

r^&rtooe  to  Uie  latter,  because  the  style  of  the 

ffissic  of  Italian  operas  b  not  burlesqued,  but 

tb  fact  is  apparent  from  the  introductory  dialogue 

between  the  Beggar  (the  assumed  author  of  the 

pitce)  and  the  Player,  in  which  the  former  is 

intde  to  say,  *  I  have  introduc'd  the  similes  that 

ve  in  ^  your  celebrated  operas ;  the  Swallow, 

the  Modi,  the  Bee,  the  Ship,  the  Flower,  etc. 

Beodes,  I  bave  a  prison  scene,  whi<^  the  ladies 

^wsjfl  reckon  charmingly  pathetick.    As  to  the 

puti  I  have  observed  such  a  nice  impartiality 

V)  oar  two  ladies,  that  it  is  impossible  for  either 

of  them  to  take  offence.'     The  allusion  in  the 

^  sentence  to  the  deadly  feud  between  Cuzzoni 

ud  Faostiua.  which  in  1 7  a  7  divided  the  fashion- 

^e  vorid  into  two  violently  hostile  factions,  is 

^  palpable  as  to  cause  surprise  at  its  having 

^OTcdooked.    <  The  Beggar's  Opera' was  first 


BE9GNIS. 


209 


offered  to  Colley  Gibber  ibr  Drury  Lane  Theatre, 
but  being  rejected  by  him  was  accepted  by  John 
Rich,  and  brought  out  at  Lincoln's  Inn  Fields 
Theatre,  Jan.  39,  1727-28.  Its  success  was 
decisive:  it  was  performed  sixty-two  nights 
(not  consecutive)  during  the  season,  and  imme- 
diately afterwards  played  all  over  England,  in 
Lreland,  Scotland,  and  even  in  Minorca.  By 
the  time  it  had  reached  its  thirty-sixth  re- 
presentation Rich  had  netted  nearly  £4000, 
whilst  Gay's  four  'author's  nights'  had  produced 
him  £693  134.  6d,;  whence  it  was  said  that  it 
had  made  Gay  rich  and  Rich  gay.  The  songs 
were  all  written  either  to  ballad  tunes  (English 
and  Scotch,  some  of  considerable  antiquity),  or 
the  tunes  of  the  most  popular  songs  of  the  day. 
These  tunes,  sixty-nine  m  number,  were  arranged 
and  scored  by  Dr.  Pepusch,  who  also  oompceed 
an  overture  for  the  piece.  They  were  chosen 
with  great  judgment,  and  to  them  its  remark- 
able success  was  in  a  great  degree  attributable. 
The  rage  for  'The  Be^;ar's  Opera*  shewed  itself 
in  its  scenes  and  songs  appearing  on  fiuis  and 
screens,  in  the  attire  of  Lavmia  Fenton  (the  per- 
former of  Polly)  becoming  the  pattern  for  that  of 
ladies  of  fashion,  and  in  the  temporary  desertion 
of  the  Italian  Opera.  Hogarth  published  an  en- 
graving representing  a  scene  in  Act  II.  Some 
of  the  songs  were  said  to  have  received  finishing 
touches  from  the  hand  of  Pope.  The  success 
of  'The  Beggar's  Opera*  led  to  the  production 
of  a  host  of  other  pieces  with  songs  written  to 
ballad  tunes,  and  thence  denominated  Ballad- 
Operas.  [W.  H.  H] 

BEGNIS,  GiusKPFE  DE,  bom  at  Lugo,  in  the 
Papal  States,  1793,  sang  soprano  in  the  chapel 
at  Lugo  till  he  was  nearly  fifteeq,  when  his 
voice  broke.  Thinking  it  would  never  return, 
and  having  a  strong  taste  for  comedy,  he  took 
lessons  of  Mandini,  a  celebrated  Italian  actor; 
but,  his  father  being  opposed  to  this  course,  he 
began  to  study  music  again  under  ^araceni  the 
composer,  the  brother  of  Madame  Morandi.  He 
made  his  first  operatic  appearance  in  the  carnival 
of  181 3  as  primo  buffo  in  Pavesi's  'Marco 
Antonio*  at  Modena,  and  was  most  successful. 
He  next  went  to  Forli  and  Rimini,  and  returned 
to  Modena.  In  the  following  carnival  he  sang 
at  Siena,  at  the  opening  of  the  new  Teatro  degU 
Academici  Rossad,  as  Pazzo  ia  Paer's  'Agnese,* 
and  as  Selim  in  the  'Turoo  in  Italia*  of  Rossini, 
and  was  enthusiastically  applauded  in  both.  He 
next  appeared  at  Ferrara,  Badia,  and  Trieste. 
In  the  carnival  of  181 5  he  was  at  Cesena,  and 
particularly  brilliant  in  Fioravanti*s  '  Bello  piace 
a  tutti,*  in  which  he  imitated  with  his  falsetto 
the  celebrated  Paochierotti.  He  now  sang  at 
various  theatres  until  the  carnival  of  18 16,  at 
MUan,  where  he  was  laid  up  for  three  months,  and 
unable  to  sing.  On  his  recovery  he  proceeded  to 
Parma,  where  his  success  was  more  brilliant  than 
ever;  then  to  Modena  and  Bdogna.  Here  he 
played  successfully  in  Paer^s  'Agnese,*  which 
nad  been  tried  twice  before  there  without  success. 
'  The  piece  was  chosen  for  the  benefit  of  Signora 
Ronzi,  who  was  engaged  there.    Shortly  after, 

P 


no 


BBONI& 


ihe  wai  nuiried  to  De  Begnif,  who  wal  admitted 
ia  tbs  PtulhAnnonic  Academ;  at  Bologna  at  the 
tame  tinte.  They  were,  howcrer,  eeparated  for 
i  tinK^  De  B^iui  being  aagtgei  to  ung  at 
Etome,  and  Roiua  at  GeDoa.  Thaj  met  again 
It  Florence,  1R17,  and  perfonned  together  at 
('ioeuxa  and  Verona.  Roaini  engaged  them 
or  the  opening  of  the  new  theatre  at  Fesaro. 
[n  1819  they  mads  their  debiUi  at  Puis  with 
[Teat  aucceea:  and  in  iSij  appeared  in  London 
n  the  '  Tirno  in  Italia,'  where  he  was  conaidered 
in  excellent  comic  actor  and  nnger.  In  iSjj  he 
ud  the  direction,  with  his  wife,  of  the  opGCaA  at 
Bath ;  and  ha  was  again  engaged  for  the  operatic 
eaaoD  of  1814.  He  died  Aug.  1849.  [J.  M.] 
BEGNI8,  SiGHORA  Rdhzi  db,  the  wife  of  the 
ibovc^  waa  poesibly  the  young  girl,  Claudina 
IConii,  bora  at  Faris,  Jan.  11,  1800,  of  whom  1 
here  ia  atill  a  reoord  at  the  Conserratoire  in  that  j 
Jty,  that  ibe  wu  admitted  to  a  ainf^Dg  clan 
tfarch  9,  1839.  HoweTCT  thie  m>^  be,  nothing 
nore  is  known  of  her  until  her  marriage  with  De  | 
3egniB  at  Bologna,  1S16.  In  1819  ahe  made  her 
list  appearance  at  Faria,  having  sung  at  moat  of 
he  principal  Italian  operas,  and  for  Rossini  at 
hs  opening  of  the  new  theatre  at  Fesaro  in  ' 
818.  'nie  Parisians  thou^t  her  weak,  especially 
iB  Bouna;  but  tbey  admit  tbat  Donna  Anna 
ras  never  so  well  suag  there  by  any  one  else 
•atom  Sontag  undertook  it  in  1818.  It  must  be 
aid  tbat  she  received  some  instruction  in  the 
lart  from  Garat,  and  that  she  profiled  by  his 
aasone.  In  iSu  she  came  with  her  husband  | 
D  London,  where  hsr  voice  and  style  steadily  < 
[nprored.  'She  made  her  &nt  umannce,' says 
jord  Mount- Edgeciimbe,  'in  the  Turoo  in  Italia, 
nd  acted  in  it  delightfully.  With  a  pretty  face 
nd  pleasing  countenance,  she  had  a  voice  of 
Teat  sweetness  and  flexibility,  which  she  man-  | 
ged  with  considerable  skill  and  taste.  She  de-  | 
idedly  excelled  in  oomic  parts  :  indeed,  I  have 
arely  seen  a  better  buffa.'  In  1814  she  was 
clipaed  by  the  arrival  of  Pasta.  In  1815  she 
bared  wiUi  Madame  Veetris  the  principal  parts  , 
II  the  comio  operas  at  the  Haymarket  Theatre,  1 

■■-  '-- -  'rest  of  IJie  company;  but,  a 

f  Pasta,  she  fell  ill  and  toti 
a  obliged  to  throw  up  her 
eturnod  to  Italy.      Her  death 
a  the  'Sunday  Times,'  July  3, 
=aj.  [J.  M.] 

BEGREZ.  FiEERK  IBITACX,  bom  at  Namur 
too.  23,  1783.  At  the  age  of  six  he  sang  in  the 
ioir  of  the  cathedral  of  St.  Aubin.  After  1 
can  he  went  to  Taris,  and  was  received  in  a 
lolinM^aas  at  the  Cooservatoire,  the  1 7th  Flan5al. 
Ji  xii.  (1804).  He  was  at  the  awne  tiuie  en- 
■ged  in  the  orrheetn  of  the  Op^ra,  then  under 
le  direction  of  Grasset.  Ii^nding,  however, 
Uftt  he  possened  a  fine  tenor  voice,  he  Boon 
irew  aside  the  violin,  and  stadiad  singing  under 
arat,  from  October  1S06.  In  1814  he  arried 
T  the  first  prise  at  the  Conservatoire,  and  in 
h5  he  made  his  first  appearance  at  the  opera 
.  Glock'i '  Annide,'  which  he  followed  with  the 
m^ipal  -       - 


ertoo.'    About 

engaged  (or  the 
remained  a  pen 
at  the  King's  T1 
from  the  boards. 
and  singint;  in  cc 
and  good  French 
BEIDEN  N. 
Ava  Boston.    . 

orcheetra,  the  1 
by  Mendelssohn 

BEIDEN  PJ 
in  one  act,  oonti 
for  voicei  and  on 
the  music  by  Mi 
ceding  this  open 
delssohn's  house 
the  autographs  1 

BEKLEMM1 

lo  the  middle 
Quartet  in  B  flal 
into  C  flat :  and 
accents  of  the  fi 
pn«aion.  None 
give  this  interei 
poser's.  It  first  1 
complete  edition 
bcHommen,  bnt 
is  always  origina 
BELCKE,  Fl 
trombun  e  -player, 
Lucka  in  Saionj 
boy  at  au  early 
instruments,  and 
he  took  up  the 
reached  a  pitch 
He  first  joinei 
in  Leipsit^  and 
post  in  the  roy 
tours  made  hill 
left  the  Berlin 
retired  to  bis  nt 
10,  1S74.  By  ti 
are  well  known 
whom  Scbumani 
•The  Comic  in  ] 
'  There  is  a  phn 
eighth  symphony 
bm  of  a  well-l 
they  ir 


BELISARIO. 
libretto  and  mu 
Venioe,  Feb.  7, 1 
Theatre,  April  1 
dee  Italiens,  Oct. 

BELL  (Fr.  p, 
in  which  most 
esTWcially  those  i 
adds  to  the  po* 
prinoiple  as  the 


BELL.' 

Tcrce,  though  the  exact  eaoae  of  tHe  fihct  is  not 
b&ovm.  It  WM  eRoneously  maintained  by  Sax 
tiafc  the  materiai  of  the  bell  exercises  no  influence 
ca  the  quality  of  the  tone.  Notes  of  exactly 
crmlar  piteh  with  those  from  brass  or  wood  can 
&f  cDOTBe  be  obtained,  as  he  stated,  from  similar 
tirOs  made  of  leather,  gutta  percha^  or  papier- 
Viirh4.  Even  a  trumpet-shaped  orifice  in  a  solid 
vxl,  fitted  with  a  mouthpiece,  gives  all  the  open 
sc<tcs  of  a  wind  instrument.  But  the  quality 
12^  timbre  are  found  to  be  yery  different  when 
fic^pared  with  the  zeal  instrument.     [W.  H.  S.] 

BELLAMY,  Bichabd,  Mus.  Bac.  Cantab., 

abasB  silver,  was  on  March  28,  1771,  appointed 

B  gsatleman  of  the  Chap^  Boyal,  and  on  January 

1. 1 773.  a  lay-yicar  of  Westminster  Abbey.    He 

1I50  held  the  appointment  of  yicar  choral  and 

naeter  of  tiha  choristers  of  St.  Paul's  Cathedral. 

In  17S8  he   published  a  volume  containing  a 

Te  Deam  for  a  fkill  orchestra  (performed  at  the 

iiaraiUtion  of  Knights  of  the  Bath  in  May  of 

tj^  j€ar),    and  a  set  of  anthems.     He  died 

Srpt  II,   1813.     His  son.  Thomas  Ludfobd 

Iellamt,  was   bom  in  Westminster  in  1770. 

He  was  educated  in  the  choir  of  Westminster 

A':>bey  under  Dr.  Cooke,  and  after  the  change 

ui  his  Toioe  to  a  bass  studied  under  Tasca,  the 

ceklvated  bass  singer.     He  sang  in  London  in 

tke  ca^edr^  choirs  and  at  concerts  until  1 794, 

vLen  he  went  to  Ireland  as  agent  on  a  noble* 

BQsa'i  otat^  but  having  to  give  up  that  employ- 

s^rut  he  went  to  Dublin,  where  in   1797  he 

lieeame  stage  manager  at  the  theatre.     In  1800 

be  became  part  proprietor  of  the  Manchester, 

Cltcster,   Shrewsbury,   and    Lichfield   theatres. 

Ia  1803   he  sold  his  share  and  became  sole 

iniprietor   of   the    Bel&st,    Londonderry,    and 

Xewiy    theatres.       This    speculation    proving 

usQccessful  he  returned  to  London,  and  sang 

at  Covent  Garden  Theatre  for  five  years.    In 

iSi3  he  was  engaged  for  five  years  at  Drury 

Lane.    During  t^  this  period  he  also  appeared 

M  a  conoert  singer.    In  1819  he  was  appointed 

chob- master    at    the    chapel  of   the    Spanish 

halasBj,  which   he  retained  for  many  years. 

In  182 1,  on  the  death  *'of  Bartleman,  he  was 

eag&ged  as  principal  bass  silver  at  the  Conoert 

of  Ancient  Music,  and  so  continued  until,  a  few 

vean  later,  he  was  superseded  by  Henry  Phillips. 

In  1840  he  edited  a  volume  of  the  poetry  of 

glees,  madrigals,  catches,  rounds,   canons,   and 

duets.     He    died  in  Judd  Street,   Brunswick 

^oare,  January  3,  1843,  in  his  seventy-third 

year.  [W.  H.  H] 

BELLE  h£l J:NE,  LA,  Op^ra-bouffe  in  three 
acts,  wot6»  by  De  Meilhac  and  Hal^vy,  the  music 
by  Offenbach ;  prodaoed  at  Paris,  Th^Htre  des 
Vtti^t^  Dec.  1 7,  1864. 

BELLERMANK,  Constanttn,  bom  at 
Erfurt,  1696,  rector  of  Miinden,  a  composer  of 
operas  and  oratorios,  and  an  extraordinary 
performer  on  the  lute.  His  most  important 
work  is  'Programma  in  quo  Parnassus  Musarum 
TGce,  fidibus,  tibiisque  resonans,  sive  musices 
dirinse  artis  laudes  diversae  spedes  singulares 


BELLET13. 


211 


effectns  atque  primarii  autores  sucdncte  enar- 
rantur'  (Erfurt,  1743),  an  analysis  of  which  it 
given  by  Mitzleb  in  his  'BibUothek/  vol.  iii. 
He  died  at  MOnden  in  1 763.  [F.  G.] 

BELLEBMANN,  Johann  Joaghdc,  bom  at 
Erfurt,  1735,  visited  Russia^  and  returned  .to 
become  Director  of  the  Gymnasium  of  his  native 
town.  He  published  very  interesting  'Bemer- 
kungen'  on  Russian  airs,  dances,  and  musical 
instruments  (Erfurt,  1788).  His  son,  Johanit 
Fbiedbich,  bom  at  Erfort^  Mnrch  8, 1795,  served 
in  the  war  of  independence  (181 3-15),  studied  at 
Berlin  and  Jena,  and  in  1819  became  Professor, 
and  in  1847  Director  of  the  Gymnasium  'zum 
grauen  Kloster*  at  Berlin.  He  was  a  great 
authority  on  ancient  Greek  music,  and  was 
especially  known  for  his  edition  of  the  'De 
anonymis  scriptis  de  Musici/  and  a  work  on  the 
scales  and  notes  of  the  Greeks.  He  died  a  few 
years  since.  His  son  Heinbich  is  now  (1875) 
professor  in  the  Berlin  university,  and  author 
of  an  esteemed  work  on  counterpoint.        [F.  G.]  a 

BELLETTI,  Giovanni,  the  great  barytone,  M 
was  bom  in  1813  at  Sarzana,  a  town  in  the  ^ 
Lunigiana,  of  respectable  parents  engaged  in 
trade.  While  still  a  child,  he  show^  a  very 
strong  inclination  to  music.  Having  an  exceed- 
ingly delicate  ear  and  a  wonderful  agility  of 
voice,  he  soon  began  to  repeat  with  his  duld^s 
treble  every  operatic  air  iha,t  he  heard.  His 
father,  being  advised  to  cultivate  his  son*s  talent^ 
placed  him  in  the  hands  of  a  master  in  the  neigh- 
bourhood, upon  whose  advice  he  soon  after  tnuuH 
ferred  him,  at  no  small  personal  sacrifice,  to  the 
famous  school  at  Bologna^  over  which  the  cele- 
brated Pilotti  presided.  The  latter  took  the 
greatest  interest  in  the  boy,  and  taught  him 
counterpoint  as  well  as  singing.  After  five  yean 
of  study,  Belletti  received  his  diploma.  His 
voice  was  now  settled  as  a  baiytone  of  the  most 
beautiful  quality  and  evenness,  with  marvellous 
facility  of  execution.  Advised  to  try  the  stage!, 
he  hesitated  for  some  time,  until  he  met  a4 
Carrara  a  Swedish  sculptor  named  By8tr5m,  who 
proposed  to  take  him  to  Stockholm,  free  from  all 
risk  or  expense,  to  lodge  in  his  house,  and  make 
his  debut ;  and,  if  unsuccessful,  to  send  him  back 
on  the  same  terms  to  Italy.  This  generous  offer 
he  accepted,  and  arrived  at  Stockholm  in  1837. 
Early  the  next  year  he  i^peared  in  the  'Barbiere,' 
and  achieved  his  first  success  about  a  month 
earlier  than  Jenny  lind,  with  whose  brilliant 
career  he  was  so  muoh  connected  afterwards. 
With  her  he  sang  in  'Lucia.*  in  *  Robert,'  and 
others  of  Donizetti's  and  Meyerbeer's  operas, 
translated  into  Swedish.  To  the  influence  of 
Jenny  Lind«  and  to  the  critical  taste  of  his  first 
audience,  as  well  as  to  the  fine  old  school  of  sing- 
ing in  which  he  had  been  brought  up,  he  owed 
the  pure  style  and  freedom  &x>m  vulguity  which* 
more  even  than  his  noble  voice,  made  him  the 
greatest  barytone  of  the  century.  When  Jeeny. 
Lind  left  Stockholm  for  Paris,  young  Belletti  re- 
turned to  his  native  land :  but  when  she  came  to 
London,  Lumley,  upon  her  urgent  advice,  soon 
persuaded  him  to  come  to  sing  with  her  again.. 

P  % 


SIS 


BELLEITL 


In  the  meantime  he  hwl  autig  with  great  an 
at  Fli>rence  bdiI  Leghorn,  in  uperu  of  R^nini 
And  Donizetti.  In  1848  he  nude  hia  Unl  ap- 
pearance at  Her  Majeaty'i  Theatre  in  'En  ' ' 
with  Mile.  Cruvelli,  and  during  that  aeason  lan; 
at  both  the  opera-hoaHBp  After  flinging  with 
leu  Bucceea  at  Pari*,  he  waa  engaged,  with  Li 
and  Benedict,  bv  Bamum,  for  a  tour  in  t 
United  States  ;  during  which  he  maintained  hii 
reputation,  and  contributed  to  the  enthiuiaBtio 
reception  which  the  company  obtained  in  Ame- 
rica. Returned  once  more  to  London,  Belletti 
nmained  there  till  the  end  of  6i,  linging  not 
only  at  the  Opera,  but  in  clanical  ooncerta  and 
oratorioa,  with  undimintihed  auoceoa.  Since  that 
time  he  hrm  retired,  in  the  midst  of  the  moat 
brilliant  career,  without  a  sign  of  faded  powers, 
to  Sarzana,  hia  native  place,  where  lie  live*  a 
life  of  sedluaion,  univerully  respected,  and  Bur- 
rounded  by  his  bmilj  and  relatione,  with  whom 
lie  aharea  the  earning!  of  the  yean  he  apent  in 
Ilia  profeiiaion.  [J.  M.] 

BELLINI,  VinciHZO,  bom  at  Catania,  the 
capital  orSieily.  Not.  3,  iSoi,  wu,  like  lo  m«njr 
dittinguished  muaiciana,  the  aon  of  an  organiat. 
From  hia  father  he  received  hia  first  lessons  in 
muBc ;  but  a  Sicilian  nobleman,  atruck  by  the 
chlld'a  talent,  persuaded  old  Bellini  to  allow  him 
iio  send  Ma  son  to  Naplea,  where  he  offered  to  pay 
the  child's  expensea  at  the  famous  Conservator!  0, 
directed  at  that  time  bj  Zingarelli.  Here 
Donizetti,  who  waa  born  nine  yeara  before  and 
died  thirteen  yean  after  Bellini,  had  preceded 
hia  ahort-lived  contemporary  by  only  a  few 
years.  Another  of  Bellini  a  iellow-pupila  at 
the  Conaervatorio  of  Naples  wu  Hercadante, 
the  future  compoeer  of  '  D  Giuramento'  and  'Ia 
Testa  di  Bronzo,'  It  ia  probable  enough  that 
Mercadante  (who  in  after  years  became  director 
of  the  celebrated  musical  inatitutioa  in  which  he 
received  his  early  education)  may  have  written 
better  eiercisea  and  passed  better  eiamlnationa 
than  hia  leaa  inatructed  young  friend  Bellini. 
The  latter  however  began  at  an  earlier  age  to 
compOBB.  Bellini's  first  work  for  the  stage  waa 
produced  while  he  was  atill  at  the  academy.  Hia 
'Adelaon  e  Solviaa'  had  the  good  fortune  to  be 
Idayed  in  presence  ot  the  celebrated  BarbajSi, 
manager  at  tbat  time  of  La  Scala  at  Milan,  of 
the  San  Carlo  at  Naples,  and  of  numerous  minor 
operahousea.  The  pW  impresario,  with  the 
keen-sightednesa  which  always  distinguished  him, 
gave  the  promiaing  student  a  commission  to  write 
an  opera  for  Naples  1  and  in  1816,  Bellini's  'Bisnca 
e  Fernando'  was  brought  out  at  the  San  Carlo 
0  successful  as  to  attract  Euru- 
Bianca  e  Fernando,  however. 
3  the  Neapolitan  public,  while  its  general 
ncouraged  Barbajii  to  entrust  the  young 
D  with  the  eompoaitioH  of  another  work, 
wmca  this  time  was  to  be  brought  out  at  La 
Scala.  The  tenor  part  in  Sellini's  first  opera 
for  Milan  was  to  be  n-rittan  specially  for  Kubini, 
who  retired  with  the  juvenile  maestro  into  the 
country,  and  remained  with  him  until  the  new 
ppero,   or  at  least  the  (eopr  part  in  it,  was  1 


finished.  T\ 
that  time  a 
novelty,  BeU 
direct  approbi 
the  simple  e: 
trious  tenor 
•II  Pirata'  1 
a  great  meaa 
ot  the  tenor 
those  wcrfca 
membered — c 


Europe  whei 
cnltivalad. 
oiera,'  fint  pi 
admirable  cs 
Madame  Toe 

and  it  acam 

general  favou 
wns  produoed 
but  little  im 
may  be  said  I 
only  work  of 
Pirata'  whiol 
('If  Capuletti 
iTenice  and  r 
Fenioeini83i 
out  Italy ;  th' 

Pasta's  perfol 
This  part,  it 
by  Herr  Wag 
for  har  d^but 
the  ao-called  ' 
much  admirt 
aucceas  at  I 
Beilini,  now 
La  Scala  th< 

librettists,  h* 
a  vaudeville 
the  '  book'  of ' 
ao  perfectly  a< 
geoiua,  found 


md   [ 


t   fel 


ibula,' 
could  not  bul 
warmly  recei> 
aeems  nowher 
much  as  in  I 
or  since  'La 
played  in  Lo 
jopularity  of 
if  its  simpl« 
story,  chiefly 
which  it  aboi 
bran,  who  ap|: 


BELLDO. 

BT-riaoX  tlie  t«nor*a  air  '  All  Ib  lost  n6w'  (Tatto 

t  eciolio),  the  sopnno's  ur  '  Ah  do  not  mingle' 

All  noD  giui^),  are  as  &miliar  as  any  of  our 

£&ci*^]al  mielocUes.      It  may  be  noted,  once  for 

il'.  that  the  genias  of  BeUini  was  exclusively 

liTical  and  tuneful.    He  was  no  hiuinonist*  he 

!lid  no  power  of  contrivance ;  and  in  his  most 

•dramatic  scenes  he  produces  his  effect  simply  by 

ike  preaoitation  of  appropriate  and  expressive 

(KJ'xiies.     The  beauties  of  'La  Sonnambula,* 

BYv  an  Bngliah  critic,  '  so  full  of  pure  melody 

ubd  of  emotional  music  of  the  most  simple  and 

ti'Sching  kind,  can   be   appreciated   by  every 

ose;    by  the  must  learned  musician  and  the 

sust  untutored  amateur— Kir  rather,  let  us  say, 

\r  any  play-goer  who  not  having  been  born 

(kaf  to  the  voice  of  music  hears  an  opera  for  the 

£rst  time  in  his  life.'     The  part  of  Amina,  tHe 

b:3>niie  of  La  Sonnambula,  is  still  a  favourite 

(oe  with  debutantes ;  and  it  was  in  this  character 

lUt  both  Madame  Adelina  Patti  and  Mile. 

Emma  Albani  made  their  Brrt  appearance  before 

HI  Ei^lish  public.     About  a  year  after  the 

^cc^Jueticn  of  La  Sonnambula  Bellini  delighted 

:he  worid  of  music  with  '  Norma,  ^  which,  very 

di^a«nt  in  character  firom  its  immediate  pre- 

^eoemor,  is  equally  in  its  way  a  work  of  gemus. 

Beilini  has  written  no  melody  more  bMutiful 

thao  that  of  Norma's  prayer,  'Casta  Diva^*  in 

vhidi  however  it  is  impossible  tD  deny  that  the 

seamd  movement  is  unworthy  of  the  first.     In 

(be  duet  of  the    final   scene    the   reproaches 

tdlreased  l^  Norma  to  the  fiuthless  PolUo  have, 

gport  from  their  abstract  musical  beauty,  the 

trae  accent  of  pathotf ;  and  the  trio  in  which  the 

perjured  priestess  and  betrayed  woman  upbraids 

htr  deceiver  with  his  newly  diaoovered  treachery 

prorea,  when  the  devoted  heroine  is  adequately 

impenonated,  at  least  as  successful  as  the  two 

otftf  pieces  dted.    The  first  and  most  celebrated 

Kpreaaitative  of  theDruid  priestess  was  Madame 

Fa&te.  It  afterwards  became  one  of  6inlia6risi*s 

greatest  parts^  and  in  our  own  day  we  have 

k-ood  an  admirable  Norma  in  Mile.  Titiens, 

Bdlim*a  most  important  serious  oper%  like  al- 

OMt  all  operas  of  zeal  dramatic  merit,  is  founded 

<3k  a  French  play.    Romanics  libretto  of  'Norma* 

vu  based  on   Soumet*s  tragedv  of  the  same 

Bame,  produced  at  the  Th^tre  fran9ais  about  a 

jear  before  the  opera  of  'Norma'  was  brought 

wit  at  the  Scala  Theatre  of  Milan.    The  sue- 

ttaefnl  opera  baa  killed  the  drama  from  which  its 

rabject  was  derived —a  result  which  under  similar 

cireomstHDces  has  happened  more  than  once  in 

tbe  history  of  the  modem  stage.    '  Don  Giovanni,* 

'Le  NoEze  di  Figaro^'  'FideUo,*  'II  Barbieie  di 

^vigtia,'  'Lucreda  Borgia,'  'Norma,'  aie  only 

1  few  of  many  examples  which  might  be  cited 

of  highly  luoceasfiil  operas  indebted  for  their 

<}nuDa^  framework    to    plays   already   nearly 

oi^eolete.    To  return  to  Bellini:   his  'Norma' 

*ac  nicceeded  by  'Beatrice  di  Tenda,'  which 

^  but  little  to  keep  up  the  composer's  repu- 

tatiaii.    Represented  hr  the  first  time  at  Venice 

°^.i^33t  it  was  perfonaed  three  years  afkerwards, 

«itho«t  much  soooea,   in  London.     In  1834 


BELLINI. 


21a 


Bdlinl  Went  to  Paris,  where,  by  the  advice  of 
Rossini,  he  was  engaged  to  write  an  opera  for 
the  The&tre  Italien.  Rossini  is  said  to  have 
reoommmded  his  young  friend  (Bellini  was  then 
twsBtyfevon  ^ears  of  age)  to  devote  f>]>ecial 
attenti<m  to  his  orchestration,  and  generally  to 
cultivate  dramatic  effect.  In  'I  Puritani'-^ 
which,  according  to  the  almost  invariable  rule, 
owed  its  dramatic  materials  and  its  stage  form 
to  a  Frenchman — Bellini  was  not  well  served 
by  his  librettist.  Its  special  and  absorbing 
interest  is  attached  either  to  the  tenor  part,  as 
in  'H  Pirata,'  or  to  the  prima  donna  part,  as  in 
*  La  Sonnambula'  and  'Norma';  while  besides 
being  dull,  even  to  those  who  understand  it, 
the  plot  of  'I  Puritani*  has  the  additional  dis- 
advantage of  being  obscure.  On  the  other  hand, 
the  score  is  full  of  the  most  engaging  melodies  of 
the  true  Bellinian  type.  The  part  of  Elvira, 
dramatically  considered,  may  be  uninteresting; 
but  no  prima  donna  who  is  mistress  of  the  Italian 
style  will  willingly  miss  an^  opportunity  of  making 
herself  heard  in  ike  beautiful  '  Qui  la  voce,'  and 
in  the  joyful  sparkling  polacci.  The  chief  purt 
however  in  the  opera^  in  a  musical  if  not  m  a 
dramatic  sense,  belongs  to  the  tenor.  Few  tenors 
since  the  time  of  Rubini,.  for  whom  it  was 
written*  have  had  voices  sufficiently  high  to  be 
able  to  sing  it  from,  beginning  to  end  in  the 
original  keys.  Otherwise  the  chvming  romance  in 
the  first  act,  '  A  te  o  cars,'  and  the  melody  of  the 
final  concerted  piece— so  refined  and  so  elevated 
in  character — could  not  but  tempt  our  Marios 
and  Giuglinis.  Both  these  artists  were,  in  fiact» 
firequently  heard  in  the  character  of  Arturo. 
The  company  for  which  *  I  Puritani'  was  written 
comprised  as  leading  vocalists,  Grisi,  Rubini^ 
Tamburini,  and  Lablache ;  and  the  distribution 
of  characters  when  this  work  was  first  performed 
was  the  same,  for  a  few  years  at  least,  in  London 
as  in  Paris.  '  I  Puritani '  was  produced  in  Lon- 
don for  the  benefit  of  Madame  Grisi  in  1 835  ;  and 
the  '  Puritani  season'  was  remembered  for  years 
afterwards,  and  is  still  cited  by  experienced 
habitues,  as  one  of  the  most  brilliant  ever  known. 
We  have  spoken  of  the  prima  donna's  Cavatina 
and  of  her  polonaise  'Son  Vergin  vezzosa,'  of 
the  tenor's  romance,  and  of  his  leading  motive  in 
the  concerted  piece  of  the  last  act ;  nor  must  we 
forget  the  duet  in  three  movements  for  the  bari- 
tone and  bass — as  fully  developed  and  destined  to 
be  quite  as  popular  as  the  duet  for  the  two  soprani 
in  '  Norma.  As  regards  the  spirited  concluding 
movement  in  the  military  style,  with  its  vigorous 
accompaniment  of  brass  instruments,  Ilossini, 
writing  of  the  opera  firom  Paris  to  a  friend  at 
Milan,  observed:  'It  is  unnecessary  for  me  to 
describe  the  duet  foe  the  two  basses ;  you  must 
have  heard  it  where  you  are.*  'I  Puritani*  was 
Bellini's  last  opera.  Soon  after  its  production  he 
went  on  a  visit  to  an  English  friend,  Mr.  Lewis^ 
at  Puteaux,  at  whose  house  he  was  attacked  with 
an  illness  from  which  he  never  recovered.  *  From 
his  youth  upwards,'  says  Mr.  J.  W.  Mould  in  his 
'  Memoir  of  Bellini,'  '  Vincenzo's  eagerness  in  his 
art  was  such  as  to  keep  him  at  the  piano  day 


SI4 


BELLnn:. 


ftad  night,  till  ia  wm  obliged  forcibly  to  Wve  It. 
The  ruliiig  ponioa  accompanied  him  through  hii 
short  life,  uid  by  the  uuduit;  with  wluch  ha 

Eunued  it,  brought  cm  the  dyienteiy  which  clcaad 
is  brilliknt  career,  peopling  his  lost  honn  wi'' 
the  figurat  of  those  to  whom  his  works  were 
lugel;  indebted  toe  their  ancoeu.  Diinog  the 
moments  of  delirium  which  preceded  his  death, 
he  WIS  oonituitlj  speakiog  of  Lablache,  Tsoi- 
bariiii  and  Griai ;  uid  oneof  his  last  racogniuble 
impressions  was  that  he  wu  present  at  a  brilliant 
lepreBBUtation  of  his  last  opera  at  the  Sa1]« 
Tart.'  Bellini  died  on  Sept.13. 1835,  in  th»  , 
year  of  his  age— not  the  greatest,  but  by  far  the 
jouogeat,  of  many  admirable  composers  (as  Pur- 
oell,  Morart,  Schubert,  MeudelsBolm,  H^ld)  who 
■caroely  lived  to  accomplish  half  the  allotted  years 
of  man.     It  has  been  sud  that  Doniietti,  Bel- 


tdght  yi 
dwintUc 


gnat  Boari: 
of  fseliiig  ai 
BEUUK 
of  French  f 
in  tSo4  at 
One  of  her 
vbich  she 
engagsmeQl 
year.  .She 
in  Martini 
Thence  she 
where  she  1 
remained  fc 
iBi}  Koesi 
Galli,  'L'li 
'Ia  GaciB 
pearod  fiw 
nune  of  B 
Though  ■  g 


t  fifty-two  when  he  died, 
n  the  other  hand  hy  what  another 
irariea  did  during  am  Rnt  twenty- 


dwintUes   away    before   that  of   Rossini, 


amona  works  of  less  6une,  '  Tancredi,'  '  11  Bar- 
biere,    'Otello,'  'La  Ga^   Ladra,'   and   '1* 

Cenerentola.'  But  even  if  Bellini  shouM  oatliTS 
Bnssini^-and  in  the  present  day  '  n  Barbiere ' 
and  '  Semiramide'  are  the  only  Roasinian  (Rwras 
which  are  played  u  often  as  '  La  Sonnambula ' 
and  'Norma' — it  would  still  be  necessary  to  r»- 
member  that  Bellini  was  but  a  follower  of  Ros- 
sini, and  a  pupil  in  his  moat  melodious  of  schools. 
Directly  after  Bellini's  death,  and  on  the  very 
eve  of  his  funeral,  the  Theatre  Italien  opened  for 
the  season  with  'IPuritam,'  The  perTormanoe 
must  have  been  a  sad  one  ;  and  not  many  hours 
after  its  conclusion  the  artists  who  had  taken 
part  in  it  were  repeating  Bellini's  last  melodiea, 
not  Co  the  words  af  the  Italian  libretto,  but  to 
those  of  the  Catholic  service  for  the  dead.  The 
eeueial  direction  of  the  ceremony  had  been  un- 
dertaken by  Rossini,  Cherubini,  Paer,  and  Ca- 
ra& ;  the  musical  department  being  specially 
entrusted  to  Habeoeck,  the  distinguished  con- 
ductor of  the  French  Opera.  In  the  Requiem 
Servit«  a  deep  impression  was  produced  by  a 
'I^crymosa'  for  four  voices,  of  which  the  beauti- 
ful tenor  melody  in  the  third  act  of  '  I  Puritani' 
formed  the  fitting  theme.  The  movement  was 
lung  without  accompaniment  by  Rubini,  Iva- 
Doff,  Tamburini,  and  Lablache.  The  mass  was 
celebrated  in  the  Church  of  the  Invalides,  and 
Belliui  lies  buried  in  the  cemeMt;  of  P&re  la 
Chaise.  Rossini,  who  had  dose  so  much  for  his 
young  compatriot  during  his  life-time,  undertook 
the  duty  of  conveying  to  the  bther  the  news  of 
his  death.  'You  always  encouraged  the  object 
of  my  eternal  r^ret  in  his  labours,'  wrote  the 
old  Bellini  in  reply ;  '  >  .  .  I  shall  never  cease  to 
remember  how  much  you  did  for  my  son.  I  shall 
make  known  everywhere,  in  the  midst  of  my 
tear^  what  an  aSectionate  heart  belongs  to  the 


She  sang  h 

singing  thei 
spring.  Sh 
and  during 
the  stsge, 

BELLOl 
b  colleotad, 
the  sevenl 


singularly  ti 
the  early  m 
the  steps  by 
consummati 

by  bellows 
belloita,  ab 
'weighted' 
as  the  men 
vreight  one 
tban  those 
that  the  to 
must  have  I 
the  llthoei 
hold  klnd- 
a  nearer  ap 
with  care  hi 


BBLLOIfSL 


BELLOWa 


81d 


M  aceooBte  mfann  U8 — and  wtm  ooiiBeqiiently 
■abject  to  frequent  injurj  Imki  stain  and  friction ; 
hiaice  thd  ooostaiii  appeanuj^e  in  old  pariah 
aecooBte  of  such  entriea  ai  *  Paid  for  mending 
!>:'  the  gret  oigan  bellowia,  and  the  amall  oigan 
heliowBfli,  T^.'  These  eTer-recmring  fiulnres  at 
IcD^th  Boggested  the  uae  of  acme  more  durable 
z^axeriid,  and  wooden  Hbi  were  aubatituted  for 
the  leatherfelds.  Thia  improvement  waa  effected 
as  long  ago  aa  1419,  in  which  year,  aa  we  learn 
frtm  Uie  Fabric  BoUa  of  York  Minster,  John 
Co<iper,  a  oarpetUer,  reoeiyed  'For  conatmoiing 
tbe  ri&«  of  the  bellowB,  xiiV 

These  bdlowa,  however  fanned,  could  of  coune 
zive  aaij  an  intennittent  supply  of  wind,  being 
whoQy  inoperative  while  being  drawn  open ; 
Ojoaeqaently  two  at  the  leaat  were  alwaya  re- 
4^uix«d,  one  to  supply  wind  while  the  other  waa 
repleniahing.  A  nnnre  'continuoua*  aupply,  though 
by  no  means  of  an  'unvarying*  strength,  waa 
■ecnied  by  the  use  of  a  contrivance  like  the  or^ 
dinarj  smith's  foige  beUows,  consisting  of  a  feeder 
below  and  a  diagonal  reservoir  above.  When 
ihia  farm  of  bellows  waa  first  used,  or  finally 
shandoned,  are  matters  not  quite  clear ;  but  acme 
diiJTMed  i^>ecimena  were  lying  in  a  lumber-room 
attached  to  Tong  chnroh,  Shropahire,  aa  late  aa  the 
year  1 789.  Father  Smith  (died  1 708)  occasionally 
pot  Bomirthing  of  the  kind  into  his  amall  cabinet 
crgana ;  but  attention  was  more  particularly  di- 
rected to  the  oonrection  of  the  derocts  which  con- 
tiniied  to  exist  in  the  diagonal  bellows. 

A  diagonal  bellows  was  fanned  of  two  pain  of 
triangular-shaped  ribs  for  the  sides,  a  pair  of  par- 
alM  ribs  for  the  spreading  end,  a  bottom-board, 
a  top-board — all  attached  together  by  leathern 
hingea — and  the  auperincumbent.weiffhta.  For 
a  loog  time  the  bellowa  were  placed  with  the 
bottom  board  in  a  horizontal  position,  the  top 
board  risings  and  ^e  whole  takhig  the  following 
oatline  wh^  inflat<^  :— 


This  did  not  however  produce  a  unifonn  current 
of  air,  but  a  aomewhat  lighter  one  at  the  com- 
mmcement  of  the  deacent,  and  a  gradually 
increasing  one  during  the  cloeing.  This  aroee 
frijm  two  causes.  The  first  was  connected  with 
the  w^hts.  A  weight  exerdses  its  greatest 
influence  on  a  horizontal  surface,  and  loses  some 
of  that  influence  on  an  inclined  plane.  The 
Kcoud  was  due  to  the  varying  position  of  the 
wooden  ribs.  These  would  present  an  obtuse 
angle  to  the  wind  in  the  bellows  when  inflated. 


tad  one  gradually  mcreasing  in  acuteness  as  It 
dosed—'  


the  top  board  approached  a  horinmtal  position, 
and  the  side  anid  end  folds  wedging  their  way 
into  the  wind,  the  two  actions  gradually  in- 
creased the  density  of  the  wind  to  one-fourteenth 
beyond  its  first  pressure.  Various  ingenious 
means  were  devised  for  correcting  this  inequal- 
ity— as  accumulative  springs ;  a  counterpoise  act- 
ing in  opposition  to  the  decent  of  the  bellows ; 
a  string  of  leaden  weights  which  were  left  in 
suspension  as  the  beUows  descended,  etc. :  but 
the  simplest  and  perhaps  most  effectual  of  all 
was  that  adopted  by  acme  of  the  Gennan  oigan- 
buildera,  which  conaisted  in  placing  the  bellows 
ao  that  the  top  board  took  the  horizontal  positioa 
on  the  bellows  being  inflated— 


In  this  case  ihe  top  weights  ezeicbed  their 
greatest  pressure  at  the  starting,  at  whidi  time 
the  ribs  exercised  their  least,  and  vice  vend. 

A  bellows  nevertheless  still  gave  but  an  inter* 
mittent  supply,  and  it  was  not  until  the  year 
176a  that  an  approach  towards  a  successful  com- 
bination of  a  feeder  and  a  reservoir  was  made, 
by  a  clockmaker  of  the  name  of  dimming. 
Tiiis  beUows  had  something  of  the  farm  showB 
in  the  following  outline  :«— 


It  presented  the  mistake  however  of  having 
the  two  double  sets  of  ribs  folding  the  same  way, 
which  continued  the  defect  in  the  increasing 
pressure  of  wind  during  the  closing,  that  has 
already  been  noticed  in  the  diagonal  bellows. 
This  led  to  the  upper  set  being  inverted,  thus^ 


y 


^ 


I 


The  top  weights  aoquiring  greater  inflnenoe  as 


The  upper  set  thus  giving  more  room  to  the 
wind  aa  the  lower  gave  leas,  the  one  remedied 
the  defect  the  other  was  calculated  to  cause. 
Thus  the  desired  'copious,  unvarying,  and  con- 
tinuous* supply  of  wind  was  at  length  secured. 

There  are  certain,  disturbances  which  arise 
from  the  manner  of  the  consumption  of  the 
wind. 

It  is  essential  that  the  bellows  of  an  organ 
should  yield  a  steady  as  well  as  an  ample  supply. 
The  improved  bellows  being  capable  of  the 
latter,  the  even  flow  was  nevertheless  apt  to  be 
disturbed  from  one  of  many  causes.  A  prolific 
source  of  unsteadiness  was  unskilfiilness  on  the 
part  of  the  blower.  At  the  commencement  of 
the  stroke  the  wind,  in  paaaing  into  the  reservoir, 
haa  to  overcome  the  preaaure  of  the  aurface 
weighta  and  raise  the  top- board,  and  at  its 


[« 


BELLOWa 


imlnaUan  the  Burhce  welghta  luve  gentlj  to  1 
igiUDB  their  comprcsaiog  force  DD  die  wind.   But 

the  stroke  be  beguD  or  ooDcluded  too  aaddeDl; 
lere  will  be  a  mamentery  OTer-oompreBSJon  oc 

jerk  in  the  wind,  teaultiug  in  nther  case  in  a 
isturbanca  of  tlie  amooth  Hiuiidiiig  of  the  pipe*.    | 

AgatD,  if  several  large  pipes  are  Hunded  { 
igether,  hj  many  ban  keys  being  put  down 
multaneouBly,  there  will  be  a  great  demand 
|)on  the  wind  supply,  and  a  consequent  posii-  I 
ility  of  the  small  pipu  in  the  treble  not  being 
roperly  'fed,'  the  result  in  that  case  being  a 
omentary  weakne«  or  tremulouineu  in  their 
)eoch.  On  lotting  the  sayeral  baas  keyi  »ud- 
mly  rise,  the  coniumption  of  wind  would  as 
iddenly  tie  checked,  and  by  thus  causing  for  a 
loment  a  slight  over-oompreinon,  the  senaitire 
nail  pipea  would  sound  too  sharp  and  strong, 
hese  tendencies  suggested  the  application  of  a 
nail  self-acting  reoervoir  in  ibe  immediate 
%hb6urbood  of  the  pipes,  whidi  should  kdd  to 
'  subtract  from  the  ordinary  wind-supply  as 
>casion  might  require ;  and  such  an  apparatus 
aa  iDeeeaafblly  devised  by  the  Ute  Mr.  Bishop, 
hich  oondsted  of  side  and  end  ribs,  and  a  board, 
A  unliko  a  amall  'feeder,'  with  strong  springs 
shind  placed  horiioDtally  or  vertically  over  a 
de  out  in  the  wind-cheat  or  wind-trunk,  the 
hole  bwng  called  a  '  concussion  bellows.' 


cora^TO  use  of  bdls 
domestic  animals;  ar 
waggoner'i  team  wej 
appendage  as  the  sh 
Switzerland  and  elaei 
the  New  Forest,  stil 
sound  of  the  bell  is  < 
of  the  body.  But  i 
plications  of  the  bell 


It  ii 


essential  charaotensti' 
distinguishes  their  sp 
iostrumente.  Of  mue 
the  word,  bells  in  tl 
capable.  They  may  1 
aid  sounded  in  var 
method  ot  obtaining 
bell  till  the  clapper 
alone  the  full  sound  c 
precludes  anything  lil 
the  -     '  -■      ' 


Whoi  at  rest  the  concunian  bellows  stands 
MUt  half  way  open,  and  charged  tu  that  extent 
ith  air.  If  a  sudden  and  great  demand  is  made 
>on  the  wind  it  immediately  closes,  adding  iM 
ntents  to  the  average  supply ;  and  if  there  is 
ceJy  to  be  a  redundance  it  expands,  and  so 
duces  it  to  the  average.  [E.  J.  H.] 

BEIJ^.  Musical  instruments  of  metal,  sound- 
1  by  percussion,  and  consisting  of  a  cup  or  bowl, 
lUsed  to  vibrate  by  the  blow  of  a  '  otapper '  or 
immer  on  the  iimer  or  outer  surfooe  of  toe  bell, 
le  eitemsl  stroke,  however,  is  only  applied  in 
ecial  cases,  as  when  a  large  bell  is  connected 
ith  a  clock,  and  the  hours  struck  upon  it  with 
I  external  hammer  worked  by  mechanical 
Sana ;  or  when  a  series  of  bells  are  arranged  so 
at  sek  compositions  can  be  played  upon  them 
'  a  series  of  such  hammers,  and  with  musical 
eoision.   [See  Cabillons.]   A  fixed  bell  can  also 

played  by  an  internal  hunmer  puUed  or  struck 
ainst  the  inside.  Bat  the  essential  and  typical 
m  of  the  bell  is  that  in  which  the  stroke  is 
ren  by  a  movable  clapper  hung  within  the 
11,  and  caused  to  strike  by  swinging  the  latter, 
^er  by  hand  (in  the  case  of  small  bellsl  or  by 
vheel  and  pulley  system  in  the  osse  of  large 
ea.  Bella  have  also  been  extensively  used  as 
rsonal  ornaments  and  decorations,  &i)m  those 

the  bem  of  the  garment  of  the  Jewish  high- 
est to  those  which  formed  the  appendages  of 
9  head-dress  of  the  mediasval  jester.    Tlus  de- 


for  performing  muno 
precision  involve  a  gv 
the  true  principle  of 
of  its  characteiistic  a 
letting  it  swing  &eely. 
that  bells  form  a  kind 
the  music  of  art  and 
fixed  tone  and  synchro 
them  with  the  art,  whi 
charaoter  of  the  musi< 
by  the  beet  peal-iinge 
and  vague  character  o 
wildness  of  charactOT 
chums  of  belt-munc  i 
has  caused  it  to  be  so 

ginative  literature. 

Like  the  harp,  the 
origin  ;  nor  would  it  ■ 
speculate  upon  the  t 
form  of  the  bell,  of 
nothing ;  or  even  to  c 
archeology  of  the  ii 
almost  all  natjons  ol 
know  anything  implj 
shape  or  another ;  gen 
sign  or  proclamation, 
church  l>ell,  and  '  tJi 


bell-ringing  int 

the  middle  ages.     Tt 
the  development  of  bel 


dral  form.     Not  that ' 

predominance ;  but  U 
great  power  and  oen 


BELIJ3. 

Xanpe^  the  art  of  the  time  was  all  drawn  into 
its  aorioe,  and  thus  it  came  to  pass  that  bells 
hA^  bc«ii,  at  a  comparatively  early  period  of 
l^^s  Christian  era,  introduced  as  an  appendage  to 
phuxM  of  woEship,  their  development,  with  all 
the  ait  snd  science  which  the  medisval  workmen 
'had  at  canunand,  became  almost  inseparably  oon- 
mtctai  with  that  of  church  architecture,  and 
their  eoonds  associated  in  an  especial  degree  with 
{^nxth  celebrations.  The  form  of  bell  which  may 
be  said  to  have  been  perfected  by  mediieval  bell- 
isuxiden  (for  it  has  been  accepted  as  a  type  upon 
which  DO  essential  or  radical  improvement  can 
be  made)  is  that  shown  in  the  following  diagram, 
in  which  also  the  principal  component  parts  of 
VVtf»  bellsie  distinfi^uiaheoL 


BELLS. 


217 


E  No.  2. 


The  elevation  of  the  exterior  of  the  bell 
explains  itself;  the  section  shows  the  relative 
thickness  and  shape  of  the  metal;  'the  thickest 
pii^oD,  the  'sound -bow,*  A,  against  which  the 
cUpper  strikes,  is  usually  -^th  of  the  total 
diameter  of  the  bell  at  the  lip.  The  half-section 
narked  No.  i  shows  the  old  method  of  providing 
for  the  hanging  of  the  bell  and  the  attachment 
of  the  clapper;  the  loops  called  'canons,'  B, 
being  cast  on  solid  to  receive  the  iron  straps  by 
whidi  the  bell  is  fixed  to  the  stock,  and  the  bolt, 

C,  for  attaching  the  clapper  also  cast  soli^  on 
the  inside  of  the  belL  It  is  necessary  that  C 
fihoold  be  well  below  the  line  of  axis  on  which 
the  ben  swings,  so  as  to  describe  an  appreciable 
circle  around  the  axis,  otherwise  there  will  be 
no  leverage  to  drive  the  clapper,  and  it  will  not 
fly  properly.  The  swing  of  the  clapper  is  further 
eoaured  and   accelerated   by  the   small  piece, 

D.  called  the  'flight,'  cast  on  to  the  striking 
put  to  inoease  the  impetus  of  the  blow.    Half- 


section  No.  3  shows  a  method  of  hanging  the 
bell  and  clapper  reconomended  by  Sir  £.  Beckett, 
and  adopted  in  a  good  many  inktanoes  by  Mr. 
Taylor  of  Loughborough,  in  which  canons  are 
dispensed  with,  and  a  thick  crown,  £,  is  used 
with  bolt  holes  through  which  the  bell  is  bolted 
to  the  stock,  and  a  lai^r  hole  in  the  centre 
through  which  the  clapper-bolt  is  also  fixed  to 
the  stock,  instead  of  being  cast  on  to  the  bell. 
The  advantage  of  this  phm  is  that  the  bell  can 
easily  be  turned  on  the  stock,  the  clapper>boli 
(which  is  circular  where  it  passes  through  the 
bell)  remaining  stationary,  and  thus  the  blow 
of  the  clapper  can  be  directed  against  a  now 
portion  of  the  sound-bow,  should  the  original 
striking  place  have  become  worn  or  show  any 
tendency  to  crack. 

The  material  of  which  bells  are  composed  is  a 
mixture  of  copper  and  tin,  which  in  the  old  bells 
appear  to  have  been  used  in  the  proportion  of 
about  3  to  I .  Modem  experiment  has  given  rise 
to  the  oonclusion  that,  while  this  combination 
gave  the  best  sound,  and  the  proportion  of  tin 
might  even  be  increased  with  advantage  to  the 
sound,  this  proportion  represents  the  extreme 
amount  of  tin  which  can  be  used  without  the 
danger  of  rendering  the  metal  brittle  and  liable 
to  crack,  and  that  in  regard  to  this  consideration- 
a  margin  within  that  proportion  of  tin  is  safer. 
32  of  copper  to  7  of  tm  was  used  for  the  West- 
minster bells  in  the  Victoria  Tower.  Any  consider- 
ably larger  proportion  of  copper  than  this,  on 
the  other  hand,  has  a  tendency  to  render  the 
metal  too  soft,  and  impair  the  brilliancy  of  its 
tone. 

The  conclusion  that  the  special  shape  figured 
above,  or  something  near  it,  is  the  best  for  a  bell, 
has  no  basis  that  any  one  seems  to  know  of  ex- 
cept experience.  It  has  been  theoretically  main- 
tained that  plain  hemispherical  bells  ought  to 
give  the  best  and  purest  tone,  but  except  on  a 
small  scale  it  is  not  found  to  be  so ;  the  result 
being  either  that  the  tone  is  very  heavy  and 
dead,  or  that  when  forced  by  hard  striking  it  is 
unmusical  and  disagreeable  to  the  ear.  Sets  of 
hemispherical  bells  have  lately  been  made  of 
larger  size,  and  with  more  success  than  before ; 
they  require,  however,  to  be  fixed  and  struck, 
and  not  swung ;  their  tone  when  not  struck 
too  heavily  is  not  unpleasing,  but  quite  inferior 
in  power  imd  brightness  to  that  of  a  swung-  bell 
of  the  usual  form.  It  is  also  to  be  noted,  though 
this  fact  again  is  equally  inexplicable,  or  at  least 
unexplained,  that  large  and  small  bells  require 
somewhat  differing  shape  and  proportions  to 
realise  the  best  sound.  That  the  proportionate 
thickness  or  weight  of  metal  for  producing  the 
best  results  should  be  different  for  large  and 
small  bells,  it  is  more  easy  to  understand.  For 
a  large  bell,  buch  as  6-feet  diameter,  experience 
seems  to  give  a  thickness  of  -rW  of  the  diameter 
as  the  b^  proportion.  Smaller  bells  will  bear 
a  somewhat  greater  proportionate  thickness,  and 
the  proportionate  thickness—that  is  to  say,  the 
proportionate  weight  of  metal  to  the  note  pro- 
duced— is  always  increased  in  a  large  peal,  from 


tl8 


3SLLS. 


the  loweor  to  the  upper  notee  cf  ili0  Mate.  The 
thinner  the  bell  is  in  proportion  to  the  weight 
of  metal,  it^iiould  be  ooBerved,  the  deeper  is  the 
pitch  :  80  that  if  the  same  proportionate  thiokness 
-were  preserved  in  the  treble  as  in  the  tsnor  of 
m  peal,  the  fanner  would  hmve  to  be  made  of 
too  small  size  and  too  litUe  weight  of  metal  to 
compete  successfully  with  the  tenor.  By  adding 
to  the  proportionate  thickness  of  the  treble,  we 
are  enabled  to  make  it  of  larger  size  and  heavier 
metal  while  preserving  the  high  pitch.  This 
effect  of  thickness  on  pitch  is  a  thing  to  be 
borne  in  mind  in  ordering  a  peal  of  bells,  and 
deciding  what  scale  or  pitch  is  to  be  adopted. 
The  cost  of  the  bells  is  in  proportion  to  the 
weight  of  metal,  and  the  question  therefore  is, 
given  so  much  metal,  in  what  form  to  cast  it  so 
as  to  get  the  best  effect  from  it.  This  will  often 
be  best  realised  by  not  endeavouring  to  get  too 
deep  a  tone  from  the  peal ;  a  peal  tuned  in  the 
scale  of  E  or  of  F  may  be  equally  cast  with  the 
same  amount  of  metal,  but  will  not  be  equally 
good,  as  either  the  £  peal  in  that  case  must  be 
too  thin,  or  the  F  dcaI  too  thick.  Where  the 
amount  of  metal  is  limited,  therefore,  the  higher 
pitch  will  give  the  best  result,  and  enable  the 
metal  to  be  used  to  the  best  advantage. 

The  precise  note  which  a  bell  of  a  certain 
shape,  size,  and  weight  will  produce  is  almost  a 
matter  of  experience ;  but  the  proportion  be- 
tween size  and  relative  dimensions  and  pitch  is 
capable  of  being  approximately  tabulated.  The 
average  modultu  of  the  finest  of  the  large  bells 
of  £urope,  as  between  size  and  weight,  is  given 
by  Sir  E.  Beckett  (to  whose  work  on  Clocks 
and  Bells  the  reader  is  referred  for  more  detailed 
information  on  some  of  the  points  touched  upon 
here),  as  lo  cwt.  of  metal  for  a  bell  3  feet  in  dia- 
meter, and  as  the  weight  of  metal  varies  as  the 
cube  of  the  diameter,  a  bell  of  4  feet  diameter 
would  consume  nearly  35  cwt.,  and  one  of  6  feet 
diameter  4  tons  of  metal.  A  bell  of  this  last- 
named  weight  would,  with  the  best  and  most 
effective  disposition  of  the  metal,  give  the  note 
tenor  G;  and  the  pitch  for  other  sizes  may  be 
deduced  from  this,  on  the  rule  that  the  num- 
ber of  vibrations  per  second  in  bells  varies  as 
(thickness)' 

diameter 

Wliere  a  set  of  bells  are  in  precisely  similar 
proportions  throughout,  their  dimensions  would 
be  simply  in  an  inverse  ratio  to  the  number 
of  vibrations  per  second  of  the  notes  they  were 
intended  to  sound.  But  as  in  practice  the  higher 
pitched  bells  are  always  made  thicker  in  pro- 
portion to  the  diameter  than  the  lower  ones,  for 
the  reasons  mentioned  above,  the  problem  cannot 
for  practical  purposes  be  stated  in  the  simple 
form  of  inverse  ratio.  Bells,  it  may  be  observed, 
are  tuned  by  turning  out  a  small  portion  from 
the  inner  side  of  the  thickest  part  or  sound-bow, 
when  they  are  too  sharp,  so  as  to  reduce  the 
thickness  and  thereby  flatten  them,  or  by  similarly 
turning  off  a  small  portion  from  the  edge  of  the 
rim,  so  as  to  reduce  the  diameter,  when  it  is 
desired  to  sharpen  them.     This  latter  process, 


BELLa 

« 

howercc;  impam  the  afaape^  and  m  .m^  alao  tj 
injure  the  tone  of  the  bell;  and  if  the  castinj 
cannot  be  ao  aoooxately  regulated  ae  to  givi 
hope  of  BBBoring  correctness  at  firsts  it  ia  bettei 
to  let  any  excess  be  on  the  side  of  sharpnet^ 
which  can  be  corrected  without  damaging  tl« 
bell.  In  the  case  of  large  peals  the  plan  ha 
sometimes  been  followed  of  csusting  all  tb* 
smaller  bells  a  trifle  thick,  so  that  if  the  whol 
peal  is  not  precisely  in  tune,  the  tuning'  may  al 
fall  on  the  smaller  bells,  which  will  be  reduced  i] 
thickness  till  they  are  brought  down  to  the  pitc] 
to  range  correctly  with  the  larger  ones.  Cells  an 
however  now  cast  with  considerable  accuracy 
and  the  turning  out  of  a  nearly  perfect,  or,  as  il 
is  called,  a  'maiden*  peal,  is  not  an  uncommon 
occurrence ;  though  it  must  be  said  that  peals  ar< 
not  unfrequently  so  called  which  are  not  as  per 
fectly  in  tune  as  they  ought  to  be,  but  which  are 
left  untouched  in  order  to  claim  the  credit  oi 
being  a  'maiden'  set.  This  ought  never  to  hi 
allowed ;  in  fact  a  much  more  rigorous  standard 
ought  to  be  maintained  in  tuning  bells  than  u 
usual :  the  number  of  bells  not  properly  in  tun€ 
with  each  other  which  we  hear  is  a  constant 
annoyance  to  those  whose  ears  can  detect  the 
falsity,  and  perhaps  does  something  tow^ards  con- 
firming other  listeners  in  their  deficiency  of  what 
is  called  'ear.* 

The  casting  of  a  large  bell  is  an  operation  re- 
quiring considerable  preparation  and  a  great  deal 
of  nicety  of  workmanship.    The  first  process  is 
to  form  the  model  of  the  inside  surfiaboe  of  the 
bell,  or  the  core,  which  is  done  on  a  conical- 
shaped  base  of  iron  or  brickwork ;  the  clay,  after 
being  approximately  modelled  by  hand,  is  brought 
to  the  correct  mould  by  means  of  what  is  called 
a  'sweep,'  which  is  a  flat  piece  of  hard  wood 
with  one  of  its  edges  cut  to  the  section  of  the 
inside  of  the  bell,  and  which  is  attached  to  a 
pivot  fixed  in  the  centre  of  the  core,  and  then 
'swept'  round  the  clay  until  the  model  of  the 
inside  of  the  bell  is  correctly  formed.     The  core 
is  then  thoroughly  dried  by  heat,  either  by  a  fire 
lighted  under  it  (if  it  is  on  a  brick  base),  or 
by  being  placed  bodily  in  an  oven  (if  it  is  on  an 
iron  base).    The  next  point  is  to  obtain  the  outer 
shape  of  the  bell,  and  its  thickness.    There  are 
two  ways  of  doing  this.    The  method  which  used 
to  be  universally  adopted  was  to  make  upon  the 
core,  after  it  was  dried,  a  model  of  the  thickness 
of  the  bell  in  clay,  the  outer  shape  of  the  bell 
being  obtained  by  another  sweep  operating  in 
the  same  way,  and  turning  on  the  same  centre  as 
that  which  formed  the  inside  shape ;  then  upon 
this,  when  dry,  to  build  a  cover  or  cope,  the 
iimer  side  of  which  closely  followed  the  outer 
shape  of  the  bell.      This  cope,  going  like  an 
extinguisher  over  the  whole,  was  strengthened 
with  haybands,  or,  in  the  case  of  large  models, 
with  pieces  of  iron  worked  into  it,  so  that  when 
made  it  could  be  bodily  lifted  off,  the  clay  bell 
previously  made  on  the  core  broken  away,  and 
the  cope  replaced,  leaving  betwe^i  it  and  the 
core  the  precise  shape  and  thickness  of  the  bell. 
The  difficulty  however  of  getting  a  good  external 


BELLS. 

I   boA  h  tUi  wtj  most  )ia*«  berti  «oarid«Mbla. 

i  Tbe  metbod  ddw  iuu»U;  (mplayed  ii  to  ilupmaa 
sith  the  opentkn  of  maJricg  the  clay  '  thiokneai ' 
■Itoijetbe',  lad  to  hATe  k  metal  oope  Urger  tluin 
the  sue  of  die  bell,  ud  liosd  with  cUj,  in  which 
tiw  exicnii]  model  of  tlie  bell  ii  then  fonced  by 
■n  iavRted  iweep,  acting  on  the  inmde  Bur&oe ; 
I&e  ooft  a  tfam  turned  aver  the  oore,  and  the 
tiac*.  Budal  of  the  bell  ii  represented,  of  ooune, 
bj  tbeipaoe  between  them.  The  direct  action  of 
the  mwttp  eeeutea  a  more  linitheil  eiteritH  lurbDa 
tluui  with  the  old  handmade  cope  ;  and  aaathar 
advmutaga  a  that  the  inm  cope  can  be  bolted 
dom  to  »  plate  below  the  oore,  n  a<  to  render 
the  whole  thing  perfectly  Mead;  tor  the  oaatiitf, 
and  greatly  bdbtate  tlie  prooew  of  getting  it 
into  the  eaod.  The  mould  which  giTea  the  Hhape 
of  the  top  of  the  bell,  with  the  olapper-ring 
and  the  ean  cr  '  canoni'  for  fixing  the  bell  ' 
the  ttock,  ii  added  to  the  model  by  a  ■epaiate 
procBH,  ud  the  whole  ii  then  imbedded  in  the 
Aand  of  the  casting-room  with  the  mouth  down- 
wud.  aod  the  metal  run  in  and  left  to  oooL 

Bdli  have  oocauimally  been  uied  in  the  ae- 
chei(i%  though  hardly  in  any  venae  wbioh  can 
joiti^  their  being  included  among  orcheatral 
imtnnDaita :  linoewhen  uied  singly  and' lounded 
by  fvuiging  in  the  crdinary  way,  ^y  are  in^ 
rariably  intended  to  gire  what  may  be  called 
'Inal  colour'  to  a  dnunatic  Kene;  to  luggeat 
■omething  beyond  or  apart  from  the  otohenro,  oi 
"e  jouoo-bell  in  the  Trovatoie,'  the  goat-bell 
the  Teepo^befl  in  Bennett's 
9  Feii '  OTertnre.  Hraort  boi, 
Aoweter,  ooeil  n  frame  of  belli  played  by  a  key- 
baid  like  that  of  a  pianoforte  ('Glockenipiel') 
in  the  nore  of  'Die  ZauberflBte,'  to  ropreaent 
tlie  effect  of  Papogeno'i  belli  which  are  vieibly 
ftmeat  in  hia  beoti-dieM,  though  actually  played 
m  the  band.  The  lame  initrumeut  hai  been 
■Bed  in  a  tomewbat  nmilor  manner  by  one  or 
two  otlm'  operatic  compceen,  but  olwayi  for 
.«■  ..  _...._  .1..  .._,  jij^jfiy.  muoical 
-  I  EngUih  orgau- 
nt  of  a  scale  of 
UUi  to  an  organ,  which  are  sounded  either  alone 
cr  in  oombiuatioii  with  the  ordinary  stops  on 
drawing  a  stop-head  which  brings  them  under 
the  control  of  the  keys  ;  but  the  addition  is 
pletely  oat  of  keeping  with  the  genius  o 
trgiu,  and  is  available  ratho-  for  '  sensational ' 
effects  than  as  a  real  addition  to  the  proper  range 
of  the  inatmmeut.  All  these  experiments  only 
lene  to  confirm  the  c^inion  that  bell-mnsio  doee 
not  beloi^  to  the  region  of  musical  art  properly 
so  allied ;  and  atCempte  to  drag  the  bell  from  its 
proper  sphere,  and  nnce  from  it  an  expreasion 
Sireign  to  ila  nature,  have  never  permanently 


To  enable  the  ringera  to  da  this  with  accum^, 
and  also  to  enabie  thsn  to  change  the  order  in 
which  the  bells  stoik*  l^  pnper  BSthoda  (see 
CRAnGi-Ri!iGiNOl,  bells  are  hung  as  riiiiwa  in 
the  aooomponying  illustrations  : — 

f  la.  I. 


permanently 
[H-  H.  S.] 


BELLS  are  rang  id  peal  in  the  British  Islands 
•nly,  with  the  exception  of  one  <a  two  rings  of 
belli  in  America  and  the  Colonies.  On  the  Con- 
tinent they  are  simply  olashed,  beiog  swung  with 
1  ieva — die  ikotea  i^  the  bells  not  being  arranged 
in  sny  special  order.  In  oor  islands  it  is  usual 
tg  tune  bells  in  the  diatouio  scale,  and  they 


They  are  first  carefully  seemed  by  iron  bolla 
and  braces  threugh  the  ears  or  'canons,'  E,  to 
the  stock  A  (Fig.  i )  which  U  fitted  with  axles  or 
gudgeons  of  iron,  M,  working  in  brass  or  gun- 
metal  bearings.  The  stock  is  fitted  with  a 
wheel,  E,  and  a  stay,  B  ;  and  a  ground  pulley.  N, 
is  fixed  to  the  floor  of  the  belfry.  By  pulling 
the  rope,  F,  the  bell  is  gradually  swung  till  she 
stands  mouth  upwards,  as  shown  in  Kigs.  i  and 
J,  when  she  is  maintained  in  this  pontion  by  the 
stay  B,  and  slider  C,  which  prevent  her  from 
Fro- J. 


&l]ing  over  (or  taming  clean  roond).  It  will  be 
seen  that  when  the  rope,  F,  has  been  pulled 
enough  to  bring  the  fillet  or  '  sallie  pin.'  G,  down 
to  the  nearest  point  to  tlie  ground  pulley,  N,  that 
it  can  reach,  it  would  in  iwinglng  post  that  point 
raise  the  n^ ;  this  givea  the  ringer  a  second 
puU,  as  will  be  seen  by  refer^ice  to  Fig.  j,  and 
thja  is  called  the  'bandatroke'  puU.    Mow  by 


tben,  winding  the  rope  round  the  wheel  &e  ihe 
movea,  ahe  will  arrive  at  the  pKiitioD  of  the  bell 
in  Fig.  3 — thia  ie  called  the  '  back-atroke'  blov. 


The  fint  thing  &  linger  hai  to  Uam  is  bo  to 
■wing  Mb  bell  by  the  use  of  the  rape,  that  he  can 
be  quite  certain  to  bnng  her  from  one  Htroke  to 
another,  pulling  bar  with  proper  judgment,  bo  m 
just  to  throw  her  over  the  balance  as  Bhovn  in 
FigB.  1  and  3,  If  however  too  much  force  is 
need,  tbere  U  a  danger  of  breaking  the  itaj  or 
Bome  other  part  of  the  machinery,  and  the  ringer 
lliniBelf  may  be  seriouily  injured. 

An  alteration  in  the  method  of  hanging  the 
bell  to  (be  rtook  hat  been  invented  by  Sir  E. 
Beckett,  though  only  occaaionally  carried  out. 
By  the  ordinary  make  the  'canons'  for  hanging 
'are  ao  arranged  aa  to  serve  only  for  one  position 
of  the  bell  in  regard  to  tite  Btock,  bo  that  turning 
the  bell  in  order  to  get  the  stroke  of  the  clapper 
in  a  new  poaition.  after  it  has  worn  the  bell,  ie 
impoesible.  Sir  E.  Beckett's  plan  conaiBtB  in 
having  imly  four  inatead  of  m  canons,  at  right 
angles  to  one  another  and  forming  a  croeo,  on 
plui,  on  ihe  crown  of  the  bell.  By  thia  meana 
the  poBition  of  the  bell  can  be  altered  by  merely 
unatrapping  it  and  turning  it  on  ihe  atock.  As 
(he  clapper  muat  alvayn  fly  in  the  aame  plane, 
'  it  ia  in  thia  plan  bolted  to  the  atock,  the  bolt 
pasaing  through  a  hole  in  the  centre  of  the  crown 
of  the  beU.  [C.  A,  W.  T.] 

BELLY,  The  belly  or  upper  part  of  the  in- 
itrumentB  of  the  viulin  tribe,  ia  peHiap*  the  moat 
imporUnt  of  all,  aa  it  ia  the  firat  to  receive 
(brough  the  bridge  the  vibrationa  of  the  atringa, 
and  to  communicate  them  to  the  whole  boily  of 
(he  inatrument.  Soft  wood  being  more  eaaily  aet 
in  vibnition  in  all  iCa  parta,  the  belly  ia  invariably 
made  of  deal,  while  the  back  and  aides,  which 
are  not  inteu'led  to  vibrate  to  the  Bame  extent, 
but  tatber  to  throw  back  the  waves  of  sound,  are 
made  of  harder  wood — maple. 

Aa  a  rule,  wood  of  narrow  grain  ia  preferred  for 
t)ie  belly,  although  there  are  some  Rne  old  inatru- 
ments  with  bclliea  of  wide-grained  wood.  The 
Hiickneaa  of  the  belly  ia  also  of  very  great  im- 
portance :  if  too  thick,  the  inatmment  will  be 


BELLT. 
weak  in  tone;  tf  too  thin,  (he  tone  will  bo  bnllaii 
and  bellowing.  The  power  of  reBonance  is  en 
hanced  by  the  slightly  archeil  form  of  the  belly 
The  wood  is  thickest  in  the  centre,  ^nd  gradnall} 
geta  thinner  towaid  the  nidea.  The  gradAtiun 
in  which  (hia  ia  executed  varies  greatly  with 
difierent  m^ere,  and  also  depemls  od  the  8pe<^ 
qualities  of  the  individual  piece  of  wood  of  which 
a  belly  i*  made.  The  poaition  and  shape  of  [he 
KM»]led /-holes  likewise  greatly  iafluence  the 
quality  of  (one.  The  great  makers  of  the  Bresdal 
school,  Gospar  da  Salo  and  Maggini,  mnde  the 
/■holes  large  and  almoat  upright;  the  Anuitia, 
Stradivari,  and  Guameri  gave  them  »  iiHire 
slanting  poeitian,  maiie  Ihem  smaller,  and  in- 
finitely more  graceful  in  ahape.  Close  to  the 
edge  (he  belly  is  inlud  with  a  single  or  doable 
line  of  purging,  which  is  merely  intended  to 
improve  the  outward  appearance  of  the  instm- 
ment.  [P.D] 

BELLT   or  SOUNDBOARD  of  pianoforte. 
(Fr.LaTaUeiTharnuniir;  IM.Tarolaarmrmica; 
Ger.  Raonavsbodm.  Raonamtaffl).     The  bnad 
flat  of  wood,   usually  of  Swiss   pine,     extended 
under  the  stHoga  of  a  pianoforte,  and  connected 
with  them  by  a  bridge  of  hard  wood  over  which 
they  are  atretched,  is  technically  called  the  belfv, 
but  is  also  called  the  sound   or  Bounding  board. 
The   strings   when   set    in    vibration,    owing    to 
their  amall  surfiice  in  contact  with  the  air,  wouicf 
be  scarcely  audible,  were  it  not  for  the  belly, 
an  auxiliary  vibrating  body  of  large  aurface.  to 
reinforce  them.     Thua  (he  tone  of  a  pianoforte 
essentially  depends  upon  the  movement  and  vari- 
able pr«BBUre  of  the  stringa  at  the  point  of  con- 
tact with  the  bridge,  by  which  their  vibrations 
are  conveyed  to  the  belly  to  be  intensified  by  the 
vibrations  of  the  fibres  of  thia  elastic  support. 
There  is  no  eonoroua  body  for  which    we  naiy 
calculate  movement  under  varied  conditions,  and 
then  verify  the  calculation  by  trial,  to  compare 
with   a  stretched  string.      The   problem    is   far 
more  complicated  of  a  reeonant  amface,   aa  the 
belly,  and  appears  to  have  offered  less  attraction 
to  research.     We  are  mainly  indebted  to  Chladni 
for  what  we  know  of  the  forms  of  vibntion  of 
resounding  substances.     His  determination  of  the 
nodal  lines  by  means  of  fine  sand  placed  upon 
vibrating  aurfacea  haa  been  of  great  importance 
(o  theory,   and  has    t>een  the  focmdation    upon 
which  the  law  of  the  practice  of  ribbing  the 
belly  diagonally  (o  the  direction  of  (he  grain 
with    slender    bars  of   pine   lias   been   finally 
established  by  Dr.  Schafhaeutl,  who  haa  proved 
that  thia  contrivance  createa  nodal  UaeaM  rest, 
and   prevent*  (he   (ranaversal   viljration  of  the 
belly  as  a  whole  which  would  be  inimical  to 
the  production  of  (one.     Bu(  up  to  this  time, 
in  the  construction  of  belliea,  experiment  alone 
haa    effected    what   has   been   achieved.     The 
dtCTerence   in  the  character  of  tone  of  piano- 
fbrtee  by  different  makera,  depends  very  much 
upon  variationa  in  the  proportions,  direction  of 
the  grain,  and  barring  of  the  belly ;  but  as  other 
important  variations  of  structure  invariably  and 
simultaneously  exist,  the  qneation  is  too  ix)m|du 


BELLY. 

ew  to  be  satiafiMtoirily  answerecL  Tlie  Auiher 
deacription  and  liistoiy  ai  belly  will  be  found 
Oder  PiAiroFoaTS.  [A.  J.  H.] 

BELMONTE  TJND  CX)NSTANZA,  odeb 
c»  EsrruHBUsro  aus  dem  Sbbail,  an  opera  in 
fjuT  acts,  words  by  Bretzner,  music  by  Jobann 
Andre;  produced  at  Berlin  Hay  26,  1781.  It  is 
<3Qly  worth  mention  because  the  libretto,  as 
altered  by  Stepbanie,  was  set  by  Mozart  under 
the  title  of  <  Die  EntfUbrung,'  etc.  [See  p.  66  a.] 

BELSHAZZAR.  An  oratorio  of  Handel's, 
oceazring  in  the  series  between  'Joseph*  and 
'  Hercules  * ;  words  by  Jennens,  much  reduced  by 
HandeL  Dates  on  autograph  (in  Buckingham 
Palace) — at  b^inning,  August  23, 1744 1  ^^  ^od 
of  first  part.  Scored  Sept.  15,  ditto;  end  of 
•eoasid  part,  Sept.  10,  ditto.  First  performance 
at  the  King^s  Theatre  on  Wednesday  March  27, 
J  745,  announced  as  Belteshazzar.  The  oratorio 
na  revived  by  the  Sacred  Hannonio  Society  on 
Mirdh  19,  1847.  [G.] 

BEMETZRIKDEB,  bom  in  Alsace  in  1743. 
cHue  to  Paris,   and  was  engaged  as  teacher  of 
music  to  Uie  daughter  of  Diderot,  whose  patron- 
s' was  of  great  service  to  him.      In  1782  he 
Vefi  Paris  for   liondon,  and  there  he  died  in 
1S17.    He  published  both  in  London  and  Paris 
leTeral  didsMctic  works  on  music,  one  of  which, 
'Lc^ofDa  do  clavecin*  (Paris,  1771),  was  often 
lepablidied  in  France,  Spain,  and  England.     In 
the  contest  between  the  (xluckists  and  Piccinnists 
he  wrote  on  the  side  of  tolerati<m.     Diderot  re* 
vnte  the  work  just  named  —  a  questionable 
benefit,  except  as  far  as  style  is  concerned. 

BflMOL^  the  French  term  for  Flat.  For  the 
oigin  of  the  name  see  the  article  A0CIDXNTAL8. 

BEND  A,  Hanb  Geobg,  a  weayer,  and  wan- 
dering performer  on  several  instruments^  belonged 
to  the  village  of  Alt-Benatka  in  Bohemia,  and 
iru  the  head  of  a  celebrated  family  of  artists. 
His  four  sons,  Franz,  Johann,  Greorg^  and  Joseph, 
aH  devoted  themselyeB  to  music. 

(i)  Franz  Bekpa.    Bom  Koy.  25,  1709,  re- 

maricable  as  the  founder  of  a  q>ecial  yiolin  sdiool. 

He  was  brought  up  under  Graun  and  Quanz,  and 

ox  the  death  of  the  former  became  (i  771 )  ooncert- 

meister  to  Frederick  the  Great,  whose  flute  con- 

oertot  he  thereafter  accompanied.  In  his  manner 

of  playing  he  especially  affected  the  cantabile. 

His  puhUshed  (posthumous)    works  consist  of 

trdve  mIob  for  the  violin  (Paris),  'Etudes  de 

Tiokn,  ou   Caprices,'  2  books,  and  'Exercises 

progr.  poor  le  Violon,'  I  book  (Leipzig,  KUhnel). 

He  died  at  Potsdam,    March   7,   1786.      His 

Kcond  daughter,  Caroline,  inarried  Capellmeister 

Wdff,  and  his  fourdi,  Julianne,  Capellmeister 

Bdchudt.    His  eldest  son,  Friedrich,  bom  1 745, 

^*u  esteemed  as  an  excellent  player  on  the  violin 

sod  ciavier,  and  his  compositions — ^the  cantatas 

'Pygmalion*  and  'Die  Grazien,'  an  oratorio  'Die 

Imager  am  Grabe  des  Auferstandenen,*  an  opera 

'Orpheus,'  and   yarious  works  for  clavier  and 

^ioUn—found  much  acceptance.  At  his  death,  at 
ScAmIud,  in  1814,  he  was  kon.  preuss.  Kaomier- 


BENDLEB. 


m 


musikua.  His  brother  Carl,  bom  1748,  ap« 
preached  nearest  to  his  father  in  the  style  of  his 
playing.  He  was  teacher  of  music  to  Wilhelm 
in,  and  left  six  adagios,  with  remarks  on  the 
mode  of  executing  the  adagio  (Berlin,  Hummel). 

(2)  JoHAiTN,  the  second  son  of  Hans  Geoig, 
and  the  least  eminent  of  the  brothers,  was  bom 
1 71 3,  and  died  as  Kammermusikus  at  Berlin 

1752. 

(3)  Gkobo,  bom  1721,  was  the  most  dis* 
tinguished  of  the  four,  renowned  as  an  able 
davier-player  and  oboist.  In  1 748  he  was  ap« 
pointed  Capellmeister  to  the  Duke  of  Grotha, 
after  which  he  studied  in  Italy,  and  on  his  re- 
turn wrote  his  first  Duodrama^  'Ariadne  auf 
Naxos*  (1774),  a  work  which  excited  much 
attention  for  its  novelty  and  ability,  became 
widely  known,  and  entitled  him,  notwithstanding 
the  claims  of  Bousseau*s  '  Pygmalion,*  to  be  called 
the  inventor  of  the  melodrama.  Full  and  com- 
pressed scores  of  the  work,  with  German  and 
French  wc^ds,  quickly  appeared,  and  a  second 
melodrama^  'Medea^*  had  an  equal  success  with 
the  first.  Greorg  visited  Vienna  and  Paris  for 
the  performance  of  his  works,  and  at  length 
settled  himself  in  the  hamlet  of  Etistritz  in 
Thuringia,  where  he  died  in  1795.  Besides 
the  compositions  already  mentioned  he  was  the 
author  of  many  instrumental  works,  of  the 
operettas  of  'Der  DorQahrmarkt*  (1776),  'Romeo 
und  Julie'  (1778),  'Der  Holzbauer,*  'Lucas 
und  Barbchen,*  and  '  Orpheus,*  also  of  '  Pygma- 
lion,* a  monodrama.  His  son  Friedrich  Ludwig, 
bom  at  Grotha  1746*  was  music-director  of  the 
Hamburg  theatre,  and  published  in  Leipsic  an 
opera,  '  The  Barber  of  Seville,**  three  violin  con- 
certos, and  a  '  Narren-ballet.*  While  in  Ham- 
burg he  married  a  singer  named  Felicitas  Agnosia 
Rietz,  with  whom  he  visited  Berlin  and  Vienna, 
but  firom  whom  he  yery  shortly  separated.  He 
died  as  director  of  the  concerts  at  Konigsberg, 
March  27,  1793. 

(4)  Joseph,  the  last  of  the  four,  a  clever  violin- 
player,  held  thepost  of  Concertmeist^  to  Fried- 
rich Wilhelm  II.  at  Berlin,  where  he  died  in 
1804*  His  son  Ernst  Friedrich,  bom  at  Berlin 
1 74  7»  ^M  one  of  the  founders  of  the  Berlin 
amateur  concerts,  and  died  there  in  1785. 

(5)  Anna  Franziska,  the  only  sister  of  the 
above  four  brothers,  bom  1726,  was  one  of  the 
best  singers  of  her  time.  She  married  a  musi- 
cian of  Gotha  named  Hattasch,  and  died  there 
in  1780. 

Of  this  family  of  artists,  which  thus  lasted 
through  three  generations,  the  most  remark- 
able on  the  whole  were  fVanz  and  Greorg,  the 
latter  of  whom,  by  his  melodrama  and  operet- 
tas has  obtained  a  lasting  position  in  musical 
history.  [C.  F.  P.] 

BENDLEB,  or  BENDELER,  Salomon, 
was  bom  at  Quedlimburg,  1683.  His  father 
gave  him  his  first  instruction  in  music.  Gifted 
with  artistic  feeling  and  a  magnificent  bass 
voice,  young  Bendler  was  soon  a  most  remark- 
able singer.  In  171 2  he  came  to  London,  and 
sang  the  part  of  the  Xing  in  'Ambleto*  by 


^2^ 


B£NDLER. 


Graaparini,  and  of  Argante  in  Handfil*8  '  Rinaldo.' 
HoweveTi  he  preferred  an  engagement  at  the 
opera  in  Hamburg,  where  he  obtained  a  most 
brilliant  suooess,  as  also  at  Leipisig  and  Bruns- 
wick. 'During  a  visit  at  Dantzig,  he  played 
the  organ  in  tiie  principal  church;  and,  after 
a  short  prelude,  gave  forth  the  full  force  of  his 
stupendous  voice  in  a  solo.  A  sudden  noise  in 
the  church  interrupted  both  the  singer  and  the 
service :  the  wife  of  one  of  the  chief  magistrates, 
terrified  by  the  tremendous  tones,  was  safely 
delivered  of  a  son.  Her  husband,  a  martyr  to 
the  gout,  was  no  sooner  informed  of  the  event, 
than  he  found  himself  instantly  cured.  Hearing 
the  name  of  the  artist  to  whom  he  owed  this 
double  debt  and  happiness,  he  invited  Bendler 
to  meet  a  distinguished  company  at  the  christening 
feast,  when  he  placed  on  his  plate  a  sum  of  300 
ducats,  thanking  him  at  the  same  time  for  the 
service  he  had  rendered  him,  both  as  physician 
and  accoucheur.*  This  extraordinary  sing^  died 
in  1724.  [J.  M.] 

BENEDETTI,  an  Italian  singer  at  the  Opera 
in  London,  1720.  He  is  mentioned  in  a  witty 
letter  by  Sir  John  Edgar  in  Steele^s  journal, 
'  The  Theatre,'  from  Tuesday  March  8  to  Saturday 
March  12,  1720,  as  an  instance  of  the  touchiness 
of  some  artists.  *  He  set  forth  in  the  recitative 
tone,  the  nearest  approach  to  ordinary  bpeech, 
that  he  had  never  acted  anything  in  any  other 
opera  below  the  character  of  a  sovereign,  and 
now  he  was  to  be  appointed  to  be  captain  of  a 
guard.* 

His  portrait  was  engraved  by  Vertue,  and  is 
mentioned  by  Walpole,  *  Catalogue  of  Engravers,' 
p.  2  2 1 .  There  is  a  proof  impression  in  the  Britidi 
Museum.  It  was  painted  by  Beluzzi.  Bene- 
detti  is  represented  in  a  doak,  turned  to  the 
right,  oval  in  a  frame,  8vo.     It  is  rare.    [J.  M.] 

BENEDICITE,  or  the  'Song  of  the  Three 
Children,'  is  the  canticle  which  is  used  in  the 
Anglican  service  after  the  first  lesson  in  the 
morning,  alternatively  with  the  Te  Deum,  at 
the  option  of  the  minister.  It  is  taken  fit>m 
the  Greek  continuation  of  Daniel,  chap.  iii.»  and 
is  of  very  ancient  use  in  the  Church  service, 
being  mentioned  in  St.  Benedict's  *  Begula,'  and 
by  Amalarius  as  used  at  matins.  It  was  also 
prescribed  by  Athanasius.  The  ancient  Spanish 
and  Gallican  churches  appointed  it  to  come 
between  the  lessons,  and  in  the  ancient  English 
offices  it  was  one  of  several  psalms  with  which 
.Lauds  began.  It  was  retained  by  Cranmer  in 
his  *  English  Liturgy*  of  1549*  and  appointed  to 
be  used  instead  of  the  Te  Deum  in  Lent ;  but 
this  injunction  was  afterwards  removed,  and  it 
became  optional  to  use  it  at  any  time  of  the 
year. 

In  '  the  Book  of  Common  Prayer  notod  *  which 
was  published  in  i5fO,  the  chant  given  for  it  by 
Marbeck  is  the  same  as  that  in  the  Sarum  Bre- 
viary, but  simplified,  in  accordance  with  Cran- 
mer's  wish  that  'the  note  that  shall  be  made 
thereunto,  would  not  be  full  of  notes,  but  as 
near  as  may  be  for  every  syllable  a  note,  bo  that 
it  may  be  sung  distinctly  and  devoutly.' 


BENM)ICr. 

Tills  canticle  li  more  fitted  for  a  ebant  thi 
any  other  musical  form,  because  the  •eoond  hi 
of  each  verse  is  the  same  througb.out.  Purc< 
set  it  in  his  double  service  in  B  flat,  but  garble 
the  words  by  making  the  burden  *  Praise  hin 
etc.  only  recur  oocasionally.  [C  fi-  £r.  P 

BENEDICT,  Sib  Julius,  bom  at  Stattgai 
Nov.  27.  1804.     Sir  Julius    is  one   of    the  mo 
eminent  of  the  numerous  foreign  n&usiciajia  wl 
have  settled  in  England  since  Handel*8  time.    A 
composer,  performer,  and  teacher  of  music,  he  hi 
now  held  an  exceptionally  high  position  in   thi 
country  for  upwards  of  forty  years.  After  studyin 
under  Hmnmel,  at  Weimar— during  ^hich  he  sai 
Beethoven  (March  8,  1827) — ^he  was,  iz&  his  iTti 
year,  presented  by  the  iUustrious  pianist  to  Webet 
who  received  him  into  his  house,  and  firom  thi 
beginning  of  1821  until  the  end  of  1834,  trestec 
him,  in  Sir  Julius*s  own  words,  '  not  only  as  s 
pupil,  but  as  a  son.'    At  the  age  of  nineteei 
young  Benedict  was,  on  Weber's  reoommendaiioii, 
appointed  to  conduct  a  series  of  operatic  per- 
formances at  Vienna.    A  few  years  afterwards 
we  find  him  as  chef  d'orchestre  at  the  San  Carlo 
at  Naples,  where  he  produced  his  first   opera, 
'  Giacinta  ed  Ernesto* — a  work  which  seems  to 
have  been  too  German  for  the  Neapolitan  taste. 
On  the  other  hand,  'I  Portoghesi  in  GotL,'  which 
Benedict  composed  in  1830  for  Stuttgart,  may 
have  been  found  too  Italian  for  the  Germans  ; 
since,  unsuccessful  in  the  city  for  which  it  was 
specially  written,  it  was  warmly  received  by  the 
operatic  public  of  Naples.   The  youthful  maestro^ 
who  showed  himself  a  German  among  the  Ita- 
lians, and  an  Italian  among  the  Germans,  went 
in  1835  to  Paris,  at  that  time  the  head-quarten 
of  Kossini  and  Meyerbeer,  a  frequent  place  of 
rendezvous  for  Donizetti  and  Bellini,  and  the 
home  of  Auber,  Harold,  and  Adolphe  Adam,  of 
Hal^vv,  Berlioz,  and  F^licien  David.     At  Paris 
Benedict  made  the  acquaintance  of  Malibran, 
who  suggested  his  visiting  London;  and  from 
1835  until  now  we  have  had  Weber's  favourite 
pupil  residing  permanently  among  us.    In  1836 
Benedict  was  appointed  to  the  musical  direction 
of  the  Opera  Buffa,  started  by  the  late  John 
Mitchell   at   the   Lyceum   Theatre.     Here  he 
brought  out  with  success  a  little  work  called 
'Un  Anno  ed  un  Giomo,*  originally  given  in  1836 
at  Naples.   In  1838  he  produced  his  first  English 
opera,  'The  Gypsy's  Warning' — ^known  in  the 
present  day  to  those  who  are  not  acquainted  with 
it  as  a  whole  by  the  very  dramatic  air  for  the 
bass  voice,  *  Rage  thou  angry  storm.*     Benedict 
was  engaged  at  Drury  Lane  l^eatre  as  orchestral 
conductor  throughout  that  period  of  Mr.  Bunn's 
management,  during  which  Balfe's  most  successful 
operas  ('The  Bohemian  Girl,*  'The  Daughter  of 
St.  Mark,'  'The  Enchantress,'  'The  Bondman,* 
etc.)  were  brought  out.    To  this  period  too  belong 
Sir  Julius  Benedict's  finest  operas,  '  The  Brides 
of  Venice*  and  'The  Crusaders,'  both  produced 
at  Drury  Lane  under  the  composer's  immediate 
direction.    In  1850  Benedict  accompanied  Jenny 
Land  to  the  United  States,  and  directed  the 
whole  of  the  concerts  given  ^y  the  'Swedish 


BENEBICt. 

KigblaBgale/   with   such    unexampled   raooen^ 
daring  hee  funoua  American  tour.    On  his  re- 
tail to  England  he  accepted  an  engagement  as 
aodcal  oondactor  at  Her  Majesty's  Theatre,  and 
i&emtds  at  Dnxry  Lane,  whither  Mr.  Maple- 
Bs's  establishment  was  for  a  time  transferred. 
Wkn  m  i860  Mr.  Mapleson  was  about  to  pro- 
duce (at  Her  Majesty's  Theatre)  an  Italian  Tersion 
d  'Obtftm,'  he  naturally  turned  to  the  oompoeer 
v^o,  above  all  others,  possessed  the  secret  of 
Weber's  style,  and  requited  him  to  supply  the 
recitative  wanting  in  the  'Oberon'  composed 
bt  Um  English  stage,  but  absolutely  necessary  for 
tbe  work  in  Italianised  form.    Benedict  added 
ndtatxTcs  which  may  now  be  looked  upon  as 
bebi^mg  inseparably  to  the  Italian  'Oberon.' 
EglitecB  hundred  and  sixty  was  also  the  year  of 
Bt^edict's  beautiful  cantata  on  the  subject  of 
Tndine'—produoed  at  the  Norwich  Festival — 
in  which  Clara  Novello  made  her  last  public 
ippearance.    In  1862,  soon  after  the  remarkable 
iwesi  of  Mr.  Dion  Boucicault*s  '  Colleen  Bawn,' 
Benedict  brought  out  'The  Lily  of  Killamey,* 
Ijr  which  Mr.  Oxenford  (probably  in  collaboration 
with  Mr.  BoQcicault)  had  furnished  the  excellent 
libretto.    In  1863  he  composed  the  cantata  of 
'  Richud  Cceur  de  Uon,'  for  the  Norwich  Festival 
of  that  year.     His  operetta  the  '  Bride  of  Song' 
wu  given  at  Covent  Garden  in  1 864 ;  his  oratorio 
of 'StCedlia,'  at  the  Norwich  Festival  in  1866 ; 
tbat  of  St.  Peter,'  at  the  Birmingham  Festival 
0^1870.    As  'conductor'  at  chamber-ooncerts, 
irhere  the  duties  of  the  musician  so  entitled 
ofaaat  in  accompanying  singers  on  the  pianoforte^ 
&nd  m  geeing  generally  that  nothing  goes  wrong, 
Badict  has  come  at  least  as  often  before  the 
pablic  as  in  his  character  of  orchestral  chief. 
With  rare  intenruptions  he  has  officiated  as  con- 
dwto  at  the  Monday  Popular  Gonoerts  since 
tiiey  first  started,  now  some  sixteen  jean  ago. 
His  own  annual  concert  has  been  looked  upon 
&r  the  last  f<nrty  years  at  least  as  one  of  the 
great  fiativals  of  the  musical  season.     There  is 
fio  form  of  music  which  this  versatile  composer 
^  iK)t  cultivated ;    and  though  more  prolific 
aasten  may  have  lived,  it  would  be  difficult  to 
ian»  one  who  has  laboured  with  success  in  so 
^aa&y  different  styles.    In  1873  a  symphony  l^ 
tbe  now  veteran  composer  was  performed  for  the 
fint  \3m6  at  the  Crystal  Palace ;  and  a  second  in 
the  foQowing  year  ;  so  that  a  complete  edition  of 
13«o«lict'B  works  would  include,  besides  ballads 
aod  pianoforte  fantasias,  operas,  oratorios,  and 
WttUtM,  compositions  in  the  highest  form  of  or- 
'^'i^sbal  monc    Sir  Julius  received  the  honour 
of  knighthood  in  1871.     On  the  occasion  of  his 
KTeutieih  birthday  he  was  named  Knight  Gom- 
iDander  of  the  orders  of  Francis  and  Joseph 
(Austria),  and  of  Frederic  (WurtembCTg).     It 
^M  deten&ined  in  the  same  year,  by  his  nume* 
vm  English  friends,  to  offer  him  a  testimonial 
'in  ippredation   of  his   labours   during   forty 
?^  for  the  advancement  of  art,  and  as   a 
^en  of  their  esteem.'     In  accordance  with  this 
^oticn  a  service  of  silver,  including  a  magni- 
^^  group  of  candelabra^  was  presented  to  Sir 


BENELU. 


42t 


Julius,  the  following  summer,  at  Du^ey  House, 
before  a  number  of  the  most  distinguished 
musicians  and  amateurs  in  London.  Besides 
being  a  member  of  the  before -mentioned  Aus- 
trian and  Wurtemburgian  orders,  Sir  Julius 
Benedict  has  been  deocnated  by  the  Sovereigns 
of  Prussia,  Italy,  Belgium,  Sweden,  Portu^d, 
and  Hanover.  [H.  S.  £.] 

BENEDICTUS,  the  song  of  Zachariaa,  the 
&ther  of  John  the  Baptist,  taken  from  Luke  i^ 
is  the  canticle  appointed,  alternately  with  the 
Jubilate,  to  follow  the  lessons  in  the  Morning 
Service  of  the  Anglican  Ghurch.  It  has  ooeupied 
that  position  from  ancient  times,  being  men- 
tioned by  Amalarius  (f  837)  as  following  the 
lessons  at  Lauds.  It  followed  the  lessons  in  the 
ancient  English  offices,  and  was  retained  by 
Granmer  in  his  English  Liturgy  in  1 5  49,  at  first 
without  the  Jubilate,  which  was  added  in  158  a 
tu  obviate  repetition  when  the  Benedictus  oc- 
curred in  the  gospel  or  second  lesson.  Two 
chants  are  given  for  it  by  Marbeck  in  'The  Book 
of  Gommon  Prayer  Noted,'  of  1550,  viz.  the  5th 
tone  with  ist  ending,  and  the  8th  tone  with 
ist  ending.  It  is  admirably  adapted  to  more 
elaborate  forms  of  cr>mpo8ition,  and  there  are 
two  well-known  ancient  settings  by  Tallis  and 
Gibbons. 

The  same  canticle  is  also  used  by  the  Roman 
Ghurch  and  is  mentioned  by  Mendelssohn  in  his 
letter  to  Zelter  describing  the  music  of  Holy 
Week.  But  a  different  'Benedictus,'  which  is 
better  known  to  musioians,  is  that  which  ooeurs 
in  the  service  of  the  Mass,  after  the  Sanctus, 
which  has  been  the  occasion  for  much  famous 
and  beautiful  music  by  the  greatest  masters ;  the 
whole  words  of  which  are  only  '  Blessed  is  he  that 
oometh  in  the  name  of  the  Lord.'    [G.  H.  H.  P.] 

BENELLI,  Aktonio  Perborino,  bom  Sept. 
5,  1 77 1,  at  Forli.  It  is  doubtful  whether,  as  is 
said,  he  received  instruction  in  oounterpoint  from 
Padre  Martini,  who  died  when  Benelli  was  littie 
more  than  12,  and  was  unable,  for  above  two 
years  before  his  death,  to  bestow  much  care  upon 
his  scholars.  Benelli  had.  however,  the  instruction 
of  Padre  Mattei,  the  successor  of  Martini 

In  1790  he  xnade  his  first  appearance  at  the 
San  Garlo,  at  Naples,  as  first  tenor.  His  voice 
was  of  moderate  quality ;  but  his  method  was 
admirable,  and  obtained  for  him  a  tttccis  d*e8time. 
Benelli  accepted  an  engagement  at  London  in 
1 798,  where  he  was  received  with  favour.  In 
1801  he  repaired  to  Dresden,  and  remained  until 
the  year  1822,  at  which  time,  when  51,  and  after 
singing  in  public  for  32  years,  his  voice  failed, 
and  he  retired  with  a  pension. 

Benelli  had  also  made  himself  known  as  a 
clever  composer,  particularly  in  the  Ghurch  style ; 
but  his  best  works  are  his  excellent  'Method,' 
and  his  'Solfeggi*  which  ran  through  several 
editions.  He  was  a  successful  contributor  to  the 
'Allgemeine  musikalische  Zeitung'  of  Leipzig. 
Upon  his  retirement,  he  obtained  frtmi  Spontini 
the  poet  of  professor  of  singing  at  the  Berlin 
Opera^  which  he  filled  till  1829.     He  might 


224 


BENELU, 


have  remained  mucli  longer,  had  he  Aot  attacked 
Spontini  with  Tiolence,  in  1828,  in  the  'Allge- 
meine  Zeitung,*  k  propoe  to  his  opera  of  *01impia.* 
Unfortunately  he  had  previouidy  written  a  very 
favourable  review  of  the  same  work :  Spontini 
printed  the  two  acoounts  dde  by  side.  Benelli 
had  nothing  to  reply ;  he  soon  received  his  congi 
and  departed,  first  to  Dresden,  where  he  still  had 
his  pension,  then  to  Bomidien  in  the  Hartz, 
where  he  died  in  poverty  August  6,  1830. 
Benelli*s  real  title  to  estimation  is  founded  on 
his  'Gesanglehre*  (18 19),  which  appeared  first  in 
Italian,  as  'Begole  per  il  canto  figurato/  and 
on  his  'Bemerkungen  Uber  die  Stimme/  in  the 
A.M.Z.  Leipzig.  (1834).  [J.  M.] 

BENINCORI,  Anoelo  Maria,  bom  at 
Brescia  I779f  died  at  Paris  Dec.  30,  182 1 ; 
pupil  of  Ghiretti,  RoUa,  and  Cimarosa.  His 
opera  of  'Nitteti*  was  produced  in  Italy,  and 
well  received  also  in  Vienna  about  1800.  At 
Vienna  he  formed  the  acquaintance  of  Haydn, 
with  whose  quartets  he  was  so  delighted  as 
to  abandon  dramatic  composition  for  the  time 
and  write  nothing  but  quartets.  In  1803  he 
went  to  Paris  and  wrote  'two  operas,  which 
were  accepted  but  never  performed,  and  it  was 
with  difficulty  that  this  excellent  musician  ob- 
tfkined  sufficient  pupils  to  secure  him  a  sub- 
sistence. In  1815,  1818,  and  1819,  he  brought 
out  three  operas  without  success.  The  end  of 
his  life  was  brightened  by  a  hope  he  did  not 
live  to  see  realised.  Isouard  had  died  leaving 
his  opera  '  Aladin*  unfinished,  and  this  Benincori 
was  commissioned  to  complete.  A  march  for  the 
first  act,  and  the  three  last  acts  completed  the 
work,  which  was  enthusiastically  received  on 
Feb.  6,  1832,  just  six  weeks  after  Benincori's 
death.  Perhaps  however  the  fact  that  the 
theatre  was  on  this  occasion  for  the  first  time 
lighted  witii  gas  may  have  had  some  share  in 
the  success  of  the  opera.  He  left  much  music 
in  MS.,  but  his  best  compositions  are  probably 
his  quartets.  [M.  C.  C.J 

BENINI.  SiONOBA,  an  Italian  prima  donna, 
singing  at  Naples  with  her  husband  in  1784. 
They  came  to  London  in  1787,  and  sustained 
the  first  parts  in  comic  opera.  Benini  had  a 
voice  of  exquisite  sweetness,  and  finished  taste 
and  neatness,  but  too  little  power  for  a  large 
theatre.  Though  generally  confined  to  opera 
buffa,  yet  her  appearance  and  style  seemed 
much  more  adapted  to  the  opera  seria,  for 
which  she  had  sufficient  feeling  and  expression, 
as  she  showed  in  her  excellent  performance  of 
Jephtha^s  daughter.  During  an  iUness  of  Mara, 
she  filled  with  great  sweetness,  and  much  more 
appropriate  figure  and  manner,  her  part  in 
Tarchi^s  '  Virjfinia.*  She  had  not  indeed  the 
gaiety  of  countenance  nor  the  vivacity  requisite 
for  a  prima  hnffa,  and,  though  a  singer  of  con- 
siderable merit,  had  to  give  way  when  Storace 
appeared.  Of  her  subsequent  life  nothing  is 
known.  [J.  M.] 

BENNET,  John,  published  in  1599  a  set  of 
*  Madrigals  to  four  voyces/  which  he  described 


BENNETT. 

on  the  title  tm  'his  first  works.'  These  m 
seventeen  in  number,  and  excellent  ez&mp^ 
of  that  style  of  composition.  He  also  contribute 
to  Morley  s  collection  '  The  Triumphes  of  Onaxu 
1601,  the  well-known  madrigal  'All  creatiun 
now  are  merry  minded,*  and  to  Ravenscrofl 
'Briefe  Discourse,'  16 14  (see  Ravenscbofi 
five  compositions  in  parts.  In  the  pre&oe  to  tl 
latter  work  Ravenscroft  speaks  of  him  in  hi^U 
eulogistic  terms.  Some  anthems  and  or^nn  pieo 
by  Bennet  are  extant  in  MS.,  whence  it  mtky  I 
conjectured  that  he  was  connected  with,  one  < 
the  cathedrals.  [W.  £[.  K 

BENNET,  Saundebs,  was  orgaiust  &t  Woo^ 
stock,  and  composer  of  some  pieces  for  the  piiuic 
forte  and  several  songs  and  glees.  He  died  of  oon 
sumption  in  1809,  at  an  early  age.      [W*.  £L  H. 

BENNETT,  Alfbed,  Mus.  Bac.,  Oxon.,  w« 
the  eldest  son  of  Thomas  Bennett,  organist  of  Chi 
Chester.  In  1 8  35  he  succeeded  William  Woodcock 
Mus.  Bac.,  as  oiganist  of  New  College,  Oxford, 
and  organist  to  the  University.  He  published  a 
volume  containing  a  service  and  some  anthezna  oi 
his  composition,  and  in  1839,  in  conjunction  "with 
William  Marshall,  a  collection  of  chants.  He 
died,  1830,  by  an  accident,  aged  35.  [W.  H.  H.] 


BENNETT,  Thomas,  bom  about  1779, 
a  chorister  of  SaUsbuiy  Cathedral  under  Joseph 
Corfe,  oi^ganist  and  master  of  the  choristers 
there.  He  became  organist  of  St.  John's  Chapei, 
Chichester,  and  in  1803  organist  at  Chichester 
Cathedral.  He  published  'An  Introduction  to 
the  Art  of  Singing,* '  Sacred  Melodies*  (selected), 
and  'Cathedral  Sections.*  He  died  March  31, 
1848,  aged  sixty-nine.  [W.  H.  H.] 

BENNETT,  Williav,  was  bom  about  the 
year  1767  at  Coombeinteignhead,  near  Teign> 
mouth.  He  received  his  early  musical  education 
at  Exeter  under  Hugh  Bond  and  William 
Jackson.  He  then  came  to  London,  and  studied 
under  John  Christian  Bach,  and  afterwards  under 
Schroeter.  In  1793  he  was  appointed  oiganist 
of  St.  Andrew*s  Church,  Plymouth.  His  com- 
positions comprise  anthems,  glees,  songs,  and 
pianoforte  and  organ  music.  [W.  H.  H.] 

BENNETT,  Sib  William  Sterndalk,  Mus. 
Doc.,  M.A.,  D.C.L.,  the  only  English  musical 
composer  since  Purcell  who  has  attained  a  dis- 
tinct style  and  individuality  of  his  own,  And  whose 
works  can  be  reckoned  among  the  models  or 
'classics*  of  the  art,  was  bom  at  Sheffield  April 
1 3, 1 8 1 6.  Like  almost  all  composers  of  eminence 
he  inherited  the  musical  temperament ;  his  grand- 
father, John  Bennett,  having  been  lay  clerk  at 
King's,  St.  John*s,  and  Trinity  Colleges,  and  his 
father,  Robert  Bennett,  an  organist  at  Sheffield, 
and  a  composer  of  songs ;  and  doubtless  he  thus 
received  some  of  that  early  familiarity  with 
things  musical  in  the  daily  life  of  his  home  which 
has  had  so  much  influence  in  determining  the 
bent  and  the  career  of  many  eminent  composers. 
The  death  of  his  father  when  he  was  but  three 
years  old  cut  him  off  firom  this  influence  of  home 
tuition  or  habituation  in  music,  but  his  education 


BEKNETT. 

s  tbe  art  ■eeras  to  have  been  well  cared  for  by 
^gnnd&tfaer,  to  whoie  home  at  Cambridge  he 
lu  thra  tram^GBrred.     At  the  age  of  eight  he 
esaed  the  choir  of  King's  College  Chapel,  but 
\m  exceptional  moiical  ability  became  so  evi- 
^  that  two  joars  after  he  was  removed  firom 
Cunlvidlge  and  placed  as  a  student  in  the  Royal 
iadsDy  of  MuaiCy  with  which  institution  his 
wae  was  to  be  closely  ooonected  throughout  his 
kerlife.  He  veoeiTed  instruction  from  Mr.  Lucas 
ad  Dr.  Crotch  in  composition,  and  from  Mr.  W. 
H.  Holmes  in  pianoforto-playisg,  from  whom  he 
■faseqiiezitly  pawed  to   the    veteran,   Cipriani 
hxaet]  and  it  may  be  assumed  ihat  to   the 
afioaice  of  this  teacher,  himself  the  pupil  and 
ibe  enthosiastic  votary  of  Mozart,  we  may  trace 
a  part  that  admiration  for  the  pure  style  and 
dar  fism  of  the  art  of  Mozart^  which  Bennett 
i^ained  to  the  end  of  his  life,  in  the  midst  of 
ill  the  ricisBitudes  of  modem  musical  fiiudiion, 
vsA  the  influence  of  which   is   so   distinctly 
tEKttUe  in  his  own  music.    Among  the  unpub- 
iiihad  oompositions  of  his  Academy  student  days 
iR  some  productions  of  great  merit ;  but  the  fint 
«  which  his  reputatian  as  composer  depends 
(lad  vhich  stands  as  Opus  i  in  the  list  of  his 
nmponUoDs),  is  the  Concerto  in  D  minor,  written 
is  i8j2,  and  perfinmed  by  the  composer,  then  in 
bk  KTenteenth  year,  at  the  prize  concert  of  the 
Aiadaay  in  1833,  on  which  occasion  Mendelssohn 
viB  present,  and  encouraged  the  yoimg  composer 
hj  hu  vannly  expressed  sympathy  and  admira- 
tko,  wHik  the  oommittee  of  the  Academy  gave  a 
pKtical  proof  of  their  appreciation  by  publishing 
the  vQck  at  their  own  expense.    Hu  next  pul> 
liihfid  voark,  the  '  Ciqiriccio  in  D  minor,*  op.  2 
(dedicated  to  CSpriani  Potter),  clearly  shows  in 
ha  openiiig  theme  the  influence  oi  his  admiration 
lor  Mendelauhn,  then  the  central  figure  of  the 
iQQBcal  world,  though  there  are  touches  of  com- 
plete originality  suggestiqg  the  pianoforte  style 
viikh  the  composer  subsequently  made  his  own. 
Tb  Orertore  to  '  Parisina,'  a  most  impassioned 
^^vas  composed  in  1834,  as  also  the  Concerto 
iBCmiBor,  played  at  a  concert  of  the  Society  of 
Botigh  Mosuaans  in  the  same  year ;  a  work  in 
the  higbfist  and  purest  style  of  the  Mozart  model, 
isd  evinciBg  in  some  portions  a  constructive 
p-Jver  worthy  of  the  OQ^^)oaer*s  great  predecessor. 
In  1836  the  impression  produced  by  his   un- 
paUed  P  minor  Concerto  and  the  beautiful 
'Kaiades'  overture^  led  to  an  offer  from  the 
finn  of  Broadwood  to  defray  the  expenses  of  his 
f^ooe  in  L»psio  for  a  year,  in  order  that 
h  Blight  have  the  of^portonity  of  extending  his 
eirde  of  mnncal  sympathy  uid  experience,  as 
veil  SB  of  profiting  by  the  neighbourhood  and  in- 
flfieooe  of  Mendelssohn.     That  he  did  profit  in 
bartbf  this  visit  is  scarcely  to  be  doubted,  but 


BENNETT. 


225 


ttnay  be  nid  that  he  gave  to  Leipno  at  least 
tt  moeh  as  he  carried  away ;  and  by  the  com- 
P<">tiooi  produced  there,  as  well  as  by  the  Evidence 
afforded  of  his  genius  as  a  musician  and  piano- 
fvte^la^,  he  established  for  himself  a  reputation 
^^lai  city  of  music  higher  than  has  perhaps 
nen  geneiaUy  oonoeded  to  him  in  his  native 


country,  and  won  the  friendship  and  enthnsiastio 
eulogies  of  Robert  Schumann.    It  is  to  this  visit 
probably  that  is  to  be  traced  the  idea  still  current 
m  England  that  Bennett  was  a  pupil  and  a  mere 
imitator  of  Mendelssohn ;  an  idea  which  can  only 
be  entertained  by  those  who  are  either  ignorant 
of  his  woriu  or  totally  destitute  of  any  perception 
of  musical  style,  but  which  has  been  parrotted  by 
incapable  or  prejudiced  critics  till  it  has  come  to 
be  regarded  by  many  as  an  admitted  £act.    After 
his  return  to  England,  Bennett  composed  in  1849 
his  other  F  minor  Concerto,  the  published  one^ 
which  is  among  the  best  known  of  his  works^  and 
one  of  the  finest  of  modem  compositions  of  its 
class.    During  a  second  visit  to  Leipzig  in  18.^1 
he  composed  his  'Caprice  in  £*  for  piancaorte 
and  Oxtdiestra^  and  his  Overture  'The  Wood 
Nymphs,*  both  among  the  most  finished  and  ar- 
tistic of  his  compositions.     fVom  1843  to  1856  he 
was  brought  periodically  before  the  Ezglish  public 
by  his  duunber  concerts,  at  which  his  individual 
and  exceptional  style  and  ability  as  a  pianoforte- 
player  were  fully  recognised.    It  may  here  be 
mentioned  that  in  1844  he  married  Mary  Anne, 
daughter  of  Captain  James  Wood,  B.  N.    In  1849 
he  founded  the  Bach  Society  for  the  study  and 
practice  of  Bach's  music,  his  enthusiasm  for  which 
was  very  likely  in  the  first  instance  Idndled  by 
Mendelssohn,  who  did  so  much  to  open  the  eyes 
of  his  contemporaries  to  the  grandeur  of  Bach's 
genius.    One  result  of  this  was  a  performance  of 
Uie  Matthew  Passion — ^the  first  in  England— on 
April  6,  1854.    In  1853  the  director  of  the  6e- 
wandhaus  Coiicerts  offeied  him  the  conductorship 
of  those  concerts.    In  1856  Bennett  waa  engaged 
as  pennanent  conductor  of  the  Philhannonic  So- 
ciety, a  post  which  he  held  till  1866,  when  he 
resigned  it,  and  became  Principal  of  the  Royal 
Aci^emy  of  Music.      In  1850  he  was  elected, 
by  a  great  majority,  to  fill  the  chair  of  Musical 
I^fessor  at  the  University  of  Cambridfle^  where 
he  also  made  special  efforts  to  promote  the  know- 
ledge and  study  of  Bach's  music,  and  shortly 
after  his  election  reoeived  from  the  University 
the  degree  of  Doctor  of  Music.     In  1857  the 
University  further  conferred  on  him  the  de^^ree 
of  M.A.,  and  at  the  same  time  a  salary  of  £  100 
a  year  was  attached  to  his  P^fessoruiip.    The 
year  1858  saw  the  production  of  his  cantata  the 
'  May  Queen,*  at  the  Leeds  Musical  Festival,  a 
work  full  of  beauty  in  the  chorus  writing,  the 
solos,  and  the  instrumentation,  though  heavily 
weighted  by  an  absurd  and  ill-written  libreUo* 
No  such  dnwback  is  attached  to  his  other  im- 
portant choral  work,  '  The  Woman  of  Samaria,' 
first  produced  with  great  success  at  the  Bir- 
mingham Festival  of  1867,  and  which,  though  it 
does  not  contain  the  elements  of  popularity  for 
general  audiences,  has  elicited  the  high  admiration 
of  all  who  can  appreciate  the  more  delicate  and 
recondite  forms  of  musical  expression.    For  the 
Jubilee  of  the  Philhannonic  Society,  in  186a, 
he  wrote  one  of  his  most  beautiful  works,  the 
^  Paradise  and  the  Peri '  overture,  in  which  the 
'  programme '  style  of  music  (i.  e.  music  illustrative 
of  certain  verbally  stated  ideas)  is  treated  with  a 


In  1870  lis  received  the  hoaanrr  dtgree  of 
D.C.L.  from  the  Unireroty  of  Oxford.  In  1871 
Bennett  leodved  the  dutinotion  of  knighthood, 
an  honour  which  oould  add  nothing  to  luch  su 
artist's  reputation  u  hit.  In  1871  a  public 
testimonial  wai  presented  to  him  at  St.  James's 
Ball  in  presence  of  a  large  and  euthueiastio 
•o^euce,  and  a  scholaiehip  at  the  Boyal  Aca- 
demy of  MuBie  wat  founded  out  of  the  sub- 
■oriptions. 

Bennett  died  after  a  short  illness,  almost  '  in 
haness,'  as  it  might  be  said,  on  Feb.  1,  1S75. 
80  quiet  and  unobtrusive  had  been  his  later 
life,  that  the  ^lectacle  of  the  crovd  of  distin- 
gnished  persons  who  assembled  at  Weetnunater 
Abbey  on  the  6th  to  pay  their  last  tribute  of 
lespect  at  his  funeral,  coDveyed  to  many,  even 
among  those  who  had  been  in  the  habit  of  meet- 
ing hmi  in  society,  the  first  intimation  of  the 
true  intellectual  rank  of  their  departed  eoautiy' 

In  estimating  the  position  in  his  art  of  Stem- 
dale  Bennett  (by  this  double  name  he  has  always 
been  best  known  among  writers  and  dieoourseia 
on  music),  it  most  be  admitted  that  his  genius 
had  not  that  iireaistible  sweep  and  away  which 
compels  the  admiration  even  of  the  crowd,  and 
tltteta  things  which  sink  deep  into  the  sol' 
■Deo.    He  can  hardly  be  reckoned  among 

Eiat  muncal  poets  of  the  world,  and  it  nould  be 
th  unwise  and  uncritical  to  claim  that  place  for 
bim.  But  what  he  wanted  in  power  is  almcst 
made  up,  in  regard  to  the  artistic  enjoyment 
be  derived  from  his  works,  in  individuality  and 
In  finish.  He  is  in  a  special  degree  a  mun< ' 
oosnpceer.  His  eicellences,  in  addition  tc 
real  and  genuine  feeling  for  beauty  and  aipression 
which  p^vades  his  music,  belong  to  that  intei — ' 
Ing  and  delicate  type  of  art  which  illustrates 
special  d^ree  the  fitness  of  means  to  an  end,  the 
delation  between  the  feeling  eipreseed  and  the 
manner  and  medium  of  OTpreseing  it ;  a  class  of 
artistic  production  which  alwa3ni  has  a  peculiar 
interest  for  artists  and  for  those  who  study  criti- 
cally the  details  of  the  art  illustrated.  His  com- 
positions do  not  so  much  carry  us  away  in  an 
enthusiasm  of  feeling,  as  they  compel  our  de- 
liberate and  conndeiate  admiration  by  their 
finish  and  balance  of  form,  while  touching  our 
fancy  by  their  grace  and  suggeativecess.  But 
these  qualities  are  not  those  which  oompel  the 
•n^ages  of  a  general  audience,  to  whom  in  fact 
Uaay  of  the  more  subtle  gTaoea  of  Bennett' 
style  are  not  obvious,  demanding  as  they  do 
some  knowledge  of  the  resources  of  the  art,  as 
well  aa  critical  and  discriminating  attention,  for 
their  full  ^prenation.  On  the  otbet  hand, 
the  enjoyment  wUch  hii  woAs  do  convey,  the 
language  which  they  apeak,  to  those  who  rightiy 
apprehend  it,  is  of  a  very  rare  and  aubtie 
deKrlption,  and  one  to  which  there  is  no  precise 
parallel  in  the  art  of  any  other  composer. 

If  we  try  to  define  the  nature  of  Bern 
genius  tnon  in  detail,  we  should  describe  bim  in 


BENirarr. 

the  first  place  as  being  almost,  one  might 
bom  pianist-  His  complete  sympathy  wi 
instrument,  his  perfect  comprehension 
peculiar  power  and  limitations,  are  evid 
almost  everything  he  wrote  for  it ;  and  his 
foite  oompostionB  form,  numerically,  by  1 
larger  section  of  his  writings.  His  love 
instrument,  indeed,  migbt  be  said  to  bs 
veloped  into  favouritism  in  some  inatanns 
the  Ssetett  for  piano  and  stringed  instr 
the  lion's  share  of  the  labours  and  honours 
performance  is  so  completely  given  to  the 
that  the  work  becomes  almost  a  pianoforte  c 
with  aooompanimenta  for  strings  only. 
pianoforte  concertos,  written  aa  such,  howe' 
composer  gives  its  fiill  shore  of  importana 
band  part,  which  ia  treated  always  witi 
beauty  and  piquancy,  and  an  equally  u 
penieption  of  the  special  ssthetic  qualitiei 
various  instruments.  In  his  treatment 
pianoforte.  Bennett  depends  littie  upon  ci 
paiBBges,  which  are  only  by  convention  a 
the  function  of  the  piano,  and  in  his  writi 
mostly  'episodical ;  his  sources  of  effect  1 
in  the  use  of  glittering  staccato  paasa^ 
arpeg^o  figures,  which  latter  peculiarly 
teriatic  pianoforte  effect  he  used,  howevi 
manner  of  his  own,  often  alternating  sing 
double  notes  in  extended  passsgs^  as  in  ti 


iir^i^LL'i^i  i 


^m 


from  the  abort '  Capriccio  in  A  nunor,'  a  v< 

cal  specimen  on  a  small  scale  of  his  style  1 

passages  for  both  hands,  as  in  the  follow! 
the  finale  of  the  '  Maid  of  Orleans'  Sonat 


1  lifJ^T]  H^ 


BENNETT. 


BENNETT, 


227 


..i^rivrjr  i^jl^ 


or  in  the  foDowing  highly  chjff»cterktic 
bank  the  aaiiifi  movement^ 


^'^'tUfl      n^ 


^^^ 


BcmpnkHlkmIe  ^ 


«f 


&^ 


L^fej^cx:;  ^^  '^^^nccr 


Pamgei  of  fliis  cImb,  which  abound  in  theM 
wmpoflitions,  and  the  adequate  and  precise  ex- 
ecntion  of  which  is  by  no  means  easy,  illustrate 
the  peculiarly  hard  bright  glitter  of  effect  which 
cbstacterises  Bennett's  brayura  passages  for  the 
piuo,  and  which  brings  oat  in  such  high  relief 
the  qoafities  which  are  special  to  the  instru- 
ment. %)eaking  more  generally,  his  pianoforte 
vorks  are  cbaracterised  by  an  entire  disdain  of 
the  more  commonplace  sources  of  effect ;  they 
are  never  noisy  or  ahowy^and  there  is  not  a  care' 
kis  note  in  them ;  the  strict  and  fixed  attention 
of  both  player  and  listener  is  demanded  in  order 
to  realise  the  intention  of  muaio  addressed 
mainly  to  the  int^ect  and  the  critical  fiaculty, 
never  to  the  mere  sense  of  hearing.  As  a  whole, 
Bennett's  pianoforte  music  is  remarkably  difficult 
in  proportion  to  the  number  of  notes  used,  from 
that  delicate  exactitade  of  writing  whidi  de- 
mands that  every  note  should  have  its  full  value, 
as  well  as  from  the  peculiar  way  in  which  his 
puBgea  often  lie  for  the  hand,  and  which  de- 
mands the  greatest  evenness  of  finger-power. 
Hence  his  works  are  not  popular  in  the  present 
day  with  amateors^  who  pre&r  what  will  enable 


I  them  to  produce  more  thrilling  effects  with  less 
trouble ;  but  their  value  as  studies  and  models 
for  a  pure  style  is  hardly  to  be  surpassed.  Com- 
pared with  the  writings  of  Beethoven,  or  even 
of  lesser  composers  wk),  following  in  his  steps, 
have  transferred  the  symphonic  style  to  the 
piano,  such  works  as  those  of  Bennett  have  of 
course  a  very  limited  range,  nor  have  they  the 
glow  and  intensity  which  Chopin,  ibr  example, 
waa  able  to  infuse  into  what  is  equaUy  a  pure 
pianoforte  style ;  but  as  specimens  of  absolutely 
finished  productions  entirely  within  the  special 
range  of  the  piano,  they  will  always  have  the 
highest  artistic  interest  and  viJue ;  an  ap- 
preciation of  their  real  merit  being  almost  a  test 
of  true  critical  perception. 

Looking  at  the  works  of  Bennett  more  gene- 
rally, it  may  be  observed  that  they  show  remark- 
able evidence  of  his  apparently  intuitive  insight 
into  problems  and  theories  in  regard  to  musical 
construction  which  have  only  been  definitely 
recognised  and  tabulated  by  theorists  rinoe  he 
began  to  write.  When  the  school  of  oomposera 
who  tumble  notes  into  our  ears  in  heaps,  any 
way,  have  had  their  day,  and  it  is  again  recog- 
nised that  musical  composition  is  a  most  subtle 
and  recondite  art,  and  not  a  mere  method  of 
jumbling  sounds  together  to  signify  this  or  that 
arbitrarily  chosen  idea»  it  is  probable  that  Ben- 
nett will  receive  mudi  higher  credit  than  has  yet 
been  accorded  to  him  as  an  advanced  thinker  in 
music.  The  theory  which  connects  every  sound 
in  the  scale  of  a  key  with  that  key,  *»*^^'"g  them 
all  essential  to  its  tonality,  and  the  harmonic  re- 
lations which  are  thereby  ahown  to  be  logically 
consistent  though  little  practised  hitherto,  re- 
ceived continuiJ  practical  illustration  in  the 
works  of  Bennett,  whose  peculiar  intellectually 
constructed  harmonies  and  progressions  are  among 
the  causes  alike  of  his  interest  for  musicians  and 
his  disfavour  with  the  leas  instructed  amateur 
population,  whom  they  not  unnaturally  puzde. 
A  great  ^aglish  musical  critic  has  pointed  out> 
in  a  note  on  the  '  Wood  Nymphs*  Overture  (in 
the  Philharmonic  programme  of  March  aa,  1871), 
the  passage  where '  the  so-called  chord  of  the  cU- 
minished  7th  from  F  sharp,  with  intervening  si- 
lences, is  heard  on  the  unaccented  second  andfourth 
beats  of  the  bar,  and  then  an  unaccompanied  D, 
thrice  sounded,  asserts  itself  as  the  root  of  the 
chord,*  thus  presenting,  adds  Mr.  Macfarren,  'a 
harmonic  fiact  in  an  a^ect  as  unquestionable  as, 
at  the  time  of  writing,  it  was  new.'  But  Ben- 
nett's  music  is  full  of  such  suggestions  of  the 
more  extended  modem  view  of  the  statics  of 
harmony,  the  rather  noteworthy  as  it  does  not 
appear  that  he  made  it  the  subject  of  any  definite 
or  deliberate  theorising,  or  was  indebted  for  his 
suggestions  tS.  this  kind  to  anything  more  than 
his  own  intuitive  insight  into  the  more  subtle 
harmonic  relations.  It  is  the  frequent  use  of 
what  may  be  termed  perhaps  (borrowing  an  ex- 
pression firom  oolour)  the  'secondary*  rauier  than 
the  '  primary*  relations  of  harmony — the  constant 
appeal  to  the  logic  rather  than  the  mere  sensuous 
hearing  of  the  eai^— which  givea  to  his  music  that 


228 


BENNETT. 


rather  oold  inteUectual  cast  which  is  repelling  to 
the  average  listener.  In  such  a  passage  as  tins — 


the  ear  of  the  imimtiated  listener  is  almost 
startled  by  the  dosing  E,  like  the  sharp  blow  of 
a  hammer,  at  the  foot  of  an  arpeggio  passage 
which  seems  to  presage  a  modulation  to  C  through 
the  dominant  ninth  on  G.  Equally  significant 
passages  might  be  quoted,  such  as  this  from  the 
'  Bondeau  k  la  polonaise* — 


and  many  others  that  might  be  adduced,  in 
which  evidence  is  given  that  the  composer  had 
before  his  mind  conceptions  of  harmonic  relation 
new  or  unusual  at  the  time,  but  which  have 
mnoe  been  accepted  and  f<Hrmu]ated  into  theory. 

Bennetts  larger  works  for  orchestra,  and  his 
secular  and  sacral  Cantatas  already  mentioned, 
are  characterised,  like  his  piano  music,  by  great 
finish  and  perfection  of  form  and  detail,  and  by 
a  peculiarly  refined  perception  of  the  relation 
of  special  instruments  and  special  combinations 
to  Uie  end  in  view.  His  one  published  Sym- 
phony, that  in  G  minor,  may  be  thought  slight 
and  nagile  in  effect  in  comparison  with  the  now 
prevalent '  stormy'  school  of  writing ;  but  those 
who  are  aliye  to  the  fact  that  power  of  soimd  is 
not  power  of  conception,  who  look  to  thought  and 
feeling  rather  than  to  mere  efifect  in  music,  will  find 
no  d^ciency  of  passion  and  impulse  in  parts  of 
this  beautiM  work,  while  the  grace  and  refine- 
ment both  of  composition  and  instrumentation 
are  universally  admitted.  His  cantata,  the  'May 
Queen,'  displays  the  most  refined  and  artistic 
writing,  boUi  in  regard  to  the  effectiveness  and 
spontaneous  character  of  the  choruses,  the  melodic 
l^uty  of  the  solos,  the  strongly-marked  in- 
dividuality imparted  to  the  music  of  the  different 
personages,  and  the  charming  and  piquant  effects 
of  the  orchestral  accompaniments.  Indeed,  the 
work  has  veiy  much  the  character  of  an  operetta 
off  the  stage,  and  one  cannot  but  regret  that  a 
composer  who  showed  in  this  work  so  much 
power  of  dramatic  characterisation  in  music 
should  not  have  enriched  the  English  lyric  stage 
(poor  enough  i)  with  an  opera.  '  The  Woman  of 
Samaria'  is  less  spontaneous  in  character,  and  in 
its  style  and  treatment  does  not  i^peal  to  the 
popular  mind ;  but  it  will  always  be  delightful 
to  musicians,  and  to  those  who  hear  considerately 
and  critically.  It  is  in  general  construction  very 
much  modelled  on  the  style  of  Bach,  whose 
peculiar  power  Bennett  has  sucoessfully  AmwUt^l 


BENNETT. 

in  the  introductory  movement,  with  the  Chorale 
■ung  simultaneoudy  with,  but  in  »  diffierent 
tempo  from,  the  independent  orchestral  mo-vement. 
Bennett's  separate  songs  (two  seta  published 
during  his  life,  and  one  in  oonrse  of  publication 
when  he  died)  are  small  compositions  of  almost 
Greek  elegance  and  finish,  both  in  the  melodioof 
and  expressive  character  of  the  voioe  part,  and 
the  delicate  suggestiveness  of  the  aooompanunents. 
They  illustrate  in  the  most  perfect  d^ree  the 
character  which  belongs  more  or  lees  to  all  hia 
art ;  that  of  high  finuh  of  form  and  grace  of 
expression,  not  without  deep  feeling  at  times,  but 
marked  in  general  rather  by  a  calm  and  pladd 
beauty,  and  ^pealing  to  the  fiincy,  the  senti- 
ment, and  the  intellect^  zaiher  than  to  the  more 
passi<Hiate  emotions. 

The  most  puzzling  fact  in  connection  with  the 
artistic  career  of  Stemdale  Bennett  is  the  oom- 
parative  fewness  of  his  ocoipositions,  at  a  time 
when  his  mind  and  genius  were  still   young; 
notwithstanding  the  power  of  his  earlier  works, 
and  the  promise  which  those  who  then   knew 
him  saw  of  a  still  higher  development.      In  all 
probability  the  explanation  of  this  is  to  be  found 
partly  in  the  desire  to  secure  a  more  comfortable 
subsistence  from  the  regular  exercise  of  professional 
business,  and  partly  in  what  those  who  knew  him 
best  described  as  the  'shy  and  reticent*  character 
of  his  genius,  which  led  him  to  distrust  his 
capability  of  accomplishing  great  works,  and  of 
taking  his  stand  in  the  world  on  the  strength 
of  his  genius  alone.    '  He  was  not,  in  hia  later 
years  at  least,*  says  one  who  knew  him,  '  quick 
to  publish  his  works ;  he  always  had  individuality 
without  a  rapid  execution,  and  took  more  time 
a  great  deal  to  finish  than  to  sketch.'    Whatever 
be  the  true  explanation,  it  is  matter  for  deep 
regret  for  all  lovers  of  what  is  best  and.  purest 
in  musical  art,  that  one  so  well  fitted  to  add 
to  its  stores  should  have  condenmed  himself,  for 
many  of  the  best  years  of  his  life,  mainly  to  the 
exercise  of  a  teacher's  vocation.    Of  the  brilliant 
gifts  as  a  player,  and  the  taun  de  force  of  memory, 
by  which  the  composer  astonished  and  delighted 
the  Leipzig  circle  in  his  younger  days,  there  are 
accounts  extant  which  remind  us  of  what  used  to 
be  told  of  Mozart    When  he  sold  his  '  Capriocio 
in  E'  to  a  Leipzig  publishing  firm,  they  were 
surprised  at  receiving  only  the  MS.  of  the  orches- 
tral score,  and  on  their  inquiring  for  the  piano- 
forte party  it  turned  out  that  this  had  never  been 
written  down,  though  the  composer  had  played 
the  work  both  in  London  and  Leipzig,  and  had 
apparently  entirely  forgotten   the   omission   in 
handing  over  the  MS.  to  the  publishers. 

By  mose  who  knew  Stemdale  Bennett  he  is 
described  as  having  been  a  man  of  most  kindly 
nature,  and  exceedingly  modest  and  unassuming 
in  manner  and  character.  The  feeling  of  loyal 
and  affectionate  attachment  which  he  created 
among  the  pupils  of  the  Royal  Academy  of  Mu- 
sic, by  some  of  whom  his  death  was  lamented 
almost  like  that  of  a  kind  parent,  is  a  strong 
testimony  to  the  amiability  of  his  character— an 
amiability   which   was  exerouted    without  tlM 


r^ 


BENNETT. 

£g]iiest  derogmtion  -from  his  atriot  laiaciples  as 
aa  ixistroctor.     A  mgn\f{oaLn%  inaf.ftn<»ft  ]g  relftied 
of  his  detennination  to  keep  up  a  strict  ad- 
lia«iice  to  the  purest  style  of  music  in  the  Aca- 
demy.   On  entering  the  building  one  morning  he 
&&ded  he  detected  from  one  of  the  practising 
locHDs  the  sounds  of  the  overture  to   'Zampa^' 
and  opened  door  aiter  door  till  he  found  the 
cdprits,  two  joung  ladies,  who  in  answer  to  his 
gnve  enquiry  'how  they  came  to  be  playing 
fiich  music?*    explained  that  they  were  only 
(nctiidng  sight-reading  of  piano  duets— to  which 
(iie  Professor  replied  by  carrying  away  the  offend- 
ing Tolome,  returning  presently  from  the  library 
vith  a  duet  of  Mozart's  whidi  he  placed  before 
them  in  lien  of  it.    What  he  preached  to  his 
pupils  he  practised  himsell    In  his  whole  career 
be  neTer  oondeeoended  to  write  a  single  note  for 
popular  effect,  nor  can  a  bar  of  his  musio  be 
quoted  which  in  style  and  aim  does  not  belong 
to  what  is  highest  in  musical  art.    Neither  this 
qoility  nor  his  amiability  of  character  preserved 
him,  however,  from  attacks  and  detraction  of 
tbe  most  ungenerous  kind  during  his  lifetime, 
from  those  who  had  their  own  motives  in  en- 
dttrooring  to  obscure  his  fame,  and  who  found 
u  aaworthy  assistanoe  to  their  aims  from  so- 
called  'critics*  in  public  joumak,  one  of  which 
&r  a  loog  time  conspicuously  disgraced  its  musi- 
cal columns  by  repeated  sneers  and  inuendoes 
igimst  a  muncian'  who  was  an  ornament  to  the 
art  and  an  honour  to  his  country — a  process 
vbich,  as  mig^t  be  expected,  only  redounded  to 
the  discredit  of  those  who  stooped  to  it. 

The  following  is  a  list  of  Stemdale  Bennett^s 
pobliahed  works : — 


BEECHEM. 


229 


I.  FM  CoDeeTto.lD  D 
i  Ckpriedo  far  Huaforta. 

UBtoor. 
t  0»crtara.*PuWM.' 
«>BaiM<Oawvto.lBS 
S. 

LtateCfcr 

».  ThM  GoMerttx  In  O  BfaMr. 

TA.Titne  Jtukal  Sketcbas- 

*Uka."]faiKmiii.'aiMl 

'FoOBtlJlL' 

ILBz  Sadkt,  iB 

fon. 
llThree 

B.I1uofi>rta 

euedionendelaohn. 
U.  ThTM  BooMaoa  far  Flaa»* 

fan*. 

B.oi«tiiR,'n«iraiMii.' 

l^rtnun  far    Pkiu>rart« 
Minted  to  EehomBD. 
n.'ThneDiTenio^,  _. 

fane  for  Conr  haodk 
H.  ADepo  timdon. 

^Fourth    CoonrtOb    ta 

Bdaar. 
VLOnrtnt*, 

21  Qipriee.  ta  E  iB«)or,  TteDO 
udOrdMMfB. 

M-SoitedePfaMi.  farPfaao. 
^  8<»Jo  phcBfoto  tor  Haao- , 
tent. 

«.  OtmberTHo. 
!7- Mieno.  far  Phaofatta. 
&  Ij>tn)diiethme  •  Pkatorftle. 
Baiidteo:C«|irieeIo,laA 


OpuSlLlVo  Blndtot  — fABMUto 
«  L'AppaatloMta. 

m  Ml  Foiir8MradI>iiati,forTi*o 

Treblai. 
m  SL  Tama   a   Varlailaiil.    fbr 

Piano. 
M  n.  8on*ta-diio,PlanoftvtaBiid 

VioloooaUo. 
m  SS.  Itvlndes  and   Laiiona— 60 

piacwlo  an  tha  kejs,  oom- 

poMd  for  QnaaD'B  tioUafa. 

Loodon. 
•  S4.  BoDdaau^'Fia  Mrta  pas 

8lz  SoDBS  (Bacond  flat^ 
'  nowan  of  ttia  Moothi,'  of 
wLlcb  Januvy  awl  Feb- 
xmrj  irers  oomplotad  and 
pabUabad.  187V. 

Boodeaa  4  la  PokHalM,  for 

Piaoo. 
Toccata,  for  dittow 
'The  Xajr  Quaen'— a  ?••» 

toraL 
Oda  for  Um  Openlog  of  tha 
Intamational  Exhf  bltloo, 
Uaa.      Worda    Iv    Mr. 
TaooyioD. 
Camhrldge  IiwtallatkniOda. 
IMS:    Wofda  tor  Bar.  a 
Kincslajr. 
H  4B,  Fantaaie-OrartorB.  'Para- 
dise and  the  Pari.'  laas. 
M  4B.  BrBphony  In  0  minor. 
.  44.  Oratorio.  '  Wonaa  of  8a- 


N  «L  Ma.<dc  to  Sophodai* '  AJax.' 

i,  46.  Pianoforte   Sonata,    'Hia 

MaUofOrteana.* 


SS. 

ac 


ST. 

88. 
9Bl 


.  10, 


m  a. 


Tha  Major,  Minor,  and  Chromatic 
Scales,  with  Bemaria  on  Pno- 
^      tloa.  Finsprinc.  ate. 


^oDatlnalaO. 

B  imanoe,  *  Generldra.' 

Mlunaito  aainreMiTo. 

PnaludlmB. 

Two  dong»-'Tha  bettar  land': 
'In  radiant  loTaUnem.' 

TbaOhorala  Book.  UBB;  aid  Snp- 
plenaant  to  ditto.  1864;  edited 
In  eonjunctfon  with  Mr.  Otto 
Goldschmldt.  Hie  Bopplamont 
flontalns  two  oridoal  taaaa  tagr 
W.&B. 


Anthomfr-'Row,  var  God.  lot.  I 
beseech  Thea';  'Bemember 
nowthyOlwtor'i  'O  that  I 
knew':  'Ttefboltothaaid  in 
his  heart.* 

Four-part  Boost— 'flwoet  ftnam 
that  winds';  *0f  aU  tha  ArU 
beneath  tha  Haaren';  'Ooma 
llTawUhma.* 

Poor  8019  in  oovna  of  piabltaBtSon 
whan  ba  died. 

[H.  H.  8.] 

BENUOCI,  an  Italian  basso  engaged  at  Vienna 
in  1783,  appeared  in  London  in  1788  as  first 
buffo;  but,  notwithstanding  his  fine  voice  and 
acting,  was  not  so  much  adxmred  as  he  deserved. 
He  sang  one  more  season  here,  appearing  as 
Bartolo  in  Paisiello*s  'Barbiere,'  aiul  as  Zefiro 
in  Gazzanigha's  'Vendemmia.'  [J.  M.] 

BENVENUTO  CELLINI.     Opera  in  two 

acts,  the  words  by  Waillv  and  Barbier,  the 
music  by  Berlioz,  produced  at  the  Academic 
Koyale  de  Musique  Sept.  5,  1838,  and  with- 
drawn after  three  representations,  and  what  its 
author  calls  '  une  chute  deUtante.*  It  was  per^ 
formed  at  Gevent  Garden  ('grand  semi-seria,* 
in  three  acts)  June  25, 1853. 

BERALTAy  an  Italian  sopano  sinnr,  en- 
gaged at  London  m  1757.  She  sang  the  part 
of  'Deceit'  in  HandeVs  last  oratorio,  'The  Tri- 
umph of  Timo  and  Truth,'  at  its  production  at 
Covent  Garden,  March  11,  1757,  and  at  the 
subsequent  performances  d  it.  [J.  M.] 

BERBIGUIEB,  Bivon  Travquilli,  famous 
flute-player,  bora  Dec.  21,  178a,  at  Caderousse 
in  the  Yauduse ;  intended  for  the  law,  but  Uie 
love  of  musio  being  too  strong  for  him,  ran  away 
from  home  and  entered  himself  at  the  Conser- 
vatoire in  Paris.  From  1813  ^  1819  he  served 
in  the  army,  and  after  that  resided  in  Paris. 
As  fxi  adherent  of  the  Bourbons  he  was  driven 
thence  by  the  Revolution  of  1830  to  take  refuge 
at  Pont  le  Voy^,  where  he  died  Jan.  29, 1838. 
As  a  player  he  stood  in  the  first  rank.  His 
contemporaries  pmise  the  softness  and  peculiar 
sweetness  of  his  tone  and  the  astonish&g  per- 
fection of  his  techniqve.  As  a  composer  he  was 
very  fertile  in  music  for  his  instrument,  both 
solo  and  accompanied — ii  concertos,  many  fiui- 
tasias  and  variations,  140  duos,  32  trios,  with 
quartets  and  symphonies.  But  they  are  very 
unequal  in  exoallenoe,  generally  more  brilliant 
and  showy  than  really  good,  the  work  of  the 
virtuoso  rather  than  of  the  musician.        [A.  M.] 

BERCEUSE,  a  cradle  song.  A  piano  piece 
consisting  of  a  melody  with  a  lulling  rodung 
accompaniment.  Chopin^s  Op.  57  is  a  well- 
known  example.  Schumann  has  a  '  Wi^genlied- 
chen* — which  is  the  same  thing — in  the  Album- 
blatter  (Op.  124),  and  his  '  Schlummerlied'  is  a 
berceuse  in  all  but  the  name. 

BERCHEM,  Jacquis  or  Jachr,  was  bom 
in  Flanders  at  the  commencement  of  the  i6th 
century,  and  flourished  in  the  epoch  immediately 
preceding  that  of  Lassus  and  Palestrina.  He 
passed  we  greater  part  of  his  life^  from  1535 
to  1565,  in  the  service  of  the  Duke  of  Mantua^ 


230 


BEBCHEM. 


BEBGAMASGA. 


and  was  called  by  the  Italians  Giachetto  di 
Mantova.  He  must  be  carefully  distinguished 
from  two  other  composerp,  Jachet  de  Buus  and 
Jachet  de  Wert,  who  lived  in  Italy  at  the  same 
period ;  but  it  is  impossible  to  decide  which  of 
the  three  is  the  author  of  certain  pieces  which 
bear  the  name  of  Jachet  only.  His  motets, 
masses,  and  madrigals  are  to  be  found  in  the 
various  collections  printed  at  Venice  between 
the  years  1539  and  1545.  One  of  his  chief 
productions  Is  a  setting  in  four-part  music  of 
ninety -three  stanzas  of  the  'Orlando  Furioso* 
of  Ariosto  (Venice,  1561).  [J.  R.  S.  B.] 

BERENSTADT,  Gaetait.  The  name  of  this 
singer,  of  whom  we  have  elsewhere  no  record, 
appears  for  the  first  time  in  the  bass  part  of 
Argante  in  Handel's  'Rinaldo,'  as  revived  in 
1 71 7,  in  which  he  took  the  place  of  the  cele- 
brated Boschl.  After  this  we  do  not  find  him 
again  in  London  till  1723,  in  which  year  he  sang 
in  Buononcini's  'Famace'  and  Attalio*s  *Corio- 
lano,'  as  well  as  in  the  *Flavio'  and  'Ottone*  of 
fiandel.  In  the  next  year  he  performed  in  the 
'  Vespasiano'  of  Attilio.  Buononcini's  'Calfumia,' 
and  fiamdel's  'Giulio  Cesare.'  His  name  does 
not  occur  again.  [J-  M.] 

BERG,  ADAir,  a  renowned  music  printer  of 
Munich,  whose  publications  extend  from  1540 
to  about  1599.  His  great  work  was  the  *Patro- 
cinium  musioes,'  published  under  the  patronage 
of  the  Dukes  of  Bavaria,  the  first  volume  of 
which  appewed  in  1573.  After  the  death  of 
Duke  Albreoht  V,  in  1579,  the  publication  was 
interrupted,  and  not  resumed  till  1589,  when 
the  second  series  appeared,  also  containing  five 
volumes.  The  following  is  a  list  of  the  contents 
of  the  entire  work : — 


VOL.  L  uws. 
O.  d«  Iauo.   CaotlODM. 
4  TolCiii 
L  Fftter  noitar. 

5.  SaiYe  Baglna  mbefleordta. 
8.  Gaudent  in  eoDlls. 

4.  Km  qal  vamui. 

6.  PuItIs  0t  ambm. 
6L  Loud*  mlmft  m«k 

7.  Pauper  sum  ego. 

STotoei. 
a  EznrgatDeas. 
A.  MlMrioordiam  Domini, 
la  Ocoll  omniom  (3  parts). 

11.  Domlne  clamaTi  (3  do.). 

12.  Qtils  mlhl  d«it  laerimia. 
U.  Martial  festam  (2  pta.) 
14.  Exaudl  Pomloa. 

evolcea. 
LHedialnrlta(2pti. 
8.  Ante  ma  noo  est. 
a  Oonfltemlnl  (2  pta.). 

4.  O  Gloriona  Domlna. 

5.  In  Deo  lalatare  (2  pU.). 
8.  Bagnara  mnndi. 

7.  Agimns  tlU  gratias. 

VOL.  n.   1074. 
O.  de  Lana  Maaiee. 
1.  Baper  *  Its  rime  dolentt.' 
a   M  V otatam '  Credldl  proptar.' 
a    „   do.'8ydiuezclaro.' 
4.    M   do. 'Credidi  propter.* 
a  M'LeBerg«retlaBeni«re.' 

VOL.  m.   1D74. 
O.  de  Laao.   Ofllda. 
Vldlaqtiain. 
aiperkesma. 


OflMnm  Natalls  Chrlitt. 
J>o.  Besurreotlonla. 
Do.  Penteoostes. 
Do.  Corporis  ChrlsiL 

VOL.  rV.   IBTflL 
0.daLasio. 
Paaslo.   BToeom. 
Vlgllto  mortaomm.  4T0e. 
Lectiunls  matuttiue. 
Da  NattTltate  OhrlstL   4  too. 

VOL.  V.   1*78. 
O.  delAsso.   Ifagnlfloali. 
1.  Imi  Toni.  4  toc 
a  fiti  TodI.  4  TOO. 
a  1ml  Tonl.  6  too. 
4.  all  Tonl,  6  TOO. 
a  4U  Tonl.  6  TOO. 

6.  4tl  TodL  6  TOO. 

7.  fit!  Tonl,  6  TOO. 
a  7ml  Tunl.  6  Toa 
a  6ti  Tonl.  8  Toe. 

la  7mi  Tonl,  8  too. 

VOL.VL  una 

OdeLasao.  Xauet. 
1.  Super  '  Dittos  Haltreoe.' 
a  M  'Amar  Donne.' 
a  M  *  Qual  donna  attende.' 
4.  M  '  In  die  trftnilattoniB.* 
&  „  'lo  ton  ferlto  Ballaiso.* 
a  Fro  doftinoUs. 

VOL.  Vn.   1B8B. 
Fraaoeico  Sale.    Offlda.    6et  6 

Toofim. 
L  8.  AndzesB  ApoetoU. 
a  Nicolai  SpiacopL 
a  Oonoeptionis  H arba* 
a  Thomas  ApoatoU. 


a  HattTltall8Cliiliti.ln  Imt 


a  In  snimnft  missa   8  too. 
7.  Stephani  Proto  Mart, 
a  JohisunU  BTang. 
a  Olroumcislonls.   6T0a 
la  EplplianlsB.   8  too. 
11.  Oonrerslonls  Paoll. 
la  Parifloatknla  Maria, 
la  Matthla  ApoitolL 
14.  Annmitlattonis  Marte. 
la  De  Oommunl  a  Martai.  Oon 
oaptlone,  NatlTltate.  Vlsltar 
tlone  et  Presentatlone  elna- 
demMarliB. 

VOL.Vm.    UBL 

Blasliu  Amon.   Masses.   4to& 

1.  Siqier  Ut,  re.  ml,  fa,  sol,  la.  La. 

sol.  Ik,  ml,  re.  ut. 
a   „  *  Poor  ung  plalslr.' 
a   H  '  Bursa  propera.* 
a   M  '  Dixit  Domlous  aialiari  Gha- 


a  Pro  Deftioetls. 

VOL.  IX.   VM. 
Oisaar  de  Zaoetaarlls.  IntonatioiML 
1.  Vespartlna. 

Alia  faitonatto. 
1.  Primus  tonus* 
a  SeeondusdOh 
a  Tertlos  do. 
4.  Quariusdo* 
a  Qnlntus  do. 
a  Sextusdo. 
7.  Septimus  dOb 
a  Octants  do. 
aMlztusdo. 

Hymnl. 
•OoBditor  alma. 


Veoi  redemplor. 

Verbom  Miperbum. 

Chrlste  Redemptor. 

A  solus  ortuv 

Deustuorum. 

Btephano  prime ! 

EzuHet  oerium. 

Solennb  d]«s  adranlt. 

SalTfltte  Sores. 

Ibid. 

HosUs  Herodeii 

Olnzbeata. 

Dens  Creator. 

Gordenatu^ 

Lneis  creator. 

Dlas  absolutL 

Audi  bentgneb 

Te  lueb  ante. 

Ad  preees  nostraiL 

Bz  moredoccL 

Chriate  qui  lux  es. 

Jam  ter  quatemla. 

Jesn  qnadragenarbai 

VezlUa  reids. 

SalTeftastadlea. 

Clamm  decusMuntL 

Ad  ooBoam  agnl. 

Vita  sanctorum. 

Jean  nostra  redemptlOb 

Festumnunc 

Venl  creator. 

Olnzbeata. 

FanReUnguiL 

Bacrls  solennlli. 

Gonditor  alme  sidarom. 

VOL.  X.   IBQ^ 
Francesco  dl  8al« 
Super  'BzultaDdl 
It'    5T00. 

[F.G.] 


BEEO,  Geoboe,  a  Gennan  by  birth, 
pupil  of  Dr.  Pepusch.  In  1763  he  gained  the 
first  prize  medal  awarded  'by  the  Catch  dab 
for  his  glee  '  On  softest  beds  at  leisure  laid,'  and 
obtained  two  other  prizes  in  subsequent  years. 
He  published  some  books  of  songs  sung  at  Manr- 
lebone  Gardens,  at  which  place  in  April  1765 
he  produced  an  ode  call^  'The  Invitation.* 
Thirty-one  of  his  glees  and  catches  are  included 
in  Warren's  collections.  In  1 77 1  he  was  organist 
of  the  church  of  St.  Maiy  at  Hill,  near  Billings- 
gate. He  published  several  works  for  the  organ. 
Pianoforte,  flute,  horn,  etc.,  besides  those  above 
mentioned.  [W.  H.  H.] 

BEBG,  JOHAKN,  a  munc  printer,  bom  in 
Ghent,  who  set  up  a  printing  office  in  Nurembeig 
about  1550  in  conjunction  with  Ulrioh  Neuber. 
After  the  death  of  Berg  (about  1556)  the  office 
was  carried  on  by  Neuber  and  Grerlach.     [F.  G.] 

BERGAM  ASCA— in  the  'Midsummer  Nights 
Dream,*  a  '  Bergomask.*  An  Italian  dance,  de* 
riving  its  name  from  Bergamo,  the  well-known 
city  of  Tasso,  Donizetti,  and  other  eminent 
Italians.  It  is  said  to  exist  in  old  Italian  Buiies 
de  pieces. 

According  to  Signer  Piatti,  himself  a  native  of 
Bergamo,  the  characteristic  dance  of  that  dis- 
trict is  of  the  following  measure,  like  a  country- 
dance,  but  quicker,  wi&  a  strong  accent  on  the 
■econd  half  of  the  bar :— 


Signer  Piatti  has  himself  published  a  Berga- 
masca  for  Cello  and  Pianoforte  (op.  14)  which 
partakes  of  this  character.    Mendelssohn,  how- 
I  ever,  in  setting  Shakspeare*s  '  Bergomask  dance 


BSBGAMASCA. 

between  two  of  our  company/  has  giT«n  the 
BCMure  an  entirely  different  torn  i-— 


BEBIOT. 


2S1 


-/   / 


BERGEBy  LuDWio,  •  nmaiAMe  piaaofbiie- 
pbyer  and  gifted  compoeer,  bom  at  Berlin  Apnl 
iS,  1777,  and  died  there  Feb.  i6»  1838.  His 
talent  showed  itself  eariy,  but  received  its  great 
impulse  from  the  notice  taken  of  him  by  dementi 
tt  Bedin  in  1804,  who  undertook  lus  tuition, 
aui  took  him  to  St.  Petersboig.  Here  he  met 
Steibelt  and  field,  who  had  much  infinenoe  on 
btt  playing.  In  181  a  he  -visited  London,  and 
became  widdy  known  as  player  and  teacher.  In 
1S15  he  returned  to  Berlin,  where  he  retdded  till 
Us  death,  one  of  the  most  esteemed  teachers  of 
his  time.  Mendelssohn  was  his  greatest  pupil, 
bat  tmoDgst  others  may  be  mentioned  Taubert, 
TOO  Her^MTg,  Henselt,  and  Fanny  Hensel, 
Uendelaohn's  sister.  He  latterly  withdrew 
ilmoet  entirely  from  active  life,  owing  to  an 
oTo^battidioas  hypochondriacal  temper,  which  in- 
tofered  much  with  his  intercourse  with  society, 
ud  hindered  the  display  of  his  remarkable  ability 
as  a  oompour.  He  left  behind  him  a  mass  of 
good,  nay  even  remarkable,  music — pianoforte 
pieces,  longs,  cantatas,  and  unfinished  operas. 
AffloigBt  his  published  woriu  lus  twenty-eeven 
etades  are  especially  mentionable.  These  have 
been  lately  republished  by  Breitkop^  with  a 
freboe  hj  G.  Reinecke.  [A.  M.] 

BERGGEIST,  DEB,  a  romantic  opera  in  3 
sets ;  the  atory  from  Musaus* '  Bubezahl* ;  words 
bj  Doring;  mosic  by  Spohr  (op.  75).  Pnduced 
stCasMl,  March  24,  1825. 

BKBGONZI,  Bmnxdktto,  a  remarkable  horn- 
plajer,  bom  at  Cremona,  1790,  and  died  Oct. 
1S40.  On  Oct.  7,  1834,  he  received  a  silver 
medal  from  the  Aocademin  of  Milan  for  a  valve- 

bom.  (F.  G.] 

BEB60NZI,  Cablo,  a  celebrated  violin- 
naker  of  Cremona.  Boqrn  towards  the  end  of 
tbe  17th  century,  he  worked  from  about  1 716 
to  1755.  He  was  a  pupil  of  Antonio  Stradivari, 
whom  he  imitated  very  closely  in  his  earlv 
efforts,  wlule  his  later  instruments  shew  mach 
originality  and  character.  Their  form  and  tone 
ve  equally  beantifiil,  and  they  may  justiv  be 
naked  immediately  after  those  of  Stradivari 
ud  Joseph  Guameri.  He  made  not  only  violins, 
hut  alto  violaa  and  celloe,  which  however  are  now 
▼ay  rare.  His  son,  Michel  Angelo,  was  but  an 
odifferent  violin-maker.  [P*  !>•] 

BERIOT,  Chablxb  Augusts  di,  celebrated 
violinist  Bom  of  a  noble  Belgian  fiunily,  Feb. 
n,  1802,  at  Louvain.  He  had  his  first  instruction 
in  tbe  violin  from  a  local  teacher,  named  Tiby, 
^  waa  Ida  guardian  after  the  death  of  Ids 
^Motti;  and  made  such  rapid  progreai^  that, 


when  only  nine  yean  of  age,  he  sncoessftdly  per* 
formed  in  public  a  concerto  of  Viotti.  He  him- 
self ascribed  great  influence  on  the  formation  of 
his  character  and  the  development  of  his  talent  to 
the  well-known  scholar  and  philosopher  Jaootot, 
who,  though  himself  no  musician,  imbued  his 
young  friend  with  principles  of  perseverance  and 
self -zelianoe,  which  he  never  lost  sight  of  through- 
out life,  and  which,  more  than  anything  fSte, 
contributed  to  make  him  attain  that  proficiency 
in  his  art  on  which  his  fiune  rests. 

When  nineteen  years  of  age  he  went  to  Paris 
and  pursued  his  studies  there  for  some  time  under 
the  advice  of  Yiotti  and  Baillot,  without  actually 
being  the  pupil  of  either.  After  a  short  time  he 
made  his  appearance  in  public  with  great  success. 
From  Paris  he  repeatedly  virited  England,  where 
he  met  with  a  most  brilliant  reception.  Hia  first 
M>pearanoe  at  the  Philhaimonio  Society  took 
place  on  May  I,  i8a6,  when  he  was  announced 
as  '  Vidon  de  la  chambre  de  sa  Majesty  le  Boi 
de  France.'  On  his  return  to  Belgium  he  was 
nominated  Solo -Violinist  to  the  King  of  the 
Netherlands,  which  amx>intment  he  lost  by  the 
Bevolution  of  1830.  For  the  next  five  years  he 
travelled  and  gave  concerts  in  England,  France, 
Belgium,  and  Italy,  together  wiui  the  fiunous 
iinger  Maria  Maubran,  whom  he  married  in 
1835.  At  this  time  De  B^ot  was  universally 
recognised  as  one  of  the  most  eminent  of  living 
violinists.  After  the  sudden  death  of  lus  wife  he 
retired  to  Brusseb  in  1836,  and  did  not  appear 
in  public  till  1840,  when  he  undertook  a  tour 
through  Germany.  In  1843  he  was  appointed 
IVofesMr  of  vioUn-playing  at  the  Brussels  Con- 
servatoire, and  remained  there  till  1852,  when 
the  loss  of  his  eyesight  caused  him  to  retire.  He 
died  at  Louvain,  April  ao,  1870. 

De  BMot  may  jiutiy  be  considered  the  founder 
of  the  modem  fVanoo-Belgian  school  of  violin- 
playing,  as  distinguished  from  the  classical  Paris 
school,  represent^  by  Yiotti,  Kreutser,  Bode, 
and  Baillot.  He  was  the  first  after  Paganini 
to  adopt  a  great  variety  of  brilliant  effects  in 
the  way  of  harmonics,  arpeggios,  pizsicivtos,  etc., 
sacrificing  to  a  certain  extent  uie  sex^erity  of 
style  and  breadth  of  tone,  in  which  the  old 
French  school  excelled.  His  playing  was  dis- 
tinguished by  unfailing  accuracy  of  intonation, 
great  neatness  and  fiuoUty  of  bowing,  graoe, 
deganoe  and  piquancv.  His  compositions, 
which  for  a  considerable  time  enjoyed  general 
popularity,  although  not  of  much  value  as  works 
of  art,  abound  in  pleasing  melodies,  have  a 
certain  easy,  natural  flow,  and  are  such  as  to 
bring  out  the  characteristic  effects  of  the  instni- 
ment  in  the  most  brilliant  manner.  The  in- 
fluence of  Donizetti  and  Bellini  on  the  one  han^ 
and  Auber  on  the  other,  are  clearly  visible. 

De  B^ot  published  seven  concertos,  eleven 
airs  vari^  several  books  of  studies,  four  trios  for 
piano,  violin  and  violoncello,  and  together  with 
Osborne,  Thalberg  and  other  pianists,  a  number 
of  duos  brilliants  for  piano  and  violin.  He 
also  wrote  a  rather  diffuse  book  of  instruction, 

'  Kcole  fa-mnanwnHfntalft  de  Violon.* 


SEBIOT. 


Henri  Yienxtemps  is  the  most  dUtlngauhed 
of  his  numeronB  pttpils.  His  eon,  Charles  de 
B^ot,  is  a  good  pianist.  [P.  D.] 

BERLIOZ,  Hectob,  bom  Dec.  ii,  1R03,  at 
La  Cote  Saint-Andr^,  near  Grenoble,  France; 
died  March  9,  1869,  at  Paris. 

He  stands  alone— a  oolossns  with  few  friends 
and  no  direct  followers ;  a  marked  indiyiduality, 
original,  puissanty  bizarre,  violently  one-sided; 
whose  influence  has  been  and  will  again  be  felt 
far  and  wide,  for  good  and  for  bad,  but  cannot 
rear  disciples  nor  form  a  school.  His  views 
of  music  are  practically  if  not  theoretically  ad- 
hered to  by  all  eminent  composers  and  executants 
since  BeeUioven ;  and  if  interpreted  eum  grano 
tcUii  his  very  words  could  be  used  as  watchwords 
which  few  musicians  would  hesitate  to  adopt. 
Take,  for  example,  the  following  sentences,  written 
at  long  interviJs,  yet  forming  a  sort  of  profession 
of  faith,  to  which  Berlioz  clung  without  flinch- 
ing  throughout  the  whole  of  his  long  career: 
'Musique,  art  d'emouvoir  par  des  combinaisons 
de  sons  lea  hommes  inteUigents  et  dou^  d'oreanes 
speciaux  et  exerc^.  ...  La  musique,  en  s  asso- 
ciant  k  des  id^  qu*elle  a  mi]le«moyens  de  &ire 
naltre,  augmente  Tintensit^  de  son  action  de  toute 
la  puissance  de  ce  qu'on  appelle  la  poesie  .  .  . 
r^unissant  k  la  fois  toutes  ses  foroes  sur  Toreille 
qu'elle  charme,  et  qu'elle  offense  habilement, 
sur  le  syst^e  nerveux  qu*^e  surexeite,  sur  la 
circulation  du  sang  qu  elle  aoo^l^,  sur  le 
oerveau  qu'elle  embrase,  sur  le  ooeur  qu'dle 
gonfle  et  fait  battre  It  coups  redoubles,  but  la 
pens^  qu'elle  agrandit  d^esur^ment  et  lance 
dans  les  regions  de  Tinfini :  elle  agit  dans  la 
sphere  qui  lui  est  propre,  c^est-k-due  sur  des 
dtres  chez  lesquels  le  sens  musical  existe  r^ 
ellement.'    ( '  A  travers  chants,*  p.  i . ) 

Berlioz's  startling  originality  as  a  musician 
rests  upon  a  physical  sjod  mental  organisation 
very  different  from,  and  in  some  respects  superior 
to,  that  of  other  eminent  masters ;  a  most  ardent 
nervous  temperament;  a  gorgeous  imagination 
incessantly  active,  heated  at  times  to  the  vei^ 
of  insanity;  an  abnormally  subtle  and  acute 
sense  of  hearing;  the  keenest  intellect,  of  a 
dissecting  analysing  turn ;  the  most  violent  will, 
manifesting  itself  in  a  spirit  of  enterprise  and 
daring  equalled  only  by  its  tenacity  df  purpose 
and  inde&tigable  perseverance. 

IVom  first  to  last,  from  the  'Ouverture  des 
Francs  Juges*  and  the  '  Symphonic  fantastique* 
to  '  Les  Troyens,*  Berlioz  strove  to  widen  the  do- 
,  mains  of  his  art ;  in  the  portrayal  of  varied  and 
intense  passions,  and  the  suggestion  of  distinct 
dramatic  scenes  and  situations,  he  tried  to  attain 
a  more  intimate  connection  between  instrumental 
music  and  the  highest  poetry.  Starting,  as  he 
di^  on  a  voyage  of  discovery,  no  one  need  be 
surprised  that  he  occasionally,  nay  perhaps  fre- 
quently, sailed  beyond  his  mark;  and  that  he 
now  and  then  made  violent  efforts  to  compel 
music  to  say  something  which  lies  beyond  its 
proper  sphere.  But^  be  this  as  it  may,  his 
occasional  fieulures  do  not  render  his  works  It 
interesting,  nor  less  astonishing. 


BERLIOZ. 

Bexiios  was  one  of  the  most  uneompmniiniM 
champions  of  what,  for  want  of  a  better  n^n^ 
has  been  dubbed  'programme  music.'  In  Iq 
'Symphonic  fantastique*  with  its  sequel  '  Lelic^ 
and  in  '  Bomeo  et  Juliette,*  elaborate  eflTortB  ai^ 
made,  by  means  of  prc^grammes  and  superscnp 
tions,  to  force  the  hearers'  imagination  to  dwel 
on  certain  exterior  scenes  and  situati<HiB  during 
the  progress  of  the  music;  and  theae  eflTorts 
it  must  be  confessed,  are  not  always  successful 
One  either  loses  the  musical  thread  and  has  U 
fly  to  the  programme  for  explanation,  or  am 
dreams  of  the  programme  and  misses  the  musid 
The  really  perfect  specimens  of  Berlioz's  instra^ 
mental  works  are  in  truth  those  in  which  th« 
music  speaks  for  itself^  and  the  programme  ot 
superscription  may  be  dispensed  with.  Such  are^ 
for  instance,  the  'Sc^ne  aux  champs'  and  the 
'Marche  au  supplioe'  in  the  'Symphonie  fitn- 
tastique,*  the  '  Marehe  des  Pterins*  in  *  Harold,'! 
the  Ovcortures  to  *  King  Lear,'  '  Benvenuto  Cel- 
lini,* 'Gamaval  Bomain,*  *  Le  Corsaire,*  etc. 

From  a  technical  point  of  view  certain  of  Ber- 
lioz's attainments  are  phenomenaL    The  gigantic 
proportions,  the  grandiose  style,  the  imposing 
weight  of  those  long  and  broad  harmonic  and 
rhythmical  progressions  towards  some  end  afar  off, 
the  exceptional  means  employed  for  exceptional 
ends — ^in  a  word,  the  colossal,  cyclopean  aspect  of 
certain  movements,  such  as  the  *  Judex  crederis' 
of  his  <  Te  Deum,*  or  the  '  Laaymosa '  and  '  Dim 
ine*  of  his  'Requiem,*  are  without  parallel  in 
musical  art.    The  originality  and  inexhaustible 
variety  of  rhythms,  and  the  surpassing  perfection 
of  his  instrumentation,  are  points  willingly  oon^ 
ceded  even  by  Berlioz's  staunchest  opponents. 
As  far  as  the  technique  of  instrumentation  Im 
concerned  it  may  truly  be  asserted  that  he  treats 
the  orohestra  with  the  same  supreme  daring  and 
absolute  mastery  with  which  Paganini  treated 
the  violin,   or  Liszt  the  pianoforte..     No  one 
before  him  had  so  clearly  realised  the  individuality 
of  each  particular  instrument,  its  resources  and 
capabilities.    In  his  works  the  equation  between 
a  particular  phrase  and  a  particular  instrument 
is  mvariably  perfect;  and  over  and  above  this^ 
his  experiments  in  orohestral  eolour,  his  com- 
bination of  single  instruments  with  others  so 
as  to  form  groups,  and  again  his  combination 
of  several  separate  groups  of  instruments  with 
one  another,  are  as  novel  and  as  beautiful  as 
they  are  uniformly  successful. 

French  art  can  show  nothing  more  tender  and 
delicately  graceful,  more  perfect  in  shape  and 
diction  than  certain  of  his  songs  and  choral 
pieces — ^the  duet  between  Hero  and  Ursule, 
'Vous  soupirez  Madame,'  from  'B^trice  et 
Benedict,'  and  single  numbers  among  his  '  Nuits 
d'et^'  and  *Irlande.'  Nothing  more  touchiog 
in  its  simplicity  than  '  L'adieu  des  bergers'  and 
'Le  repos  de  la  Sainte  Famille,*  from  *  L'£n&noe 
du  Christ.' 

But  there  is  a  portion  of  Berlioz's  works  from 
which  many  of  his  admirers,  who  are  certainly 
not  open  to  the  charge  of  being  musical  milksopi, 
recoil  with  instinctive  aversion.    One  must  draw 


'BEBUOZ. 


BEBUOZ. 


28S 


the  Ime  mmnewhan,  and  tbe  writer  wotild  draw 

it  on  the  hithenida  of  such  nnweineiits  as  the 

'tftgua,*  which  foim  the  finalea  of  the  ' La  Sym- 

pm6  fimtastiqae'  and  '  Harold  en  Italie/  or  the 

chorus  of  doTiis  in  the  'Damnation  de  Faust.' 

Bwdihiistj  delirioua  paadon  such  as  is  here 

depicted  may  have  been  excited  by  gladiator  and 

r:ki  beast  idiows  in  Roman  arenas ;  but  its  rites, 

vb«ther  reflected  through  the  medium  of  poetry, 

puBting,  or  music,  are  assuredly  more  honoured 

in  tlie  fareach  than  the  observance.      On  the 

ethff  hand,  it  cannot  be  overlooked  that  these 

ame  reprehensible  pieces  contain  some  of  their 

istbor's  most  astonishing  technical  achievements. 

Xo  musician,  unless  he  writes  for  the  stage, 

cm  hope  to  live  by  his  oompocitioiis  in  France ; 

Mxordingly  Berlios  was  driven  to  the  dubious 

'metur'  of  benefidaire — ^to  conducting  concerts 

of  bit  own  music  whenever  and  wherever  he  oould 

get  a  efaanoe,  and  to  journalism, '  feuilletonism.* 

A  note  of  bitter  oomp£uni  at  the  tortures  hardly 

v>  be  bone  which  the  'oompte  rendu'  on  matters 

mmal  he  lumished  weekly  during  a  space  of 

twenty  years  lor  the  '  Journal  des  Debate*  en- 

tiiikd  on  him,  runs  through  all  his  prose.    These 

sewspsper  scraps  made  a  name  for  their  author 

as  the  fecemost  musical  critio  and  one  of  the  most 

briUiaot  of  French  journalists ;  whilst  the  per- 

keoaa  of  style  and  graphic  narrative  of  his 

MdDoires,  have  proved  him  the  equal  of  the 

bNtmodeni  prosateuzB.  Frenchmen  only  can  say 

vhetber  or  not  his  verse  is  likely  to  live  by  its 

own  marita,  ^>art  from  the  music  to  which  he 

vfdded  it,  m  «L*Enfimoe  du  Christy'  'Beatrice 

et Benedict,'  and  'lies  Troyens.' 

Beriioi  knew  the  principal  works  of  Beethoven, 
Weber,  Spontini,  Mosart,  in  every  reqpect,  down 
to  tbe  smallest  details,  by  heart,  and  he  has 
i^ja  and  very  frequently  spoken  of  them  with 
ooDtagiooB  enthusiasm  and  convincing  eloquence. 
Ytt  he  was  by  no  means  an  erudite  musician,  f 
Isi  knovledge  being  restricted,  like  that  of  most  | 
men  of  genius,  to  tiie  range  of  his  personal  r 
cmpatliieB.     Of  Handel,  Bach,  Palestrina,  hef 
hww  little,  and  at  times  spoke  in  a  manner  to 
hj  bare  lus  ignorance. 

BerlioK's  father,  a  phyrioian,  wished  him  to  fol- 
low the  same  career.  At  eighteen  years  of  age,  and 
moebagauuik  his  will,  he  was  sent  to  Paris  as  a 
Aude&t  of  medicine;  music  however  so  engrossed 
^  that,  though  he  attended  lectures  and  tried 
htfd  to  overoome  his  repugnance  to  the  dissecting 
nxm,  his  anatomical  studies  came  to  nothing, 
ud  he  entered  the  Conservatoire  as  a  pupil 
of  Lesneor,  after  a  violent  quarrel  with   his 
P^f'BDtB,  who  stopped  supplies  uid  forced  him  to 
(ttn  a  Bcaoiy  subsisteTioe  by  singing  in  the  chorus 
of  an  obscore  theatre,  Le  Gvmnase  Dramatique. 
At  the  Gooaervatoire,  which  he  onoe  left  in  a 
kif  and  re-entered  as  a  member  of  Keicha's 
'daoe  de  oontrepoint,'  he  met  with  little  enoou- 
n^ement  from  Che  dons,  to  whom  his  sentiments 
ud  belieis,  bis  ways  and  works  were  more  or 
Jm>  tttipathetic ;  sAd  he  was  positively  hated 
Dythe^dnector,  Cherubini.    So  that,  in  spite  of 
tui  nuBt  remarkable  attainments  (the  'Ouverture 


des  Francs  Juges*  and  the  'Symphonic  fantaa- 
tique,'  which  he  wrote  whilst  a  pupil  at  the  Con- 
servatoire, are  more  than  sufficient  to  show  that 
he  was  then  already  the  master  of  his  masters, 
Cherubini  of  course  excepted)  it  was  only  after 
having  been  repeatedly  plucked  that  he  was 
permitted,  on  the  fourth  teial,  to  take  a  prise  for 
composition.  In  1828  he  took  the  second,  and 
at  last,  in  1830,  with  the  cantata  '  Sardanapale/ 
the  first  prize — ^the  'Prix  de  Bome* — ^to  which 
is  attached  a  government  pension,  supporting  the 
winner  three  years  at  Rome.  On  his  return 
to  Paris,  finding  it  difficult  to  live  by  oon^ 
posing,  he  was  driven  to  earn  a  livelihood  by 
contributions  to  newspapers,  and  bv  oocaaional 
concerts  and  musical  festivals,  which  he  organised 
on  a  large  scale.  The  story  of  his  violent  and 
eocentrio  passion  for  Miss  Smithson — an  Irish 
actress  who  came  to  Paris  with  an  Fiuglish 
troupe,  and  made  a  sensation  as  Ophelia  and 
Juliet,  whilst  the  enthusiasm  for  ^akn>eare, 
kindled  by  Victor  Hugo,  was  at  its  height— is 
minutely  tolid  in  his  '  Memoires,*  publish^  after 
his  deatL  That  sad  book  contains  many  a  hint 
of  the  misery  he  subsequently  endured  with 
her  as  his  wSe,  the  prolonged  fits  of  ill  health, 
bad  temper  and  ungovernable  jealousy  she  was 
subject  to ;  it  tells  how  diagraoefully  she  was 
treated  by  the  very  audience  who  had  lauded 
her  to  the  skies  when  she  reappeared  as  Ophelia 
after  the  pseudo-enthusiasm  for  Shakspeare  had 
blown  over ;  how  she  fell  from  her  carriage,  broke 
a  leg,  and  could  act  no  more ;  how  her  losses 
as  the  manageress  of  an  unsuccessful  theatrical 
venture  crushed  him,  and  how  they  ultimately 
separated ;  Berlioz,  with  scrupulous  fidelity,  sup- 
plying her  wants  out  of  his  poor  pittance  as  a 
contributor  to  newspapers  up  to  her  melancholy 
death  and  interment. 

Admired  occasionally  with  an  enthusiasm  akin 
to  adoratioii  (for  instance  by  Paganini,  who, 
afker  hearing  the  '  Symphonic  fiantastique'  at  the 
Conservatoire,  fell  on  his  knees  before  Berlios, 
kissed  his  hands,  and  on  the  following  morning 
sent  him  a  cheque  for  twenty  thousand  francs), 
always  much  talked  of,  but  generally  misunder* 
atood  and  shamefully  abused,  Berlios  was  not 
a  popular  man  in  France,  and  Parisians  were 
curiously  surprised  at  the  success  of  his  long 
'Voyage  musical,*  when  he  produced  his  works 
in  the  principal  cities  of  Germany  and  Russia. 
In  1852  Berlios  conducted  tiie  first  series  of  the 
'New  Philharmonic  Concerts*  at  Exeter  Hall, 
and  in  the  following  year,  on  June  25,  he  con- 
ducted his  opera  *  Benvenuto  Cellini*  at  Covent 
Graiden. 

He  tried  in  vain  to  get  a  profeseonhip  at  the 
Conservatoire.  The  modest  appointment  of 
librarian  to  that  institute  in  1839  and  the  cross 
of  the  Legion  d'Honneur  were  the  sole  distinctions 
that  fell  to  his  lot 

His  published  works,  few  in  number  but  co- 
lossal in  their  proportions,  are  as  follows : — 


Opw  L  OaTartnn  da '  WATcrley.' 
Op.  t.  Irlaoda :  9  milodlM  pour 

itiM  et  dettx  rotx  sur  dm  txadoo- 

tluoi  de  Thomu  Moon. 


Op.  8.  Ovvwtiire  d«  'mace 
Op.  4k  Oiif«tvi«da*BolLa».' 


284 


BERLIOZ. 


BEBNASCONI. 


Op.&  'OraodeMflaie  dai  MorU 
(Bequlvm). 

Op. «.  '  Le  6  Hal.*  Chant  sar  U 
mort  d«  rempereurNapol4on.pour 
Totz  de  basw  arso  ebttun  at  or- 
obettra. 

0|».7.  'LeannlUd'ki.'  8lz  tab- 
lodifls  poor  one  TOlxa?eo  orobettrs 
onpiaooi. 

Op.  8.  'Biverla  et  eaprlca^'  Bo- 
manoe  pour  la  Ylokm  arao  ordiei- 
trs  on  piano. 

Op.  9.  IjeCamaTalBoiDaln,Oii 
TBrtnre  Caraeteristiqua. 

Opb  la  Otaod  Trait^  dlnitni- 
mentation  et  d'orehcftratlon  mo- 
demeSk  Afee  MipplimaDt  *  La  chef 
d'orchestra.* 

Op.  U.    'Sarah  la 
Ballada  i  trob  chCMUi  aT«e  oi^ 
ehesUe. 

Op.  IS.  *U  GapttTa.*  B^rerle 
pour  mazzo  Mprano  area  orehestre. 

OpLl!l.'FlearsdetLaiidi!t.'  Cinq 
aaUodlcs  pour  una  toIx  avao  piano. 

Op.  14.  'Eplsoda  da  la  tI«  d*un 
artlita.'  BTmpboola  frntaiUqua 
an  olnq  parties. 

Op.  14  bb.  Lello.  on  La  retour  k  la 
Tie.'  Xonodrama  Iniqaa,  S^  parlle 
de  repiaoda. 

Op.  ]&  Oraode  STmpbonla  Ain^ 
bre  et  trlomphala  ponr  srande 
harmonle  militaire,  avec  nn  or- 
diMtre  dlnstminenta  A  eordaa  at 
tin  eboBor  ad  liblL 

Op.  16.  'Harold  en  Italia'  87m- 
phooie  en  4  partiea,  aveo  un  atta 
prlncipaL 

Op.  17.  *Rom4o  et  Jnllatta.' 
Bymphonle  drunatique  avac 
dKBora,  BoloB  de  ohant  et  piologne 
an  r^itatlf  ehoraL 

Op.  U. '  Tristia.*  8  Choran  aree 
orcheitra.  (Meditation  relifrtense, 
Ballada  snr  la  Moit  d'Opbtoe. 
Karche  ftm^bra.') 


Op^  19.  'Vtadlats  d'AIbum.'  8 
moreeaoz  de  Chant  arec  plana 

Op.  20l  'Vox  populi.'  Denx 
grand*  cbceun  avec  orchektre.  (La 
manaoe  des;Fnuic«,  Bymne  i  la 
France.) 

Op. 2L  OnTartnredu  'Conalre.' 

Op.  B.  'T»  Deum,'  i  trola 
eboBun  avae  orebeitra  at  orgna 
oonoertanta. 

Opb  as.  'Benrenuto  CelllnL' 
Op6ra  en  trols  aetes.  Paroles  de 
Leon  da  WaiUr  «t  August  Barbler. 
(Partition  da  piano.  Paris,  Cbon- 
dens.) 

Op.21.  *  La  Damnation  de  Faust.* 
L^genda  dtmmatlqua  an  quatre 
parties. 

Op.  2B.  'L'Enfanoe  dn  Cbri<t' 
TrQogleBaer^  1. '  Le  songc  d'He- 
roda.'  8.  'lA  ftilte  en  Egypte.' 
S.  *  L'arrlT^  i  Bals. 

Op.  9B.  '  Llmpiriale.'  eantata  & 
denx  cbflsurs  et  ordbestre. 

*  Le  Temple  univerMl.*  Cborar  & 
quatre  roix  et  jilano. 

*  PrlAra  dn  Matin.'  ChcBurideoz 
▼oix  et  piano. 

'la  belle  Iiabean.*  Conte  pen- 
dant I'oragt.  avee  cfaoanr. 

'  Le  Ghaiseur  danoia.'  ,Ponr  toIz 
de  basse  aveo  piano. 

LlnrlUtlon  k  la  valie  de  Weber.' 
Orobestratlon. 

'Maroha  Haroeaina'  de  L.  da 
Meyer.   Orehestiation. 

'  Recitatlrai'  ponr  'la  IM- 
schatx.* 

'Beatrloe  et  Bfcnadlet.*  Opbn, 
en  deux  aeles  faniti  de  Shakespeare. 
Paroles  de  Hector  Berlioz.  (Parti- 
tion de  piano.   Paris,  Brandus.) 

*Les  TroyeoiL*  Poime  lyriqna 
en  denx  parties:  0)' La  prise  da 
Trola.'  018.)  (2)  'Lea  Troyens  i 
Carthsce'  (PartltloD  de  piano. 
Paris,  CbondensJ 


Memolrei,  comprenant  sa 
ages.  etc.  1808-18fi&   Paris.  Umn 
Hlstorlettes  et  Scenes  muslealea; 
Les  musiriens  et  la  mnsique. 
AdTertlied  by  M.  Levy  fr^res  In 
1878,  but  Dot  jet  published. 


Besides  the  'Traits  dMnRtrumentation,*  with 
its  sequel  *  Le  chef  d^orchesire/  included  above 
amongst  his  musical  works  as  op.  lo,  the  sub- 
joined literary  productions  have  been  issued  in 
book-form : — 

Yoyage  Musical .  . .  ^des  nr 
BeethoTcn.  Oluck  at  Weber,  8  Tob. 
Paris.  1844. 

Les  soirers  de  I'orcfaeitre,  1808. 

Lea  grotesques  de  ki  musiqua; 
UM. 

A  tniTers  chants;  1888. 

[E.  D.] 

BERMUDO,  JuAir,  bom  near  Astorga  in 
Spain  about  1510,  a  Franciscan  monk,  author 
of  'Libro  de  la  declaracion  de  instrumentos.' 
Volume  I.  only  has  been  printed  (Ossuna,  1549). 
Soriano-Fuertes  ('Historia  de  la  Musica  espa- 
fiola*)  states  that  the  original  in  four  volumes 
in  among  the  MSS.  in  the  National  Library  at 
Madrid. 

BERNACCHI,  Aim>Nio,  bom  at  Bologna 
about  1690,  is  equally  celebrated  as  a  singer 
and  as  a  master.  During  several  years  he 
received  the  instruction  of  Pistoochi,  then  the 
first  singing-master  in  Italy,  where  there  were 
at  that  time  not  a  few;  and  to  his  care  and 
skill,  as  well  as  to  his  own  application,  genius, 
and  splendid  soprano  voice,  the  young  Bemaochi 
owed  his  early  superiority  over  all  the  other 
singers  of  his  day,  and  the  title  which  he  gained 
of  *  II  Be  del  cantatori.*  F^tis  says  that  he 
made  his  first  appearance  in  172a;  but  it  is 
much  more  likely  that  he  did  this  ten  years 
earlier,  for  he  was  sinking  in  London  in  17 16 
in  the  opera  'Clearte/  and  in  Handel's  *Bi- 


naldo*   in  1717,  when  he   sang    the    part    c 
Ctoffredo,  which  had  previously  been   Bung   h 
Yanini  Boschi  and  Galerati,  two  femAle  oontralti 
While  in  England,  his  voice  wa»  tbouglit  to  b 
weak  and  defective;  but  he  covered  these  &ult 
with  so  much  skill  that  his  singing-  viras  alwayi 
much  more  admired  by  musicians  than  by  th4 
public.     He   remained  here  at   first   only   foa 
one  season,  after  which  he  returned   to    Italy 
Shortly  afterwards  he  entered   the    aervioe   oi 
the  Elector  of  Bavaria^  and  subsequently  thai 
of  the  Emperor.      Bemacchi  now   adtered    hii 
style,  making  use  of  an  embroidery  of  roulades, — 
a  great  innovation  upon  the  old  simple  method  ol 
singing.    This  novelty  had  an  immense  success ; 
and  was  immediatelv  adopted  by  all  the  other 
singers,  in  spite  of  the  outcry  raised  by  the  pur> 
ists  of  the  old  school.    Martinelli  and  Algaroitii 
agree  in  blaming  him  for  sacrificing  expression 
to  execution,  and  for  'opening  the  door  to  all 
the  innovations  which  have  debased    the   art.* 
BouBseau  relates  that  Pistocchi,  on  hearing-  his 
former  pupil,  exclaimed  '  Ah !   woe  is  me !    I 
taught  thee  to  sing,  and  now  thou  wilt  **  play** ! ' 
The  *  Daily  Gourant*  of  July  2,  1729,  gumoonced 
that  'Mr.  Handel,  who  is  just  returned  from 
Italy,  has  contracted  with  the  followin^r  persons 
to  perform  in  the  Italian  Opera :  Sig.  Bernacchi, 
who  is  esteemed  the  best  singer  in  Italy ;'  etc. 
The  new  company  disembarked  at  Dover  at  the 
end  of  September ;  and  the  Opera,  which  had  been 
closed  for  eighteen  months,  re-opened  December  2 
with  'Lotario,'  and   a  revival  of  'Tolomeo/  in 
both  of  which  Bemaochi  played  the  principal 
character,  formerly  sustained  by  Seneeino.   In  the 
season  of  1 730  he  sang  in  Handel's  '  Partenope,' 
after  which  he  returned  once  more  to  Italy,  with 
the  desire  of  founding  there  a  school  for  teach- 
ing his  own  method.     Raff,  Amadori,  Mancini, 
Guarducoi,  and  many  more,  were  his  scholars. 
The  objection  of  the  purists  to  Bemaochi's  fiori- 
ture  as  new,  has  no  foundation ;   for  these  em- 
bellishments were  as  old  as  the  i6th  oentmy, 
and  were  only  developed  by  him  and  employed 
more  after  the  manner  of  instrumental  music. 
He  was  also  a  good  composer,  having  learnt 
composition  irom  G.  A.  Bernabei ;  the  Conserva- 
toire at  Paris  possesses  some  songs  and  duets  of 
his.     He  was  admitted  as   a  member  of  the 
Sodetk  Philarm.  of  Bologna  in  1722,  of  which 
he  became  Princeps  in  1748  and  49.    He  *died 
March  1756.    (See  Fa&inelli.)  [J.  M.J 

BERNARD,  sumamed  IL  tedbsco,  'the 
Geraian,'  is  said  to  have  been  organist  at  the 
church  of  St.  Mark  at  Venice  in  the  last  half  of 
the  15  th  century,  and  to  have  invented  organ 
pedah.  The  catalogue  of  the  organists  of  St. 
Mark — given  in  von  Winterfeld's  'Grabrieli' — 
contains  the  name  of  'Bernardo  di  Stefanino 
Murer,'  as  having  held  the  post  from  April  15, 
1445,  to  Sept.  22,1459. 

BERNARDI.     (See  Senesino.) 

BERNASCONI,  Antonia,  was  the  daughter 
of  a  valet-de-chambre  of  the  Prince  of  Wiirtem- 
burg,  whose  widow  married  Andrea  Bemasooni, 


BEBNASOONI. 

IBusc-masteraiidooinpofler.  From  him  AntoniA 
pared  each  instruction  as  sufficed  to  develope 
Ir  remarkable  talonts.  She  made  her  fint 
ippesnuioe  at  Yienna,  1764,  in  *  Aloeste,'  which 
|£ck  had  written  ezpreaaly  for  her.  She  after> 
nrdi  sang  ai  Tarious  Italian  theatres,  and  in 
17;$ she  appeared  with  Paochierotti  in  'Demo- 
ioLib,'  a  pasticcio,  at  the  Opera  in  London. 
fte  was  then  a  good  musician,  and  a  correct  and 
ikSM  nnger ;  but  her  Toice  was  not  powerful, 
ad  she  was  past  her  prime.  She  was  a  good 
letoca,  with  but  an  indifferent  figure.  In  the 
ait  season  she  remained,  condescending,  as  it 
vae  then  esteemed,  to  take  the  part  of  'first 
vooun*  in  the  comic  opera,  which  sne  performed 
feiminbly.  In  I770>7i  she  had  sung  at  Milan 
tbe  part  of  Asparia  in  Mosart*s  early  opera 
'Mimdate.'  She  distrusted  the  powers  of  the 
boj  (0  compose  the  airs  for  her,  and  requested  to 
•ee  whA  she  was  to  sing,  to  which  he  instantly 
Kttded.  She  made  trial  of  a  piece,  and  was 
dunned  with  it.  Mosart  then,  fnqued  at  her 
«iat  of  confidence,  gave  her  another,  and  a 
third,  lesTing  Bemaaooni  quite  confounded  with 
w  nn  a  talent  and  so  rich  an  imagination 
tt  jeais  80  tender.  Shortly  afterwards  an 
oemy  (Gasparini  of  Turin)  cidled  on  her  with 
the  words  of  the  libretto  set  to  different  music, 
lod  endesToured  to  persuade  her  not  to  ring  the 
wsc  of  the  young  Mosart.  'She  absolutely 
refiaed  this  wicked  person,  being  quite  over- 
joyed at  the  airs  the  young  mautro  had  written 
is  her,  in  which  he  consulted  her  inclination.*^ 
The  opera  had  a  prodigious  succen. 

In  1783  Bemasooni  was  at  Vienna,  where  she 
bi  aettled,  though  not  engaged  at  the  Opera ; 
bat  the  gave  a  few  performances  of  the  '  Aloeste  * 
ud  'Uigema  in  Taaride'  of  Oluck,  and  of  a 
ramie  opera  'La  Contadina  in  Gorte,'  which 
ihe  bad  sang  with  succev  in  London.       [J.  M.] 

BEBNEB,  Fbibdsich  Wilhblv,  bom  at 
Bredao,  Much  16,  1780;  pupil  of  his  &ther 
the  oigaoist  of  the  Elisabeth  Church  there, 
nnder  whose  tuition  he  made  such  rapid  progress 
uto  be  appointed  his  assistant  at  thirteen  years 
of  age.  Counterpoint  and  composition  he  learnt 
from  Gehimie,  director  of  tne  choir  at  the 
Httthaoa  Church,  and  at  the  same  time  from 
fieiclurdt  the  cello,  horn,  bassoon,  and  darinet^ 
vhidi  last  instrument  he  played  in  the  orchestra 
of  the  theatre.  The  arrival  of  C.  M.  von  Weber 
in  Breilau  to  take  the  post  of  capellmeister  roused 
Berner  to  fresh  exertions.  Weber  valued  him 
u  an  excellent  pianoforte  and  clarinet  player. 
hi  181 1  he  and  Schnabel  were  summoned  to 
Berlin  by  Zelter  to  master  the  system  of  the 
Singakadeime,  with  the  view  of  establishing 
aimilar  institutions  in  Breslau  and  the  rest  of 
Silena,  sach  being  the  wish  of  the  Prussian 
gorenune&t.  Bemer  was  also  entrusted  with 
tbe  task  of  cataloguing  the  musical  treasures 
of  the  suppressed  monasteries.  In  the  middle 
of  all  this  activity  he  was  seized  with  a  long 
ttd  loious  illness  which  removed  him  on  May 


BEBNSDORF. 


285 


9, 1837.  More  details  of  his  life  wiU  be  fi^und 
in  the  'Hausfreund'  for  1827,  No.  15.  Among 
his  numerous  pupils,  Adolph  Hesse  the  celebrated 
organist,  himself  also  departed,  is  one  of  the 
most  remarkable.  He  left  many  compositions 
both  for  voices  and  instruments,  bat  his  didactic 
writings  are  more  valuable— '  Grundregeln  des 
Gesanges*  (181 5),  '  Theorie  der  Choi^-zwis- 
chenspiel'  (1819))  'Lehre  von  den  musikalischen 
Interpunktion'  (18  31).  Some  of  his  songs  are 
even  now  very  popular,  e.g.  'Deutsches  Herz 
verzage  nioht.'  [F.  G.] 

BERNHARD,  Chbistoph,  capeUmeister  at 
Dresden  ;  son  of  a  poor  sailor ;  bom  at  Dantric, 
161 2.  He  was  so  poor  as  to  sing  from  door  to 
door  to  keep  himself  from  starving.  By  a  Dr. 
Strauch  he  was  placed  in  the  Gymnanum,  where 
he  studied  music  under  Balthazab  Ebbsm,  and 
the  organ  under  Paul  Syfert.  By  the  aid  of 
the  same  benevolent  individual  he  was  enabled 
to  viat  Dresden  with  letters  of  recommendation 
to  H.  ScHDTZ  the  capellmeister.  There  hiB 
fine  tenor  voice  so  &r  attracted  the  notice  of 
the  KurfUrst  as  to  induce  him  to  send  Bemhard 
to  Italy  with  the  view  of  perfecting  his  singing. 
In  Rome  he  became  intimate  with  Carissimi, 
and  excited  the  enthusiasm  of  the  Italians  by 
his  oomporitions,  amongst  others  a  mass  for  ten 
voices.  After  returning  with  a  party  of  young 
Italians  to  Dresden,  he  was  enabled  by  the 
Kurf&rat  to  make  a  second  journey  to  Italy. 
The  Italians  who  had  returned  with  him  however 
intrigued  a«iinst  their  benefactor,  and  at  length 
comj^ed  Bernhard  to  resign  his  post  and  take 
a  cantorship  at  Hamburg:  ten  years  later  he 
was  recalled  bv  the  Kurittrst  Johann  George  IH, 
and  remained  m  Dresden  as  capellmeister  till  his 
death,  Nov.  14,  169a.  His  facility  in  counter- 
point was  very  remarkable,  and  some  extraor- 
dinanr  instances  of  his  ability  in  this  direction 
may  be  found  in  his  setting  of  the  Latin  hymn 
'Prudentia  Prudentiana'  (Hamburg,  1669)  In 
triple  oounterx>oint,  as  well  as  in  other  of  his 
works.  [F.  G.] 

BERNBLA.RD,  Wilhelit  Christoph,  remark- 
able as  a  first-rate  player  of  the  works  of  J.  S. 
Bach,  both  for  organ  and  piano.  Bom  at  Saal- 
feld  about  1760;  died  at  Moscow  at  the  e^irly 
age  of  twenty-seven  in  the  year  1787.       [F.  Q.] 

BERNSDORF,  Eduabd,  bom  at  Dessau 
March  25,  1825,  a  pupil  of  F.  Schneider  at 
Dessau  and  of  A.  B.  Marx  at  Berlin ;  has  lived 
for  many  years  at  Leipric.  He  has  published 
various  songs  and  pieces  for  the  piano,  but  is 
chiefly  known  as  editor  of  the  '  Univenud  Lezi- 
kon  der  Tonkunst'  (5  vols.,  with  supplement, 
1856),  begun  by  von  Schladebach — and  also  as 
a  critic  in  the  well-known  mumcal  periodical, 
the  'Signale.'  Bemsdorf  is  a  thorough  con- 
servative, with  a  strong  antipathy  to  all  modem 
efforts  in  music.  Within  his  own  predilections 
however  he  is  a  keen  and  intelligent  critic, 
though  a  certain  severity  of  expression  in  his 
reports  of  the  Leipsic  concerts  has  brought  on 
him  the  dislike  of  many  xnusicians.  [A.  M.] 


286 


BEBSELLI. 


BERSELLI,  Mattbo,  a  celebrated  Italian 
tenor,  who  came  to  England  with  Senesino ;  and 
with  him  made  his  first  appearance  in  London 
in  Baononcini's  'Astartus,  Nov.  19,  1720.  He 
sang  next  in  December  of  the  same  year,  with 
Senesino  again,  in  the  'Badamisto'  (revival)  of 
Handel;  and  in  1731  he  appeared  in  'Muzio 
Sceevola,'  joint  work  of  Attilio,  Buononcini.  and 
Handel ;  in  the  '  Arsaoe'  of  Orlandini  and  Ama- 
dei ;  and  in  the  anonymous  '  UOdio  e  L'Amore.' 
After  that  we  lose  sight  of  him.  [J.  M.] 

BERT  A,  OB  Thb  Gnomb  of  thb  Habtzbebo, 
a  romantic  opera  in  2  acts;  words  by  Edward 
Fitzball ;  music  by  Henry  Smart.  Produced  at 
the  Haymarket  TheatrOi  May  26,  1855. 

BERTIN«  Louisb  Anoelique,  bom  near  Paris 
1805,  contralto  singer,  pianist,  and  composer. 
'Le  Loup  Garou'  (Paris,  1827)  and  'Eaust' 
(1831)  were  her  most  successful  operas,  though 
Victor  Hugo  himself  adapted  the  libretto  for  her 
'La  Esmeralda'  (1836).  Mile.  Bertin^s  imper- 
fect studies  account  for  the  crudities  and  irrcgu- 
laritieB  to  be  found  in  her  writings  among  many 
evidenoes  of  genius.    She  died  Ap.  a6,  1877. 

BEBTINI,  Giuseppe,  son  of  Salvatore  Ber- 
tini,  a  musician  at  Palermo,  born  there  about 
1756;  a  composer  of  cliurch  masic,  and  author 
of  *  Dizionario  . .  .  degli  scrittori  di  musica*  (Pa- 
lermo, 1814),  which,  although  largely  borrowed 
from  Choron  and  FayoUes,  contains  interesting 
original  articles  on  Italian  musicians. 

BEBTINI,  Hknbi,  bom  in  London  1798,  a 
pianist,  the  last  member  of  a  musical  family, 
which  included  the  £ftther,  bom  at  Tours  1750, 
and  an  elder  brother  Bknoit  Auouste,  who  was 
a  pupil  of  Clementi,  and  trained  Henri  after 
that  master*s  method.  At  the  age  of  twelve  his 
father  took  him  for  a  successful  concert-tour  in 
Holland,  the  Netherlands,  and  Geraiany.  He 
was  for  some  time  in  England  and  Sootlimd, 
but  in  1821  settled  finally  in  Paris.  As  a 
performer  he  excelled  alike  in  phrasing  and 
execution.  His  compositions  (of  which  Fetis 
gives  a  complete  list)  were  excellent  for  their 
time,  but  his  chief  work  is  an  admirable  course 
of  studies.    He  died  at  Meylan,  Oct.  i,  1876. 

BERTINOm,  Teeesa,  bom  at  Savigliano, 
Piedmont,  in  1776.  When  she  was  only  two 
years  old  her  parents  went  to  live  at  Naples. 
Hero,  at  the  age  of  four,  she  began  the  study  of 
music,  under  the  instruction  of  La  Barbiera^  a 
very  original  artist,  of  a  type  that  is  now  nearly 
lost,  even  at  Naples.  At  twelve  the  little  Teresa 
made  her  first  appearance,  with  other  childron, 
at  the  San  Garlino  theatre^  with  great  ^dat. 
As  she  grow  older,  she  showed  the  promise  of 
ffreat  beauty,  and  developed  a  fine  style  of  sing> 
ing.  Obtaining  engagements  only  too  easily  she 
Banff  at  Floronce,  Venice,  Milan,  and  Turin  with 
prodigious  success.  In  the  latter  town  she  mar- 
ried Felice  Radicati,  a  violinist  and  composer  of 
instrumental  music;  but  she  still  kept  to  her 
maiden  name  on  the  stage.  In  1805  she  sang 
with  brilliant  success  at  Vienna  for  six  months ; 


BEBTOLLL 

but  she  then  left  that  <nty,  on  aoooont  of  polii 
events.    In  1807  she  went  to  Munich,  and 
before  the  court;   and  then  visited  Vi< 
second  time,  whero  she  found  the  same  wel< 
as  beforo.    An  engagement  from  Xjouia  Buc 
parte,  king  of  Holland,  now  reached  her : 
accepted  it,  and  went  to  the  Hague.      Recei'^ 
proposals  from  London  and  Paris,  she  prefe 
the  former,  whither  she  came  aboat   iSi< 
Hero  she  was  thought  to  have  a  pleasing 
and  a  good  manner ;  but  after  giving  sataai 
in  one  serious  op««,  *  Zaira,'  in  whicsh  her 
wero  written  for  her  by  her  husbnnd,  she  was 
successful  in  a  second ;  upon  which  ahe  took 
comic  opera,  and  performed  extremely  well 
Mozart's  '  Cos!  fiui  tutte,*  which  was  admirab^ 
acted  in  every  part^  the  other  characters  bean 
filled  byCollini,  Gauvini,  Tramezzani,  and  Naldj 
She  alflo  sang  in  the  'Flauto  Magioo*  and  a  revi 
val  of  Guglielmi*s  beautiful '  Sidsgero.'     Gatalani 
however,  could  not  enduro  to  be  surrounded  bj 
so  many  good  performers;  and  the  situation  con* 
sequently  became  so  unpleasant  that   half  the 
company,  including  Bertinotti,  seceded   to   the 
Pantheon,  taking  with  them,  as  'best  woman,' 
the  celebrated  Miss  Stephens,  who  there  made  her 
debut.    The  licence  being  only  for  intermexzos, 
operas  of  one  act,  and  dancing  without  ballets 
d  action,  the  performances  wero  not  very  attract- 
ive, and  soon  ceased.   The  house  then  dosed,  and 
most  of  the  troupe,  among  whom  was  Bertinotti, 
left  this  country.     She  now  returned  to  Italy, 
visited  G«noa,  and  was  next  engaged  at  the  end 
of  181 3  for  the  opera  at  Lisbon.    In  1814  she  re- 
turned  to  Bologna,  being  called  thither  on  &mily 
matters,  and  while  thero  received  an  ofiTer  from 
the  Italian  opera  at  Paris,  which  she  accepted 
but  was  prevented  from  fulfilling  by  the  return  of 
Napoleon  from  Elba.     She  therotbro  settled  at 
Bologna,  whero  her  husband,  who  had  obtained 
a  pU^e  as  first  violin  and  professor,  was  killed  in 
1823  by  an  accident,  being  thrown  from  a  cai^ 
riage.      She  now  retired  from  the  stage,   bat 
continued  to  teadi  singing,  and  formed  several 
admirable  pupils.    She  died  at  Bolpgni^  Feb.  1 2^ 
1854,  [J.M.] 

BERTOLDI,  SmiroBA,  announced  July  2, 
1719,  among  Handel's  new  company,  as  having 
*  a  very  fine  treble  voice,*  was  in  reality  the  con- 
tralto Bbbtolli.  [J.  M.] 

BERTOLLI,  Fbancesoa,  who  arrived  in  Eng- 
land about  the  end  of  September  1729,  was  a 
splendid  contralto,  and  '  also  a  very  genteel 
actress,  both  in  men  and  women's  parts.*  She 
was  one  of  the  new  company  with  wtuch  Handel 
opened  the  season  of  1720-30,  and  appeared  in 
'Lotario*  and  the  revival  of  'Tolomeo,*  and  in 
'Partenope,*  Feb.  24,  1730.  She  sang  again  in 
'Poro,'  Feb.  2,  1731,  with  Senesino :  this  opera 
had  a  run  of  fifteen  nights,  at  that  time  a  grest 
success.  Bertolli  took  in  it  the  part  formerly 
sung  by  Merighi.  She  took  part  in  the  revivals 
of '  Rodelinda  and  *  Rinaldo  *  in  the  same  season, 
and  in  the  new  operas,  '  Ezio  *  and  '  Soearme,'  at 
the  beginning  of  173a.    In  this  season  she  sang^ 


BBBTOLLI. 

B  Ei^tiih,  Uid  ocmtralto  mmic  of '  Esfeher/  then 
yeknaed  fint  in  publio  (April  20),  and  repeated 
■X  Gm«  during  May;  and  she  appeared  in  'Ads 
lel  G«]ate%*  sung  partly  in  Kngliah  and  partly 
it  Italian.  In  this  same  year  she  alao  performed 
a'Plario'  and  '  Aleflsandro*  by  Handel,  and  in 
inilio'i  'Coriolano.'  In  1733  she  played  in 
'Ottone,'  'Tcdomeo,'  and  <  Orlando/  and  in  'De- 
Vnh,'  Handel's  aeoond  Rnglish  oratorio.  She 
^ved  Seneaino,  howeror,  when  that  ftinger  left 
fiaftiel,  and  joined  the  opposition  at  the  lin- 
qq^'b  Inn  Theatre :  ahe  sang  in '  Onorio*  in  1 734, 
ffi>i  IB  Yeiacini'B  '  Adriano  in  Siria '  in  1 735.  as 
tell  as  in  other  pieoea.  In  1737  she  returned  to 
^mieland  sang  in  his  'Anninio/  Jan.  la,  at 
Cdfut  Gaxden ;  'Ginatino,*  Feb.  16 ;  'Berenioe,' 
iUj  is;  and  •  revival  of  'PartCTope.'  Her 
woe  never  oocara  again  in  the  libretti  of  the 
tiae,  and  her  after-hiatory  is  unknown.     [J.  M.] 

BEBTON,  Hkitbi  Montait,  one  of  those  not 
vB&eqnent  instances  in  the  history  of  art  where 
a  di^nguiahed  father  is  succeeded  by  a  more 
disdnguiBhed  aon.     Pierre  Montan  Berton,  the 
bshsa,  composed  and  adapted  several  operas, 
asl  was  known  as  an  excellent  conductor.     He 
yd  the  position  of  chef  cTorehettre  at  the  opera 
in  Ptria  when  the  feud  of  the  Oluckists  and 
PiocinistB  began  to  rage,  and  is  said  to  have 
acted  as  peacemaker  between  the  hostile  parties. 
EI3  <(m  Hkstbi  was  bom  at  Paris  in  1 767.    His 
talent  ttena  to  have  been  precocious ;  at  six  he 
could  read  music  at  sights  and  became  a  vio- 
liiuit  in  the  orchestra  of  the  opera  when  only 
SlieeiL    Hia  teachers  of  composition  were  Rey, 
a  firm  believer  in  Bameau's  theoretical  principle<4, 
aod  Saochini,  a   prolific  composer  of   Italian 
opens,     fiat  this   instruction  was  never  sys- 
tematic, a  defect  but  too  distinctly  visible  even 
in  the  matorest  acores  of  our  composer.     His 
anacal  kaowledge,  and  particularly  his  expe- 
rioQce  of  diamatio  effect^  he  mainly  derived  from 
the  ptfformanoes  he  witnessed.    Hence  the  want 
of  mdependent  features  in  his  style,  which  makes 
It  aometimes  difficult  to  distinguish  his  work- 
nanahip  from  that  of  other  masters  of  the  Fr^ch 
*M.    In  178a  he  became  deeply  enamoured 
of  Mdlle.  Halliard,  a  celebrated  singer,  by  whom 
he  had  an  illegitimate  son  Fban9018  Bkbton, 
^  a  composer  of   some  note,  who   died  in 
1832.    This  paanonate   attachment   seems   to 
We  a^rakened  his  latent  creativeness.     His  first 
^  vas  a  oomio  oper%  'La  dame  invisible,* 
vritten  about  the  tune  referred  to,   but   not 
perfonned  till  four  years  later  (Dec  1787).    It 
u  said  that  the  young  composer  being  too  ahy 
to  produce  Ida  work  it  was  ahown  by  Mdlle. 
ffla^Qaid  to  Saochini,  who  at  once  recognised 
^^^  talent     This   led  to   the  connection 
^reeu  the  two  musicians  already  alluded  to. 
BsrtoQ  made  bii  public  d^but  as  a  composer 
^  the  Concerts  Spirituels,  for  which  he  wrote 
«^  oatorios.    One  of  these, '  Absalon,'  was 
™^  perfonned  with    considerable   success   in 
1700.  Bq.  he  soon  abandoned  sacred  music  for 
we  more  congenial  sphere  of  oomic  opera.    In 
17^7  ^0  dnimatic  works^'Les  promoaaes  da 


BERTON. 


m 


manage*  and  the  above-named  'Dame  in- 
visible*— saw  the  light  of  the  stage,  and  were 
favourably  received. 

The  excitement  of  the  revolutionary  period 
did  not  fail  to  leave  its  traces  on  Berton's 
works.  His  opera  *Les  rigueurs  du  olottre' 
owes  its  ezistenoe  to  this  period.  In  it  the 
individual  merits  and  demerits  of  his  style 
become  notioeable  for  the  first  time— easy  tad 
natural  melody,  great  simplicity  and  clearness 
of  harmonic  combinations,  and  skilful  handling 
of  stage  efiects ;  but  a  want  of  grandeur  and  true 
dramatic  depth,  and  frequent  slipbhod  structure 
of  the  eMemtlea.  Amongst  the  masters  of  French 
comic  opera  Berton  holds  a  respectable  but 
not  pre-eminent  position.  His  power  was  not 
sufficient  to  inspire  a  whole  organism  with  the 
breath  of  dramatic  life.  Hence  his  works  have 
disappeared  from  the  stage,  although  separate 
pieces  retun  their  popularity. 

During  the  Reign  of  Terror  Berton  had  a  hard 
struggle  for  existence.  He  even  found  diffi- 
culty in  procuring  a  libretto  from  one  of  the 
ordinary'  manufiMsturers  of  that  article,  and  to 
supply  the  want  had  to  turn  poet  himself 
although  his  literairy  culture  was  of  the  slightest 
order.  The  result  was  the  opera  'Ponce  de 
Leon,'  first  performed  with  great  success  in 
1794.  Five  years  later  (April  15,  1 799)  he  pro- 
duced his  chef  d*oeuvre,  '  Montano  et  Stephanie,' 
a  romantic  opera,  with  words  by  Dejaure,  the 
librettist  of  Kreutzer*s  'Lodoiska*  and  many 
other  pieces.  It  is  by  fiur  the  most  ambitious 
piece  of  its  composer,  and  the  numerous  ensembles 
were  at  first  considered  so  formidable  as  to  make 
the  possibility  of  execution  doubtful.  Some 
of  the  songs — ^for  instance,  the  beautiful  air  of 
Stephanie,  'Oui,  c'est  domain  queThymen^o* — are 
still  heard  with  delight.  Edouard  Monnais,  in 
his  sketch  entitled  '  Histoire  d'un  chef  d'oeuvre,* 
has  given  a  full  account  of  the  history  of  the 
work,  founded  partly  on  autobiographical  frag- 
ments by  the  composer.  Its  success  greatly 
advanced  Berton's  reputation,  and  freed  him 
fit>m  the  difficulties  of  the  moment.  It  must 
suffice  to  add  the  titles  of  a  few  of  the  most 
celebrated  of  his  numerous  compositions : — '  Le 
D^lire'  (1799))  'Aline,  ou  la  Reine  deGrolconde* 
(1803), '  Nmonches  Madame  de  S^vign^'  (1807), 
and  'Fran^oise  de  Foix*  (1809).  He  also  wrote 
numerous  operas  in  co-operation  with  M^hul, 
Spontini,  Ej«utser,  Boieldieu,  and  other  con- 
temporary composers,  besides  several  ballets. 

Berton  was  for  a  long  time  Professor  of  Har- 
mony at  the  Conservatoire;  in  1807  he  became 
conductor  at  the  Italian  opera  in  Paris,  and  im 
1 81 5  was  made  a  member  of  the  Institut. 
French  and  foreign  decorations  were  not  want- 
ing ;  but  he  survived  his  fame,  and  the  evening 
of  his  life  was  darkened.  In  i8a8  he  suffered 
by  the  bankruptcy  of  the  Op^ra  Comiquei,  to 
which  he  had  sold  the  right  of  performing  his 
works  for  an  annuity  of  3000  francs.  Moreover 
he  oould  not  reconcile  himself  to  the  new 
currents  of  public  taste.  Rossini's  success  filled 
him  with  anger— a  foeling  which  he  vented  i» 


SS8 


BEBTON. 


t\fi>  nmphleti,  'D«  la  Muaiqne  nJCHlIqiia  et 
dBlaMunquephilaiophique'(i8]3),  utd  'f^ttie 

i.  on  cclbbre  compoaiteur  Fnuifua,  pricidtt  de 
quelques  abHervationi  but  la  Munqus  m6cam- 
(jDO  et  1>  Muni^ue  philoiopliiqae'  (iSig).  The 
OBlebratad  compoBer  u  Boieldien,  who  wai  by 
no  meani  pleased  with  the  dedication  of  a  book 
■o  Uttle  in  accordance  with  kia  own  Tiewa, 
Berton  survived  all  hii  children,  and  died  as  lal« 
a.  184J.  [F,  H.] 

BEKTONI,  FiBDnruiDO  GtcaEPPi,  bom  at 
&alo  near  Venice  1717,  died  at  Desenzano  near 
Braada  1810,  pu|^  of  Fadre  Martini,  and  a 
oelebtated  oompoaer  in  hii  time.  In  1750  waa 
appointed  otguiist  of  St.  Mark'a,  Venice,  and 
aeven  yean  later  cboir-nuuler  at  the  CoiuervaM- 
rio  '  dei  Mendicanti,'  which  post  be  held  till  the 
•uppressioii  of  the  ConBervatoires  on  the  fall  of 
the  Republic  in  1797.  His  fint  opera,  'Orazic 
e  Curaiio,'  speared  in  Venice  (1746),  but  it 
waa  not  tm  the  prodnction  of  'Orfeo'  (1776) 
that  he  attracted  atteatlon.  Ha  compoHd  it  to 
the  libretto  which  Gluck  had  aet,  and  the  aaine 
UDger,  Guadagni,  took  the  part  of  Orfeo  in  both 
operaa.  In  1778  Bertom  waa  lummonad  to 
Ixjndon  with  hiB&iend  Paccbierotti,  and  brought 
out  his  'Quinto  Fabio,'  which  had  been  auc- 
oeaafuUj  produced  at  Fadua  in  the  aame  year, 
and  was  equally  well  received  here,  owing  in 
great  part  to  Pacchierotti'a  performuce  of  the 
part  of  Fabio.  Bertoni  visited  London  again 
with  Facchierotti,  but  the  rage  for  Sacohini 
made  it  diEEcult  for  any  one  else  to  gain  a 
hearing,  and  he  returned  finally  to  Venice  In 
17S4.  In  the  following:  year,  on  the  death  of 
Galuppi,  he  succeeded  him  aa  oonduotor  at  St. 
Mark  B,  the  moet  honourable  and  lucrative  post 
then  open  to  a  musician  in  Italy.  Burney  (Hist. 
iv.  514,  541)  deecribea  him  aa  a  man  of  ability 
and  taste,  but  no  geniui.  His  works  (of  which 
P^tJa  give*  a  list)  comprise  33  operas  and  era. 
torios,  besides  inatmmentsl  oompoutiona.  Little 
of  bit  musio  has  been  published.  [M.  C,  C] 

BERTBANU,  Gustavi,  bran  at  Faria  Dec. 
34,  1834,  educated  at  the  Ecole  daa  Chutea, 
where  he  devoted  himaelf  to  the  study  of  ancient 
musio  and  hiatory  of  the  organ,  l^iia  learned 
and  clever  writer  has  contributed  to  Didot'a 
'  Compldmant  de  rEnoycIopMia,'  and  has  pub' 
liahed  many  articles  on  musiB  in  'Lea  D^hsts,' 
'  La  Revue  modeme,' '  Le  Noid,' '  Le  M^nestrel,' 
etc.  Hia  chief  works  are  a  paniphlet  on  Ancient 
Muaio  (Didot,  i86a);  'Los  Natiaoalit^s  musi- 
calee,  ^tudi^  dans  le  drame  lyrique'  (1871); 
smd  ■  De  la  riforme  daa  Etodea  dn  Cliant 
an  Conservatoire'  (1S71).  M.  Bertrand  has 
enginal  views  aa  a  ditio,  and  fills  the  depart, 
ment  of  muucal  arclueotogy  in  the  '  Commiodona 
dea  Travaui  historiquea."  [G.  C] 

BERWALD,  JoHARV  FalKDBtCB,  a  violinist, 
■on  of  one  of  the  chamber  musicians  of  the  King 
of  Sweden,  bom  at  Stockholm  July  33,  179^ 


veUed  ai 


u  intent  prodigy,  compoaed  a  aym- 

'    "       \  Poland,  Auatri;i, 

n  yean  old.    Hia 


second  lytnphony  waa  finished  in  Leipaic  i 
In  1817  be  again  travelled,  but  in  iSlg  r 
to  Stockholm,  and  remwited  there  aa 
meister  till  his  death,  April  3,  1868.  H 
daughters  were  aingers  of  some  repute. 

BERWILUBALD,  Gioboio  GiAOOua 
man  singer  in  the  service  of  Bis  Serene  11 
the  Margrave  of  Biandenburgh-Anspach, 
London  in  1716,  ajngiog  in  Nictjini't 
'Claarte,'  with  Bernaodii,  Nicolini,  Scbju 
and  other  great  artists. 

BESLBR,  BAMun;,  bom  at  Brii^-i 
Oder,  Dec  15,  1574;  was  in  1605  recttn 
Gymnasium  '  zum  heiligen  Geist'  at  Brcal 
died  there,  during  an  epidenuc^  July  i< 
The  library  of  St,  Bernhardinus  at  Brtel 
tains  a  vast  collection  of  his  oompoaitioue 
church,  in  which  he  was  very  prolifio.  A 
them  is  a  Passion  after  St.  John,  prii 
Baumann  at  Breslau,  l6)l. 

BESOZZI.  an  Italian  fiunHy  of  distin 
wind-instrument  players,  (i)  ALaaaii 
very  remarkable  oboist ;  bom  at  Parma  i 
and  died  in  the  service  of  the  King  of  S 
at  Turin,  1775.  (a)  His  brother,  Ajttos 
a  celebrated  oboitt ;  bom  at  Farma  1 ;  1 
afterwarda  resided  at  Dresden.  On  the  1 
Alessandro  he  took  hia  post  at  Turin,  a 
there  in  1 78 1.  (3)  Antonio's  son  Cagi 
at  Dresden  1745,  was  also  a  renowned 
It  is  he,  according  to  Fdtis,  whom  Burite 
at  Dresden,  and  of  whom  (it.  17,  45)  he  ; 
detailed  and  fiivourable  an  account,  ca 
bim  with  Fischer.  (4)  A  third  brothe 
noHiuo,  a  famous  bassoon  player,  bom  at 
171,1,  waa  the  special  associate  of  Alei 
Bumey's  account  of  the  two  brothers, 
criticism  on  their  remarkable  duet  perfor 
will  always  be  read  with  interest  (Preeen 
iii,  69).  He  died  at  Turin  shortly  al 
death  of  Antonio.  (5)  Gaktaho,  the  y 
of  the  four  broUien,  bom  at  Parma  1717, 
oboist,  first  at  the  Neapolitan  and  then 
FVendi  court,  and  lastly  in  London  in  1 793 
notwithstanding  bis  age,  he  waa  much  : 
for  the  certainty  of  his  playing  and  ib  s 
liniah.  (6)  His  son,  Eusokiho,  pla; 
same  instrument  as  bis  father ;  Bumey 
heard  him  at  the  Concert  Spirituel  at  ] 
1770.  He  died  in  Paris  as  early  aa  1785. 
however  (7)  a  son  who  waa  flautist  at  tb 
Comique.  (8)  Hia  son.  LODIS  Disiai, 
VeniBjliea  April  3,  1S14,  carried  off  man 
of  the  Conaervatoii^  and  in  1837  the  Gra 
de  Borne. 

BE8SBMS,  Ahtoirb,  violinist,  bom  . 
1 806  i  in  bis  riiteentb  yeair  oompoeed  mo 
churoh  muaic,  and  in  1B16  waa  a  acl 
Bajllot'a  at  the  Conaervatoire,  Paris; 
one  of  the  fint  violins  a(  the  Th^ltre 
After  this  he  travelled,  returned  to  i 
tor  a  time,  and  finally  settled  in  Pai 
teacher.  He  composed  mneh  for  ths  voi. 
solo  and  chorus)  and  ibr  the  violin. 


BEsrr. 


BEYER. 


289 


BEST,  William  Thomas,  was  bom  tA  Car- 1  oor^ns^  to  Wood  (Asbmole  MS.  8568,  106)  he 


Eflk  (when  his  &ther  wae  a  solicitor),  August  13, 
1S26.  He  received  his  fint  instniotian  in  music 
bm  Toung,  organist  of  Garlisle  Gathedial.  He 
JEteadad  to  follow   the   profession  of  a  civil 


was  organist  of  Bristol  Cathedral  in  1 589.  Haw- 
kins says  it  was  upon  Tallis's  recommendation 
that  he  was  admitted  a  gentleman  extraordinair 
of  the  Chapel  Royal,  June  3,  1589.  But  this  is 
egiaeer  and  architect,  but  that  pursuit  proving  •  an  error—he  was  not  admitted  until  June  3, 
^itfeful  he  (when  in  Liverpool  in  1840)  {  1605,  at  which  period  Tallis  had  been  dead  just 
knaaned  to  renew  his  musicid  studies,  and  upon  twenty  years.  In  1637,  on  the  discovery 
derated  his  attenticm  to  organ  and  pianoforte  >  that  Bevin  was  of  the  Romish  persiiasion,  he 
pUjing-  The  stadv  of  the  organ  was  at  that  |  was  expelled  the  chapel.  At  the  same  time  he 
an  greatly  hinderod  by  its  defective  construction,  I  forfeited  his  situation  at  Bristol.  Wood,  who 
ibe  unsuitable  pedal  compass,  and  the  mode  of    states  this,  refers  to  the  chapter  books  of  BriUol 


tanisg  then  in  vogue,  which  rendered  the  per- 
fcnunoe  of  the  works  of  the  great  organ 
eoDpoeen  almost  an  impossibility,  whilst  the 


as  his  authority.  His  Service  in  D  minor  is 
printed  in  Barnard*8  '  Selected  Church  Musick,* 
and  in  Boyce*i  'Cathedral  Music,*  and  several 
aoQ^  of  profeasora  practically  acquainted  with  |  anthems  of  his  are  extant  in  MS.  But  the  work 
tt^e  vorks  of  Bach  was  then  extremely  small.  .  by  which  he  is  best  known  is  his  '  Brief  and 
HftTing  determined  on  a  rigid  course  of  self-  |  Short  Introduction  to  the  Art  of  Musicke,  to 
iigdy,  sod  fortunately  obtaining  the  use  of  an  I  teach  how  to  make  Discant  of  aU  proportions  that 
egan  of  ameliorated  construction.  Best  spent  !  are  in  use :  very  necessary  for  all  such  as  are  de- 
niaj  yean  in  perfecting  himself  in  the  art  of  sirous  to  attaine  knowledge  in  the  art,  and  may 
o^-playing  in  all  its  branches.  His  first  by  practice,  if  they  can  sing,  soone  be  able  to 
apa  appointment  was  at  Pembroke  Chapel,  compose  three,  four,  and  five  parts,  and  also  to 
liTerpool,  in  1840;  in  1847  he  became  organist  oompoee  all  sorts  of  canons  that  are  usuall,  by 
of  tlie  chorch  for  the  blind  in  that  town,  and  ,  these  directions,  of  two  or  three  parts  in  one 
in  Uie  following  year  organist  to  the  Liverpool  upon  the  plain  Song.*  London,  1631,  4to.  This 
Philharmonic  Society.  In  1852  he  came  to  <  treatise  is  dedicated  to  Dr.  Goodman,  Bishop  of 
London  as  organist  of  the  Panopticon  of  Science  Gloucester,  to  whom  the  author  says  he  is 
ud  Art  in  Leicester  Square,  and  of  the  church  |  'bound  for  many  favours.*  What  became  of 
of  St  Martin-in^the-Fields,  and  in  1854  was  Bevin  after  his  expulsion  from  his  situations,  we 
appomted  or;^mist  of  Lincoln's  Inn  Chapel.    He    have  not  ascertained.  {Cheque  Book  of  Chapel 

Jtoyal,  Camd.  Soc.)  [E.  F.  R.] 


Ironed  to  Liverpool  in  1855  on  receiving  the 
tppDintment  of  organist  to  St.  George*s  HaU. 
In  i860  he  became  organist  of  the  parish  church 
of  Wallaaey,  Biritenbead,  and  in  1863  organist 
of  Hdy  'fiioity  Church  near  Liverpool.  In 
1S68  he  was  appointed  organist  of  the  Musical 
Sodety  of  Liverpool,  ai^  in  187a  was  re- 
ippointed  organist  to  tiie  Liverpool  Philharmonic 


BEXFIELD,  William  Richabd,  Mus.  Doc., 
bom  at  Norwich  April  27,  1824,  and  became  a 
chorister  of  the  cathedinl  under  Dr.  Buck. 
After  leaving  the  choir  he  applied  himself  to 
the  studv  of  music,  in  which,  although  almost 
self-taught,   he  attained  to  considerable  skill. 


He  obtained  the  situation  of  organist  at  Boston, 

6  graduated  as  Bachelor 
He  lectured  on  music. 


Society.    These  kst  two  appointments  and  that    xx«  uu««u«i  «.««.«.«.« 

at  St  George's  HaU  he  rtiU  holds.    Best  has  I  TSJ  JT^*  "^^ij.^  ^t 

oompcsed  several  chuixsh  sernces,  anthems,  and  I  ^^  ,^"",?  *;    *?  Tn.  /wT^flT*!^''^ 

hyaJriny  fugues,  sonatas,  iind  otheTpieces    "^  ^"1.$^^  ^T^X^  ^'  Crotch  in  1847  became 

fcr  the  ofgai;  ten  pianoforte  pieces,  two  over-    »  ?^^**  ^^\^^  ^^tT^F  r^T^"""  ^ 

taws.  aadTiarch  for  orchesteTHe  is  aL»    ?*^T^    ^  ¥ehruBry  1848  he  left  Boston  far 

the  author  of   'The  Modem  School  for   the    ^?<1*>?    ^.  ^^'°» /P^/^^   ''V^jLIh 
0^gM^♦  1853,  aU  the  examples  and  studies  in    Helen  s,    Bishopsgate    Street.      He    proceeded 

vUch  are  original,  and  'The  Art  of  Organ 
Ikying,'  the  first  and  second  parts  publiued 
in  1870,  but  the  third  and  fourth  yet  in  MS. 
Best's  uTuigemente  far  the  organ  are  exceeding- 
ly numerous.  [W.  H.  H.] 

BEUTLEB,  Bnr  jAxnr,  bon  at  Muhlhausen 
nesrErfiirt  179a;  died  there  1837 ;  a  friend  of 
Forkd,  organist  of  the  Marienkirche,  and  founder 
ef  a  cfaond  society  for  men's  voices  at  Mfihl- 

hausen  (1830).    He  organised  musical  festivals  *.  -  *_        •  ♦,.  ^      __;-    iu«i«-;.-    j« 

bhi.n.tivrt««m,anditeblishedchorUp  |  "'^J^*^  transcnptoonj,  potpourris,  fi^taswj^- 

bthe8chools,pulWishingfor  their  use  a  collection  '  T^"»«nents,  and  the  like,  such  as  second-rate 
of  'Choral-melodieen  f&r  das  Mflhlhausen  Ge- 
lugbiicb*  (Mtihlhaasen,  1854). 

BEVIN,  Elwat,  an  eminent  theoretical  and 
pnctical  musician,  the  date  of  whose  birth  is 
mhmrjL  He  was  of  Welsh  extraction,  and  re- 
caved  his  muaiaa  education  under  Tallis.    Ao- 


He 
Doctor  of  Music  at  Cambridge  in  1849. 

On  Sept.  22,  1853,  hu  oratorio  'Israel 
restored'  was  performed  at  Norwich  Musical 
Festival.  Dr.  Bexfield  died  Oct.  39,  1853,  at 
the  early  age  of  twenty-nine.  A  set  of  organ 
fugues  and  a  oollection  of  anthems  by  him  were 
published,  besides  his  Oratoria  [W.  H.  H.] 

BEYER,  FSBDIHAKD,  bom  1803.  A  fair 
pianist  and  tolerable  musician,  whose  reputetion 
rests  upon  an  enormous  number  of  easy  arrange- 


dillettanti  and  music-masters  at  ladies'  schools 
are  pleased  te  call  amusing  and  instructive, 
like  publishers  of  books,  music  publishers  too 
keep  their  'hacks,'  and  in  such  capacity  Beyer 
was  for  many  years  attached  to  the  firm  of 
Schott  and  Co.  at  Mayenoe,  where  he  died  on 
May  14, 1863.  [£.  D.} 


240 


BIANCA. 


BIANCA,  OB  Thx  Bbavo's  BBmx,  a  '  grand 
legendary  opera*  in  4  acta;  words  by  Palgrave 
Simpson ;  music  by  Balfe.  Produced  at  Govent 
Garden,  Thursday,  Dec.  6,  i860. 

BIANCA  £  FALIERO,  an  opera  by  Bossini, 
produced  at  the  Scala  at  Milan  Dec.  26,  181 9; 
one  of  Bo6sini*s  few  failures.  The  subject  is 
the  same  with  that  of  Manzoni*8  'Conte  di 
Carmagnola.* 

BIANGHI,  Fbanoksoo,  an  Italian  fdnger  en- 
gaged at  the  King's  Theatre  in  the  Haymarket 
m  1748,  who  sang  in  the  '  Comedia  in  Comedia' 
of  Binaldo  da  Capua,  and  other  operas.     [J.  M.] 

BIANCHI,  Fbanobsoo,  bom  at  Cremona 
175a.  In  1775  he  was  appointed  'Maestro  al 
C^balo'  to  the  Italian  Opera  in  Paris  under 
Piodnniy  and  there  composed  his  first  opera, 
'  La  Reduction  de  Paris.'  In  1780  he  produced 
'  Csstore  e  Polluce '  at  Florenoe,  with  the 
English  Storace  as  the  prima  donna.  This 
successful  opera  was  rapidly  followed  by  many 
others.  In  1784  he  was  made  rice-conductor 
at  S.  Ambrogio  in  Milan,  and  held  an  im- 
portant post  at  the  Scala.  A  curious  stoiy 
is  told  of  his  'Desertore  Francese.'  The  hero 
(Pacohierotti)  appeared  in  the  uniform  of  a 
French  soldier,  which  so  scandalised  the  classic 
Venetians  that  they  hissed  the  opera  off  the 
stage.  Fortunately  however  the  Duchess  of 
Courland  passing  through  Venice  expressed  a 
desire  to  hear  it,  and  courtesy  having  compelled 
the  audience  to  keep  silence,  the  music  so  en- 
chanted them  that  the  objectionable  costume 
was  forgotten,  and  the  opera  obtained  an  ex- 
ceptional success.  Some  years  later,  Joseph  II 
offered  to  take  Bianchi  into  his  service,  but  died 
(i  790)  before  the  latter  could  reach  Vienna.  In 
1 793  Bianchi  came  to  London,  having  been  offered 
an  engagement  at  the  King's  Theatre  on  account 
of  the  success  of  his  '  Senuramide,'  in  which  the 
&mous  Banti  was  prima  donna.  This  engage- 
ment lasted  for  seven  years.  In  the  intervals 
of  the  London  season  he  made  short  tours  abroad, 
and  in  one  of  these  composed  his  '  Inez  de  Castro* 
at  Naples  (1794)  for  Mrs.  Billington's  first  ap- 
pearance on  the  Italian  stage.  Haydn's  diaiy 
contains  a  fikvourable  account  of  Bianchi's  '  Adge 
e  Galatea,'  which  he  heard  in  London  in  1 794, 
but  he  considered  the  accompaniments  too  power- 
ful for  the  voices.  Haydn  is  also  said  to  have 
kept  one  page  in  Bianchi's  compositions  turned 
down  for  reference  when  anything  had  ruffled 
his  temper.  In  1800  he  married  Miss  Jackson, 
a  singer,  best  known  as  Mrs.  Bianchi  Lacy — 
her  name  by  her  second  marriage.  From  this 
time  ha  was  chiefly  occupied  in  teaching  till 
his  death,  bv  his  own  hand,  at  his  house  in 
Hammersmith  (1810).  His  tombstone  is  in 
Kensington  churchyanL  Bianchi  composed  above 
fifty  operas  and  oratorios,  besides  instrumental 
music  He  was  also  the  author  of  a  work  on 
the  theory  of  music,  portions  of  which  are 
printed  in  Bacon's  '  Musical  Quarterly  Review' 
(ii.  32).  Enough  has  been  said  to  show  the 
esfcimatioD  of  Bianchi  by  his  contemporaries. 


BIBER. 

His  chief  value  to  ns  resides  in  the  fibct  tliAt 
was  the  master  of  Sir  Henry  Bishop.     Bianc 
has  been  sometimes  oonfounded  witA    Herto] 
perhaps  because  of  the  oonneotioii  of  both  wi 
Pacohierotti.  [M.  C.  C 

BIANCHI,  SiONOBA,  a  good  Italian  sing 
who  came  over  with  Tramezzani,  and  s^ppean 
at  die  same  time  in  Ouglielmi's  'Sidagero.  S] 
remained  for  some  time  as  'a  respectable  a 
cond.'  [J.  M 

BIBER,  HiiNBicH  JoHANir  Fbaitz    von, 
oelebrated  Grcrman  violin-player  and   oompose 
bom  at  Warthenberg  in  Bohemia  about   163I 
and  died  in  1698  at  Salzburg,  where  he  oocnpie 
the  double  post  of  high  steward  and  ooiidiict<3 
of  music  at  the  court  of  the  Prinoe-ALTchbishoF 
His  reputation  as  a  performer  and  oompoBer  wa 
very  great,  and  the  Emperor  Leopold   was   m 
delighted  with  him  that  he  not  oxily  presentee 
him  with  a  gold  chain  and  a  considerable  snn 
of  money,  but  also  raised  him  to  the  rank  of  a 
nobleman.     We,  who  have  to  form  our  estimate 
of  Biber's  merits  and  of  his  place  in  the  history 
of  violin-playing  firom  those  of  his  compositions 
which  have  come  down  to  us,  may  well  contend 
that  his  is  the  first  Grerman  violin  music  of  any 
artistic  worth  at  alL    At  that  period  the  art  ot 
violin-playing  and  the  style  of  composing  for 
the  instrument  in  Grermanv  were  entirely  under 
the  influence  of  Italy.    Unmrtunately  the  earliest 
Grerman  violinists  appear  to  be  more  connected 
with  Farina  and  his  school  than  with  Vitali, 
Torelli,  and  Veracini.    Thus  we  find  the  works  of 
J.  J.  Walthbb  (see  that  name),  a  contemporary 
of  Biber,  who  enjoyed  a  great  reputation  in  Ger- 
many, chiefly  consisting,  Tike  those  of  Farina,  of 
unconnected  phrases,  equally  void  of  musical  ideas 
and  form,  apparently  invented  to  show  off  the  per- 
former's skill  in  ezecuti<m,  and  often  only  devoted 
to  crude  and  childinh  imitation  of  natural  sounds. 
Although  Biber  can  not  be  pronounced  free  fix>m 
the  faults  of  his  German  contemporaries — since 
his  forms  are  often  vague  and  his  ideas  some- 
what aphoristic — still  Us  sonatas  contain  some 
pieces   which  not  only  exhibit  a  well-defined 
form,  but  also  contain  fine  and  deeply-felt  ideas, 
and  a  style  which,  though  nearly  related  to  that 
of  the  best  Italians  of  his  time,  has  something 
characteristically  German  in  its  grave  »nd  pa* 
thetic  severity.    Altofi;ether  Biber  represents  an 
immense  progress  in  the  art  of  violin-playing  in 
Germany.     That  his  powers  of  execution  were 
very  considerable  we  must  conclude  from  his 
mode  of  writing  for  the  vidin,  which  presupposes 
great  proficiency  in  the  playing  of  double  stops 
as  well  as  dexterity  in  bowing.    It  is  also  worth 
notice  that  he  appears  to  have  been  the  first 
occasionally  to  modify  the  usual  way  of  tuning 
the  instrument.     In  two  of  his  sonatas  the  violin 
must  be  tuned  thus  :•— 


and  thus 


--$ 


3a: 


The  following  oompositioiis  of  his  have  been 
published;— (i)  Six  sonatas  for  violin  with  figured 


A 


BIBEB. 

n;  Salzburg,  1681.  (The  sixth  of  these  was 
ioaitly  edited  b j  F.  David  in  his  '  Hohe  Schule 
a Violiiispiels.*)  (a)  Fidicinium sacro-pro&numy 
set  of  twelve  fioiiatas  in  four  and  five  parts ; 
iornberg  no  date.  (3)  Harmonia  artiticiosa,  a 
iCecdon  of  seven  partitas  or  suites  for  three 
tscniments ;  Niimbeig,  no  date.  (4)  A  set  of 
sutM ;  Salzbuig,  1676.  (5)  Vesperae  longiores 
:  Iffeviores  for  4  voices,  a  violins,  2  violas,  and 
tnmbcHies  ad  libitum ;  Salzburg,  1693.  There 
I  also  a  'Dramma  Mubicale'  of  his  in  MS.  in 
'jt  mnieum  at  Salzburg. 

An  ei^praved  jwrtrait  of  him  at  the  age  of 
kirty-flix  is  extant.  [P.  D.] 

BIBL,  Andreas,  bom  at  'Vienna  April  8, 
797;  and  £rom  1818  oiganist  at  S.  Stephen*8. 
le  came  to  the  cathedrid  in  Albrechtsberger  s 
ime  as  a  dnging  boy,  and  learned  organ-playing 
lad  (xunposition  from  Josef  Preindl.  His  style 
i  playing  was  noble,  and  his  compositions  are 
tjoii  and  thoroughly  church-like  m  character. 
Sr  published  preludes  and  fugues  for  the  oxgan 
,I'i&beIli  and  Haalinger).  ffis  son  Rudolpu, 
kTn  Jan.  6,  1S32,  studied  under  Sechter,  and 
lerame  organist  at  the  cathedral  1859  and  at 
tbe  imperial  chapel  1863.  His  pla>'ing  was  that 
^  a  §ound  musician,  and  his  compositions  for 
riiorch  and  chamber,  many  of  them  still  in 
MS.,  ghow  that  he  knew  how  to  keep  pace 
vith  the  times.  [C.  F.  P.] 

BIEREY,  GoTTLOB  Benedict,  bom  at  Dres- 

d'.u  July  35,  177a,  and  instructed  in  music  by 

\Vvi5LiG.     His  opera  '  Wladimir'  was  produced 

t;  Vienna  in  1807  with  much  applause.    This 

succes*  procured  1dm  the  post  of  capeUmeister  in 

BreaUu,  vacated  by  C.  M.  von  Websb,  and  in 

I S  24  the  direction  of  the  theatre  itsell    On  May 

5.  1S40,  he  died  of  a  chest  complaint  at  his 

oimtrv  house  near  Breslau.     Comic  opera,  or 

ntbcr  the  'SingKpieV  was  the  sphere  in  which 

W  moitly  distiugnished  himself.     Forty  of  his 

'4<n*,  great  and  small,  are  extant,  and  of  these 

tbe  foUuwlng  are  printed  with  pianoforte  arrange- 

iLt&t .— '  Blumenmadchen'  ( i  Soa)  ;    '  Wkdimir ' 

<  1S07) ;  'Der  Betiogene  Betrftger* ;  *I>ie  Schwei- 

i«  JHaiferin' ;    •Der  ZufaU,'  'Elias  Ripsraps' 

ll'>i«dan,  18x0,  much  success) ;  '  Die  Pantoffehi* 

iVittutt,  1810) ;  « Der  Zank.'  [F,  G.] 

BIJARIA.  A  name  affixed  to  a  quick  move- 
ttentin  3.bar  rhythm  in  an  'Invention'  or  suite 
MmW  to  J.  S.  Bach.  (See  Peters*  '  Thematic 
Caulogae,'  Anhang  L  series  3).  The  name 
■oi^'ejts  the  Pifara,  but  there  is  nothing  in  the 
P^  itself  like  pipe-music. 


BILHON. 


241 


BIGOXSI,  or  BIGONZI,  an  Italian  contralto, 
»&t»aang  in  London  in  1724  in  AttiUo's  '  Vespa- 
i&Qo,'  BoonoDcini's  'Calfurnia^*  and  the  first 


performances  of  Handel's  *Giulio  Cesare.*    He 
only  remained  here  one  year.  [J.  M.] 

BIGOT.i  Mabib  (n^e  Kiene),  bom  at  Cobnar, 
Alsace,  March  3,  1786;  in  1804  married  Mr. 
Bigot,  librarian  to  Count  Rasumoflbky,  and 
accompanied  him  to  Vienna.  Here  she  made 
the  acquaintance  of  Havdn,  Salieri,  and  Bee- 
thoven, and  found  much  enjoyment  in  their 
society.  The  first  time  she  played  to  Haydn 
(then  7  a  or  73)  the  old  man  was  so  delighted 
as  to  embrace  her,  and  to  say  '  My  dear  child, 
that  music  is  not  mine;  it  is  yours  1*  and  on 
the  book  from  which  she  had  been  playing  he 
wrote  'aoth  Feb.  1805:  this  day  has  Joseph 
Haydn  been  happy.'  Beethoven  also,  after  she 
had  played  to  him  a  sonata  of  his  own,  is  reported 
to  have  said  '  that  is  not  exactly  the  reading  I 
should  have  given  ;  but  go  on,  if  it  is  not  quite 
myself,  it  is  something  better.'  These  anecdotes 
are  given  by  Fetis,  who  may  be  presumed  to 
have  heard  them  from  Madame  Bigot  herself.  On 
May  I,  1805,  she  played  at  the  opening  concert 
of  the  Augarten,  and  the  report  of  the  '  Allg. 
musik.  Zeitung'  characterises  her  playing  as 
pleasing  and  often  delicate  and  refined — a  ver- 
dict which  hardly  bears  out  the  expressions 
attributed  to  Haydn  and  Beethoven.  A  letter 
of  Beethoven's,  however,  first  published  by  Otto 
Jahn  and  reprinted  by  Thayer  ('Beethoven.' 
^^-  337))  puts  his  relations  to  her  family  beyond 
doubt ;  fl^  there  is  no  reason  to  diHbelieve  the 
picturesque  anecdote  related  by  Nohl  (Beethoven, 
li.  246)  of  her  having  played  the  'Sonata  ap- 
passionata'  at  sight  from  the  autograph. 

In  1809  the  Bigots  went  to  Paris.  Here  she 
became  intimate  with  Baillot,  Lamarre,  Cheru- 
bini,  and  all  the  great  musical  characters.  She 
played  the  music  of  Beethoven  and  Mozart  with 
the  two  former  both  in  public  and  private,  and 
was  highly  valued  by  Cnmor,  Dussek,  and  de- 
menti, llie  war  of  181  a,  however,  put  a  rude 
stop  to  this  happiness ;  Bigot  was  taken  prisoner 
at  Milan,  lost  his  post  at  0)unt  Rasumoflbky's^ 
and  his  wife  was  tnrown  on  her  own  resources. 
She  accordingly  began  to  give  lessons,  but  the 
exertion  interlered  with  her  health.  She  died 
at  Paris  Sept  16,  i8ao.  Before  her  death 
however  she  had  the  honour  of  giving  pianoforte 
lessons  to  Felix  Mendelssohn  during  a  short 
visit  to  Paris  in  1816  (his  7th  year).  He  refers 
to  her  in  a  letter  of  Deo.  ao,  1831,  and  the 
warmth  of  his  attachment  to  her  fiimily  may  be 
seen  from  another  letter  of  Feb.  34,  1838,  to 
Madame  Kiene  ('Goethe  and  Mendelssohn,*  and 
ed.  p.  136),  which  shews  that  Mr.  Bigot  was 
still  alive,  and  that  the  relations  between  Madame 
Bigot's  family  and  the  great  French  musicians 
were  still  maintained.  [F.  G.] 

BILHON,  Jbax  db,  a  F^nch  composer, 
oontemporaiy  with  Josquin  des  Pres.  Some 
of  his  masses,  founded,  as  usual  at  the  time, 
upon  the  themes  of  old  French  chansons,  are 
preserved  in  the  Pontifical  Chapel,  where  he  was 


>  AoeonltDg  to  Um  ABb.  mwik.  Utimg;  Bluot  d* 


242 


bilhon; 


SIN1>. 


for  some  time  a  singer.  Other  oompontions  of 
his  are  to  be  found  in  varioos  ooUections  of 
church  music  published  between  the  years  1534 
And  1544  at  Paris  and  Leyden.       [J.  R.  S.  B.] 

BILLINGTON,  Mhs.  Elizabeth,  was  the 
daughter  of  Carl  Weichsel,  a  native  of  Freiberg 
in  Saxony,  and  principal  clarinet  at  the  King's 
Theatre.  Her  mother  was  for  several  years  a 
fiftvourite  singer  at  Yauxhall  Gardens  and  else- 
where. The  date  of  Mrs.  BiUington's  birth  is 
variously  stated,  but  it  was  most  probably  1768. 
She  ana  her  brother  Carl  were  from  the  earliest 
possible  moment  trained  to  music,  and  on  March 
10,  1 774,  performed  on  the  pianoforte  and  violin 
at  their  mother's  benefit  concert  at  the  Hay- 
market  Theatre.  Such  was  Miss  Weichsel*s 
progress  that  before  she  had  completed  her 
eleventh  year  two  sets  of  pianoforte  sonatas 
from  her  pen  had  been  given  to  the  world. 
At  fourteen  years  old  she  appeared  as  a  singer 
at  Oxford,  and  at  sixteen  became  the  wife  of 
James  Billington,  a  double-bass  player.  Imme- 
diately after  their  marriage  they  went  to  Dublin, 
where  Mrs.  Billington  commenced  her  career  as 
a  stage  singer  in  the  opera  of  'Orpheus  and 
Euiymce.*  On  her  return  to  London  she  ob- 
tained »  trial  engagement  of  twelve  nights  at 
Covent  Garden,  where  she  appeared  Feb.  13, 
1786,  as  Bosetta  in  'Love  in  a  Village.*  Her 
success  was  such  that  the  managers  immediately 
engaged  her  for  the  remainder  of  the  season  at 
a  large  salary.  She  speedily  attained  a  position 
at  the  Concert  of  Ancient  Music,  where  she 
disputed  with  Mara  for  supremacy.  Mrs. 
Billington  remained  in  England  until  1794, 
when  she  went  with  her  husband  and  brother 
to  Italy.  Their  intention  was  to  travel  solely 
for  amusement,  but  at  Naples  Sir  William 
Hamilton,  the  English  ambassador,  induced 
Mrs.  Billington  and  her  brother  to  perform  in 
private  before  the  king,  who  immediately  pre- 
vailed on  Mrs.  Billington  to  sing  in  public  at 
the  San  Carlo  Theatre.  Accorx&ngly  in  May, 
1 794,  she  made  her  appearance  there  in  Francesco 
Bianchi's  opera  'Inez  di  Castro,*  written  ex- 
pressly for  her.  Her  success  wm  complete,  but 
her  triumph  was  suddenly  interrupted  by  the 
melancholy  death  of  her  husband,  who,  as  they 
were  about  to  set  out  for  the  theatre  for  her 
second  performance,  was  stricken  by  apoplexy, 
and  almost  immediately  expired.  An  eruption 
of  Mount  Vesuvius  occurring  about  the  same 
time  was  by  the  superstitious  Neapolitans  at- 
tributed to  permission  having  been  given  to  a 
heretic  to  perform  at  the  San  Carlo,  and  fears 
were  entertained  for  Mrs.  Billington*s  safety. 
However,  on  renewing  her  performances  she 
experienced  the  most  &vourable  reception,  and 
sung  successively  in  operas  composed  for  her 
by  Paisiello,  Paer,  and  Himmel.  In  1796  she 
went  to  Venice,  where,  being  attacked  by 
illness,  she  perfonned  only  once.  She  and  her 
brother  next  visited  Bome,  and  all  the  principal 
places  in  Italy.  In  1798  she  married  a  M. 
Felissent,  from  whom  however  she  soon  separated. 
In  1801    she  returned   to   England,  and  the 


maaagers  of  Drury  Lane  and  Covent  Garde] 
competing  for  her  services  it  was  arranged  tbd 
she  should  perform  at  each  house  alternately 
and  she  accordingly  appeared  at  Covent  Gardel 
Theatre  on  Oct.  3,  1 801.  as  Mandane  in  Ame^ 
'  Artaxerxes,*  still  retaining  the  name  of  Billind 
ton.  From  this  time  her  services  were  in  oonstan 
request  at  the  Italian  Opera,  the  theatres,  ni 
Concert  of  Ancient  Music,  the  Vocal  Concert! 
the  provincial  festivals,  etc.,  until  1809,  whti 
she  retired  from  public  life.  During  this  ps^ 
of  her  career  two  memorable  events  took  plac< 
viz.  her  singing  with  Banti  in  Nasolini's  open 
'  Merope/  and  her  performance  in  &  duet  witi 
Mara  on  the  latter*s  last  appearance.  Once  aftei 
wards  Mrs.  Billingt<m  quitted  her  retirement  ti 
perform  at  a  concert  given  in  Whitehall  Chap^ 
on  June  28,  1814,  in  aid  of  the  sufferers  by  tb 
war  in  Germany.  In  181 7  she  was  reconciled  ti 
her  husband,  imd  quitted  England  with  him  fc 
her  estate  of  St.  Artien  near  Venice,  where  sli 
died  after  a  week's  illness  August  28, 1 8 1 8.  Mr^ 
Billington*s  compass  was  extensive  (three  octavfi 
from  A  to  A  in  altissimo'),  the  upper  notes  beinj 
exquisitely  beautiful.  She  excelled  in  paaasge 
of  execution,  but  her  powers  of  expression  wer 
limited.  Sir  Joshua  Beynolds  painted  a  fin 
portrait  of  her  as  St.  Cecilia.  [W.  H.  H : 

BILLINGTON,  Thomas  (who  is  sometim^ 
erroneously  called  the  husband,  but  was  probaU 
the  brother-in-law,  of  Elizabetii  Billington),  wi^ 
a  harpist,  pianist,  and  composer  in  the  latt^ 
part  of  the  i8th  century.  He  published  a  churc] 
service  for  three  voices;  Pope's  'Elegy  to  thi 
Memory  of  an  Unfortunate  Lady '  ;  Pope  i 
*  Eloisa  to  Abelard*  (partly  compiled) ;  twenty 
four  ballads  to  Shenstones  Pastorals;  Priori 
'Garland*;  Petrarch's  'Laura*;  and  'Laural 
Wedding-day,'  besides  other  pieces.   [W.  H.  HJ 

BINCHOIS,  Eqtdius,  contemporary  with  Du 
fay  and  our  own  Dunstable  in  the  first  half  of  thi 
15th  century.  His  reputation  rests  chiefly  upo] 
the  honour  in  which  his  name  was  held  by  hi 
successors,  but  of  late  years  two  manuscript 
have  been  brought  to  light  containing  chanBon 
and  motets  of  his  composition.  [J.  B.  S.  B. 

BIND  {Qgt,  Bindebogm ;  Ft.  Liaison;  Its! 
LegcUtira).  A  curved  line  (also  called  tie)  placet 
between  two  notes  of  the  same  d^pree,  to  denott 
the  continuance  of  the  sound  during  the  value  0 
both,  instead  of  the  repercussion  of  the  Becon< 
note.  The  employment  of  the  bind  is  a  necessity 
whenever  a  sound  is  required  to  be  of  a  duratioi 
which  cannot  be  expressed  by  any  single  note,  ai 
for  example  five  or  seven  quavers  (Ex.  i),  and  ii 
is  also  convenient,  and  in  modem  music  invariablj 
adopted,  when  tiie  duration  of  a  note  extendi 
beyond  the  limits  of  the  bar  (Ex.  2).  This  is 
however,  an  improvement  of  comparatively  receni 
date,  such  passages  having  been  formerly  writtei 
in  the  inconvenient  form  shown  in  Ex.  3. 


I. 


^^ 


PIP 


?=: 


3c:= 


^ 


BIND. 


BIRMINGHAM  FESTIVAL.        248 


p^  J  firrnrr  jjj  ^i 


^ 


t 


m 


± 


T 


m 


It  is  difficnlt  to  asoertain  with  anything  like 
CETtanitj  the  precise  date  of  the  invention  of  the 
bindf  but  it  appears  probable  that  it  had  its 
•ruin  in  the  endeavours  which  were  continually 
Baideby  the  earlier  composers  (before  the  15th 
century)  to  give  rhythmic  variety  to  their 
coonterpoint.  Morley  (Practical  Music,  1597) 
de^bes  two  kinds  of  counterpoint,  which  he 
olJa  '  long  and  short*  and  '  short  and  long/  in 
ach  of  which  a  siqgle  note  alternates  with  two 
Lutes  bound  together,  the  sign  of  the  bind  being 
^roied  thus  •^*^,  as  in  Ex.  4;  and  the  fourth 
r-f  die  five  orders  of  counterpoint  established  by 
Fjz  ^1725),  and  adopted  by  all  his  successors, 
ci>QsiitU  of  syncopation — that  is,  of  a  non-accented 
B  4e  boond  to  the  accented  note  of  the  next  bar 
(Ex.  5). 

4.  ^ori  and  long. 


^ 


i 


«p  p 


g»  ^ 


22 


za: 


B   gJ 


-^ 


i 


B=: 


C3. 


•€^ 


eji^icj 


^ 


Long  and  thort. 


1; 


«  ^ 


■^ 


:s: 


-s^ 


1= 


1 


^ 


£2. 


zzs 


za: 


-^ 


^ 


>J  JT:J  JTJ  J  I  ^. 


-<9- 


■&" 


i 


A  cmved  line  similar  to  the  bind,  but  placed 
^Teea  two  notes  of  different  names,  denotes 
tiie  dor  or  hgaio,  and  the  possibility  of  con- 
faaon  resulting  fit>m  this  resemblance  induced 
^r  Stondale  Bennett  to  introduce  a  new  sign 
^  the  bind,  consisting  of  a  rectilinear  bracket^ 
*w  I  I  ;  he  appears,  however,  to  have 
tlioQght  the  innovation  not  worth  preserving, 
tt  be  only  em]doyed  it  for  a  time  in  his  op.  33 
to  11,  recairing  afterwards  to  the  usual  curved 
line.  [F.  T.] 

BIKI,  PASQT71LIK0,  violinlst.  Bom  at  Pesaro 
(^uttisi'i  native  place)  about  1720.  He  was  a 
&votmte  pujrfl  of  Tartini,  to  whom  he  was 
'^canniended  at  the  age  of  fifteen  by  Cardinal 
OUvieri.  Under  Tartini  he  practised  with  such 
<%ence  that  in  three  or  four  years  time  he 
orercazoe  the  chief  difficulties  of  his  master's 
iQuac,  and  played  it  with  greater  force  than  the 
no^iQierhimselt    On  xetuming  to  Borne,  under 


the  protection  of  Cardinal  Olivieri,  he  astonished 
the  violinists  by  his  performance,  en>ecially 
Montanari,  the  chief  violin-player  of  the  time 
at  Rome,  who  was  generally  believed  to  have 
died  of  mortification  at  the  superiority  of  Bini's 
talents.  Hearing  that  Tartini  had  changed  his 
style  of  playing,  he  returned  to  Padua  and  placed 
himself  f|;^r  another  year  under  his  old  master; 
at  the  end  of  which  time  he  is  said  to  have 
played  with  wonderful  certainty  and  expression. 
Aft«r  his  return  to  Rome  Tartini  recommended 
Mr.  Wiseman,  his  English  friend,  to  Bin!  in  the 
following  words,  which  speak  as  highly  for 
master  as  for  scholar : — '  lo  lo  mando  a  un  mio 
scolare  che  suona  piu  di  me,  e  me  ne  glorio  per 
essere  un  angdo  di  costume  e  religioso' — 'I 
recommend  him  to  a  scholar  who  plays  better 
than  myself,  and  I  am  proud  of  it^  as  he  is  an 
angol  in  religion  and  morals '.  [£.  H.  D.] 

BIONI^  Antonio,  bom  in  Venice  1700,  a 
dramatic  composer,  pupil  of  Giovanni  Porta, 
produced  his  first  opera  'Clim^ne'  in  1721,  his 
next,  'Udine,*  17a a,  and  during  the  next  nine 
vears  34  more,  of  which  'Endimione*  (1737) 
had  the  highest  reputation.  In  1 730  he  beouna 
director  of  the  Italian  theatre  at  Breslau,  in 
1 731  the  Elector  of  Mavence  appointed  him  his 
chajnber  -  composer,  and  in  1733  he  probably 
returned  to  Italy.  He  conducted  the  performance 
of  his  'Girita*  at  Vienna  in  1738,  which  is  the 
last  fact  known  of  him.  F^tis  gives  a  list  of  his 
works.  [M.  C.  C] 

BIRCHALL,  KoBEBT,  musio-puUisher,  etc., 
said  to  have  been  apprenticed  to  Randall,  the 
successor  of  Walsh,  established  a  musical  cir- 
culating library  about  1784,  prior  to  which  he 
had  been  associated  in  businetis  with  Beardmore 
and  also  with  Andrewes,  successively  at  139, 
133  &  140  New  Bond  Street.  He  managed  the 
celebrated  series  of  Antient  Concerts  and  most 
of  the  Benefit  Concerts  of  those  golden  days. 
Birchall  published  many  of  Beethoven's  works^ 
including  the  original  £^lish  editions  of  'The 
Battle  Symphony,  dedicated  to  the  Prince  Regent^ 
in  181 6,  the  Sonata  op.  96,  the  Trio  op.  97,  an 
adaptation  for  the  Pianoforte  of  Symphony  No. 
7 — the  copyrights  of  which  he  purchased  from 
the  composer.  Beethoven's  lottos  arranging  for 
these,  in  queer  English,  and  still  queerer  Froich, 
will  be  found  in  Nohl's  two  collections,  Briefe, 
and  Neue  Brief  e.  After  amassing  a  large  fortune 
Birchall  died  in  181 9,  and  was  succeeded  by 
Lonsdale  &  Mills.  Mr.  Samuel  Chappell,  the 
founder  of  the  well-known  firm  at  ^o  New 
Bond  Street,  was  origioally  at  Birchall  s.  The 
catalogue  of  the  house  contains  the  celebrated 
collections  formed  by  Latrobe,  Mozart*s  operas, 
and  an  immense  collection  of  standard  works  by 
the  greatest  composers  and  perfemiers  of  the 
day.  [R.  B.  L.] 

BIRMINGHAM  FESTIVAL,  This  Trien- 
nial Festival,  which  is  now  acknowledged  to 
be  the  most  important  'music  meeting'  in  the 
provinces,  was  commenced  in  1 768  with  a  series 
of  perfonnanoes  in  St.  Philip's  Church  and  in  th* 

B2 


2ii        BIRMINGHAM  FESTIVAL. 


BISCHOFP. 


theatre  in  King  Street,  in  aid  of  the  funds  of  the 
General  Hospital.  The  first  programme  was  ex- 
clusively Handelian,  with  a  band  of  twenty-five 
and  a  chorus  of  forty,  conducted  by  Mr.  Capel 
Bond  of  Coventry,  but  since  1 80  3  the  programmes 
have  been  drawn  from  all  sources.  In  1778  a 
second  festival  was  held,  and  in  1784  Lord  Dud- 
ley and  Ward  was  the  president  of  the  third 
festival,  at  which,  for  the  first  time,  a  body  of 
noblemen  and  gentlemen  assisted  as  stewards. 
In  1787  and  1790  the  band  was  drawn  from  the 
King*s  Theatre  in  London,  and  with  the  chorus 
numbered  100  perforin  ers.  In  1793  no  festival 
was  held,  owing  to  the  burning  of  the  theatre, 
but  from  179O  to  1829  there  was  a  triennial 
festival.  The  next  festival  was  in  1834,  the  first 
held  in  the  New  Town  Hall,  where  the  concerts 
have  since  taken  place  every  third  year.  At  the 
earlier  festivals  tiie  male  singers  were  members 
of  the  Worcester  and  Lichfield  Cathedral  choirs, 
the  sopnoios  being  selected  from  several  Lanca- 
shire choral  societies,  famed  then  as  now  for  the 
excdlenoe  of  their  voices.  The  members  of  a 
local  Gentlemen*s  Musical  Association  also  as- 
sisted in  the  chorus,  which  now  consiists  of  a  local 
choral  society,  reinforced  by  members  of  the 
London  Sacred  Harmonic  Society.  In  1805  the 
number  of  performers  was  increioksed  to  120,  in 
1808  to  188,  in  181 1  to  304,  in  1820  to  231,  in 
1834  (in  the  Town  Hall)  to  386,  and  at  the  last 
Festival  in  1876  the  band  numbered  130  and  the 
chorus  390.  At  first  the  duties  of  organist  and 
conductor  were  combined,  but  in  1832  they  were 
divided.  The  conductors  included  Capel  Bond 
(1768),  Dr.  Crotch  (1808),  S.  Wesley  (1811),  T. 
Greatorex  (1820),  W.  Knyvett  (1834-43),  Men- 
delssohn and  Moscheles  (1846),  C<^ta  (1849  to 
the  present  time).  The  band  included  the  most 
eminent  orchestral  players  of  the  time.  The 
80I0  instrumentalists  and  principal  singers  in- 
clude almost  every  artist  of  note  of  the  past  and 
present  century,  many  of  whom  have  here  made 
their  first  appearances. 

The  scheme  of  the  first  festival  (i  768)  included 
the  Dettingen  *Te  Deum,*  the  Utrecht  'Jubi- 
late,* the  'Coronation  Anthem'  and  the  'Mes- 
siah' (sung  in  the  church),  and  'L' Allegro'  and 
'Alexander's  Feast'  in  the  theatre.  In  1778  an 
organ  concerto  was  introduced  at  the  church 
pcnrformance.  In  1784  PurceH's  'Te  Deum'  was 
sung,  and  a>new  oratorio,  'Goliath,'  by  Atter- 
bnry,  produced.  Year  by  year  Handel  s  music, 
although  still  forming  the  major  part  of  the 
programmes,  was  more  and  more  varied  by  the 
music  of  other  masters. 

Among  the  most  noteworthy  events  in  the 
history  of  the  festival  may  be  mentioned : — the 
introduction  of  Haydn's  'Creation'  in  the  place 
of  one  of  Handel's  oratorios  in  1802;  the  en- 
gagement of  Mr.  Greatorex,  oiganist  of  West- 
minster Abbey,  in  1805,  previous  to  which  year 
the  organists  had  been  local  performers ;  the  use 
of  MoLart's  .accompaniments  to  the  'Messiah' 
for  the  first  time  in  i^oS  ;  the  withdrawal  of  the 
orchestral  accompaniment  at  the  church  service, 
And  the  use  of  ad  iiional  wind  parts  for  the 


'Messiah/  by  Greatorex,  in  1820;  the  intnv 
duction  of  nine  trombones  in  addition  to  the 
organ  at  the  church  service  in  1823;  the  \^t 
performance  in  church  in  1829,  the  year  in  which 
operatic  performances  in  character  were  intro- 
duced,  and  in  which  Signer  Costa  was  compelle  I 
to  appear  as  a  vocalist  as  a  condition  of  the  [ay- 
ment  of  his  expenses  by  the  committee,  who  re- 
fused to  allow  him  to  conduct  ZingaxeUi's  cnn- 
tata;  the  appearance  of  Mendelssohn  as  the 
conductor  of  '  St.  Paul,'  and  as  solo  organist  in 
1837;  the  production  of  'Elijah'  in  1846;  the 
appointment  of  Signer  Costa  as  conductor,  and 
the  rearrangement  of  the  plan  of  the  orchestral, 
in  1849;  and  the  formation  of  the  Birmingham 
Amateur  Harmonic  Association,  to  form  the  local 
contingent  of  the  chorus,  in  1855.  Sir  Michael 
Costa  wrote  his  'Eli'  and  'Naaman*  for  per- 
formance at  the  festivals  of  1855  and  1864.  The 
receipts  at  the  festivals  have  gradually  risen,  and 
the  actual  profit,  which  is  handed  oyer  to  the 
treasurer  of  the  General  Hospital,  stood  at  up- 
wards of  £7500  in  1873,  as  compared  with  £299 
in  1 768.  The  number  of  persons  present  on  the 
four  days  of  the  festival  in  1876  reached  a  total 
of  14,916,  and  the  gross  receipts  were  £15,180. 
Since  their  foundation,  the  festivals  haye  yielded 
a  grand  total  of  upwards  of  £ioo,ocx>  to  the 
hospital  funds.  [C.  M.] 

BIS  (Fr.),  that  is,  'twice,*  a  cry  more  in  use 
abroad  than  here,  and  equivalent  to  Encore. 
The  French  even  have  a  verb,  &t«««",  to  repeat. 

When  written,  as  it  sometimes  is  in  MS. 
music,  over  a  phiase  or  passage,  it  signifies  that 
the  notes  are  to  be  repeated ;  the  same  thing 
would  be  effected  by  dots  of  repetition  at  the  be- 
ginning and  end  of  the  phrase. 

BISCHOFF,  pB.  LuDwiG  Frtedbich  Chbis- 
TOPH,  bom  at  Dessau  Nov.  27, 1794,  His  fethtir 
was  a  cello-player  in  the  Duke's  band,  and  the 
boy  was  early  initiated  into  music,  though  (like 
so  many  musicians)  intended  for  science.  In 
181 2  he  entered  the  university  of  Berlin,  and 
attended  the  philological  lectures  of  Boeckh.  But 
the  war  of  fireedom  put  a  stop  to  study ;  Bischo^ 
volunteered,  and  was  taken  prisoner  by  the 
French.  After  the  treaty  of  Paris  he  resunieil 
his  studies  and  took  his  degree.  He  filled  various 
posts  in  Switzerland,  was  professor  at  Berlin,  and 
director  of  the  gymnasium  at  Wesel  from  1823 
to  1849.  Here  he  was  remarkably  active  in 
musical  matterq,  founding  societies,  assisting  per- 
formances, and  making  his  house  in  every  sense  a 
home  for  music.  After  twenty -five  years  he  took 
his  leave,  and  settled  first  in  Bonn  and  then  in 
Cologne.  There  he  founded  the  'Rheinis<be 
Musikzeitung'  (1850)  and  the  'Nieder-Kheinische 
Musikzeitung '  (1853),  and  edited  them  to  the 
day  of  his  death  (Feb.  24,  1867),  acting  also  as 
reporter  to  the  'Cdlnische  Zeitung,'  and  acquiring 
great  influence  throughout  the  Lower  Rhine 
districts.  The  tendency  of  his  papers  was  dead 
against  that  of  the  'Neue  Zeitschrift'  of  Schu- 
mann and  Brendel,  in  regard  to  Wagner  and 
Liiizt.     Bischoil's  worship  for  Haydn,  Mozart» 


BISCHOFF. 

md  Beeihoven,  wiHi  whom  he  afterwarcb  as- 
sociated MendelflBohn,  was  so  exclusive  as  to 
IsKclode  his  appreciating  even  Schuxnanni  essen- 
^  u  he  is  in  the  deTelopment  of  modem  music. 
Oa  the  other  hand  his  influence  on  music  in  the 
Lower  Rhine  was  both  good  and  great.  He  was 
the  musical  centre  of  the  energy  and  devotion 
which  kept  up  the  festivals  of  Cologne,  Aix-la- 
Chspelle,  and  Dusseldorf,  and  through  them  acted 
R>  besefidallj  on  the  whole  of  Germany.  With 
Kaefaoff 's  death  his  papers  came  to  an  end,  nor 
hxi  they  been  yet  replaced.  [A.  M.] 

BISHOP,  Sib  Hbnbt  Rowley,  was  bom  in 
London,  Nov.  18,  1786,  and  learned  music  under 
Fnooesoo  Bianchi.     His  bias  for  dramatic  com- 
poAtian  soon  developed  itself  in  fk  remarkable 
degree.    In  1804  he  wrote  the  music  to  a  little 
l^ece  entitled  '  Angelina,'  performed  at  Margate, 
ud  followed  it  by  the  music  to  a  ballet,  'Tamerlan 
et  fiajazet,'  produced  at  the  King's  Theatre  in 
1^.   This  led  to  his  writing,  in  the  same  year, 
:wo  other  ballets,  performed  at  the  Opera,  and 
»]»)  the  music  for  two  operatic  pieces  produced  at 
Dnsv  Lane  Theatre.    In  1809  his  music  to  the 
'(^rasnan  Bride*  was  received  with  enthusiasm. 
It  wu  perfonned  at  Druiy  Lane  on  Feb.  33,  and 
on  the  following  night  the  theatre  was  burnt  to 
the  ground,  and  the  oomposer^s  score  consumed 
in  the  flames.    The  merits  of  the  young  musician 
^ra«  80  apparent  that  the  proprietors  of  Covent 
Gankn  lliieatrB  engaged  him  for  three  years  to 
oompoae  and  direct  the  music.    He  entered  on 
this  important   ofl&ce  in   the  season   1810-11. 
Tbe  fin^  piece  upon  which  Bishop's  talents  were 
employed,  in  consequence  of  this  arrangement, 
m  X  musical  drama  founded  upon  Sir  Vi.  Scott's 
po>-m  'The  Lady  of  the  Lake,*  and  produced  as 
'Tbe  Knight  of  Snowdon.'    In  the  music  Bishop 
^splayed  an  amount  of  talent  seldom  surpassed 
br  ^tish  composers.    Before  the  expiration  of 
the  engagement,  the  'Virgin  of  the  Sun,'  the 
'£tluop/  and  the  'Renegade'  were  produced. 
A  freeh  engagement  for  five  years  was  now  con- 
cioded  and  when  we  say  that  Bishop  signalised 
it  nnmediately  by  'The  Miller  and  his  Men,' 
DO  unpler  proof  can  be  given  of  the  indications 
with  which  it  coEunenced. 

The  Philharmonic  Society  was  established  in 
1S13,  and  Bishop  was  one  of  its  original  members, 
umI  took  his  turn  as  conductor.  In  the  following 
J«vhe  produced  portions  of  the  opera  of  *The 
Fanner' B  Wife,'  the  melodrama  of '  The  Forest  of 
^oitdy,'  and  other  musical  pieces.  In  this  year  he 
^pted  the  first  of  a  series  of  foreign  operas — 
Boieldieu'i  'Jean  de  Paris'— which  was  followed 
m  rocoearive  years  by  '  Don  Giovanni/  '  Figaro,' 
"D  BMbiere,'  and  'Guillaume  TelL'  A  number 
w  operatic  pieces  were  produced  in  1 8 1 5, including 
»dditianal  music  for  Dr.  Ame's  '  Comus,'  and  for 
Michael  Ame's'Cymon,'  Two  of  his  well-known 
»wkB,  'Guy  Mannering*  (of  which  Whittaker 
^  »  portion)  and '  The  Slave,'  gave  interest  to 
the  following  year,  in  which  also  he  wrote  the 
?««al  interpoUtions  in  'A  Midsmnmer  Night's 
V^^uo,*  the  first  of  a  series  of  Shakesperian  spolia- 
tunts  which,  as  Mr.  Mac&rren  remarks,  *  even  the 


BISHOP. 


245 


beauty  of  some  of  his  introduced  pieces  has  happily 
not  preserved  upon  the  stage.*  It  is  impossible  in 
our  space  to  go  through  in  detail  all  Bishop  s  pro- 
ductions for  Covent  Garden;  suifice  it  to  say,  that 
among  them  wero  'The  Law  of  Java,'  with  its 
universally  popular '  Mynheer  Vandunck  * ;  'Clari,' 
\7ith  its  household  melody  of  'Home,  sweet 
home* ;  and  '  Maid  Marian,*  full  of  charming 
English  music.  In  1825  Bishop  accepted  an  en- 
gagement under  Elliston,  at  Drury  Lane,  and  the 
opera  of  'The  Fall  of  Algiers*  was  the  first  firuit 
or  his  new  appointment.  'The  engagement  of 
Weber  to  write  'Oberon'  for  Covent  Garden, 
induced  the  rival  management  to  set  Bishop  to 
work  upon  an  opera  that  should  oppose  it ;  and 
impressed  with  tne  magnitude  of  the  competition, 
he  occupied  more  than  a  year  in  the  extremely 
careful  composition  of  '  Aladdin,*  which  was  pro- 
duced in  1826,  some  weeks  after  Weber's  opera. 
It  had  the  misfortune  of  being  allied  to  an  even 
worse  constructed  dhutna  than  '  Oberon,'  without 
the  elegant  writing  which  characterises  that 
libretto  ;  and  lacking  the  individualilnr  of  Bishop 
without  having  the  merit  of  Weber,  it  met  with 
no  success.  In  1830  Bishop  was  appointed  musi- 
cal director  at  Vauxhall.  In  this  capacity  he 
wrote  several  operettas,  and  many  songs,  some 
of  which  acqniied  great  popularity,  '  My  pretty 
Jane'  being  perhaps  the  best  known  at  the 
present  day.  In  the  season  of  1 840-1  he  was 
engaged  by  Madame  Vestris  as  musical  director 
of  Covent  Garden,  where  he  produced  *  The  For- 
tunate Isles,'  to  celebrate  the  Queen's  wedding. 
This  was  his  last  dramatic  composition. 

We  must  now  notice  a  few  other  events  of 
Bishop's  life.  In  1819,  in  partnership  with  the 
proprietor  of  Covent  Garden,  he  commenced  the 
direction  of  the  extraordinary  performanoee,  then 
miscalled  Oratorios ;  and  in  the  following  season 
undertook  the  speculation  on  his  own  account, 
which  he  relinquished  however  before  the  com- 
mencement of  another  year.  In  the  autumn 
of  1820,  he  visited  Dublin,  and  received  the 
freedom  of  that  city  by  cordial  and  unanimous 
suffrage.  In  1833  the  Philharmonic  Society 
commissioned  him  to  write  a  work  for  their  con- 
certs, and  the  sacred  cantata  of  'The  Seventh 
Day'  was  the  result.  It  is  a  clever  and  masterly 
work,  but  made  no  lasting  impression,  belonging 
as  it  did  to  a  class  of  music  entirely  different 
from  that  in  which  he  had  achieved  his  fame. 
In  1839  he  received  his  degree  as  Bachelor  in 
Music  at  Oxford,  and  his  exercise  was  performed 
at  the  triennial  festival,  of  which  he  was  conductor. 
In  November  1841  he  was  elected  to  the  musical 
professorship  at  Edinburgh,  which  he  resigned  in 
December,  1843.  The  distinction  of  knighthood 
was  oonferred  upon  him  in  1842 ;  and  on  the 
death  of  Dr.  Crotch  in  1848  he  was  appointed 
to  the  musical  chair  at  Oxford.  On  the  retire- 
ment of  Mr.  W.  Knyvett  in  1840,  he  was  for  three 
years  occasionally,  and  in  1843  permanently,  ap- 
pointed conductor  of  the  Antient  Concerts,  which 
office  he  held  until  ihe  discontinuance  of  the 
performances  in  1848.  His  last  composition  of 
importance  was  the  ode  for  the  installation  of  the 


240 


BISHOP. 


Earl  of  Derby  as  Chanoellor  of  Oxford,  in  1853. 
On  this  occasion  he  received  the  degree  of  Doctor 
in  Music,  the  Ode  being  considered  as  his  proba- 
iional  exercise. 

Besides  his  dramatic  productions,  and  the 
'  Seventh  Day,'  Bishop  composed  an  oratorio,  'The 
Fallen  Angel,'  which  has  never  been  performed ; 
music  for  three  tragedies,  'The  Apostate,*  'Retri- 
bution,* and  'Mirandola' ;  and  a  'Triumphal  Ode,' 
performed  at  the  Oratorios.  He  also  arranged  the 
first  volume  of  'Melodies  of  Various  Nations*; 
three  volumes  of  'National  Melodies,'  to  which 
Moore  wrote  the  poetry ;  and  a  number  of  Eng- 
lish melodies  with  Dr.  Mackay's  verses.  He 
edited  the  'Messiah,'  a  large  collection  of  Handel's 
songs,  and  many  other  works  of  importance. 

He  died  April  30,  1855,  and  was  buried  in  the 
cemetery  at  Finchley,  where  a  monument  to  his 
memory  has  been  erected  by  subscription. 

The.  following  chronological  list  of  his  pro- 
ductions for  the  stage  includes  the  works  which 
he  altered  or  adapted  :>-> 


Attgelina,  U04;  TMnerUn  et 
B^J&iet.  iras :  Mftrct\<«o  et  le« 
Or*co».l  W6 ;  Cftnctacut.  1X06 ;  Lore 
to  a  Tub.  1W6:  The  Mysterious 
Bride.  IMM:  The  CIroMSlui  Bride. 
UOO;  Mora's  Lore,  IFOD;  The  Vini- 
■gen.  1809:  The  ManUu).  1810; 
Knight  of  Bnowdon,  1811;  Virgin 
of  the  Bun.  1S12;  The  .£thiup, 
181S;  The  Renegade,  inz :  Haroun 
Alnuchid,  IRIS;  The  Brmnn  Boat. 
llUS :  Harry  )e  Kny.  1813 ;  The  HU- 
ler  and  his  Men.  1813 :  For  England, 
ho!  UU;  The  Farmer's  Wife  (witli 
Davy,  Ueere,  etc),  1814 ;  The  Wan- 
doriog  Boys.  1814 :  Sadak  and  Kalas- 
nde.  mi :  The  Grand  Alliance. 
I>a4 :  Doctor  Faiigrado,  1104 ;  'dir 
For«<t  of  Bondy.  1814 ;  The  Maid  of 
the  Mill  (addlttuns^,  1814 ;  John  of 
ParLi  (compiled  from  Boleldieu). 
1814;  Brother  and  Sister  (with 
Kettvet.  1816:  The  Koble  Outlaw. 
181A:  TeleoMchus.  1815;  Magpie  or 
the  Maid.  181B ;  John  du  Bart.  IHl'i  ; 
Cymnn  (a^ditioni)^  IK15;  Comos 
•pddltions).  181S;  Midsummer 
Hight'R  Dream.  1X18;  Ooy  Man- 
nering  (with  Whlttaker,  etcX  1816 ; 
Who  wanU  a  Wife.  IfM:  Heir  of 
Verona  (with  Whlttaker),  Ifl?: 
Humoroos  Lieutenant,  1817;  The 
L  bertlne  /adapted  from  Don  Glo- 
▼annl),  WIT ;  Duke  of  ^Toy,  1817 ; 
Father  and  his  Cblldren.  1817; 
Zoma  (with  Brahi  mX  1818 ;  lUos- 


trioos  TraTetlar,  1818;  December 
and  May.  18 1^-;  Barber  of  Seville 
(atlapted  from  Riy*  ui).  1818;  The 
Marriage  of  Figaro  (adapted  from 
Moiart).  1819:  Fortunatus,  1810; 
The  Heart  of  Mid-Lothlan.  1819 : 
A  Kowland  for  an  Oliver,  1819; 
Swedish  Patriotism.  1819;  The 
Onome  King,  1819 ;  The  Comedy  of 
Errors.  1819 ;  The  Antiquary,  18%) : 
Battia  of  BothweU  Brig.  1820; 
Henri  Quatrc.1890:  Twelfth  Mght. 
1830 ;  Don  John.  1))21 ;  Two  (>enlle- 
men  of  Verona.  1821;  Montrose. 
1822:  The  Law  of  Java.  1822;  Maid 
Marian.  1822;  Clari.  ifS3:  The 
1<ea«3on  of  Liberty.  IP^;  Cortex. 
1828;  Native  Und.  1-24;  Charles 
the  Second.  1824 ;  The  Fall  of  Al- 
giers. 182');  Hofer  (compiled  from 
BossinI),  1  90;  AoRellna  (partly  re- 
written*.  19*1 ;  Edward  the  Black 
Prince.  182a ;  Comnatiun  of  Charles 
X.  1825 ;  Aladdin,  l!>2n ;  The  Knight* 
of  the  Cross,  182R ;  Englisliman  In 
India.  1898;  Under  the  Oak.  1830. 
Adelaide.  1830;  The  Tymlese  Tt^- 
sant,  1892:  Home  swet't  Home 
\f9i;  The  Mavic  Fan.  1^82;  Tlie 
8edan  Chair.  VW2:  The  Battle  of 
Ctiampagne.  1832:  The  B^imaiie** 
of  a  Day.  1832:  Yelva.  It93:  Thr 
Benoontre,  183^:  Bural  Felicity. 
1834 ;  The  Doom  KL<««.  1838 ;  Man- 
fred, 1836;  The  Fortunate  lala*. 
1841. 


(Imp.  Diet,  ofSiog,;  GerUUmatCs  Mng.;  Pri- 
vate Sources.)  [E.  F.  R.] 

BISHOP,  John,  was  bom  at  Cheltenham 
July  31,  181 7.  When  about  six  years  of  age 
he  was  placed  at  a  boarding-school  at  Oxford, 
where  ]\e^  remained  two  years  and  a  half,  and 
learned  music  from  Daniel  Feldon,  oiganist  of 
St.  Peter'a-in-the-East  in  that  city.  His  next 
master  was  .Arnold  Merrick,  organist  of  the 
parish  church  of  Cirencester,  and  translator  of 
the  theoretical  works  of  Albrechtsberger,  and 
several  other  valuable  treatises.  Returning  to 
Cheltenham  Bishop  became  a  pupil  of  Thomas 
Woodward,  organist  of  the  parish  church  there, 
iinder  whom  he  studied  for  about  five  or  six 
yer.rs.  On  the  opening  of  the  new  church  of 
ht.  Paul,  Cheltenham,  in  1831  Bishop,  then 
fourteen  yean  of  age^  was  appointed  its  organist. 


BLAGBOVS. 

He  subsequently  completed  hismusic^  eduoation 
under  Migliorucci,  a  favourite  pupil  of  Zixigarelii, 
In  1858  he  became  organist  at  Blackburn,  Lanca- 
shire, but  in  the  following  year  returned  to 
Cheltenham,  where  he  has  smce  resided,  and 
.where  he  has  filled  successively  the  post  of 
organist  at  St.  James's  Church,  tlie  Roman 
Catholic  Chapel,  and  St.  John*s  Church,  from 
the  latter  of  which  he  withdrew  at  the  end  of 
1851.  Bishop  has  directed  his  attention  much 
to  the  study  of  the  theory  and  history  of  music, 
and  has  translated  and  edited  many  valuable 
theoretical  and  other  works,  besides  arramging 
and  editing  a  large  number  of  the  masterpieces 
of  the  great  classical  composers.  P^*  ^'  H.] 

BIZET,  Gbobges,  bom  at  Pari*  Oct.  as,  183S, 
was  a  brilliant  pupil  and  laureate  at  the  Con- 
servatoire from  1848  to  1857.    ^®  studied  com- 
position under  Halevy,  whose  daughter  he  after- 
wards married.    Before  winning  his    'pi^   de 
Rome,'  he  gave  an  insignificant  operetta  '  JDocteur 
Miracle'  (Boufies  Parisiens,  April,  1857)  ;  and, 
after  his  return  from  Italy,  composed  '  Vasco  de 
Gama*   (1863),  which  did  not  gain  him  much 
credit.    At  the  The&tre  Lyrique  were  performed 
'Les  Pdcheurs  de  perles,'  in  3  acts  (Sept.  30,  63), 
and  'La  jolie  Fille  de  Perth,'  in  4  acts  (Dec.  26, 
67).    'Djamileh*  (May  ai,  72)  was  not  success- 
ful, but  the  interludes  to  TArl^sienne*  (Sept.  30, 
72),  and   his  Overture  'Patrie*  were   received 
with  applause.    Bizet's  last  effort  was  '  Carmen,' 
in  4  acts,  a  sombre  libretto,  but  a  fine  score, 
which  was    heard   at  the  Op^ra  Comique  00 
March  3,  75.    This  highly  gifted  composer  and 
very  talented  pianist  died  almost  suddenly  on 
June  3,  75.    Much  was  expected  from  him.    He 
was  a  musician  of  superior  abilities,  though  his 
vocal  style  is  deficient  in  ease.  [G.  C] 

BLACK  DOMINO,  THE,  the  English  ver- 
sion of  Auber's  Domino  Noib;  translated  by 
H.  F.  Chorley.  Produced  at  Covent  Garden 
(Pyne  &  Harrison)  Feb.  20,  1861. 

BLAES,  Arnold  Joseph,  a  great  clarinet- 
plnyer,  bom  at  Brussels  181 4;  pupil  of  Bach- 
mann  in  the  Conservatoire  there,  where  he 
obtained  the  second  prize  in  1829  and  the  first  in 
1834.  He  visited  Holland,  Germany,  and  Russia, 
and  in  39  was  awarded  a  medal  for  his  perform- 
ance before  the  Society  des  Concerts  in  Paris : 
was  solo  clarinet  to  the  King  of  the  Belgians; 
and  in  42  succeeded  Bachmann  as  Professor  in 
the  Brussels  Conservatoire.  [M.  C.  C] 

BLAES,  Mhe.  Elisa,  whose  maiden  name 
was  Meerti,  bom  in  Antwerp  about  1820,  a 
distinguished  singer,  and  wife  of  the  foregoing. 
She  was  engaged  by  Mendelssohn  to  sing  at  tbo 
Gewandhaus  concerts  at  Leipsic  (Oct.  6,  1839, 
and  onwards),  where  her  cultivated  style,  sym- 
pathetic voice,  and  great  personal  gifts,  were 
long  and  highly  appreciated.  She  has  been 
heard  in  most  of  the  European  capitals,  is  now 
(1875)  a  teacher  in  Brussels.  [M.  C.  C] 

BLAGROVE,  Henrt  Gavblb,  was  the  son 
of  a  professor  of  music  at  Nottingham,  where 


BLAOBOVlL 

1»  VM  bocn  in  October  1811.  At  four  yean 
<M  ike  warn  taoght  by  bu  fitther  to  play  on  a 
maH  TioUn  whidi  he  bad  made  for  him,  and 
tt  fiTe  years  old  be  performed  in  public.  His 
father  brining  him  to  London  be  played  in 
K^j;  at  Draiy  Lane  Tbeatre  in  a  performance 
calkd*  Tbe  liUiputians,'  and  eabeequently  played 
is  public  daily  at  the  Exhibition  B<M>ni8  in  Spring 
Gardens.  In  1831  be  was  placed  tmder  the 
tdtioii  of  Spagnoletti,  and  on  tbe  opening  of 
tbe  Royal  Academy  of  Music  in  1825  be  berime 
floe  of  its  first  pupils,  Francis  Cramer  being 
bis  iB2i>tnictor.  In  1824  be  was  awarded  a 
alver  prize  medal  for  faia  proficiency.  On  the 
^nnation  of  Queen  Adelaide's  private  band  in 
1^30  Blagrove  was  nppcnnted  a  meinlier,  and 
ciD^oed  aa  until  1837.  In  1833  be  went  to 
G«niiAny  for  tbe  purpose  of  studying  his  instru* 
me&t  imdear  Spobr,  and  remained  there  until 
Kor^nber  1834.  Blagrove  was  one  of  the  most 
difdnguiflbed  of  English  violiniBts,  and  for  up* 
vards  of  thirty  years  occupied  the  position  of 
concerto  player  and  leader  in  all  tbe  best 
orchestras.  He  died,  after  a  lingering  illness, 
December  15,  1872.  [W.  H.  H.] 

BLAHETKA,  Leofoldins,  bom   Noy.  15, 

iSu   (^not    1809),    at    Guntranudorf,    Baden, 

Auitria;   an  able  performer  on  tbe  piano  and 

physharmonika ;  daughter  of  J.'  L.  Blahetka  and 

B&bette  Tra^.     At  five  years  of  age  she  was  so 

goud  a  player  that  by  Beethoven  s  advice  she 

vas  placed  under  Jos.  Czemy  for  education  as 

\  musician.      She   afterwards  bad   instruction 

from  Kalkbrenner  and  Moscheles.    Her  progress 

Tu  BO  rapid  that  she  was  able  to  undertake 

encett  toon  in  company  with  her  mother,  from 

vhicb  the  obtained  much  reputation,  though  they 

exposed  her  to  many  calumnious  attacks.      In 

1^32  the  published  as  op.  25  a  concert-piece  for 

piano  and  orchestra  which  deserves  notice.     In 

i!$30  a  romantic  piece  of  hers,  '  Die  Rauber  nnd 

die  Sanger/  was  produced  at  the  Karnthnerthor 

theatre,  Vienna,  with  applause.     A  few  years 

later  ahe  made  another  tour  in  France,  and  in 

1S40  aetiled  in  Boulogne,  where  she  still  resides 

(1S76).   A  few  words  in  Schumann*  s  Gesamnielte 

SdriftOf  li.  45,  testify  to  her  excellence  as  a 

pW.  [F.  G.] 

BLAKE,  Rev.  Edwabd,  D.D.,  prebendary  of 
Salisbury  Cathedral,  and  rector  of  St.  Thomas's 
Chaich  in  that  city,  was  composer  of  the  admired 
aothem  'I  have  set  God  always  before  me,*  and 
of  aime  dusts  for  violin  and  viola.  He  died 
June  II,  1765.  [W.  H.  H.] 

BLANCHARD,  Henbi  Lodis.  bom  at  Bour- 
dtaui778,  died  in  Paris  1858,  studied  the  vio- 
lin mider  Rodolphe  Rreutzer,  and  composition 
under  Beck,  Mifhul,  and  Reicha.  From  1 8 1 8  to 
1^19  he  was  musical  director  at  the  Vari^tes,  and 
offlipaBed  a  number  of  vaudeville  airs  which  at- 
tained popularity,  and  also  trios  and  quartets 
tor  Ktiings.  These  more  solid  works  exhibit  oon- 
•iderable  talent.  In  1830  he  became  director  of 
the  Thtfitre  Moli^re,  where  two  of  his  plays 
^««prodiioed.    A  third  had  a  great  run  at  the 


BLANGIKL 


247 


Th^&tre  Franfata  in  1831.  His  opera  of  Diane 
de  Vemon  was  produced  at  the  Kouveautes  on 
April  4  in  the  aame  year.  As  a  musical  critic 
Blanchard  was  able  and  impartial.  He  contri- 
buted articles  to  'L*£urope  Utt^raire  et  musioale* 
(i  ^33%  '  Le  Foyer,* '  Le  Monde  Dramatique^*  and 
'  La  Revue  et  Gacette.'  His  bioffrapbies  of  Beok» 
Berton,  Cherubini,  Garat,  and  others,  which 
originally  appeared  in  these  joumali,  have  been 
published  separately.  [M.  G.  G.] 

BLAKGHE,  i.e.  'white,'  is  the  ordinary 
French  word  for  the  note  p  which  we  call  a 
minim.  In  the  same  manner  the  French  call 
a  crotchet,  ^,  noire. 

BLANCHE  DE  NEVERS,  an  opera  in  five 
acts,  founded  on  the  'Duke*s  Motto.'  Libretto 
by  John  Brougham ;  music  by  Balfe.  Produced 
at  Govent  Ganien  by  Pyna  and  Hairisoa  Nov. 
31,  1865. 

BLANGKENBURGH,  GnBKAKDT  tan,  w- 
ganist  at  Gouda,  probably  father  of  Q.  v.  Blank- 
enbui^,  author  of  a  work  of  historical  importance, 
*  Onderwyzinge  hoemen  alle  de  Toonen  en  halve 
Toonen,  die  meest  gebryckelyck  zyn,  op  de  Handt- 
Fluyt  zel  konnen  t  eenemal  auyverblaezen*  ^Am- 
sterdam, P.  Matthysz,  1654).  A  reprint  of  thia 
interesting  work  has  been  published  at  the 
Hague.  [F.  G.] 

BLANCKS,  Edward,  whom  Fraada  Merea» 
in  his  'Palladia  Tamia,  Wita  Treasury/  1598, 
classes  among  the  *famoua  English  musicians' 
of  the  time,  was  one  of  the  ten  composers  who 
harmonised  the  tunes  for  'The  Whole  Booke 
of  Psalmes,  with  their  wonted  Tunes  as  they 
are  song  in  Churchea,  composed  into  foure  parts,' 
published  by  Thomas  Este  in  159a,  and  re- 
printed by  tbe  Musical  Antiquarian  Society. 
Nothing  more  ia  known  of  him.  [W.  H.  H.] 

BLANGINI, Giuseppe  Marco  Mabia  Felick, 
celebrated  tenor-singer,  teacher  of  singing,  and 
composer,  was  bom  Nov.  18,  1781.  At  the  age 
of  9  he  was  admitted  into  the  choristers'  school 
of  Turin  Gathedral.  He  made  rapid  progren  in 
music  under  the  Abbate  Ottani,  a  pupil  of  Padre 
Martini.  By  the  time  he  was  i  a  he  composed  a 
motet  and  a  Kyrie.  His  favourite  instrument 
was  the  violoncello.  His  singing  was  so  exquisite 
that  he  is  said  by  it  to  have  revived  Baron  Stack- 
elberg  the  Russian  ambaasador  at  Turin  after  he 
had  been  given  up  by  the  physicians.  When  tbe 
war  broke  out  in  1 797  bis  family  took  refuge  in 
Fronce,  but  it  was  not  till  1799  that  Blajogini 
went  to  Paris,  where  he  soon  became  the  fashion- 
able composer  of  songs  (Romances  et  nocturnes), 
and  teacher  of  singing.  In  1802  he  was  com* 
missioned  to  complete  Delia  Maria's  unfinished 
opera '  La  fiausse  Du^pne,'  which  was  followed  in 
1803  by  'Chimbre  et  lUalit^,'  both  for  the 
Thi^ktre  Feydeau,  and  in  1806  by  'Nephtoli  oa 
lea  Ammonitea,'  for  the  Grand  Op^ra.  In  1805 
he  waa  called  to  Munich,  where  he  produced 
'  Encore  un  tour  de  Galipbe,'  and  composed  '  Ines 
de  Castro,'  and  'Lea  Ffites  Lac^demoniennes,' 
which  were  not  performed.    In  1806  Napoleon  a 


218 


BLANGINI. 


sister,  Prinoess  Borghese,  appointed  him  her 
chapel-master,  and  in  1809  King  Jerome  made 
him  his  '  General  Musik- director '  at  Cassel.  In 
181 1  Blangini  produced  at  Cassel  'Le  Sacrifice 
d*  Abraham/  and  *  L' Amour  philosophe/  and  at 
the  Feydeau  in  Paris  'Les  Femmes  veng^es/ 
In  1 8 14  he  returned  to  Paris,  and  was  appointed 
'Surintendant  de  la  musique  du  Roi.'  The 
whole  fashionable  world,  particularly  the  Fau- 
bourg St.  Germain,  thronged  to  him  for  lessons. 
He  drew  up  a  list  of  his  pupils  which  reads  like 
Leporello*8  catalogue  in  Don  Giovanni,  as  it 
includes  3  Queens,  12  Princesses,  25  Countesses, 
etc.  Blangini  was  an  indefatigable  composer 
of  operas,  though  none  of  much  interest  were 
performed  in  Paris  before  'La  Marquise  de 
Brinvilliers*  (i83i\  in  which  Cherubini  and 
Caraffa  worked  with  him.  One  of  the  songs 
firom  Nephtali  is  still  occasionally  heard  at  a 
concert.  His  '  Romances/  in  34  numbers,  con- 
tinued in  favour  long  after  his  death,  which  took 
place  Dec.  18,  1841.  His  friend  Maxime  de 
Villemarest  published  his  autobiography  under 
the  title  'Souvenirs  de  Blangini,  mattre  de 
chapelle  du  Roi  de  Bavi^re,  etc.*  (Paris,  1834). 
The  book  is  interesting,  and  gives  an  excellent 
picture  of  an  artistes  footing  in  society  at  that 
period.  [F.  G.] 

BLANKENBURG,  Quibik  van,  bom  1654 
at  Gouda,  Licentiate  in  philosophy  and  medicine, 
and  organist  of  the  Reformed  Church  at  the 
Hague,  well  known  for  his  '  Clavicymbel  en  Or- 
gelboek  der  Psalmen  en  Kirkgezangen*  (1732; 
3rd  ed.  1772).  The  inscription  on  hid  portrait 
compares  him  to  Orpheus.  In  honour  of  the 
betrot^Hl  of  the  Prince  of  Orange  he  composed 
a  collection  of  pieces  in  two  parts,  which  might 
be  performed  either  upright  or  upside  down, 
forwards  or  backwards.  His '  Elementa  Musica* 
has  some  value  as  a  theoretical  work.  Blanken- 
burg  died  after  1739,  bat  the  predse  date  is  not 
known.  [F.  G.] 

BLAZE,  FBAN9018  HiNBi  Joseph,  calling 
himself  Castil-Blazjs,  one  of  the  meet  prolific 
writers  on  music  and  the  drama  France  has 
produced,  was  bom  at  Cavaillon  in  1784.  His 
&ther,  a  lawyer  by  profession,  was  a  good  musi- 
cian, friend  of  Gr^try  and  Mehul,  and  com- 
poser of  masses,  operas,  and  chamber  music. 
Blaze  was  sent  to  Paris  in  1799  to  study 
the  law,  but  the  love  of  music  soon  began  to 
show  itself.  He  became  a  pupil  at  the  Con- 
servatoire, and  took  private  lessons  in  harmony. 
In  the  meantime  his  professional  career  pro- 
mised to  be  a  prosperous  one.  He  obtained 
the  position  of  sous-pr^fet  in  the  Department 
of  Vauduse,  and  other  appointments.  But  to 
one  used  to  the  excitement  of  Parisian  society, 
and  longing  for  literary  and  artistic  distinction, 
official  life  in  southern  France  could  not  but  be 
tedious  and  uninteresting.  At  the  age  of  thirty- 
six  he  threw  up  his  post  and  set  out  with  his 
fiunily  for  the  metropolis,  chiefly  with  a  viwW 
to  publishing  a  book  compiled  during  his  leisure 
hours.     It  appeared  in  1820,  in  two  volumes,  ' 


BLAZE. 

with  the  title  'De  I'op^ra  en  France,*  and  is  thi 
work  on  which  his  claims  to  remetnbrazioe  an 
chiefly  founded.  The  subjects  treated  com 
prise  a  much  wider  circle  of  observation  thai 
the  title  would  imply.  The  first  volume  con 
tains  an  elaborate  though  popular  treat 
ment  of  the  various  elements  of  music,  in 
eluding  hints  as  to  the  choice  of  libretti,  and  the 
peculiarities  of  verse  and  diction  bee^  adapter 
for  musical  treatment.  The  second  volume  in  de 
voted  to  the  opera  proper,  describing  at  ooiuider 
able  length  its  various  components,  the  overture 
recitative,  aria,  ensemble,  etc.  The  style  if 
lucid  and  terse,  and  the  book  may  be  recom- 
mended to  the  amateur,  although  the  student 
will  look  in  vain  for  new  material  or  originality 
of  treatment.  But  even  to  the  latt^  the  fre- 
quent references  to  oontemporaiy  operas,  a  sub- 
ject in  which  Castil-Blaee  was  thoroug-faiy  at 
home,  will  not  be  without  interest.  The  chapter 
on  the  opera  in  the  provinces  is  particuliurly 
valuable  from  an  historic  point  of  vieiv.  His 
remarks  on  the  overture,  in  which  he  defends 
a  broader  and  simpler  conception  of  that  form 
of  art  against  those  who  expect  from  it  an  an- 
ticipatory reproduction  of  tlie  drama  itself,  with 
all  its  complicated  characters  and  situations,  are 
excellent,  and  would  be  worth  quotation  if  our 
space  permitted  it. 

A  considerable  part  of  his  book  is  polemical. 
He  attacks   the  various   uses    and   abuses    of 
theatrical  managers,  the  arrogance  of  ignorant 
critics,  and  the  miserable  translations  supplied 
by  literaiy  hacks  for  the  masterpieces  of  forei:^ 
composers.     On  the  latter  point  he  was  entitled 
to  Hpeak,  having  himxelf  reproduced  more  or  less 
felicitously  the  libretti  of  numerous  Italian  and 
German  operas.      Amongst  these  we   mention 
'Figaro,'  *Don  Juan,'   and   'Zauberfliite';    'D 
Barbiere,'   'Gazza  Ladra,'   'Otello/  'Anna  Bo- 
lena' ;  *  Der  Freischiitz,'  *  Oberon,'  *  Euryanthe ;' 
and  many  others.      These  reproductious    were 
chiefly  for  the  use  of  provincial  theatres  where 
Italian  opera  was  unattainable,  and  may  have 
contributed  much  to  popularise  good  music  in 
France.     Unfortunately  Blaze  frequently  made 
bold  to  meddle  with  the  scores,  and  even  to  in- 
troduce surreptitiously  pieces  of  his  own  compo- 
sition into  the  works  of  great  masters.     He  uacd 
to  tell  with  delight  how  one  of  his  choral  pieces 
fathered  upon  Weber  was  frequently  played  and 
applauded  by  unsuspecting  audiences  at  the  con- 
certs of  the  Paris  Conservatoire.     Our  authors 
own  compositions  do  not  call  for  notice.     They 
are  of  an  ephemeral  nature,  and  are  justly  for- 
gotten.    Amongst  his  romances  'King  R^n^'  is 
pretty,  and  was  deservedly  popular.    He  wrote 
several  pieces  of  sacred  and  chamber  music,  one 
serious  and  two  comic  operas,  none  of  which  was 
successful  to  any  considerable  extent.   More  valu- 
able is  a  collection  of  songs  of  southern  France 
called  '  Chants  de  Provence/ 

The  merits  of  Blaze's  literaiy  work  haring 
been  discussed  above,  it  will  suffice  to  men- 
tion the  titles  of  some  of  his  works,  mostly  com- 
pilations, similar  in  character,  although  hardly 


BLAZE. 

jqial  to  *r>e  Fop^ra  en  France.'  We  name 
'Chapelle  naoriqae  des  Rois  de  France'  (183a); 
'La  Danse  et  les  Ballets  depuis  Bacchus  jusqu'k 
c^lexnoiaelle  Taglioni'  (1831) ;  and  the  works 
tn  the  Tl&^tres  lyriqnes  de  Pans,  viz.  'L*Ac»- 
Jc-mie  imperiale*  (formerly  'royale* ;  a  history  of 
tbAt  the&tre  published  in  1855),  and  'L*opcra 
Italien  de  1548  a  1856'  (1856). 

Far  ten  years  preTiously  to  1832  Blaze  wrb 
ncaical  critic  of  the  'Journal  des  Dehats/  an 
importaiit  literary  position  afterwards  held  by 
Bfxlioz.  fie  also  wrote  numerous  articles  for 
the  '  Constitutionel,'  the  'Kevue  et  Gazette 
Musdc^e,'  'he  Menestrel,'  etc.,  partly  repub- 
lished in  l>ook  form. 

Catitil- Blaze  died  in  1857,  after  a  few  days* 
iGneaa.      jA  life  like  his,  spent  laboriously  in  the 
byewajB  of  arty  can  hanlly  be  called  a  thiug 
goblimie,  but  it  is  not  without  its  uses  and  merits. 
Tbe  idettl  truths  emanating  finom  creative  genius 
stand   In.  need  of  an  intermediate  stage  of  re- 
ceptivity between  their  own  elevation  and  the 
krvel  of  ordinary  intellects.     Blaze  has  occupied 
the  pofition  of  an  interpreter,  thus  indicated, 
net  without  credit.     His  knowledge  of  music  and 
muacal  history  was  good,  and  his  taste  sound  and 
comprehensive  up  to  a  certain  point.     But  the 
wear  and  tear  of  journalistic  routine  could  not 
but  blunt  his  feelbig  for  the  subtler  touches  of 
beanty,  and  it  would  be  unsafe  to  give  implicit 
eonfidence  to  his  opinion  on  questions  of  high 
art.  [F.  H.] 

BLAZE  DE  BURY,  Babok  He^rt,  bom  in 
1813,  the  son  of  the  foregoing,  is  too  much  like 
him  in  aE   essential  points  to  require  detailed 
T^tioe.    In  literary  skill  he  surpasses  his  &ther ; 
in  mosical  knowledge  he  is  decidedly  his  inferior. 
Blaze  de  Bury  is  indeed  the  prototype  of  the  ao- 
ojmplished  litterateur  oi  the  second  empire.    He 
is  able  to  write  well  on  most  topics,  and  excellently 
en  many.    His  style  is  refined  and  pleasing,  but 
his  attempts  at  depth  are  strangely  minified  with 
the  flippancy  of  the  fenilletonvste.    Amongst  his 
works  on  music,  which  alone  concern  us  here, 
tiie  most  remarkable  are  'La  Vie  de   Rossini' 
( 1 854) ; '  Musiciens  contemporains ' —  short  essays 
<si  l^uiii^  musicians,  such  as  Weber,  Mendels- 
icJm,  Verdi,  and  many  others  (1856)  ;  and  '  Mey- 
erbeer et  son  temps*  (1865).    All  these  are  re- 
prints of  articles  contributed  to  the  '  Kevue  des 
deux  Mondes'  and  other  periodicals.     Another 
connection  of  Blaze  de  Bury  vrith  the  history 
of  muac  may  be  seen  in  the  following  circum- 
stance.   He  wrote  a  comedy  called  '  La  jeunesse 
de  Goethe,'  for  which  Meyerbeer  supplied  the 
incidental  music      The  score  was  unpublished 
when  the  master  died,  and  will  remain  so,  along 
with  other  MSS.,  till  thirty  years  after  his  de- 
cease, in  aooordance  with  his  own  arrangement. 
In  186S  Blaze  de  Bury  attempted  to  set  aside 
the  portion  of  the  will  referring  to  the  MS. 
in  qodKtion.  but  the  action  brought  against  the 
family  was  unsuccessful.  [F.  H.] 

BLEWrrr,  Jonas.  a  celebrated  oi^nist  in 
the  latter  half  of  the  i8th  century,  author  of 


BLOW. 


249 


'A  Treatise  on  the  Organ,  with  explanatory 
Voluntaries';  *Ten  Volubtaries,  or  pieces  for 
the  Organ,'  etc. ;  *  Twelve  easy  and  familiar 
movements  for  the  Organ,'  etc.  He  died  in  1805. 
His  son,  Jonathan  Bljcwitt,  was  bom  in  London 
in  1783,  received  the  rudiments  of  his  musical 
education  from  his  father,  and  -was  afterwardA 
placed  under  his  god&ther,  Jonathan  Battishill. 
At  eleven  yean  old  he  was  appointed  deputy 
organist  to  his  father.  After  holding  several 
appointments  as  organist,  he  left  London  for 
Haverhill,  Suffolk ;  and  subsequently  became 
organist  of  Brecon,  where  he  remained  three 
years.  On  the  death  of  his  father  he  returned 
to  London,  with  the  intention  of  bringing  out  an 
opera  he  had  composed  for  Drury  Ltme,  but  the 
burning  of  that  theatre  destroyed  his  hopes.  He 
next  went  to  Sheffield  as  organist.  In  1811  he 
took  up  his  abode  in  Ireland,  in  the  fSeunily  of 
Lord  Cahir.  He  was  appointed  organist  of  St. 
Andrew's  Church,  DubUn,  and  composer  and 
director  of  the  musio  to  the  Theatre  Royal 
in  that  city.  The  Duke  of  Leinster  appointed 
him  grand  organist  to  the  masonio  body  of 
Ireland,  and  he  became  the  conductor  of  the 
principal  concerts  in  Dublin.  When  Logier 
commenced  his  system  of  musical  instruction  in 
Ireland,  Blewitt  was  the  first  who  joined  him ; 
and  being  an  able  lecturer,  and  possessing  sound 
musical  knowledge,  he  soon  procured  the  great 
majority  of  teaching  in  Dublin. 

Before  1 826  Blewitt  was  again  in  London,  and 
wrote  the  music  for  a  pantomime,  *  Harlequin,  or 
the  Man  in  the  Moon,'  which  was  produced  at 
Drury  Lane  with  great  success.  In  1828  and  29 
he  was  director  of  the  music  at  Sadler's  Wells, 
and  wrote  several  clever  works — *  The  Talisman 
of  the  Elements,'  'Auld  Robin  Gray,'  *My  old 
woman'  (adapted  from  F^tis),  etc.  He  was  also 
the  composer  of  the  operas  of  *  The  Corsair,'  *  The 
Magician,'  *  The  Island  of  Saints.'  *  Rory  O'More.' 
'Mischief  Making,'  etc.,  and  of  a  number  of 
ballads,  particularly  in  the  Irish  style,  which 
enjoyed  considerable  popularity.  Blewitt  was 
a  good  singer,  and  possessed  a  fund  of  himiour, 
qualifications  which  sometimes  led  him  into 
questionable  company.  In  his  latter  years  he 
was  connected  with  the  Tivoli  Gardens.  Margate. 
He  died  September  4,  1853.  [£.  F.  R.] 

BLOW,  John,  Mus.  Doo.,  bom  at  North 
Collingham,  Nottinghamshire,  in  1648,  was  one 
of  the  first  set  of  Children  of  the  Chapel  Royal 
on  its  re-establishment  in  1660,  his  master  being 
Captain  Henir  Cooke.  Whilst  yet  a  chorister 
he  commenced  composition ;  the  words  of  three 
anthems  produced  oy  *  John  Blow,  one  of  the 
Children  of  His  Majesty's  Chapel,'  are  contained 
in  Clifford's  'Divine  Hymns  and  Anthems,' 
1663,  and  an  anthem  with  orchestral  accompani- 
ments composed  by  him  in  conjunction  with 
Pelham  Humphrey  and  William  Turner,  two 
of  his  fellow  choristers,  is  still  extant.  On 
leaving  the  choir  Blow  became  a  pupil  of  John 
Hingeston,  and  subsequently  of  Dr.  Christopher 
Gibbons.  That  he  soon  rose  to  great  eminence 
is  evidenced  by  the  fact  of  his  being  chosen  in 


S50 


BLOW. 


1669,  ftt  twenty-one  years  of  age,  organist  of 
Westminster  Abbey  (,a  post  not  then  a  life 
appointment^  but  in  1680  he  was  displaced  to 
make  room  for  Henry  Purcell.  On  ttie  death 
of  Puroell,  in  1695,  Blow  was  reappointed,  and 
held  the  place  until  his  death.  On  March  16, 
1674,  he  was  sworn  in  one  of  the  gentlemen 
of  the  Chapel  Royal  in  the  room  of  the  Rev. 
Boger  Hill,  deceased,  and  on  July  21,  1674,  was 
appointed  master  of  the  children  of  the  chapel 
in  suooesaion  to  Pa&am  Humphrey,  who  died  a 
week  previously.  Some  yean  later  he  became 
one  of  the  oxganists  of  the  chapel.  In  1685  he 
was  appointed  as  one  of  the  king's  private  music, 
and  to  the  honorary  office  of  Composer  to  the 
King.  In  1687  he  succeeded  Michael  Wise  as 
almoner  and  master  of  the  choristers  of  St. 
Paulas  Cathedral,  which  offices  he  resigned  in 
1693  in  favour  of  his  pupil,  Jeremiah  Clarke. 
In  1699,  on  the  establishment  of  the  office  of 
Composer  to  the  Chapel  Koyal,  Blow  was  installed 
in  it.  Dr.  Blow  was  not  a  graduate  of  either 
university,  his  degree  of  Doctor  of  Music  having 
been  conferred  on  him  by  Sancroft,  Archbishop 
of  Canterbury.  He  married  Elizabeth,  only 
daughter  of  Edward  Braddock,  Gentleman  and 
Clerk  of  the  Cheque  of  the  Chapel  Royal  and 
master  of  the  choristers  of  Westminster  Abbey. 
She  died  in  childbirth  Oct.  ao,  1683,  aged  thirty, 
leaving  one  son  and  three  (laughters;  the  son, 
a  boy  of  great  promise,  died  June  a,  1693,  aged 
fifteen ;  the  daughters  survived  many  years. 
Dr.  Blow  died  Oct.  i,  1708.  in  the  sixtieth  year 
of  his  1^,  and  was  buried  under  the  organ  in 
the  north  aisle  of  Westminster  Abbey,  where 
a  monument  is  erected  to  his  memory.  Dr. 
Blow  was  a  very  voluminous  composer ;  his 
WOTks  comprise  fourteen  church- services,  and 
upwards  of  one  hundred  anthems,  nearly  the 
whole  of  which  are  stiU  extant,  although  but 
few  are  in  print  ;■  sacred  songs,  duets,  etc.  (many 
of  which  are  printed  in  Playford's  *  Harmonia 
Sacra,'  1688  and  1714);  odes  for  New  Year's 
day,  i68a.  1683,  1686,  1687,  1688,  1689,  1693 
(?),  1694,  and  1700;  odes  for  St.  Cecilia's  day, 
1684  (printed),  1691,  and  1700,  besides  two 
which  cannot  be  assigned  to  any  particular  year ; 
ode  by  Dry  den  on  the  death  of  Purcell,  1695; 
iongs,  with  which  the  various  collections  of  the 
period  abound;  catches,  many  of  them  piinted 
in  'The  Catch  Club,'  'The  Pleasant  Musical 
Companion,'  1724,  and  other  collections;  organ 
pieces ;  '  Lessons  for  the  Harpsichord,'  1698 
(printed),  and  1705  (printed  with  some  by 
j?urcell).  In  1700  Blow  published  by  sub- 
scription a  collection  of  his  songs,  etc.,  imder 
the  title  of '  Amphion  Anglicus,'  with  his  portrait 
prefixed.  In  the  preface  to  this  work  he  ex- 
pressed his  intention  of  publishing  his  church 
music,  but  unfortunately  never  accomplished  his 
purpose,  a  circumstance  much  to  be  regretted, 
since  it  is  upon  those  productions  that  his  fame 
chiefly  rests.  Three  services  and  eleven  anthems 
of  his  are  printed  by  Boyce.  [W.  H.  H.] 

BLUETHNER,  Julius  Ferdinakd,  a  piano- 
fiarte  maker  in  Leipsio,  whose  instruments  are 


BOCXJHERINI. 

;  much  used  in  Germany ;  a  native  of  Falken 
berg  near  Zeitz.  Herr  Blttthner  began  buaines^ 
in  Leipsic  in  1853.  Three  years  later  lie  tcK^ 
out  a  patent  for  an  action  that  has  been  mucl 
praised,  and  by  the  adoption  of  foreign,  improve 
ments  in  iron  framing  and  a  systomatiwed  divii 
sion  of  labour  hitherto  lees  pracibiaed  in  Germajij 
than  England,  Herr  Blttthner  has  suocseeded  in 
establishing  his  reputation  on  a  sure  bans,  a&<i 
oompetes  on  even  ground  with  the  best*  makers 
of  his  country.  [A.  J.  H.] 

BLUMENTHAL,  Jacob,  bora  at  Hamburg 
Oct.  4,  1829,  pupil  of  F.  W.  Grund  there,  and  o3 
C.  M.  von  Bocklet  and  Sechter  in  Vienna.      Hiai 
proficiency  in  pianoforte  playing  was    attained 
under  Herz  at  tiie  Conservatoire  in  Paris,  which 
he  entered  in  1846.     In  1848  he  took    up  his 
residence  in  London,  where  be  became  pianist  to 
the  Queen,  and  a  very  fashionable  teaser.     As 
a  composer  he  is  known  for  a  large  number  of 
brilli^int,  effective,  and  pretty  pianoforte  pieces, 
and  for  many  songs,  some  of  which,  such  as  '  The 
Message,'  have  become  widely  and  justly  popular. 
Besides  his  residence  in  London,  Blumenth^l  has 
now  a  house  at  Montreux.  [A.  M.] 

BOB  is  a  term  used  by  change-ringers  to  de- 
note certain  changes  in  the  working  of  the  methods 
by  which  long  peals  of  changes  are  produced. 
[See  Change-Rinoino.]  [C.  A.  W.  T.] 

BOCX^ABADATJ,    Luigia,     was    bom     at 
Parma,  where  she  received  her  musical  educa- 
tion in  a  oonvent,  and  noade  a  brilliant  debut 
in  1 81 7.     After  singing  at  several  theatres  in 
Italy,  ^e  visited  Munich,  where  her  fine  voice 
and  good  method  were  fully  appreciated.     She 
appeared  at  Venice  in  1833,  at  Rome  in  1824, 
at  Milan  in  1826,  and  again  at  Rome  in  1827  ; 
and  she  met  everywhere  with  the  same  sucoees, 
especially  in  opera  buffa,   for  which   style   of 
piece  she  was  much  in  request.     On  this  account 
she  was  persuaded  to  sing  at  Naples  during  the 
years  1829,  1830,  and  1831.      Despr<^aux,    the 
composer,  writing  from  Naples,  Feb.  17,  1830 
(*  Revue  Musicale,*  vol.  vii.    p.  172),  describes 
her  as  '  a  little  dry.  dark  woman,  who  is  neither 
young  nor  old.     She  executes  difficult  passages 
well ;  but  she  has  no  elegance,  grace,  or  charm 
about  her.     Her  voice,  although  extensive,  is 
harsh  at  the  top,  but  otherwise  she  sings  in 
tune.'      Berlioz  says  in  the  same  Revue  (xii. 
75)  in  1832,  'she  is  a  fort   beau  talent,   who 
deserves,  perhaps,  more  than  her  reputation.* 
She  appeared  in  London  on  Feb.  18,  1833,  at 
the  King*B  Theatre,  in  'Cenerentola.'    She  was 
not  successful  here,  and  did  not  return  another 
year.     She  sang  at  Turin  for  three  seasons,  and 
at  Lisbon  in  1840,  1 841,  and  1842.    She  returned 
to  Turin  in  1843,  and  sang  at  Genoa  in  1844, 
and  in  the  next  year  at  Palermo.     She  was 
married  to  a  M.  Gazzuoli,  by  whom  she  had  a 
son,  and  a  daughter,  Augustine,  who  was  also 
a  singer.      Luigia  Boccabadati  died  at  Turin 
Oct.  12,  1850.  [J.  M.] 

BOCCHERINI.  LuTGi,  a  highly  gifted  com- 
poser, born  at  Lucca,  Jan.  14,  1740.    The  first 


;{•:»«:•:)♦  Ml, 


ladimeniB  of  maac  and  the  odlo  wete  taught 
ym  bj  hia  father,  an  able  bass  play^,  and  the 
klh^  N'annecci,  C^pel-master  to  the  Archbishop. 
The  boy's  ability  was  so  great  as  to  induce  them 
V'  send  bim  to  Rome,  where  he  rapidly  made 
hiiQself  famous  both  as  composer  and  player. 
Ktriumin^    to    Luoca   he   joined    Manfredi,   a 
ftiK>lar  of   Xartini*8,   in  a  tour  through  Lom- 
Lordy,  Piedmont,  and  the  south  of  France,  and 
tven  as  £u-  as  Paris,  which  they  reached  in  1 768. 
H^re    they    found    a  brilliant    reception    from 
Gx^gec,  Capon,  and  Dupont  sen.,  and  their  ap- 
pei&rance   at  the  Concerts  Spirituels  confirmed 
;he  faroarable  judgment  of  their  friends.    Boc- 
diierini  became  the  rage;  V^nier  and  La  Che- 
nrdSeve,  the  publisheors^  contended  for  his  first 
trios  and  quartets,  the  eminent  Mme.  Brillon 
de  Joay    (to   whom  Boocherini   dedicated   six 
K-fiataa)    attached   herself   to  the  two   artists, 
sad  the  Spanish  ambassador,  a  keen  amateur, 
pressed  them  to  vidt  Madrid,  promising  them  the 
wannest  reception  firom  the  Prince  of  Asturias, 
afienrarda  Charies  XV.    Accordingly,  in  the  end 
of  1768   or  beginning  of  69  they  started  for 
Madrid,  bnt  their  reception  was  disappointing. 
Branetti  the  violinist  was  then  in  favour,  and 
nexth^-  King  nor  Pxinoe  offered  the  strangers 
snj  ciTility.     They   were  however  patronised 
by  the  In&nta  Don  Luis,  brother  of  the  King, 
whom    Boodierini  has   commemorated   on    the 
title-page  of  his  six  quartets   (op.  6),   calling 
Imnself  'Compositore  e  virtuoso  di  camera  cQ 
8.  A.  R.  Don  Luigi  infimte  d*Ispagnia,'  a  title 
which  he  retained  until  the  death  of  the  Infanta 
in  1785.      After   that   event   he    dedicated    a 
compofiition  to  Friedrich  Wilhelm  II,  King  of 
ProsEia,  which  procured  him  a  valuable  present, 
and  the  jioet  of  CThamber-composer  to  the  King, 
with  an  annual  salary,  but  burdened  with  the 
condition  that  he  should  compose  for  the  King 
ildoe.     With  the  death  of  Friedrich  in  1797  the 
diary    ceased,    and    Boocherini    found    himself 
Q&known  except  to  a  small  circle  of  friends. 
He  obtained  a  patron,  however,  in  the  Marquis 
Beoavente,  in  whose  palace  he  was  able  to  hear 
ha  music  perfonned  by  his  former  comrades  of 
the  Villa  Arenas — ^whither  his  old  protector  Don 
Luis  had  retired  after  his  misalliance — and  to 
become  once  agam  known.    Meantime  iU  health 
obliged  him  to  drop  the  cello;  he  was  often  in 
want,  and  sufiered  severe  dopaestic  calamities. 
With  the  advent  of  Lucien  Buonaparte,  however, 
S8  ambassador  of  the  French  Republic  at  Madrid, 
lietter  times  arrived.    Lucien  appreciated  Boo- 
cherini, and  his  productive  talent  revived.     In 
1799  he  wrote  six  pianoforte  quintets,  and  dedi- 
Gat&i  them  to  the  French  nation  and  Republic, 
bat  they  were  not  published  till  after  his  death, 
and  then  appeared  with  the  name  of  the  Duchesse 
de  Bern  on  the  title-page.     In  1801  and  1802 
be  dedicated  twelve  string  quintets  (op.  60  and 
6i)  'per  il  Cittadino  Luciano  Bonaparte,*  and 
in  1801  a  '  Stabat  Mater*  for  three  voices  (op. 
60),  presented  to  the  same,  and  published  by 
Sieber  of  Paris.     After  this   Boccherini's  star 
aaak  rapidly,  and  his  po¥erty  was  so  great  that 


BOOCHERINI; 


251 


he  was  glad  to  make  arxangements  of  his  works 
lor  the  guitar  for  the  use  of  the  Marquis  Bena- 
vehte  and  other  wealthy  amateurs,  till  at  length 
death  released  him  from  his  troubles  on  May  28, 
1805.  The  last  of  his  sons,  Don  Jose,  died  in 
Dec.  1847,  as  librarian  to  the  Marquis  Seralbo, 
leaving  a  son  Fernando,  profeusor  at  the  Academy 
of  Fine  Arts  in  Madrid  (1851),  the  last  re- 
presentative of  the  name  of  Boocherini. 

The  ability  in  JBoccherini's  chamber-music, 
which  is  generally  contemporary  with  Haydn*s, 
is  obvious  and  unquestionable.  He  is  certainly 
wanting  to  some  extent  in  force  and  contrast^ 
but  pleasant  method,  expressive  melody,  good 
treatment  of  ideas,  and  dignified  style  are  never 
absent  in  his  music.  His  originality  was  great^ 
and  had  its  influence  on  the  progress  af  the  art. 
To  our  practised  ears  his  pieces  may  seem  flat, 
tedious,  wanting  in  variety  oi  key,  and  too 
simple  in  execution,  and  doubtless  these  qualities 
have  contributed  to  make  them  forgotten  in  Ger- 
many, though  in  Ex^gland,  Italy,  and  France  his 
best  works  are  still  played  and  enjoyed.  His 
quintets  and  cello  sonatas  (especially  one  of  the 
latter  in  A)  are  often  given  at  the  Monday 
Popular  Ooncerts. 

Boocherini  and  Haydn  are  often  named  together 
in  respect  of  chamber-music.  It  would  be  difficult 
to  characterise  the  relation  between  them  better 
than  in  the  saying  of  Puppo  the  violinist,  that 
'  Boocherini  is  the  wife  of  Haydn.*  It  is  usually 
assumed  that  these  two  great  composers  knew  and 
esteemed  each  other's  works,  and  that  they  even 
corresponded.  No  evidence  of  this  is  brought 
forward  by  Picquot,  the  earnest  and  accurate 
biographer  of  Boocherini,  but  it  is  nevertheless 
a  &ct.  In  a  letter  to  Artaria  ('Arenas,  Feb. 
1 78 1*)  Boocherini  sends  his  respects  to  Haydn, 
and  begs  him  to  understand  that  he  is  an 
enthusiastic  admirer  of  his  genius.  Haydn,  on 
his  side,  in  two  letters  to  Artaria,  mentions 
his  intention  of  writing  to  Boocherini,  and  in 
the  meantime  returns  a  complimentary  message. 
Artaria  at  that  time  had  published  several  string 
trios  and  quartets  of  Boocherini*s,  and  had  for 
long  been  in  business  relations  with  him. 

Boocherini 's  facility  was  so  great  that  he  has 
been  described  as  a  fountain,  of  which  it  was 
only  necessary  to  turn  the  cock  to  produce  or 
suspend  the  stream  of  music.  That  he  was 
remarkably  industrious  is  evident  from  the  de- 
tailed catal(^e  of  his  works  made  by  Baillot, 
and  given  by  Picquot.  His  first  6  trios  date 
in  1760,  and  were  followed  in  the  next  year 
by  6  quartets,  published  in  Paris  in  1768. 
The  total  number  of  his  instrumental  works 
amounts  to  366,  of  which  74  are  unpublished. 
The  printed  ones  are  as  follows : — 6  Sonatas  for 
Piano  and  Violin ;  6  ditto  for  Violin  and  Bass ; 
6  Duets  for  two  Violins  ;  42  Trios  for  two  Violins 
and  Cello ;  1 2  ditto  for  Violin,  Viola  and  Cello ; 
91  String  Quartets;  18  Quintets  for  Flute  or 
Oboe,  two  Violins,  Viola,  and  Cello ;  1 2  ditto  for 
Piano,  two  Violins,  Viola,  and  Cello ;  1 1 3  ditto 
for  two  Violins,  Viola,  and  two  Cellos ;  1 2  ditto 
for  two  Violins,  two  Violas,  and  Cello ;  16  Sextets 


252 


BOCCHERINI. 


for  yarious  inBtniinents ;  2  Octets  for  ditto;  I 
Suite  for  Full  orchestra;  ao  Symphonies,  in- 
cluding 8  Concertonte ;  i  Cello  Concerto.  In 
addition  to  the  above  his  vocal  works  are: — A 
Stabat  Mater  for  three  voices,  with  quintet 
string  accompaniment;  a  Mass  for  four  voices 
and  instruments;  a  Christmas  Cantata  for  four 
Solo  voices,  Chorus,  and  Orchestra;  Yillancicos 
or  Motets  for  Christmas-time  fpr  four  Voices 
and  Orchestra;  an  Opera  or  Melodrama,  La 
Clementina;  14  Concert  airs  and  Duets,  with 
Orchestra.  Of  the  vocal  works  the  Stabat  Mater 
alone  is  published  (Paris,  Sieber,  op.  61). 

There  are  also  many  other  pieces  which  are 
either  spurious  or  mere  arrangements  by  Boccherini 
of  his  own  woiiu.  See  'Notice  sur  la  vie  et  les 
ouvrages  de  Luigi  Boccherini,  suivie  du  catalogue 
raisonn^  de  toutes  sea  oeuvres,  tant  publiees 
qu'inedites,  par  L.  Picquot,*  8vo.  Paris,  Philipp, 
1 85 1,  with  two  portraits.  (Printed  at  Bar  le 
due.)  [C.  F.  P.] 

BOCHSA,  RoBEBT  Nicolas  Charles,  com- 
poser and  eminent  harpist,  bom  at  Montmedi 
1789,  was  the  son  of  Karl  Bochsa,  a  flute  and 
clarinet-player.  He  played  the  piano  and  flute 
in  public  at  an  early  age,  and  composed  airs  de 
ballet  for  the  theatre  while  yet  a  child.  Before 
he  was  nxteen  his  opera  'Trajan*  was  produced 
at  Lyons  in  honour  of  the  Emperor^s  visit.  His 
family  having  removed  to  Bourdeauz  he  became 
a  pupil  of  Franz  Beck,  under  whom  he  wrote 
a  ballet,  and  an  oratorio,  '  Le  Deluge  Universel.* 
In  1806  he  entered  the  Conservatoire  at  Paris 
as  a  pupil  first  of  Catel  and  then  of  Mehul.  He 
studied  the  harp  under  Nadermann  and  Marin, 
but  soon  formed  a  style  of  his  own.  He  was 
continually  discovering  new  eflects,  even  to  the 
close  of  his  life,  and  may  fiedrly  be  said  to  have 
revolutionised  harp-playing.  In  1813  he  was 
appointed  harpist  to  the  Emperor  Napoleon,  and 
three  years  later  to  Louis  XVIII  and  the  Due 
de  Berri.  Eight  operas  from  his  pen  were 
performed  at  the  Opera  Comique  between  181 3 
and  1816.  He  composed  a  requiem  to  the 
memory  of  Louis  XVI,  which  was  performed 
with  great  solemnity  in  Jan.  181 6,  but  a  year 
later  he  was  detected  in  extensive  forgeries,  and 
fled  from  France  never  to  return.  He  was 
tried  in  his  absence,  and  condemned  to  12  years 
imprisonment,  with  a  fine  of  4,000  francs.  He 
took  refuge  in  London,  where  his  fine  playing 
was  universally  admired,  and  so  popular  did  the 
harp  become  that  he  was  unable  to  satisfy  all 
the  applicants  for  lessons.  Parish  •  Alvars  and 
J.  B.  Chatterton  were  both  pupils  of  Bochsa. 
In  1 8 32  he  undertook  the  joint  management, 
with  Sir  Greorge  Smart,  of  the  Lent  oratorios, 
and  in  1823  the  entire  direction  of  them.  Here 
he  produced  Stadler^s  '  Jerusalem,'  oratorios  by 
Wade  and  Sir  John  Stevenson,  and  his  own 
'Deluge  Universel.*  On  the  institution  of  the 
Boyal  Academy  of  Music  Bochsa  was  appointed 
professor  of  the  harp  and  general  secretary,  but 
in  1837  was  dismissed  on  account  of  public 
attacks  upon  his  character  which  he  was  unable 
to  deny.    In  i8a6  he  succeeded  Coccia  as  con- 


BODENSCHATZ- 

ductor  at  the  King's  Theatre,  and  six  yf^j\ 
later  was  himself  succeeded  by  Co9ta.  Kossini'  | 
'Comte  Ory '  was  produced  under  his  management  i 
Bochsa  gave  annual  concerts,  the  programme  o| 
which  always  contained  some  strikixig  novelty] 
though  not  always  in  the  best  taste.  Foi 
instance,  at  one  of  them  Beethoven*  s  '  Pastora 
Symphony*  was  accompanied  by  acted  iilustxaj 
tions.  In  1839  he  ran  away  witli  the  wife  oi 
Sir  Henry  Bishop  and  undertook  a  concert  tonr^ 
visiting  every  country  6f  Europe  (except  Fran<»^^ 
America,  and  Australia,  where  he  died  of  drof^ 
at  Sydney  in  1855.  Immediately  before  hid 
death  he  composed  a  requiem,  whicli  "was  per- 
formed  at  his  funeral. 

As  a  composer  Bochsa  was  too  proHfic  for  his| 
own  fame.  Some  of  his  many  compositionai 
for  the  harp,  including  a  'Method*  for  that 
instrument,  are  still  known  to  harp-players.  Ats 
a  man  he  was  irregular  and  dissipated  to  the  la^t 
degree.  fM.  C.  C.J 

BOOKLET,   Cabl   Mabia   vok,    pianoforte- 
player,  bom  at  Prague,  1 801  ;  learned  the  piano- 
forte from  Zawora,  the  violin  from   Pixis,  and 
composition  from  D.  Weber.    In  1820  he  settled 
in  Vienna  as  first  violin  in  the  Theatre  *  an  der 
Wien,'  but  shortly  after  resigned  the  ynolin  and 
gave  his  whole  attention  to  the  piano,    fieethoven 
took  much  interest  in  him,  and  at  different  times 
wrote  him  three  letters  of  recommendation  (Nohl, 
*  Beethovens  Briefe,'  Nos.  1 75, 1 76,  324).    He  was 
very  intimate  with  Franz  Schubert,  whose  piano 
compositions  he  was  the  first  to  bring  into  pablic 
notice,  and  for  whom  he  had  a  romantic  attach- 
ment.    His  great  object  in  performance  'was  to 
catch  the  spirit  of  the  composition.    Meeting  with 
great  success  as  a  teacher  he  gradually  withdrew 
himself  frt>m  all  public  appearance ;  but  in  1866, 
after  a   long  interval,  appeared  once  more  to 
introduce  his  son  Heinbich  to  notice.        £F.  G.] 

BOCKSHOBN,  Samuel,  bom  1629,  was 
originally  director  of  the  music  at  the  Drei- 
faltigkeits  Church  in  Pressburg,  and  in  1657 
Capellmeister  to  the  Duke  of  Wurtemberg  in 
Stuttgart.  Died  not  later  than  1(169.  Amongst 
other  compositions  may  be  named  a  dramatic 
cantata  'Baptus  Proserpins,'  1662.  His  works 
were  largely  published,  and  even  as  late  as  1 70S 
a  new  edition  of  his  Sonatas,  Cappricci,  Alle- 
mandes,  etc.,  was  published  in  Vienna.     [F.  G.] 

BODE,  JoHANN  Joachim  Christofh,  bom  at 
Barum  in  Brunswick  1730.  He  had  a  strange 
and  varied  life  as  bassoon  and  oboe-player,  com- 
poser, newspaper  editor  (*  Hamburger  Corre- 
spondent*), printer  (Lessing's  '  Hamburgische 
Dramaturgie  ),  and  translator  (Bumey*8 '  Present 
State  of  Music  in  Germany.*)  He  died  at  Weimar 
Dec.  13,  1793.  [M.  C.  C] 

BODENSCHATZ,  Erhabd,  bom  at  lichten- 
berg  in  the  Erzgebirge  about  1570,  studied 
theology  and  music  at  Leipsic,  in  1600  became 
Cantor  at  Schulpforta,  in  1603  Pastor  at  Be- 
hausen,  and  in  1608  Pastor  at  Gross-Osterhauseo, 
near  Querfurt,  where  he  died  in  1638.  Bo- 
denschatz^s  Magnificat  (1599)  and  his  *  General- 


BODENSCHATZ. 


uODENSCHATZ. 


258 


las'  show   him  to  have   been  an   able  con' 

tnpaniifit;    bat  his  real  value  arises  from  the 

nHec^ons   of  music  whidi  he  brought  out — 

'Psdteriuzn    Davidis,'   4  voc.  (Leipsic,    1605); 

'Fl«ilegiiiin  hymnorum/  4  voc.  (LeipsiCi  1606)  ; 

'Htfinoiiia    axigelica,'   a  collection  of  Luther's 

brams    (1608);    *  Bicinia  XC*    (1615);    and 

especially    '  Florilegium  Portense,'  in  2   parts. 

<t  Part  I   the  first  edition  was  printed  by  Lam- 

'  ^  of  Leipsic  in  1 603,  and  contains  89  motets — 

zi^jaaed   in   the   and  edjtion   (1618)   to   lao. 

Fart  2   appeared  in  162 1,   and  contained   150 

is0t€:ts.     Tliere  is  no  score  of  the  work.    It  was 

pablishedy  like  our  own  'Barnard/  in  separate 

^rts,  small  4to — 8  of  the  first  part,  and  9  of  the 

srcond — ^including  in  the  latter  case  a  Basso  con- 

tinuo  fATt.     A  copy  of  the  work  is  in  the  British 

Museazn.     Its  contents  are  as  follows  :— 


PABT  I  (1618). 


3 


L.Hader.8TOloe>. 
.  Anoo.  St. 
A-UabricL    8t. 
«.  it^ot  meoa.    £rt»icb.    8  ▼. 
Z  Maa  wtod  zn  ZIoa.    Hanwwui. 

«▼. 
K^aotlcs.   CalTtsin.   St. 
T.  AaJi  bjomiim.    Bodenachatr 

»». 
a  T«^»^.yy  pocn.  Oriandns.   7  t. 
&  iMMJte  ngnfaam.  Hft4«r.  8  t. 
K  EctpleasarMiBeam.  G«Uiia.6T. 
r.  r.imBtetior.   Orlaodos.   8t. 
2^  Vod  DomiBni.    Anon.    8  r. 
i'- r^estasTtr.    Galhn.    8y. 
\4.  Desft  Adiator.    Rrsmlta.    8  T. 
n  Sxabata.    GabrieL    8t. 
1^  *^*HatT  Domlbuin.  Anon.  8  ▼. 
i'.  D>^ti  fatkeam.   Fabrieias.  8  t. 
K  CaatatoXkoanliiow  Ammools.  8t. 
»■  Inbate.    Dulichltis.    8  ▼. 
St.  .^irRrdom  stabant.  Anon.  8  ▼. 
C.  CksUte  Domino.    Anon.    8  r. 
&  EiiTrtial  t«  DominM.    Fabri- 

dok    6t. 
3.  eaprataeuADeat.  FabrlSlna.  8y. 
2i.  If!)  toa  piiiJs.    Galloft.    6  T. 
T.  Ibaiiae  quid.    Orlandns.    8  T. 
'«  a'or  amndmn.    Anon.    6  ▼. 
r.  XHOa  Ttia.    Oalloa.    8  r. 
^.  CaaTfl  nos.    Baaaaaaa.    8  r. 
2*.  u^tam  BMoendas.  Gallm.  8  T. 
>*.  Juiaiaie.   GloTauellL    8r. 
£,  DoaiilM  Hnmlnn*  nosier.    Xr> 

bach.   8t. 
Si/Bbibte.   Maientias.   8t. 
Tfi.  Ca&laxe.   Horuloirlas.    8  r. 
H.  Laii.uu  Doaabium.    Caotooi. 

•t. 
&  Laadata  Pominmii.  Yantnms. 

X.  Te^es  tampniw    Galtoii   8t. 

r.  Aadi  tcQna.    Gallns.   8  t. 

Ss  Son  T««  raUpqaam.   Fabrlclnt. 

St. 
3aL  nmnom  cantaiiw.   Vaaalniu. 

8t. 
CI  IneooTcrtaDdo.  Orlandia.  8r. 
IL  0  Doaiina  Jvn  Cfarlita.     A. 

GateW.   8t. 
merarl  oooIm.    Oriandm.    8t. 
Cl.  DetB  Biiaenatur.  BiKboT,  8t. 
M.  ConftamlnL    Orkuduik    5  r. 
IL  Dooifais  qida  babiublt.     Kr- 

badL  fT. 
A  Deos  ia  aUator.  Oriandns  6  ▼. 
C  Dofliitic.  qTiaado  vaiterlak    Gal- 

«.Jebi]aae.   F.WcIaiemea.    St. 

A  CaotsK  D(»nfDo.    OaHm.    8  r. 

SL  Aj<«ehis  ad  paotorca.  Oriandus. 
St. 

II  Xofkas  mater.    Erbarh.    5  t. 

SB.  Aivehn  ad  patfores.  H.  Prae- 
torim.    St. 

SL  Queai  Tidbtto  pastoret.  A.  Ga- 
briel   »T. 

51  Paa&lieJahr.    CalrMna.  8t. 

So.  Sar.e  Olaminarc  U.  Fraeio- 
tias,   8t. 


9fi,  Niinedimlttls^   Anon.   6t. 
57  A  DoTulno  factam.  Uasler.  8  t. 
X.  gorge  propera.  H.  Fraetorios. 

8r. 
oa  Qoam  polchm  m.     Bodens- 

ehatz.   fir. 
4a  Trbcis  eat  anima.    Orlandoa. 

6t.      • 
61.  Adoramoa  te^   Galloti   6  t. 
6S.  Flliae  JerunJem.   Gallui.  8t. 
63.  Dominns  Jesus.    Gallus.    8  t. 
64b  Ecce  quomwio.    Gall  us.   4  T. 
6S.  AUeluta.   GaUus.   8  r. 
68.  Tulerunt   Dnmlnnm.       llas- 

lalnus.    8  r. 

67.  Tolerant  Domlnam.  H.  Praa* 

toriua.    8  T. 

68,  Angelua  DooUnL    0.  Krbaeb. 

6t. 
6Bl  0  Tiri.  0  OalOaaL  Boichettoi. 

8t. 
7a  Van!  Saocta.    Galloa.    8  t. 

71.  Hodiecompletl.  A.Oahriel.  7  r. 

72.  Hodle  eompletL    Gallus.    8  t. 
7a.  Adisto  onus  Dens.    Meander. 

8t. 
74.  Duo  seraphim.  Inflgnemii.  «  r. 

76.  Te  Deum  patreoi.    U.  Fraeto- 

rlua.   8  T. 
TIL  Te  Deum  patram.  Brbaeh.  8  r. 

77.  Factum  ert.     H.  Fraatorius. 

8t. 

78.  Jam  non  dicam.    Gallos.    6  r. 

79.  GauJent  In  ooells.   Fabrlelus. 

6t. 
80L  Jam  non  dlcam.  Fhlnot.  8  r. 
81.  Insredlenia  Domino.      Zala- 

mella.    6  t. 
n.  Hleruwlem  gaode.  GaHoa.  6  t. 
63.  Hon  auferetur  scepU  Helland. 

8t. 
84.  VenI  DomlnL    Gallus.   8  t. 
fOh  Praeter  rerum.  CalvliiluH.  6t. 
M.  Von  Hlmal  boeh.    CalTlsios. 

6t. 

87.  Freot  eoeh.    CalThlua.   6  t. 
9i.  Gloria  In  excelsh.    OalTMits. 

88.  Joseph.  Ileber  Joseph.    Calrl- 

slus.    6  T. 
FlnU  [of  th«  edition  ofiecQ]. 
8IL  Gloria  tlbl  Domloe.    B.  Frae- 

torliia.    7  T. 
88.  Non  auferetur.    Bnthlos.   7  r. 
87.  Hoslanna.    Mauritius  lAudgr. 

Ilafwiae.   8  r. 
8BL  Hferuaalem  gaoda.     Zaaglus. 

8t. 
89l  Cum  natos  eoot  Jeans.   VTal- 

User.    8t. 
9a  Hodle  (^hristusw    Anon.   8  t. 
9L  Das  alte  Jahr.   X.  Fraetorios. 

8t. 
92.  Herre  non  lesto.  Demantlus. 

6t. 
0Sl  Are  gratia  plena.   BlaoclardL 

6t. 
94.  Surrexlt  Chrlstua.      Zanftloa. 

8t. 
93^  Appamerant  ApoatoUa.    Yin- 

acutlus.  8t« 


9flL  Gvitata.   H.  Praetorltis.   8  r. 
07.  Venlte  exullemua.   .H.  Fraa- 
torius.  8.  T. 
98,  Jubilate.    A.  Berber.    8  r. 
9a  Cantata.    A.  Berger.   8  t. 
loa  Laudate  Domloum.    A.  Bar- 

rsr.   8  T. 
lOL  Super  flumlna.   Yulplna.   8  r. 
102.  Domlne  Jesus.  Walllser.    8  t. 
108.  Gaudent  In  ooelia.    WaOlser. 

8t. 
104b  Omneagentea.  Stencclua.  8t. 
lOA.  Benedleam.  H.  Praetorlus.  6t. 
lOa  Banedicam.   Francos.   8t. 


lCf7.  lat   nicht   Ephralm.      Bart- 

mann.   8  t. 
lOa  Lobet  dan  Ham.   J.  Gross. 

8t. 
lOa  leh    haba     den     Gottloaen. 

Anon.    8  r. 
ua  Benedicta  alt  sanet*.    Gum- 

pelzhelm.   8t. 
111.  Hodle  nobis.   L.  Vladana.  8t 
IIX  Hodle  Chrlstua.  G.(<abrlel.  8t. 
US.  lla«num    haeredldatls.     lle- 

rulua.    8  t. 
114.  Corde  natus.    Vnlpioa.   8  r. 
lis.  Detu  spea  nostra.  Vulplua.  8vw 


PABT  n  0621). 


L 
2. 

a 

4. 
B. 

a 

7. 
9. 

a 
la 
11. 

!& 
IS. 

14. 

1& 
la 

17. 
18. 

n. 

2a 

SI. 

22. 

23. 
24. 

21 

2fl. 
27. 


29. 

9a 

31. 
82. 


34. 
3& 

sa 

57. 
3«. 
39. 

40. 
41. 

42. 
43. 

44. 

4Sb 

46. 

47. 
48. 
49. 
BO. 
SI. 
Hi. 
63. 


Alleln  m  dir  Barr.    IL  Both.   64. 

8Toloea. 
Anlma  mea  azapactat  F.Wala-   BB. 

aeiiMe.    8  t.  66. 

An  WaxMrflusaen  Babjiona.  0. 

F.  Walllser.    8  r.  07. 

Benedleat  ta  DeuSb    IL  Both. 

8  T.  6^ 

Beatlomnea.   Anon.   8t.  fia 

Benedlctus  as  Dom.    F.  0.  6a- 

butius.    8t.  6a 

ConfrregatI  aunt.  M.  Roth.  8  t.  !  6L 
Coiifl temlnL    C.  Vlnceutiua  (toI 

Cftpilupusk    8  r.  61 

Confitebor  tlbl  In  Organla.   H.    (B. 

Vulplus.    8t. 
Oantate  Domino.   A.  Facellos.   64. 

8t.  6a 

Domlnna  racnarlL    IL  Both. 

8t. 
Der  Herr  wlrd  dich.   Do.    8  t. 


Gabu- 


6t. 
Falla- 

Anon. 

T.  Blc- 


Domlne  quis  habltabit. 

this.    7  T. 
Domlne  Jesu.    Lnyton. 
Deus  mlsereatur  noatrL 

Tlclnns.    8  t. 
Doming  quis  iMbltabit. 

8t. 
De  profundls  olamaTL 

eins.    8  r. 
Pens  mea^  od  te.    Ha.«l»>r.  6  t. 
Domini  est  terra.    CapUupus. 

8t. 
Deu^  In  adiutorlum.  Anon.  8  t. 
Domine     quid      multlplicatl. 

Anon.    8  t. 
Ecoe  nune  banedldta.    Anon. 

8t. 
Ecce  qoam  bonom.  Anon.  8t. 
Exultate  Deo.     G.  Zuchlnius. 

8t. 
Factum  eat,  dum  Iret.   IL  Vul- 
plus.  10  r. 
Felix  o  ter.    Anon.   8  t. 
Fuedera  coniugli.     Anon.    8  r. 
Oemmula  earbunculL     Anon. 

6t. 
Homoquldam.  H.  Yulplus.  8t 
Herr,  wenn  ich  nor.  ILFranck. 

8t. 
Ich  bab's  gewagt  V.  Both.  8  t. 
In   Domino  gandebimus.     H. 

Roth.    8  T. 
leh  bmchwere  auch.   F.  Weis- 

iien*re.    8  t. 
Jubilate  Dpo.    Anon.    8  T. 
Inlquos  odlo  habuL   Ik  Maren- 

tla*.    8  T. 
Lfa>bUch  ond  scbOn.   M.  Both. 

7t. 
Lobe  den  Rerm.    Anon.    8  t. 
LevaTl  ocnioa.    Anon.    8  t. 
Lobe  den  Herm.     Bartoian. 

8t. 
Morlbns  insanctla.    Annn.  8  t. 
Nim  lob  main.    C.  T.  Walliaer 

6t. 
Xnn  e«t  bonnm.    H.  Roth.  8t. 
Obnecro  tos  fratres.   B.  Gallus. 

8t. 
Popull  omnes.    M.  Roth.    8  t. 
Pater  pecearL   J.  B.  Pinnellus. 

8t. 
Quemadmodnm  dealdetait    L 

Balbos.  St. 
Qtierite  priraum.  Zangloa.  6  t. 
Quam  dileota.  A.  Patartns.  6t. 
Quam  In  coelo.  M.  Francic  dT. 
Qui  habitat  in.  Vlarlana.  8t. 
Pi  quia  dlllait  me.  M.  Both.  8t. 
Surge  propera.  H.  Both.  8  t. 
81  bona  auaceplmni.   L.Baaler. 

ST. 


66. 

67. 
68. 
69. 


7a 

71. 
12. 
7BL 
74. 
7B. 

•n. 

77. 
78. 

79. 

8a 

8L 
8S. 
83. 


8a 

87. 

sa 

89. 

9a 

9L 

92. 
98. 

94. 

80. 

9a 

97. 

9a 

99. 

loa 

101. 
102. 


SanctlflcaTit  Domlnoa.  CEf^ 

bach.    8t. 
Tribularer.  sL  L.  Leonlua.  8t. 
Super  flumlna  Babylonia.   A. 

Saretta.    8t. 
81  acuero,  ut  folgur.  Vladana. 

8t. 
Tou  pulera  ea.  L.  Balbua.  8  t. 
VenI  In  hortum.  C.  Vlnceutlus. 

6t. 
Yeni  in  hortum.  ILBoth.  8t. 
Venlte  ad  me  omnes.    V.  Bar- 

tholi»ius.   8  T. 
Unser  Leben.  S.  CalTisins.  8t, 
Ich  doulie  Dir.  S.  Bodenachatz. 

8t. 
ZIon'sprlcht.  8.ralTlsius.  8t. 
Oremos  praeoeptis.  C.  J.  Wal- 

Iber.    8t. 
Jubilate  Dro.   J.Gabriel.   8t. 
Jubilate.    Ullarentlui.   8t. 
Clbavit  nos.    J.  Kvllus.    8  t. 
In  Uf  Domlne  speniTL    Pallar 

Ticinus.    8  T. 
Canite  tuba  In  Sioa.   B.  Falla^ 

Tldnus.    8  T. 
Boaanna  in  eieelstai   F.  Wela- 

aeiisee.    8  t. 
Jeru^lem  gauda.    C.  Deman- 

tiuit.     H  T. 

Alleluia  Cantata.  J.LBasler. 

«T. 

Angelua  ad  pastorea.   N.  Zang. 

6t. 
Hoilie  Chrl^tna.  L.BaTbns.7T. 
Hodle ChrKtus.  C.  Eriiach.  8t. 
Quern  Tidlstla.  F.()!iriilatuv(<r. 
Burgite  paatorea.  Btaudardua. 

8t. 
Clarltas  Domini.  O.Vfaioentlua, 

8t. 
Jam  plaoaoa.   0.  Demantlaa. 

8t. 
Quid  coneinont.   F.  Blaneiar- 

dus.    a  T. 
Osculotur  ma.    Y.  Bertholu- 
siua.    7  T. 
Gloria  tlbl  Domlne.    C.  Vin- 

rentiua.    8  v. 
Sit  nonwn  Domhil.   Borsania. 

8t. 
Strllam  quam  Tiderant.   P.  d« 

Monte.    7  t. 
Nunc  dimlttis.  H.Btabtlls.  8t. 
Benex  puenun.     Valcampua. 

6t. 
Flaudatnoneoiganifl.  LBal* 

bus.    '^.  T. 
Beata  es.    Ftrflhninua.    7  t. 
Eeoetupulchraea.  A.Borsarua 

8t. 
AnpfliM  Domini  nuntlarlt.  N. 

I'arma.    8  t. 
ATe  rex.    F.  Btanciardm.  Ft. 
O  Doreiue  Jesu.    L.  Leonlua. 

8t. 
Trt«t  Is  est  anlma.  Agazzarlas. 

«T. 

Fonam  Inlmldtias.    M.  Roth. 

8t. 
Chrifltus  resiorgena.    Siefflinl- 

nu'«,    S  T. 
Alleluia  surrexlt.     E.  BaUl- 

onu«.    6  T. 
Qucmquaerls.  Orpfa.  Yeochna. 

6t. 
Expnmte  Totos.  C.Buel.  6t 
Cot-'noTernnt  disclpuU.   L.  Co. 

sallu«.    8t. 
Burgite  popoU.    H.  Yecchna. 

«v. 
Tul*-nint  Domlnom.      A.  Sa* 

TOtta.  8t. 


254 


BODENSCHATZ. 


lOB.  Ancalm  Domini  dMCBodlt  L 

Icoaliu.   8  T. 
KM.  AUelnlA.   H.  Steaodiu.   8  ▼. 
10&  Singet  d«m  Herrn.    IL  Both. 

8t. 

106.  Marlft  Vaffdalen^  Anon.  8y. 

107.  Dom  rex  glortaa.   Anon.   8  ▼. 
lOBL  SxnrgU  Deua.    A.  Fnoellttt. 

8t. 
1€0.  Ezlvl  A  patre.   F.  B.  Daldnna. 

8r. 
lia  Jam  nan  dieam.    F.  Gabrld. 

8t. 
131.  OTlrUoGalllaal.  J.Grooe.  8t. 
lia.  In  nomine  Jesu.   Bteflknlntu. 

8t. 
US.  Hodle  oomploU  tont   L.  Val- 

campus.   8  V. 
UL  Hodle  eompletl  nnt  O.  CaU- 

lanui.   8  ▼. 
lUw  Dum  complerontar.    FftJlarl- 

clnoa.   8  T. 
US.  Yen!  Sancte  Splritm.   N.  Zao- 

giot.   8t. 
117.  Intoimit  de  ooclo.   AichlnBer. 

lis.  InToeamni  te.    Anon.   8  ▼. 
lis.  Duo  Seraphim.  F.  Croatltu.  8t. 

120.  O  altltudo.   F.  Osctilatus.  8t. 

121.  Te  Deum  patrem.      C.  Val- 

campos.   8t. 
112:  Tres  sunt,  quL   'A.  Faoelhia. 

8t. 
US.  Tlbilans.tlbl  gloria. 

8t. 


19B.  Fnlthomo.  H.Praetortas.  Br. 
1201  Tu  eft  Petnu.  H.  Fraock.  8  v. 
19a  Petre,  amat  me?   L.  Leonins. 

8t. 
ISl.  AudlYl  Tooem  da  eoelo.     J. 

Belltts.   6t. 
ISL  Dactum  est  pnellom.   J.  T. 

Trlblolua.   6r. 
183.  Flaetum  est  praeUam.   L.  Bal- 

bus.   Br. 
ISA.  Factum    ett    silentlnm.     C. 

Porta.    8t. 
1»&  Yenit  MiehaeL    Anon.    8  ▼. 
130.  Cantabant  sanotL   &  Begtus. 

8t. 
1S7.  Blsunt,qulT«nenxnL   H.  Bta- 

bllis.   8t. 
1S8L  Hlo  est  ten.  A.  Affuiartns. 

8t. 
199.  Sanctis  AposloIIs.   O.  Zucfaint. 

7t. 

140.  AudlYt  Tocem  Angelorum.   1. 
Leoiiius.   8  7. 

141.  Oandent  in  ooells.     Deman- 
tlus.   8t. 

142.  Isii  sunt  Trinropbatores.    C. 
Bertus  vel  Demantius.    ▼.  K 

143.  Ezultemus  Domino.   B   Bag- 
nitift.   8  T. 

144.  Laudato  Dominnm.   H.  Feri- 
nus.   7y. 

146  Jubnate  Deo.   B.  Fallavldnas. 
8t. 
Anerlos.  148.  Ezultaiit  eor  DMum.  V.  Pu- 
ma.   8t. 


IM.  Te  Denm  patrem.   Y.Bertho-  147.  KiultateDeo.  A  Raretta.  8t. 

luslus.   8v.  [148.  Vespers  antemBabbathl.  Anon. 

ISS.  Tuer,  qui  natus  est   C.  Yal-  <  8  r. 

campus.   6  t.  ;148l  Laudato  nomen  DomlnL     J. 

126.  Pu«r,  qui  natus  est.  H.Prae-  GabrieL   8t. 

torlns.   8t.  UO.  Laudato  Dominom.   J.Croee. 

197.  Xt  tu  pner.  C.  Ylneentias.  8  r.  I  8  ▼. 

[G.] 

BOEHM,  organist  at  Wehlan  in  East  Prussia 
about  1770,  one  of  the  latest  composers  whose 
chorales  are  included  in  the  choral-books.  [F.  G.] 

BOEHM,  Elizabeth,  singer,  bom  at  Biga 
1756,  made  her  first  appearance  1783;  afW- 
wards  married  the  tenor  Cartellieri  at  Strelitz, 
filDm  whom  she  separated,  and  married  again 
Boehm  the  actor,  under  whose  name  she  became 
one  of  the  most  favourite  actresses  of  the  Berlin 
national  theatre.  She  was  the  first  to  play  Donna 
Elvira  in  Berlin  ( 1 790).    She  died  1 797.  ("F.  G.] 

BOEHM,  Heinbich,  bom  1836  at  Blasria  in 
Bohemia,  where  his  father  was  leader  of  the 
choir  and  composer  of  the  opera  of  'Elrathonos* 
(Biibezahl).  Heinrich  himself  has  composed  35 
operas  and  operettas  in  Bohemian,  and  his  name  is 
well  known  on  the  stage  of  that  country.  [F.  G.] 

BOEHM,  Joseph,  a  violinist  of  repute,  bom 
at  Pesth  in  1 798.  He  was  a  pupil  first  of  his 
father,  and  then  of  Bode,  who  took  a  lively 
interest  in  his  talent.  After  having  played  with 
much  success  at  Vienna  in  181 5  he  travelled  for 
several  years  in  Italy,  giving  concerts  in  most  of 
the  principal  towns.  On  his  return  to  Vienna 
in  1 81 9  he  was  appointed  professor  of  the  violin 
at  the  Ck>nservatorium,  which  post  he  occupied 
till  1848.  In  1821  he  became  a  member  of  the 
imperial  band,  and  retired  in  1868.  From  1823 
to  1825  he  travelled  in  Grermany  and  France, 
earning  applause  everywhere  for  the  soundness 
of  his  tone,  his  irreproachable  technique,  and  his 
healthy  musical  style.  But  it  is  as  a  teacher 
that  Boehm*8  name  has  won  a  permanent  place 
in  the  history  of  modem  violin-playing.  For  50 
years  he  resided  at  Vienna — (where  he  died, 
March  33,  i876}-^devoting  bis  powers  to  the  in- 


BOESENDOBFER. 

struction  of  his  numerous  pupils,  ajuong  'wh< 
it  will  suffice  to  name  Ernst,  Joachim,  L.  Strai 
Helmesberger,  and  Singer.  In  fekct  all 
excellent  violinists  who  during  the  last  thii 
years  hftve  come  from  Vienna  were  pupils  eithi 
of  Boehm  or  Mayseder,  or  both.  These  ti 
masters  appear  to  have  supplemented  each  othi 
by  the  different  bent  of  their  talents  :  ACaysedi 
excelling  chiefly  by  brilliant  technique,  -whil 
breadth  of  tone  and  thorough  musical  style  wei^ 
theprominent  features  of  Boehm's  playing.  | 

He  has  published  a  number  of  coxnpoeitiani 
for  the  violin,  polonaises,  variations,  a  cojicertind 
also  a  string-quartet,  which  however  are  of  at 
importance.  [P.  D.J 

BOEHM,  Thsobald,  a  fluto-player    of  disr 
tinction,.  and  Kaquncf-mu^cus  a^  Munich*  borq 
about  the  commencement  of  the  present  century. 
Besides  composing  many  brilliant  works   for  fals 
instrument,   he  introduced  several'  notable  im- 
provements in  its  mechanism;  especially  a  new 
fingering   which  bears  his  name,  and   was    in- 
troduced in  London  about  the  year  i834«     It  has 
been  found  applicable  also  to  the  oboe  and  bassoon, 
and  has  been  adapted  by  Klos^  to  the  clarinet, 
though  with  less  success  than  in  the  other  cases, 
owing  to  the  foundation  of  the  latter  scale  on  the 
interval  of  a  twelfth. 

Its  principal  peculiarity  is  the  aYoidanoe   of 
what  are  termed  '  cross-fingered'  notes ;  viz.  those 
which  are  produced  by  closing  a  hole  below  that 
through  which  the  instrument  is  speaking.     For 
this  purpose  the  semitone  is  obtained  by  pressing 
down  the  middle  finger  of  either  hand,  and  the 
corresponding  whole  tone,  by  doing  the  same  with 
the  forefinger.    A  large   number  of   duplicate 
fingerings  is  also  introduced,  which  &cilitate  pass- 
ages previously  impracticable.     On  the  flute  the 
system  has  the  advantage  of  keeping  different  keys 
more  on  a  level  as  regards  difficulty :  E  major, 
for  instance,  which  on  the  old  eight-keyed  instru- 
ment was  ffdse,  uncYen  in  tone,  and  mechanicaUy 
difficult,  is  materially  simplified.     On  the  other 
hand  it  to  a  certain  extent  alters  the  quality  of 
tJie  tone,  making  it  coarser  and  less  characteristic. 
It  also  complicates  the  mechanism,  rendering  the 
instrument  heavier,  and  mooe  liable  to  leakage. 

Boehm's  method  has  been  generally  adopted 
by  flute-players  both  in  this  country  and  abroad. 
Elose's  modification  applied  to  the  clarinet  is 
used  in  France  for  military  bands;  many  of 
Bdhm*s  contrivances  are  incorporated  in  the 
oboes  of  M.  Barret  as  made  by  IViebert  of  Paris, 
and  are  figured  under  the  heading  Cob  Anglais. 
Bassoons  on  this  S3rBtem  are  rmly  to  be  met 
with.    [See  Flute  ;  GOHDON.]  [W,H.S.] 

BOESENDOBFEB,  LuDWio,  a  pianoforte- 
maker  in  Vienna.  Ignaz  Bosendorfer  founded 
the  firm  in  1828.  His  son  Ludwig  succeeded  him 
in  1859,  and  soon  abandoning  the  cheaper  build 
and  mechanism  identified  with  Vienna,  that  had 
influenced  the  technique  of  the  Viennese  school 
of  pianists  from  the  days  of  Mozart,  adopted 
modem  notions  of  tension  and  firaming  ana  an 
.action  of  his  own,  grafting  English  prindplei 


S085END0BFEB. 


B0IELDIE17. 


iS5 


VieimeM.     By  these  cbangei  lie  liu  raised 

OBstramente  to  a  place  beside  thoee  of  other 

rledgcd  leadiiig  pianoforte-makers  in  Aus- 

[A.  J.  H.] 

.,  AjrroiNS,  bom  about  1585,  died 

^3>  '  oonseiller  da  roi'  and  *  surintendant  de  la 

i^qne  dee  chambres  du  roi  et  de  la  reine' 

Tjrmie  XIII ;   composer  of  court  ballets, 

in  nixiiil>er,  and  ten  books  of  airs  in  four  and 

nrtB,  -which  attained  immense  popularity  in 

day.     An  English  translation  of  the  first 

of  kia  airs  appeared  with  the  title  'Court 

their  IMtties  Englished'  (London, 

[39).     Se  was  sncceeded  in  his  posts  and  titles 

the  ooort  of  Louis  XIV  by  his  son  Jean 

[ars,  bom  161  a,  died  1685,  and  he,  in  1667, 

I  acm  Claxtde  Jsan  Baptistx,  bom  about 

^56,  -wlio  composed,  in  addition  to  ballets  for 

ooorfc,  a  series  of  duets  called  'fVuits  d'Au- 

QParis,  1684).  [M.  C.  C] 

BOHEMIAN  GIRL,  THE,  a  grand  opera  in 

the  libretto  adapted  by  Bunn  from 

^aony  Ellsler's  ballet  of  'The  Gipsy'  (not  the 

'Gitazka*);  the  music  by  Balfe.    I^t)duced  at 

|]>ruzy  Ijine  Nov.  37, 1843,  also  at  Her  Majesty's 

It'eb.   6,  58,  as  'La  Zingara'   (Piccdomini  as 

Ar^ine) ;  and  in  December,  69,  at  the  Thefttre 

Lyriquei,    Paris,    as    'La    Boh^mienne/    with 

additions  by  the  ccnnposer. 

BOHBER,  the  name  of  a  family  of  musicians. 

(i)  CAfiPABy  bom  1744  at  Mannheim,  trumpeter 

in  the  court  band,  and  remarkable  performer 

on  tbe  doable-baas;  called  to  Munich  in  1778, 

and  died  there  Nor.  4,  1 809.    (a)  His  son  and 

pupil  Abtok,  bom  at  Munich,   1783,  learned 

the  violin  from  Kieutaer,  and  composition  from 

Winter  and  Dansi,  and  became  violin-player  in 

the  court  orcheBtra  at  Munich.   With  his  brother 

Max  (bom  1785)  he  undertook  in  1810  an  ex- 

ieanve  tour,  end^iig  in  Russia,  where  they  narrowly 

escaped  tnmsportation  to  Siberia  as  employ^  of 

the  King  of  Bavaria,  Napoleon's  ally.     In  1823 

the  brothera  were  appointed  to  the  royal  orches- 

tia  in  Beriin,  but   quarrelling  with   Spontini 

lost  their  posts.     Anton  then  resided  in  Paris 

tiU  1834*  when  he  was  made  Goncertmeister  at 

Hanover.     Max  obtained  a  similar  position  at 

Stuttgart.      The  brothers  married  two  sisters 

of  Ferdinand  David  and  of  Madame  Dulcken. 

Antoo's  daughter,  Sophie,  a  girl  of  much  promise 

as  a  piano>player,  died  in  1849  at  Pet^burg, 

aged  ai.  [F.  G.] 

BOIELDIEU,  FBAK9018  Adrien,'  was  bom 
December  16  (not  15),  1775,  at  Rouen,  where 
his  firihcr  held  the  position  of  secretary  to  Arch- 
bishop Lafoohefoucauld.  His  mother  kept  a 
millinei^B  shop  in  the  same  city.  The  union 
does  not  seem  to  have  been  a  happy  one.  We 
know  at  least  that  during  the  Revolution  the 
elder  Boieldieu  availed  himself  of  the  law  of 
divoree  paswd  at  that  time  to  separate  from 
bis  finit  wiie  and  contract  a  second  marriage. 


>Ab 


bf  A.  Poogln.  *Biil«ldIcii :  »  Tie,  m  flRmw, 
*  pnbllilMd  In  1878b  hu  thrown  new 
'« Mid  cofnded 


Domestic  dissensions  were  perhaps  the  reason 
why  our  composer,  when  his  talent  for  musio 
began  to  show  itself,  exchanged  the  house  of  his 
parents  for  that  of  his  master,  the  organist  of 
the  cathedral,  Broche,  who,  although  an  excellent 
musician  and  pnpil  of  the  celebrated  Padre  Mar- 
tini, was  known  as  a  drunkard,  and  occasionally 
treated  Boieldieu  with  brutality.  On  one  occa- 
sion, it  is  said,  the  boy  had  stained  one  of  his 
master's  books  with  ii^,  and  in  order  to  evade 
the  cruel  punishment  in  store  for  him  escaped 
from  Broche's  house  and  went  on  foot  to  Paris, 
where  he  was  found  after  much  trouble  by  his 
fiunily.  Whether  he  returned  to  Broche  seems 
uncertain.  Neither  are  we  informed  of  any 
other  master  to  whom  the  composei;  owed  the 
rudimentary  knowledge  of  his  art.  This  know- 
ledge, however  acquired,  was  put  to  the  test 
for  the  iirst  time  in  1793,  when  an  opera  by 
Boieldieu,  called  'La  fiUe  coupable'  (words  by 
his  father)  was  performed  at  Rouen  with  con* 
siderable  success.  It  has  hitherto  be^i  believed 
that  Boieldieu  left  Rouen  for  Paris  immediately, 
or  at  least  very  soon  after,  this  first  attempt. 
This  however  must  be  a  mistake,  unless  we 
accept  the  improbable  conjecture  of  a  second 
temporary  sojourn  in  the  capital.  Certain  it  is 
that  Boieldieu  was  again  in  Rouen  October  a8, 
1795,  when  another  opera  by  him,  'Rosalie  et 
Myrza,'  was  performed  at  tiie  theatre  of  that 
city.  The  success  of  this  second  venture  does 
not  seem  to  have  been  brilliant,  to  judge  at  least 
by  the  '  Journal  de  Rouen,'  which  after  briefly 
noticing  the  book  observes  silence  with  regard 
to  the  music.  Many  of  Boieldieu's  charming 
ballads  and  chansons  owe  their  origin  to  this 
period,  and  added  considerably  to  the  local  repu- 
tation of  the  young  composer.  Much  pectmiary 
advantage  he  does  not  seem  to  have  derived 
from  them,  for  Cochet,  the  Paris  publisher  of 
these  minor  compositions,  told  F^tis  that  Boiel- 
dieu was  glad  to  part  with  the  copyright  for  the 
moderate  remuneration  of  twelve  francs  apiece. 
Soon  after  the  appearance  of  his  second  opera' 
Boieldieu  left  Rouen  for  good.  Ambition  and 
the  consciousness  of  power  caused  him  to  be 
dissatisfied  with  the  narrow  sphere  of  his  native 
city,  particularly  after  the  plan  (advocated  by 
him  in  an  article  in  the  'Journal  de  Rouen,* 
entitled  '  Reflexions  patriotiqnes  sur  I'utilit^  de 
I'^tude  de  la  musique  )  of  starting  a  music  school 
on  the  model  of  the  newly-foundeid  Conservatoire 
had  &iled. 

To  Paris  therefore  Boieldieu  went  for  a  second 
time,  with  an  introduction  from  Garat  the  singer 
to  Jadin  (a  descendant  of  the  well-known  Belgian 
fiunily  of  musicians),  at  whose  house  he  found 
a  hospitable  reception,  and  became  acquainted 
with  the  leading  composers  of  the  day,  Cherubini 
amongst  the  number.  Boieldieu  made  his  d^but 
as  an  operatic  composer  in  the  capital  with  the 
'Famille  Suisse,'  which  was  performed  at  the' 
Th^&tre  Feydean  in  1 797,  and  had  a  run  of  thirty 
nights  alternately  with  Cherubini's  '  M^^.* 
Other  operas  followed  in  rapid  succeasion,  amongst 
which  we  mention  '  2joraime  et  Zulnare'  (written 


256 


BOIELDIEU. 


before  1796,  but  not  performed  till  1798),  'La 
Dot  de  Suzette*  (same  year),  '  Beniowski  *  (after 
a  drama  by  Kotzebue;  performed  in  1800  at  the 
Theatre  Favart),  and  *Le  Calife  de  Bagdad* 
(performed  in  September  of  the  same  year  with 
enormous  suasess).  To  these  operatic  works 
ought  to  be  added  some  pieces  of  chamber  music, 
which  we  mention  less  for  their  intrinsic  value 
than  for  the  sake  of  completeness.  They  are, 
according  to  Fetis,  a  concerto  and  six  sonatas  for 
pianoforte,  a  concerto  for  harp,  a  duo  for  harp 
and  pianoforte,  and  three  trios  for  pianoforte, 
harp,  and  violoncello.  To  the  success  of  these 
minor  compositions  Boieldieu  owed  his  appoint- 
ment as  professor  of  the  pianoforte  at  the  Con- 
servatoire in  1800.  With  the  same  year  we  may 
close  the  first  period  of  Boieldieu's  artistic  career. 
The  'Calife  de  Bagdad'  is  the  last  and  highest 
effort  of  this  period.  If  Boieldieu  had  died  after 
finishing  it  he  would  be  remembered-  as  a  charm- 
ing composer  of  pretty  txuies  cleverly  harmonised 
and  tolerably  instrumented,  in  short  as  an  average 
member  of  that  French  school  of  dramatic  music 
of  which  he  is  now  the  acknowledged  leader. 
Boieldieu's  first  manner  is  chiefly  characterised 
by  an  absence  of  style — of  individual  style  at 
least.  Like  most  men  of  great  creative  power 
and  of  autodidactic  training,  like  Wagner  for  in- 
stance, Boieldieu  began  by  unconsciously  adopt- 
ing, and  reproducing  with  great  vigour,  the  pecu- 
liarities of  other  composers.  But  every  new 
advance  of  technical  ability  implied  with  him  a 
commensurate  step  towards  original  conception, 
and  his  perfect  mantery  of  the  technical  resources 
of  his  art  coincided  with  the  f  ollest  growth  of  his 
genius.  During  this  earlier  period  matter  and 
manner  were  as  yet  equally  far  from  maturity. 
This  want  of  formal  certamty  was  felt  by  the 
composer  himself,  if  we  may  believe  a  story  told 
by  Fetis,  which,  although  somewhat  doubtful  on 
chronol(^cal  grounds,  is  at  any  rate  plausibly 
invented.  He  relates  that,  during  the  composition 
of  the  'Calif  of  Bagdad,'  Boieldieu  used  to  submit 
eveiy  new  piece  as  he  wrote  it  to  the  criticism 
of  his  pupils  at  the  Conservatoire.  When,  as 
happened  frequently,  these  young  purists  took 
exception  at  their  master's  harmonic  peccadilloes, 
the  case  was  referred  to  M^hul,  to  whose  decision, 
favourable  or  unfavourable,  Boieldieu  meekly  sub- 
mitted. Considering  that  at  the  time  Boieldieu 
was  already  a  successful  composer  of  established 
reputation,  his  modesty  cannot  be  praised  too 
highly.  But  such  diffidence  in  his  own  judgment 
is  incompatible  with  the  consciousness  of  perfect 
formal  mastership. 

After  one  of  the  successful  performances  of  the 
'Calife'  Cherubini  accosted  tlie  elated  composer 
in  the  lobby  of  the  theatre  with  the  words 
'  Malheureux !  are  you  not  ashamed  of  such  un- 
deserved success?'  Boieldieu's  answer  to  this 
brusque  admonition  was  a  request  for  further 
musical  instruction,  a  request  immediately  granted 
by  Cherubini,  and  leading  to  a  severe  course  of 
contrapuntal  training  under  the  great  Italian 
master.  The  anecdote  rests  on  good  evidence, 
and  is  in  ptrfect  keeping  with  the  characters  of 


BOIEIiDIEU. 

the  two  men.    F^tis  strongly  denies   ^lie  £act^  o.  I 
Boieldieu  having  received  any  kind  of  inHtmctiot; 
or  even  advice  from  Cherubini — on  wlwtt  groujada! 
it  is  not  easy  to  perceive.    Intrinsic  evidleDce  goea  I 
far  to  confirm  the  story.    For  after  ilie  *  Oalif  oi! 
Bagdad'  Boieldieu  did  not  produce  another  opersi 
for  three  years,  and  the  first  work  brou^lit  out  by 
him  after  this  interval  shows  an  enormous  pro- 
gress upon  the  compcMitious  of  his  earlieor  peric  dL 
This  work,  called  *Ma  tante  Aurore,*  y^a»  first 
performed    at    the   Theatre    Feydeao.     JTaziuarT 
1803,  and  met  with  great  success.    Lzi   June  of 
the  same  year  the  composer  left  France   fat  St. 
Petersburg.     His  reasons  for  this  somei^faat  sud- 
den step  have  been    stated    in  various    -way?. 
Russia  at  that  time  was  the  El  Dorado  of  JFVench 
artists,  and  several  of  Boieldieu's  friends    had 
already  found  lucrative  employment  in  tlie  'Em- 
peror b  service.     But  Boieldieu  left  PfcHs  iprithout 
any  engagement  or  even  inVitation    from    th? 
Bussian  court,   and  only  on  his  readung-    the 
Bui^sian  frontier  was  agreeably  surprised   by  his 
appointment  as  conductor  of  the  Imperial  Ope~a 
with  a  liberal  salary.     It  is  very  improbable  thai 
he  should  have  abandoned  his  chances  of  furthr-r 
success  in  France,  together  witJi  his  i  rofeBsorship 
at  the  Conservatoire,  without  some  cause  sufficnent 
to  make  change   at  any  price  desirable.       Do- 
mestic troubles  are  named  by  most  biographers 
as  this  additional  reason.     Boieldieu  had  in  i  S02 
contracted  an  ill-advised  marriage  with  dotilde 
Mafleuray,  a  dancer ;  the  union  proved  anything 
but  happy,  and  it  has  been  asserted  that  JBoiel-      | 
dieu  in  Ms  despair  took  to  sudden  flight.     This 
anecdote  however  is  sufficiently  disproved  by  the 
fact  recently  discovered  of  his  impending   de- 
parture being  duly  announced  in  a  theatrical 
journal  of  the  time.    Most  likely  domestic  misery 
and  the  hope  of  fiune  and  gain  conjointly  drove 
the  composer  to  a  step  which,  all  things  con- 
sidered, one  cannot  but  deplore.     Artistically 
speaking  the  eight  years  spent  by  Boieldieu  in 
Bussia  must  be  called  all  but  totol  eclipse.    By 
his  agreement  he  was  bound  to  compose  three 
operas  a  year,  besides  marches  for  military  bandfv 
the  libretti  for  the  former  to  be  found  by  the 
Emperor.   But  these  were  not  forthcoming,  and 
Boieldieu  was  obliged  to  take  recourse  to  boolu 
already  set  to  music  by  other  composers.    The 
titles  of  numerous  vaudevilles  and  operas  be-         \ 
longing  to  the  Bussian  period  might  be  cited,         { 
such  as  '  Kien  de  trop,'  '  La  jeune  femme  colore,' 
*Les  voitures  versees,'    'Aline,   reine  de  Gol- 
conde'  (to  words  previously  set  by  Berton),  and 
'Tel^maque' ;  also  the  choral  portions  of  Racine^s 
'Athalie.'    Only  the  three  first-mentioned  works 
were  reproduced  by  Boieldieu  in  Paris ;  the  others 
he  assigned  to  obUvion.    'T^^maque'  ought  to  be 
mentioned  as  containing  the  charming  air  to  the 
words  '  Quel  plaisir  d'etre  en  voyage,'  afterwards 
transferred  to  '  Jean  de  Paris.' 

In  181 1  Boieldieu  returned  to  Paris,  where 
great  changes  had  taken  place  in  the  meantime. 
Dalayrac  was  dead ;  Mehul  and  Cherubini,  dis- 
gusted with  the  fickleness  of  public  taste,  kept 
silence ;  Nicolo  Isouard  was  the  onl^  rival  to  be 


BOIELDIEIT. 

fcfired.     Bat  Boieldieu  bad  not  been  forgoiten 

h}  His  old  admiren.    The  revival  of  '  Ma  tante 

Aurore*  and  the  fint  performance  in  Paris  of  an 

E&proved  version  of  *  Rien  de  trop*  were  received 

viifa  applause,  which  increased  to  a  storm  of 

eDditt»iasm  wben  in  i8i  2  one  of  the  oomposer^s 

aosfi  charming  operas,  'Jean  de  Paris,'  saw  the 

i^i.    This  is  one  of  the  two  masterpieoes  on 

vbich  Boieldiea*s  claim  to  imuiortahty  must 

laiinly  rest.      As  regards  refined  humour  and 

the  gift  of  mnsicaUy  delineating  a  character  in 

I  few  masterly  touches,  this  work  remains  un- 

ioipassed  even  by  Boieldieu  himself;  In  abundance 

cf  charming  melodies  it  is  perhaps  inferior,  and 

inHtrior  only,  to  the  '  Dame  Blanche.'    No  other 

ptolnction  of  tbe  Prench  school  can  rival  either 

of  the  two  in  the  sustained  development  of  the 

enoelleoces  most  characteristic  of  that  school. 

The  Princess  of  Navane,  the  Page,  the  Seneschal, 

m  indestructible  types  of  lov^ness,  grace,  and 

bjzDoor.     After  the  effort  in  'Jean  de  Paris* 

Boieldieu's  genius  seemed  to  be  exhausted :  nearly 

f.miteen  years  elapsed  before  he  showed  in  the 

'Dune  Hanche*  that  hii  donnant  power  was 

opsble  of  stiU  higher  flights.     We  will  not 

escumber  Uie  reader^s  memory  with  a  list  of 

mmei  belonging    to   the    intervening   period, 

which  would  have  to  remain  names  onlv.     Many 

oHheae  operas  were  composed  in  collaboration 

with  Cherubini,  Gatel,  Isouard,  and  others :  only 

'Le  noaveau  seigneur  de  village*  (18x3)  and 

*Le  petit   Chaperon   rouge'    (1818),  both    by 

BiHeldieu  alone,  may  be  mentioned  here.     Aft^ 

the  luccessful    production   of  the   last-named 

opos,  Boieldiea  did  not  bring  out  a  new  entire 

wxk  for  seven  yesrs.     In  December  1825  the 

long  expected  '  Dame  Blanche '  saw  the  light, 

ud  was  received  with  unprecedented  applause. 

Bottldiea  modestly  ascribes  part  of  this  success 

to  tbe  national  reaction  against  the  Kossini- 

vonhip  of  the  preceding  years.   Other  temporary 

ctOMB  have  been  cited,  but  the  first  verdict  has 

been  coofinned  by  many  subsequent  audiences. 

UptJUJone  1875  the  opera  has  been  performed 

IX  one  and  the  same  theatre  1340  tmies,  and 

?H  itc  melodies  sound  as  firesh  and  are  received 

vith  as  much  enthusiasm  as  on  that  eventful 

iQght  of  December   10,   1825,  so   graphically 

d^lnd  by  Boieldieu's  pupU  Adiun.      Such 

pieoes  ss  the  cavatina  'Viens  gentille  dame,* 

^  Mog  'D*ici  voyes  ce  beau  domaine,'  or  the 

trio  St  the  end  of  the  first  act.  will  never  fail 

of  their  effect  as  long  as  the  feeling  for  true 

gnoeiemains. 

The  'Dame  Blanche*  is  the  finest  work  of 
^<>>ddiea,  snd  Boieldieu  the  greatest  master 
ot  the  ¥rench  school  of  comic  opera.  It  is 
thoefore  difficult  to  speak  of  the  composer,  and 
of  the  wQck  most  characteristic  of  his  style,  with- 
Ml  njipafcing  to  some  extent,  in  a  higher  key  of 
^^^f  whiu  has  already  been  said  in  these 
f*g«  of  other  masters  of  the  same  school. 
^'Hib  Auber,  Boieldieu  shares  verve  of  dramatic 
Qttennoe,  with  Adam  piquancy  of  rhythmical 
ffi'ctttie,  while  he  avoids  almost  entirely  that 
We  0!  modem    music,    the    danoe-rhythmy 


BOIELDIEU. 


257 


which  in  the  two  other  composers  marks  the 
beginning  of  the  decline  and  fall  of  the  school. 
Peculiar  to  Boieldieu  is  a  certain  homely  sweet- 
ness of  melody,  which  proves  its  kinship  to 
that  source  of  all  truly  national  music,  the 
|)opular  song.  The  'Dame  Blanche'  might 
mdeed  be  considered  as  the  artistic  oontinuatioa 
of  the  ehanton,  in  the  same  sense  as  Weber's 
'Der  Freischtitz'  has  been  called  a  dramatised 
Yolkslied.  With  regard  to  Boieldieu's  work 
this  remark  indicates  at  the  same  time  a  strong 
development  of  what  in  a  previous  article  has 
been  described  as  the  'amalgamating  force  of 
French  art  and  culture' ;  for  it  must  be  borne 
in  mind  that  the  subject  treated  is  Scotch. 
The  plot  is  a  compound  of  two  of  Scott's  novels^ 
the  '  Monastery*  and  '  Guy  Mannering.'  Julian* 
(alias  George  Brown),  comes  to  hL  paternal 
castie  unknown  to  himself.  He  hears  the  songs 
of  his  childhood,  which  awaken  old  memories  in 
him;  but  he  seems  doomed  to  misery  and  dis- 
appointment, for  on  the  day  of  his  'return  his 
h^  and  his  broad  acres  are  to  become  the 
property  of  a  villain,  the  unfaithful  steward  of 
his  own  fiunily.  Here  is  a  situation  full  of 
gloom  and  sad  foreboding.  But  Scribe  and 
Boieldieu  knew  better,  llieir  hero  is  a  dashing 
cavalry  officer,  who  makes  love  to  eveij  pretty 
woman  he  comes  across,  the  'White  Lady  of 
Avenel'  amongst  the  number.  Yet  nobody  who 
has  witnessed  the  impersonation  of  George 
Brown  by  the  great  Roger  can  have  foiled  to 
be  impressed  witii  the  grace  and  noble  gaUantzy 
of  the  character. 

The  Scotch  airs,  also,  introduced  by  Boieldiea, 
although  correctly  transcribed,  appear,  in  their 
harmonic  and  rhythmical  treatment,  thoroughly 
French.  The  tune  of  *  Bobin  Adair,'  described 
as  'le  chant  ordinaire  de  la  tribu  d' Avenel,' 
would  perhaps  hardly  be  recognised  by  a  genuine 
North  Briton ;  but  what  it  has  lost  in  raciness 
it  has  gained  in  sweetness. 

So  much  about  the  qualities  which  Boieldiea 
has  in  common  with  all  the  good  composers  of 
his  school;  in  one  point  however  he  remains 
unrivalled  by  any  of  them,  viz.  in  the  masterly 
and  thoroughly  organic  structure  of  his  ensembles. 
Bousseau,  in  giving  vent  to  his  whimsical  aver- 
sion to  pol^hony,  says  that  it  is  as  impossible 
to  listen  to  two  different  tunes  played  at  the 
same  time  as  to  two  persons  speaking  simul- 
taneously. True  in  a  certain  sense;  unless 
these  tynes  represent  at  once  unity  and  di- 
veigenoe — oneness,  that  ii,  of  situation,  and 
diversity  of  feelings  excited  by  this  one  situation 
in  various  minds.  We  here  touch  upon  one  of 
the  deepest  problems  of  dramatic  music,  a 
problem  triumphantiy  solved  in  the  second  act 
of  the  'Dame  Blanche.'  In  the  finale  of  that 
act  we  have  a  large  ensemble  of  seven  solo  voices 
and  chorus.  All  these  conmient  upon  <Hie  and 
the  same  event  with  sentiments  as  widely 
different  as  can  well  be  imagined.  We  hear 
the  disappointed  growl  of  baffled  vice,  the 
triumph  of  loyal  attachment,  and  the  subdued 
note  of  tender  love — all  mingluig  with  each 

S 


BOIELDIEtl*. 


BOLLiu 


other  and  yet  arranged  in  separate  group*  of 
graphic  dindnctness.  This  ensemble,  and  indeed 
"tiie  whole  auction  scene,  deserve  the  appellation 
'classical*  in  the  highest  sense  of  the  ward. 

The  remainder  of  Boieldieu's  life  is  sad  to 
relate.  He  produced  another  opera,  called  '  Lea 
Deux  Nuits,  in  1829,  but  it  proved  a  failure, 
owing  chie^  to  the  dull  libretto  bj  Bouilly, 
which  the  composer  had  aecepted  noih  good 
nature.  This  disappointment  may  have  fostered 
the  pulmonary  disease,  the  germs  of  which 
Boieldieu  had  brought  back  fiK>m  Russia.  In 
Tahi  he  sought  recovery  in  the  mild  climate  of 
Southern  France.  Pecuniary  difficultiee  increased 
the  discomforts  of  his  failing  health.  The  bank- 
ruptcy of  the  Op^ra  Gomique  and  the  expulsion 
of  Clurles  X,  from  whom  he  had  received  a 
pension,  deprived  Boieldieu  of  his  chief  sources 
of  income.  At  last  M.  Thiers,  the  minister  of 
Louis  Philippe,  relieved  the  master's  anxieties 
by  a  goverxmient  pension  of  6000  francs.  Boiel- 
dieu  died  October  8,  1834,  at  Jarcy,  his  country 
house,  near  Paris.  The  troubles  of  his  last 
years  were  shared  and  softened  by  his  second 
wife,  to  whom  the  composer  was  united  in  1827 
after  a  long  and  tender  attachment.  By  her  he 
had  a  son,  Adrien,  bom  in  1816,  and  edu- 
cated at  the  Conservatoire  under  his  father. 
He  is  the  author  of  several  comic  operas,  some 
of  which  have  been  suocessAilly  performed  at  the 
Op^ra  Comique  and  other  tiieatres.  It  is  perhaps 
diiefly  the  burden  of  his  name  which  prevents 
liim  from  takitrg  a  more  distinguished  position 
amongst  contemporary  French  oomposws.  At 
iSie  centenary  celebration  of  hia  fbther^s  birth- 
day at  Rouen  a  comic  opera  by  the  younger 
Boieldieu,  called  'La  Halte  du  Roi'  was  per- 
formed with  great  success.  [F.  H.] 

BOLERO.  A  brisk  Spanish  danoe  ia  3-4 
time.    The  earliest  form  of  its  rhythm  was. 

lirrrir'Lai 

which  later  became 

iLLLLf  I  f'LLf  f 

while  to  the  longer  notes  of  the  acoompanimeBt 
shorter  melody  notes  were  given,  and  vice  vtrna. 
Gradually  the  rhythm  of  the  castanets,  which 
were  used  as  an  accompaniment  to  the  dance  by 
the  dancers  themselves,  was  introduced  into  the 
music,  which  now  assumed  this  form 


cgcii; 


or 


[^UlS 


The  bolero  usually  consists  of  two  dhief  parts, 
each  repeated,  and  a  trio.  The  castanet  rhythm 
above  referred  to  mostly  commences  at  least  one 
bar  before  the  melody.  Good  examples  of  the 
bolero  may  be  found  in  M^hul's  'Les  deux 
Aveugles,*  Weber's  '  Predosa'  (gipey-ballet\  and 
Auber's  '  Masaniello.*  We  give  the  opening  of 
the  last  aa  an  illafltratio& 


AUegretto, 


i^LJ   ' 


aiiO' 


[E.  P.] 

BOLLA,  SioKORA,  an  Italian  prima  buifa, 
who  sang  in  London  at  the  opera  in  1 794*  ^^^ 
was  a  very  pretty  woman,  and  a  *  pleasing,  genteel 
actress,'  who  with  a  better  voice  would  have 
been  an  excellent  singer.  She  was  very  success- 
ful in  Paisiello's  'Zingari,'  and  in  'Nina,'  which 
latter  she  chose  for  her  benefit,  with  spoken 
dialogue  instead  of  recitative ;  but  this  was  con- 
sidered an  infringement  of  the  rights  of  the 
English  theatres,  and  after  a  few  nights  it  was 
stopped  '  by  authority.'  In  1802  she  was  singfu^ 
at  Paris  m  opera  bufia  with  Lazzarini  kA 
Strinaaaochi.  [J-  ^-i 


BOLOGNA.  The  first  school  for  iniftractioii 
h  munc  m  Italy  wm  founded  at  Bologna 
m  14S2  hf  Pope  Niefadas  V.,  when  Bartolom- 
fi09  Ramis  Pereja,  a  Spaniaid,  warn  summoned 
from  Salamanca  to  preside  over  it.  Spataro 
t«o  ttlled  became  he  was  by  trade  a  maker 
(f  R&bbszds),  one  of  the  early  Italian  writers 
m  maoe  in  the  15th  centuiy,  was  a  disciple 
rf  Perdja. 

h  atB  itkh  and  17th  centuries  Bologna  had 
■  Bsoy  as  thirty  academies  fbr  the  promotion 
efTtrioos  sdenoee  and  arts.  Four  out  of  this 
Bamber  were  rausieaiy  not  including  that  of  the 
'Gebti*  (founded  1588)  which  comprehended 
«vay  taeoM  and  art,  and  flourished  throughout 
the  i6th  century.  One  of  its  memben,  Girolamo 
Doaderi,  wrote  a  valuable  treatise  on  music 
tbe  foor  are  as  follows :-» 

1.  'Dei  Cdnoordi/  founded  in  1615.  The  arms 
Ama.  by  this  instilution  were — three  time- 
woA,  a  clock,  an  hour  glass,  and  a  diaL  The 
ikJtto— 'ToHiimus  una.' 

2.  'Bei  Fikimasi/  founded  in  i6a  a  by  Girolamo 
GitDobbi,  a  learned  daaBical  composer  of  the 
M^neae  achool  and  'Maestro  di  Gapella'  of 
Sid  Petronio.  Tliis  academy  was  entirely  devoted 
to  tk  study  of  musical  sdenoe.  Device  —  a  bush 
•f  neda,  with  the  motto  'Voeis  dokedine 
apttat' 

^ 'Dei  fHasefaici,' opened  in  1633.  Devioe— 
Unfabarp;  motto-^' Orbem  demuket  attactu.* 
Ik  object  of  this  institution  was  to  inquire  into 
fheioeDoe  of  sound. 

4.  'Sdilknnomci,'  instituted  in  1675  by  Vin- 
eeno  Camti  entirely  for  music.  Buraey,  in  his 
Toor'  of  1/75  (p.  230),  speaks  of  this  aoadony 
a  gtiH  in  ezistenoe.  He  was  present  at  a  kind 
«f  trial  of  skill  amongst  the  academicians  which 
V)ok  place  annually  in  the  church  of  San 
Giorami  in  Monte.  The  members  of  this 
naetjr  ea<^  oompoeed  portions  of  the  service^ 
ad  Barney,  whose  opinion  of  the  performance 
*M  aaked,  praises  highly  the  variety  of  style 
iad  maeteriy  compositions  of  the  membmB. 
'At  tbii  perlFormanoe,'  he  says,  '  were  present 
Mr.  Moort  and  his  son,  the  little  German  whose 
pnemitore  and  afanoet  supernatural  talents  so 
BDch  ukomihed  us  in  London  a  few  years  ago 
vbea  he  had  scarce  quitted  his  infont  state. 
He  hu  been  much  admired  at  Rome  and  Naples, 
iod  bi  been  honoured  with  the  order  of  the 
Spaw  d'Oro  by  His  Holiness,  and  was  en- 
8*e«l  to  compose  an  opera  at  Milan  for  the 
vtoi  ctrnival. 

OrloT  ('Traits  de  Musique/  i8aa\  speaks  of 
^  perfoniuooe  of  the  fj^-rimtm  hundred  members 
of  die  philhanncinic  society  at  Bologna,  in  the 
athednl  of  San  Petronio,  to  celebrate  the  festi- 
val of  the  patron  saint.  But  there  is  no  mention 
of  ^  wciety  in  the  report  of  t866  as  to  the 
Mate  of  nnuieal  education  in  Italy. 

In  the  i6th  centuir  there  were  but  few 
pnctical  musiciaos  of  the  Bolognese  school, 
tl'^  in  the  next,  owing  to  tiiese  musicid 
^^^sBoa,  the  masters  of  the  cathedral  of  San 
Petnoio  and  other  professon  of  the  city  wero 


BOMTEMPO. 


S59 


equal  to  those  of  the  first  class  in  any  otiier  part 
of  Europe.  ' 

The  result  of  these  societies  also  appears 
in  the  series  of  musical  dramas  perfonned  in 
Bologna  since  the  year  1600.  There  seems  to 
have  been  no  public  theatre  in  this  city  till  1680, 
when  four  operas  were  performed  there  'n^ 
Teatro  Publico.*  After  this  the  music,  which  had 
previooslv  been  written  by  Venetian  masters  was 
supplied  by  members  of  the  Bolognese  academies. 
Among  these  were  Petronio  Franoeschelli,  who  set 
the  prologue  to  the  opera  of  '  Caligula  *;  Giuseppe 
Felice  Tod,  who  composed  ten  operas  between 
the  years  1679  and  1691 ;  Giaoomo  Antonio 
Perti,  a  composer  of  church  musks,  but  also 
employed  in  operas  for  Bologna  and  Venice; 
Giovuoni  Paolo  Colonna,  Maestro  di  Gappella  dl 
San  Petronio ;  Aldobrandini  Albergati ;  Pistoochi, 
who  founded  a  fitunous  Bolognese  school  of 
sii^ng ;  and  the  renowned  Padre  Martini. 

The  above  list  of  names  contains  only  a  few 
of  the  fitunous  composers  and  practical  musicians 
which  were  formed  in  the  great  Bolognese 
school.  [0.  M.  P.J 

BOLSETTI,  an  Italian  prime  buffo  caricato, 
who  with  his  wife,  also  a  singer,  played  prin- 
cipal parta  in  the  comic  operas  in  London  in 
1 789 ;  such  as  Cunarosa*s  '  Villana  Biconosduta,' 
etc  [J.  M.] 

BOMBARDON,  BOMBARD,  BASS-POM- 
MER  OB  BRUMMER,  were  originally  names 
of  the  deeper  varieties  of  the  oboe  or  bassoon 
fomily;  the  bombardon,  or  largest  instrument^ 
reaching  to  contra  F.  From  these  the  name  was 
transfevred  to  a  bass  reed-stop  on  the  organ,  with 
i6.foot  tone.  In  the  'Traits  de  TOrgue*  by  D. 
Bedos^  it  appears  that  the  stop  was  sometimes 
carried  down  to  3a -foot  F.  It  was  mainly  em« 
pl<wed  in  accompanying  plain-chant. 

The  name  has  more  recently  been  given  to  HbB 
lowest  of  the  saxhorns.  It  is  usually  tuned  in 
£  flat,  for  the  convenience  of  military  players, 
but  a  larger  instrument  in  B  flat  is  occasionally 
^nployed.  There  are  two  forms  of  the  instru- 
ment ;  the  one  like  the  euphonium  in  shape,  but 
larger ;  the  other  circular,  passing  over  the  per- 
former^s  shoulder,  and  with  the  bell  directed  fbr^ 
warcb.  The  flmdamental  note  of  the  first  is  the 
E  flat  of  the  16-foot  octave ;  that  of  the  seeond 
the  B  flat  in  the  ^a-foot  scale.  [W.  H.  S.] 

BOMTEMPO,  Jolo  DoHiyooB,  important 
Portuguese  musician  and  composer,  bom  1779 
(not  1 781)  at  Lisbon,  settled  in  Paris  1795, 
visited  London,  returned  to  Paris,  and  finally 
went  back  to  Lisbon  in  i8ao  and  became  head 
of  the  Conservatoire.  •  As  instructor  of  the 
royal  fomily  he  was  made  Knight  of  the  Ordei^ 
of  Christ,  and  chief  director  of  the  court  band. 
He  died  Aug.  1 5, 1842.  Amongst  his  works  the 
following  deserve  mention — V anodes  sobre  o 
fandango ;  '  Messe  de  Requiem  k  la  m^moire  de 
Camoenfi*;  Responsorii  for  Queen  Carlotta  Joa- 
quina  (18a a);  Missa  solenne  for  the  promulga- 
tion of  the  Constitution  (183 1);  Requiems  for 
Maria  I.  sod  Pedro  IV. ;  Methodo  de  Piauo 

8  2 


aso 


BOMTEMPO. 


(LondoD,  l8ifi>;  Alessuidro  nell  India,  open 
*eri&.  Hii  >t;1e  ii  clear  aod  dignified,  obTioudy 
foTiDsd  on  Handel  Mid  Ea]^.  [F-  G.] 

BOND,  HuoH,  appointed  lay-vicar  of  Exeter 
Cathednl  in  17^1,  was  also  oivonist  of  the 
church  of  St.  Hu?  Aiche*  in  tSot  dty.  He 
puUiahed  'Twelve  Hymiu  uid  Four  Anthema 
for  foor  Toioea'  of  hii  composition.  Many  of 
hit  pupils  rose  to  euunence  in  the  profeuion. 
HeSedlniygj.  [W.  H.  H.] 

BONNO  or  BONO.  Gidskppk,  mn  of  one  of  the 
imperial  running  footmen,  bom  at  Vienna  1710. 
Studied  oomposition  at  Naples  »t  the  EmpsRir'a 
cost,  and  in  1738  vas  taken  into  the  Imperial 
Hof-kapelle  >■  Haf-scholar,  from  which  he  rose 
to  be  Hof-compositeur  (1739),  and,  on  Gui- 
maon's  death,    Hof  kapellmeiBter    (1774).     He 

were  executed  after  Lent  at  the  court  cliapel, 
and  hii  'feati  teatrali,'  or  occasional  cantata?, 
were  mostly  perfnnned  by  arch  duchesses  before 
thrir  imperial  parents.  Bonno  was  for  many 
years  vice-president  of  the  Tonkiinstler  Societiit, 
and  the  society  exeouted  his  oratorio  of  'B 
Giuseppe  ricognosciuto.'  His  Scores  are  pre- 
ferred in  the  Imperial  Library  and  the  Muslk- 
Verein  at  Vienna,  and  they  show  a  very  moderate 
amount  of  invention,  sufficient  to  meet  the  wants 
of  the  time  and  the  society  in  which  he  lived, 
but  no  more.  He  must  however  have  had  some 
qualities  to  make  up  for  these  defects,  for  Mozart 
(writing  April  11,  1781,  of  the  performances 
ofoneof  hiss vmphunies under  Bonno^B  direction) 
calls  him  'der  alte  ehcliche  brave  Mann.'  He 
died  April  15,  17S8.  A  6n6  Amen  by  him.  in 
the  grand  Italian  style,  is  engraved  in  the  Fitz- 
william  music.  [C.  F.  P.] 

BONNY"  BOOTS.  The  nickname  of  a  man 
who  appears  to  have  been  boch  a  singer  and 
dancer  of  unequalled  ability  at  the  court  of  Eliza- 
beth, a  devoted  adherent  of  the  Queen,  Bnd— na 
may  be  inferred  from  the  style  in  which  he  is 
mentioned  in  venes  published  during  her  life- 
tjme — a  personal  faroutite  of  here.  He  is  men- 
tioned in  the  i)th  and  35th  Madrigals  of  the 
'Triumphs  of  Oriaca,'  a  collection  of  places  in 
honour  of  Elizabeth,  published  in  1601  : — 
g.  'Hius  BoBny  Boots  the  birthday  celebrated 
Of  her  his  lady  deerest, 
Fair  Oriana  which  to  hit  hart  was  nearest.' 
15. '  For  Bonny  Boots  that  so  aloft  ooutd  fetch  it. 
Oh  he  is  dead,  and  none  of  us  can  reach  it.' 
AJao  in  the  ist  and  9U1  of  Moil  , 
published  io  160;  : — 
I.  'Fty  Love  that  are  sosprighUj 

To  Bonny  Boots  uprightly ; 

And  when  in  Heaven  ihou  meet  him 

Say  that  I  kindly  greet  him. 

And  that  his  Oriana 

True  widow-maid  still  foUoweth  IHana.' 


g. '  Our  Bonny  Boots  ci 

Yea  and  fool 

Say  tuitie  lads  who 


luldto 


From  three  of  these  qnotationi  it  la 
that  Bonny  Boots  was  dead  at  the  time. 

Various  conjectures  have  been  made  aj 
identity.  He  has  been  suppoeed  by  Tr 
(Hist.  chap.  106)  to  have  bnen  a  Mr.  1 
Hales,  whose  singing  had  pleased  Ihe 
AJse  the  £ari  of  Essex,  who  was  behead 
35,  1601.  But  neither  identification  is  a 
more  than  conjecture. 

BONPORTI,  FBiicoisooANToino.boi 

1660  at  Trient^  was  an  Imperial  Count 
Austria,  and  occupied  himself  with  m 
which  he  was  one  of  the  earliest  instn 
composers  of  importance.  His  first  wo 
natas  for  )  Violins  and  Baas — appeared 
at  Venice.  These  were  followed  by  maaj 
among  which  the  most  remarkable  are  ' 
omphe  de  la  graude  AUianoe,'  op.  8,  ■ 
minuets  for  Vidins  and  Baai.  His  '  Dod 
oertini  e  Serenate,'  etc,  were  printed  » 
burg  in  1741. 

BOOM,  Jav  Tiff,  flute-player,  bom 
terdam  1773.  belonged  to  the  band  o 
Louis  Bonaparte,  settled  at  Utrecht  an 
many  successful  toun  in  Germany.  Hij 
ohiefiy  consist  of  bravura  pieces  for  tb 
His  son  JiH,  bom  at  Utreciit  Oct.  15, 18 
brought  Dp  as  a  pianist,  and  aflar  a 
Sweden  and  Denmark  in  iSji  settled  »< 
holm,  where  in  1 S56  he  became  Profeaaoi 
Academy  and  Music  School.  In  1S6]  h( 
the  chief  capitals  of  Europe  to  eiamine 
terns  of  musical  education.  He  has  ci 
Symphonies,  Quartets,  Trios,  and  Pii 
pieces  of  every  description. 

BOOSEY  ft  CO.,  muido  publishen 
house  wsB  established  about  60  yean 
Thomas  Boosey.  He  commenced  biuinei 
importer  of  foreign  music,  and  waa  one 
very  few  persons  then  engaged  in  that 
Subsequently  he  became  Uie  En^iah  pi 
for  Hummel,  Romberg,  De  Beriot,  ! 
Vaccaj.  Mercadante,  and  other  well 
eompaeera.  The  house  was  afterwards  ic 
with  the  Italian  operas  of  Bellioi,  IkoiiE 
Verdi,  until  i  S54,  when  a  decision  of  thi 
of  Lords  deprived  it  of  all  its  foreign  coj 
This  judgment  caused  the  Gmt  to  Ii 
SonnambiJa,'  'I*  Traviata,"  'II  Trovatt 
'Rigoletto,'  four  of  the  most  TaluabLe  pi 
that  have  existed  in  the  music  tnde. 

This  serious  loss  of  copyrights  caused 
to  change  its  character,  and  it  haa  aiuoe 
its  attention  to  the  publication  of  popnl 
lish  music,  and  to  the  productien  of  cJi 
standard  musical  works. 

BORDONI,  FiURiHA.    [See  Hasse. 

BOBGHI,  LutQi,  a  violinist  and  co 
pupil  of  Pugnani ;  lived  from  aboat 
London,  where  we  find  him  leader  of  th< 
violins  .at  the  Handel  Ccmmemoratioii 
He  published  violin  solos;  duos  for  viol 
lin  and  alto,  violin  and  cello ;  violin-oo 
aympbonies  for  orchestra,  and  a  set  of 


BOBJON. 

BORJON,  Chablis  EmcAirnKL  (Incorrectly 
Boorgeoo),  advocate  in  the  Parlement  of  Paris, 
Kthor  of  many  law-books,  and  an  eminent 
iiaatear,  hofm  1633,  died  in  Paris  1691.  He 
vu  a  remarkable  performer  on  the  musette,  and 
aatJMr  of  a  'Traits  de  la  Musette'  (Lyons, 
1673),  which  contains  a  method  of  inntruction, 
jiiaices,  and  airs  collected  by  him  in  various  parts 
of  France.  Borjon  was  evidently  a  man  of 
cdtoie.  He  excelled  in  catting  oat  figures  in 
parchment,  some  of  which  were  noticed  and 
wloed  by  Louis  XIV.  [M.  C.  C] 

BOROSINI^  Francesco.  This  admirable 
iencv  singer  was  bom  at  Bologna,  acooivling  to 
Frda,  about  1695 ;  and  in  1723  was  one  of  the 
principal  singers  at  the  Grand  Opera  at  Prague. 
Very  little  more  of  his  history  is  known ;  bat 
ve  have  evidence  that  he  came,  with  his  wife, 
to  Lcmdon  in  1734,  and  sang  in  operas  ;  as  in 
'Artaaerse*  by  Ariosti,  and  Handel's  'Tamer* 
Une.'  In  1735  he  appeared  in  'Bodelinda*  and 
'Gialio  Cesare'  by  Handel,  in  Ariosti's  'Dario,* 
auA  the  pasticcio  'Elpidia*  given  by  the  former 
muter,  with  recitatives  of  his  own.  The  names 
of  Borouni  and  his  wife  are  not  found  again  in 
£ngland  after  1725.  His  wife,  Lbonoba,  nte 
D'AiiBBXViLLE,  was  originally  Fkench,  and  was 
ft  Toy  remarkable  contralto  singer.  In  1 71 4, 
ftcoonling  to  Fttas,  she  sang  at  the  Palatine 
Court,  and  was  engaged  in  1723  for  the  Grand 
Open  at  Pnigue,  with  her  husband.  When 
ihey  were  married  is  not  known,  but  that  they 
ome  to  England  together  in  1724  is  certain, 

for  her  name  is  found  in  the  casts  of  the  same 
Gferu  in  which  he  also  performed.  In  '  Dario' 
ud  'Elpidia'  ahe  is  called  Signora  Sorosini,  but 

thJB  is  a  mere  misprint.  It  is  only  curious  that 
it  dwuld  occur  in  two  different  works*     [J.  M.] 

BOBSELLI,  an  Italian  singer  wh0|  with  his 
vife  Elisabetta^  perfonned  in  comic  operas  in 
Loodoii  in  1 789  and  90 ;  such  as  Martini's  'Cosa 
Kan,'  Gazzuiiga's '  Vendenmua,'  Paisiello's  *  Bar- 
biere,'  Cimaroea's '  Ninetta,'  and  operas  of  Tarchi, 
Fabiizi,  Bianchi,  Nasolini,  and  Federici.    [J.  M.] 

BORTNIANSKY  (aoc.  BARTNANSKY), 
BiMiTBi,  called  the  Russian  Palestrina,  was  bom 
fttGloiiko^  a  village  of  the  Ukraine^  in  1 75  a,  and 
eaiiy  ihowed  remarkable  ability.  He  studied 
in  Uqsoow  and  in  Petersburg  under  Galuppi,  at 
that  time  Capellmeister  there.  Galuppi  soon  left 
fituna,  but  the  Empress  Catherine  supplied 
Bortniansky  with  funds  to  follow  him  to  Venice 
ii 768).  He  afterwards  studied  in  Bologna,  Rome, 
ftnd  Naples.  The  motets  he  oompoMd  at  this 
period  are  not  remarkable  except  for  richness  of 
lufDumy.  Palschlich  counts  him  among  the 
<)perft.CQmpo8erB  then  in  Italy.  In  1779  he  re- 
ttinud  to  Russia,  and  became  director  of  the 
^presB't  church-choir  (later — 1796 — called  the 
'Imperial  KapeOe'),  which  he  thoroughly  re- 
^onneA,  and  for  which  he  composed  35  sicred 
concertos  in  4  parts,  10  concertos  for  double  choir, 
and  ft  man  for  3  voices.  It  was  this  choir  which 
was  placed  at  tJbe  disposal  of  Boieldieu  when,  as 
ebftpel-master  at  Petersburg,  he  was  oonmiisdioned 


BOSCHL 


261 


to  compose  the  music  for  Racine's  'Athalie.* 
Bortniansky  has  the  merit  of  reducing  Russian 
church  music  to  a  system.  He  died  Sept.  a  8 
(Oct.  9),  1835.  [P.  G.] 

BOSCHETTI,  SiOKOBA,  a  talented  soprano 
who  sang  in  London  in  comic  operas  about  the 
year  1772-  She  acted  Rosalba  in  Picdnni's  '  Schi- 
ava'  in  that  year  at  the  King*s  Theatre.  [J.  M.] 

BOSCHI,  G1U8EPPK,  said  to  have  been  a 
native  of  Yiterbo,  was  the  most  celebrated  basso 
of  the  1 8th  century.  Of  his  early  life,  his 
teacher,  or  of  his  first  appearance,  absolutely 
nothing  is  known.  To  F^tis  his  very  name  is 
unknown.  Chrysander  (Hiindel,  i.  344)  believes 
him  to  be  the  singer  of  the  extraordinary  part 
of  Polifeme  in  Handel's  early  cantata  at  Naples 
in  1 709,  a  portion  of  which  was  transfenea  to 
'Rixialdo.*  It  is  at  any  rate  certain  that  on 
Feb.  34,  1711,  he  sang  for  the  first  time  in 
London  the  part  of  Argante  in  that  opera 
(Handel's  first  in  London)  at  the  Haymarket 
Theatre.  It  is  strange  enough  that  Aigante 
was  afterwards  sung  in  171 7  by  Berenstadt,  a 
German  alto,  and  in  173 1  bv  Franoesca  Bertolli, 
a  contralto.  After  this  there  is  a  blank  in 
Boschi's  history  until  Hsnders  return  to  London. 
In  1730  we  find  him  again  supporting  with  his 
magnificent  voice  the  'Radamisto'  of  Handel, 
and  Buononcini's  'Astartus.'  It  is  very  pro- 
bable, but  not  certain,  that  he  was  the  original 
Polyphemus  of  'Acis  and  Gralatea,'  performed 
privately  at  Cannons,  the  seat  of  the  Duke  of 
Ohandoe ;  there  was  then  no  other  basso  here 
capable  of  singing  that  part,  and  Boschi  was 
already  singing  for  Handel.  In  the  same  year 
he  was  in  the  cait  of  'Muzio  Scaevola,*  the 
third  act  of  which  was  Handel's,  as  also  in 
those  of  'Arsace'  by  Orlandini  and  Amadei, 
'L'Odio  e  rAmoro'  (anonymous),  and  Buo- 
nonciniV  'Grispo.'  On  Dec.  9,  1721,  he  took 
part  in  the  first  representation  of  Handel's 
'Floridante,'  and  on  Jan.  i a,.  1723,  in  that  of 
'Ottone,*  and  of  'Flavio'  on  May  14;  besides 
which  he  sang  in  the  '  Coriolano'  of  Ariosti,  and 
'  Famaoe  'of  Buononcini,  and  in  1 734  in  Handel's 
'Giulia  Cesare 'and  '  Tamerlane,^  Ariosti's  'Al- 


and *  Yespasiano,'  and  Buononcini's 
*  Calf umiar'  From  this  date  he  sang  for  Handel 
in  all  the  operas  during  1725,  6,  7,  and  8.  In 
1 738  he  sang  in  '  Siroe,'  *  Tolomeo,  and  a  revival 
of  'Radamisto.'  Then  came  the  break-up  of 
the  company,  and  Boschi's  name  appears  no 
more.  Whether  he  died,  or  retired  to  lus  native 
country,  he  was  succeeded  in  1739  by  J.  G. 
Riemschneider.  It  was  unfortunate  for  Boschi, 
with  his  fine  voice  and  execution,  that  he 
appeared  in  Handel's  early  time,  when  the 
operas  were  written  chiefly  for  women  and 
evirati ;  when  tenors  were  rarely  employed, 
and  the  basso  only  recognised  as  a  disagreeable 
necessity.  Towards  the  end  of  this  period 
Handel  began  to  write  more  freely  for  basses, 
and  some  fine  airs  fell  to  the  share  of  Boschi, 
such,  for  example,  as  'Finche  lo  stnde'  in 
'  Floridante,'  '  No,  non  temere  *  and  '  Del 
minacciar'  in  *Ottoue>'  <Tu  di  pieta'  in  'Siroe,' 


cut 


BOSCHI. 


and  'Bet[^  *llDen'  in  'Tolomeo.'  Hii  Toiot 
wu  TciTpoiiTerful,  and  ba  oould  hold  hij  own 
•iglinit  HwulEi'i  uoompMiimcod,  whioh  w- 
paared  very  noiiy  to  critic*  of  tbow  d>y*.  in 
a  utire  c^led  'Harlequin  Honct^  or  Ui«  Aft 
of  Modem  Poetry,'  173J,  thia  line  oocun.— 
'And  JBoaahi-Lka  be  klmyi  in  a  rage.* 
to  vhioh  the  following  note  ii  appended:  'A 
uieful  perfonner  for  aeranl  yean  in  the  IlaHan 
openM,  for  If  an*  of  tiie  audience  chanced  un- 
lutppily  to  ba  lulled  to  ileep  by  theae  aoothing 
•ntertainmenta,  he  nerer  fulled  of  rouiing  them 
op  again,  and  bj  the  eitnordinary  (iir;  both 
of  hia  vidce  and  actton,  made  it  manifeat  that, 
thoggli  ordy  a  tailor  by  profaanon.  he  was  niiu 
timea  more  a  man  tiian  any  of  hli  fellow- 
warblov,'  Hia  wife,  FKAirciacA  VifiHi,  a  con- 
tralto, had  beau  a  grant  linger,  but  came  to 
London  when  much  part  her  prime  aud  her 
Toioe  failing.  She  aang  in  1711  aa  Go^vdo  in 
Handel'a  '  Kinaldo' ;  but  in  1711  thia  wa*  given 
to  Margarita  de  rEcone,  and  Boachi'n  wife  ap- 
peai«d  DO  more.  (J.  M.] 

BOSIO,  AbgiOlDtj^  bnm  at  Turin  August 
11, 1830,  belonged  to  a  family  of  artiita,  bath 
mo^oal  and  dramntic.  She  waa  eduwted  at 
Milan,  and  learned  dnging  undtr  Cataneo.  She 
made  hai  £nt  appearanoe  at  tbe  age  of  diteen, 
July  1846,  in  'I  bus  Foeoxri'  at  Milan-  After 
It  abort  time  ihe  want  to  Verona,  and  thenoe  to 
Copeohagen,  oraifimung  at  each  place  the  proiaiae 
of  eioellenoe  which  aha  bad  already  giran.  At 
C(f>eahagan  no  eflbrt  waa  apared  to  ntaiu  her 
fot  a  prolonged  engagement,  but  the  climate  wna 
Intolerable  to  her.  Bhe  next  appeared  at  Madriii, 
where  idie  waa  enthuaiiutically  applauded,  and 
her  rs-engigenient  demanded  unanunoualy.  In 
1848  ihe  appeared  in  Paria  in  'I  Due  Foacari,' 
but  this  time  without  effect.  She  wei]t  imnieili- 
jiteiy  to  the  Baiana,  and  thence  to  New  York, 
Philadelphia,  a^d  Beaton.  At  all  theae  |>Uc€e 
■he  wiB  much  admired.  In  tS5i  she  retumeil 
to  Europe,  kod  married  H  Greek  genlleman  named 
Xindavelonia.  Slie  wa*  engaged  for  the  next 
■esaoa  by  Mr-  Gye  at  Covent  Garden,  aud  made 
her  d^but  in  'LKlisir  d'Amore,'  July  15,  ih^i. 
Of  her  paniou  all  oould  Judge;  but  her  voice 
aeemed  wiry,  itrange,  perpetually  out  of  tune, 
and  her  eiecution  wild  and  ambitioua.  Never 
was  a  fint  appearance  more  scant  in  muaioal 
ptomiae  of  one  who  waa  destined  during  her 
■hwt  career  to  become  so  deaervedly  great  a 
&vouiite.  But  Madame  Boaio  waa  curiously 
made  up  of  contrsdictioua.  Her  features  were 
irnqjular  and  ill-formed ;  yet  on  the  itage  ehe 
waa  so  pleaaing  as  to  be  known  by  the  aobritjuet  of 
'  Beaui  yeui.  '  Next  to  Macbme  Sontag,  she 
was  the  most  ladylike  person  whom  I,'  saya  Mr. 
Chorley,  ■  have  aeeu  on  the  stage  of  the  Italian 
Open-  She  bad  a  certain  oondesoending  grace- 
fidneaa.  which  made  up  far  coldnesa.  This 
demeanour,  and  her  happy  taste  in  draaa,  had 
no  imall  influence  on  tbe  rapid  growth  of  her  1 

ripularity,  which  grew  to  eicMd  that  of  Madame  I 
endani,   whom   she   replaced,  and  whom  by 


BOTTfeB  DE  TOITLMON 

many  ahe  waa  thought  to  aurpaas,  tlH 
leapect  bereqnal  aaasingcr.'  At  tbe 
season  she  made  her  fint  hit  in  '  I 
taking  the  place  of  Griai,  who  had  declij 
•nuB  was  tbe  turning  point  of  Bern: 
During  the  winter  Ae  wag  tbe  primi 
Puis,  and  resppeared  in  tbe  next  ^irini 
in  '  Matilda  di  Shabran,'  'JesBond*,' 
letto.'  The  latter  waa  produced  M&j 
gay  hand*>»ne   &ce,  bar  winning  at 

the  VD 

eiecution,  were  all  displayed  in  this 
as  it  ia.'  From  thia  date  Bosio  met  wi 
but  moat  brilliant  sucoeaa.  In  IK^ 
appeared  in  '  II  BartHcte,'  and  tbe 
no  words  too  glowing  to  express  their  1 
In  'I  Puritani'  »he  was,  with  tbe  e: 
course  of  Griri,  tbe  boit  Elvira  tliat 
seen.  The  winter  seai-on  found  ha 
Faria.  and  the  spring  of  1855  in  Loo 
Royal  Italian  Opera, — in  'Eruani' 
Comtt  Ocy.'  She  lang  at  the  Non 
val.receivmgXjoofia'fourdaya.  Thai 
she  accepted  an  engagement  at  St.  1 
the  terma  being  100,000  francs  for  fo 
with  a  guanuit«ed  benc£t  of  15,000 
a  permiaaion  to  sing  at  private  cikii 
aucoas  was  extraordinary,  llienci! 
to  Moscow.  In  1856  she  returned 
Garden.  Her  moat  remarkable  peitca 
In  'La  Trsviata.'  in  wbich  the  preoei 
different  reading  of  the  character  to  tt 
Piccolomioi  at  the  other  house.  In  t 
appeared  in  'La  Traviata,'  and  in  'Fi 
with  Gardoni  and  RoDconi.  In  1858, 
singing  at  St.  Pel«isbuig  with  tb 
suooesB,  ahe  returned  to  London  in 
res.ppriu'ed  at  the  new  theatre,  Cove 
Be  turning  again  to  St.  Petersburg 
nominated  premiere  cantatrice,  an  ho 
bestowed  before.  On  April  11,  i8;i 
denlj  died.  Her  delicate  coustituliol 
endure  the  rigorous  climate  of  Rus» 
wae  the  loaa  of  an  admired  aiDger  an- 
artist  more  acutely  felt  by  the  whc 
public.  She  wa*  buried  with  public  i 
April  Ij,  in  the  cathediwl  vaults  at 
burg. 

BOTTEE  de  TOULMON,  an  an 
was  librarian  to  the  Conservatoire  of . 
Aug.  1831  till  hii  death;  bom  at  Pal 
1797,  died  there,  fixKn  an  attack  broii 
the  Revolution  of  1S48,  MarrJi  u,  1 
meriLs  appear  to  have  been  chiefly  tl 
votion  and  perseverance.  According 
account  (Biugr.  Univ.)  he  was  incoui| 

hist^ffy  and  arclueology,  of  wbich  Ye 
list— appear  not  to  be  trustworthy.    1 

having  published  the  catalogue  of  t 
sitiuns  of  Cherubini,  which  was  kept 
year  by  that  master,  and  published  afu 
under  the  title  of  '  Notice  des  Mann* 
graphes  da  Musiqua  oompo*i!epar  feu  ' 


sorriE  ds  toulmon. 

&  CherBfaini  euurinteDdMit  de  Uk  musique  dn  kA, 
Directaar  da  Conaenratoire  de  musique,  Gom- 
siandeur  de  I'ordre  loyale  de  )a  legion  d'hoimear. 
Meinbre  de  Tlnstitut  de  fVance,  eta,  etc.,  etc. 
Pkrift,  eliex  ies  prindpaax  editeun  de  musique, 
s'^.v'  I-t  »  an  8to.  pamphlet  of  36  pages,  with 
a  abort  pre&oe  byM.  Bottle  de  Touimon,  and 
a  noooe  to  inteBdhig  pnrchaeen,  fat  whom  it  was 
Bade  pviblic.    It  if  now  yery  rare.  [G.] 

B0TTO3ILEY,   Jobxpb,   hem   at   Halifax, 

Torkahiivi,  in  1 786,  at  a  very  earij  age  evinced 

a  strong^  predilection  for  music,  and  so  quickly 

pft  fited  by  the  instmctioii  he  leoeived  as  to  be 

able  at  aeven  yean  of  age  to  periiarm  a  violin 

coooerto  in  public.    At  twelve  yean  of  age  he 

vaa  rexEioved  to  Manchester,  where  he  studied 

mider  Orimsbaw,  organist  of  St.  .fohn's  Church, 

and  Watts,  leader  of  the  concerts.    By  the  advice 

of  the  latter  he  took  lessons  on  the  violin  from 

Yaniewicz,  then  in  Manchester.    At  fifteen  he 

vaa  articled  to  Lawton,  oiganist  of  St.  Peter*s, 

Leeda.     On  the  expiration  of  his  term  he  went 

to  London,  and  studied  pianoforte  playing  under 

Woelfi.     Li  1807  he  was  appointeid  oiganist  of 

the  pariah  church  of  Bradferd,  Yorkshire,  but 

resided  and  taught  chiefly  in  Uali&x.     In  1  Sao 

he  was  diosen  organist  of  the  parish  church, 

Sheffield.    Bott<»nley  published  several  of  hia 

o^mpootiona  for  the  pianoforte,  and,  in  181 6,  a 

small  dictionary  of  music.  [W.  H.  H.] 

BOUCHE  FERMfiE,  X— i.e.  with  shut 
laooth — vocaliaation  without  words,  with  the 
teeth  closed  and  the  lips  nearly  so;  a  trick 
occaaonally  adopted  by  oomposera.  Examples 
may  be  found  amongst  the  Crennan  part-songs, 
and  also  in  Gounod*s  works.  There  have  b^n 
anging  masters  who  recommended  the  practice 
to  their  pupils,  under  an  idea  that  it  strengthened 
the  breathing  power  without  distressing  the 
Tocal  organs.  Beethoven  never  wrote  anything 
a  hauehe  fennitj  but  he  alludes  to  the  practice 
in  a  droQ  letter  (Sept.  23,  1834)  to  Hauschka, 
eonferring  on  him  the  '  Intendanz '  of  all  *  Sing- 
sad-Bruinm-VeMine.*  [W.  H.  C] 

BOUCHER,  ALRZAimRX  Jbav,  a  well-known 
lioHnist,  was  bom  at  Paris  in  1 770.  It  is  related 
that  he  played  at  the  court  when  only  six,  and 
si  the  Concert  Spirituel  when  eight  yean  of  age. 
In  1787  he  went  to  Madrid,  where  he  was  ap- 
potafed  aolo-violimafe  to  the  kin^  and  associated 
u  a  quartet -player  with  Boccherizu.  In  1806 
he  returned  to  Paris,  and  in  i8ao  began  to 
travel  over  Europe,  exciting  everywhere,  if  not 
the  unconditionsd  approbadon  of  artists  and 
critics,  at  any  rate  the  admiration  and  curiosity 
of  the  general  public  by  his  extraordinary  per- 
Sonnancea.  In  1844  ^^  returned  to  France, 
letded  at  Orleana,  and  died  at  Paris  in  i86t. 

Possessed  undoubtedly  of  an  exceptional  talent 
for  execution,  Boucher  was  not  a  little  of  a 
moacai  charlatan.  Spohr  made  his  personal 
acqoaintaace  at  Brussels  in  1819,  and  speaks  of 
Um  as  foUowa :  '  His  &ce  bore  a  remarkable 
likeneas  to  Napoleon  Bonaparte's,  and  he  had 
eridently  carefully  studied  the  banished  emperor's 


SM 


BOUBGEOHL 


I  way  of  bearing  himself  lifting  hia  hat» 
snuff,*  etc.  (Selbetbiog.  ii.  73).  As  soon  as  ha 
came  to  a  town  where  he  intended  giving  a 
concert,  he  practised  these  tricks  on  the  public 
walks  and  in  the  theatre,  in  order  to  attract  the 
curiosity  of  the  public;  he  even  managed  to 
spread  a  rumour  tiiat  he  was  persecuted  by 
existing  govermnents  on  account  of  his  likeness 
to  Napoleon,  because  his  appearance  was  Hkdy  to 
revive  the  sympathies  of  tne  masses  for  that  great 
man.  He  certainly  advertised  a  concert  at  LOle 
in  these  terms :  '  Une  malheureuse  ressemblanoa 
me  fiiroe  de  m*expatrier ;  je  donnerai  done  avant 
de  quitter  ma  belle  patria,  im  conaert  d'adieux,' 
etc.  Ha  a]«>  atyled  Inmaslf  '  L*  Aksandn  daa 
Vidona.* 

In  his  profieienEy  la  tiie  exeontion  of  deaUa 
stops,  the  ataeoato,  and  other  tedmioal  diffi- 
oulties,  he  appean  to  ha^e  been  only  surpassed  by 
Paganini,  and  we  are  assured  by  oompetent  eon* 
temporary  oriticB  that  he  now  and  then  played 
a  slow  movement  with  ravishing,  if  somewhat 
extravagant,  expression.  But  whatever  powen 
of  execution  his  perfonnanoes  may  have  shown* 
if,  as  Spohr  states,  he  altogether  spoiled  a  quar- 
tet of  Haydn  by  tasteless  Miditions,  we  must  con- 
clude that  he  was  but  an  indifferent  musician. 
After  what  we  know  (rf  his  general  character 
as  an  artiat,  it  is  not  suiprisiqff  to  learn  that  he 
not  unfirequently  wound  up  a  nirious  passage  by 
intentionally  upsetting  the  bridge  of  his  violin 
as  a  climax,  and  that  he  used  to  perform  quite 
as  much  by  the  action  of  the  &ce  and  legs  as  of 
the  bow. 

Boucher**  wife  was  a  clever  player  on  the 
harp,  but  seems  to  have  adopted  her  husband's 
doubtful  means  of  winning  the  applause  of  the 
public.  She  used  to  play  duets  for  piano  and 
harp,  with  one  hand  on  each  instrument.  [P.  D.] 

B0ULAN6ER,  Mme.  Maris  Julib  (n4e 
HaQigner),  bom  1786,  died  1850;  a  dramatic 
singer.  She  studied  in  the  Conservatoire  under 
PUmtade  and  €rarat»  and  made  her  d^but  with 
immense  success  at  the  Op^ra  Comique  in  181 1. 
Her  voice  was  fine,  her  execution  brilliant,  and 
her  acting  full  of  character  and  intelligenoe* 
Her  most  successful  rOles  were  those  ef  soubrettes 
and  maid-servants.  She  renuuned  on  the  stage 
till  1845,  bat  her  voice  had  failed  some  time 
previously.  [M.  C.  C] 

BOUBGBOIS,  Loon,  writer  on  the  theory  of 
music,  bom  ia  Paria  in  the  beginning  of  the 
1 6th  century.  He  followed  Calvin  in  1541  to 
Geneva,  where  he  was  cantor  of  one  of  the 
churches,  but  quarrelled  with  the  presbytery, 
who  would  not  allow  him  to  introiluce  a  har- 
monised version  of  the  Psalms  in  public  worship. 
He  threw  up  his  poet,  and  returned  in  1557  to 
Paris,  where  he  waa  still  living  in  1561,  but 
after  that  date  all  trace  of  him  is  lost.  His 
great  work  is  'Le  droict  chemin  de  musique^* 
I  etc.  (Geneva,  1550).  In  this  he  proposed  a  new 
system  of  notation,  which  was  accepted  not  only 
by  the  Protestants,  but  by  all  French  musiciajis' 
and  not  finally  abandoned  till  the  beginning  of 


264 


BOURGEOIS. 


the  19th  century.    Bourgeois  pubUflhed  several 
■etB  of  PBalme  in  four  parts.  [F.  6.] 

BOUKGEOIS,  Louis  Thomas,  dramatic  com- 
poser, bom  at  Fontaine  FEvdque  in  1676.  He 
was  counter-tenor  at  the  Grand  Op^ra  in  Paris 
in  1708,  but  in  1 71 1  devoted  himself  entirely  to 
composing.  In  171 3  he  produced  'Les  Amours 
d^guis^B,  and  in  171 5  'Les  plaisirs  de  la  paix.* 
He  was  chapel-master  at  Toul  in  17 16,  and  after- 
wards at  Strasboui^.  He  died  in  JParis  in  great 
poverty,  Jan.  1 750.  He  composed  sixteen  operas 
(for  list  see  F^tis)  4Uid  raaaxy  cantatas.       [F.  G.] 

BOUBGESi  Clemsntikb  de,  eminent  com- 
poser of  the  1 6th  century.  Her  husband  was 
Killed  fighting  against  the  Huguenots  in  1560, 
and  she  died  of  grief  Sept.  50  in  the  following 
year.  Her  compositions  deserve  to  be  ranked 
with  those  of  the  great  composers  of  her  time. 
A  four-part  chorus,  '  Da  bei  rami/  by  her  is  in* 
duded  in  Paix*s  '  Orgel-tabulatur-Buoh.*  [F.  G.] 

BOUBGES,  Jeak  Maurice,  distinguished 
musical  critic,  bom  at  Bordeaux  Dec.  a,  181 2; 
came  early  to  Paris,  and  studied  composition 
under  Barbereau.  In  1 839  he  became  joint-editor 
of  the  'Revue  et  Gazette  musicale,  the  high 
reputation  of  which  paper  is  in  great  measure 
owing  to  him.  In  1846  'Sultana/  an  opera  of 
his,  was  successfully  produced  at  the  Op^ra 
Oomique.  He  made  an  excellent  translation  of 
the  words  of  Mendelssohn's  'Elijah.*  He  died 
in  1868,  after  an  illness  of  many  years.     [F.  G.] 

BOtJRRfiE.  A  dance  of  French  origin,  which 
is  said  to  have  come  fix)m  tiie  province  of  Au- 
Viscgne.  According  to  other  authorities,  how* 
ever,  it  is  a  Spanish  dance,  from  Biscay,  where  it 
is  said  to  be  still  practised.  The  bourr^e  is  often 
to  be  foimd  in  the  older  suites,  especially  in  those 
of  Bach,  and  is  of  a  rapid  tempo,  in  common 
(allabreve)  time.  In  its  general  character  it 
presents  some  features  of  analogy  with  the  Ga* 
TOTTE,  firom  which,  however,  it  may  readily  be 
dlstinj^uished ;  first,  because  it  is  in  allabreve 
time,  that  is,  with  onlv  two  beats  in  the  bar, 
whereas  the  gavotte  has  four;  and  secondly, 
that  the  latter  begins  on  the  third  crotchet  in  the 
bar,  while  the  boutree  always  commences  on  the 
fourth.  Like  most  of  the  older  dance- movements, 
it  consists  of  two  parts,  each  of  which  is  repeated. 
In  Baches  suites,  a  second  bourr^  frequently 
follows  the  first,  in  the  same  way  as  in  a  sym- 
phony or  sonata,  a  trio  follows  a  minuet,  after 
which  the  first  bourrte  is  repeated.  There  is  a 
good  modem  example  in  Sullivan's  music  to  the 
*  Merchant  of  Venice.'  [E.  P.] 

BOUSQUET,  Georges,  composer  and  critic, 
bom  at  Perpignan  181 8,  died  at  St.  Cloud  1854 ; 
entered  the  Conservatoire  as  violin  pupil;  won 
the  Grand  Prix  in  1838 ;  and  his  compositions 
while  he  held  the  prize,  particularly  two  masses 
(Rome,  1839-40),  excited  hopes  of  a  brilliant 
career.  But  his  first  opera,  '  Le  Mousquetaire,* 
produced  at  the  Opera  Comique  in  1844,  was  a 
failure.  'Taburin  (1852)  met  with  better  suc- 
cess.    For  three  seasons   Bousquet   conducted 


BOW. 


the  orchestra  at  the  Th^'&tre  Italien.  He 
tributed  articles  to  the  'Revue  et  Grazette 
sicale.'  [M.  C. 

BOW.    The  strings  of  the  various  instrumei 
of  the  violin  tribe  are  made  to  vibrate  by  fricti^ 
with  the  hair  of  the  bow.     Like    the   viol' 
the  bow  went  through  many  progressive  pi 
till,  at  the  end  of  last  century,  it  acquired 
present  shape,  which  seems  to  leave  no  room  Aj 
improvement.    The  bow  with  which  the  Rebi 
(the  oldest  stringed  instrument  played  'with 
bow  with  which  we  are  acquainted)  was  phiyi 
had  the  form  of  the  weapon  from  which  it  deriv« 
its  name.    The  stick  was  much  bent,  and  a 
or  string  was  tied  from  one  end  to  the  othen 
(Fig.  I.)  ^ 


i\ 


Fig.  1 .  Fig.  2.        Fig.  3.         *\'-  4- 

(1620.)  (164c.)  (16OC.) 

In  pictures  of  the  13th  century  we  notice 
something  like  a  nut  and  head,  and  hair  was 
possibly  used  in  place  of  the  cord.  The  bow 
now  gradually  loses  more  and  more  the  actual 
bow-^pe  (Figs,  a,  3,  4) ;  the  head  is  distinct 
fr^m  the  stick,  and  the  nut  is  no  longer  a  portion 
of  the  stick,  but  is  attached  to  it  by  a  wire. 
On  the  top  of  the  stick  a  narrow  piece  of  in- 
dented iron  is  fixed,  on  which  the  wire  is  hooked, 
and  thus  the  hair  made  tighter  or  looser  at  plea- 
sure. (Fig.  5.)  The  next  step  consisted  in  the 
substitution  of  a  screw  for  the  wire  and  in- 
dented iron,  by  which  the  tension  of  the  hair 
could  be  perfectly  regulated.  This  was  Corelli's 
bow.  (Fig.  6.)  It  was  made  of  light  wood,  the 
stick  perfectly  straight,  hardly  if  at  all  elastic, 
and  very  short.  Tartini*s  bow  (Fig.  7)  was  con- 
siderably longer,  the  wood  thinner,  and  more 
elastic. 

Towards  the  end  of  the  i8th  century  Francois 
TouRTE  brought  the  art  of  bow-making  to  per- 
fection, and  created  a  model  on  which  no  im* 
provement  has  been  yet  made.    In  £Act  his  bow 


BOW. 

awbiiMB  all  the  qnalitiei  required  to  enable  the 
f^yer  to  fiJlow  out  every  oonoeivable  nuance  of 
vjae  and  movement — lightness,  finnnees,  and 
cbetidty.  The  stick  of  the  modem  violin  bow 
(Fig.  8)  is  made  of  Braziliaii  buioo-weod  (Dup 
pitia  quitaratMis)  or  of  Snake-wood  {Bronmum 
a^dii) ;  it  is  cut  gtraight,  following  the  grain 
ef  the  wood,  and  afterwards  slightly  bent  by  ex- 
poforeto  heat.    Although  many  trials  have  been 


BOWING. 


265 


k 


K 

1 


\ 


Ii&-5.        Fig.  6. 
(1700.) 


Fig.  7. 
(»740.) 


Fig.  8. 


icade  no  wood  has  been  found  to  possess  the 
neccamy  qualities  in  the  same  degree  as  those 
i&eQlianed. 

The  nut  (e.  Fig.  9)  is  made  either  of  ebony 
(T  tcvtoise-ahell.  For  violin,  tenor,  and  violon- 
cello bows  white  horse-hair  is  used ;  for  double- 
baa  bows  (which  are  made  of  beech  wood)  black. 


ft=E=^S' 


Fig.  9. 

^^r  (6)  is  inserted  in  the  head  (e\  and  the 
not  of  the  bow,  and  can  be  made  tighter  or  looser 
by  tunuag  the  screw  (rf). 

The  hair  from  the  tail  of  stallions  is  preferred, 
M  being  stronger,  more  even,  and  free  from 
^^^'■'^I'eBi.  The  friction  on  the  string  is  increased 
jy  the  application  of  rosin.  From  175  to  250 
™  »e  put  into  a  violin  bow.  Tourte  fixed 
utt  length  of  a  vidin-bow  to  39-39^  inches^ 


of  a  tenor  bow  to  29,  and  of  a  violoncello  bow  to 
aKj^-aS.}.  The  bows  of  Tourte's  own  make  are 
st'll  considered  the  best,  and  oonunand  a  high 
price ;  though  not  a  few  modem  bow-makers 
have  turned  out  very  good  bows,  which  frequently 
go  under  his  name.  [P.  D.J 

BOWING.  This  term  is  used  in  a  twofold 
sense,  corresponding  to  the  German  terms  'Bo- 
genfuhrung'  and  'Strichart'  respectively.  In  the- 
lirst  it  designates  in  a  general  way  the  action  of 
the  bow  on  stringed  instruments,  and  in  that 
sense  we  speak  of  a  style  and  method  of  bow- 
ing, or  of  the  bowing  of  a  player.  In  the  second 
it  means  the  particular  manner  in  which  a  phrase 
or  passage  is  to  be  executed,  and  the  signs  by 
which  such  a  manner  is  usuaUy  marked ;  and  in 
that  sense  we  speak  of  the  bowing  of  a  phrase 
or  passage. 

I.  Bowing  {Bogenfithrung),  Wliile  the  left 
hand  of  the  violin-plaYer  fixes  the  tone,  and 
thereby  does  that  which  for  the  piano-player  is 
already  done  by  the  mechanism  of  the  instru- 
ment,— and  while  his  correctness  of  inton*tion 
(supposing  his  ear  to  be  accurate)  depends  on  the 
proficiency  of  his  left  hand,  as  with  the  piano- 
pUk^er  it  depends  on  the  tuner*s  proficiency, — it 
is  the  action  of  the  violinist's  right  hand,  his 
hoiwing,  which,  analogous  to  the  pianist's  touch, 
makes  the  sound  spring  into  life;  it  is  through 
the  medium  of  the  bow  that  the  player  realises 
his  ideas  and  feelings.  It  is  therefore  evident 
that  'bowing*  is  one  of  the  most  important  and 
difficult  parts  of  the  art  of  violin-playing,  and 
that  the  excellence  of  a  player,  and  even  of  a 
whole  school  of  violin-playing,  to  a  great  extent 
depends  on  its  method  of  bowing,  llie  progress 
of  the  art  of  bowing  closely  followed  the  gradual 
perfection  of  the  bow  itself.  As  long  as  the  stick 
of  the  bow  was  stiff  and  unpliable  and  the  hair 
could  not  be  made  tighter  or  looser  at  pleasure, 
we  can  hardly  speak  of  an  art  of  bowing ;  for 
that  art  can  only  be  practised  with  an  elastic 
bow,  which  yields  to  the  slightest  pressure  of 
the  fingers.  As  long  as  the  violin-player  had 
merely  to  double  the  singers'  part,  no  other 
ntuincM  but  piano  and  forte  were  required  from 
him.  These  the  stiff  bow  could  produce,  but 
nothing  more.  When  at  the  beginning  of  the 
1 8th  century  the  violin  began  to  emancipate 
itself  from  the  position  of  a  mere  aocompanyist, 
and  entered  on  its  glorious  career  of  a  solo- 
instrument,  under  such  masters  as  Corelli  and 
Vivaldi,  it  was  only  by  the  use  of  an  elastic  bow 
that  it  could  acquire  the  &culty  of  producing 
various  nwincet  and  shades  of  tone.  Tartini  was 
the  first  to  make  the  stick  at  all  elastic,  and  must 
therefore  be  considered  the  next  great  advancer 
of  the  art  of  bowing.  His  work,  '  L'Arte  dell' 
Arco,'  probably  gives  us  a  correct  idea  of  the 
bowing  of  his  time.  A  full  broad  tone,  a  variety 
of  combinations  of  tied  and  detached  notes,  ar^ 
peg^os  with  firm  bow  (no  'springing  bow'  as 
yet), — are  the  main  features  of  his  bowing.  The 
full  development,  however,  of  all  the  powers  of 
the  violin  was  only  possible  with  the  modem 
bow,  as  first  made  by  Tourte  of  Paris.     The 


I  BOWINa. 

a,  best,  dutic  itick  of  his  bow  mabla  th*  ' 
yer  to  follow  out  the  ilighteat  gradfttioni  of 
e  from  the  fulleat  iiirte  to  the  »a^eaC  piano,  to 
rk  til  kinds  or  itroqg  uid  ^utle  Aoiwnt*,  to 
icute  staccato,  legato,  laltato,  and  arpeg^o  pau- 
;e«.  It  cannot  be  said  that  the  cUwioJ  FaHa 
LOol  of  vielio-pUyin^  avaUed  jt«elf  uf  all  tbe«  , 
lantagea  of  Tourte's  invention ;  thsif  bowing 
n  not  ahow  Terypwal  progrew  beyond  Tartini 
i  lus  •cbool,  and  even  Spohr  doea  nut  ad- 
aoe  matarially  upon  them.  But  with  Paganini  . 
new  era  opened  in  the  art.  He  uiea  freely 
lost  erery  im^nable  .movement  of  tbe  bow — 
addt  to  the  firm  alow  itaccato  the  quick  atac- 
o  of  many  notea — he  developa  tJie  movement 
the  winat  to  the  highest  pcifectioii,  enaUing 
D  to  execute  all  kinds  M  bowing  with  the 
Dost  celerity.  But  it  cannot  be  laid  that  this 
ithod  of  bowing  was  altogether  favourable  to  a 
h1  musical  style  of  playing,  which  requires  aa 
first  essential  bread^  of  tone.  Now  this  can 
ly  be  produced  by  a  perfectly  quiet  nuuiage- 
tnt  of  the  bow,  hardly  oompatible  with  Paga- 
li's  style  of  bowing. 

It  is  the  merit  of  the  modera  Gennan  school, 
iresented  chiefly  at  the  Vienna  and  Leinog 
nservatoiras,  and  by  the  greatest  of  modem 
^inists,  Joaohim,  to  have  combined  the  funda- 
mtal  qualities  of  all  good  bowing  with  the 
vaot^^  to  be  derived  from  Paganini'i  style, 
thout  following  oneaidedly,  as  the  modem 
ench  school  baa  done,  his  brilliant  but  ei- 
iv^ant  example,  and  tharebj  losing  the  true 
(nity  of  style  handed  down  &om  Corelli  and 
,rtini  to  Viotti,  Bod%  Spohr,  and  our  day. 
1.  Bowing  {Stricharl).  To  the  corraot  and 
ithful  rendering  of  a  musical  phrase  or  passage 
a  stringed  Jnstrumcsit,  it  is  essential  that  an 
propriate  bowing  should  be  chosen,  or,  if 
'eady  given  by  the  composer,  be  strictly  ad- 
[«d  tu.  This  appears  s^-evident,  if  we  oon- 
ler  how  one  and  the  same  paasa^  bowed  in 
o  different  ways,  may  produoe  two  entirely 
lerent  effects.  A  suooession  ot  notes,  intended 
the  composer  to  be  played  as  a  Itgsto  pasag^ 
d  Uiorefure  with  aa  litUe  changing  of  bow  as 
ssible,  would,  if  played  with  detached  strolin 
the  bow,  entirely  lose  its  charaoter.  And 
ain,  to  give  a  well  known  example,  what  would 
oome  of  the  light  and  sparkling  passages  of  one 
Mendelssohn  s  Scherzi,  if  tba  staccato  notes 
ire  played  legato?  Its  chancter  wuuld  be 
ttroyed  so  as  to  become  almost  ineoognisable. 
ue,  the  old  masters  left  it  more  or  Uas  to  the 
icretjon  of  the  performer  to  choose  an  appro- 
iate  bowing  for  the  different  puts  of  their 
npontion^  and  (rusted  to  their  artistic  feding 
d  tact  in  this  respect.  Nay,  if  we  go  back  to 
todel  and  Bach,  we  often  find  what  can  only  be 
iled  a  mere  sketch  of  a  parage.  Kacb,  in  his 
obrated  Violin  Solos  repeatedly  gives  long  sue- 
nions  of  chnnls  in  three  oiul  four  parts,  merely 
ding  the  word  '  arpeggio.'  and  leaving  it  to  the 

his  own  choice  and  inventioiL  However,  the 
idem  masters — partly  unce  Iloiart  and  Haydn, 


BOWIXY. 

aad  «bso1ntely  idDce  Beethoven -ham  g 
this  imperfect  way  c^  notation,  jnst  *s  tt 
up  writing  figured  bassss  instead  of  exp 
companimeuts,  and  at  tbe  pniseat  time 
poav  T«iy  rardy  omits  to  indicate  (be 
with  whirh  be  intends  each  panage  to 
mited.  Wilh  the  tendeooy  of  all  mode 
poeers  since  Beethoven  and  Sohobert 
tbe  characteriatic  and  denoiiptive  power  < 
more  and  more  into  the  foreground,  it 
natural  that  tbe  advanced  tecboique  of 
violin  -  playing  should  have  developed 
number  of  new  vorietiea  of  bowing,  in 
do  justice  to  all  the  subtle  nuuncea  whici 
be  rendere-1. 

In  orchestral  perfbrmances  and  in  thi 
of  chambeT'musio  it  is  chiefly  unifix 
bowing  which  is  to  be  aimed  at,  an 
alone  ensures  a  well-balanced  unanimoi 
Tbe  undeniable  excellency  of  the  c 
perftffmances  at  the  concerts  of  th 
Conservatoire,  at  the  Gewandbaus-coi 
Leipzig,  at  the  Cryetal  Palace  Satunlay  i 
and  similar  institutions  elsewhere,  is  < 
least  as  much  to  the  enforcement  of 
bowing  on  the  part  of  the  conductors  ani 
of  (he  bands  as  to  the  careful  obeer 
the  pianos,  fortes,  and  other  dynamic  >i) 

A  number  of  signs  are  used  in  muucal 
to  indicate  various  ways  of  bowing  :  ( 
'-~>  indicates  that  all  the  notes  under 
are  to  be  played  in  one  steoke  of  t 
legato,  (a)  A  slur  with  dots,  ;...-,  mei 
stsocato  or  saltato  in  one  stroke ;  whil' 
soDce  of  a  slur  indicates  that  every  not 
done  by  ^  sepatate  strvks.     (3I  Dots  c 


«(. 


•)m 


strokes,  either  with  firm  bow  ^m&rtelle 
springing  bows  (spicato  or  saltato).  (4) 
means  a  downstroke,  firom  the  nut  of  (h 
wards  the  head ;  V  '>''  A  an  upstroke. 
BOWLEY,  RoBtHT  KiNzow;  the 
boot-maker  at  Charing  Cross,  was  bom 
1813,  He  was  bred  to  his  other's 
and  succeeded  him  in  it.  His  lint  k 
of  music  was  acquinid  by  assodaticm 
choriaten  of  W«tminster  Abbey.  Ar 
enthuuastic,  he  pursued  his  studies  vi 
Whilst  still  a  youth  he  joined  a  sma 
called  ■  The  Benevolent  Society  of  Musi' 
teurs,'  of  which  he  afterwards  became  o 
In  1E34  he  was  one  of  the  commii 
promoted  and  curied  out  the  *  Amateur 
Festival'  at  Eieter  Hall.  About  the  s 
he  became  organist  of  the  Independent  < 
Orange  Street,  Leicester  Square,  and  ( 
so  for  several  yean.  In  October,  iSj^ 
admitted  a  member  of  the  Sacred  1 
Society,  then  in  its  in&noy.  and  1 
afterwards  elected  a  membca'  of  tta  or 
On  the  foundatjon  of  the  sodeW's  a 
nificent  musical  library  in  iS.^7  Mr.  Bo 
appointed  its  librvian,  an  office  which 
until  1854,  when  he  was  chosen  traasun 
post  he  oocupied  until  his  death. 
entire  period  of  Us  o ■' '"■ 


Dwithtb 


BOWLEir. 

he  labooTBd  mooMwntly  to  promote  its  wfllfars 
and  adTmnoe  its  reputation,  and  instigated  most 
of  the  stops  which  have  tended  to  place  it  in 
its  proeem  high  position.  The  scheme  of  cele- 
laatai^  tike  centenary  of  the  death  of  Handel 
by  performances  of  his  mosio  on  a  scale  of 
unpreoedeiited  magnitude,  and  which  event- 
vaUj  led  to  the  establishment  of  the  Handel 
Festivala  at  the  Crystal  Palace,  was  originated 
by  him.  In  1858  he  was  appointed  General 
managar  at  the  Crystal  Palaoe^  in  whidi  post 
he  proTed  himself  to  be  undoubtedly  '  the  nght 
man  in  the  right  place,*  and  where  he  remained 
tin  his  death,  August  25,  1870.  The  energetic 
Bod  adf-devoted  manner  in  which  he  discharged 
lus  duties  will  be  long  remembered  by  all  who 
kted  with  him.  [W.  H.  H.] 


BOYCB. 


967 


BOWMAN,  Hekbt,  publi^hed  at  Oxford  in 
1677  a  thin  Iblio  volume  bearing  the  title  of 
'Songs  for  one,  two,  and  three  voyces  to  the 
Th<Hx>w*Bass.  With  some  Short  Simphonies. 
OjUecied  oat  of  some  of  the  Select  Poems  of 
Uie  incomparable  Mr.  Cowley,  and  others,  and 
composed  by  Henry  Bowman.  Philo-Musi- 
cus.  A  ■s«md  edition  appeared  M  Oxford  in 
1679.  [W.  H.  H.] 

BOYCE,  WiLLTAV,  Mus.  Doc.,  was  bom  at 
Jcinen*  Hall,  Upper  Thames  Street  ^of  which 
company  his  father,  a  cabinet  maker,  was 
beadle),  in  17 10.  He  became  a  chorister  of  St. 
Paul's  Cathedral  under  Charles  King,  and,  on 
qaittii^  the  choir,  an  articled  pupil  of  Maurice 
<Wnene,  then  orgaaist  of  the  cathedral.  On  the 
expiration  of  his  articles  he  obtained  the  situa- 
tion  of  ofganiat  of  Oxford  Chapel,  Vere  Street, 
Caveitdish  Square,  and  pursued  hu  studies  under 
Dr.  PepQsch.  While  yet  a  youi)g  man  Boyce's 
hearing  >*^i^ft™^  much  impaired,  a  calamity  the 
greatest  that  oan  be&l  a  muaiciaa,  but  which,  in 
his  case,  did  not  lessen  the  ardour  with  which  he 
pursued  his  studies.  In  1736  he  gave  up  his 
app(nstmeni  at  Oxford  Chapel  upon  obtaming 
the  pest  of  organist  at  St.  Miehael's,  X>>mhill, 
which  had  bw»me  vacant  by  the  removal  of 
Jesnh  Kriway  to  St.  MaKin's-iv-theFields. 
On  June  «i  in  the  same  year  he  was  sworn  into 
the  place  of  Composer  to  the  Chapel  Royal  in  the 
rum  of  John  Weldon.  then  lately  deceased.  He 
most  aUy  disehasged  the  duties  of  this  office 
hy  the  composition  of  many  fine  snihems  and 
serrioes  several  of  which  are  still,  and  will  long 
coBtiBae  to  be.  in  use  'in  quires  and  places 
wliere  they  sing.*  In  1737  ike  was  appointed 
comlttotor  of  the  meetings  of  the  Three  Choirs 
of  Glottoeeter,  Woroesiter,  and  Hweford,  which 
effioe  he  held  for  several  years.  In  1740  he 
oempoaed  the  music  for  John  Lockraans  oratorio 
'  David's  Lssoent^on  over  Saul  and  Jonathan,* 
•od  bad  it  parformed  at  Covent.Grarden  Theatre. 
Aboat  the  same  time  he  set  two  ydes  for  St. 
Cedlias  dsy,  one  written  by  Lookman,  the  other 
by  the  Kev.  Mr.  Vidal,  undermaster  of  West- 
minster School.  In  1743  be  produced  the 
serouta  of  'Solomon,'  written  by  Edward 
Moore^  which  was  eminently  suooessifuly  and  one 


'  mng  in  which  ('Softly  rise,  O  southern  breeze,' 
for  tenor  voice  with  bassoon  obligato)  retsiined 
its  popularity  for  upwards  of  a  century,  and  Li 
still  occasionally  heard.  In  1 749,  on  the  erection 
of  an  organ  in  the  church  of  Allhallows  the 
Great   and   Lests,   Thames  Street,   Boyce  was 
chosen  oiganiiit.     In  the  same   year   he  was 
selected   to   compos   the   music   for    the    ode 
written  by  William  Mason  for  the  installation 
of  Henry  Pelham.  Duke  of  Newcastle,  as  Chan- 
cellor of  the  University  of  Cambridge.    The 
ode,  with  Boyoe^s  music,  was  performed  in  the 
Senate  House,  July  i,   1749,  »od  on  the  fol- 
lowing day,  being  Commencement  Sunday,  an 
anthem    with    oroheHtral   accompaniments   by 
Boyce,    was    performed   in   Great   St.   Mary's 
Church,  as  an  exercise  for  the  degree  of  Doctor 
of  Music,  which  the  University  then  conferred 
on  him.     Both  these  oompositions  were  soon 
afterwards  published  togetiier.     In  the  same 
year  Boyce   appeiired  as  a  composer   for   the 
theatre  by  setting  Lord  Lansdowne's  masaue 
of  *Peleus   and   Thetis*  (introduced  into    Lis 
lordship's    alteration    of    'The    Merchant    of 
Venice,*  entitled  'The  Jew  of  Venice')   and 
Moses  Mendes*s  muucal  entertainment,   *Tiie 
Chaplet*;   the  bitter  of  which  met  with  great 
success.     In '1 750  he  set  another  piece  of  tha 
same   kin4»    aluo   written   by    Mendez,   called 
'The  Sliepherd*s  Lottery.*     On  the  death   of 
Dr.  Greene,  in  1675,  Dr.  Boyce  was  appointed 
his  successor  as   master   of   the   kings   band 
of  music,   and  conductor  of  the  annual  festi* 
vals  of  the  Soas  of  the  Clergy  at  St.  Paula 
Cathedral.     In    the    fonner    capacity   he   waji 
required  to  compose  music   for   the  new-year 
and  birth-day  odes  of  the  poet-lanreate  ;  in  the 
latter  he  vohmtarily  composed  two  fine  anthems 
with  orchestral  accompaniments,   besides  addi- 
tional accompaniments  and  choruses  for  Purcell's 
Te  Deum  and  Jubilate,  written  for  St.  Cecilia*B 
day,   1694.     In   1758,  on  the  death  of  John 
Travers,  Boyce  was  appointed  one  of  the  or- 
ganists of  ihe  Chapel  Royal,  upon  which  he 
resigned  his  places  at  St.  Michaers,  Comhill, 
and  Allhallows,  Thames  Street,  and,  his  dea&ois 
still  increasing,  he  gave  up  teaching,  and  re- 
moved to  Kensington,  where  he  employed  him* 
self  principally  in  the  collection  and  editing  of 
the  materials  for  the  work  by  which  he  is  best 
known — *Cathednd  Music,  being  a  collection  in 
score  of  the  most  valuable  and  useful  oomposi- 
sibions  for  that  service  by  the  several  English 
masters  of  the  last  two  hundred  years.*    This 
work  was  projected  by  Dr.  Greene,  who  had 
commenced  collections  for  it,  but,  finding  hif 
health  failing,  bequeathed  all  his  materials  to 
Dr.  Boyce,  with  a  request  that  he  would  com- 
plete the  work.    The   'Cathedral  Music*  was 
published  in  three  volumes,  the  first  of  which 
appeared  in  1760  and  the  last  in  1778.    This 
valuable  publication,  which  redounds  so  much 
to  the  credit  of  its  editor  for  diligence,  judguient 
and  scholanihip,  produced  him  little  else  than 
fame,  its  sale  yielding  but  little  beyond  the  ex- 
penses of  production.    On  Feb.  7,   i779>   the 


2^8 


BOYCE. 


BRACE.' 


gout,  fi:x>in  wbicli  Boyoe  bad  long  suffered,  termi- 
nated the  blameless  life  of  this  most  amiable 
II  an  and  excellent  musician.  He  was  buried  on 
February  i6  with  uncommon  marks  of  respect, 
in  the  vault  under  the  centre  of  the  dome  of 
St.  Paul's  Cathedral.  In  the  year  following  his 
death  his  widow  published  a  volume  containing 
'Fifteen  Anthems  and  a  Te  Deum  and  Jubilate 
of  her  husband's  composition  ;  and  in  1790 
another  volume  containing  twelve  anthems  and 
a  service  was  published,  under  the  editorship  of 
l>r.  Philip  Hayes.  These  anthems  and  services 
(with  others,  to  the  extent  in  all  of  forty-six 
anthems  and  five  services)  were  afterwards  pub- 
lished in  four  volumes  under  the  editonthip  of 
Vincent  Novello.  In  1788  John  Ashley,  who 
had  purchased  the  plates  of  the  'Cathedral 
Music/  issued  a  reprint  of  it,  with  a  memoir  (by 
Sir  John  Hawkins)  and  a  portrait  (finely  en- 
graved by  Sherwin)  of  Boyoe  prefixed.  In  1849 
s  new  edition,  with  additional  services  and 
anthems  and  new  lives  of  the  composers  was 
is^4ued  under  the  care  of  Joseph  Warren.  Be- 
sides the  compositions  above  mentioned,  Boyce 
produced  the  following:  —  Drydeirs  'Secular 
Masque,*  1745;  twelve  sonatas  for  two  violins 
and  bass,  1 747 ;  a  concerto ;  ei^ht  symphonies ; 
'  Ode  to  Clharity,*  composed  for  the  Leicester  In- 
firmary, containing  the  duet  for  tenor  and  bass, 
*  Here  shall  soft  Charity  repair,'  which  long  re- 
mained an  indispensable  part  of  the  programme 
of  every  concert  given  in  aid  of  a  charity ;  Kev. 
Walter  Harte's  paraphrase  of  part  of  Pindar's 
first  Pythian  ode,  1 749 ;  M.-uque  in  '  The  Tem- 
pest';  dii^e  in  'Cymoeline' ;  dirse  in  'Romeo 
and  Juliet';  trio  in  'The  WintePs  Tale' ;  two 
odes  in  Home's  tragedy,  'Agis,'  1758;  besides 
many  songs  which  appeared  in  'Tlie  British 
Orpheus,'  'The  Vocal  Musical  Mask,*  etc.  A 
collection  of  Dr.  Boyce's  songs,  duets,  and 
cantatas,  entitled  'Lyra  Britannica,'  appeared 
firom  time  to  time  in  several  books.  Boyce  s  only 
son  long  filled  a  respectable  position  in  the  best 
orchestras  as  a  double-bass  player. 

The  following  are  the  contents  of  the  Cathedral 
Music : — 


VOL.  1. 
Tullis,  Preoes.  M.  uid  S.  Serr. 
lluriey.  Burial  Senr.  (}  minor. 
Farnnt,  M.  and  E.  Serr.  ii  mioor. 
Berin,     Do.    D  minor. 

F. 

S  minor. 

D. 

A. 

O. 

G. 

(tripk 


GibboDB,  Do. 
Child.  Do. 
Jtocen,  Do. 
Ulow,  Do. 
Aldrich.  Do. 
Blow,  Do. 
Do.  Kyrla  and  CiMd 

Hir8)0. 
UGhanta. 


VOL.Il 
Benry  VIII.  Full  Anth..  O  Lord  the 

maker.  4  voloet. 
TalU*.  F.  A.  I  call  and  err.  6  T. 
Tye,  F.  A.  I  will  exalt  Thee.  4  r. 
Dob  (Snd  iM.)  Sing  onto  the  Lord. 

4t. 
Farrant.  F.  A.   Gall  to  remen- 

branea.  4t. 
Do.  F.  A.  Hide  not  Tbon.  4  T. 
Bird,  F.  A.  O  Lord,  turn.  5  r. 
Do.  F.  A.  (Stad   pC)   Bow  Tliine 

ear,  O  Lord.  5  t. 

Do.  i^;  A.  Sing  jojniUr.  e  t. 


GIbboni.  F.  A.  Hoaanna.  6  t. 
Do.  F.  A.  Lift  up  your  bead*.  6  t. 
Do.  F.  A.  Almighty  and  everlasting. 

4v. 
Do.  F.  A.  0  clap  your  handi.  8  r. 
Do.  (tnd  pt.)  God  i»  gone  up.  8  v. 
Batten.  F.  A.  Hear  my  prayer.  8  v. 
Do.  F.  A.  O  praln  the  Lord.  4  r. 
Do.  F.  A.  Deliver  u*.  O  Lord.  4  r. 
Child.  F.  A.  Fraiae  the  Lord.  4  v. 
Do.  F.  A.  O  Lord,  grant  the  King. 

4r. 
Do.  F.  A.  Sing  we  merrily.  7  t. 
Kogers,  F.  A.  Behold  now.  4  r. 
Do.  F.  A.  Teach  me.  O  Lord  4  t. 
Blow,  V.  A.  God  is  our  hope    8  T. 
Do.  V.  A.  O  God,  wherefore  art 

Thou  absent   Sr. 
Do.  V.  A.  Save  me,  O  God.   4  r. 
Do.  F.  A.  The  Lord  hear  thee.  4  y. 
Do.  F.  A.  My  God.  my  God.  4  t. 
Aldrich,  V.  A.  Out  of  the  deep.  4.T. 
Do.  F.  A.  0  give  thanlu.  6  v. 
Creygbtoo.  F.  A.  I  will  ariae.  4  t. 
Furoeli,  V.  A.  OGod.Thott  art.  4  r. 
Do.  V.  A.  O  God,  Thon  ha.<(t.  6  v. 
Do.  V.  A.  O  Lord  God  of  Hostt.  8  t. 
Goldwin,  V.  A.  I  liare  set  Uod.  4  t. 
Clarke.  F.  A.  PralM  the  Lord.  O 

Jeruialem.  4  r. 


Croft,  T.  A.  Ood  b  gone  up.  4.  t. 
Do.  V.  A.  Put  me  not  to  rebuke.  4  r. 
WeldoD,  V.  A.  In  Thee,  O  Lord.  4t. 
Do.  V.  A.  Hear  my  crying.  6  v. 
Lawet  (Wm.).  V. 

my  light.  4  r. 
Lock,  V.  A.  Lord  let    me  know 

mine  end.   0  r. 
Humphreys,  V.  A.  Hare  merey  ap- 

on  me.  S  v. 
Do.  V.  A.  0  Lord  my  Ood.    8  v. 
Blow,  V.  A.  I  was  In  the  Spirit. 

4r. 
Wise.  V.  A.  Prepare  ye  the  way  of 

the  Lord.  4  r. 
Do.  V.  A.  Awake,  pat  on  thy 

strength.  Sr. 
Puroeli,  V.  A.  Thy  way,  0  God.  4  r. 
Do.  V.  A.  Be  merciful.  S  r. 
Clarke.  V.  A.  Bow  long  wilt  Thou. 

It. 
Croft,  V.  A.  O  praise  the  Lord.  8  t. 
Do.  V.  A.  Give  the  King.  B  r. 
SChanta. 

VOL  in. 
Bird.  M.  and  E.  Serr.  D  mln. 
Child.  Do.  D. 
Blow,  Do.  B  min. 
Puroeli.  M.  and  B.  Serr.  (donble), 

BSat. 


Bull.  V.  A.  O  Lord  my  Ood.  B  v. 
Humphrey,  V.  A.   Tlion   an 

King.  4  r. 
Do.  V.  A.  Like  ma  th«  bart. 
The  Lord  is  D<}.  V.  A.  Hear,  O  HoaTena. : 
Do.  V.  A.  Belotce  in  the  Lord. 
Diu  V.  A.  Haste  Thee.  O  tivd,  4  «. I 
Wise,  V.  A.  The  wmj*  of  Zltm.  2 ' 
Do.  V.  A-  Thy  beauty,  O  I»r»d.  4 ' 
Do.  V.  A.  Awake  up,  my  glory.  3i 
Do.  V.  A-  Blessed  ts  he.  3  ▼. 
Blow,  V.  A.  O  Lord.  I  bare  rfnnei 

Do.  V.A.  O  tUnt  unto  God.  3  T. 
Do.   V.   A.  O   I.ord.    Thoo 

searched  me  oot.  8  v. 
Do.  V.  A.  1  beheld   and  lo !  4  t. 
Turner,  V.  A.  Lord.  Tbou  hastbeoi 

onr  refuge.  S  t.  i 

PurceU,  V.  A.  Behold.  I  tetaw  ye«j 

8  T. 
Do.  V.  A.  nioy  tbat  go  down.  St. 
Do.  V.  A.  Thy  word  Is  a  lantern.  Sfb 
Do.  V.  A.  O  give  thanka.  4  r. 
Clarke,  V.  A.  1  wlU  lore  Thee.  St. 
Gibbons.  Sanctos.    4  t.  In  F. 
Child.  Sanctus.    4  t.  In  E  mdoor. 
Koirers,  Fanctus.    4  v.  In  D. 
Crayghtoa.  Sanctaa.    4  v.  in  E  fto. 

H. 


'4 

.4t.      I 

.St. 

•rd.  4d 
•  '<< 

1 


[W.  H.  H.] 
BRABANQONNE,  LA,  the  national  air  of 
the  Bel^ans,  dating  firom  the  revolution  of  1830, 
when  Belgium  became  an  independent  country. 
Both  words  and  music  were  oomposied  during  the 
struggle ;  the  former  by  a  certain  Jenneval,  who 
was  killed  in  one  of  Uie  actions  near  Antwerp, 
the  Uktter  by  Campemhout.  The  air  is  cer- 
tainly unlike  other  'national  airs,*  but  it  has 
taken  a  very  firm  hold  in  the  country.  The 
melody,  and  the  words  of  the  first  stanza  are 
subjoined : — 


^A<^  I  Mf 


m 


QuiriunalteraTde       Vmt 


U 


tnl 


re.  Cobs 


tri' aTr"ns1rfi'£^^  ^^ 


crant  lee  affireux  pro  •  Jeta, 


8ur  nous  de  ral-raln       nngui- 


^J^'F^fr^^^'air  "c^ 


nai    -    •   re,       Unprinoea   lan-o<  les  bou-leta.       Cen  est 


S^ 


as 


fUt!  oulBelveatoutcliaa-ge.  A-Tee  NaaeauplosdliMlig- netrai> 

/7\ 


*^ 


V=^'l^^\f-^^^ 


\A\ 


La   ml  •  trallle  a     bri  -  e6    Ik)  •  ran 


fTI>£F-ir  fW^ 


IV-  bredela   li-ber-ttf. 


LamitraiDe  a 


r^-^ir"aL-,^c-i^^l 


rang 


anrl'ar-brade    la     li-ber-K 


^j^frst^-r^^^^^ 


rar-hrede  la  ll-ber-t«.       Bur  -  l-er-brede   la   U-bcr-tA 

BRACE  (Ger.  Klammer;  Fr.  Aecolade;  ItaL 
Aceolatia),  A  vertical  line,  usually  a  double 
curve,  used  to  couple  together  two  or  more  staves, 
thus  indicating  that  the  music  written 
therein  is  to  be  performed  simultane-  i 
ously,  either  by  various  instruments,  or  / 
voices,  or.  in  pianoforte,  harp,  or  organ-  j 
music,  by  the  two  hands  ol  the  performer.  \ 


BRAOE. 

In  ordliestral  aoores  the  whole  of  the  staves 
fcnning  the  score  are  braced  together  by  a  verti- 
al  straight  liiie,  and  curved  braces  are  added  to 
•how  the  positioii  in  the  score  of  certain  instru- 
mtesats  or  gronpe  of  instruments,  and  so  to  facili- 
tste  the  reading.  These  curved  braces  are  usually 
employed  to  couple  together  the  parts  for  the  first 
ud  second  violins,  pianoforte  or  organ  (if  any), 
the  violoncello  and  doable-bass,  and  the  three 
troniboQes. 

In  oEgan  music  with  pedal  obligate  three  staves 
Are  required,  the  lowest  being  for  tiie  pedals ;  these 
three  are  braced  by  means  of  a  straight  line,  with 
X  cnrved  brace  in  addition,  to  indicate  the  two 
A&ves  which  belong  to  the  manuals.  [F.  T.] 

BRAD£,W£LLTAif ,  an  English  musicianresident 
ftt  Hamburg  at  the  commencement  of  the  1 7th 
oentory.  He  was  esteemed  a  good  performer  on 
the  viol,  and  published  'Paduanen,  Galliarden, 
Csmonetten,*  etc.  (Hamburg,  160Q,  4to) ;  '  Neue 
Paduanen  and  Gagliarden  mit  stimmen*  (Ham- 
boig.  1614,  4to);  'Neue  lustige  Volten,  Cou- 
nnten,  Balletten,  etc.,  mit  5  stimmen*  (Frank- 
fort, 1621,  4to).  These  publications  are  of  more 
than  ordinary  interest,  as  containing  English 
tin,  some  mentioned  by  Shakespeare.  He  died 
St  Frankfiart  in  1647.  [E.  F.  B.] 

BRAHAM,  JoHK,  bom  in  London  of  Jewish 
parents  in  1774,  was  left  an  orphan  at  an  early 
age,  and  in  such  humble  circumstances  tihat  he  is 
asid  to  have  sold  pencils  about  the  streets  for  a 
living.    He  was  still  very  young  when  he  became 
the  pupil  of  Leoni,  an  Italian  singer  of  celebrity ; 
and  his  first  appearance  in  public  was  at  Covent 
Garden  Theatre,  April  ai,  1787,  for  the  benefit 
of  his  master.     In  the  bill  it  is  announced — 'At 
the  end  of  Act  I,  *The  soldier  tired  of  war's 
alsrxns,*  by  Master  Braham,  being  his  first  ap- 
pearance on  any  stage.'   After  the  first  act  of  the 
&roe,  he  sang  the  favourite  song  of  '  Ma  ch^re 
amie.'    At  the  opening  of  the  Royalty  Theatre 
in  WeUdoee  Square,  on  June  ao  in  the  same 
year,  between  the  acts  of  the  play,  '  The  soldier 
tired  of  war^s  alarms'  '  was  sung  with  great  suc- 
euB  bv  a  little  boy,  Master  Ahram,  the  pupil  of 
I^oni ;  and  another  paper  said  '  Yesterday  even- 
iog  we  were  surprised  by  a  Master  Abratham,  a 
yocng  pupil  of  Mr.  Leoni.    He  promisee  fair  to 
sttsm  perfection;  possessing  every  requisite  ne- 
onsary  to  form  a  capital  singer.'     When  he  lost 
Ilia  boyish  voice  the  future  prospects  of  young 
Braham  appeared  doubtful ;  Leoni  had  fallen  into 
^lifficolties,  and  about  that  time  left  England ; 
hot  he  found  a  generous  patron  in  Abraham 
(Goldsmith,  and  became  a  professor  of  the  piano. 
On  his  voice  regaining  its  power  he  went  to  Bath, 
uid  in  1794  made  Wm  appearance  at  some  con- 
certs there  under  the  direction  of  Rauzzini,  who« 
t^picciating  his  talent,  gave  him  musiod  in- 
"Action  for  three  years.    In  1796  he  was  en- 
gaged by  Storaoe  for  Druiy  Lane,  and  his  d^ut 
^  an  opera  called '  Mahmoud')  was  so  successful 
thst  in  the  year  following  he  was  engaged  for 
tbe  Italian  opera-house.     Hoping,  however,  to 
tchisTe  a  mo.e  permanent  reputation  than  oould 


BRAHAM. 


269 


be  obtained  by  any  other  course,  he  resolved  to 
visit  Italy,  and  there  complete  his  musical  edu- 
cation. Florence  was  the  first  city  at  which  he 
appeared  in  public ;  then  he  visited  Milan,  and 
afterwards  Geno%  where  he  studied  composition 
under  Isola. 

Taking  leave  of  Italy  in  consequence  of  nu- 
merous solicitations  from  his  own  country,  he 
reappeared  at  Covent  Garden  in  1801.  From 
this  point  may  be  dated  that  triumphant  career 
during  which  he  created  a  constant  furore,  the 
effect  of  which  has  hardly  yet  passed  away.  The 
opera  in  which  he  made  his  first  appearance  was 
a  work  by  Mazzinghi  and  Reeve,  entitled  'The 
Chains  of  the  Heart.'  The  music,  however,  was 
so  feeble  in  the  serious,  and  so  commonplace  and 
vulgar  in  the  comic  parts,  that  it  liv^  only  a 
few  nights,  and  was  succeeded  by  '  The  Cabinet.' 
In  this  opera  Braham  was  the  composer  of  all 
the  music  of  his  own  part,  a  custom  to  which 
he  continued  for  several  years  to  adhere,  and 
seldom  has  music  been  more  univowdly  popular. 
Among  the  operas  with  which  he  was  thus 
connected  we  may  name  *  Family  Quarrels,'  180 a  ; 
'The  English  Fleet,'  i8oa ;  'Thirty  Thousand,' 
1804;  'Out  of  Place,'  1805;  'False  Alarms,' 
1807;  'Kais,  or  Love  in  a  Desert,'  1808;  and 
'The  Devil's  Bridge,'  181  a.  To  follow  Braham 
in  all  his  engagements  would  exceed  the  limits 
of  this  notice  :  it  is  sufficient  to  say  that  in  the 
theatre,  concert-room,  or  church,  he  had  scarcely 
a  rival.  Non  ce  in  Italia  tenore  come  Braham 
was  the  frequent  exclamation  of  foreigners.  His 
compass  extended  to  about  nineteen  notes ;  and 
his  &lsetto,  firom  D  to  A,  was  so  entirely  within 
his  oontrd  that  it  was  hardly  possible  to  distin- 
guish where  his  natural  voice  b^[an  and  ended. 
After  his  voice  had  lost  its  natural  power  he  was 
successively  engaged  at  several  theatres,  on  the 
mere  strength  of  a  reputation  which  seemed  im- 
mortal ;  and  his  proficiency  in  singing  Handel 
was  universally  acknowledged  when  his  career  as 
a  popular  vocalist  had  reached  its  termination. 
When  Weber  composed  his  opera  'Oberon'  for 
the  English  stage  (i8a6),  Braham  was  the  ori- 
ginal Sir  Huon. 

In  1 83 1  however  the  tide  of  fortune  changed. 
In  that  year  he  purchased,  jointly  with  Yates, 
the  Colosseum  in  the  Regent's  Park  for  the  large 
sum  of  £40,000.  Five  years  afterwards  he  opened 
the  St.  James*  Theatre,  which  he  had  erected  at 
a  cost  of  £  a6,ooo.  The  large  fortune  which  his 
genius  and  energy  had  gained  him  was  lost  by 
these  unfortunate  speculations.      He  died  Feb. 

17,  1856. 

In  private  life  Braham  was  much  respected. 
He  moved  in  good  society;  and  among  his 
acquaintance  his  fame  as  a  man  of  information,  a 
humourist,  and  a  raconteur,  was  scarcely  inferior 
to  his  reputation  as  a  vocalist.  As  a  composer 
he  completely  attained  the  object  he  aimed  at 
in  his  numerous  songs,  duets,  etc.,  many  of 
which  attained  the  highest  popularity.  As  a 
national  song  his  '  Death  of  Nelson'  hiuB  pleased 
and  continues  to  please  a  vast  majority  of  the 
inhabitants  of  the  British  Isles ;  it  has  therefore 


270 


BRAHMS. 


accdmplislied  its  purpoee.     {Dramaiie  Biogrtt- 
yhy;  GentlemarCs  Magazine;  etc.).      L^.  F.  R.] 

BRAHMS,  Johannes,  one  of  the  greatest 
living  German  composers,  and  in  the  departments 
of  choral  and  chamber  music  without  a  rival,  was 
bom  at  Hamburg  on  March  7,  1833.  Being  the 
son  of  a  musician,  he  began  his  musical  educa- 
tion in  very  early  years,  and  carried  it  on  later 
with  brilliant  suoceas  under  Marxsen  of  Altona. 
He  was  introduced  to  Schimiann  at  Diisaeldorf  in 
1853,  and  so  impressed  that  great  composer  with 
his  extraordinary  powers  that  he  wrote  an 
article  about  him  in  the  .'Neue  Zeitschrift  fiir 
Musik/  in  which,  with  the  earnestness  of  a 
prophet,  he  pointed  him  out  as  the  hero  of  the 
immediate  musical  future.  In  consequence  of 
this  Brahms  at  once  becune  an  object  both  of 
general  attention  and  sceptical  opposition.  A 
tour  which  he  undertook  for  the  purpose  of  mak- 
ing himself  and  his  works,  such  as  his  first  three 
Sonatas  and  Trio,  more  generally  known,  seemed 
for  the  time  scarcely  to  verify  Schumann's  pre- 
diction, for  he  found  but  little  sympathy  as  a  com- 
poser, and  had  but  moderate  success  as  a  pianist. 

For  several  years  after  this  he  remained  at 
Hamburg  in  retirement,  devoting  himself  awidu- 
ously  to  study  and  composition,  after  which  he 
brought  forward  a  number  of  works,  which 
followed  one  another  in  quick  succession,  and 
soon  established  his  reputation.  In  1861  he 
went  to  Vienna,  and  finding  ready  sympathy, 
finally  establisheid  himself  there,  where  he  has 
remained  almost  ever  since,  making  only  occasional 
tours,  either  as  a  pianist,  or  for  the  purpose  of 
conducting  his  own  works.  In  that  city,  so 
iiEuuous  for  its  connection  with  great  musicians, 
he  officiated  temporarily  as  conductor  of  the 
'Sing- Academic*  in  1863  and  64,  and  from  1873 
to  75  as  director  of  the  famous  concerts  of  the 
'Gresellscbaft  der  Musikfreunde,*  to  which  he 
has  given  extraordinary  lustre  and  importance 
through  the  performance  of  the  great  choral 
works  of  Handel  and  Bach. 

The  appreciation  and  difiiision  of  his  works  is 
steadily  increasing.  The  'Deutsches  Requiem* 
(op.  45,  1868)  established  his  fame,  and  from 
the  time  of  its  appearance  every  new  work  pub- 
lished by  him  became  an  event  in  the  musical 
life  of  Germany,  and  even  in  this  country,  where 
his  music  is  frequently  performed  at  the  Phil' 
harmonic,  the  Monday  Popular  Concerts,  the 
Crystal  Palace,  and  elsewhere.  His  first  Sym- 
phony was  produced  at  Carlsruhe  Not.  4,  1876, 
and  his  second  at  Vienna  Dec.  24,  1877. 

With  the  exception  of  Richard  Wagner,  who 
occupies  a  special  position  in  modem  music, 
Brahms  is  pre-eminent  among  living  composers 
for  4the  definite  nature  of  bis  individuality ;  he 
appears  as  the  climax  of  modem  musical  thought, 
standing,  as  it  were,  upon  the  shoulders  of  Schu- 
mann, whose  artistic  eye,  as  already  mentioned, 
recognised  the  younger  artistes  affinity  to  his  own 
nature,  and  based  upon  it  his  confiaenoe  in  the 
progressive  development  of  modem  music.  No 
comparison  between  him  and  Wagner  is  possible, 
finr  Wagner's  fame  is  entirely  founded  on  his 


BRAHl^. 

dramatic  works,  in  which  department  'Brahmi 
has  as  yet  done  nothing. 

Indeed,  notwithstanding  his  modem  tendency! 
he  is  entirely  opposed  to  the  so-called   'ne# 
German  school,'  or  'school  of  the  future,*  whi(ji 
has  attached  itself  to  Wagner,  and  defends  hl| 
art-principles  on  the  ground  of  absolute  mudol 
Brahms  takes  his  stand  upon  systematic  principLafe 
of  musical  form,  upon  which  indeed  his  individual 
characteristics  a  good  deal  depend.      In  point  of 
style  and  construction  his  music  displays  a  power | 
which  is  now  quite  unique.     In  all  his  worki(' 
from  the  greatest  to  the  smallest,  the  hand  of  a  1 
master  is  manifest,  and  if  we  anialyse  them,  we ' 
shall  find  the  same  unwearied  energy  and  con* 
sistency  throughout  the  movement  as  i»  used  at 
the  outset  to  express  the  leading  idea.     He  never 
allows  himself  to  be  drawn  aside  from  his  main 
idea,  in  spite  of  all  the  wealth  of  episode  and 
secondary  thoughts  he  has  always  at  command. 
To  this  we  may  refer  many  of  the  prominent 
peculiarities  of  his  style,  such  as  its  formal  in- 
tensity, and  certain  original  terms  of  harmony 
and  modulation.     This  side  of  Brahma's  genius 
is  now  undisputed,  but  the  individual  character 
of  his  ideas  and  the  intellectual  qualities  of  his 
nature  certainly  stand  in  the  way  of  his  over^ 
coming  opposition  and  gaining  the  sympathies  of 
the  large  mass  of  the  musical  public.     His  deep 
brooding  earnestness,  and  his  abstraction  from 
external  things,  absorb  him  so  completely  in  his 
idea  that    he   sometimes  loses  his  fbeUng  fot 
beauty  of  sound.     Wi^  hun  beauty  aeeaa  to 
hold  a  place  subordinate  to  expression,  and  a 
certain  narshness  is  in  consequence  oocnsionally 
met  with  in  his  harmony  which  must  hindeif 
the  popularity  of  his  works.     There  is  (if  the 
word  may  be  allowed)  as  unapproachable  as* 
ceticism  about  his  genius  which  is  opposed  t4 
all  that  is  merely  plrasing  to  the  eai'.     He  does 
not  court  the  understanding ;  he  rather  demands 
from  it  arduous  and  unwearied  service. 

As  a  pianoforte  player,  Brahms  exhibits  the) 
same  characteristicis.  He  plays,  not  for  the 
listener,  but  for  himself  and  for  the  work  which 
he  is  perfoming.  Remarkable  as  his  technics! 
execution  may  be^  with  him  it  alwavs  seems  a 
secondary  casusl  matter,  only  to  be  noticed 
incidentally.  But  if  we  rafieot  that  the  teehniqw 
of  pianoforte  playing  is  the  sole  medium  for 
reproducing  the  idea  of  a  pianoforte  piece,  it  is 
possible  that  &ult  may  in  this  respect  be  justly 
found  with  his  playing;  yet  his  intellectual  quali^ 
ties  fit  him  for  masterly  perforraaaoes  of  his  own 
works ;  and  in  his  execution  of  Bach,  especially  of 
the  organ  works  on  the  piano,  he  is  acknowledged 
to  be  quite  unrivalled. 

The  following  is  a  list  of  Brahms's  published 
works  to  Sept.  1876 : — 

Op-I.  SonatsforF.r.  kia  VOk  4  BaJtmi*  tor T.V. 

SL  Do.       Do.  W%  minor.      11.  SoraDaAa  for  roll  OrrixiM 

5.  81x  Songi.  In  D. 

4.  Sdiano  for  F.  F.  Ib  Sh  Vt-  Ave  MMto  far  liMBAk  f>ole» 
minor.  Oreb.  and  0i««n. 

6.  Sonata  for  P.  r.  In  F  minor.  IS.  Funeral  hymn  far  Cbonis 
8.  6  Bongi.    Soprano  or  TMwr.  and  Wind. 

7.  6  Bones  for  one  roka,  14.  8  Sonfi  and  BomancM  for 

8.  Trio  in  B..  P.  F.,  V.  and  Cello.  on*  voice  and  P.  F. 

a  Varlatloni  for  P.  F.  ou  a      U  Concerto,  la  D.  for  F.F.tM 
theme  of  Bohnmann.  1  OrOh. 


MtAHMS. 


BRAVUKA. 


m 


IbI. 


OhonH.! 


K  ««xte(  ia  Bb  forSCrioch 
a  nrapccntforvotoaDdPJ. 
Altera  daata  fv  8.  and  A 

vkbP.F. 
fl.  TftriutoDS  far  r.  T. : 

a)0o 

ftT'lbrleollttler*  tor  flabad 

cfaair,te  Spank 
B.TiitekM»    for    P.  y..    4 

baadi,  oa  a  IhOBM  of  Bebn- 

k.  Taiteioaa  and   Totn%  for 

P.  7.  on  ilMM  of  Budal'ii 

ft,  Qastak  la  OarfBor  forP.r. 

■adfllHi^L 
91  Qauiet  la  A  for  dHta. 
CFHta 

.iftthOriaaorP.F. 
I>aela  tor  Alio  aad 
vUhP.r. 
ft.  Tw>  Holatt  for  6  vototi.  ik 


byPkd 
4  valcaa.    BiU«d 

ChutraadOrsHB. 
R.  Tiofm  Qoartaia  isr  8LA.T.B. 
SL  »SoBC>  tV  A.  T«a  Platan  and 

G.7.  Daamer.   Vor  roke 

•DdP.F.  iaSpaiti 
ft  15  RooHUMai  frooB  Tledc*B 

'ftftcriooe.*  far  vQiea  aad 

V.V.VaSparfek 
It  Qatetrt    far    P.  r.    and 

SI*.  Sosata  far  P.  P«  4  haadi. 


(etodtoa)  far 
P.  F.  Bolo  «B  a  ibflaaa  ofj 

ft  Fenel  ta  O  for 

V.  Ikne  Barrad  OhonMa  for 

ft  faMta  In  B  amor  far  P.  r. 

uHfcUow 
ft  B  WftltiM  for  P.  V. :  4  faandft. 
«.  Tffe  far  P.  P..  VWia  mm! 

HotaorOeHo. 
a.T\n  I'tetaeagafer4BMB't 


ftTlineSnav  fotf  Ohoroi.  i 

ft  Itoar  Saap.  far  1  vofaa  akid 

P.r. 
ft  T««(tp  Soags  andBonani 


ft  6«nBu     Raaiaien.     Sola. 
CnonHiad  OtoIu 


_  farlv«l0f ivttk 

P.P. 

4f7.VV>ar  ditto,     ditto. 
««.  Serea  ditto,    dltla. 
«».  nro  ditto,    ditto. 
Ga  Blnaldo ;  Ctttaca  brOoethai 

for  THor  Solo.  Mala  Oho- 

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BL  Llebodladar :    WalCMt  for 

P.  P..  4  hODdl;  and  rokM. 
Ift  BlMKModla:  tngnmu  from 

Goethe'i   'HartreiM*    for 

Alio   flolo.  llala  Chora*. 

MidOreh. 
81  Schicksalsliad  (Bonf  of  De** 

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BL  Trlumphltod    (Bar.,    ehap. 

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Orch. 
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89  b.  Ditto,  ditto,  for  H  Plaaoi. 
61.  8  eooffs  hj  Daoinar  for  1 

Tolcs  and  P.  P. 
OIL  8  Sonfi  for  1  Toloa  and  P.  P. 
at.  SBongaforlTolcaandF.P. 
•ft  Qaartat  (No.  9)  In  0  minor 

forP.P.andStrlni*. 
8L  Four  Data  for  Bopr.  aad 

AHO. 
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01  8  QuartatB  for  4  Mdo  TOtoM 

and  P.P. 
8B.  N«ue  LMmHadar-Waltm 
es^  FIvaDueta. 
87.  Btriiw  Quartet:  Bb. 
$6,  ^uiidiony,  Kow  !•  0  iHtHiili 
68.  mneSoagi. 
%.  Four  Boom 
7>.  FttvSoHsi. 
7ft  FWaBoofk 
781,  Symphony.  No.  i.  In  0. 

Vllboaft  Opva^umbar* 

handi.  

Ybib  mne  far  OrdMrtrak 
Glack'f  Oavottator  P.P. 
BmdioKlorP.P.  lolut 
(1)  Btuda  after  Ohopin  I 
(f)  Rondo  altar  Wabar. 
IB  'VoikBklBdarltadehan. 
■bodnacht.    Boos  for  1 

""•'•       [A.M.I 


BBAMBILLA,  Mabikfta»  Mmt  of  fiT« 
listen,  aH  dutm^fuished  singon,  was  bom  nsftr 
MHan  aboot  1807,  ftod  ooade  her  d^but  in 
L»daa  aa  Arsaice  in  *  Ssmiramide'  xo  1827. 
Sh«  waa  a  pupil  of  the  Conaervaitorio  st  Milan, 
<iui  had  never  appeared  on  any  atage ;  but, 
ftoogh  ber  acting  was  indifferenty^  ber  lovely 
co&tnlto  Foioe,  her  excellent  style^  youth,  and 
great  beauty,  ensured  her  auooeas.  '  She  has  the 
finest  eyet,  itke  sweetee*  voice,  and  the  best  dis- 
pastion  in  the  world/  aaid  a  certain  cardinal ; 
'if  ihe  ia  discovered  to  possess  any  other  merits, 
tlie  safety  of  the  Catholic  Church  will  require 
ha  exconununication.'  She  sang  in  London  for 
KvenJ  yean,  as  well  as  in  Italy;  at  Vienna 
during  four  consecutive  seaaons,  1 837-1 841 ;  and 
u  Paris,  where  ahe  chose  again  Arsaoe  for  ber 
debut,  Bod  achieved  a  great  success.  Brambilla 
W81  diitinguished  as  a  teacher,  and  published 
(Ricordi)  exercises  and  vocalizzi  beside  other 
pieces.  [J.  M.] 

BRANDL,  JoHAinr,  bom  Nov.  14,  1760,  at 
Hohr,  near  RatiiAxA,  died  at  Carlsruhe  May  a6, 
1^7.  He  studied  violin  and  piano  as  a  child 


in  the  mcmastery  at  Rohr,  snd  at  10  was  sent 
by  Canon  Gelasius  to  the  seminary  at  Munich. 
He  learnt  singing  from  Valesi ;  ana  at  the  Jesuit 
school  at  Neuburg,  received  a  thorough  musical 
education  from  a  certain  Feldmaier.  He  begaa 
his  cai^er  fai  the  convent  of  Trutpert^  Freiburg- 
Bn-BreiBflfau,  as  teacher  of  the  violin  and  piano« 
In  1 784  he  was  appointed  diapel-master  to  Prince 
Hohenlohe  Bartenstein ;  in  1 789  'musik-director* 
to  the  Bishop  of  Bruchsal ;  and  in  1806  the  sam* 
to  the  archduke  of  Baden  at  Carlsruhe,  where  he 
stayed  till  his  death.  He  composed  an  opera, 
'Hermann';  a  monodrama,  'Hero';  and  many 
symphonies,  serenades,  quartets,  etc.  His  melo- 
dies are  beautiful,  and  were  highly  esteemed, 
as  may  be  seen  by  some  articles  in  the  Leipeio 
A.  M.  2L  for  i8a8.  [F.  G.] 

BRANLB  (Fr.  hrimh,  ft  movement  of  the 
body  from  side  to  idde).  An  old  French  danee* 
the  generic  name  of  all  dances  in  which,  like 
the  Cotillon  or  Grossvater,  the  whole  party  of 
dancers  were  led  by  one  or  two.  (littr^.)  Ths 
branle  of  the  time  of  Louis  XIY  was  a  branlo 
serieuz.  It  combined  in  itself  the  movements  of 
the  minuet  and  the  polonaise.  For  an  example 
of  the  music  see  p.  289.  [£•  F*} 

BRASS  BAND.  (Fr.  Fanfare.)  The  smaller 
variety  of  the  militaxy  band,  chiefly  employed  in 
cavaliy  r^^ents,  on  account  of  the  greater  ease 
with  which  brass  instruments  can  be  played  on 
honeback.  It  ordinarily  consists  of  an  £  flat 
piccolo  comet,  two  or  more  comets  in  B  flat,  two 
tenor  saxhorns  in  £  flat,  one  or  more  baritones 
and  euphoniums,  with  one  or  more  bombardons. 
Besides  these,  trumpets,  and  side-,  bass-,  or  kettle* 
drums  are  usually  present.  It  is  materially  im- 
proved by  the  substitution  of  flutes  and  £  flat 
clarinets  for  the  piccolo-comet,  and  by  the  addition 
of  trombones.  It  has  not  the  variety  of  quality 
and  richness  of  tone  possessed  by  the  full  reed 
band,  but  is  competent  to  produce  very  smooth 
and  agreeable  harmony.  On  account  of  the 
greater  fitciUty  with  which  brass  instruments  of 
the  saxhorn  species  are  learned,  as  compared 
with  clarinets  and  other  reeds,  a  brass  band  is 
much  more  easy  to  establish  and  maintain  in 
efficiency  than  a  full  military  band.     [W.  H.  S.] 

BRAVO,  i.e.  'well  done.'  An  Italian  term 
of  applause  which  has  gone  from  Italy  to 
other  countries,  though  never  taking  very  firm 
root  in  England.  It  was  the  custom  in  Italy 
to  applaud,  not  only  at  the  end  of  a  piece  or 
passage,  but  during  the  performance,  imd  the 
oraroe  were  addrened  to  composer,  singer,  or 
instrument — 'Bravo Mozart!*  ' Bravo Lablache!* 
*  Bravo  il  fagotto !  *  The  word  was  there  natu- 
rally inflected,  and  the  applause  to  a  female 
singer  would  be '  Brava  Grisi ! '  Beethoven  when 
satisfied  with  the  orchestra  used  to  give  a  'thun- 
dering Bravi  tuttl.'  [G.] 

BRAVURA  (Ital.,  courage,  bravery).  A  style 
of  both  music  and  execution  involving  the  dis- 
play of  unusual  brilliancy  and  technical  power ; 
music  written  to  task  the  ability  and  test  the 


273 


BKAVDRA. 


oniirae«  of  the  utiat.  Thus  '  I<et  the  bright  Ser- 
sphim'  (Swnaonl,  'Gil  angui  d'infemo'  (Flauto 
miigica),  uul  'Non  piu  mnta'  (CenerentoUl  are 
bntTora  long*,  requiring  a  oompav  and  a  power 
of  execution  out  of  the  common. 

The  notion  of  efiect  &r  effect's  take  !■  perhap) 
involved  in  the  tenn.  Beethoven  therefore  can 
never  be  said  to  have  written  bravuni  piecea, 
though  manj  of  luB  pieces  require  the  greatcit 
skill  and  are  extremely  brilliant. 

'Con  brsTim'  and  'Allegro  di  bnTiint'  •>« 
■imil&rljr  uwd  to  denote  fire  and  brilliancy.   [G.] 

BREATH.  YariouB  Eigne  are  uwd  in  vocal 
muric  to  indicate  Uie  places  for  taking  breath, 
they  are  niuajly  '  *  »/  ".  The  management 
of  the  breath  U  of  the  greatest  imporUtnce  in 
■inging.  as  by  it  a  good  tone  is  formed.  The 
two  eraentiali  are  <t)  the  power  of  controlling 
the  quantity  and  force  of  air  as  it  i*  expired ; 
(i)  the  power  of  directing  the  vibrating  column 
of  air.  By  too  great  pressure  of  breath  the  form 
of  the  wavea  of  Bound  most  favourable  to  a  good 
tone  is  disturbed,  while  too  little  pressure  deprives 
the  tone  of  strength.  A  certain  quantity  of 
breath  will  prodnoe  a  tone  in  perfection,  and 
any  increase  or  diminution  of  that  quantity  Kill 
result  in  lou  of  quality  or  poner.  The  old 
Italian  masters  of  singing  made  the  management 
of  the  breath  a  matter  of  primary  couBideratJon  : 
they  required  their  Echolars  in  practicing  their 
exercises  to  do  so  piano,  and  to  Weatbe  at  first 
OS  in  speaking :  the  places  for  doing  this  were 
carefully  and  distinctly  marked ;  it  it  were  found 
that  the  pupil  emitttid  hia  breath  with  too  great 
a  pressure  or  too  rapidly^  bo  as  to  crowd  or 
Impur  the  sound,  he  was  tiught  to  hold  it  bock, 
and  only  when  he  had  acquired  a  knowledge  of 
and  a  feeling  for  pure  tone  was  he  permitted  to 
attempt  to  take  larger  breaths,  and  ehown  how 
to  gradually  inircise  the  breathing  capacity  of 
hiH  lungs.  The  breath  is  the  basis  of  a  fiiU  rich 
tone  in  sin^ng.  nod  on  the  management  of  its 
vibrating  column  of  wr  depends  the  great  charm 
and  beauty  of  vocalisation,  no  leu  than  the 
power  of  successfully  exeouting  phrasing,  accord- 
ing to  the  dictates  of  a  poeti^  and  intelligent 
mind.  [W.  H.  C] 

BBEITKOPF  a  HAETEL.  On  Jan.  17. 
1860,  this  renowned  firm  of  momc-publisheiB 
In  L^psic  celebrated  the  ii;oth  anniversary  of 
its  existence.  Its  foundatiou  was  laid  in  1719, 
when  BiKHnARDT  Chhistofh  Breitkopp,  mem- 
ber of  a  mining  family  of  the  Hartx,  bom  at 
Clausthal  March  J,  l69f^,  set  up  a  printing  press 
at  Leipsic.  His  first  publication  was  a  Hebrew 
Bible,  quickly  followed  by  a  number  of  theolo- 

S'cal  and  historical  works,  in  which  Breilkopf's 
iendly  relations  to  the  poet  Gotiaehed  were  of 
much  use  to  him.  In  1731  a  printing  oflice  was 
bailt  with  the  sign  of  '  lum  goldnen  Bar,'  which 
in  17G5  was  increased  by  Oie  addition  of  the 
■  silbeme  Ear.' 

In  1 745  Bieitkopf  gave  up  the  printing  boii' 
ness  to  his  only  son,  and  in  176J  the  firm 
became  B.  C.  Breitkopf  Sc  Srai.    On  March  J6, 


BBEITEOFP  t  HABTEL. 

ipj  the  old  man  died,  aged  83.  He  had 
himself  &om  a  common  printer  to  be  the  h 
the  firat  printing  catabliitiment  in  German 
be  also  had  the  happine^  wh  ch  Gottacht 
predicted,  of  seeing  himself  eclipsed  by  h 
The  son,  Johanh  Gotti«b  Ihuandsl,  bon 
13,  17111,  devoted  himself  with  nidour,  w 
lad,  to  the  acquirement  of  learning,  lesiviii 
fessionol  knowledge  till  later.  His  acqniii 
in  literature  were  developed  by  intercouri 
such  scholars  as  Lessing  and  Winkelmani 
laboured  to  improve  the  practice  of  printic 
with  that  view  wrote  several  papaia.  By 
troduction  of  separate  movable  muse  (^ 
produced,  as  early  as  1750.  a  revolutton 
music  trade.  In  1756  the  first  froita  of  hi 
vations  appeared  in  the  shape  of  a  ■! 
edition  of  on  opera  in  full  score,  and  in  j 
entitled  '  II  tnonfo  delln  fedelO,  dramn 
musica  di  E.  T.  P.  A'  (the  initials  of  Em 
Talia  Faatorella  Arcada,  a  name  assun: 
the  occatdon  byAnlonia  Amalia  Wolburga 
eess  of  Soiony).  After  this,  Breitkopf  pul 
a  long  series  of  important  compo^tions  b; 
E.  Bach,  Giaun,  Hiller,  Leopold  Uosu 
He  had  hardly  begun  to  realise  the  rea 
his  invention  in  the  music  trade  when  hia 
found  a  new  channel.  During  the  Seven 
War  (1756-63)  he  had  organised  on  a 
scale  a  warehouse  of  Gennao,  En^iah,  I 
and  Italian  music,  both  MS.  and  printe 
bad  started  a  special  trade  in  music,  t 
Uie  publication  of  systematic  deecriptivt 
loguee  referring  (0  bis  stock,  and  embroci 
whcde  Geld  of  muaical  literature.  Betwee 
and  So  he  issued  catalogues  of  printed 
both  theoretical  and  practical,  in  hi  pai 
MS.  music  in  four  parts  ;  and  a  third  (eap 
important  for  tiie  history  of  music) — a  tli 
ontalogue  of  MS.  music  only,  in  5  parts 
16  supp]ements(i76]-S7).  His  activity  v 
sdutely  unceasing.  In  1 770  he  founded  a 
factory  of  playing  ords  (which  he  sold  in 
a  coloured  paper  manufactory,  a  bookaellin 
ne«  in  Draaden  |nd  another  in  Bautian 
died  Jan.  39,  I794i  honoured  as  the  refor 
the  musie  trade,  and  secure  of  a  plore 
histoi^  of  the  art  of  printing.  His  port 
extremely  interestJDg.  The  well-fbrnied 
the  speaking  eye,  the  intelligent  features 
intellectual  power  and  strong  will.  Tmi 
had  two  sons,  who  learned  the  printer's  en 
their  &ther.  Bernhird  Theodor  (bom 
was  musician  enough  to  c"mpa*e  *ome 
music  to  Goethe's  '  Jogendlieder'  in  176- 
went  in  1777  to  Russia,  and  founded  »  p 
office  and  bookselling  buwnees  in  Peters 
waa  teacher  in  an  insdtation  for  the  edi 
of  girls,  and  died  at  a  great  age  as  I 
'  Staats-Rath.'  His  second  son,  Christope 
LOB  |bom  1750),  remained  with  bis  btlie 
was  an  amiable  dilettante,  to  whom  the 
of  his  vast  budncss  was  Intolerable  ;  afla 
ing  it  on  therefore  for  a  year  he  gave  it 
his  (riend  G.  C.  Hartel,  at  the  same  time  i 


BREITKOPF  &  HiRTEL. 

tiie  list  acioa  of  a  gifted  race.  Since  ihen  tlie 
bGanesB,  though  entirely  in  Hartel*B  handB,  has 
faeen  conducted  under  the  well>  known  title  of 
BRitkopf&HuteL 

GoiTFBiSD  Chsibtoph  HXbtel,  ion  of  Dr. 
Gtiisloph  Hartel,  Baigomaster  of  Sdmeebeig, 
«u  bom  there  Jmu  27,  i  763.  Having  given  up 
Ids  ibrmar  oocnpation,  he  applied  himself  with 
T^Qur  to  improve  the  business  by  undertaking 
the  publicatioii  of  musical  works  of  the  highest 
<idef  .  Thus  he  brought  out  the  works  of  Mozart 
m  17  mAa.  (1798-1816);  of  Haydn  in  la  vols. 
(i&)o-iSo6);  of  Clementi  in  13  vols.  (i8oo* 
i3i8);  and  of  Dussek  in  la  (i8i4-i8i8)~an 
ladertaking  which  was  the  forerunner  of  many 
popular  and  critical  collected  editions.  Hiirtel 
ate)  started  the  'Allgemeine  musikalische  Zei- 
taog/  which  long  maintained  its  position  as 
the  best  musical  periodicali  and  advocated  the 
ioterBsts  of  music  from  1798  to  1848 ;  he  further 
poUished  a  literary  paper,  the  '  Leipziger  Lite- 
ntor-Zextung '  (1813-1834),  enlarged  his  stock 
of  music  and  books,  and  made  various  practical 
improvementa  in  printing.  Amongst  other  things 
he  introduced  Uie  system  of  engraving  music  on 
pewtef  plates,  to  which  in  1805  be  added  a  litho- 
gnphic  establishment^  with  the  personal  co- 
operation of  Sennefelder,  the  inventor.  Procuring 
workmen  frt>m  Vienna,  he  next  started  the  first 
&ctary  of  pianos  in  central  Germany.  Being  a 
man  of  great  cultivation  and  refinement^  such 
ooBfltant  absorption  in  business  was  not  to  his 
taiile,  but  he  accepted  the  task  which  fate  had 
laid  npm  him,  and  executed  it  fiuthfiiHy  till  his 
dsi^  on  July  2$,  1827. 

Up  to  1835  the  business  was  carried  on  by  his 
oepbew  Flobenz  Hartel.    But  at  that  date 
EIBMA5N  Habtbl,  the  eldest  son  of  Grottfried 
(bom  April  37,  1803),  entered  the  house  as  bead, 
in  partnership  with  his  younger  brother  Rat- 
iun>,  who  had  joined  in  183a.    Hermann*8  fine 
dunctear  had  been  improved  by  an  excellent 
edocatioo;  he  read  law,  and  took  his  doctors* 
degree  in  i8a8,  and  his  love  of  art  had  been 
osltivated  by  a  two  years'  residence  in  Italy. 
Both  in  pobHc  and  private  life  he  was  a  man  of 
BoUe  di^wsition  and  true  culture.    The  brothers 
Ured  to  see  a  remarkable  spread  of  taste,  and  to 
public  many  works  of  Mendelssohn,  Schumann, 
Chopin,  and  other  eminent  modem  composers ; 
tiiey  brought  out   new   editions  of   Schubert, 
^eber,  ai^  Hummel.     Their  catalogue  up  to 
1874  included  over  14.000  works,  extending  over 
thQ  whole  range  of  music.    In  1866  they  began 
the  inue  of  a  series  of  cheap  editions  of  classical 
voiks  in  red  covers,  which   are   now  widely 
blown.    They  assiatgd  in  the  formation  of  the 
BAGH-GssELLSGHArr,  which,  like  the  companion 
Handel  Society,  owes  much  to  their  enexvyi  taste, 
tod  aocoracy.     In  1863  tiiey  projected  a  com- 
plete critical  edition  in  score  and  parts  of  the 
voriu  of  Beethoven,  which  was  completed  in 
1866,  and  ii  now  (1876)  being  followed  by  a 
amilar  edition  of  Mendelssohn. 

T\kB  list  of  their  publications  contains  treatises 
by  Kiesewetter  and  otiMrs  on  the  histozy  of 


BREKDEL. 


278 


music,  important  works  by  Tucher  and  Winter- 
feld  on  the  church  music  of  Grermany ;  biogra- 
phies, such  as  Bach  by  Spitta,  H&ndel  by  Chry- 
Sander,  Mosart  by  Jahn ;  thematic  catalogues  of 
Beethoven  by  Nottebohm,  and  Mozart  by  Kochel ; 
works  on  the  theory  of  mufdc  by  Chladni,  Haupt- 
mann.  Lobe,  Kohler,  Marx,  Sechter,  etc.,  as  well 
as  a  long  list  of  publications  on  literature,  law, 
theology,  medicine,  natural  philosophy,  philology, 
archeoloffy,  etc.,  etc.  The  practical  part  of  the 
business  has  increased  so  much  that  the  Goldene 
B&r  was  in  1867  exchanged  for  a  much  larger 
building.  By  18  71  the  printing  had  developed 
to  such  an  extent  that  it  became  necessary  to  use 
the  space  formerly  oocupied  by  the  pianoforte 
manufactory.  Since  the  death  of  Hermann,  Bay- 
mund,  youngest  son  of  Gottfried  (bom  June  9, 
1 810),  has  been  at  the  head  of  the  house,  assisted 
by  two  grandsons  of  Gottfiied's^Wilhehn  Volk- 
mann  and  Dr.  Georg  Oscar  Immanuel  Hase.  It 
is  for  these  gentiemen  to  complete  the  edition 
of  Mendelss(mn,  and  to  crown  the  great  under- 
takings already  enumerated,  by  the  edition  of 
Mozart's  great  works  in  score  which  they  have 
already  announced  (1876). 

(The  above  is  taken  by  kind  permission  from 
papers  in  the  archives  of  the  firm.)        [G.  F.  P.] 

BBEMNER,  Bobebt,  bom  in  Scotland  about 
1730.  He  practised  for  some  yean  as  a  teacher 
of  singing,  and  afterwards^  about  1748,  became 
a  music-seller  at  Edinburgh,  under  the  sign  of  the 
'  Harp  and  Hoboy.*  He  subsequentiy  setUed  in 
London,  and  commenced  business,  with  the  same 
sign,  'opposite  Somerset  House  in  the  Strand.' 
He  arranged  many  collections  of  'Soots  Songs  for 
Voice  and  Harpsichord.*  He  was  also  the  author 
of  '  Rudiments  of  Music,  with  Psalmody,'  a  work 
which  went  through  many  editions;  'Thoughts 
on  the  Performance  of  Concert  Music' ;  '  In- 
stractions  for  the  Guitar,'  etc.  He  died  at  Ken- 
sington, May  12,  1789.  [K  F.  R.] 

BRENDEL,  Bb.  Kabl  Fbakz,  musical  critic, 
bom  Nov.  25,  18x1,  at  Stollberg  in  the  Harz; 
educated  at  the  (gymnasium  of  Freiberg  in 
Saxony,  where  his  &ther  was  Ber]g-Rath,  and  at 
the  universities  of  Leipsic  and  Berlin.  Music 
always  formed  his  roecial  pursuit^  in  which  he 
was  mainly  assisted  by  Anacker  and  Wieck. 
He  began  his  poblic  career  with  lectures  on  the 
history  of  music,  delivered  in  Freibeiig  and  in 
Dresden.  In  1844  he  settied  in  Leipsic  as  pro- 
prietor of  Schumann's  '  Neue  Zeitschrift,'  which 
he  edited  from  Jan.  i,  1845,  at  the  same  time 
teaching  musical  histoir  and  Aesthetics  in  Men- 
delssohn's newly  established  Conservatorium. 
Here  he  delivered  the  public  lectures  on  which 
he  founded  his  most  comprehensive  work,  'Ge- 
schichte  der  Musik  in  Italien,  Frankreich,  und 
Deutschland'  (1853;  4th  edition  1867),  an  at- 
tempt to  treat  the  various  historical  developments 
of  the  art  from  one  practical  point  of  view.  More 
important  however  were  his  articles  in  the  'Neue 
Zeitschrift,'  written  as  a  strenuous  advocate  of 
modem  ideas  in  music.  His  first  efforts  were 
devoted  to  the  recognition  of  Schumann :  but  in 

T 


le  thejp^ier  beoame  the  orgui  of  W>gti«r  am] 
St.  Brendal  ceitunjj  h^  ■  rare  power  of 
preouting  tbe  idea*  of  the  refil  leaden  of  the 
lYsment,  and  of  illuitrating  and  developing 
on  effectively,  and  thua  malflriallj  aBaiited  the 
ivement.  Hi>  treatment  is  dry,  logical,  and 
[actic;  but  vhat  it  wanta  in  dirednen  and 
9tical  torae  U  made  op  for  by  the  peneveranoe 
111  which  be  tugea  bii  ar^menta. 
In  1850  be  began  to  luue  another  periodical, 
HtUd  '  Anregiuigeti  fur  Eunat,  Leban,  und 
inenachaft,'  vhirJi  for  asTeral  yean  lupported 
3  pntpaganda  of  the  Zeitung  in  favour  of  Liszt 
d  Wagner.  But  the  nuut  open  eipoaition  of 
>  viewa  of  tbe  party  ia  to  be  found  in  bia 
[uBik  derGegenwart  und  die  Geumm  tic  unit 
r  Zukunft,'  which  muat  be  r^aided  *•  a 
npIetJoa  of  bia  History,  and  U  not  free  from 
OBideraUe  party  spirit.  With  Uie  yeu-  1859 
oodel  began  to  laboui  for  the  raoondliaticoi 
the  oontending  parties,  on  the  baaii  of  (he 
aeral  pn^reea  of  modem  times.  The  field  for 
m  effort  was  the  'Allgemeine  deutacbe  Musik- 
»rein,'  or  '  German  musical  union,'  which  arose 
t  of  a  festival  of  munciacs  held  on  the  oocaaion 
the  twenty-fifth  anniveraary  of  tbe  'Neae 
^tschrift,'  and  waa  founded  in  1861.  Brendel 
A  not  only  one  of  the  chief  founders  of  the 
''erein,'  but  as  its  president  he  winked  (br  it 
th  reatlesa  energy  to  the  time  of  hie  death,  and 
I  Zeitung  was  its  official  orgiin.  Brendel  died 
>T.  as,  1868.  The  Zeitung  continued  to  follow 
9  aame  path  as  before,  but  lost  its  old  eminence. 
■■idea  tiie  worlu  already  mentioned  Brendel 
ued  various  smaller  publications,  all  more  or 
IS  distinguished  by  a  tendency  for  the  New 
irman  School— 'Liszt  ala  Symphoniker'  (1858), 
Irganisation  der  Musikdurch  den  Sbut'  (1866). 
1  abridgment  of  his  history,  for  schools,  was 
bliabod  under  the  title  of  'Grundziige  der 
achicbte.'  eto..  and  has  been  translated  into 
reral  languages.  [A.  M. 

BREVE  (Ft.  CarrU;  Ital.  Smt).  A  note 
the  value  of  two  semibreves,  rarely  met  with 
modem  mniic,  in  which  there  u  no  place  for 
as  the  longest  bar  ctnmnonly  used  (vu.  a  bar 
1 1-8  time)  has  bat  the  value  of  a  semibreve 
d  a  half  Although  now  neatly  obsolete  &om 
I  great  length,  the  breve  was  originally  (as  in- 
»ted  by  its  name,  derived  &om  brtvit,  short) 
e  shorter  of  tbe  two  notes  of  which  the  earliest 
HBured  music,  invented  about  A.D.  Iioo,  was 
mposed.  These  two  notes,  which  corresponded 
the  long  and  abort  ajtlables  of  the  text  to 
lich  they  were  aung,  were  termed  Umga  and 
mt,  and  were  written  thus,  p  and  ■.  The 
Dpmtion  which  they  bore  to  each  othw  was  not 
ways  constant,  the  langa  containing  sometimes 
ree  breves,  in  which  case  it  was  called  perfect, 
d  sometimes  only  two,  when  it  is  said  to  be 
iperfect.  So  likewise,  after  the  introduction 
a  still  shorter  note  called  itmibrevU,  tbe  brevit 
uld  be  either  perfect  or  imperfect,  and  conaiat 
three  or  two  semibreves.  These  variations  of 
nportion,  which,  together  with  many  others, 
mained  in  nae  ontil  alxiat  tbe  middle  of  the 


BBBVX. 

I^h  century,  and  which  could  not  bn 
added  immensely  to  the  difficulty  of  thi 
<^  music,  were  dependent  on  the  order  ii 
the  longer  and  shorter  notea  followed  ead 
and  also  upon  the  appearance  of  certai 
mgnaturea  which  were  placed  at  the  be 
of  (he  compontion.  For  a  full  account  ■ 
the  reader  is  retired  to  Bellermann's 
'Die  Mensuralnoten  und  Taktzeichen 
und  16.  Jahrhunderta,'  Berlin.  1S5S. 

The  brave,  togethar  with  other  notes  tx 
to  the  same  epoch,  was  originally  written  bl 
more  modcim  white  notes  (Fr.  bianehtt) 
in  outline  being  introduced  by  Dufisy  ab 
endof  the  :4th  century.  Aft«r  (his  pent 
notes  (Fr.  noiret)  were  eiclunvety  used 
press  dindnution,  the  note  made  black 
a  portion  of  its  value,  either  one-third 
fourth,  Bcoording  to  droumstancas.  A 
(his  custom  survives  in  modem  muiic 
method  of  writing  Tiinim  and  crotchet. 

In  modem  music  the  breva,  in  the  t» 
in  which  it  is  uaed.  Is  always  written 
and  either  of  an  oblong  form,  thus  ^ , 
with  two  amall  vertical  strokea  at  tmi 
thus  ||s,{. 

The  expresrim  alia  hrevt,  placed  at  tl 
mancement  of  a  composition,  has  been  v. 
interpreted.  Some  have  under8(ood  i(  1 
a  rhythm  of  one  breve  to  a  bar,  while 
translating  the  words  'allabreve^  litera 
'in  short  fashion,'  understand  by  it  a  rh; 
either  two  or  four  beats  in  a  bar,  but  at  1 
rate  of  movement,  semibraves  being  ti 
about  the  speed  of  ordinary  minims,  and 
In  favour  of  this  latter  view  is  the  bet  t 
signature  of  alia  breve  time  is  alwayi  tl 
circle  crossed  by  a  vsriical  stroke,  tp,  < 
the  'diminutio  simplex  in  tampus  imper 
of  the  ancient  measured  music,  where  it 
precisely  tbe  same  purpose,  i.e.  by  1 
each  note  to  half  its  propel  vaJne  it 
the  rate  of  movement.  Both  views  agrc 
moat  important  particular,  namely,  thsit 
wtiona  marked  '  alia  breve,'  or,  even  whe 
marked,  if  provided  with  the  distinctl' 
signature,  must  be  performed  twice  as  fi 
simply  marked  widi  the  sign  of  commi 
C  or  4-4.  And  with  ngard  to  the  opinio 
holds  that  compodtions  alia  breve  ou^l 
written  in  ban  oF  the  value  of  a  breve. 
be  urged  that  in  spite  of  the  nndoub 
that  moet  of  such  oompoaition*  have  1 
■eroibreve  in  the  bar,  it  is  poafdble  tl 
method  of  writing  may  have  been  inte 
represent  merely  Uie  division  of  tile  orig 
breve  bar  into  two  halves,  fOT  onnven 
reading,  a  division  which  baa  actually  be> 


>  ] 


chorus  'All  we  like  sheep'  (Messiah),  wl 
originally  written  in  ban  of  the  y^oe 
semibreves,  and  marked  'alia  breve,'  a 
now  printed  in  bars  of  half  that  length. 
over,  it  is  cert^n  that  the  expresaion  all 
has  never  been  applied  to  movements  i 
ldm%  although  if  it  had  had  lefonuce  m 


EBEVS. 

Ae  nie  of  moTemAnt  this  would  hare  been  per- 
hedj  pooihie.  [F.  T.] 


BRIDGETOWEB. 


875 


BREWER,  THOVASp  was  educated  at  ChriBt^B 
Hospital,  and  broujifht  up  ae  a  perfonner  on  the 
vioL  He  flourifihed  in  the  time  of  Charles 
I  the  Protectorate,  and  part  of  the  reign  of 
CbarkB  U.  He  was  the  composer  of  soForal 
excellent  ^ntaaias  for  the  viol;  and  maaT 
roonds  and  catches  of  his  are  printed  in  Hilton  s 
'Cktth  that  Catch  can.'  He  was  the  composer 
d  the  pretty  three-part  song  'Turn  Amaryllis,' 
iaaoted  by  Playford  in  his '  Magical  Companion.* 
In  the  Harleian  MS^  No.  6395,  entitled  *  Merry 
FftBAges  and  Jests,'  compiled  by  Sir  Nicholas 
Lesttmge,  is  the  following  anecdote  respecting 
him: — 'liomas  Brewer,  my  musical  servant, 
throngh  his  proneness  to  good  fellowship,  having 
lUsined  to  a  very  rich  and  rubicund  nose,  being 
lepror'd  by  a  friend  for  his  too  frequent  use  of 
strong  drinkee  and  sacke,  as  very  pernicious  to 
that  distemper  and  inflammation  in  his  nose — 
"Xaj,  fitith,"  says  he,  *'if  it  will  not  endure 
8acke,  it  is  no  nose  for  me." '  The  date  of  his 
desth  is  not  known.  [E.  F.  R.] 

BELLRD,  l^SriEinn,  engraver  of  music,  bom 
tt  Bar-le-Duo  towards  the  end  of  the  15th  cen- 
iary,  settied  at  Avignon  in  1530.  He  replaced 
tile  square  diaracteirs  hitherto  in  use  by  round 
oDfii,  and  devised  a  simple  means  of  express- 
ii^  the  duration  of  a  note,  instead  of  the  com- 
plicated system  of  ligatoies.  Peignot,  in  his 
'DictioiL  de  la  BiblioTogie,'  snpp.  p.  140,  claims 
piofity  in  these  inventions  for  Granjon,  also  a 
priflter;  but  Briazd's  characten  are  certainly 
better  formed  and  easier  to  read.  A  facsimile 
of  them  may  be  seen  in  Schmidt's  '  Ottaviano 
PetmecL'  The  works  of  the  composer  Eleazar 
Genet)  called  'Garpentras,'  after  lus  birthplace, 
vere  printed  at  Avignon  in  153a  in  Briard^s 
characters.  Jeas  Baptists,  a  descendant  of 
tbe  oeLebrated  printer,  has  distinguished  himself 
M  a  Tiohnist.  He  was  bom  May  13,  1823,  at 
Gaipentras ;  gained  the  second  prize  at  the  Paris 
Coiuenratoire  in  1843,  and  the  first  in  1844. 
Hii  teadiecs  were  Clare],  Baillot,  and  Habe- 
aeeL  [F.  G.] 

BRIDE  OP  DTJNKERRON,  THE,  a  dra- 
matic  cantata ;  the  verse  by  Enoch ;  music  by 
Henry  Smart.  Written  for,  and  produced  at, 
the  Birmingham  Festival  Sept.  6,  1 864.         [G.] 

BRIDE  OF  SONG,  THE,  operetta  in  one 
>et;  words  by  Henry  Famie;  music  by  Jules 
Benedict.  Produced  at  Govent  Garden  Dec.  3, 
X864.  [G.] 

BRIDES  OF  VENICE,  a  grand  opera  in  a 
acts;  miiflic  by  Jules  Benedict.  Produced  at 
l^raiy  Lane,  Monday,  April  a  3,  1844.  [G.] 

BRIDGE  Tlie  strings  on  the  instruments  of 
the  Tiolb  tribe  are  stretched  over  a  KmuU  piece 
of  wood  caUed  the  bridge,  which  transmits  their 
TibratioQa  to  the  body  of  the  instrument.  The 
>^e  and  details  of  the  bridge,  a<<  finally  fixed 
upon  by  Stradivari,  cannot  be  altered  in  any 


single  respect  without  ii\jai7  to  the  tone  of  As 
inntrument. 


If  a  plain  piece  of  wood  is  substitnted  for  the 
bridge,  the  instrument  has  absolutely  no  tone  ; 
by  cutting  out  the  feet  the  tone  is  made  to 
appear  to  a  certain  extent,  and  it  increases  in 
proportion  as  the  bridge  assumes  its  normal 
shape.  It  is  generally  made  of  spotted  maple. 
Its  height,  width,  and  thickness  depend  on  the 
qualities  of  the  individual  instrument  which  it 
is  to  serve.  As  a  rule  its  height  must  not  be 
more  than  two-thirds  the  height  of  the  SouKD- 
FOST.  The  thickness  is  of  the  greatest  im- 
portance, for  if  too  thick,  it  will  not  readily 
transmit  the  vibrations  of  the  strings.  The  left 
foot  must  stand  exactly  over  the  middle  of  the 
bass-bar,  and  both  feet  must  be  at  an  equal 
distance  firom  the /-holes.  [P.  D.] 

BRIDGETOWEBy  GiOBOi  Auousrus  Pol- 
OBEEN,  a  mulatto,  son  of  an  African  fkther  and  an 
European  mother,  appears  to  have  been  bom  at 
Bisia  in  Poland  1 779  or  1 780,  and  to  have  made 
his  first  appearance  in  February  1790  at  Dmry 
Lane,  where  he  {^yed  a  violin  solo  between  the 
parts  of  the  'Messiah.'  This  probably  attracted 
the  notice  of  the  Prince  of  Wales,  since  on  the  and 
June  following  he  and  Glsment,  a  lad  of  about 
the  same  as^e,  gave  a  concert  under  the  patronage 
of  H.  R.  H.  In  the  same  vear  he  also  played  at 
the  '  Professional  Concerts.  Bridgetower  became 
a  pupil  of  Giomovichi  and  of  Attwood,  and 
was  attached  to  the  Prince's  establishment  at 
Brighton  as  a  first  violin-player.  His  name  is 
found  among  the  performers  at  the  Haydn-Salomon 
Concerts  of  1 791,  and  at  concerts  of  Barthelemon's 
in  93  and  94,  where  he  played  a  concerto  of 
Viotd's.  At  the  Handel  Commemoration  of 
1 791,  Bridgetower  and  Hunmiel  sat  on  each  side 
of  Joah  Bates  at  the  organ,  dad  in  scarlet  coats, 
and  pulled  out  the  stops  for  him.  He  was  known 
in  London  by  the  sobriquet  of  *  the  Abyssinian 
Prince.'  In  i8oa  he  obtained  permission  to  visit 
his  mother  at  Dresden,  where  she  was  living  with 
another  son,  a  oello  player.  In  Dresden  he  gave 
concerts  on  July  34,  iflk>3,  and  Maroh  18, 1S03 ; 
and  fi^m  thence  went  to  Viennay  where  his 
reputation  preceded  him,  and  where  he  played  the 
sonata  Op.  47 — known  as  the  'Kreutaar  Sonata' 
— with  &c^oven,  on  the  17th  or  a4th  May. 
After  this  he  is  heard  of  no  more,  but  is  believed 
to  have  died  in  England  between  1840  and  1850, 
leaving  a  daughter  who  still  Hves  in  Italy. 

Bridgetower  has  left  a  memorandum  of  the 
performance  of  the  Scoata  which,  if  it  can  be 

T  2 


276 


BBIDGETOWEB. 


believed,  is  intereBtmg.  He  introduoed  an  alter»- 
tion  of  one  passage  which  so  pleased  Beethoven 
that  he  jumped  up  from  his  seat,  threw  his  anns 
round  Bridgetower,  and  cried  *Noeh  einmal^  mnn 
lieber  Burieh* — 'Once  more,  my  dear  fellow.' 

Czemy  has  left  on  record  that  Bridgetower's 
gestures  in  playing  were  so  extravagant  and  ab- 
surd that  no  one  could  help  laughing. 

The  memorandum  just  mentioned  is  given  by 
Thayer  ('Beethoven/  ii.  329) ;  and  further  details 
will  be  found  at  pp.  337-231  and  385-391.  See 
also  Pohl's  'Haydn  in  Xiondon/  pp.  18,  38,  38, 
etc.— Beethoven  writes  '  Brisdidower.'  [G.] 

BBIEGEL,  WoLPOAHO  Kabl,  church  com- 
poser, bom  1636,  originally  oiganist  at  Stettin, 
and  afterwai^  (see  the  title-page  of  his  then 
published  works)  Musio-Director  to  Prince  Frie- 
denstein  in  Gri)tha,  and  in  1660  Kapellmeister  to 
the  Duke  of  Saxe  Gotha.  In  1 670  he  -was  called 
to  Darmstadt  as  Kftpellmeister  to  the  Landgrave 
of  Darmstadt,  where  he  remained  till  his  death 
in  1 710.  Among  the  renuuns  of  Emanuel  Bach 
was  a  portrait  of  Briegel,  engraved  by  Nessen- 
thaler ;  it  represents  a  man  of  about  sixty-five,  of 
healthy  and  jovial  aspect^  and  with  no  trace  of 
the  labour  involved  in  so  many  serious  composi- 
tions. Schneider  (das  Musik.  Lied,  ill.  1 55)  says, 
that  'perceiving  the  fashion  of  solo  songs  like 
those  of  Ad.  Krieger  and  the  two  Ahles  to  be  on 
tiie  wane,  he  returned  to  the  composition  of  songs 
for  several  voices ;  he  wrote,  in  fact,  incessantly 
in  all  sorts  of  styles  with  much  fluency  but  no 
originality,  and  with  no  adequate  return  for  his 
labours.'  His  principal  compositions  consisted  of 
sacred  songs  for  several  voices,  mostly  to  his  own 
words.  One  of  his  works  alone,  for  3  and  4 
instruments  (Erfurt,  i653),containB  10  Paduaner, 
xo  Gagliarden,  10  Ballette,  and  10  Couranten. 
His  one  sectdRr  work,  '  Musikalisches  Tafel- 
Gonfect*  (Frankfort,  1673),  consists,  according  to 
its  quaint  title,  of  *^pleasant  Conversations  and 
Concertos.'  His  Hymn-bo6k  for  Darmstadt  ap- 
peared in  1687.  His  published  wotks,  twenty-five 
in  number,  b^n  with '  Geistli6he  Arien  und  Con- 
certo' (Erfurt*  1673),  and  end  with  'Letzter 
Schwanen-G^esang,'  consisting  of  twenty  Trauer- 
gesHnge'for  four  or  five  voices  (Giessen,  1709). 

Gerber  (Lexicon,  181 3)  gives  a  catalogue  of 
his  published  works  according  to  dates  from 
Darmstadt,  employed  by  F6tis  in  his  'Biographic 
Universelle.'  [C.  F.  P.] 

BRIGHENTI,or  BRIGHETTI.  Mmb.  Maria 
(n^  GioTgi),  a  celebrated  singer,  bom  at  Bologna 
1793 ;  first  appeared  at  Bologna  in  1814.  She 
created  the  part  of  Bosina  at  the  first  per- 
formance of  the  'Barbiere  di  Siviglia'  (Rome, 
x8i6) ;  and  for  her  Rossini  wrote  *La  Ceue- 
rentola.*  She  sang  in  the  principal  towns  of 
Italy,  and  retired  in  1836  Mme.  Brighenti 
embodied  her  recollections  of  Rossini,  whom  she 
had  known  from  childhood,  in  an  interesting 
book  'Cenni  .  ,  .  .  sopra  il  Maestro  Rossini' 
(Bdogna,  1833).  [M.  C.  C] 

BRIND,  RicHAKD,  was  brouf^ht  up  as  a 
chorister  in  St.  Paul's  Cathedral.   On  the  death  in 


BRISTOL  MADRIGAL  SOCIETT. 

1 707  of  Jeremiah  Clark,  organist  of  the  catihednl, 
Brind  was  appointed  his  successor,  and  held  the 
place  until  lus  death  in  171 8.  He  composed  for 
occasions  of  thankglving  two  anthems  now  wholly 
forgotten.  [W.  H.  H.] 

BRINDISI  (Ital.  far  brindUi ;  Span.  &nndar, 
'to  drink  one's  health'),  a  drinking  or  toasting 
song.  Well-known  and  popular  exainples  are '  H 
segreto '  in  '  Lucreda  Borgia,'  and  '  Ldbismo'  in 
the  'Traviata'  —  the  latter  written  for  ohorQi, 
with  solos  for  soprano  and  tenor.         [W.  H.  C] 

BRISTOL    MADRIGAL   SOCIETY.    The 
establishment  of  this  society  in  1837  ^^  ^^^'^  ^ 
the  fruits  of  a  lecture  on  Madrigals  given  at 
Bristol  by  Professor  Edward  Taylor.   The  society 
was  limited  to  thirty  members,  who  were  to  meet 
on  alternate  Wednesdays  at  the  MontagueTaven, 
to  sing  such  madrigals  as  had  been  previoudy 
agreed  upon  by  the  committee ;  the  late  Mr.  J. 
D.  Corfe,  organist  of   the  Cathedral,  was  the 
director,  and  among  the  first  members  was  Mr. 
Pearsall,  the  eminent  inadrigal  writer.    At  the 
first  annual  dinner  in   1838  Sir  John  Rogers 
and  Mr.  Thomas  Oliphant,  president  and  secre- 
tary of  the  London  Madrigal  Society,  were  pre* 
sent.    In  the  same  year  it  was  resolved  to  give 
a  'Ladies'  Night,'  and  in  1839  the  number  of 
these  open  performances  was  increased,  owing 
to   the    demand    for   tickets,  while  ulticnately 
the  '  Ladies'  Night'  took  the  place  of  the  saniul 
dinner.     In  Feb.  1841  the  Ladies'  Nights  were 
suspended,  but  at  the  end  of  1843  they  were 
recommenced  at  the  Victoria  Rooms,  with  an 
audience  of  1 300,  and  have  since  been  continaed 
annually.    The  number  of  members  has  been 
increased  to  forty-two,   and  the  meetings  are 
still  held  at  the  Montague.    The  choir  oomisti 
exclusively  <^  male  voices,  the  boys  being  selected 
from  the  cathedral  choirs  of  Bristol,  Oxford, 
Exeter,  and  other  places.    Mr.  Corfe  continued 
to  direct  the  society  till  1864^  when  he  resigned, 
and  was  succeeded  by  Mr.  D.  Rootham,  the 
present  conductor.    The  open  nights  have  always 
attracted  a  large  number  of  eminent  musician^ 
and  among  the  frequent  visitors  in  past  vean 
may  be  named  Dr.  C.  Corfe,  of  Oxford ;  Sr  6. 
J.  Mvey  and  Dr.  Stephen  Elvey ;  the  Rev.  Sir 
fVederick   Gore    Ouseley,   Bart. ;    Dr.    Stainer, 
(then  of  Oxford);   Mr.  Amott,  of  Gloucester; 
Mr.  Done,  of  Worcester;  and  Mr.  Townshend 
Smith,  of  Hereford,  who  brought  with  them  the 
most  effective  members  of  their  respective  choin. 
During  the  period  of  Mr.  Corfe's  direction  these 
gentlemen  joined  the  choir  of  Bristol  Cathedral 
at  service  on  the  day  of  the  concert,  a  practica 
since  discontinued.    The  music  song  during  the 
first  twelve  years  of  the  society's  frtinWn^  V3S 
almost   exclusively  confined  to   madrigals,  tbe 
exceptions  being  anthems  by  ^^re  and  Qreightco* 
and  the  works  of  Mr.  Pearsall,   but  some  of 
Mendelssohn's  four-part  songs  were  introdoced 
at  a  concert  in  Jan.  1851,  and  have  been  fi«- 
quently  included  since^  with  other  choral  works 
of  the  same  class.    The  fdlowing  was  the  pn>- 
gramme  at  the  society's  first  meeting  on  March  i, 


r 


BRISTOL  HABBIGAL  S0CIET7. 

1837 :— '  I  will  ariae'  (Greigliton) ;  ' Cyntbia^  tlij 
m^  and  chanting*  (O.  Crooe);  *Flonk  gaFe 
Btf'  (Wilbyts);  *To  shorten  Winter's  sadness' 
(Weelkes);  'Inprideof  May*  (Morle^);  'Othat 
^«  learned  poets'  (O.  Gibbons) ;  'Au  creatures 
mw*  (Benet);  'Hosanna'  (Gibbons)  ;  'April  is 
IB  my  MirtresB*  hce'  (Morley) ;  'So  saitn  my 
bar'  (L.  Marenzio) ;  'Down  in  a  flow'xy  vale' 
^Feeta) ;  'Soon  as  I  careless  stra/d*  (Feeta) ; 
'Tl»  Waits '(Saville).  In  subsequent  proerammes 
ve  find  the  names  of  the  great  madrigid  writers 
cf  England  and  Italy.  A  sacred  work  oocasion- 
iIIt  fLnda  a  place  in  the  programmes^  and  the 
hi  number  is  always  '  The  Waits.'  [0.  M.] 

BRITISH  CONCERTS.  When  the  Vocal 
CoQoerta  were  discontinued  at  the  dose  of  the 
year  182a  the  British  Concerts  were  established- 
to  supply  th^  plsce»  and,  according  to  the  pro^* 
pectus,  '  to  meet  the  wishes  of  a  numeroos  class 
of  persons  who  are  anxious  to  see  native  talent 
akcouraged.*  The  programmes  were  to  consist 
'entirely  of  woiks  of  British  composers,  or  of 
fcragners  who  have  been  naturalised  and  resi- 
dent in  these  reabns  for  at  least  ten  years.'  The 
managers  of  the  concerts  were  the  following 
manbers  of  the  Concentores  Society: — Messrs. 
Atcwood,  Bishop,  Elliot,  Gross,  Hawes,  Horsley, 
Jdly,  linley  and  Walmisley,  and  Sir  G.  Smart. 
Daee  coooerts  were  given  in  1833,  under  the 
immediate  patronage  of  the  King,  including  in- 
ttomnental  chamber  munc,  vocal  solos  and  glees. 
Among  the  new  works  given  were  string  quartets 
by  J.  Calkin  and  G.  Grziffin,  a  quartet  for  piano 
and  strings  by  GriJffin,  Horslev's  'Address  to  Hope' 
for  double  cjioir,  and  his  glee  'The  Crier,'  IJn- 
ltf%  i^ee  'Now  the  blue-fly's  gone  to  bed,* 
Elliott^s  'A  choir  of  bright  beauties,'  Hawes's 
'  Lore,  like  a  bird,'  Attw(X>d's  '  In  this  £ur  vale.* 
Hie  instrumental  performers  were  Mori,  W. 
Griesbadi,  H.  Smart,  and  linley,  and  the  chief 
Tocalists  Mrs.  Salmon,  Miss  Stephens,  and  Messrs 
Yaoghan,  Sale,  and  Bellamy.  The  concerts  took 
riioe  in  the  ball-room  of  the  Argyll  Rooms,  and  a 
list  of  200  subscribers  was  published,  but  the 
mpport  aooorded  to  the  scheme  was  insufficient 
far  the  continuance  of  the  conoertsy  and  the 
Kann of  1833  was  the  first  and  lastb        [C.  M] 

BRITISH  ORCHESTRAL  SOCIETY.  This 
iodety  was  established  in  187a  for  tbe  purpose  of 
giving  an  annual  series  of  concerts  by  British 
artuta,  the  soloists,  vocal  and  instrumental,  to- 
gether with  the  band  of  seventy-five  performers, 
bong  drawn  &om  the  ranks  of  native  musicians. 
Tbe  scheme  of  each  concert  includes  a  symphony, 
a  concerto,  two  overtures,  and  vocal  music ;  the 
programme  being  gone  through  without  any 
brnk.  Mr.  George  Mount  is  the  conductor,  and 
the  band  includes  Messrs.  Carrodus,  Zerbini, 
Boyki,  £.  Howell,  J.  Howell,  sen.,  as  the  leaders 
of  the  abring  department.  While  the  performers 
have  been  exclusively  English,  the  music  has  been 
dnwn  fixnn  composers  of  all  nations,  but  several 
HBw  works  by  native  writers  have  been  given  for 
the  firrt  time,  including  Macfarren's  overture  to 
*a  John  the  Baptist*  (1873);  J.  F.  Barnett*s 


BROADWOOD. 


277 


overture  to  Shakspere's  'Winter's  Tale'  (1873), 
written  for  the  society ;  J.  Hamilton  Clarke's 
'Saltarello'  (18^4);  Alfred  Hohnes'  overture  to 
'  Inez  de  Castro  (1874) ;  Gadsb/s  overture  '  The 
Witches'  FroUc'  (1874)  ;  Wingham's  Symphony 
in  B  flat  (1875).  The  soloists  at  the  concerts 
include  the  names  of  the  most  eminent  "Rwgliah 
artists.  The  concerts  are  given  at  St.  James's 
Hall,  and  Mr.  Stanley  Lucas  is  the  secretary 
(1876).  [C.  M.] 

BRITO,  EsT^AN  DB,-  lived  about  1615,  musi- 
cal director  at  the  cathedrals  of  Badajos  and 
Malaga^-  and  composer  of  motets,  etc.  preserved 
in  the  King  of  Portugal's  library. 

BRirrON,  Thomas,  called  the  'Musical 
Small-Coal  Man,'  was  bom  at  or  near  Higham 
Ferrers,  Northamptonshire,  about  the  yesr  1651. 
He  was  apprenticed  in  London  to  a  ooal-dealer, 
and  afterwards  commenced  business  in  Aylesbury 
Street,  Clerkenwell,  as  a  dealer  in  'small-coal' 
(charcoal  ?),  which  he  carried  through  the  streets 
on  his  back.  He  obtained  an  extensive  know- 
ledge of  chemistry,  of  old  books,  chiefly  on  the 
occult  sciences,  and  of  both  the  theoretical  and 
practical  part  of  music.  He  established  weekly 
concerts,  and  formed  a  sort  of  club  for  the  practice 
of  music.  These  concerts  were  held  in  a  long 
narrow  room  over  his  shop,  the  entrance  to  which 
is  described  as  being  by  a  stair  outside  the  house. 
Notwithstanding  the  humblianess  of  the  attempt 
these  gatherings  are  said  to  have  been  attractive 
and  very-  eenteeL  The  performers  were  Handel 
(who  presided  at  the  harpsichord),  Pepusch,  John 
Banister,  Henry  Needier,  John  Hughes  (the  poet), 
Philip  Hart,  Henry  Symonds,.  Abel  Whidiello^ 
Obadiah  Shuttieworth,  Woollaston  (the  painter), 
and  many  other  professors  and  amateurs.  The 
concerts  were  at  first  free  to  all  comers;  sub- 
sequentiy  the  visitors  paid  ten  shillings  a  year 
each.  Britton  provided  his  guests  with  coffee 
at  a  penny  a  diso.  The  small-coal  man  was  ac- 
knowledged by  the  Earls  of  Oxford,  Pembroke, 
Sunderland,  and  Winchelsea  (the  great  book- 
collectors  of  the  day),  who  appreciated  his  con- 
versation and  book-learning.  He  had  a  hand 
in  the  formation  of  the  celebrated  Harleian 
library;  and  the  Somen  tracts  were  entirely  his 
collecting.  His  reception  by  these  noblemen  led 
many  persons  to  imagine  that  Britton  was  not  the 
character  he  seemed  to  be,  and  that  his  musical 
assemblies  were  only  a  cover  fer  seditious  pur^ 
poses.  Indeed  he  was  severally  suspected  of  being 
a  magician,  an  atheist,  a  presbyterian,  and  a 
Jesuit.  These  conjectures  were  all  ill-grounded. 
Britton  was  a  pUin,  simple,  honest  mao,  perfectiy 
inoffensive,  and  with  tastes  above  Bis  condition  in 
life.  His  death  was  brought  about  by  a  ventrilo- 
quist, who  so  frightened  him  that  he  never  re- 
covered. He  died  Sept.  27, 1 714,  and  was  buried 
in  St.  James'  Churchyard,  Qerkenwell,  his  funeral 
being  attended  by  the  members  of  his  musical 
club.  [E.  F.  R.] 

BROADWOOD  (John  Broadwood  and  Sons). 
The  house  which  has  borne  this  name  and  been 
identified  with  pianoforte-making  in  London  from 


278 


BROADWOOD. 


the  introdaetioQ  of  tbe  instrameni,  was  esiahluhed 
by  a  harpsichord-maker,  BuiUiard  TKhudi,  a 
descendant  of  (he  Schwanden  branch  of  the  noble 
Swiss  fiunilj  of  that  name  (Schweizerische  Lexi- 
con, art.  'Tbchudi/  ZMch,  1795).  In  England 
he  wrote  his  name  Shndi,  and  established  himself 
about  the  year  173?  at  the  house  (afterwards  No. 
33)  in  Great  Pulteney  Street^  Golden  Square,  the 
sign  he  adopted,  before  it  was  numbered,  aoooiding 
to  the  custom  of  the  time,  being  the  'Plume  of 
Feathers.*  Tschudi,  originally  a  joiner,  had  been 
the  pupil  of  Tabel,  a  Flemish  harpsichord-maker 
settled  in  London,  who  had  himself  been  taught 
in  the  famous  house  of  Buckers  at  Antwerp. 
Through  merit  and  the  recommendation  of  Handd, 
Tschudi  was  made  harpsichord-maker  to  the  royal 
fiunily  of  England.  A  fine  double  harpsich(»d, 
made  by  him  in  1 740,  was  long  preserved  in  Eew 
Palace,  and  is  now  in  Windsor  Castle.  He  was 
also  patronised  by  Frederick  the  Great,  two  harpsi- 
cdiords  made  by  Tschudi  being  still  in  the  royal 
palace  at  Potsdam.  Bumey  spoke  of  his  tone 
being  refined  and  delicate,  amd  compared  his  in- 
struments with  those  of  his  rival  Kirkman,  also 
a  pupil  of  Tabel.  Tschudi's  only  patent  was  taken 
out  in  1769,  for  a  Venetiaa  sw^  to  the  harpsi- 
chord (see  VEinBTiAN  Swbll),  probably  the  in- 
vention of  his  son-in-law  and  partner  John  Broad- 
wood,  the  latter  a  journeyman  cabinet-maker  w;ho 
came  from  Scotland  to  London,  found  employment 
at  Tschudi's^  married  Tschudi's  daughter,  and  was 
taken  into  partnership  by  his  father-in-law,  who 
retired  in  1773,  but  as  late  as  1794  the  joint 
names  appear  as  the  style  of  the  firm  in  a  Musical 
Directory.  About  z  770  the  first  grand  pianoforte 
made  in  London  had  been  oonstruoted  by  a 
Dutchman,  Americus  Backers,  with  the  assistaiioe 
of  John  Broadwood  and  his  apprentice  Robert 
Stodart.  Backers  died  about  1781,  recommending 
his  action  to  John  Broadwood  s  care ;  and,  allow- 
ing for  some  change  in  the  proportion  of  parts,  it 
is  the  same  Messrs.  Broadwood  still  use,  known 
on  the  Continent  as  the  English  action.  Li  1 783 
John  Broadwood  took  out  a  patent  for  a  change 
in  the  construction  of  the  square  pianoforte,  by 
which  the  wrest-plank  holding  the  tuning-pins  was 
removed  firom  the  right-hand  side,  as  in  the  old 
clavichord,  to  the  back  of  the  instrument.  He  also 
introduced  the  division  of  the  bridge  on  the  sound- 
board of  the  grand  piano.  These  improvements 
were  so  important  that  they  were  afterwards  every- 
where adopted.  John  Broadwood  died  in  1812. 
His  sons,  James  Shudi  and  Thomas  Broadwood 
did  much  to  extend  the  business,  the  former  having 
recognised  claims  as  a  progressive  pianoforte- 
maker.  The  continued  history  of  the  nouse  is  so 
intimately  connected  with  the  modem  develop- 
ment of  the  instrument  that  further  reference  to  it 
must  be  sought  under  Pianoforte.  The  present 
head  of  the  firm  (1877)  is  Mr.  Henry  Fowler 
Broadwood.  [A.  J.  H.] 

BRODERIP,  William,  organist  of  Wells 
Cathedral  about  the  commencement  of  the  i8th 
century,  contributed  some  things  towards  the 
store  of  cathedral  music.  A  service  and  an 
anthem    with    orchestral    aocompamments    by 


BBOSSABD. 

him  ate  included  in  the  manuscript  odDei^cn 
of  church  music  made  by  Dr.  Tudway  for  the 
Earl  of  Oxford,  and  now  in  the  British  Mu- 
seum. [W.  H.  H.] 

BRONSART,  Hans  ton,  piaidat  and  com- 
poser,  bom  at  Berlin,  1830,  educated  at  Dantzio 
and  at  Berlin  University.  Studied  harmooy 
and  composition  under  Dehn,  and  the  piano^ 
first  under  KuUak,  and  (1854-57)  under  Lisxt 
at  Weimar.  After  several  years  devoted  to 
concert  tours,  Bronsart  (1860-62)  conducted  the  , 
Euterpe  concerts  at  Leipsic ;  in  65  became ! 
Director  of  the  Gesellschaft  der  Munk  reunde 
at  Berlin,  and  in  67  Intendant  of  the  court 
theatre  at  Hanover,  a  post  he  still  filla  (1878). 
His  chief  works  are  a  Pianoforte  Trio  in  G  1 
minor,  and  a  Pianoforte  Goncerto  in  Ff  minor— 
both  much  and  successfully  played  by  von  Biiloir, 
Sgambati,  and  others;  Polonaise  in  C  minor 
(Liszt's  <  Das  Kiavier ') ;  Fruhlings-Fantaisie  for 
orchestra,  often  performed;  'Cliri^markt^'aCkm- 
tata  for  double  choir  and  orchestra ;  Der  Conair 
(MS.),  an  opera,  text  from  Byron ;  also  an  in- 
teresting pamphlet, '  Musikalische  Pflichten."  In 
1863  he  married  Ingebosg  Starck,  like  himself  a 
pupil  of  Liszt's.  [See  Stabck.]  In  England 
Bronsart  is  only  known  by  his  Pianoforte  Con- 
certo, which  was  played  at  the  Crystal  Palace 
Sept.  30,  1876,  by  Hartvigson.  [E.D.] 

BROS,  Juan,  bom  at  Tortosa  1776,  died  at 
Gviedo  1852,  suocessively  director  at  the  cathe- 
drals of  Malaga,  Leon,  and  Oviedo,  and  composer 
of  much  church  music,  still  perf  mned  in  the 
churches  throughout  Spain.  Three  Misereres 
written  at  Leon  are  dted  as  his  best  works. 
Specimens  of  his  music  are  given  by  Eslaya  in 
the  *  Lira  Sacro-Hispano.'  [M.  C.  C] 

BROSCHI,  Cablo  ;  detto  Fabinslu.  (See 
Fabikelli.) 

BROSSARD,  Sebastixn  db,  author  of  the 
first  musical  dictionary,  published  under  the  title 
of '  Dictionnaire  de  musique  contenant  une  expli- 
cation des  termee  grecs  et  latins,  italiens  et 
fran9ais  les  plus  usit^s  dans  la  musique,*  etc. 
(Paris,  Balhurd,  1703,  folio).  There  were  two 
Later  editions,  the  second  at  Paris  in  8vo.,  and 
the  third  by  Roger  of  Amsterdam.  The  work 
contained  a  catalogue  of  900  authors  on  music 
Brossard  was  bom  in  1660,  and  was  a  prieet  at 
Strassburg,  and  chapel-master  to  the  cathedral 
from  1689  to  1698.  In  1700  he  was  appointed 
grand  chaplain  and  musical  director  of  the 
cathedral  at  Meauz,  where  he  died  Aug.  10, 
1730.  Janowka,  a  Bohemian,  brought  out  a 
musical  dictionary  two  years  before  Brossard's, 
but  it  was  in  Latin,  like  all  such  works  at 
that  time.  Brossard^s  book  being  in  French 
brought  musical  subjects  within  the  range  of 
the  general  reading  public,  and  thus  rendered 
an  important  service  to  art.  It  is  not  with- 
out faults,  but  contains  an  enormous  amount 
of  information  to  have  been  amassed  by  one 
man.  Brossard  also  wrote  '  Lettre  k  M.  Demots 
sur  sa  nouvelle  mothode  d'dorire  le  plain-chant 
et  la  musique'  (Ballard,  1739).    As  a  compot;er 


BROSSABD. 

d/drareh  moBio  he  made  bia  mark.  He  gaTe 
ikif  ndoable  lihniy  to  Louis  XIY  in  considera- 
tion of  an  annuity  of  I  aoo  francs.  His  MSS.  and 
■otes  for  a  uniyenal  history  of  music  are  pre- 
igrred  in  the  national  libraiy  in  Pazis.      [F.  G.] 

BROWNSHFTH,  Jomr  Lbkan,  was  bom  in 
Westadnster  in  1809,  and  reoeived  his  musical 
edacation  as  a  chorister  of  Westminster  Abbey 
Bcder  George  Ebenezer  Williams  and  Thomas 
Greatorex.  On  quitting  the  choir  he  pursued 
the  stady  of  the  organ,  and  in  a  short  time 
Ucame  not  only  an  excellent  player  but  ac- 
quired so  perfect  a  knowledge  of  ^le  structure 
ot  the  instrument  as  to  be  able  to  build  a 
gull  chamber-organ  for  himself.  In  1829,  on 
tbe  death  of  Benjamin  Jacob,  Brownsmith  was 
»Ppoiated  his  saccesscir  as  oiganist  of  St.  John*s 
diuich.  Waterloo  Road.  In  March  iSjS  he  was 
iipp)inted  a  lay  vicar  of  Westminster  Abbey. 
lu  October  1848  be  succeeded  William  Miller 
li  organist  to  the  Sacred  Harmonic  Society,  in 
Tbfch  capacity  he  officiated  at  the  Handel  Fes- 
^rals  at  the  Czystal  Palace  in  1857,  1859,  1863, 
ftnd  1865.  In  1853  he  resigned  his  appointment 
It  St  John's  on  being  chosen  organist  of  the 
then  newly-erected  church  of  St.  Gabriel,  Pim- 
lico.   He  died  Sept.  14,  1866.  [W.  H.  H.] 

BBUCH,  Max,  one  of  the  most  eminent  living 
GeRosa  oompoeers,  was  bom  at  Cologne  on  Jan. 
6,  jS^S.  His  father  was  in  goyenmient  employ, 
hoi  mother  came  of  a  well-known  and  gifted 
iLQiicsl  fanuly  of  the  Lower  Bhine.  Hei-self  a 
disUDgaished  singer,  she  carefully  watched  the 
early  development  of  her  son*s  musical  talents. 
Hei«oeived  his  theoretical  instruction  from  Pro- 
fenor  Breidenstein  at  Bonn,  and  soon  began  to 
give  extraordinary  promise.  In  1 85  a  Bruch  gained 
the  whoUrBhip  of  the  Mozart  foundation  at  Frank- 
fivipoa-Maine  far  four  years,  during  which  time 
he  continued  his  studies  under  Hiller,  Beim^cke 
ad  Breuning  at  Cologne,  at  the  same  time 
BiaJdng  himself  gradually  known  by  his  oompo- 
Btiung.  His  further  development  was  pnnnoted 
\rf  long  visits  to  Leipeic,  Munich,  and  other 
moncsl  towns.  His  stay  at  Munich  was  of  spe- 
dai  importance  through  the  personal  aoquaint- 
ULceof  the  poet  Geibe^  whose  '  Loreley,*  written 
f'lr  Mendelssohn,  Bruch  had  composed  while  at 
Cologne.  He  at  length  obtained  the  poet*s  con- 
Nntfor  the  performance  of  the  opera,  and  pro- 
ceeded to  Mannheim,  where  it  was  ftrat  given, 
ud  where  he  occupied  himself  with  studying  the 
Kqmiements  of  the  stage.  He  then  produced 
lotaj  of  those  works  which  have  asiodated  his 
ume  with  the  best  of  the  present  time.  In  1865 
^  Moepted  the  post  of  musical  director  of  the  Con- 
cert-Lutitution  at  Coblenz,  and  in  1867  became 
Kapellmeister  to  the  Prince  of  Sdiwarzbuig- 
^onder&hausen.  This  post  he  resigned  in  1870, 
BDoe  whidi  time  he  has  lived  independently, 
fint  at  Berlin  and  now  at  Bonn,  devoting  himself 
exidiuiTely  to  composition.  The  first  work  with 
which  he  came  before  the  public  was  an  operetta, 

'Schen,  List  und  Raohe/  to  Goethe's  words ; 

^  followed  various  chamber  compositions,  a 


BBXJMEL. 


279 


trio  (op.  5),  two  string  quartets  (op.  9,  io)» 
songs,  and  pianoforte  works.  For  the  present, 
however,  Bruch  has  abandoned  these  branches, 
and  devoted  his  whole  strength  to  the  hunger 
forms  of  orchestral  and  choral  music.  HIb  first 
step  in  this  field  was  taken  with  the  opera 
'Loreley'  (op.  16),  already  mentioned,  which 
met  with  considerable  success ;  but  his  most  im- 
portant snd  most  successful  work,  and  that 
which  established  his  &me,  was  his  '  Scenes  from 
the  Frithjof-Saga'  (op.  23),  for  male  voices  and 
orchestra — a  work  of  the  freshest  invention  and 
consummate  technique.  Amongst  his  instru- 
mental works  the  more  important  are  two 
Violin  Concertos,  the  first  in  G  minor,  and  the 
second  (1877)  in  D  minor,  as  well  as  two 
Symphonies.  His  chief  vocal  works,  with  or- 
chestra, are:  'Die  Flucht  der  heiligen  Familie* 
(op.  10),  *  Romisoher  Triump%esang,*  '  Romische 
Leichenfeier,'  'Salamis*  (these  last  three  for 
men's  chorus),  *Sch6n  l^en,*  'Borate  Coell/ 
'Kyrie,  Sanctus,  aud  Benediotus,'  'Odysseus,' 
and  various  smaller  works  of  the  same  kind. 
He  also  wrote  a  second  opera,  called  '  Hermione* 
after  Shakespeare's  'Winter's  Tale,'  but  this 
had  no  success.  Bruch's  real  field  is  concert 
music  for  chorus  and  orchestra ;  he  is  above  all 
a  master  of  melody,  and  of  tbe  effective  treat- 
ment of  the  masses.  These  two  sides  of  his 
artistic  activity,  so  to  speak,  play  into  each  other's 
hands,  and  have  brought  hhn  deserved  success. 
Bruch's  melody  is  not  drawn  from  the  hidden 
depths  of  innermost  feeling,  but  rather  from  the 
upper  surfMse  of  his  nature ;  yet  it  is  true,  un- 
constrained, natural,  and  excellent  in  structure, 
broad,  impressivek  and  vocal.  He  thoroughly 
undeivtands  how  to  clothe  his  thoughts  in  the 
most  favourable  and  effective  forms.  In  the 
elaborate  and  complicated  machinery  of  the 
modem  orchestra  and  chorus  he  is  thoroughly  at 
home.  While  on  the  one  hand  we  admit  that 
the  effect  of  his  more  important  works  is  perhaps 
greatly  dependent  on  the  brilliant  clothing  of 
the  musical  ideas,  we  must  on  the  other  hand 
insist  that  this  dcilful  use  of  external  means 
is  always  accompanied  by  a  keen  artistic  feel- 
ing for  external  narmony,  with  a  delicate  esti- 
mation of  the  proportionate  effect  of  the  sepa- 
rate parts  in  oomparison  to  the  whole.  This 
artistic  sense  of  proportion  saves  him  fit>m  losing 
himself  in  that  mere  outward  show  which 
we  sometimes  find  among  the  modem  realistio 
school.  [A.  M.] 

BRUMEL,  AKTonrs,  a  Flemish  musician,  one 
of  the  most  distinguished  of  Ockeoheim's  pupils. 
He  flourished  in  the  epoch  (1480-1520)  which 
may  be  distinguished  as  the  period  of  Josquin 
des  Pr^.  Nothing  is  known  of  his  personal 
history,  but  his  compositions  have  been  handed 
down  to  us  in  sufficient  number  to  prove  the 
j  ustice  of  his  great  reputation.  There  is  a  perfect 
copy  of  five  of  his  masses,  printed  in  one  volume 
by  Petruoci  of  Venice  in  1503,  preserved  in  the 
royal  library  at  Berlin.  There  is  also  a  collection 
of  masses  of  various  authors  by  the  same  printer, 
and  oontaining  one  of  Brumel's,  in  the  Britidh 


S80 


BBUMEL. 


Museum.  There  are  besideB  mftny  tauMies  and 
motets  in  other  editions  of  Petracci*s,  and  MSS. 
exist  in  the  royal  library  at  Munich  as  well  as 
in  the  pontifical  chap^  [J.  R.  S.  B.] 

BRUNETTI,  Gabtano,  a  violin-player  and 
composer,  was  bom  at  Pisa  in  1753.  He  was  a 
pupil  first  of  his  father,  an  able  musician,  and 
afterwards  of  the  celebrated  Nardini  at  Florence, 
whose  style  of  playing  and  composing  he  adopted 
with  considerable  success.  The  greater  part  of 
his  life  he  spent  at  Madrid,  attached  to  the  court 
of  the  Prince  of  Asturias,  afterwards  Charles  IV. 
Here  he  came  into  dose  connection  with  Bocche- 
rini,  then  at  the  height  of  his  £gune  as  a  performer 
and  composer,  and  appears  gradually  to  have 
superseded  that  artist  in  the  &vour  of  the  court 
and  the  public.  With  the  i^^phonies,  serenades, 
and  other  instrumental  works  which  he  wrote  for 
the  King  and  the  Duke  of  Alba  he  was  eminently 
■uooessfid.  They  appear  to  be  very  much  in  the 
style  of  Boccherini;  but  on  the  whole  inferior 
to  the  works  of  that  master.  Brunetti  died  at 
Madrid  in  1808.  His  numerous  compositions — 
published  at  Paris — consist  of  symphonies,  sere- 
nades, sextets,  quintets,  and  vidiinAiuets.  Over 
aoo  works,  of  his  remain  in  MS.  [P.  D.] 

BBUNI,  Antoiitb-Babthelemt,  a  violinist 
snd  composer,  bom  at  Coni  in  Piedmont  in  1 759. 
He  was  a  pupil  of  Pugnani,  and  lived  firom  1771 
at  Paris,  first  as  orchestral  player  at  the  Italian 
Opera,  and  afterwards  as  conductor  of  the  Opera 
Comique.  He  wrote  sixteen  operas,  some  of 
which  achieved  considerable  suooess,  although 
now  entirely  forgotten. 

For  the  violin  he  wrote  four  sets  of  sonatas, 
several  concertos,  ten  quartets,  and  twenty-eight 
sets  of  violin  duets,  the  latter  well  known  to 
professors  as  useful  pieces  for  teaching  purposes, 
also  a  *  Mt^ihode  de  Violon,'  and  a  *  Methode  pour 
TAlto-viola.'    He  died  in  1823.  [P.D.] 

BRUNI,  SiONOB,  an  Italian  prime  uomo  who 
was  singing  at  Florence  in  the  winter  of  1784. 
In  1793  he  sang  in  London.  He  improved  in 
voice  and  style,  but  was  still  weak,  when  com- 
pared with  his  predecessors.  He  distantly  re- 
called RubineUi  [J.M.] 

BUGLE'  (Eng.  and  Fr.;  Germ.  FlUgdhom, 
Ital.  Tromba),  A  treble  instrxunent  of  brass  or 
copper,  differing  firom  the  trumpet  in  having  a 
shorter  and  more  conical  tube,  with  a  less  ex- 
panded bell.  It  is  played  with  a  cupped  mouth- 
piece. In  its  original  form  the  bugle  is  the  signal 
horn  for  the  in£ntry,  as  the  trumpet  is  for  the 
cavalry,  and  it  is  usually  tuned  in  C,  with  an  extra 
Bb  crook,  or  in  Eb.  Only  five  sounds  are  required 
for  the  various  calls  and  signals.  These  are  the 
intermediate  open  notes  of  Uie  tube,  from  C  below 
the  treble  stave  to  G  above  it.  Eight  sounds 
however  can  in  all  be  obtained,  by  £e  addition 
of  the  Bb  and  G  above  high  G,  and  the  octave 
of  the  lowest  C,  which  though  feeble  and  of  poor 


>  Mr.TwmyKmhMliniaortelhedltbyhfaSonglnTbeFrtiicMfc 


B&LOW. 

tone  is  the  real  fundamental  note.    With  theij 
additions  the  entire  compass  is  as  follows : — 


1 


:^z 


^^ 


Two  methods  have  been  adopted  for  bridgi 
over  the  gaps  between  the  open  notes  of  i 
instrument,  viz.  keys  and  valves.  The  ke 
bugle,  called  also  the  'Kent  bugle'  and  'Regen 
bugle/  which  was  extremely  popular  some  fo: 
years  ago,  has  been  entirely  superseded  by  t 
valve  system.  No  doubt  the  latter,  as  in 
comet  and  euphonium,  preserved  the  vih 
length  of  tube  for  the  higher  notes^  and  th 
gains  power  and  fulness ;  but  it  is  a  questi 
whether  the  keyed  inntrument  does  not  produi 
more  accurate  intonation  and  a  tenderer  quality 
tone.  This  however  is  a  matter  to  which  KngliBkj 
bandmasters  seem  perfectly  indifferent,  althouglij 
the  Fltlgelhom  and  the  key-bugle  are  still  to  ba{ 
heard  with  effect  in  the  superb  bands  of  Austria. 

In  the  ordinary  bugle  valves  are  often  added 
as  an  attachment,  of  which  the  bugle  itself  b^ 
comes  the  bell.  [W.  H.  S.] 

BULOW,  Hahs  Guido  von,  bom  Jan.  8, 
1830,  at  Dresden.  The  foremost  pianist  of  that 
most  advanced  school  of  pianoforte  playing, 
founded  by  Chopin  and  devdoped  by  Liszt.  A 
first-rate  conductor,  and  a  musician  whose  tech- 
nical attainments  and  complete  knowledge  of 
the  art  from  its  germs  to  its  very  latest  devel- 
opment can  be  rivalled  by  few  contemporaries 
and  surpassed  bv  none.  As  a  pianist  his  reper- 
toire comprehends  the  master  works  of  all  styles 
and  schools,  from  the  early  Italians  to  the 
present  day;  it  would  in  (ishct  be  difficult  to 
mention  a  work  of  any  importance  by  any 
composer  for  the  pianoforte  which  he  has  not 
played  in  public,  and  by  heart.  His  prodigious 
musical  memory  has  enabled  him  also  as  a 
conductor  to  perform  feats  which  have  never 
before  been  attempted,  and  will  in  all  like- 
lihood not  be  imitated.  The  distinctive  pecu- 
liarity of  both  his  playing  and  conducting  may 
be  set  down  as  a  passionate  intellectuality. 
One  notices  at  every  step  that  all  details  have 
been  thought  about  and  mastered  down  to  the 
minutest  particle ;  one  feels  that  all  effects  have 
been  analysed  and  calculated  with  the  utmost 
subtlety,  and  yet  the  whole  leaves  an  impression 
of  warm  spontaneity.  This  is  the  highest  praise 
which  can  be  awarded  to  an  executant.  It 
does  not,  perhaps,  apply  to  all  of  BU  low's  ap- 
pearances in  public,  but  it  applies  strictly  to  his 
performances  at  their  best ;  and  it  is  but  bsre 
justice  to  measure  the  achievements  of  a  great 
artist  as  one  measures  a  mountain  chain,  by  the 
peaks  rather  than  by  the  vaUeys.  The  analytical 
and  reconstructive  powers  just  emphasised  render 
his  editions  of  classical  pianoforte  works,  such  as 
those  of  Beethoven*s  sonatas,  variations,  and 
bagatelles,  from  op.  53  upwards,  of  Cramer's 
studies,  of  selections  from  Sebastian  and  Emanuel 
Bach,  from  Handel,  Scarlatti,  etc. — in  which  he 
has  indicated   the  most   refined  phrasing  and 


BfrLOW. 

b^emg,  M  wen  as  the  most  mmnte  nnanoes 
of  tempo  and  expresnon,  and  has  oorrected  pre- 
f3S3alde  in]q)irint8  and  inaoouraoieB — ^unique  and 
knioable  to  the  8tod«nt. 

In  addition  to  these  his  admirable  parHtion 
k  pioMo  of  the  most  intricate  soore  in  existence, 
Wagner's  'Tristan  nnd  Isolde/  together  with 
dat  of  the  orerture  to '  Die  Meistersinger '  and 
'£be  Faust  Ouvertore,'  as  well  as  the  arrange- 
■enti  of  Weber's  two  concertos  and  the  con- 
oatetock  for  pijmoforte  solo  should  be  mentioned. 
In  early  youtb  Von  Bulow  seems  to  have 
Aown  neither  talent  for  music  nor  delight  in 
h.  Both  gilts  first  made  their  appearance  after 
%  long  illness^  but  then  in  a  supreme  degree. 
After  his    ninth   year   he  was  placed   under 
Friediich  Wiec^  the  fiither  of  Clara  Schumann, 
vho  laid  the   solid  foundations  for  his  future 
tsrimical  achievmnenti.    M.  K.  Eberwein  was 
lor  two  years  subsequently  his  master  in  harmony 
tod  ooonteqKyint.      In   1848  he  came  to  the 
anivenity  of  Leipzig  to  commence  the  study  of 
j^irisprodenoe,  his  parents  having  always  looked 
upon  music  as  a  mere  pastime.     At  Leipzig 
k  oontinued  his  studies  in  counterpoint  under 
Huiptmann.     In    Oct.    1849   we  find   him   a 
memba  of  the  university  of  Berlin,   absorbed 
in  tlie  pditical  movements  of  the  time,  and 
CDotribator  to  a  democratic  journal '  Die  Abend- 
post'    In  this  paper  he  first  began  to  announce 
md  defend  the  musical  doctrines  of  the  new 
Gcnnan  school  led  by  Liszt  and  Wagner.    A 
perf»msnoe  of  '  Lohengrin  *  at  Weimar  in  1850 
Qnder  liazt  moved  bun  so  intensely  that  he 
tiirew  over  his  career  as  a  lawyer,  went  to 
Zjtich  and  entrusted  himsdf  to  the  guidance 
of  Wagner.     In  June  1 851  he  went  to  Weimar 
to  study  pianoforte  pla^ng  under  Liszt,   and 
m  1S53  made    his   first    concert   tour,    play- 
ing at  Yienna»     Pesth,    Dresden,    Garlsruhe, 
Bremeo,  Hamburg,  and  Beriin.    From  1855  to 
1^4  be  occupied  the  post  of  principal  master 
of  pianoforte  playing  at  the  oonservatorium  of 
hofesBors  Stem  and  A.  B.  Marx,  at  Berlin. 
Here  we  find  him  organising  trio  soirees,  or* 
^testnl  concerts,  and  pianoforte  recitals,  with 
programmes  of  the  most  varied  character,  though 
idti^  a  decided  leaning  towards  the  works  of 
tbe  new  German   school,  writing  articles  for 
yuioos  political  and  musical  papers,   making 
jooneys  through  Germany  and  the  Netherlands, 
and  Russia,  and  reaping  laurds  everywhere  as 
player  and  oondnctor.    In   1864  he  was  called 
V)  Munich  as  principal  conductor  at  the  royal 
opera  and  director  of  the  Oonservatorium.     It 
vas  there  that  he  succeeded  in  organising  model 
perfonuanoes  of  Wagner^s  'Tristan  und  Isolde' 
•nd  'Die  Meistersinger   von   Niimberg.'     In 
1869  ^  left  Munich,  and  has  since  been  giving 
concerts  in  Italy,  Germany,   Russia,   Poland, 
l^Und,  and  America.      Among  his  most  im- 
portant compositions  the  following  have  been 
puhUshed: — op.  30,  'Nirwana,   Symphonisches 
BtinunongBbild* ;  op.  10,  Music  to  Shskspeare*s 
'Jttlins  Cssar* ;  op.  16,  BaUade  for  Orchestra^ 
'BesSiinger'sfladki';  op.  2^,  'Yier  Charakter- 


BX7LL. 


281 


stttcke  fttr  Orbhester,  (i)  Allegro  risoluto,  (a) 
Nottumo,  (3)  Intermezzo  gueiriero,  (4)  Fune- 
rale.*  Among  his  pianoforte  pieces  especial  at- 
tention should  be  called  to  his  recent  op.  ai, 
'H  CanK>vale  di  Milano/ 

On  Jan.  i,  1878,  he  was  app(nnted  Koniglicher 
Hofkapellmeister  at  Hanover.  [£«D.] 

BUHL,  Joseph  David,  bom  near  Amboiae 
1 78 1,  trumpeter,  son  of  a  musician  in  the  service 
of  the  Due  de  Qioiseul.  He  was  successively  a 
member  of  the  band  of  the  '  Garde  Parisienne,' 
organised  1792,  and  of  the  Consuls*  'Grenadiers 
de  la  Garde.'  He  was  also  professor  at  the 
cavalry  school  of  trumpeters  at  Versailles,  from 
its  foundation  in  1805  to  its  abolition  in  z8ii. 
In  18 14  he  was  appointed  by  Louis  XYIII  con- 
ductor of  the  band  of  the  Gardes  du  Corps,  and 
received  the  Legion  of  Honour.  In  18 16  he 
became  first  trumpeter  at  the  Opera,  and  at 
the  Th^tre  ItsJien ;  but  owing  to  an  accident,  at 
the  coronation  of  Charles  X  was  compelled  to 
relinquish  both  appointments  in  1835.  In  1833 
Buhl  introduced  into  France  the  sUde-trumjpet  (k 
coulisse),  invented  by  Haltenhoff  of  Hanau. 
He  published  a  'Method  for  Trumpet'  (Paris, 
Janet),  and  was  editor  of  the  '  Ordonnance  des 
Trompettes.*  [M.  C.  C] 

BULL,  John,  Mus.  Doc.,  was  bom  in  ^mer- 
setshire  about  1563.  He  was  educated  in  Queen 
Elizabeth's  Chapel  under  William  Blitheman,  the 
celebrated  organist.  On  Dec.  34,  1582  he  was 
appointed  organist  of  Hereford  Cathedral  and 
afterwards  master  of  the  children.  In  January 
1585  he  was  admitted  a  member  of  the  Chap^ 
Royal,  and  in  1 591  on  the  death  of  his  master  is 
said  to  have  succeeded  him  as  organist.  But  this 
is  mere  oonjecture,  as  John  Hewlett  succeeded 
Blitheman  in  the  place  of  a  gentleman,  and  the 
office  of  organist  as  a  separate  amraintment  did 
not  then  exist.  Oil  July  9,  1580,  he  was  ad- 
mitted Mus.  Bao.  at  Oxford,  'having  practised  in 
that  faculty  fourteen  years,'  and  on  July  7,  I593» 
was  incorporated  Mus.  Doc.  in  the  same  UniveoN 
sity,  having  previously  taken  the  degree  at  Cam- 
bridge. In  1596,  upon  the  recommendation  of 
Queen  Elizabeth,  Bull  was  the  first  appointed 
Music  Professor  in  Gresham  College,  and,  al- 
though  unable  to  compose  and  read  nis  lectures 
in  lAtin,  according  to  the  founder's  original  in- 
tention, such  was  his  favour  with  the  Queen  and 
the  public,  that  the  executors  of  Sir  Thomas 
Grei£am,  by  the  ordinances  bearing  date  1597, 
dispensed  with  his  knowledge  of  the  Latin  lan- 
guage and  ordered  'The  solemn  music  lecture 
twice  every  week,  in  manner  following,  viz.  the 
theoretique  part  for  one  half -hour,  or  thereabouts, 
and  the  practique,  bv  concert  of  voice  or  'instru- 
ments, for  the  rest  of  the  hour,  whereof  the  first 
lecture  should  be  in  the  Latin  tongue  and  the 
second  in  English ;  but  because  at  this  time  Mr. 
Dr.  Bull,  who  is  recommended  to  the  place  by 
ths  Queen*s  Most  Excellent  Majesty,  b«ing  not 
able  to  speak  Latin,  his  leotmres  are  permitted  to 
be  altogether  in  English,  so  long  as  he  shall  con- 
tinue in  the  place  of  music  lecturer  there.'  In 
1601  Bull  went  abroad  for  the  recovery  of  his 


283 


BI7LL. 


BTTNTINa. 


keilth,  and  during  hig  abeenoe  was  pennitied  to 
Bubstitute  as  hU  deputy,  Thomas,  son  of  William 
Byrd.  He  travelled  incognito  into  France  and 
Germany,  and  Antony  k  Wood  teUs  a  story  of  a 
feat  performed  by  him  at  St.  Omer's,  where,  to  a 
composition  originally  in  forty  parts,  he  added 
forty  more  in  a  few  hours.  After  the  death  of 
Elisabeth,  Bull  retained  his  post  in  the  Chapel 
Koyal,  and  his  fame  as  an  organist  was  widely 
spread.  On  Dec.  15,  1606,  Bull  was  admitted 
into  the  freedom  of  the  Merchant  Taylors'  Com- 
pany by  service,  having  been  bound  apprentice 
to  Thomas,  £arl  of  Sussex,  who  was  firee  of  the 
Company.  On  July  16,  1607,  when  James  I  and 
Prince  Henry  dined  at  Merdiant  Taylors'  Hall, 
the  royal  guests  were  entertained  with  music, 
both  vocal  and  instrumental.  And  while  His 
Majesty  was  at  table,  according  to  Stowe,  'John 
BuU,  Doctor  of  Musique,  one  of  the  organists  of 
His  Majesties  Chappell-royall,  and  free  of  the 
Merchant-taylors,  being  in  a  citizen's  gowne, 
cappe,  and  hood,  played  most  excellent  melodic 
upon  a  snuJl  payre  of  Organes,  placed  there  for 
that  purpose  onley/  (Chronicles,  edit.  1631,  p. 
891.)  On  Dec.  a 3,  1607,  Bull  obtained^  firom 
the  Bishop  of  London  a  marriage  licence  for  him- 
self and '  Elizabeth  Walter  of  the  Strand,  maiden, 
aged  about  24,  daughter  of  Walter, 

citizen  of  London,  deceased,  she  attending  upon 
the  Rt.  Hon.  the  Lady  Marcldoness  of  Winchester.' 
They  were  to  marry  at '  Christ  Church,  London.' 
In  the  same  month  he  resigned  his  professorship  at 
Gresham  College,  which  was  tenable  only  so  long 
as  he  remained  unmarried.  In  161 1  he  was  in  the 
service  of  Prince  Henry,  and  his  name  stands  first 
on  the  roll  of  the  Prince's  musicians,  with  a  salary 
of  £40  per  annum.  The  old  Cheque  Book  of  the 
Chapel  Royal  records  under  date  of  161 3  that 
*  John  Bull,  Doctor  of  Musioke,  went  beyond  the 
seas  without  license,  and  was  admitted  into  the 
Archduke's  service.*  No  valid  reason  can  be 
assigned  for  his  leaving  the  country,  but  it 
seems  he  had  been  preparing  for  the  step  some 
months  previously.  In  the  British  Museum 
(Add.  MS3.  No.  6194),  is  preserved  a  letter  from 
Dr.  Bull  to  Sir  M.  Hioks,  wishing  his  son's  name 
to  be  inserted  instead  of  his  own  in  some  patent 
dated  April  26, 161 2  ;  and  the  same  MS.  contains 
an  extract  from  Mr.  Trumbull's  letter  to  James  I 
oonoeming  the  Archduke's  receiving  Dr.  Bull,  the 
king's  organist,  into  his  chapel  without  permis- 
sion, dat^  May  30,  1614.  The  subsequent  life 
of  Dr.  Bull  has  been  hitherto  simply  conjecture, 
but  the  writer  is  fortunately  enabled  to  clear  up 
the  latter  part  of  it  from  a  letter  written  by  the 
Chevalier  Leon  de  Burbure  some  few  years  back, 
in  answer  to  certain  inquiries.  The  Chevalier 
says,  '  I  do  not  know  that  the  Cathedral  of  Ant- 
werp ever  possessed  any  MSS.  of  Dr.  John  Bull, 
but  at  all  events  there  have  remained  no  traces 
for  a  long  time.  The  only  Ucta  relative  to  John 
Bull  that  I  have  disoovered  are^  that  he  became 
organist  of  Notre  Dame  at  Antwo^  in  161 7,  in 
the  place  of  Rumold  Waelrent  deceased ;  that  in 
1620  he  lived  in  the  house  adjoining  the  church, 

I  This  fcct  has  nevnr  befim  bMO  noCioed.   I  un  Indebted  for  It  to 
Coloael  J.  Lb  Chester.  [GJ 


on  the  side  of  the  Place  Verte,  in  which  the  con- 
cierge of  the  cathedral  had  lived;  that  he  died 
on  March  12  or  13,  1628,  and  was  buried  on  the 
15th  of  the  same  month  ip.  the  cathedral  where 
he  had  been  organist.'  Specimens  of  fiull'i  can- 
positions  for  voices  may  be  found  in  Bankard's  and 
Boyce's  collections  and  in  Sir  William  Leighum'i 

*  Teares  or  Lamentations  of  a  Soirowfull  Sode/ 
1614,  fol.  He  joined  Byrd  and  Gibbons  in  con- 
tributing to  the  Parthenia,  a  collection  of  pieces 
for  the  virginals,  printed  early  in  the  17th  cen- 
tury, and  a  la^  number  dT  his  instnimental 
movements  are  extant  in  the  volume  in  the  Fit^ 
william  Museum  known  as  Queen  Mizaheth'g 
Virginal  Book,  and  in  other  MSS.  See  a  curiotu 
list  in  Ward's  Lives  of  the  Gresham  Profeswra, 
pp.  203-8.  To  Bull  has  been  attributed  the  com- 
position of  the  popular  tune,  'God  save  the  King.' 
but  the  claim  made  on  his  behalf  has  met  with 
but  partial  acceptance.  [See  God  save  thi 
Kino.]  A  portrait  of  BuU  is  preserved  in  the 
Music  School  at  Oxford.  It  is  painted  on  a  bosrd 
and  represents  him  in  the  habit  of  a  bachelor  of 
music.    On  the  left  side  of  the  head  are  the  words, 

*  An.  ^tatis  svsb  a6,  1589,*  and  on  the  right  side 
an  hour-glass,  upon  which  is  placed  a  human  skoll, 
with  a  bone  across  the  mouth.  Bound  the  foor 
sides  of  the  frame  is  written  the  following  homely 
distich: — 

'  The  bull  by  force  in  field  doth  raigne: 
But  Bull  by  skill  good  will  doth  gayne-' 

[E.F.B.] 

BUNN,  Alfred,  manager  and  drsmatic  tar 
thor,  was  for  a  quarter  of  a  century  director,  and 
during  the  greater  part  of  that  time  leasee,  of 
Drury  Lane  Theatre.  Elliston  gave  him  hia  fiiai 
appointment  as  stage-manager  of  Druiy  Lane  in 
1823,  when  he  was  quite  a  youngs  man;  and  he 
first  obtained  a  certain  celebrity  as  a  mana^ 
by  endeavouring  some  dozen  years  aftenranb  to 
establish  an  E^lish  Opera.  'The  Maid  of  Ar- 
tois,*  and  a  few  years  later  *  The  Bohemian  Girl,' 
'  The  Daughter  of  St.  Mark«'  and  other  opens  by 
Balfe,  were  produced  at  Drury  Lane  under  Mr. 
Bunn's  management ;  and  for  the  first  of  theae 
works  Mme.  Malibran  was  engaged  at  the  then 
unprecedented  rate  of  £1 35  a  night.  Mr.  Bona 
abo  brought  out  Mr.  (now  Sir  Julius)  Benedict'i 
'  Brides  of  Venice '  and  Vincent  Wallace  s '  Man- 
tana.'  For  most  of  these  operas  Mr.  Bunn  him- 
self furnished  the  libretto,  which  however  was  in 
every  case  of  French  origin.  He  was  the  author 
or  adapter  of  a  good  many  dramas  and  faroei,  in- 
cluding '  The  Minister  and  the  Mercer,'  a  tzans* 
lation  of  Scribe's  '  Bertrand  et  Raton,'  which,  oa 
its  first  production,  obtained  remarkable  sucoesL 
Long  before  his  career  as  manager  had  come  to 
an  end  he  published  a  volume  of  memoua,  osdtf 
the  tiUe  of '  The  Stage.*  [H.  S.  £.] 

BUNTING,  £dwa]ID,  son  of  an  Eng&h 
engineer  and  an  Irish  lady,  bom  at  Armagh  ia 
February  1773.  He  was  educated  as  an  orgia 
and  pianoforte  player,  and  distinguished  hims^if 
for  his  love  of  Irish  music,  of  which  he  pubhsfa^d 
three  collections.  The  first,  containing  Irish  aci 
'never  before  published,'  oame  oat  in  175^  A 


BUNTINO. 


BUBLETTA. 


288 


neand,  containing  75  Additional  t&n  (words  by 
Campbell  and  otbefB\  and  a  dissertation  on  the 
Irish  Harp,  appeared  in  1809.  A  third  oolleotion, 
owuining  upwards  of  150  airs,  of  which  more 
daa  ISO  were  then  for  the  first  time  given  to 
the  publiot^  was  published  in  1840.  This  last 
ooUecdon  is  remarkable  for  a  dissertation  of  100 
pages  upon  the  history  and  practice  of  music  in 
hdand.  According  to  this  dissertation  'the 
oocanon  which  first  confirmed  him  in  his  partiality 
Lr  the  airs  c^  his  native  coantry,  was  the  great 
B^tfung  of  the  Harpers  at  Belfast  in  1 79a.  Before 
this  time  there  had  been  several  similar  meetings 
IS  Granardy  in  the  county  of  Longford,  which 
bd  excited  a  BOTprisinff  degree  of  interest  in 
Iriih  musio  throughout  that  part  of  the  country. 
I&e  meeting  at  Belfut  was  however  better 
mended  than  any  that  had  yet  taken  place,  and 
its  eflfeofis  were  more  permanent,  for  it  kindled 
u  enihusiasm  throughout  the  north  which  bums 
bight  in  some  warm  and  honest  hearts  to  this 
day.  All  the  best  of  the  ohl  class  of  Harpers— 
s  noe  of  men  then  nearly  extinct,  and  now  gone 
for  ever  —  Dennis  Hempson,  Arthur  O'Neill, 
Chirifls  Fanning,  and  seven  othem,  the  least 
■bfe  of  whom  has  not  left  his  like  behind,  were 
ment.*  Aided  by  O'Neill  and  the  other  harpers. 
Banting  immediately  b^gan  to  form  his  first  col- 
lection. He  travelled  into  Deny,  Tyrone,  and 
Caonaugfat^  where,  especially  in  the  last,  he 
obtsined  a  great  number  of  excellent  airs.  His 
fizst  and  second  collections  contain  the  best  Irish 
aizB»  although  in  his  third  there  are  several  very 
good  ones,  and  some  veiy  curious.  Among 
these  last  are  the  '  carinanM  or  dirges,  and  airs  to 
vhich  Ossianic  and  other  old  poems  are  sung,' 
and  which  the  editor  gives  as  '  very  ancient ' — 
msay  hundred  years  old.  He  afterwards  en- 
deavours to  analyse  the  structure  of  Irish  airs, 
aod  to  point  out  their  characteristics. 

Banting  died  at  Belfast  Dec.  ai,  1843,  and 
ms  intenred  at  Mount  Jerome.  His  death  was 
sbaolately  unnotioed.  '  He  was  of  no  party,  and 
theRfore  honoured  of  none,  and  yet  this  un- 
hoooared  man  was  the  preserver  of  his  country's 
miaic.'  {Ihib.  Univ,  Mag^  Jan.  1847;  Private 
Soma.)  [E.  F.  R.] 

BURDEN  OB  BURTHEN.  Old  songs  and 
ballads  frequently  had  a  chorus  or  motto  to  each 
Tene,  whi<ui  in  the  language  of  the  time  was 
eaiied  a  Burden  or  Bob.  One  of  the  most  au- 
dent  and  most  popular  was  *  Hey  troly  loly  lo,* 
qooted  in  'Piers  Plowman,*  1363,  and  other  early 
Koga.  It  occurs  after  every  line  of  a  song  of 
the  time  of  Edwaid  JY  (Sloone  MS.  No.  1584)  ; 
and  in  Isaac  Walton's  'Compleat  Angler'  is  the 
harden  of  *  O  ^e  sweet  contentment  Uie  country- 
man doth  find,* 

'  Heigh  trolloUie  loe. 
Heigh  troUollie  lee.* 

The  andeot  'Frogge  Song*  has  the  ridiculous 
burden — 

'  Farthing  Hnkum  laddium, 
Fann — ho— fiumyho. 
Farthing  glen.' 
In  the  ballad  of '  tSar  Eghunore/  which  was  very 


popular  in  the  17th  century,  the  burden  is  'Fa 
la,  lanky  down  dilly.'  In  ^lakespeare's  'Tem- 
pest *  we  find — 

'  Foote  it  featly  heere  and  there, 
And  sweet  Sprites  the  burthen  beare.' 

The  stage  direction  to  which  is  'Burthen  dis- 
persedly';  and  the  burthen  follows — 

'  Harke,  harke,  bowgh-wough ; 
The  watch-dogges  barke 
Bowgh-wough.' 

The  second  song  in  the  same  play  has  'Ding- 
dong'  for  the  burden.  In  'As  You  Like  It' 
Celia  says  'I  would  sing  my  song  without  a 
burthen,'  thou  bring'st  me  out  of  tune.' 

The  ballad  'The  Jdly  Miller '  has  been  a  fa- 
vourite from  the  1 6th  or  17th  century,  and  was 
sent  to  Beethoven  to  harmonise  on  account  of 
'its  merited  popularity'  by  Thomson,  who  in- 
serted it  in  his  'Scotch  Songs,'  i8a4.  In  it  we 
find  the  lines — 

'  This  the  burden  of  his  song 
For  ever  us'd  to  be, 
I  care  for  nobody,  no,  not  1, 
If  nobody  cares  for  me.' 

It  is  probable  that  the  burdens  were  ao- 
companied  by  motion  or  dancing.  [Ballad.] 
In  'Much  Ado  about  Nothing'  Margaret  says 
'Claps  into  Light-a-love  (that  goes  without  a 
burden).  Do  you  sing  it  and  I'll  dance  it.' 
Burden  also  means  the  drone  or  bass  of  a  ba§[- 
pipe.    [Faux-bodbdoh.]  [W.H.C7J 

BURGMt^^LLER,  Nobbert,  composer;  bom 
at  Dusseldor^  Feb.  8,  1810;  son  of  the  then 
music-Director  there,  who  died  in  1824  well 
known  and  honoured  as  one  of  the  founders  and 
conductors  of  the  Lower  Rhine  festivals.  Nor- 
bert  very  early  showed  extraordinary  musical 
talent.  After  leaving  his  father  he  studied  at 
Cassel  under  Spohr  and  Hauptmann.  But  a 
sickly  constitution  prevented  his  full  develop- 
ment, and  he  died  at  Aix-la-Chapelle  in  1836. 
He  left  much  music  behind  him,  of  which  two 
symphonies,  an  overture,  and  some  other  pieces 
were  published  by  Kistner,  all,  notwithstand- 
ing their  natural  mmiaturity,  manifesting  great 
ability,  lively  imagination  full  of  ideas,  fi^hness 
of  invention,  and  a  strong  feeling  for  classical 
'  form.*  There  is  every  reason  to  believe  that,  if  his 
life  had  been  spared,  concentration  and  strength 
would  have  come  with  years,  and  that  Burg- 
miiller  would  have  reached  a  high  place  in  his 
art.  Schumann  valued  him  greatly :  he  begins  a 
memorial  notice  of  him  by  saying  that  since  the 
early  death  of  Schubert  nothing  more  deplorable 
had  happened  than  tiiat  of  Burgmuller  (Ges. 
Schriften,  iii.  145).  [A.  M.] 

BURLA,  OB  BURLESCA,  a  musical  joke  or 
playful  composition;  J.  S.  Bach's  Partita  3, 
engraved  with  his  >own  hand  on  copper,  and 
published  In  1737,  contains  a  Burlesca  as  the 
fifth  piece.  Schumann  has  a  Burla  in  op.  134. 
No.  1  a.  [W.  H.  C] 

BURLETTA,  a  droll  or  fibcetious  musical 
drama  or  farce,  which  derives  its  name  from  tf 


284 


BXTBLETTA, 


Italian  verb  hwrlare,  'to  jest»*  or  'to  ridicule.' 
The  burletta  found  its  way  from  Italy  through 
France  to  England.  The  most  celebrated  ex- 
ample produced  in  England  was  the  Bsooab's 
Opeba  in  1727,  written  by  Gay,  and  adapted 
to  the  popular  melodies  of  the  day.  In  1737 
appeared  'The  Dragon  of  Wantley/  by  Henry 
Carey  and  Lampe,  which  succeeded  so  well  that 
it  was  followed  in  1738  by  a  second  part  or 
sequel,  entitled  '  Margery.'  [W.  H.  C] 

BTJRNEY,  Charles,  Mus.  Doc.,  was  bom  at 
Shrewsbury  April  7,  1726,  and  edu^ted  at 
the  free  school  there.  He  was  subsequently 
removed  to  the  public  school  at  Chester,  where 
he  commenced  his  musical  studies  under  Mr. 
Baker,  the  organist  of  the  Cathedral.  When 
about  fifteen  years  of  age  he  returned  to  his 
native  town,  and  for  three  years  pursued  the 
study  of  music,  as  a  future  profession,  under  his 
elder  brother  James  Bumey,  orgaziist  of  St. 
Mary's,  Shrewsbury.  He  was  next  sent  to  Lon- 
don, and  for  three  years  studied  under  Dr.  Ame. 
In  1749  ^®  ^^  elected  organist  of  St.  Dionis- 
Backchurch,  Fenchurch-street,  and  in  the  winter 
of  the  same  year  engaged  to  take  the  harpsi- 
chord in  the  subscription  concerts  then  recently 
established  at  the  King*s  Arms  in  Comhill.  In 
the  following  vear  he  composed  the  music  of  three 
dramas — Mallet's  Alfred,  Mendez's  Bobin  Hood, 
and  Queen  Mab — for  Drury-lane.  Being  threat- 
ened with  consumption,  however,  he  could  not 
continue  these  exertions,  and,  in  X75i>  accepted 
the  situation  of  organist  of  Lynn-Begis,  Norfolk, 
where  he  remained  for  the  succeeding  nine 
years.  In  this  retreat  he  formed  the  design, 
and  laid  the  foundation  of  his  future  History  of 
Music.  In  1760,  his  health  being  completely 
restored,  he  returned  to  London,  and  again 
entered  upon  the  duties  of  his  profession. 

Soon  aner  his  arrival  in  London,  Bumey  pub- 
lished several  concertos  for  the  harpsichord  wnich 
were  much  admired ;  and  in  1766  he  brought  out 
at  Drury-lane,  with  considerable  success,  both 
words  and  music  of  a  piece  entitled  'The  Cunning 
Man,'  founded  upon,  and  adapted  to  the  music  of 
J.  J.  Rousseau*B  '  Devin  du  Village.'  On  June 
33,  1769,  the  University  of  Oxford  conferred 
upon  him  the  degrees  of  Bachelor  and  Doctor 
01  Music,  on  which  occasion  his  exercise  consisted 
of  an  anthem  of  considerable  length,  with  over- 
ture, solos,  recitatives  and  choruses,  which  con- 
tinued long  to  be  a  frbvourite  at  the  Oxford  Music 
Meetings,  and  was  several  times  performed  in 
Germany  under  the  direction  of  Emanuel  Bach. 
In  the  meantime,  neither  the  assiduous  pursuit 
of  his  profession,  nor  his  many  other  engage- 
ments had  interrupted  his  collections  for  his 
History  of  Music.  He  had  exhausted  all  the 
information  that  books  could  afford  him,  and 
was  &r  from  what  he  desired.  The  present 
state  of  music  could  only  be  ascertained  by 
personal  investigation  and  converse  with  the 
most  celebrated  musicians  of  foraign  countries, 
as  well  as  his  own.  He  resolved  to  make  the 
tour  of  Italy,  France  and  Grermany,  and  fur- 
nished with  powerful  letters  of  introduction  from 


BURNET. 

the  Earl  of  Sandwich  (a  nobleman  devoted  to 
music)  quitted  London  in  June  1770.    He  spent 
several  days  in  Paris,  and  then  went  by  Lyons 
and  Greneva  (where  he  had  an  accidental  inte^ 
view  with  Voltaire),  to  Turin,  Milan,  PaduA, 
Venice,  Bologna,  Florence,  Rome,  and  Naples, 
consulting   everywhere   the   libraries  and  the 
learned;    hearing  the  best   music,  sacred  and 
secular,  and  receiving   the   most  cheerful  and 
liberal  assistance  towards  the  accomplishment 
of  his  object.    On  his  return  to  England,  Dr. 
Bumey  published  an  account  of  his  toor,  in  one 
volume,  which  was  exceedingly  w^  received, 
and  deemed  so  good  a  model  that  Dr.  Johnson 
professedly  imitated  it  in  his  own  Tour  to  ihs 
Hebrides,  saying,  *  I  had  that  clever  dog  Bumey's 
Musical  Tour  in  my  eye.*    In  July  1772,  Dr. 
Bumey  again  embarked  for  the  continent  to 
make  the  tour  of  Germany  and  the  Ketherlands, 
of  which  he  published  an  account  in  two  volmnes. 
At  Vienna  he  had  the  good  fortune  to  make  the 
intimate  acquaintance  of  the  celebrated  poet 
Metastasio.     Here  he  also  found  two  of  the 
matest  musicians  of  that  age,  EEasse  and  Gluck. 
From  Vienna   he   proceedeid    through  Pragae, 
Dresden  and  Berlin,  to  Hamburg,  and  thence  by 
Holland,  to  England,  where  he  immediately  de- 
voted himself  to  Arranging  the  mass  of  materials 
thus  collected. 

In  1 773  Dr.  Bumey  was  elected  an  F.  R.  8. ; 
and  in  1776  the  first  volume  of  his  General 
History  of  Music  appeared  in  4to.  In  the  same 
year  the  complete  work  of  Sir  John  Hawkins 
was  published.  Bumey's  subsequent  volomes 
were  published  at  unequal  inten^Js,  the  fourth 
and  last  appearing  in  1 789.  Between  the  tvo 
rival  histories,  the  public  decision  was  loud  and 
immediate  in  &vour  of  Dr.  Bumey.  Time  has 
modified  this  opinion,  and  brought  the  merits  oC 
each  work  to  their  fiur  and  proper  level— ad- 
judging to  Bumey  the  palm  of  style,  arrange- 
ment, and  amusing  narrative,  and  to  Hawkins 
the  credit  of  minuter  accuracy  and  deeper  re- 
search, more  particularly  in  parts  interesting  to 
the  antiquary  and  the  literary  world  in  general. 
Bumey*s  first  volume  treats  of  the  music  and 
poetry  of  the  ancient  Greeks,  the  music  of  the 
Hebrews,  Egyptians,  etc.  The  second  smd  third 
volumes  comprise  all  that  was  then  known  of  the 
biographies  of  the  great  musicians  of  the  15th, 
16^,  and  17th  centuries.  The  fourth  vdame 
is  perhaps  less  entitled  to  praise.  Whole  pages 
are  given  to  long-forgotten  and  worthless  Italian 
operas,  whilst  the  great  works  of  Handel  and 
J.  S.  Bach  remain  unchronicled ;  ^e  latter  indeed 
is  almost  ignored. 

When  the  extraordinary  musical  precocity  d 
the  infant  Crotch  first  ezdted  the  attention  of  the 
musical  profession  and  the  scientific  world,  Bar- 
ney drew  up  an  account  of  the  infiant  phenome- 
non, which  was  read  at  a  moetingr  of  the  Royal 
Society  in  1779,  and  published  in  the  Philoaopbi- 
cal  Transactions.  The  commemoration  of  Handel 
in  1784  again  called  forth  his  literary  talents: 
his  account  of  these  performances,  published  is 
4to  for  the  benefit  of  the  musical  fund,  is  veil 


BUENEY. 

bown  to  every  mn&cal  reader.  Dr.  Barney  alio 
vrote  'An  Fopty  towards  the  History  of  Comets,' 
1,-69 ;  'A  PIsA  rar  a  Music  Schod,*  1774 ;  and  the 
'life  and  Letters  of  Metastasio,*  3  vols.  8vo, 
1796.  His  last  labour  was  on  Bees'  Cyclopedia, 
£?  which  work  he  famished  all  the  musical 
irades*  except  those  of  a  philosophical  and 
Btthematical  kind.  His  remuneration  for  this 
V3S  £iooo,  and  as  most  of  the  matter  was 
extracted  withoat  alteration  from  his  History, 
Hkt  price  was  large. 

During  a  long  life  Br.  Barney  enjoyed  the 

iidmate  acquaintance  of  ahnost  every  oontempo- 

nij  who  was  distinguished  either  in  literature 

or  the  arts ;  with  Johnson  he  was  in  habits  of 

Meodship ;  and  it  is  known  that  soon  after  John- 

Ban*B  death,  he  had  serious  thoughts  of  becoming 

bis  biographer.     For  many  years  Br.  Bumey 

irred  in  St.  Martin's  Street,  Leicester  Square,  in 

s  house  onoe  the  residence  of  Newton,  and  still 

itanding;  but  about  1789,  on  being  appointed 

Mganist  of  Chelsea  College,  he  removed  to  a 

ioite  of  apartments  in  that  building,  where  he 

spent  the  last  twenty-five  yean  of  his  life  in  the 

enjoyment  of  independence,  and  of  a  fiunily,  each 

indiTidoal  of  which  (thanks  to  their  parents'  early 

ore  and  example)  had  attained  high  distinction 

IB  some  walk  of  literature  or  sdenoe.    '  In  all  the 

relafeiona  of  private  life,'  says  one  of  his  biogra- 

pboflt  'his  character  was  exemplary,   and  his 

uppiaess  such  as  that  character  deBcrved  and 

ItoDoored.     His  manners  were  peculiarly  easy, 

i(iiiited  and  gentlemanlike ;  he  possessed  all  the 

sosTity  of  die  Chesterfield  school  without  its 

BdfineBB — all  its  graces,  unalloyed  by  its  laxity  of 

monl  principle.'    At  length,  full  of  vears,  and 

rich  in  all  that  should  accompany  old  age,  he 

breathed  his  last  on  April  la,  1814,  at  Chelsea 

Colkge.      His  remains  were  deposited,  on  the 

toth  of  the  same  month,  in  the  burial-ground  of 

tbst  institution,  attended  by  his  own  femily  (of 

vbich  he  lived  to  see  the  fourth  generation),  the 

ddef  officers  of  the  college,  and  many  others  of 

nok  and  talent. 

Bis  intelligent  and  expressive  fece  has  been 
preserved  by  Reynolds,  in  a  fine  portrait,  en- 
graved by  Bartolozzi,  and  Barry  has  introduced 
Im  in  his  large  picture  at  the  Society  of  Arts. 

As  a  composer  Br.  Bume/s  principal  works,  in 
tddition  to  those  already  mentioned,  are  '  Sonatas 
Car  two  Violins  and  a  Base,'  two  sets;  'Six 
Comet  Pieces  with  Introduction  and  Fugue  for 
the  Organ';  'Twelve  Canzonetti  a  due  voci  in 
canone,  poesie  dell*  abate  Metastasio* ; '  Six  Buets 
far  German  Flutes';  *Six  Concertos  for  Violin, 
etc  in  eight  parts' ;  'Two  Sonatas  for  Pianoforte, 
Violin  and  Violoncello';  and  'Six  Harpsichord 
LesBons.'  [E.  F.  R.] 

BURBOWES,  JoHir  FuoKurroN,  bom  in 
London,  April  33,  1787,  was  a  pupil  of  William 
Henley.  He  fint  made  himself  known  as  a 
compoMT  by  an  overture  and  several  vocal 
pieces  with  orchestral  accompaniments,  and 
afterwards  by  an  overture  produced  at  the  con- 
certt  of  the  Philharmonic  Society,  of  which  he 
WIS  one  of  the  original  members.     He  soon 


BUSNOIS. 


285 


however  abandoned  these  pursuits  for  the  less 
distinguished  but  more  profitable  one  of  oom- 
posing  and  arranging  for  the  pianoforte.  Bur- 
rowes  was  the  author  of  '  The  Thorough  Bass 
Primer*  and  'The  Pianoforte  Primer,'  both 
which  have  passed  through  many  editions,  and 
are  still  in  request.  He  was  also  the  composer 
of  some  ballads  and  many  pianoforte  pieces.  For 
nearly  forty  years  he  held  the  situation  of  organist 
of  St.  James's  Church,  Piccadilly.  He  died 
March  31,  1853.  [W.H.  H.] 

BUBTON,  Atbrt,  a  cathedral  musician  in 
the  time  of  Henry  VIII,  some  of  whose  oompo- 
sitions  are  still  preserved  in  the  Music  School  at 
Oxford.  [W.  H.  H.] 

BUBTON,  John,  a  native  of  Yorkshire,  bom 
1730,  was  a  pupil  of  John  Keeble,  the  theorist. 
He  became  one  of  the  first  harpsichord  players  of 
his  time,  particularly  as  respects  expression.  He 
died  in  1785.  [W.H.H.] 

BUSBY,  Thomas,  Mus.  Doc.,  bom  in  West- 
Toinstet,  1755.  At  the  age  of  fourteen  he  was 
articled  to  Battishill ;  he  also  studied  languages, 
became  a  good  classical  scholar,  and  for  several 
years  was  connected  with  the  press  as  reporter. 
He  was  successively  organist  at  St.  Mary's,  New- 
ington,  and  St.  Mary  W oolnoth,  Lombard  Street. 
In  1799  he  produoBd  an  oratorio  called  'The 
Prophecy,'  which  met  with  considerable  success. 
Encouraged  by  this  he  wrote  an  '  Ode  to  British 
Genius' ;  an  'Ode  to  St. Cecilia's  Day'  (by  Pope); 
'Comala'  (from  Ossian);  and  the  oratorio  of 
'Britannia.'  In  1801  he  took  his  degree  as 
Mus.  Doo.  at  Cambridge,  having  previoujBly  en- 
joyed that  of  LL.D.  He  next  oomposed  the 
music  to  'Joanna,'  a  five-act  romance  by  Cum- 
berland,  and  subsequentiy  gained  feme  by  his 
music  to  'A  Tale  of  Mystery,'  and  *  Rugantino, 
or  the  Bravo  of  Venice '-f-the  first  melodramatio 
music  heard  in  this  country.  He  died  in  April, 
1838.  Busby  was  a  man  of  great  industry,  and, 
besides  the  works  enumerated,  wrote  and  pub- 
lished the  following  : — '  The  Day  of  Oenius,'  a 
satire,  1786  ;  'A  Dictionary  of  Music,'  1786— a 
work  which  went  through  many  editions,  and  is 
still  in  print;  'The  Divine  Harmonist,'  1788; 
'Melodia  Britannica,'  1790;  'The  Monthly 
I  Musical  Journal'  (4  numbers),  1801 ;  'Lucre- 
tius,^ trau  slated  from  the  Latin,  a  vols.  4to., 
1813;  'A  Grammar  of  Music,'  1818 ;  'A 
History  of  Music'  (compiled  from  Bumey  and 
Hawkms),  a  vols.  8vo.,  1819;  '  Conoert-Boom 
and  Orchestra  Anecdotes,'  3  vols.  lamo.,  i8a5  ; 
'A  Musical  Manual,  or  Technical  Directory,* 
1838.  {Diet,  of  Living  Authors,  1816;  Busby, 
Hist,  of  Music ;  Private  Sources.)         [E.  F.  B.] 

BUSNOIS,  a  Belgian  musician  in  the  latter 
part  of  the  15th  century,  who  with  Ockenheim 
and  a  few  others  represent  the  Netherland  school 
immediately  preceding  Joequin  des  Vr^s,  The 
date  and  place  of  his  birth  are  unknown,  but 
he  was  without  doubt  educated  and  passed  the 
greater  part  of  his  life  in  Belgium.  In  1476 
he  was  appointed  one  of  the  <^pel  singers  of 


286 


BUSNOIS. 


GharleB  the  Bold,  Duke  of  Banrniidj,  ftud 
continued  in  that  position  till  the  death  of  that 
prince  (Jan.  5,  1477),  when  he  retired  to  a 
country  life  till  his  deaih  about  1480. 

Kiesewetter,  in  hia  'Essay  on  the  Mnsic  of 
the  Netherlands,*  has  printed  three  four-part 
chansons  from  the  '  Canti  Cento  Oinquanta  *  (Pe- 
truod,  Yenioe,  1503),  which  show  a  decided 
progress  on  the  music  of  Du£Eiy*s  period  (1380- 
1450).  Some  masses  of  Busnois'  are  preserved 
in  the  library  of  the  pontifical  dispel,  and  other 
compositions,  chiefly  for  the  church,  in  a  MS. 
in  the  royal  library  at  Brussels.  Many  of  his 
chansons  are  in  a  MS.  brought  to  light  of  late 
years  in  the  library  at  Dijon.  [J.  B.  S.  B.] 

BUTLER,  Thomas  Hamlt,  son  of  John 
Butler,  professor  of  music,  was  bom  in  London 
in  1763.  He  received  his  early  musical  educa- 
tion  as  a  chorister  of  the  Chapel  Royal  under  Dr. 
Nares.  On  the  breaking  of  his  voice  he  was 
sent  to  Italy  to  study  composition  under  Piocini, 
where  he  remained  three  years.  On  his  return 
to  England  he  was  engaged  by  Sheridan  to  com- 

Cfor  Druxy  Lane  Theatre.  Differences 
sver  arising,  he  quitted  England  at  the 
expiration  of  his  engagement  and  settled  in 
Edinburgh,  where  he  established  himself  as  a 
teacher,  and  where  he  died  in  1823.  Butler 
composed  the  music  for  '  The  Widow  of  Delphi,' 
a  musical  comedy  by  Richard  Cumberland, 
1780,  besides  many  pieees  for  the  piano- 
forte. [W.  H.  H.] 

BUXTEHUDE,  DiETBiCfH,  a  celebrated  or- 
ganist and  composer,  bom  1637  at  Helsingor, 
Denmark,  where  his  &ther  Johann  was  organist 
of  the  Olai-church.  The  father  died  Jan.  33, 
1674,  in  his  73nd  year.  It  is  not  known  whether 
the  son  received  his  thorough  musical  education 
from  his  father  or  not.  In  April  1668  he  ob- 
tained the  post  of  organist  at  the  Marien-Kirche 
of  Liibeck^-one  of  the  best  and  most  lucrative 
in  Germany — where  his  admirable  playing  and 

E remising  abilities  excited  much  attention.  Here 
is  energy  and  skill  at  once  found  their  proper 
field.  Not  content  with  discharging  his  duties 
at  the  organ,  he  conceived  the  idea  of  instituting 
great*  musical  performances  in  connection  with 
the  church  services,  and  in  1673  started  the 
'Abendmusiken,'  or  evening  p^ormances,  on 
which  Liibeck  peculiarly  prided  itself.  They  took 
place  annually,  on  the  five  Sundays  before  Christ- 
mas, beginning  between  four  and  five  o'clock,  after 
the  aftmioon  service,  and  consisted  of  concerted 
pieces  of  sacred  music  for  orchestra  and  chorus — 
the  former  improved  and  the  latter  formed  by 
Buxtehude — and  organ  performances.  In  such 
efforts  Buxtehude  was  well  seconded  by  his  fel- 
low citizens.  The  musical  evenings  continued 
throughout  the  i8th  century,  and  even  into  the 
19th.  Further  particulars  by  them  are  given 
by  Spitta  in  his  'Life  of  J.  S.  Bach  *  (i.  353,  from 
Moller's  'Cimbria  litterata,'  and  Conrad  von 
Hdveln*s  'Begliicktem  und  gesohmiicktem  Lii- 
beck *) ;  Matheson  also  mentions  them  in  his 
'Yolkommene  Kapellmeister.'  The  best  testi- 
mony to  Buxtehude's  greatness  is  contained  in 


BYRD. 

the  fiMst  of  Sebastian  Bach  having  made  a  jooney 
of  fifty  miles  on  foot  that  he  might  beeome  per> 
sooally  acquainted  with  the  Liibrnk  conoerti.  In 
fauct  Buxtehude  became  the  g^reat  musical  centre 
for  the  North  of  Europe,  and  the  young  moiidain 
flocked  around  him.  Amongst  these  waa  NiooUs 
Bruhns,  who  excelled  Buxtehude  bimaelfboQi  in 
oomposition  and  in  organ-playing. 

Buxtehude  ended  his  active  and  demvedly 
famous  life  May  9,  1 707,  His  strengtli  lay  in 
his  free  organ  compositions  (i.e.  pieoei  not 
founded  on  chorals),  and  generally  iu  instru- 
mental music,  pure  and  simple,  and  not  bated 
on  a  poetical  idea.  These,  though  now  ta&- 
quateH,  are  remarkable  as  the  earliest  aaiettionof 
tiie  principle  of  pure  instrumental  music,  wUdi 
was  afterwards  so  fuUy  developed  by  BacL  In 
treatment  of  chorales  on  the  organ  Buxtehude 
was  not  equal  to  the  school  of  Pachelbel ;  hot  to 
judge  him  from  one  side  only  would  be  nsfiur. 
A  list  of  his  published  works,  corrected  from 
Gerber,  is  given  by  Spitta  ('  J.  S.  Bach,'  i.  258, 
note).'  These  include  the  'Abendmusiken' Iran 
1678-87,  and  occasional  pieces,  many  of  theoi 
published  at  Lubeok  during  his  lifetime. 

Earlier  instruments!  compositions  Spitta  wm 
not  able  to  discover ;  Matheson  also  oompbined 
that  of  Buxtehude*s  clavier  pieces,  in  which  la 
principal  strength  lay,  few  if  any  existed.  A 
collection  of  seven  'Ciavienuiten  mentioned  by 
Matheson  (Yolk.  KapellmeiBter,  130),  'in  whkh 
the  nature  and  character  of  the  planets  SR 
agreeably  expressed,*  exists  probably  only  in  H8. 
In  later  times  fourteen  *  Choral-Bearbatnngoi' 
were  edited  by  Dehn  (Peters) .  Commer  (' Mona 
Sacra,'  i.  No.  8),  G.  W.  Komer,  Busby  (Hist  d 
Music),  and  A.  G.  Bitter  (<  Kunst  des  Oigel- 
spiels*),  have  also  published  separate  pieeei  of 

Hs.  LC.F.P.1 

BTBD,  William  (or  as  his  name  is  soott- 
times  spelt,  Byrde  or  Bird),  is  supposed  to  hsTe 
been  a  son  of  Thomas  Byrd,  a  gentleman  of 
Edward  the  Sixth's  Chap^.  The  predse  date 
of  his  birth  is  imknown,  but  the  iSact  of  Im 
having  been  senior  chorister  of  St.  Paul's  Cfttll^ 
dral  in  1554,  would  fix  it  at  about  1538  (sees 
petition  f<Ar  the  restoration  of  certain  obits  and 
benefactions  whidi  had  l^een  seixed  under  die 
Act  for  the  Suppression  of  Colleges  and  Hoepitala 
in  Dugdale's  St.  Patch's,  ed.  Ellis).  Wood  teOi 
us  that  he  studied  music  under  lliomas  TaOia 
In  X563  (according  to  the  same  authority)  b* 
was  appointed  Organist  of  linodhi,  which  po^ 
he  held  till  1569.  Upon  the  death  of  Bobert 
Parsons,  in  that  year,  he  succeeded  him  u 
Gentleman  of  the  Chapel  Boyal.  Ini575  he  ii 
styled  'Organist'  {CarUiones  Sacrae),  but  as  bo 
provision  for  that  oifioe  then  existed  in  tbe 
chapd,  the  title  was  cmly  complimentary,  ^f^ 
is  tjiought  to  have  derived  considerable  pe^t- 
niaiy  advantages  from  a  patent  granted  to  isa 
and  his  master,  Tallis,  for  the  exclusive  privikev 
of  printing  music  and  vending  music  paper 
(Ames,  Typ.  Antiq,  536). 

Byrd's  printed  works  (under  this  patenO  u* 
as  foUowB  :-Hi)  Cantaones  quae  ab  argonwa}* 


BYBD. 

aoae  vocaator,  qninqne  et  aex  partinm  (jointly 
with  Taflis),   1575 ;   (2)   Psalmois    SonetB   and 
Scejs  of  SadneB  aiid  Pietie,  made  into  mnsicke 
flf  five  purtB  [1587] ;  (3)  Songs  of  Sundrie  Na- 
tures, aome   of  Gravitie  and  others  of  Myrth 
(Ks-  3,  4,   5  and  6  Toioes),   1589;    (4)   liber 
Pnmns  Sacaranun  Cantianmn   quinque  Tocum, 
1589 ;  (5)  Liber  SecunduB  Sacrarum  Cantionum, 
etc  1591 ;  (6)  6radualia>  ac  Cantiones  Sacrae 
Ub.   F^miiifl    (for   3,   4  and  5  voioesX  1607; 
(7)  GradiuJia,   etc.  Lib.   Secundus,   1610 ;  (8) 
Psabnes,  Songs  and  Sonnets  (for  3,  4,  5  and  6 
voices  or  instniments)  161 1.     In  addition  to 
tfeeae  works,  Byzd  printed  three  masses  (pro- 
Udy  oompoeed  between   the   years  1553  and 
155S),  witiiout  date  or  the  name  of  printer. 
He  slso  ocxntributed  to  the  following  works : — 
(I)  Musica  Transalpina,  Madrigales  transUited, 
d  foare,  five  and  six  parts,*  1588 ;  (a)  Watson*s 
Ilrst  Sett  of  Italian  Madi^Us  Englished,  1590 ; 
(3)  Parthenia,  or  the  Maiden-head  of  the  first 
Mosick  that  ever  was  printed  for  the  Yirginalls 
[1600] ;  (4)  Leighton^s  Teaies  or  Lamentadons 
«f  a  SosTowfal  £ule  (a  collection  of  part-songs, 
fey  the  principal  composers  of  the  day),  161 4. 
A  laige  number  of  his  Tiiginal  compositions  are 
e&ntained  in  the  so-called  'Virginal  Book  of 
Qoeen  EHzabeth,*  in  the  FitswilBam  Museum, 
Cambridge,  and  in  Lady  Nevilles '  Viiginal  Book,' 
m  the  pooBcssion  of  the  Earl  of  AbiergaYenny. 
Besides  tlie  services  and  anthems  printed  m 
BananTs  'Selected  Charch  Musick,*  1641,  and 
Bo^'s  'Cathedral  Music,*  many  others  are  to 
be  frand  in  MS.  in  the  Aldrich,  the  Hawkins, 
and  the  Tndway  CollectionB.     A  mass  in  D 
sdnor,  edited  by  the  writer,  and  Book  I.  of 
CMtionwi  Sacrae,  edited  by  the  late  W.  Hon- 
ky,  were  published  by  the  Musical  Antiquarian 
SfGciety.      The  well-known  canon,  'Non  nobis 
Bomine,*  is  traditionally  said  to  be  the  compo- 
sition of  Byrd,  but  it  is  not  found  in  any  of  his 
vorks.    A  poem  in  Blow's  '  Amphion  Anglicus,' 
i;oo,  speaks  of '  Bird's  Anthem  in  golden  notes,* 
preserved  in  the  Vatican,  which  may  have  some 
refaenoe  to  the  canon  in  question. 

Byrd  lived  on  terms  of  intimacy  with  the  elder 
Fenaboaoo,  and  more  than  once  was  his  rival  in 
trials  of  skill  and  ingenuity  in  Counterpoint. 
Morky  {Jntrod.  1597),  speaiks  of  one  of  these 
'virtuous  contentions*;  and  Peacham,  in  his 
'Compleat  Grentleman*  (ed.  1633,  p.  100),  says, 
*far  motets  and  musicke  of  pietie  and  devo- 
tion, as  well  for  the  honour  of  our  nation  as 
the  merit  of  the  man,  I  preferre  above  all 
oUier  our  Phoenix,  Mr.  William  Byrd,  whom  in 
Uiat  kind,  I  know  not  whether  any  may  equaL* 


BABELL. 


287 


In  a  letter  fhvm  the  Earl  of  Worceeier  to  the 
Earl  of  Shrewsbury,  September  19,  1603  (pre- 
served among  the  Talbot  Papers  in  the  Heralds* 
College),  we  have  an  interesting  passage  re- 
specting one  of  Byrd*s  part-songs.  The  writer 
says :  '  We  are  frolic  here  in  Court ;  mudi 
diuLcing  in  the  Privy  Chamber  of  country  dances 
before  the  Queen's  Majesty,  who  is  exceedingly 
pleased  therewith.  Irish  tunes  are  at  this  time 
most  pleasing,  but  in  winter.  Lullaby,  an  old 
song  of  Mr.  Bird*s,  will  be  more  in  request  aa 
I  tUnk.*  The  '  Lullaby  Song*  is  printed  in  the 
author's  '  Psalmes,  Sonets  and  Songs  of  Sadnes 
and  Pietie,'  1588. 

From  the  Cheque  Book  of  the  Chapel  Royal 
we  learn  that  Byrd  died  July  4,  1633 ;  and  in 
the  record  of  the  event  he  is  styled  '  A  Father  of 
Musicke,'  probably  in  allusion  to  his  age  and  his 
length  of  service.  If  he  was  sixteen  when  his 
name  appears  as  senior  chorister  of  St.  Paul's,  he 
must  have  been  eighty-five  years  old  when  he 
died.  Thomas  Tomkins  (who  was  his  scholar), 
in  his  '  Songs  of  3, 4,  5  and  6  Parts,'  1633,  speaks 
of  his  '  ancient  and  much  reverenced  master.' 

Byrd  resided,  at  the  end  of  the  i6th  century, 
in  the  parish  of  St.  Helen,  Bishopsgate.  He  was 
married,  and  had  a  fiunily,  as  we  learn  from  the 
registers  of  that  church.  One  son,  Thomas,  was 
educated  to  the  profession,  for  in  1601  he  acted 
as  substitute  for  Dr.  John  Bull  as  Gresham 
Professor. 

Notwithstanding  his  conformily  to  the  esta- 
blished religion,  Byrd  is  supposed  to  have  been 
at  heart  a  Bomanist.  Some  very  curious  parti- 
culars bearing  upon  this  point  have  lately  come 
to  light.  In  a  ust  of  places  frequented  by  cer- 
tain recusants  in  and  about  London,  under  date 
1 581,  is  the  following  entry:  'Wvll'm  Byred 
of  the  Chappele,  at  Ids  house  in  p  rshe  of  Har- 
lington,  in  com.  Midds.*  In  another  entry  he 
is  set  down  as  a  friend  and  abettor  of  those 
beyond  the  sea,  and  is  said  to  be  residing  '  with 
Mr.  Lister,  over  against  St.  Bunstan's,  or  at  the 
Lord  Padgette's  house  at  Draighton.'  In  the 
'Proceedings  in  the  Archdeaconry  of  Essex,' 
May  II,  1605,  'William  Birde,  Gentleman  of 
the  King's  Majestie's  Chapell,'  is  'presented* 
for  '  popish  practices,'  but  what  was  his  sentence 
does  not  appear,  as  he  was  hiding  at  the  time. 

There  is  a  portrait  of  William  Byrd — an  oval, 
in  the  same  print  with  Tallis.  It  was  engraved 
by  Vandergucht  for  N.  Haym's  'History  of 
Music,'  which  never  appeared.  One  impression 
only  is  known  to  exist.  {Life  of  Byrd,  Mus.  Ant. 
Soc. ;  Cheque-Book  of  Ohapd  koyai,  Camd.  Soc. ; 
Bimbault^  BHA.  Madrigalicma.)  [E.  F.  B.] 


BABELL,  WiLUAV,  the  son  of  a  bassoon- 
player,  was  bora,  about  1690,  and  instructed  in 
the  elements  of  music  by  his  fother,  and  in  com- 
position by  Dr.  Pepusch.  He  was  celebrated  for 
ms  proficiency  on  the  harpsichord,  and  was  also 
a  g(K)d  perfonner  on  the  violin.  He  was  a  mem- 
ber of  the  royal  band,  and  for  some  years  or- 


ganist of  All  Hallows,  Bread  Street.  Taking 
advantage  of. the  rise  and  popularity  of  the 
opera  in  England,  he  was  the  first  to  arrange 
the  favourite  airs  as  lessons  for  the  harpsichord. 
In  this  he  was  highly  successful,  and  his  arrange- 
ments of  'Pyirhus  and  Demetrius,'  'Hydaspes,* 
'Binaldo/  etc.,  were  standard  works  of  their 


288 


BABELL. 


class  at  tlie  beg^mung  of  the  last  centtiiy.  Ba- 
bell^s  taane  reached  even,  to  Grennany,  where  some 
of  his  works  were  printed.  He  was  the  author 
of  seyeral  '  Suits  of  the  most  celebrated  Lessons, 
collected  and  fitted  to  the  Harpsichord  or  Spin- 
net'  ;  'Twelve  Solos  for  a  Violin  or  Hautboy' ; 
'  Twelve  Solos  for  the  German  Flute  or  Haut- 
boy' ;  '  Six  Concertos  for  small  Flutes  and  Violins,' 
and  other  works  mentioned  in  old  catalogues. 
He  died  at  Canonbury  Sept.  23,  1725,  and  was 
buried  in  the  church  of  which  he  had  be^  organist. 
(Hawkins,  BUt. ;  Pri/DoU  Sourcet.)      [£.  F.  R.] 

BACON,  BiOHABD  Mackenzie,  bom  at  Nor- 
wich, May  I,  1776,  was  a  musical  critic  of  great 
acumen,  and  wrote  at  a  time  when  sensible 
musical  critici£ftn  was  an  uncommon  thing.  His 
fiither  was  proprietor  of  the  'Norwich  Mercury,' 
which  he  inherited  from  him,  and  bequeathed  to 
his  son.  Richard  began  to  write  for  this  journal 
at  seventeen,  and  its  editorship  was  the  standard 
occupation  of  his  whole  life.  He  is  known  to 
musical  men  as  the  projector,  editor,  and  chief 
writer  of  the  '  Quarterly  Musical  Magazine  and 
Review,'  which  was  the  first  journal  devoted  to 
music  in  England.  The  first  number  was,  issued 
in  January,  181 8,  and  it  was  for  some  time  con- 
tinued, as  its  name  implies,  quarterly,  but  the 
late  numbers  came  out  irreguhurly,  the  last  (com- 
pleting the  loth  volume)  appearing  in  i8a6.  He 
contributed  musical  notes  to  'Colbum's  Maga- 
zine,' and  other  periodicaJs.  He  issued  proposals 
for  an  extensive  musical  dictionary,  for  which  he 
is  said  to  have  collected  the  materials,  but  it 
was  never  printed.  In  18  a8  be  published 
'The  Elements  of  Vocal  Science,'  a  work  of 
considerable  merit,  the  materials  of  which  had 
previously  appeared  in  the  '  Musical  Magazine.' 
He  claims  the  merit  of  originating  the  Norwich 
Triennial  Musical  Festival,  the  first  celebration 
of  which  was  held  in  1824.  He  was  the  author 
of  a  '  Life  of  Pitt,'  a  *  Life  of  the  Earl  of  Suflfolk,' 
and  of  numerous  political  pamphlets.  He  died 
at  Norwich,  Nov.  2, 1844.  (/mp.  Diet,  of  Biog. ; 
Private  Sources.)  [E.  F.  R.] 

BAINI,  Giuseppe,  commonly  known  as  the 
Abb^  Baini,  was  bom  at  Rome  Oct.  21,  1775. 
He  was  the  nephew  of  Lorenzo  Baini,  a  Venetian 
composer  who  had  become  Maestro  di  Capella  at 
the  Church  of  the  Gesti.  Giuseppe  received  his 
first  musical  instruction  at  the  competent  hands 
of  his  uncle,  and  completed  his  studies  under  the 
well-known  Jannaconi,  with  whom  he  came  to  be 
on  terms  of  very  close  friendship.  Shrewd,  en- 
thusiastic, studious  and  devout,  by  the  time  of 
his  entry  into  Holy  Orders  he  was  at  once  an 
erudite  theologian,  an  expert  musician,  and  an 
accomplished  Uterary  man.  His  powers  of  assi- 
milation and  criticism  were  equal  to  his  capacity 
for  learning;  and  his  love  for  antiquity  and  the 
antique  forms  of  art  was  as  absorbing  as  his  taste 
was  keen  and  his  judgment  true.  Further,  nature 
had  endowed  him  with  a  beautiful  bass  voice 
which  he  had  carefully  cultivated.  With  such 
qualifications  his  reception  into  the  Pontifical 
choir  was  easy,  and  once  a  member  of  it,  his  sue- 


BAINL 

cession  to  the  Mastership  was  a  oertamty.  Ai 
composer  and  Maestro  di  Capella  he  waa  alike 
an  exponent  and  a  representative  of  the  old  Bomui 
school  of  the  i6th  century.    He  wis  indeei  a 
cinque-cento  priest  of  the  higher  order  bom  oat 
of  due  time.    Foi;  him  the  sun  of  music  had  begun 
to  set  at  the  close  of  the  one  period  which  he  loved 
and  understood.  None  of  his  musical  compontioiu 
have  been  published,  but  one  of  them  at  least  u 
£unous.    His  '  Miserere,'  composed  for  the  Holy 
Week  by  order  of  Pope  Pius  VH,  is  the  only 
one  out  of  the  hundreds  that  have  been  prodaced 
in  Rome  which  has  taken  its  place  pennanently 
in  the  services  of  the  Pontifical  Chapel  side  by 
side  with  the   two  celebrated  oompoaitiou  of 
AUegri  and  Baj.    His  first  contribution  to  the 
literature  of  music  was  a  pamphlet  evoked  by  the 
ignorance  of  the  directors  of  the  Aocademia  Ka- 
poleone  in  Lucca,  who  in  the  year  1806  bestowed 
their  annual  prize  upon  a  motet  for  four  chain 
written  by  Marco  Santucci,  as  though  it  were  a 
production  of  a  new  order.     Baini  exposed  their 
mistake,  and  cited  a  long  Hat  of  simihur  pieces  by 
AntoneUi,  Agostini,  Benevoli,  Abbatini,  Beretta, 
and  a  host  c^  other  composers,  dating  from  1^ 
1 6th  century  downwards,  and  including  one  bj 
his  own  master  and  friend  Jannaooni.    His  aeoood 
literary  work  was  an  essay  on  the  identity  of 
Musical  and  Poetic  rhythm.    It  was  writtea  ia 
obedience  to  a  request  of  the  Comte  de  St  Leo, 
brother  to  the  Emperor  Napoleon,  and  it  taka 
the  form  of  answers  to  no  less  than  sixteen  ques- 
tions proposed  to  him  by  the  illustrious  amateur. 
The  subject  was  one  well  calculated  to  display  the 
solid  learning  and  deUcate  analysis  of  Baini,  but 
it  may  be  doubted  whether  it  is  not  to  be  hoib 
cured  among  those  efforts  in  which  abstroseaes 
and  mysticism  are  unalloyed  by  any  trace  of 
practical  result.    But  the  masterpiece  of  Baioi, 
to  which  and  for  which  he  was  alike  led  by 
temperament  and  fitted  by  power,  is  hii  great 
monograph  on  Palestrina  ('Memorie   Storioo* 
critiche,*   etc.,   Rome  i8a8,    a   vols.  4to.).    A 
more  complete  and  satisfiactory  piece  of  work  it 
would  be  difficult  to  conceive.     It  is  somethiog 
more   and  something   less   than   a  biogn^hy. 
For  the  detaik  of  the  life  of  Palestrina  an 
somewhat  scanty,  although  the  account  of  \^ 
works  is  absolutely  exhaustive.    StiU,  the  po^ 
trait  of  the  man,  the  loveable  husband,  father, 
and  friend,  the  conscientious  worker,  the  dd* 
voted  man  of  genius,  the  pure  liver,  and  £aithfi]l 
Catholic,  is  full  and  finished.    Moreover  any  lack 
of  view  into  his  &mily  interior  is  more  than  ocid> 

Eensated  by  the  glimpses  we  get  of  cinque-oenu> 
fe  and  society  in  Rome.  To  snatch  these  frtai 
the  materials  to  which  he  had  access,  and  v 
reproduce  without  intruding  them,  was  a  ta^ 
absolutely  congenial  to  the  nature  and  genius  «f 
Baini,  and  he  has  performed  it  to  perfection.  Bot 
the  book  is  as  valuable  to  the  musical  histoiaa 
as  it  is  to  the  general  reader.  A  hundred  isb- 
sidiary  notices  of  the  composers  of  the  Ital^tf 
school  from  the  days  of  Groudimel  to  the  middk 
of  the  1 7th  century  are  sown  like  sa'  ellites  trovsd 
the  central  figure;  and  it  is  hardly  too  muck  w 


BAINX. 

■T  tbat  in  it  we  ha.re  a  sketdi  of  the  rise  and 
|wgreM  of  Italmn  music  firom  the  deposition  of 
tfe  FlemiiigB  and  the  establishment  of  a  national 
tchool  to  the  dose  of  the  eodesiastical  era  and 
ife  xise  of  opeia. 

Babu  thought  to  publish  a  complete  edition  of 
t6e  woricB  of  tiie  great  master,  whom,  with  a 
Bsatantly  recurring  enthmnasm,  he  calls  '  D  Prin- 
cipe deUa  Mosica.'  Bat  &te  ordained  that  he 
ixAd  ooily  IItc  to  reprodnoe  the  man ;  and  he 
BsA  before  he  had  transcribed  and  published 
n^ae  than  two  Tolumes  out  of  the  YMt  mass  of 
&  oompontions. 

He  was  as  devoted  to  his  profesrion  as  he  was 
to  hb  art ;  and  his  death,  which  took  place  on 
May  21,  1844,  in  the  69th  year  of  his  age,  was 
ataibated  to  over  fifctigue  arising  from  persistence 
is  his  duties  as  a  confessing  priest.       [£.  H.  P.] 


OABEL. 


289 


BATHE,  WiLLiAV,  a  learned  Irishman,  was 
bam  in  Dublin  in  155a.  He  entered  into  the 
order  of  the  Jesuits,  and  leaving  Ireland  travelled 
extensively  on  the  continent  of  Europe,  and 
finally  settled  in  Ralamanca,  being  appointed 
professor  of  languages  in  the  university  of  that 
dty.  He  published  there  a  philological  work 
called '  Janua  linguarum/  Leaving  Salamanca 
he  came  to  London,  where  he  published  some  re- 
ligious treatises,  and  also  '  A  Brief  Introduction 
to  the  true  arte  of  Musicke/  1584.  On  the  title- 
page  he  styles  himself  'Student  at  Ozenford.* 
It  is  dedicated  to  his  uncle,  Grerald  Fit^erald, 
Earl  of  Kildare.  A  second  edition,  under  the 
title  of  'A  Briefe  Introduction  to  the  Skill  of 
Song,*  was  printed  by  Thomas  Este  without  data 
(Hawkins,  MigL;  Biog,  BriL;  Imp.  Did.  of 
Biog,).  [£.  F.  B.] 


BRANLE  (p.  271).    The  muslo  of  many  Branles,  and  other  old  dances,  is  given  in  Arbeau's 
'QDcfa^ogr^kfaie'  (Langres  1588),  a  copy  of  which  is  in  the  British  Museum.    We  quote  two : — 

1.   Brmde  dt  la  torthe 


I  i^^^\^i^i\ii^i\f\  jUJ^-'irj-ripJ^jJij  jm-^^-j-^Hi 


iappmmUdmpki^broU 


c 


C 


The  keynote  of  the  'natural'  scale,  so  called 
became  it  requires  neither  flats  nor  sharps 
in  its  signature.  In  German  also  it  is  C, 
CS  being  called  Cis;  but  in  Italian  and  iVencfa 
fc  is  called  Ut  and  Do,  the  former  frcm  the  name 
pren  it  by  Guido  d'Areczo.     [Soaxb.] 

It  is  the  Ionic  scale  of  the  Church  tones  or 
nodes,  and  in  it  were  written  '  Ein'  feste  Buig,* 
'Gott  der  Vater,'  <  Jesaia  der  Propheten,*  'Yom 
HiBmifil  hocfay'  and  others  of  the  earliest  Gennan 
ckcales.  In  the  i6th  century  it  was  much  em- 
ployed for  dance  tunes,  and  perhaps  on  that 
leooont  was  known  as '  il  mode  lasdvo*  (ZarUno, 
in  HuUah,  'Hist,  of  Mod.  Music,'  Leot  3).  In 
more  modem  times  it  has  been  randered  iUua- 
trious  amoBff  other  masterpieces  hy  Gibbons's 
'  Hosanna^'  the  Jupiter  and  C  minor  Symphonies, 
lad  the  Overture  to  Leonora.  Schubert  s  gnat 
Symphony  and  Handel's  'Dead  March  in  Saul* 
ire  written  in  C  major. 
Hw  name  of '  C  def '  is  given  to  all  c]e6  when 
wij  [Uj —  thus  written,  the  line  on  which 
JHJ  IHI  the  clef  maik  stands  being  middle 
C,  and  the  def  mark  itself  a  cor- 
mptian  of  the  letter  C.  Those  shown  in  the 
example  are  the  Soprano^  Alto^  and  Tenor,  but 
the  C  def  has  been  used  on  eveiry  line  of  the 
•tsTe. 


-w^ 


Horns  and  trumpets  are  made  to  play  the  scale 
of  G,  and  are  written  in  the  score  in  that  key ; 
they  tranroose  into  the  key  of  the  piece  by  the 
addition  of  crooks.  The  drums  usea  formerly  to 
be  given  in  the  score  in  the  key  of  C,  with  an 
indication,  at  the  beginning  of  the  movement,  of 
the  key  in  which  they  were  to  be  tuned.  But 
they  are  now  usually  printed  as  played. 

As  a  sign  of  time  C  stands  for  common  time, 
4  crotchets  in  a  bar ;  and  0  for  allabreve'time» 
with  2  or  4  minims  in  a  bar. 

C/.  is  occasionally  used  in  church  music,  or  in 
instruction  books,  as  an  abbreviation  for  canto 
fermo.  [G.] 

CABALETTA,  also  written  Oabbalrti.  and 
Cavalstta,  originally  CAVATiirETTA,  from  Cava- 
TtHA,  usually  signifies  the  short  final  quick  move- 
ment of  an  air.  [W.  H.  C.] 

CABEL,  Mabii  Josefhi,  n^ .  Duuletti, 
bom  at  li^fe  Jan.  31,  1837.  Showed  at  an 
early  age  a  great  talent  for  .the  piano.  After 
the  death  of  her  futher  she  became  acquainted 
with  Cabd,  a  teacher  of  singing,  who  discovered 
her  fine  voice,  instructed,  and  finally  married  her. 
In  47  she  went  with  her  husband  to  Paris,  and 
first  appeared  at  the  Chateau  des  Fleurs.  On 
Meyerbeer's  reoommendatian  she  studied  for  two 

V 


S90 


CABEL, 


yean  in  the  Ck>ii8eiTatoire,  and  in  39  came  ont  I 
at  Uie  Op^ra  Comique  with  great  suooesB.  After 
this  she  divided  her  time  between  Brussels  and 
Paris,  and  in  1854  appeared  in  the  important 
and  difficult  part  of  Catherine  in  the  '  Etoile  du 
Nord,'  expressly  written  for  her  by  Meyerbeer. 
In  59  he  wrote  for  her  the  part  of  Dinoiah.  In 
60  &e  played  the  Figlia  del  Reggimento  at  Her 
Majesty's  Theatre  July  14,  and  appeared  in  the 
Shadow  scene  £rom  Dinorah,  July  28.  In  61  she 
played  at  St.  Petersburg,  and  soon  after  left  the 
boards.  Her  voice  was  not  large,  but  sympa- 
thetic and  of  extraordinary  flexibility,  and  she 
was  a  yeiy  clever  actress.  [Q.] 

CABINET  PIANO.  An  upright  pianoforte 
about  six  feet  high,  much  in  vogue  from  soon  after 
the  date  of  its  introduction  early  in  this  century 
to  about  1840.  A  few  years  later  the  lower 
upright  instruments,  oblique,  cottage,  piccolo, 
etc.,  had  quite  superseded  it.  The  name  Cabinet 
Pianoforte  appears  for  the  first  time  in  a  patent 
secured  by  William  Southwell  in  1807  (patent 
No.  3029),  but  upright  pianofortes  with  the 
strings  descending  nearly  to  the  floor  instead  of 
only  to  the  stind  or  1^  as  in  the  older  Upright 
Grand,  had  been  previously  suggested  by  Isaac 
Hawkins  in  1800  (patent  No.  2446)  and  Thomas 
Lend  in  1803  (patent  No.  2591).  The  bold  step 
of  inverting  the  wrestplank  or  tuning-pin  block, 
which  in  the  Upright  Grand  was  at  the  bottom 
near  the  keys,  but  in  the  Cabinet  was  at  the  top, 
appears  to  have  been  taken  b^  Thomas  Lond,  as 
in  his  specification  we  find  his  wrestplank  fixed 
diagonicaUy  in  the  sides  of  the  case,  the  bass  end 
near  the  top,  6  feet  5  inches  high,  to  preserve 
length  far  tne  bass  strings,  the  treble  end  lower 
4  feet  3  inches  from  the  bottom,  leaving  an  angular 
naace  above  which  miffht  be  utilised  for  book- 
jmelves.  In  Southwells  patent,  which  refers 
specially  to  the  action  and  oamper  movement,  the 
wrestplank  is  certainly  elevated  horizontally. 
James  Shudi  Broadwood,  in  some  MS.  notes 
dated  1838,  sinoe  printed  for  private  circulation, 
claims  a  part  in  the  invention  through  having 
given  a  sketch  for  a  vertical  or  cabinet  pianoforte 
to  William  Southwell  about  1804.  He  adds  no 
particularB,  but  remarks  that  the  new  instrument 
when  introduced  was  for  a  time  unsuccessful, 
which  is  also  stated  from  another  source  by  Mr. 
A.  N.  Womum  (Address  to  Jurors,  Paris  Exhi- 
bition, 1867).  The  further  history  of  this  im- 
portant invention,  which  includes  the  almost 
contemporaneous  oblique  and  cottage  pianofortes 
is  referred  to  in  Pianofortk,  but  it  has  a  special 
interest  from  the  upright  piano  of  any  height, 
oblique  or  vertically  strung,  having  been  invented 
and  first  produced  in  this  country,  independent  of 
foreign  suggestion  or  help.  See  also  Cottaos 
PiAHO,  Obuqub,  and  Piccolo.     •      £A.  J^  H  J 

OACCINI,  GiULio,  a  native  of  Borne,  known 
also  as  GiULio  Bomano,  bom,  according  to  the 
prefisoe  of  his  own  '  Nuove  Musiche,'  in  1558  or 
1560.  He  learned  to  sing  and  play  the  lute 
firam  Sdpione  della  Palla,  and  in  1578  removed 
to  Florence,  where  he  remained  till  hia  death  in 


CADENCE. 

1640.  Great  as  a  ringer  he  was  still  greater  as 
a  reformer  in  music.  Though  neither  harmonist 
nor  contrapuntist,  it  was  he  who,  following  the 
lead  of  V.  Galilei,  first  gave  countenance  a&d 
importance  to  music  for  a  single  voice.  The 
recitatives  which  he  composed  and  sang  to  the 
accompaniment  of  the  theorbo,  amid  the  enthu* 
siastic  applause  of  the  musical  assemblies  m<wtlT>g 
at  the  houses  of  Bardi  and  Corsi  in  Flos-enoe, 
were  a  novelty  of  inmieuse  significance.  They 
were  the  first  attempt  to  make  music  dnmati<^ 
to  use  it  as  the  expression  of  emotion.  From 
such  small  beginnings  he  proceeded  to  detached 
scenes  written  by  Bardi,  and  thence  to  higher 
flights.  The  pastoral  drama  of  Dafne,  written 
by  Rinucdni  and  set  to  muric  by  Gaccini  and 
Peri  in  1594,  and  still  more  the  'Euridice,  Tra- 
gedia  per  Musica,*  of  the  same  poet  and  the 
same  musicians  in  1600,  were  the  beginoingB  of 
the  modem  opera.  Other  compoeitions  of  Cao 
cini*s  were  the  '  Combattimento  d*Apolline  ool 
Serpente,*  'H  ratto  di  Ce&le'  (with  Peri),  and 
*Le  nuove  Musiche,'  a  collection  of  madrigals 
and  canzone  for  a  single  voice.  '  Euridioe^  has 
been  published — but  with  the  name  of  Peri 
alone  attached  to  it — by  Guidi  (1863,  8vo.). 
Caccini*s  daughter  Frakcbsca  was  ceLsfarated 
both  as  a  singer  and  composer.* 

CACHUCHA  (Spanish).  An  Andaliusan  dance, 
introduced  to  the  theatre  by  the  oelebrated 
Fanny  Elssler  in  the  ballet  of '  Le  diaUe  bcHteox,* 
the  mumc  of  which  is  in  3-4  time,  and  closely 
resembles  the  Bolbbo.  The  dance -time  was 
originally  sung  with  a  guitar  accompaniment. 
Of  the  origin  of  the  name  nothing  certain  is 
known.  [£.  P.] 

CADEAC,  PiBBBB,  master  of  the  dioristen 
at  Auch  about  the  middle  of  the  i6th  oenturr, 
church-composer  of  great  merit  in  his  day ;  com- 
posed masses  and  motets  for  the  most  part  pob- 
ushed  in  the  following  oollactians : — '  Quintns 
liber  Motettorum*  (Lyons,  1543);  'Gardano's 
XII  MissBB*  (Venice,  1554);  •^  'Misaarom 
MusicaUum*  (Paris,  1556).  [ML  C.  C] 

CADENCE.  Cadences  or  (as  they  are  dies 
called)  Closes,  are  the  devices  whi<^  in  mnsae 
answer  the  purpose  of  stops  in  language.  The 
effect  is  produced  by  the  particular  manner  in 
which  obtain  chonu  sacceed  one  another,  the 
order  being  generally  such  as  to  produce  sospease 
or  expectation  first»  and  then  to  gratify  it  by  a 
chord  which  is  more  satisfying  to  tiie  ear.  Tier 
are  commonly  divided  into  three  kinds — the  Per- 
fect cadence,  the  Imperfect  oadenoei»  and  the 
Interrupted  cadence.  Some  writers  mpeafj  a 
greater  number,  but  this  only  tends  to  oonfosks 
and  misconception.  All  that  is  reqinaite  is  to 
group  the  various  kinds  under  names  which 
mark  their  common  effect.  Thus  every  ca^^fwy 
which  can  be  used  satisfihctorily  to  end  a  move^ 
meat  must  of  necessity  be  a  Perfect  cadenrm 
Every  cadence  which  is  broken  away  from  at  the 
very  moment  when  it  seemed  to  promise  n  osb- 
elusion  is  obviously  an  Interrupted  cadence:  and 
every  cadence  which  without  jvoducing  the  eBeA 


CADENCK 

flf  mt^mptioii  leaves  the  mind  unsatisfied  and 
Hpecdng  something  more  should  be  called  an 
kperfect  cadence.  And  this  classification  seems 
to  iadade  all  the  Tarioties.  Every  oompoeer  in 
irmng  feels  that  certain  cadences  are  fitted  for 
fftrdcolar  places  in  his  work,  and  endeavours  to 
give  variety  in  his  treatment  of  them.  But  it  is 
mm  to  give  all  these  possible  varieties  defi- 
BSe  titles,  as  what  may  answer  the  purpose  of  a 
fell  itop  in  one  movement  may  only  produce  the 
idect  of  a  semicolon  in  another,  according  to  the 
oblveofthe  work. 

The  ideas  at  the  root  of  the  perfect  cadence 
ire  two :  first)  that  the  key  be  emphatically 
defined ;  and  secondly,  that  the  expectation  roused 
kf  the  doubtful  or  discordant  nature  of  one  chord 
k  sbmlutely  satisfied  by  another. 

The  simplest    and   most  perfect  manner  of 
it^jmng  tiiese  effects  is  the  progression  from 
dgmioant  to  tonic  harmony,  as  in  the  example, 
_     ^  ^  which  is  the  type  of  all  perfect 

^^j  I  I»    ft    sadences. 

Here  the  key  is  strongly 
marked   by  the   number  of 


CADENCE. 


291 


i 


E 


fe  "^  I  fj^  "">*««  proper  to  it  which  are 
I  I  ^^    H    employed,  and  also,  as  Helm* 

boltz  has  pointed  out,  *  by  the  distinct  passage 
from  the  remotest  parts  of  the  scale  to  the  centre 
of  the  system'  of  the  key,  since  the  dominant 
^lord  contains  the  notes  which  are  most  remote 
ia  their  relation  to  the  tonic.  On  the  other 
h»d,  the  tonic  chord  in  its  first  position  is  the 
csly  diord  sufficiently  decinve  to  be  used  as  a 
ctodanaa;  and  Uie  dominant  harmony  must  in 
ffijaae  be  doubtful  and  inconclusive,  even  when 
csKorda&t)  and  the  eSect  is  enhanced  when,  as 
in  the  example,  a  discord  is  made  use  of. 

The  common  use  of  the  major  third  in  the 
Vaic  chord  in  the  final  cadences  of  pieces  in  a 
BOQor  key  is  for  the  purpose  above  mentioned,  of 
vaAJDg  the  key  strongly,  as  the  minor  thh^l  is 
BuK  obscure  in  character  than  the  major  third, 
acd  without  the  latter,  especially  in  vocal  music, 
t^oondosion  would  xbot  be  so  clear  and  incisive. 

Indd  times,  espedalLy  in  church  music,  another 
Toy  ample  fionn  of  cadence  was  common ;  viz. 
tbit  in  which  the  penultimate  chord  is  that  of 
ibe  iulHi<Mmnant  or  4^1  of  the  key,  either  major 
onmnor,  as,  in  ihe  key  of  C — 


^oe  two  forms  of  the  perfect  cadence  weps 
Qiitiiigttished  as  the  Authentic  and  the  Plagal, 
^  the  two  main  divisions  of  the  ancient 
cliorch  modes.  The  latter  is  not  so  frequently  used 
^iQodem  music,  except  sometimes  for  variety, 
V  to  follow  some  particular  turn  of  romance 
ff  Bentiment  which  is  exinreesed  in  the  music. 

The  oommonest  form  of  Imperfect  cadence  is 
J^  a  rereml  of  the  dominant  perfect  cadence, 
» that  the  harmony  of  the  dominant  or  5th  of 
^e  key  is  preceded  by  that  of  the  tonic.    In 


this  case  the  effect  will  evidently  not  be  con- 
clusively satisfying,  because  a  piece  can  only 
come  to  a  complete  stop  on  the  harmony  of  the 
tonic.    80,  in  the  key  of  C,  the  cadence — 


will  leave  the  mind  unsatisfied,  thougb  to  a  cer- 
tain extent  it  produces  the  effect  of  a  stop. 

Another  common  Ibrm  of  imperfect  cadence  is 
that  in  which  the  harmony  of  the  dominant  is 
preceded  by  that  of  the  supertonic,  or  and  note 
of  the  scale,  director  in  inversion,  thus 


as  in  Moeart^s  Quartet  in  G,  No.  i— 


and  in  Beethoven's  Violin  Sonata  in  0 — 


|A^  ^\U 


s 


^ 


or  the  following  from  his  Symphony  in  C  minor — 


f^ 


t 


5^ 


Jg^'H^^ph^ 


When  m  complete  strain  or  subject  Is  divided 
into  two  puts  the  first  half  frequently  ends  with 
an  imperfect  cadence,  by  which  the  continuity  of 
the  passage  is  not  affected,  though  the  division 
is  sufficiently  marked. 

The  imperfect  cadence  is  also  sometimes  called 
a  half  dose,  which  term  has  a  good  deal  to 
recommend  it  as  the  fitter  name  of  the  two, 
both  firom  its  form  and  from  the  position  it 
frequently  occupies,  as  mentioned  above. 

The  form  of  Interrupted  cadence  generally 
quoted  as  typical  is  that  in.  which  the  chord 
of  the  dominant^  instead  of  proceeding  to  the 
haanony  of  the  tonio  as  the  mind  is  led  tp 


298 


CADENCE. 


expect)  ia  followed  by  the  chord  of  the  6th  of 
the  key,  or  sub-medUnt,  thua— 

But  in  point  of  fact  this 
gives  but  a  very  small  notion 
of  what  an  interrupted  ca- 
dence really  is.  For  it  can 
only  be  distinguished  from  an 
imperfect  cadence  with  cer- 
tainty by  reference  to  the  context.  The  latter 
Ib  a  aefinite  stop  occurring  in  the  natural  course 
of  the  music,  and  marking  a  period,  though 
not  in  such  a  way  as  to  enable  the  paesage 
which  it  ends  to  be  taken  as  complete  in  itself. 
But  the  former  is  an  abrupt  and  irregular  in- 
terruption of  the  natural  flow  of  the  music 
towards  its  anticipated  termination  in  a  perfect 
cadence,  postponing  that  temination  for  a  time 
or  altogether  avoiding  it.  Thus  at  the  end  of 
the  first  movement  of  the  Sonata  in  C,  op.  53, 
Beethoven  keeps  on  postpomng  the  pierfect 
CTtdffiiw  in  this  manneiv^ 


f  f'^M 


ens. 


m 


tT\ 


^ 


V»/ 


In  his  later  works  an  entire  evasion  of  the 
cadence  is  frequent,  tas  in  the  first  movement  ot 
the  Sonata  in  E,  op.  109 —  ^^ 


r  ^"  \u  f 


I 


p^*  '  g 


^^A 


Adoffio 


It  is  a  common  -practice  with  writers  of  trea- 
tises on  harmony  to  give  a  series  of  chords  pre- 
paratoiy  to  the  two  final  ones  which  are  given 
above  as  the  perfect  cadence.  This  makes  it 
look  as  though  the  treatises  were  meant  to  teaeh 


CADENCE. 

people  to  make  music  at  so  much  a  yard ;  for  a 
man  who  really  has  something  to  say  in  music 
which  he  feels  naturally  is  only  hampered  and 
worried  with  every  extra  direction  of  the  kind, 
which  tells  him  to  put  in  so  much  that  cannot 
possibly  mean  anything  because  it  ia  eveirybody^s 
property.  A  real  musician  only  requires  diieo 
tions  and  general  principles,  which  are  ci^ble  of 
considerable  expansion  according  to  the  power  of 
his  genius.  The  rule  seems  simply  to  be  that,  re- 
lative to  the  degree  in  which  the  cadence  is  final, 
the  passage  which  immediately  precedes  it  most 
mark  the  key  in  which  it  ia  made.  The  sense  of 
the  key  in  which  any  movement  is  written  is  of 
extreme  importance  for  the  comprehension  of  the 
music,  especially  in  instrumental  music,  and  such 
as  depends  much  upon  its  form  of  conatrocticn. 
Hence  a  cadence  of  any  finality  must  maik  the 
key  strongly.  Subordinate  cadences,  each  aa  oc- 
cur in  the  course  of  the  movement,  especially 
apart  from  Uie  broader  divisions  of  tlie  move- 
ment, need  not  be  so  marked;  but  if  the  final 
cadence  of  the  whole  movement,  or  that  of  aa 
important  subdivision  of  a  movement^  ia  nmply 
a  couple  of  chords  or  so  immediately  snooeeding 
a  passage  in  a  foreign  key,  the  sense  of  where- 
abouts is  lost,  and  an  entirely  nnsatisfacUgy 
effect  produced  by  the  indedaiveneaB  of  the  con- 
clusion. 

The  tendency  of  modem  music  has  been  to 
.avoid  full  eadenoes  in  the  course  of  a  piece  cf 
music,  and  when  they  become  necessary  to  v«zy 
them  as  much  as  possible.  The  former,  becanae 
fi^uent  eadenoes  make  a  movement  into  a  frag* 
mentary  series  of  oontinaally  reoommenicnig  pas- 
sages, coming  each  time  to  a  full  atop  and 
banning  again;  the  latter,  because  the  nmd 
iias  become  so  habituated  to  the  tann.  of  the 
ordinary  perfect  cadence  that  in  a  movement  of 
highly  emotional  character  it  comes  rather  like  a 
platitude.  Besides,  though  fbnn  is  a  great  and 
often  the  principal  element  of  beauty  in  a  move- 
ment,  to  make  it  too  obvious  by  the  marked 
nature  of  the  cadences  destroys  the  interest  and 
fireshnoBS  of  the  work.  Mosart  marked  the  di- 
visions of  his  movements  very  strongly,  bat  is 
his  day  the  foEms  of  instrumental  mmdc  were  not 
by  any  means  so  fiuniliar  aa  they  are  now,  sod 
their  being  strongly  marked  was  neceBsary  for 
their  due  comprehension.  Besides,  in  Mosait'f 
day  people  had  much  more  time  to  sit  down  sad 
rest  between  one  action  and  another  than  ihej 
seem  to  have  now,  and  perfect  cadmces  an 
exactly  like  sitting  down  and  resting  when  one 
tune  is  over  so  as  to  be  fresh  for  the  next  whet 
it  makes  its  appearance.-  And  the  analogy  gc«s 
even  further,  for  the  movement  in  which  <m 
sits  down  least  often  and  least  completely  i* 
that  which  is  most  like  one  great  action  witk 
.a  single  principle  at  its  basis  rather  thaa  a 
series  of  somewhat  disconnected  motiona,  wbi^ 
are  chiefly  recommended  by  their  mutual  eiA' 
trasts  and  relative  proportions. 

With  regard  to  the  position  of  the  chonb  is 
the  bar,  the  CGmmoneat  position  is  th&t  in  v)kkk 
the  final  chord  ia  on  the  first  beat  of  the  bar,  s 


CADENCE. 

Ae  3irong€Bt  beat  of  all  when  tlie  bars  are  thrown 
ico  groups  by  tba  rapidity  of  the  time  of  the 
wement.  So  that  the  cadence  prooeeda  from  a 
(kffd  withoat  emphaaia  to  a  chord  witii  it,  or  in 
i&s  wordsy  frtxn  the  unaccented  to  the  accented 
^  of  the  bar ;  aa  fiist-^ 


CADENZA. 


+ 


4= 


3 


t- 


^ 


^ 


E 


hm  Moxarti'a  Quartet  m  A,  No.  5  ; 


j^A     ^"Th^f^  if*  I  j  il^  I  ]  il^ 


1^ 


^^ 


:itL 


3Pe: 


I 


ftom  his  Qaartet  in  Eb,  No.  4. 

The  next  oonmumest  position  is  to  find  the 
fiaal  chord  in  the  middle  of  a  bar  which  is 
eqoilly  divisible  into  two  halves,  as  on  the 
tlord  beat  of  a  bar  of  four,  and  the  fourth  of  a 
Iw  of  six.  Of  both  of  these  Mozart  makes 
tsfj  frequent  use — as  in  the  first  moTement 
d  the  first  Quartet^  the  slow  movement  of 
tk  Quartet  in  Bb,  the  Rondo  for  pianoforte 
in  A,  and  the  Variations  in  the  Sonata  in  A. 
Yay  often,  he  seems  to  use  this  position  with  a 
KDae  of  its  being  weaker  and  less  concluiiive 
than  that  in  which  the  last  chord  frills  on  the 
&8t  beat  of  a  bar,  and  hc-ncs  as  a  kind  of  pseudo- 
imperfect  cadence ;  as  in  the  slow  movement  of 
tbe  Quartet  in  D  minor,  No.  2,  which  b^^ 


^^ 


C&denoes  are  also,  but  £sr  more  rarely,  found 
oocapying  reversed  positions,  as  in  polonaises, 
vbere  the  last  chord  of  a  cadence,  owing  to  the 
p^oliar  rhythmic  character  of  the  movement, 
{nqoently  fiJls  on  the  last  beat  of  a  bar  of  three ; 
aa  in  Chc^nn's  Polonaise  in  C|  minor— 


In  MoBart'g  Bondeau  en  Polonaise,  finom  the 


S08 


Sonata  in  D,  the  cadences  iUl  on  the  second 
beat»  as  in 


i 


^^ 


crer. 


I 


s& 


W 


£ 


^^^1 


where  the  B  and  D  are  merely  suspensions  of  the 
final  chord  of  A — and  in  Beethoven's  Quartet  in 
A  minor,  op.  13  a,  the  last  chord  of  the  cadences 
in  the  movement  '  Allegro  ma  non  tanto,'  fihUs  on 
the  second  beat  of  a  bar  of  three — 


','^  Sfi] 


p^ 


^^1 


^^ 


i 


i 


f 


i 


and  in  the  slow  movement  of  his  Quartet  in  Bb, 
op.  130,  at  the  end,  tha  last  chord  fidls  on  the 
last  beat  of  a  bar  of  four — 


BO  that  in  point  of  fSeust  the  greatest  authorities 
may  be  quoted  to  justify  cadences  in  almost  any 
position  in  the  bar;  but  the  last-mentioned  in- 
stances are  decidedly  exceptional,  and  can  only 
be  justifiable  when  tiie  movement  in  which  they 
are  used  has  some  very  marked  peculiarities  of 
rhythm  or  a  very  strong  emotional  character. 

[C.H.H.P.] 

CADENZA  in  its  simplest  acceptation  is  a 
flourish  of  indefinite  form,  introduced  upon  a 
bass  note  immediately  preceding  a  dose  of  some 
finality ;  that  is,  oocupving  the  position  of  full 
stop  either  to  an  entire  movement,  or  to  an 
important  section  of  one.  The  custom  was  most 
probably  originated  by  singers,  who  seized  the 
opportunity  afforded  by  the  chord  of  6-4  on  the 
dominant  mmiediatdy  preceding  the  final  dose 
of  an  aria  or  scena,  to  show  off  the  flexibility, 
compass,  and  expressive  powers  of  their  voic^  to 
the  highest  advantage ;  so  that  the  piece  coming 
to  an  end  immediately  afterwards,  the  audience 
might  have  the  impression  of  astonishment  fresh 
in  their  minds  to  urge  them  to  applause. 

The  idea  thus  originated  spread  widely  to  all 
kinds  of  music,  and  in  course  of  time  its 
character  has  changed  oonraderably,  though  the 
flourish  of  which  it  is  composed  is  still  its 


294 


CADENZA. 


ooDspicnouB  feature.  In  inBtmmenial  musio  it 
fulfils  a  peculiar  office,  as  it  Ib  frequently  intro- 
duced where  a  pause  in  the  more  important  matter 
of  the  movement  is  desirable,  -without  breaking 
off  or  allowing  the  minds  of  the  audience  to 
wander.  Thus  it  occurs  at  points  where  the 
enthusiasm  of  the  movement  has  been  worked 
to  such  a  heat  that  it  is  necessary  to  pause  a 
little  before  returning  to  the  level  of  the  natural 
ideas  of  the  themes,  as  in  liszt^s  'Rhapsodic 
HoDgroise*  in  A,  and  Chopin*s  'Nottumos*  in 
¥  minor  and  C|(  minor.  Chopin  uses  them  fre- 
quently when  the  main  business  of  the  move- 
ment is  over,  in  order  to  prevent  the  close, 
which  follows  immediately,  being  too  abrupt. 
At  other  times  it  occurs  as  a  connecting  Imk 
between  two  movements,  or  between  an  intro- 
duction and  the  movement  following  it,  where 
for  certain  reasons  it  is  expedient  to  pause 
a  while  on  some  preparatory  <^ord,  and  nut  to 
oommence  serious  operations  before  the  minds  of 
the  audience  have  settled  to  the  proper  level. 

Specimens  of  this  kind  are  common  in  the 
works  of  many  great  masters — e.g.  Beethoven*s 
Sonata  in  Eb  (op.  27,  No.  i),  Adagio;  Sonata 
pathetique ;  Variations  in  "F  (op.  34) ;  Brahms^s 
Sonata  in  ¥$  (op.  a,  last  movement) ;  Mendels- 
Bohn*s  '  Lobgeeang,*  connecting  the  first  move- 
ment with  the  second. 

The  greater  cadenza,  which  is  a  development 
of  the  vocal  flourieh  at  the  end  of  a  vocal  piece 
already  spoken  of,  is  that  which  it  is  customary 
to  insert  at  the  end  of  a  movement  of  a  con- 
certo for  a  solo  instrument.  Like  its  vocal  pre- 
decessors the  cadenza  usually  starts  from  a  pause 
on  a  chord  of  6-4  on  the  dominant,  prepara- 
tory to  the  final  close  of  the  movement,  and 
its  object  is  to  show  off  the  skill  of  the  per- 
former. Such  cadenzas  may  occur  either  in  the 
first  or  last  movement,  and  even  in  both,  as 
in  Mozart's  Concerto  in  D  minor  and  in  Bee- 
thoven's in  G.  With  regard  to  their  form  there 
is  absolutdy  no  rule  at  all.  They  should  contain 
manifold  allusions  Uf  tiie  chief  themes  of  the 
movement,  and  to  be  successful  should  be  either 
brilliant  or  very  ingenious ;  containing  variety 
of  modulation,  but  rather  avoiding  progressions 
which  have  been  predominant  in  the  movement 
itself;  and  the  more  they  have  the  character 
of  abandomnent  to  impulse  the  better  they  are. 
It  was  formerly  customary  to  leave  the  cadenzas 
for  improvisation,  and  certainly  if  the  firenzy  of 
inspiration  could  be  trusted  to  come  at  the  right 
moment,  impromptu  cadenzas  would  undoubtedly 
be  most  effective  in  the  hands  of  real  masters  of 
the  situation.  Moreover,  it  is  chiefly  in  the 
sense  of  their  being  the  exposition  of  the  player's 
special  capacities  that  they  are  defensible,  for  as 
far  as  the  composer  is  concerned  the  movement 
generally  offers  full  opportunities  for  display  of 
the  powers  of  the  executant. 

Still  custom  is  generally  stronger  than  reason, 
and  it  does  not  seem  likely  that  cadenzas  will  yet 
die  out.  And  as  the  art  of  improvisation  is  for 
various  reasons  considerably  on  the  wane  it  will 
probably  become  habitual  for  composers  to  write 


=F 


^ 


/TV 


/3\ 


fe: 


3 


CAECILIA. 

their  own  cadenzas  in  full,  as  Beethoven  has  doa 
in  the  Eb  Concerto,  and  Schnmann  in  his  J 
minor  Concerto. 

Beethoven  also  wrote  cadenzim  fur  his  oihe 
concertos  and  for  Mozart's  D  minor ;  and  theij 
are  published  separately.  Many  £amou8  mu^ 
cians  have  supplied  the  like  for  clawncal  cc^ 
certos,  Moschedes  for  Beethoven*B,  and  Humm^ 
for  Mozart's. 

The  indication  for  a  cadenza^  -vrlieii  not  writte 
out  in  full,  is  a  pause  or  fer- 
mata  /*^  indicating  its  com- 
mencement, usually  over  a 
rest  in  the  solo  part,  and 
over  the  last  note  in  each  of 
the  orchestral  parts ;  another 
pause  over  -a  shake  in  the 
solo  part  indicating  its  close. 
The  example  is  taken  firom  Beethoven's  Concert^ 
in  C  minor,  pianoforte  part.  [G.H.H.P.| 

CAECILIA,  a  German   musical   periodicaI| 
conducted    by  an  association   of    scholars,  arj 
critics,  and  artists,  started  by  Gottfned  Webd 
in  1834,  and  published  by  Messrs.  Schott.    li 
appeared  at  irregular  intervals,  lasted  till  1848^ 
and  forms  a  series  of  ay  volumes  of  4  nos.  each^ 
Weber  conducted  it  till  his  death,  at  the  20th 
vol.,  and  was  succeeded  by  Dehn,  who  continued 
editor  till  its  discontinuance  in  consequence  ol 
the  political  troubles  of  1848.     By  its  openfugi 
prospectus  Caecilia  was  intended  to  be  not  so 
much  a  regular   periodical  as  a  collection  of 
original  articles  of  permanent  interest,  and  a 
medimn  for  the  exchange  of  views  and  opinions  | 
on  art.     It  contains  papers  on  the   theory  of 
musio  and  acoustics,  on  history  and  sesthetfcti, 
reviews  and  notices  of  music  and  treatises  on  the 
art.    The  earlier  numbers  also  contained  tales 
and  poems,  and  other  light  pieces.     Amojtg»t 
the  theoretical  articles  of  most  value  are  those 
on  the  compensation  of  organ  pipes  (xi.  181-202) 
and  on  the  production  of  aliquot  tones  in  reed 
pipes  and  clarinets  (xii.  i),  both  by  W.  Weber; 
on  the  voice  (i.  81  ;  compare  iv.  157  and  329\ 
by  Gottfi-ied  Weber;  an  account  of  the  experi- 
ments of  Joh.  Miiller  on  the  formation  of  the 
voice  (xxi.  16),  by  Haser;   on  equal  tempera- 
ment (xxvi.  137),  and  on  measurements  ofttmea 
and  of  temperament  (xxi.  117),  both  by  Kiese- 
wetter ;  and  on  the  value  of  notes  and  the  length 
of  string  necessary  to  produce  them  (xxiv.  91)^ 
by  Krieger.    Among  the  historical  papers  may 
be  named  those  on  the  literature  and  lustory  of 
music   by  Anton    Schmid   (xxi-xxvii) — chiefly 
notices  of  ancient  MSS.  in  the  Vienna  library; 
also  a  paper  by  Aloys  Fuchs  on  the  musical  col- 
lections of  Vienna,  interesting  for  its  descriptions 
of  MSS.,  especially  those  of  the  GeseUschafi  der 
Musikfreunde  (xxiii.  40) ;    several  communica- 
tions by  Dehn  on  the  Bach  MSS.  in  the  Berlin 
library  (xxii.  166,  xxiii.  34,  xxiv.  17);  critical 
papers  by  Gottfiried  Web^  on  the  authenticity 
of  Mozart's  'I^equiem'  (iii.  205,  iv.  257,  v.  237/ 
vi.,  viii.  128,  ix.,  x.,  xiv.  147,  xx.  279),  written 
with  unnecessary  violence  and  personality,  a^p 
since  superseded  by  the  publication  of  the  cd' 


GAECHilA. 

gisal  icoce.  In  addition  to  the  aathon  named, 
artideB  were  fomiahed  by  Boohlitz,  Chladm, 
Tmk,  and  von  Driebeig,  azul  the  wbole  fonned  a 
Tsloable  record  of  the  progress  of  the  historical 
ifid  theoietical  departments  of  mnsic  daring  a 
piaster  of  %  oentuiy.  The  practical  portion  of 
tjie  art  was  not  so  well  repreaented.  In  fact 
U»  great  movement  begun  by  Mendelssohn,  and 
onied  om  by  Schumann,  Chopin,  and  others,  not 
odIt  reoeiTed  no  recognition,  but  was  treated 
vi^  ft  certain  covert  hostility,  and  with  the 
eoistazit  obtrusion  of  an  obsolete  and  exaggerated 
vonfaip  of  Mosart.  In  the  first  vdome  the 
pablicatioii  of  a  mass  by  the  Abb^  Vogler  (died 
1^14)  waa  hailed  as  an  event,  and  reviewed  with 
kbonouB  care.  In  the  list  of  publications  of  the 
year  oontained  in  the  27th  volume  scarcely  any 
meitioii  is  niade  of  the  works  of  either  of  the 
eomposera  named  above;  and  the  notices  are 
ooofined  almost  entirely  to  salon  music  and  in- 
ftrncdon  books,  chiefly  those  issued  by  the  pub- 
lishoB  of  the  magazine.  Mendelssohn's  '  St. 
Paul*  (piroduced  1834)  is  onlv  cursorily  men- 
tiaiied,  Chopin  is  rarely  named,  and  Schumann 
not  at  all,  though  by  the  year  1848  he  had 
oHopoeed  many  of  his  very  greatest  woriu.  The 
eariier  volumes  of  the  Caedh'a  are  of  more  value 
than  the  later  ones  in  reference  to  practical 
aasic.  [A.  M.] 

CAECIUAlf  SOCIETY.  This  society  was 
mstttuted  in  178c  by  a  few  friends  who  met 
weekly  at  each  other*s  houses  for  the  practioe  of 
kjnms  and  anthems,  but  subsequently,  havinff 
some  inatrumentalistB  among  them,  they  united 
fcr  the  performanoe  of  sacred  works  on  a  more 
extended  scale,  and  especially  of  Handel's  ora- 
torios. In  1791  an  organ  was  erected  in  the 
•odet/s  room  in  Friday-street,  and  after  meeting 
u  Plasterers'  Hall,  Painters'  Hall,  Coachmen's 
Hal],  and  the  Paul's  Head,  they  obtained  the 
nie  of  Albion  Hall,  London  Wall,  where  they 
met  until  the  dissolution  of  the  society  in  1861. 
Among  the  worka  performed  were  all  Handel's 
ontorios  and  secular  compositions,  Haydn's  'Cre- 
ation' and  'Seasons,'  Mozart's  and  Haydn's 
n\mn  and  Mendelssohn's  'Elijah.'  W.  Rua- 
adl,  sometime  organist  to  tike  Foundling,  com- 
poeed  for  the  society,  of  which  he  was  a  member, 
'The  Bedemption  of  Israel'  and  the  *Ode  to 
Hoeic,'  the  words  of  the  latter  being  supplied  by 
Mr.Yinoent.  John  Nightingale,  Russell's  suo- 
ceaeor  at  the  Foundling,  who  became  organist  to 
the  society,  also  composed  a  work  for  perform- 
•noe  by  the  members.  For  many  years  the 
uciety  gave  the  only  performances  of  the 
ontorioB  of  Handel  and  Haydn  which  could 
be  heard  (except  during  Lent  at  the  theatres 
of  Covent  Garden  and  Dmry  Lane),  and  its 
work  may  be  said  to  have  been  taken  up  by  the 
Sacred  Harmonic  Society,  which  was  founded  a 
few  yeaiB  before  the  dinolution  of  the  older 
bo^.  The  first  conductor  of  the  Society  was 
Mr.  Vincent,  an  amateur,  who  filled  the  office 
for  upwards  of  thirty  years,  when  he  was  suc- 
ceeded by  Mr.  Walker,  whose  place  was  taken 
by  his  own  son  Joseph  Walker.   Mr.  Shoubndge 


CAITARELLI. 


fffS 


was  the  last  oondnotor.  Among  the  earlier  mem- 
bers were  some  professional  musicians  who  after- 
wards became  fiunous,  and  who  when  they  had 
left  its  ranks  frequently  came  to  assist  m  its 
performances.  The  society  was  almost  entirely 
self-supporting,  and  the  tickets  of  admission  to 
the  concerts  were  given  by  the  members  to  their 
frienda.  [C.  M.] 

CiBSAR,  Julius,  M.D.,  of  an  ancient  fiunily 
of  Rochester,  many  of  whom  are  interred  in  the 
cathedral  there,  was  an  amateur  composer  in  the 
17th  century.  Some  catches  by  him  appear  in 
the  collection  entitled  'The  Pleasant  Musical 
Companion.'  [W.  H.  H.] 

CiESAR,  dliaM  Williah  Smbobboill,  wa« 
the  oomposer  of  some  songs  published  in  '  Select 
Musicall  Ayres  and  Dialogues,  1653,  and  other 
collections  of  the  period.  [W.  H.  H.] 

CAFARO,  Pasqualb,  otherwise  CAFFARO, 
and  also  known  by  his  name  of  endearment 
CAFFARELLI,  was  bom  at  Naples  in  1708. 
He  was  destined  by  his  parents  for  a  scientifio 
career,  but  his  bent  towanls  music  showed  itself 
too  strongly  for  oontradiction,  and  he  was  en- 
tered at  the  Conservatorio  deJla  Pietk.  at  that 
time  under  the  direction  of  Leonardo  Leo.  On 
the  termination  of  his  studies  he  became  Maestro 
at  the  Chapel  Royal  of  Naples,  and  in  time 
Director  of  the  Conservatorio  as  well.  He  died 
in  1787.  Grace,  purity  of  style,  and  poverty  of 
invention  were  the  charaoteristios  of  his  work. 
The  following  are  among  his  best  known  pro- 
ductions:— (^torio  per  I'lnvenzione  dellaCrooe; 
Naples  1747.  Ipermnestra;  Naples  1751.  La 
Disfatta  di  Dario;  1756.  Antigono;  1754. 
L'Incendia  di  Troia;  Naples  1757.  Cantata  a 
tre  vod  per  festmiare  il  giomo  natalizio  di 
Sua  Maestk;  Naples  1764.  Arianna  e  Teseo; 
1766.  Cantata  a  tre  vooi,  etc.,  etc.;  Napleg 
1766.  n  Cresco  k  Turin;  1768.  Qiustizia  pla- 
cata;  1769.  Cantata  a  pih  voci  per  la  Trans* 
lazione  di  sangue  di  S.  Januario ;  Naples  1769. 
L'Olimpiade;  Naples  1769.  Antigono,  reset  to 
fresh  music;  1770.  Betulia  liberata.  H  Figluolo 
prodigo  raweduto.  Oratorio  on  S.  Antonio  of 
Padua,  n  Trionfo  di  Davidde,  Oratorio.  In 
addition  to  these  there  are  in  existence  by  Cafaro 
many  pieces  of  church  music,  oonsisting  of  masses, 
psalms,  motets,  etc.,  of  acknowledged  merit.  An 
'Amen'  for  5  voices  by  him  is  included  in 
NoveUo's  '  FitzwiUiam  Music'  [£.  H.  P.] 

CAFFARELLI,  Gabtako  Ma jobano,  dbtto, 
was  bom  at  Bari,  Naples,  April  16,  1703.  His 
father  was  a  peasant,  and  for  some  time  opposed 
his  son's  inclination  for  music  at  the  expense  of  his 
ordinary  tasks.  Graetano  however,  by  his  assidu- 
ous attendance  at  the  musical  services  in  a  certain 
chapcd,  soon  attracted  the  notice  and  favour  of 
Cafaro  or  Caffaro  (see  above).  This  artist,  recog- 
nising the  genius  of  the  boy,  rescued  him  from 
the  toil  to  which  he  was  destined  by  his  ignorant 
parents,  sent  him  to  Norda  to  be  prepured  for 
the  career  of  an  evirato,  according  to  the  barba- 
rouB  custom  of  those  days ;  and,  upon  his  return^ 


S9« 


CAFFABELLL 


gave  lum  in  his  own  house  diementazj  inetroctioii 
in  reading,  writing,  and  music.  When  sent  to 
study  at  Naples  under  Porpora,  the  grateful 
youth,  as  was  not  unusual,  called  himself  Caffi^ 
relli,  in  remembrance  of  Ids  first  protector.  It 
is  of  this  extraordinary  singer  that  the  story  is 
told  that  he  was  kept  by  old  Porpora  for  five  or 
six  years  to  the  uninterrupted  and  unvaried  study 
of  one  page  of  exercises ;  and  that,  at  the  end  of 
this  time,  he  was  dismissed  with  these  words, '  Gro, 
my  son:  I  have  nothing  more  to  teach  you. 
You  are  the  greatest  singer  in  Europe.*  Whether 
Porpora*s  object  in  this  system  was  to  secure  the 
perfect  equality  of  the  voice,  which  in  his  opinion 
oould  not  be  otherwise  gained^  or  to  humble 
the  boy's  pride,  which  was  inordinate — whether 
the  story  be  ^ue  or  fidse,  certain  it  is  that» 
according  to  all  competent  authorities,  the  singers 
whom  he  sent  forUi  into  the  world,  Farinelli, 
Gaffarelli,  etc.,  were  superior  to  any  that  preceded 
or  followed  them.  His  valedictory  words,  in  any 
case,  were  ill  calculated  to  check  the  pride  and 
presumption  which  made  Gaffarelli,  throughout 
a  career  of  marvellous  success,  always  ridiculous, 
always  odious,  and  always  a  contrast  to  the 
modest  Farinelli.  In  1734  he  made  his  d^ut 
at  Bome  in  a  female  character,  as  was  usual  for 
sopranists,  when  his  beautiful  voice,  perfect 
method,  and  handsome  face,  procured  hmi  his 
first  triumph.  He  now  easily  obtained  engage- 
ments, and  sang  with  similar  success  in  ^e 
principal  cities  of  Italy  until  1728,  when  he 
returned  to  Rome.  Here  his  success  was  more 
brilliant  than  before,  and  than  that  of  any 
previous  singer.  He  was  courted  by  the  highest 
society,  and  in  one  of  his  very  numerous  'bonnes 
fortunes'  he  nearly  lost  his  life.  Owing  to  a 
sudden  alarm,  he  had  to  escape  by  passing  the 
night  in  an  empty  dstern  in  a  garden,  where  he 
caught  a  severe  cold,  which  kept  him  to  his  bed 
for  a  month.  After  this  he  went  about  every- 
where protected  by  four  bravos  &om  the  vengeance 
of  the  husband.  He  left  Home  safe,  however,  in 
1730 ;  and,  after  singing  in  other  places,  arrived 
in  London  at  the  end  of  1737.  Here  he  made 
his  first  appearance  at  the  King's  Theatre  on 
Jan.  7,  1738,  in  the  principal  character  in 
Handel's  'Faramondo,'  and  in  'Serse'  on  April 
15.  He  also  irang  the  part  of  Jason  in  Pescetti's 
'  La  Conquista  d^  vello  d'oro'  in  the  same  year. 
His  name  does  not  appear  again ;  i^id  it  is  said 
that  during  all  his  stay  in  Ix>ndon  he  was  never 
in  good  health  or  voice.  He  does  not  appear  to 
have  fulfilled  the  expectation  that  his  coming 
had  created.  He  now  returned  to  Italy,  and 
passed  through  Turin,  Genoa,  Milan,  Florence, 
and  Venice,  in  a  triumphal  progress.  At  Turin, 
when  the  Prince  of  Savoy  told  Gafiarelli,  after 
praising  him  greatly,  that  the  princess  thought 
it  hardly  possible  &a,t  any  singer  could  please 
etfter  Farinelli,  'To-night/  he  replied,  'she  shall 
hear  two  Farinellis ! '  What  would  have  been 
thought  of  this  answer  by  the  lady  who  once 
exclaimed  in  delirious  excitement  *One  God, 
and  one  Farinelli  1 '  At  Naples  he  excited  the 
wildest  enthusiasm..  While  he  was  sLoging  there 


9A  IRA. 

he  was  told  of  the  arrival  of  Gizziello,  wBo<m« 
as  a  possible  rival,   he  was  most   aaxiona    'to 
hear  and  estimate  for  himsdt    He  posted   all 
the   way  to   Rome,   arrived   in   time   for    t^lx-e 
opera,  and  took  a  back  seat  in  the  pit.     Af%«!r 
listening  attentively  to  Gizziello's  aria  di  entrtMSa, 
he  could  not  master  his  emotion;   but^   xisizi^ 
firom  his  seat^  exclaimed    'Bravo,   braviasixiio. 
Gisriello!  E  GafiareUi  chi  te  lo  dice!'   and  fled 
precipitately  from  the  theatre.    Throwing  himself 
into  his  carriage,  he  posted  rapidly  back  to  Naples, 
and  found  he  had  barely  time  to  dress  and  ap- 
pear at  the  opera,  where  his  absence  had  alresuly 
been  remarked.    In  1 740  he  returned  to  Venlcse, 
where  he  received  a  higher  salary  than  any  exng&c 
had  received  before, — 800  sequins  (=^£385),  aiul 
a  benefit  of  700  sequins  (» £335)1  for  a  aeaeon 
of  three  months.     He  reappeiu«d  at  Turin  in. 
1 746,  and  then  at  Florence  and  Milan.     On  the 
invitation  of  the  Dauphine  he  went  to  Paris  in. 
1750,  and  sang  at  several  concerts,  whez>e   lie 
pleased  as  much  as  he  astonished  the  critiGS. 
Louis  XV  sent  him  a  present  of  a  snuff-box  ;  but 
Gaffarelli,  observing  that  it  was  plain,  showed 
the  messenger  who  brought  it,  one  of  the  gentle- 
men of  the  court,  a  drawerfull  of  splendid  boxesi, 
and  remarked  that  the  worst  of  them  was  finer 
than  the  gift  of  the  Eang  of  France.     '  If,'  said 
he,  ' he  lu^  sent  me  his  portrait  in  it ! *     ' Tliat»* 
replied  the  gentleman,   'is  only  given  to    am- 
bassadors.'     'Well,'   was  the   reply,   'and    all 
the  ambassadors  of  the  world  would  not  make 
one  Gaffarelli !'     This,  when  repeated,  made  the 
King  laugh  heartily ;  but  the  Dauphine  sent  for 
the  singer,  and,  giving  him  a  passport^  said — '  It 
is  signed  by  the  King  himself — for  you  a  great 
honour;  but  lose  no  time  in  using  it,  for  it  is 
only  good  for  ten  days.'    Gaffarelli  left  France 
in  dudgeon,  saying  he  had  not  gained  his  expenses 
there.    Stories  about  him  are  innumerable :  Me- 
tastasio,  in  one  of  his  letters,  tells  an  amusing 
one,  according  to  which  the  intervention  of  Tesi^ 
the  celebrated  singer,  alone  saved  him  from   a 
duel  at  Vienna,  provoked  by  his  arrogance  and 
folly.      At  the  age  of  sixty-five  he  was   still 
singing ;  but  he  had  made  an  enormous  fortune^ 
had  purchased  a  dukedom,  and  built  at  Santo 
Dorato  a  palace,   over  the  gate  of  which   he 
inscribed,  with  his  usual  modesty,   'Amphion 
Thebas,   ego  domum.*     A  commentator  added 
*  Ille  cum,  sine  tu ! '    It  will  be  inferred  from  the 
above  that  he  was  the  rival  of  Farinelli,  to  w^hom 
by  some  he  was  preferred  as  a  singer.    He  ex- 
celled in  slow  and  pathetic  airs,  as  well  as  in  the 
bravura  style;   and  was  unapproached  both  in 
beauty  of  voice  and  in  the  perfection  of  his 
shake  and  chromatic  scales.    He  is  said  to  have 
been  the  first  to  introduce  the  latter  embellish- 
ment in  quick  movements.     He  died  in  1783, 
leaving    his  wealth  and    his  dukedom  to    his 
nephew.  [J.  M.] 

GA  IRA.  The  earliest  of  French  revolution- 
ary songs,  probably  first  heard  on  Oct.  5,  1789, 
when  the  Parisians  marched  to  Versailles.  The 
words  were  suggested  to  a  street-singer  called 
Ladr^  by  Gen^i^  La  Favette,  who  remembered 


<;A  IRA. 

JVmnkZm^a  fitTourite  saying  at  eadi  progran  of 
th&  American  inBunection.  The  buitlen  of  the 
tlien  as  follows : — 


CALLCOTT. 


297 


'Ah!  ^ n% ^ ira,  ^ ira ! 
Le  people  en  oe  jour  sans  oesse  rtfp^te : 
Ah  t  ^ira,  ^  ira»  ^iral 
Mjdgie  les  mntinsy  tout  r^ossira.' 

At  a  later  period  the  burden,  though  more 
iona^  was  hardly  more  metrical  :— 

'  Ah. !  ^  ira,  ^  ira,  ^  ira  t 
X<es  aristocrat*  k  la  laateme ; 
Ah  1  9*  ira,  ^ira^  ^iral 
Lea  aristocrat'  on  les  pendra.' 

The  tone — ^the  length  and  compass  of  which 
ihow  that  it  was  not  composed  for  the  song — was 
tbe  production  of  a  certain  B^cour  or  ^ooturt, 
a  gde-drom  player  at  the  Opera;  and  as  a  oontre- 
danae  ^ras  originally  Yerj  popular  under  the  title 
of  'Carillon  nationaL' 


ij/a  jT^im  rnij  jt^i 


:«=i 


»=3: 


^^ 


-■.J^ir  rS 


[G.a] 

CALAH,  Jomr,  bom  1758,  was  organist  of 
Peterborough  Cathedral  in  the  latter  part  of  the 
last  ceotoiy.  He  composed  some  cathedral  music, 
itiOl  in  use,  and  died  Aug.  4,  x  798.      [W.  H.  H.] 

CALANDO  (Ital.)y  diminishing,  i.e.  in  tone; 
eqolTalent  to  diminuendo  or  decre9cendo,  and 
<^en  associated  with  rilardando,  [G.] 

CALASCIONE  or  COLASCIONE  (Ital.; 
Fr.  Colaehon) .  The  name  of  a  fingerboard  instru- 
ment  of  the  lute  kind  belonging  to  Lower  Italy. 
The  calascione  is  strung  wi&  two  catgut  strings 
toned  a  fifth  apart.  The  body  of  it  is  like  that 
of  an  ordiBaiy  lute,  but  it  is  relativr-ly  smaller 
towards  the  neck.  Of  all  fingerboard  instruments 
tie  calascione  is  most  like  the  NFR  (vocalised 
by  different  interpreters  as  noire,  nefiru,  or  nefer) 
of  the  old  Egyptian  monuments;  but  it  would 
be  a  bold  hypothesis  to  derive  the  modem  instru- 
ment from  one  used  in  such  remote  antiquity, 
the  long -necked  E^^tian  lute   having   been 


deleted  as  early  as  the  fourth  dynasty— aocord* 
ing  to  Herr  Lepsius  anterior  to  3000  B.C. 
The  strings  of  the  calascione  are  touched  with 
a  plectrum,  rarely  by  the  fingers.  The  finger- 
board has  frets  of  ivory.  About  1767  tiie 
brothers  Cola  were  noted  performers  on  it.  [See 
Bahdora.]  [A.J.H.] 

GALDARA,  Ajrroino,  was  bom  aft  Venice  in 
1678,  where  he  studied  music  under  Legrenzi. 
He  remained  f»r  many  years  a  simple  singer  in 
the  Ducal  Chapel  of  S.  Marco,  but  was  in  1 7 1 4  ap> 
pointed  Maestro  di  Cappella  at  Mantua.  Thence 
in  1 718  he  went  to  Vienna,  where  the  emperor 
Charles  VI  made  him  one  of  his  vice-chapel- 
masters.  In  1738  he  returned  to  Venice,  where 
he  lived  in  retirement  until  his  death  in  1768. 
These  are  the  dates  in  his  career  which  are 
given  by  F^tis,  and  which  he  defends  against 
Gerber  and  Antoine  Schmidt,  who  say  tluit  he 
died  at  Vienna  in  1736.  He  was  a  laborious 
composer  both  for  the  church  and  the  stage. 
But  his  worth  is  hardly  equal  to  his  fecundity. 
A  certain  solemnity  of  manner  in  some  measure 
redeems  his  churcn  music;  but  his  operas  are 
essentially  of  that  order  which  when  once  laid 
aside  are  laid  aside  for  ever.  He  wrote  no  less 
than  69  operas  and  oratorios,  and  dramatic  com- 
positions m  the  nature  of  one  or  the  other.  The 
catalogue  of  his  church  music  is  equally  lengthy, 
and  includes  a  number  of  cantate  on  sacred  sub- 
jects for  one,  two,  and  three  voices,  with  elabo- 
rate orchestral  accompaniments.  [E.  H.  P.] 

CALIFE  DE  BAGDAD.  Opera  in  one  act, 
words  by  Saint-Just,  music  by  fioieldieu;  pro- 
duced at  the  Op^ra  Comique  Sept.  16,  1000, 
and  still  a  favourite,  after  many  hundred  repre- 
sentations. [G.] 

CALL,  Lbovaad  di,  bom  in  1779 ;  a  guitar 
player  and  composer  of  harmonious  and  pretty 
part  songs,  which  were  greatly  in  fashion  in 
Germany  at  the  beginning  of  the  century,  and 
contributed  much  to  the  formation  of  the  *  Manner 
Gesangvereine*  in  that  oountry.  Some  pleasinff 
specimens  will  be  found  in  '  Orpheus.*  De  CaU 
is  also  known  for  his  instruction  book  for  the 
guitar.    He  died  at  Vienna  1815.  [G.] 

CALL  CHANGES.  Ringers  are  said  to  be 
ringing  call  chanffes  when  the  conductor  calls  to 
each  man  to  tell  him  after  which  bell  he  is  to  rina^, 
or  when  the  men  ring  changes  with  the  order  in 
which  they  are  to  ring  written  out  before  them. 
When  Buch.  changes  are  rung,  each  change  is 
generally  struck  consecutively  from  ten  to  a 
hundred  times.  [C.A.W.T.] 

CALLCOTT,  John  Wall,  Mus.  Doc,  wa« 
bom  November  20,  1766,  at  Kensii^pton,  where 
his  father  carried  on  the  business  of  a  bricklayer 
and  builder.  Whilst  a  school-boy  he  had  frequent 
opportunities  of  examining  the  oigan  at  Kensing- 
ton church,  and  having  formed  an  acquaintance 
with  the  organist  becune  a  constant  visitor  to 
the  organ-loft  on  Sundays.  There  he  acquired 
his  knowledge  of  the  rudiments  of  music.    His 


298 


CALLCOTT. 


intention  was  to  follow  the  profeBsion  of  surgery, 
but  the  sight  of  a  severe  operation  so  seriously 
affected  his  nerves  that  he  abandoned  it  and 
turned  his  attention  to  music.  In  this  pursuit 
his  studies  were  prosecuted  without  the  aid  of 
a  master.  By  frequent  attendance  at  the  Chapel - 
Boyal  and  Westminster  Abbey  he  became  ac- 
quainted, in  1782,  with  Drs.  Arnold  and  Cooke, 
and  the  elder  Sale,  from  whom  he  derived  much 
musical  knowledge,  although  he  did  not  receive 
any  regular  instruction.  In  1783  he  became 
deputy  organist,  under  Reinhold,  of  St.  George 
the  Martyr,  Queen  Square,  Bloomsbury,  which 
post  he  held  until  1785.  In  the  latter  year  Dr. 
Cooke  introduced  lum  to  the  orchestra  of  the 
Academy  of  Ancient  Music,  and  the  associations 
he  there  formed  gave  him  his  first  bias  towards 
glee  writing.  In  1 784  he  had  submitted  a  glee, 
'  0  sovereign  of  the  willing  soul,'  as  a  candidate 
for  a  prize  at  the  Catch  Club,  which  was  not 
successful ;  but  in  1 785  he  carried  off  three  of 
the  four  prize  medals  given  by  the  club  by  his 
catch  '0  beauteous  fair* ;  his  canon  'Blessed  is 
he  * ;  and  his  glee  '  Dull  repining  sons  of  care.* 
On  July  4  in  the  same  year  he  took  the  degree 
of  Bachelor  of  Music  at  Oxford,  setting  as  his 
exercise  Dr.  Joseph  Warton*s  'Ode  to  Fancy." 
In  1786  he  composed  an  ode  for  the  Humane 
Societ}',  and  gained  two  prizes  from  the  Catch 
Club  for  his  catch  '  On  a  summer  s  morning,*  and 
his  canon  'Bow  down  Thine  ear.*  The  next 
year,  determined  (as  he  said)  to  show  that  if 
deficient  in  genius  he  was  not  wanting  in  industry, 
he  sent  in  nearly  100  compositions  as  competitors 
for  the  prizes.  Of  this  large  number,  however, 
two  only  succeeded  in  obtaining  the  coveted 
distinction,  viz.  the  canon  '  Thou  sLdt  show  me,* 
and  the  glee  '  Whann  Battayle  smethynge' ; 
whilst  the  members  of  the  club,  to  prevent  the 
recurrence  of  so  troublesome  and  inconvenient 
an  event,  resolved  that  in  future  the  number  of 
pieces  to  be  received  from  any  one  candidate 
should  be  limited  to  twelve,  i.e.  three  of  each 
kind— -catch,  canon,  and  serious  and  cheerful 
glees.  In  1787  Callcott  took  an  active  part 
with  Dr.  Arnold  and  others  in  the  formation 
of  the  Glee  Club.  In  1788,  offended  at  the 
new  regulation  of  the  Catch  Club  limiting  the 
number  of  compositions  to  be  received  frx)m  each 
candidate  for  prizes,  he  declined  writing  for  it, 
but  in  the  next  year,  changing  his  determin- 
ation, he  sent  in  the  full  number  of  pieces 
permitted,  and  succeeded  in  carrying  off  sdl  the 
prizes,  a  circumstance  unparalleled  in  the  history 
of  the  club.  The  four  compositions  whidi 
achieved  this  feat  were  the  catch  'Have  you 
8ir  John  Hawkins*  History  t'  the  canon  '0  tiiat 
Thou  would'st* ;  and  the  glees  'O  thou,  where*er, 
thie  bones  att  rest,*  and  '  Go,  idle  boy.'  In  the 
same  year  he  was  chosen  joint  organist,  with 
Charles  S.  Evans,  of  St.  Paul's,  Covent  Garden, 
and  four  years  later  organist  to  the  Asylum  for 
Female  Orphans,  which  he  held  till  1802. 
Although  he  now  ranked  as  one  of  the  ablest 
and  most  popular  composers  of  the  day  he  had 
but  little  sldU  in  orchestral  writing.    He  there- 


CALLCOTT. 

fore  availed  himself  of  the  opportunity  afforde 
by  the  visit  of  Haydn  to  England  in  1 790  i 
take  lessons  in  instrumental  composition   frt>] 
that  illustrious  master.    Whilst  studying  undi 
Haydn,  Callcott  composed  his  fine  song  'Thet 
as  they  change'  for  Bartleman.     fVom  i7S^  ^ 
1793  (after  which  tiie  Catch  Club  ceased  to  aS< 
prizes)  he  was  awarded  nine  medals   for    hi 
compositions;  two  in  1790  for  tlie  canon  'Ca 
to    remembrance/  and    the   glee     'O    vol   eh 
sospirate*;    three  in  1 791  for  the   catch    'T<i 
Metaphysician,*  the  canon  '  I  am  ^well  pleased 
and   the   glee    '  Triumphant  Love '  ;    three  i 
179  a  for  the  canon  'O  Israel,*  and   the   gle« 
'See,  with  ivy  chaplet  bound,'  and    *  Father  c 
heroes,*  and  one  in  1793  for  the  canon  'Chris 
being  raised.*     It  was  about  this  time  that  Li 
began  to  study  the  worits  of  the  best  theorist^ 
and  to  feel  the  desire  of  appearing  as  a  writer  01 
the  theory  of  music.    Having  acquired  the  M^ 
of  Dr.  Boyce  and  his  pupil,  Marmaduke  Overend, 
organist  of  Isleworth,   he  projected    a   musical 
dictionary,  and  made  lai^  collections  for  tha 
work,  of  which  in  1797  he  issued  a  prospectus. 
On   June    19,    1800,   he  proceeded    Doctor  of 
Music  at  Oxford,  his  exercise  being   a   Latin 
anthem,  'Propter  Sion  non  tacebo.'       In  1801, 
upon    tiie  formation  of   a  volunteer   corps   at 
Kensington,  Callcott  accepted  a  conunis»on  in 
it.     Aided  by  a  subscription  he  formed  a  hand 
for  the  corps,  for  which  he  not  only  purchased 
the  instruments  and  composed  and  arranged  the 
music,  but  even  instructed  the  performers.     The 
compilation  of   his    dictionary  proceeding  but 
slowly,  and  thinking  the  pubUc  had  a  right  to 
expect  some  theoretical  work  from  him.  he  em- 
ployed himself  in  1804  and  1805  in  writing  his 
Musical  Grammar,  which  was  published  in  i8c6. 
In  the  latter  year  he  wrote  for  Bartleman  a 
scena  upon  the  death  of  Lord  Nelson,  and  was 
appointed  to  succeed  Dr.  Crotch  as  lecturer  on 
music  at  the  Boyal  Institution.    His  anxiety  to 
distinguish  himself  in  this  new  position,  com- 
bined with  the  heavy  labours  of  which  he  had  so 
unsparingly  imposed  upon  himself,  and  the  dtuly 
drudgery  of  teaching,   seriously   impaired   his 
heal^,  and  his  mind  suddenly  gave  way.    Por 
five  years  his  life  was  a  blank.     During  that 
period  (in  1809)  his  professional  firiends  gave  a 
concert  on  his  behalf,  and  so  strong  was  the 
desire  to  show  sympathy  for  him  that  it  was 
found  that  the  opera-house  in  the  Haymarket 
was  the  only  building  large  enough  to  contain 
the  numbers  who  thronged  to  be  present.    After 
an  interval  of  rather  more  than  five  yean  Dr. 
Callcott  so  far  recovered  as  to  lead  his  firiends  to 
hope  that  his  health  was  completely  restored,  ba^ 
their  hopes  were  in  vain.    Two  or  three  years 
passed  and  he  was  again  afflicted  with  the  most 
terrible  calamity  which  can  be&l  frail  humanity. 
He  lingered  until  May  15,  1821,  when  desth 
terminated  his  sufferings. 

Dr.  Callcott*s  principal  works  were  his  very 
numerous  glees  and  other  pieces  of  vocal  harmony, 
mostly  published  singly,  but  he  left  in  manuscr'pt 
many  anthems,  servioes,  odes,  etc.     Hi«  lana 


CAUXXXTT. 

KEDA  'Angel  of  life*  was  written  for  Bartleman. 
Bis  KHi-in-law^the  late  William  Honleyy  Mus. 
Bac^  edited  in  1824  a  oollection  of  his  best  glees, 
catches,  and  canons,  in  two  folio  volumes,  with 
a  memoir  of  the  composer,  and  an  analysis  of  his 
QompodtionflL    The  work  also  contains  a  portrait 
of  CaUcott  from  a  painting  by  his  brother  Au- 
grutuSr  afterwards  Sir  Augustus  Callcott,  R.A. 
Besides   the  above-named  works  Callcott  was 
associated  with  Dr.  Arnold  in  the  selection,  adap- 
tation, and  composition  of  the  tunes  for  *The 
Pasfans  of  David  for  the  use  of  Parish  Churches  * 
(1791).     Dr.  Callcott  left  a  numerous  £eunily. 
His  daughter,   Sophia,  became  eminent  as  a 
teacher  of  the  pianoforte,  and  his  younger  son, 
William  Hutohins  Callcott,  has  attained  dis* 
tioctiofn  as  a  composer  and  arranger.    One  of  his 
ioQgs,   'The  last  man,'  met  with  remarkable 
vjcoess.  and  his  anthem   'Give  peace  in  our 
^aie,  0   Lord,'  has   been  very   generally  ad- 
mired. [W.  H.  H.] 

CALLINET.    See  Daublaebtii. 

GALORI,  Angiola,  was  bom  at  Milan  173a, 

and  came  to  London  in  1 758.   Here  she  appeared 

in  'lasipile,'  by  Coochi.    In  1759  she  sang  in 

*Ciio  riconoaciuto/  by  the  same  composer;  and 

in  his  '  Eiginda,*  1 760.    In  the  next  season  she 

performed  the    part   of   Eugenia   in  Galuppfs 

'FQosofo  di  Campagna,'  but  her  name  does  not 

occur  here  again  after  that.    She  had  a  soprano 

Toioe  of  great  extent,  a  profound  knowledge  of 

moEic,  anid  extraordinary  rapidity  of  execution. 

In  1770  she  was  singing  at  Dresden  wiUi  great 

soocen.     She  returned  to  her  native  country 

in  1774,  and  continued  to  sing  at  the   vari- 

008  operas  of  Italy  till  1783.     She  died  about 

1790.  [J.  M.] 

GALYABY,  the  English  version  of  Spohr*s 
(ntorio  of  '  Des  Heilands  letzte  Stunden.'  The 
tzamlalion  was  made  by  Mr  Edward  Taylor, 
and  the  first  performance  t«ok  place  at  the  Nor- 
wich  Festival  of  1839  under  Spohr's  own  direc- 
tidiL  It  was  again  performed,  in  his  presence, 
under  Costa's  baton,  by  the  Sacred  Harmonio 
Sodefcy,  at  Exeter  Hail,  July  5,  185a.  [G.] 

CALYESI,  SiOKOB,  an  Italian  singer  engaged, 
vith  hia  wife,  in  London  during  the  seasons  of 
17S7  and  1788.  He  sang  the  principal  part  in 
Paisiello'B  'Re  Teodoro,'  and  annsted  in  the  same 
composer's  'Schiavi  per  amore,'  and  other  operas 
by  dmarosa^  Sarti,  and  Storace,  in  some  of  which 
hii  wife  appeared  with  him.  [J.  M.] 

GALYLSnjS,  Seth,  musician,  astronomer, 
and  cfaioaologer,  bom  at  Gorschleben  in  Thu- 
ringia,  Feb.  ai,  1556,  of  very  poor  parents.  The 
name  is  a  refinement  of  Kallwitz.  His  poverty 
interfered  greatly  with  his  education,  out  he 
contrived  to  attend  the  Magdeburg  Gymnasium, 
nd  the  Universities  of  Helmstedt  and  Leipsic, 
ind  to  avail  himself  of  every  opportunity  of 
mosical  instruction.  In  1580  he  was  made 
nude  director  at  the  Pauliner  Church,  Leipsic, 
in  83  Cantor  at  Schulpforte,  and  in  94  Can- 
tor tnd  Schuloollege  at  the  St.  Thomas-school, 


CAMBIKI. 


299 


and  music  director  at  the  St.  Thomas  church 
of  Leipsic.  For  music  he  gave  up  much — for 
instance,  the  chair  of  mathematics  at  Wittenberg, 
offered  him  in  161 1.  He  died  in  Leipsic  on 
Nov.  34, 1615.  His  treatises  are  'Melopeia  .  .  .' 
(Erfurt,  158a),  'Compendium  musice  praoticaa 
.  .  .*  (Leipsic,  1594),  'Musics  artis  prseoepta  .  . .' 
(Leipsic,  161  a;  ed.  3  of  the  *  Compendium'), 
'  Exerdtationes  musice  due  .  .  .*  (Leipsic,  1600 
and  1611).  His  music,  original  and  edited, 
comprises  '  Harmonia  cantionum,  a  M.  Luthero 
.  . .  corapositarum*  (Leipsic,  1596),  'Biciniorum 
libri  duo  . . . '  (Do.  1590  and  161  a),  'Teutsche  Tri- 
dnia  .  .  .*  (Do.  1603),  'Der  150  Psalm  fOr  la 
Stimmen . .  .*  (Do.  161 5),  'Der  Psalter  Davids . . .' 
(Do.  1 61 7).  Many  motets  and  hymns  are  in  MS. 
in  the  Library  of  the  Thomas-school.  [G.] 

CAMACHO.    See  Wedding  or  Caxacho. 

CAMABGO,  Miguel  Gomez,  bom  at  Guada- 
lajara about  the  middle  of  the  i6th  century, 
musical  director  at  the  Cathedral  of  Yalladoli  1. 
Several  of  his  compositions  in  MS.  are  in  the 
library  of  the  Escurial,  and  Eslava's  '  Lira  Sacra- 
Hispana*  contains  a  beautiful  hymn  to  St.  lago 
in  the  purest  oounterpoint.  [M.  C.  C] 

CAMBEBT,  Robert — sometimes  called  Lah- 
BEBT — the  originator  of  French  opera,  bora  at 
Paris  i6a8 ;  was  a  pupil  of  Chambonni^re*s, 
organist  of  the  church  of  S.  Honor^,  and  (1666) 
Intendant  of  Music  to  Anne  of  Austria.  The 
'Euridioe*  of  Peri  and  Cacoini,  performed  at 
Florence  in  1600,  had  set  the  musical  world  in 
a  blaze,  and  the  Abb^  Perrin,  after  hearing 
that  work,  proposed  to  Cambert  to  compose  a 
similar  piece  entitled  '  La  Pastorale.'  This  was 
performed  for  the  first  time,  amid  extraordinary 
applause,  at  the  Chateau  d'lssy,  and  was  the 
fii-st  French  opera.  '  La  Pastorale*  was  followed 
by  'Ariane,'  'Adonis,*  and  other  pieces,  and  in 
1669  Perrin  obtained  a  patent  securing  the  right 
to  perform  opera.  For  3a  years  Cambert  was 
associated  with  Perrin  in  the  enterprise,  and 
the  result  was  the  production  of  the  operas  of 
'Pomone*  (1671)  and  'Les  peines  et  les  plaisirs 
de  Tamour.*  By  Lully*s  intrigues  Perrin  lost 
the  Academic,  and  Cambert  took  refuge  in 
England,  where  he  became  first  bandmaster  to 
a  regiment^  and  then  master  of  the  music  to 
Charles  II.  He  died  here  in  1677.  Portions 
of  *  Pomone'  were' printed,  and  the  MS.  of 
'Les  peines*  is  in  tlie  Bibliotheque  Nationale. 
LuUys  j^ousy  implies  that  Cambert  was  a 
formidable  rivaJL  [G.] 

CAMBINI,  GiovAimi  Guiseppe,  bom  ai 
Leghorn,  1746,  violinist  and  composer,  studied 
under  Padre  Martini,  at  Bologna,  between  1763 
and  1766.  In  the  latter  year  he  produced  an 
opera  at  Naples  without  success.  Having  formed 
an  attachment  for  a  girl  from  his  native  city, 
he  was  returning  thither  with  her  to  be  married 
when  their  vessel  was  captured  by  corsairs,  and 
they  were  both  sold  as  slaves  in  Barbary  Here 
a  rich  Yenetian  merchant  bo\ight  Cambini  and 
gave  him  hia  liberty.    In  1770  he  went  to  Paris, 


800 


CAMBINI. 


and  was  introdaced  to  Grbsiec,  who  pecfonnad  lomA 
of  hifl  Bymphonies  at  the  ConoertB  Spirituelfl. 
These  works,  though  very  slight,  were  written 
with  the  flowing  nielody  characteristic  of  Italian 
music,  and  created  a  highly  fSftvourable  impression. 
During  the  ensuing  twenty  years,  Cambini  pro- 
duced an  enormous  mass  of  music ;  60  symphonies, 
144  string-quartets,  concertos  for  every  variety  of 
instrument,  an  oratorio,  'Le  sacrifice  d  Abraham' 
(Concerts  Spirituels,  I774)»  and  la  operas,  of 
which  Fdtis  gives  a  list.  He  was  conductor  at 
the  Th^tre  des  Beaujolais  (17887-1791),  and  of 
the  Theatre  Louvois  (1791-1794^  lii  1804  he 
wrote  some  articles  in  the  Leipsic  'Allgem.  Musik. 
Zeitung,'  and  in  18 10  and  181 1  was  joint-editor 
of  the  '  Tablettes  de  Polymnie.*  Towards  the 
end  of  his  life  Cambini  maintained  liimaftlf  by 
arranging  popular  airs  and  other  like  drudgery, 
but  even  this  resource  failed  him,  and  his  last  ten 
years  were  spent  in  the  hospital  of  the  Bio§tre, 
where  he  diea  in  1825.  His  best  works  were  his 
quartets.  He  excelled  so  much  in  playing  that 
style  of  music,  that  Manfredi,  Nardini,  and  Boo- 
cherini,  the  three  most  eminent  quartet  players 
of  that  epoch,  each  chose  him  to  play  the  viola 
with  them.  Cambini  wasted  in  dissipation  abil- 
ities which  might  have  placed  him  in  the  fore- 
most rank  of  musicians ;  and  so  little  was  he 
troubled  with  a  conscience  as  to  undertake  to 
write  some  quartets  and  quintets  in  the  style  of 
Boocherini,  which  were  published  by  Pleyel,  in- 
discriminately with  genuine  oompositians  of  that 
master.  [M.  C.  C] 

CAMBBIDGE.  See  Diobee  ;  Doctob  ;  Pbo- 
rsssoR. 

CAMERA  (Ital.  'chamber*).  A  sonata  or 
concerto  di  camera  was  of  secular  character* 
and  written  for  a  room,  and  was  so  called  to 
distinguish  it  firom  the  sonata  or  concerto  di 
ohiesa,  which  was  intended  for  performance  in 
a  churoh.  [G.] 

CAMID6E,  John,  bom  about  1735,  was,  on 
the  resignation  of  James  Nares  in  1756,  ap- 
pointed organist  of  the  cathedral  churdi  of 
York,  which  he  held  until  his  death,  April  25, 
1803,  a  period  of  about  forty-seven  years.  He 
published  '  Six  Easy  Lessons  for  the  Harpsichord.' 
His  son  Matthew  was  bom  in  1764,  and  re- 
ceived his  early  musical  education  in  tihe  Chapel 
Boyal  under  Dr.  Nares.  On  the  death  of  his 
fiither  in  1803  he  was  appointed  his  successor  as 
organist  of  York.  He  published  a  Ck>llection  of 
Tunes  adapted  to  Sandys'  version  of  the  Psalms 
(York,  1789),  and  'A  Method  of  Instruction  in 
Musick  by  (Questions  and  Answers.'  He  died 
Oct.  33, 1844,  '^S^  ^-  ^^  ^^  John  graduated 
at  Cambridge  as  Bachelor  of  Music  in  1812,  and 
as  Doctor  in  18 19.  About  1828  he  published  a 
volume  of  Cathedral  Music  of  his  composition. 
He  received  the  appointment  of  organist  of  York 
Cathedral  on  the  death  of  his  father  in  1844, 
having  for  many  years  previously  discharged  the 
duty.  The  present  organ  of  the  cathedral,  one 
of  the  largest  in  England,  was  constructed  cliiefly 
under  his  superintendence.    Early^  in  1859  he 


CAMPENHOTJT. 

resigned  his  appointment,  and  died  Sept.  31  loll 
lowing. — The  Oamidges  afford  a  singular  exampH 
of  th2«e  members  of  the  same  fiunily  (father,  son 
and  grandson)  holding  successively  the  appoim^ 
ment  of  organist  of  tiie  same  cathedral  for  up 
wards  of  a  century.  [W.  H.  H.^ 

CAMPAGNOLI,  Babtoloxeo,  b,  violinist  oi 
great  repute,  bom  Sept.  10,  1751,  ftt  Cento,  neai 
Bologna.  He  learned  the  violin  from  Dall*  Ocha 
a  pupil  of  Lolli's,  from  Guastarobba,  of  the  school 
of  Tartini,  and  aftef wards  from  NardinL  While 
in  the  orchestra  of  the  Pergola  at  Florence  he 
made  the  friendship  of  Cherubini.  He  led  the 
opera  bands  at  Florence  and  Rome  alternately 
for  some  years,  and  in  1776  became  Capell- 
meister  to  the  Bishop  of  F^ysing.  After  two 
years  he  entered  the  service  of  the  Duke  of 
Courland  at  Dresden.  From  1 783  to  86  he  was 
travelling  in  north  Europe;  in  88  he  revisited 
Italy.  From  1797101818  he  was  conductor  at 
Leipsic.  In  1801  he  visited  Paris,  renewed  his 
acquaintance  with  Cherubini,  and  heard  R. 
Kreutzer.  On  Nov.  6,  1827,  he  died  at  Neu- 
strelitz.  His  works  comprise  concertos,  sonatas, 
duets,  and  smaller  pieces  for  the  violin  and 
flute,  and  a  violin-school.  His  daughters,  Al- 
BEBTINA  and  Gbanetta,  were  well  known  as 
singers.  [P.  D.] 

CAMPANOLOGY  (from  eampana  and  Xoyot\ 
the  art  and  mystery  of  Bells  and  Bell-ringing. 
See  Bell,  Chanob,  Carillon,  Chimbs. 

The  following  list  of  works  on  Campanology, 
published  during  the  present  century,  is  given  in 
Rev.  Woolmore  Wigram's  'Change-ringing  dis- 
entangled' (1871)  as  those  most  useful  to  ringeK 
in  general. 

1.  On  the  Bells  themselves: — 'Belfries  and 
Ringers,'  H.  T.  Ellacombe;  'Clocks  and  Bells,' 
E.  B.  Denison;  'Account  of  Church  Bells,'  W. 
C.  Lukis. 

2.  On  Change-ringing: — ' Campanologia,'  W. 
Shipway ; '  Campanologia, '  H.  Hubbard ;  *  Change- 
ringmg,'  C.  A.  W.  Troyte;  'Church  Bells  and 
Ringing,'  W.  T.  Maunsell ;  '  Change-ringing,'  W. 
Sotteni^all.  [G.] 

CAMPBELL,  Albxandeb,  anorganist  in  Edin- 
burgh, edited  and  published,  in  1792,  a  oollectioa 
of  twelve  Scots  songs,  with  an  aooompaniment 
for  the  violin,  and  later  a  similar  collection  with 
an  accompaniment  for  the  harp.         [W.  H.  H.] 

CAMPENHOUT,  Fbanqois  van,  bom  at 
Brassels  1780,  died  there  1848,  began  his  career 
in  the  orchestra  at  the  Th^&tre  de  la  Monnaie. 
Having  developed  a  high  tenor  voice  he  appeared 
on  the  stage  at  the  same  theatre.  During  the 
ensuing  thirW  years  he  sang  in  the  chief  towns 
of  Holland,  Belgium,  and  ]^nce,  and  made  his 
farewell  appearance  at  Ghent  in  1827.  He 
composed  several  operas,  'Grotius'  (Amster^ 
dam,  1808) ;  'Le  Passe-partout'  (Lyons,  1815); 
'L'heureux  Mensonge.'  and  others  unpublished, 
besides  songs,  charuses,  and  church  music.  His 
name,  however,  is  chiefly  associated  with  the 
BBABAN90NNE,  which  he  composed  at  the  time 


CAMPENH0X7T. 


CAMPOBESB. 


801 


rfthe  revolnti<Ri  in  1830,  and  hM  now  iMOoaie 
t&e  optional  sir  of  Belgium.  [M.  C.  C] 

CAMPIOLI,  Antonio  Gualandi,  detto,  bom 
m  Germany,  of  Itaiian  parents.  He  learnt  to 
ang  in  Italy  and  returned  to  Gknnany,  where 
\m  lovely  oontralto  yoke  created  a  great  senaa- 
tioQ.  He  appeared  first  at  Berlin  in  1708.  In 
1720  he  waa  engaged  at  WdfenbAttel.  Six 
jeuB  later  he  viaited  Hamburg ;  and,  after  tra- 
vdling  in  Germany  and  Holland,  returned  to 
Dresden,  where  he  sang  in  Hiune*B  'Cleofida' 
B  1 731.  At  the  end  of  that  year  he  appeared 
m  London  in  Handel's  <Poro.'  On  Feb.  19, 
1732,  he  sang  in  the  new  opera  'Sosanne/  aiul 
la  leviralB  of  'Elavio'  and  'Acis,*  all  by  the 
ome  master.  He  passed  the  remainder  of  his 
life  in  Italy.  [J.  M.] 

CAMPION  or  CAMPIAN,  Tbomas,  M.D., 
a  phjnoian  by  profession,  was  a  poet»  dramatist, 
composer,  and  writer  on  musio  in  the  earlier 
psit  of  the  17th  century.      In  1602  he  pub- 
liflhed  '  Obeerrations  on  the  Art  of   English 
Poesie,*  and    in   1607   wrote  and  invented  a 
nuaqae  perfonned   at  Whitehall  on   Twelfth 
l^i^i  in  honour  of  the  marriage  of  Lord  Hayes 
viUi  the  daughter  of  Lord  I>Bnny,  for  two  of 
tiie  angs  in  which  he  also  liiniished  the  musia 
In  1610  he  produced  'Two  Bookes  of  Ayrss. 
'The  Fint  oontayning  Divine  and  Morall  Songs : 
'Hie  Second  Light  Conceits  of  Loverai    To  be 
'nsg  to  the  Lute  and  Violay  in  two,  three  and 
'{rare  Farts ;  or  by  one  Voyoe  to  an  Instrument.* 
This  was  foUowed,  in  161  a,  by  'llie  l%ird  and 
'Foorih  Booke  of  Ayres.    Composed  by  Thomas 
'Cuopian  so  as  they  may  be  expressed  by  one 
'Tojoe  with  a  Violl,  Lute  or  Opharion,'  the 
mtdi  as  well  aa  the  musio  being  of  his  pro- 
doction.    In  161 3  he  wrote  'Songs  of  Mouminff 
banillDg  the  untimely  death  of  Prince  Heniy, 
wbidi  were  set  to  music  by  John  Coprario ;  and 
tin  devised  and  wrote  the  entertainment  ffiven 
by  Lord  Knowlee   at   Cawsome    [Oayersham] 
Hour,  near  Reading,  to  Queen  Anne  in  her 
Vogna  towards  the  Bath  on  April  27  and  28 ; 
the  Masque  presented  in  the  Banquethig  House 
at  Whitehall  on  St.  Stephen's  nighty  161 3,  on 
the  maniage  of  the  Earl  of  Somerset  and  Lady 
^naon  Howard;  the  Masque  of  Flowers  pre- 
tented  by  the  gentlemen  of  Gray  s  Inn  in  the 
■ne  place  on  Twelfth  Night,  1613,  in  honour 
of  the  lame  maniage ;  and  the  Lords'  Masque 
preKBted  in  the   Banqueting   House   on   the 
mamage  of  Frederick,  the  Elector  Palatine^ 
vith  the  Princess  Elizabeth  on  Feb.  13^  161 3, 
£jr  one  long  in  which  he  also  composed  the 
maac    Some  lines  by  Campion  are  prefixed  to 
AUoQso  Ferrabosoo's  Ayres,  1609,  '^  others 
to  Bavenacroft^s  '  Briefe  Discourse  of  the  true 
(hot  neglected)  use  of  CharacVring  the  Degrees 
Vy  their  Perfection,  Imperfection,  and  Diminution 
inHeasnrable  Musipke,' 16x4.    Campion's  trea- 
tise, '  A  New  Way  of  making  Fowre  parts  in 
Cotaterpoint,  by  a  most  familiar  and  infallible 
^oK'  was  first  published  without   date,   but 
pfobablj  about  1618 ;  the  second  edition,  with 
^'^uMam  by  Christopher  Sympson,  was  pub- 


lished in  1655  under  the  title  of  'The  Art  of 
Setting  or  Composing  of  Musick  in  Parts  by  a 
most  fauiiliar  and  easie  Rule*;  and  another 
edition  called  'the  last*  iq>peared  in  1664,  with 
the  word  'Setting*  in  the  title  changed  to 
'Descant.*  The  later  editions  were  appended 
to  the  first  eight  or  nine  editions  of  John  Play- 
ford's  '  Introduction  to  the  Skill  of  Musick.' 

Dr.  Campion  died  in  16x9,  and  was  buried 
on  March  i  in  tiiat  year  in  the  church  of  St. 
Dunstan  in  the  West,  Fleet  Street.    [W.  H.  H.] 

CAMPORESE,  ViOLANTE,  was  bom  at  Rome^ 
1785.    She  belonged  to  a  good  &mily,  and  had 
cultivated  music  only  as  an  amateur ;  but,  having 
married   a  gentleman  of  the  noble  family  of 
Giustiniani,  she  found  herself  oompelled  by  cir- 
cumstances to  practise  it  as  a  profession.    She 
appeared  at  first  only  in  concerts.    Possessed  aa 
she  was  of  a  very  good  soprano  voice  and  great 
facility  of  execution^  she  was  already  a  talented 
singer,  when  she  was  engaged  for  the  private 
concerts  of  N'iq>oleon  in  Paris,  where  she  so  pro- 
fited by  the  lessons  of  Cresoentini  as  to  beoome 
an  admirable  artist.   Ebers,  while  in  Paris  in  the 
autimm  of  1816,  was  introduced  to  Mme.  Cam- 
porese  at  the  house  of  Paer,  and  gives  a  good 
account  of  her  voice,  style,  and  appearance.    She 
possessed  a  fine-toned  voice  of  more  than  two 
octaves,  from  C  in  alt.  to  A  below ;  but  her  best 
notes  were  firom  C  to  F.    She  '  cultiyated  a  pure^, 
chaste,  and  expressiye  style,  was  a  handsome  and 
elegant  woman  of  31,  with  dark  hair,  eyes,  and 
complexion,  a  tall,  slender  figure,  a  fine  Roman 
countenance  full  of  tragic  dignity,  and  features 
rather  strongly  marked.    The  purity  and  force  of 
her  singing,  and  the  exquisite  quality  of  her  voice, 
were  united  to  an  execution  refined,  polished,  and 
free  from  any  effort  at  display.    From  Paris  she 
went  to  Milan,  where  she  sang  at  La  Soala  to 
crowded  and  enthusiastic  houses.    While  there, 
she  is  said  to  have  given  up  an  evening  engage- 
ment in  order  to  visit  a  poor  insane  musician 
in  the  hospital,  whom  she  soothed  by  singing  to 
him.    She  was  as  kind  and  charitable  as  she 
was  talented.    In   1817   she  was  engaged  for 
the  Eing*s  Theatre  in  London,  and  made  her 
d^but   on  Jan.   11,   in   Cimarosa's   'Penelope.* 
She  was  not  accustomed  to  the  stage,  and  waa 
therefore  at  first  nervous  and  embairasscd,  and 
made  little  effect.    A  critic  of  the  day  said,  'Her 
intonation  is  generally  good,  and  her  science 
is  indisputable.     It  is  alike  manifest  in  what  she 
does  and  in  what  she  declines.  She  never  attempts 
in  the  way  of  ornament  what  she  cannot  per- 
fectly execute.    Catalani  takes  her  hearers  by 
storm;    Camporeae  wins  by  more  quiet,  mora 
regular,  but  not  less  certain  af^yroaches.'    Aa 
Susanna  in  '  Le  Nome  di  Figaro,'  die  estabUsfaed 
her  reputation,  and  this  success  was  followed  by 
another  when  she  played  Donna  Anna  in  '  Don 
Giovanni.*    In  May  she  appeared  as  Agnese  in 
Paer*s  opera  of  that  name,   taken  from  Mrs. 
Opie*s   'Father   and  Daughter,'  in  which  she 
delighted  the  critics  by  her  pure  and  tasteful 
singing.    Ambrogetti*s  actings  however,  was  so 
strongly  and  painfully  dramatic,  that  the  piece 


802 


CAMPORESB. 


gave  more  pain  than  pleasure,  and  was  soon 
withdrawn.  In  July  '  La  Clemenza  di  Tito'  was 
given,  Camponwe  sustaining  the  principal  part  of 
Sesto.  Lonl  Mount- Edgcumbe  declares  that  she 
gave  more  effect  to  it  than  Braham  or  Tramez- 
sani.  She  sang  also  at  the  Ancient  Music  and 
Philharmonic  (^noerts.  Owing  to  a  mistake,  she 
was  not  re-engaged  for  the  opera,  and  she  con- 
sequently went  to  Milan.  After  singing  there 
and  at  other  places  in  Italy,  she  returned  in 
1821  to  London,  with  an  engagement  for  the 
season  at  a  salary  of  £1550,  with  extra  allowance 
for  costumes,  permission  to  sing  at  concerts,  and 
her  salary  paid  in  advance.  Meanwhile  she 
was  welcomed  in  all  ranks  of  society,  even  the 
most  exclusive.  She  sang,  March  10,  in  'La 
Grazza  ladra,'  with  the  greatest  ^clat ;  but, 
thinking  she  could  succeed  in  comic  parts  still 
more  than  in  tragic,  she  attempted  Zerlina;  but 
had  the  good  sense  not  to  repeat  the  experiment. 
In  1822  she  was  again  engaged,  and  appeared  in 
'Le  Nozze  di  Figaro*  and  '  Otello' ;  and  she  sang 
also  at  the  concerts  at  the  Argyll  Rooms.  She 
appeared  again  at  the  King's  Theatre  in  1823, 
bnnging  out  at  her  benefit  Rf  ssini's  '  Riccardo  e 
Zoraide,'  in  which  opera  she  took  her  leave 
Aug.  5.  In  1824  she  again  returned;  but  her 
voice  was  worn,  and  she  could  not  bear  com- 
parison with  Malibran  and  Sontag,  then  in  full 
force.  She  prudently  retired  to  Rome ;  but  we 
find  her  singing  in  Rossini's  *Aureliano*  and 
other  operas  at  Ancona,  1827.  Two  years  later 
she  came  once  more  to  London,  and  sani;  in 
concerts ;  but  her  voice  was  gone,  and  her  per- 
fbnnance  was  not  successful.  She  had  a  public 
benefit  concert,  with  guinea  tickets^  June  12. 
She  was  still  living  in  x86o.  [J.  M.] 

CANARIE.  A  now  antiquated  dance,  deriving 
its  name  from  the  Canaiy  Islands,  whence  it  is 
said  to  have  been  introduced,  in  which  the  two 
partners  danced  alternately  before  each  other 
with  the  gestures  of  savages  (Littr^).  It  was 
greatly  in  vogue  at  the  time  of  Louis  XIY. 
Accoraing  to  some  authorities,  however,  it  is  of 
Spanish  origin.  It  is  a  species  of  gigue,  usually 
in  3-8  or  6-8  time,  the  distinctive  peculiarity  of 
which  is  that  the  first  note  of  the  oar  is  almost 
always  dotted.  In  this  respect  it  resembles  the 
LouBE,  but  differs  firom  it  in  its  tempo,  the 
Ganarie  being  moderately  quick  and  the  Loure 
somewhat  slow.  It  always  oonunences  on  the 
first  beat  of  the  bar,  and  consists  of  two  short 
periods,  each  repeated.  The  following  example, 
dating  from  the  17th  century,  is  quoted  from 
F.  L  Schubert's  'IMe  Tanzmusik* :— 


yiFB 


fSLUJL 


jj,'.  ^r  J  IJ  J^^ 


A  specimen  may  also  be  found,  in  3-4  time  by 
the  way,  in  the  second  suite  (or  'oidre,*  to  use 
the  composer's  own  term)  of  the  first  book  of 
Couperin's  *  Pieces  de  COavecin.'  [E.  P.] 


CAKCRIZAl^S. 

CANCAN,  a  word  iq>plied  by  modem  slang  i  1 
a  peculiar  way  of  dancing  at  public  baUs,  wbici 
'became  popular  in  Paris  shortly  after  1830,  an 
has  even  been  brought  on  the  stage  in  operettaii 
It  is  neither  a  national  dance  nor  a  characteristi 
step ;  but  a  mere  succession  of  extravagant  jnmpi! 
with  loose  and  obscene  gestures,  introdueed  inti 
the  usual  figures  of  the  quadrille.  Aooording  t 
Francisque  Michel  it  is  called,  cancan  eithe 
because  the  performers  are  imitating'  the  walk  o 
a  goose  (or  rather  a  duck — easi«),  or  because  thei 
quack  like  that  animal.  It  is  more  probably  fron 
tiie  Latin  word  quamquam,  a  fruitful  subject  01 
squabbles  in  the  schools  of  the  Middle  Ages,  and 
written  indifferently  'cancan*  and  'quanquan.' 
French  people  still  employ  the  expression  'fain 
un  grand  cancan  de  quelque  choee,'  in  order  to 
say  '  much  ado  about  nothing.'  [6.  C] 


CANCRIZANS.  This  is  a  name  given  to 
canons  by  retrogression,  on  account  of  their  erab- 
like  motion — from  the  Latin  word  cancer,  a  cnh 
The  German  term  is  krebgweis.  An  example 
(fipom  A.  Andre's  'Lehrbuch  der  Tonaetzkunst*) 
will  best  explain  their  construction. 


!fufTllt£Lirli.r^fe 


^^^iiiJJJiiiiJ.''^JJ"j'jJ^'' 


l^r^j-^jiJjJJJjU^JJJjIiTX-l 


^-rr  f|C^fr7tfril£rii  i' i-  \ 


Sometimes  a  canon  is  both  cancrizans  and  by 
contrary  motion — '  Retrograde-inverse,'  of  which 
we  give  an  example  from  F^tis^s  <Tzaite  da 
Contrepoint  et  de  la  Fugue.* 


^ 


i^ 


Z2: 


m 


ipfii(h»^'l,i'^^j.-t.|.i.|jr|-^ 


IS 


-Hsm- 


^ 


S-bi|rtNtt 


-^ 


^^^ 


Renvenes  to  li^t^ 


The  book  should  be  turned  upside  down  to  showtbe 
retrograde  and  inverse  structure.        [F.  AG.O.] 


CANNABICH. 


CANON. 


808 


CANNABICH,  Christiak,  a  Tiolin-plajer, 
emipoiier,  and  renowned  orcheBtral  oonduotor, 
sas  bom  at  Mannheim  in  1731.  He  was  a  pupil 
lest  of  his  father,  a  flute-player,  and  afterwards 
d  Stamits  (aee  that  name),  the  celebrated  vio- 
hast  at  the  head  of  the  Mannheim  orchestra. 
Tbie  Sector  afterwards  sent  him  to  Italy,  where  he 
ttadied  oomposition  under  Jomelli.  In  1 765  he 
T3S  appointed  leader,  in  1775  conductor,  of  the 
qtchestra  at  Mannheim;  and  in  1778  followed 
t^  Elector  in  the  same  capacity  to  Munich. 
He  died  in  1798  at  IVankfort,  while  on  a  visit 
tehis  BOSL. 

Cannabich  was  a  very  good  violinist  and  a 
fikir  compoeer,  but  all  contemporary  writers  on 
Kssical  matters  lay  most  stress  on  his  great 
ildll  as  a  leader  and  conductor.  Mozart  in 
iBaay  letters  to  his  fiither  praises  the  perfect  en- 
lenUe  in  the  orchestral  performances  at  Mann- 
heim.  and  speaks  of  Cannabich  as  the  best  con- 
doctor  he  ever  met  with.  Bumey,  in  his  '  Tour 
throogh  Germany,'  is  not  less  hearty  in  his  praise, 
aad  Schubart,  a  German  writer  of  considerable 
sathority,  reports  upon  the  Mannheim  orohestra 
ia  the  flowery  style  of  the  period  as  follows : 
'Here  the  forte  is  a  thunder,  the  crescendo  a  cata- 
nct,  the  diminueiulo  a  crystal  streamlet  babbling 
i«ay  into  the  &r  distance,  the  piano  a  breeze  of 

ipring.' 

There  can  be  no  doubt  that  the  performances 

tt  Mannheim  under  Cannabich  enjoyed  a  special 

r^wtation  for  refinement  and  observance  of  nu- 

acei^  somewhat  like  those  of  the  Paris  Conser- 

Takoire  oosioerts  at  a  later  period.    And  although 

it  has  been  suggested  with  much  probability, 

tbst  Oumabich  had  in  this  respect  derived  ms 

CTperienoe  firom  Italy,  where  his  master  Jomelli 

lad  introdtioed  more  refinement  into  orchestral 

pUjiog,  he  must  still  be  considered  as  one  of  the 

&Bt  sad  most    suooessfnl   promoters  of  that 

exact  style  of  perfonnanoe,  which  alone  can  do 

justiee  to  the  works  of  the  great  modem  com* 

posos.    He  was  also  a  successful  teacher.    Most 

of  the  violinists  at  Mannheim, — some  of  them 

aitiits  of  reputation, — were  his  pupils.    That  he 

was  not  only  a  fervent  admirer  of  Mozart^s  genius, 

when  it  was  by  no  means  universally  recognised, 

but  also  lor  many  years  a  true  and  useful  firiend 

io  the  great  master,  is  another  point  which  se- 

corei  lam  a  lasting  place  in  history,  and  in  the 

hearts  of  sU  lovers  of  musia 

He  composed  a  number  of  operas,  which  how- 
erer  were  not  particularly  successful.  Some 
baDeti  and  a  considerable  number  of  symphonies 
and  qusrtets  were  much  liked  at  the  time,  but 
appear  to  have  been  of  little  importance. 

Hii  aon  Carl,  bom  at  Mannheim  in  1 769,  was 
alio  a  good  violinist  and  composer.  After  having 
for  some  time  conducted  the  opera  at  Frankfort  he 
8Qcoeeded  his  father  in  1800  as  conductor  at 
Munidi,  and  died  there  in  1806.  His  composi- 
tioDs  are  numerous  but  of  no  importance.  Lists 
of  the  works  of  both  father  and  son  are  given 
by  F^tis.  [P.  D.] 

CAKNIdABI*  DoH  Pomfeo,  a  composer  of 
the  Boman  school.    The  date  of  his  birth  seems 


to  be  unknown ;  but  we  know  that  he  was  ap- 
pointed Maestro  at  S.  Maria  Maggiore  in  1709, 
and  that  he  retained  that  post  until  his  death, 
which  took  place  Dec.  39,  1744.  He  amassed  a 
large  musical  library,  and  bequeathed  it  to  the 
Basilica  in  the  service  of  which  his  manhood  had 
been  passed.  This  collection,  along  with  the 
other  contents  of  S.  Maria,  has  been  dispersed, 
and  much  of  it  has  probably  been  lost.  In  the 
Santini  library  there  were  various  pieces  by 
Canniciari : — Three  masses  for  4  and  one  for  5, 
six  for  8  and  four  for  16  voices;  four  motets 
for  4  and  ten  for  8  voices ;  two  Magnificats  for 
4  voices,  with  organ  accompaniment ;  and  an 
Ave  Maria  for  8  voices.  He  wrote  music  for 
two  and  for  four  choirs.  An  Ave  Maria  for  4 
voices  is  given  by  Proske,  'Musica  Divina,'  ii. 
No.  10.  [E.  H.  P.] 

CANON.  This  is  the  strictest  and  most 
regular  species  of  imitation.  [See  Tmitatiov.] 
It  is  practised  in -music  for  two,  three,  or  more 
parts.  The  word  is  derived  from  the  Greek 
leayojv,  a  rule  or  standard.  A  canon,  therefore^ 
is  a  composition  written  strictly  according  to 
rule.  The  principle  of  a  canon  is  that  one  voice 
begins  a  melody,  which  melody  is  imitated 
precisely,  note  for  note,  and  (generallv)  interval 
for  interval,  by  some  other  voice,  either  at  the 
same  or  a  different  pitch,  beginning  a  few  beats 
later  and  thus  as  it  were  running  after  the 
leader.  For  this  reason  the  parts  have  been 
sometimes  respectively  called  '  Dux*  and  'Comes,' 
or  '  Antecedens  *  and  'Consequens.' 

The  following  is  a  simple  example  of  a  canon 
'two  in  one  at  the  octave,*  i.e.  for  two  voices 
an  octave  apart,  and  both  «nging  one  and  the 
same  melody. 


f  is  jj  ^\r\j  ^\Jri\^^ 


rfrrTtrn 


rJ-''|jjjj|jJj 


Coda 


^igg  j 


^^¥^^^ 


By  mean<)  of  a  coda  (or  tail  piece)  this  canon 
is  brought  to  a  conclusion.  But  many  canons 
lead  back  to  the  beginning,  and  thus  become 
'circular*  or  'infinite.*  The  following  is  a 
specimen  of  this  kind,  which  is  'two  in  one  at 
the  fifth  below,*  or  'canon  ad  hypodiapente * : — 


glTpT 


gtf     ^ 


H — r 


-«>- 


rrrr^f=^Tf 


:jjjl^j-^ 


"Tff 


j^M/;i;iriv-i 


Sometimes   two   or  more  canons  are  simul- 
taneously woven   into   one  compositioa.      The 


S04 


CANON. 


fijUowing,  for  instanoe  (from  Tnvan'a  Servioe^ 
1740),  would  b«  called  a  canoa  'four  in  two.' 


S& 


fete 


3 


^ 


t^S-+- 


3t 


m 


^s 


^ 


J.  JU^-L 


f^^-f- 


zz: 


^^ 


Byrd*!  'BxUgea  Dominmii,*  fer  8  voioeB,  oon- 
flists  of  4  canons  all  sung  together,  each  voice 
singing  the  melody  of  its  kUow  revened. 

Oftea  in  a  quartet  there  may  be  a  canon 
between  two  of  the  voicei^  while  the  other  two 
are  free ;  or  three  voioes  may  be  in  canon  and 
the  fourth  part  free.  We  would  quote  as  an 
example  the  admirable  Gloria  Patri  to  Gibbons's 
'  Nunc  dimittis '  in  F,  in  which  the  treble  and 
alto  are  in  canon  while  the  tenor  and  baas  are 
fr«e.  Again,  there  are  canons  by  inversion, 
diminution,  augmentation,  or  'per  recte  et 
retro/  cancrizans,  &c.  [See  those  headings.] 
A  modem  one  of  great  ingenuity  by  Weber  exists 
to  the  words  'Canons  zu  swey  sind  nicht  drey' 
(Jahns,  No.  90). 

The  old  writers  often  indicated  canons  by 
monpsramsy  symbols,  or  other  devices,  instead 
of  wnttng  them  out  in  full.  Indeed  they  went 
so  fiur  as  to  write  their  indications  in  the  form 
of  a  cross,  a  hand,  or  other  shapes,  with  enig^ 
matical  Latin  inscriptions  to  indicate  the  solu- 
tion.  Such  pieces  were  called  '  enigmatical 
canons.*  As  compositions  of  this  nature  can  only 
be  regarded  in  tbe  light  of  ingenious  puzzles, 
bearing  the  same  relation  to  music  that  a  clever 
riddle  does  to  poetry,  it  will  be  needless  to  give 
examples  here, — let  it  suffioe  to  refer  to  those 
which  are  to  be  found  in  F^tis's  admirable 
'Traits  du  CSontrepoint  et  de  la  Fugue,'  and  in 
Marpurg's  celebrated  work  on  the  same  subjects. 

The  great  masters  were  fond  of  the  relaxation 
of  these  plays  on  notes.  They  occur  often  in 
Beethoven's  letters,  and  the  well-known  Alle- 
gretto  Scherzando  of  his  8th  Symphony  origin- 


CANTATA 

ated  in  a  canon  to  be  sung  »t  Maelzel's  tali 
Kochel's  Catalogue  of  Mozart's  works  oontaii 
33  canons ;  that  of  Weber  by  Jahns,  8  ;  and  1 
interesting  collection  will  be  found  in  the  Ai 
pendix  to  Spohr's  Autobiography.  In  Baj 
'30  Variations'  there  are  9. 

As  popular  examples  of  canons  may  be 
Byrd's  well-known  'Non  nobis  I>o(nune,'  w 
is  a  canon  three  in  one,  in  the  fourth  and  eig 
below,  andTallis's  'Canon,*  which  is  a  hymn-t 
(usually  adapted  to  Ken's  evening  hynm) 
which  the  treble  and  tenor  are  in  canon 
the  alto  and  bass  are  free.  The  lover  of  cai 
music  will  find  specimens  of  almost  every  van 
of  canon  in  the  service  by  PurceJl  in  Bb,  w~ 
is  a  masterpiece  of  ingenuity  and  skill.  Ot 
good  specimens  will  be  found  in  the  CoUecti 
of  his  Gloria  Patris,  published  by  V.  Novello 
the  Puroell  Clnh,  On  the  tablet  erected  in  th< 
cloisters  of  Westminster  Abbey  to  the  memoh 
of  Dr.  Benjamin  Cooke,  organist  of  Westmlnfito^ 
Abbey  at  the  close  of  the  last  oentoiy,  there  U 
engraved  a  canon,  three  in  one,  by  doubh  au^ 
mentation,  which  is  one  of  the  beet  extant  specie 
mens  of  that  kind  of  composition.  Another,  by 
Andre,  4  in  one,  by  threefold  augmentation,  is 
given  in  Ouseley's  'Counterpoint,  Canon,  am^ 
Fugue,'  example  ii. 

Canons  are  often  introduced  into  fugues  as  the 
closest  species  of  'stretto'.  [see  FuGUX  and^ 
Stretto],  and  are  to  be  found  both  in  vocal  and 
instrumental  compositions.  As  spedmens  of  the 
former  we  would  refer,  in  addition  to  the 
references  given  above^  to  many  of  Handel's 
choruses,  especially  to  one  in  Judas  Maocabteus, 
'To  our  great  dod,'  which  contains  a  canon 
bv  inversion ;  also  to  Sebastian  Bach's  mag- 
nificent cantata  on  tbe  chorale  '  Kin'  feste 
Buxv.'  As  specimens  of  instrumental  canons  we 
would  refer  to  the  first  movement  of  Mozart's 
sonata  for  pianoforte  and  violin  in  E  minor ;  or 
to  tbe  minuet  of  Haydn's  symphony  in  the  same 
key. 

The  word  'canon*  is  also  applied,  somewhat 
incorrectly,  to  a  species  of  vocal  compositioii 
called  a  Rouim.  And  thus  we  have  duete^  trios, 
and  quartets  'a  canone,'  especially  in  the  works 
of  modem  Italian  oompoeers,  which  are  not  really 
canons,  but  a  much  freer  and  less  scientific  kina 
of  music.  Good  examples  may  be  quoted  in  Bee> 
thoven's  'Mir  ist'  (RdeUo),  Curschmann's  'Ti 
prego.'  Cherubini's  *  Perfida  Clori,*  and  Rossiiu  s 
*  Mi  manca  la  voce.'  [F.  A.  G.  0.] 

CANTATA.  The  idea  of  reviving  the  decla- 
mation of  tragedies  after  the  manner  of  tjie 
ancients  led  to  the  invention  of  recitative,  which 
is  attributed  to  Cacdni  and  Giacomo  Peri  about 
1600.  It  was  at  first  confined  to  the  opent,  hut 
the  desire  to  adapt  it  to  music  for  the  chamber 
soon  led  to  the  invention  of  the  Cantata,  which 
in  its  earliest  form  was  simply  a  musical  reci- 
tation of  a  short  drama  or  story  in  verse  by 
one  person,  without  action,  accoinpanied  in  the 
simplest  manner  by  a  single  instrument. 

^e  first  change  was  the  introduction  of  an  ^i'* 
repeated  at  different  points  in  the  oourse  of  the 


CANTATA, 

Rcfeed  naRaUve;  thiu  producmg  ft  primitive 
kind  of  rondo. 

The  cantata  in  this  style  was  brought  to  great 
Kffectian  by  the  ItaUans  of  the  1 7th  century. 
The  oomposer  who  produced  the  most  perfect  ex* 
amples  was  Carissimi;  apparently  they  are  all 
ir  a  single  voice,  or  at  most  for  two,  with  ao 
eompaniment  of  a  single  instrument-^lute,  cello, 
diFccin,  etc.  Shortly  after  his  time  the  aocomr 
puiiment  took  a  much  more  elaborate  form,  and 
the  Tiokmoello  parts  to  some  of  Alessandro  Scar- 
huTs  cantatas  were  so  difficult  that  it  was  con- 
■dered  the  mark  of  a  very  distinguished  artist 
t)  be  able  to  play  them.  Oekrissimi  was  the  first 
to  adopt  thia  form  of  oomposition  for  church  pur- 
potts.  His  cantatas,  like  those  of  his  coutempo- 
nriei,  are  only  known  by  the  first  few  words,  so 
that  it  would  answer  no  purpose  to  quote  their 
Bsmes.  One  only  is  mentioned  as  having  been 
vritten  on  a  special  occasion — the  death  of  Mary 
Qaeen  of  Soots.  Among  his  contemporaries  the 
laost  fionous  cantata  composers  were  Lotti, 
Astorga,  Boesi,  Maicello,  Gaspaiini,  and  Ales- 
ULdro  Scarlatti,  whose  cantatas  were  extra- 
ordinarilj  numerous.  One  by  Cesti,  *0  cara 
bbota,'  is  said  to  have  been  especially  fiunous. 
SpeduMns  by  most  of  these  composers  are  quoted 
in  Bamey*s  History,  and  a  collection  of  twenty-six 
by  CarisBhni  was  published  in  London  at  the  end 
of  the  1 8th  century,  apparently  after  Bumey  had 
fidihed  his  work.  Twenty-six  by  Marcello  for 
different  voioes  with  accompaniment  of  different 
instromenti  have  also  been  published,  and  a  great 
Bnmber  for  soprano  and  contralto  with  clavecin 
tooompaniment. 

At  the  beginning  of  the  1 8th  century  cantatas 
of  more  extended  form  and  various  movements 
vers  written  by  Domenico  Scarlatti  and  by 
Pergolesi.  The  most  fimious  was  the  'Orfeo 
ed  Eoridice,'  which  the  latter  composed  in  his 
lut  Alness.  Handel  also  wrote  cantatas  after 
the  same  fiuhion,  for  single  voices,  both  with 
aooQiDpaoimentB  of  strings  and  oboes,  and  with 
theroQgh  baas  for  clavier,  and  many  of  these 
lave  been  published.  But  they  are  not  well 
known;  and  since  his  time  this  form  of  cantata 
baa  quite  fallen  into  disuse,  and  has  gradually 
changed  into  the  concert-aria,  of  which  Mozart 
baa  left  many  fine  examples,  and  of  which 
Beelboven*s  *Ah,  perfidoT  and  Mendelssohn's 
'LdeUce,*  are  well-known  instances.  The  name 
Gaatata  is  given  to  a  composition  by  Mozart 
far  three  a^  voices,  chorus  and  otdiestra  in 
three  movements,  composed  in  cr  about  1785 
(Kochel,  No.  429). 

The  Ghurch-Caatata  is  a  much  more  extended 
kind  of  compositioUy  and  of  these  Handel  also 
wrote  some,  mostly  in  his  younger  davs,  and 
at  present  little  known  (see  Chrysander  s  Han- 
del, i).  The  greatest  and  most  valuable  ex- 
amples are  the  Kirchen-cantaten  of  Sebastian 
Bach.  The  number  which  he  wrote  is  quite 
a8toniahing^--a  hundred  have  been  published  by 
the  Bach-Gesellschaft  alone,  up  to  1876,  and 
more  than  as  many  more  remain  in  MS.  A  list 
of  the  whole — 33a  in  all— will  be  found  in 


OANTICLE. 


305 


Kay-Shuttleworth's  sketch  of  his  life.  They  are 
for  four  voices  and  full  orchestra,  and  consist  of 
from  4  to  7  movements — usuallv  an  opening 
chorus  founded  on  a  chorale-meiodv,  recitatives, 
airs,  and  duets,  and  winding  up  with  a  chorale, 
often  the  same  which  is  employed  in  the  opening, 
in  plain  four-part  harmony.  Many  of  these,  sudi 
as '  Christ  lag  inTodesbanden,*  or  *  £in*  feste  Burg,* 
are  marvels  of  contrapuntal  skill,  and  others,  such 
as  *  Ich  hatte  viel  Bektlmmemiss,'  are  of  great 
beauty  and  dignil^.  The  supposition  is  that 
they  were  intended  for  use  as  anthems  in  the 
Sunday  and  Feast-day  services.  Mendelssohn 
adopted  the  same  form  in  more  than  one  of  his 
early  works,  as  in  Op.  33,  No.  i,  and  Op.  39, 
No.  3,  which  are  written  on  chorales,  and  corre- 
spond closely  with  Bach*s  cantatas,  though  not 
so  entitled. 

In  modem  times  the  word  Oantata  is  used  to 
supply  an  obvious  want.  The  idea  as  well  as 
the  use  of  'Cantate  di  Camera*  having  quite 
gone  out  of  fSashioUy  the  term  is  applied  to  choral 
works  of  some  dimensions— either  sacred  and  in 
the  manner  of  an  oratorio,  but  too  short  to  be 
dignified  with  that  title ;  or  secular,  as  a  lyrio 
drama  or  story  adapted  to  music,  but  not  in- 
tended to  be  acted.  Specimens  of  the  former 
Idnd  are  very  numerous.  Of  the  latter  we  may 
mention  Bennett's  'May  Queen*  and  Brahms s 
•Rinaldo.'  [C.H.H.P.] 

CANTATE  DOMINO  is  the  name  by  which 
the  98th  Psalm  is  known  in  its  place  as  an  alter- 
native to  the  Magnificat  in  the  evening  service 
of  the  Anglican  church.  The  tiUe  is  formed  of 
the  first  words  of  the  Vulgate  version,  according 
to  the  practice  of  the  Anglican  Psalter.  The  1 7th 
canon  of  the  council  of  Laodicea  appointed  lessons 
and  psalms  to  be  read  alternately ;  and  on  this 
principle  the  '  Cantate  *  is  to  be  ocmsidered  as  a 
'responsory  psalm*  coming  between  the  lessons. 
It  has  no  history  attached  to  it  in  the  position  it 
now  occupies,  as  it  was  not  used  specially  in  the 
ancient  church.  It  was  not  in  the  Prayer-Book 
of  Cranmer,  which  was  published  in  1549,  '^^ 
eonsequenUy  does  not  appear  ui  Marbeck's 
'  Book  of  Common  Praier  Noted,*  published  in 
I560*  But  it  was  introduced  in  the  revision  of 
i.S5^>  probably  to  obviate  the  recurrence  of  the 
Magnificat  when  that  canticle  haj^iened  to  be  in 
the  second  lesson  of  the  day. 

It  appears  not  to  have  been  a  favourite  with 
musicians.  Indeed  the  Magnificat  is  in  every 
way  preferable,  as  regards  both  the  service  and 
the  opportunities  the  words  seem  to  offer  to  the 
composer.  *  Cantate  Services  *  are  therefore  rare, 
and  in  the  most  fiunous  collections  of  our  church 
music  there  are  very  few  of  them.  In  Barnard 
there  is  not  one ;  in  Boyce  only  three,  vis.  two 
by  Blow  and  one  by  Puioell ;  and  in  Arnold  one 
by  Aldrich  and  one  by  King.  [C.  H.  H,  P.] 

CANTICLE  ts  the  name  now  generally  given 
to  certain  hymns  taken  from  the  Bible,  and  sung 
in  the  services  of  the  different  churches  of  Chris- 
tendom :  such  as  the  Benediotus,  the  Benedicite, 
the  Magnificat^  and  the  Nunc  Dimittis.    In  the 


806 


CANTTGLE. 


Prajer-Book  the  word  ii  aaed  tar  the  BoBedioite 
only.  The  word  is  derived  from  the  Littin  can- 
tieum,  the  tenn  applied  in  the  Vulgate  to  the 
Song  of  Moaes,  the  Song  of  Solomon,  many  of  the 
DfiaboB,  etc.,  etc.  In  the  Calendar  of  the  Prayer- 
Book  the  Song  of  Solomon  ia  entitled  'The  Can- 
ticles,* but  in  common  parlance  the  above  is  the 
meaning  of  the  term.  [C.  H.  H.  P.] 

CANTO  (Lat.  Cantui ;  Fr.  Ckiin£),  With  the 
Italiai^  this  word  has  a  great  variety  of  accepta- 
tions ;  e.g.  music,  instrumental  as  well  as  vocal ; 
the  motif,  subject  or  leading  idea,  of' a  musical 
composition ;  tiie  art  and  practice  of  singing ;  a 
section  of  a  poem,  etc.,  etc.  Canto  fermo  or 
cantus  firmus  is  the  tune  or  melody  of  an  ancient 
hymn  on  which  a  motet  is  founded,  and  which 
remains  firm  to  its  original  shape  wMle  the  parts 
around  it  are  varying  with  the  counterpoint. 
Technically  canto  u  more  generally  understood 
to  represent  that  part  of  a  concerted  piece  to 
winch,  the  melody  is  assigned.  With  the  old 
masters  this  was,  as  a  rule,  the  Tekor;  with  the 
modem  it  is  almost  always  the  Sopbano.  Thence 
canto  (voice  as  well  as  part)  has  become  syno- 
nymous with  soprano.    The  canto  clef  is  the  C 


def  on  the  fint  lin^— 


[J.H.] 


CANTO  FERMO,  or  CANTUS  FIRMUS, 
the  plain  song — as  distinguished  from  Canto 
figuiato,  the  florid  or  figured  song — is  the  simple 
nnadomed  melody  of  the  ancient  hymns  and 
chants  of  the  church.  Such  tones  are  often  em- 
ployed by  the  great  churoh  composers  of  the 
Boman  churoh  as  the  basis  of  their  compositions. 
Thus  in  Palestrina's  masses  '.Sterna  Christi 
munera/  and  '  Assumpta  est  Maiii^'  each  move- 
ment begins  with  the  first  phrase  of  the  hymn. 
His  motet  *  Beatus  Laurentius'  is  still  more  com- 
pletely founded  on  the  canto  fermo,  since  the 
iuae  is  sung  throughout  the  piece  in  the  first  tenor, 
while  the  other  four  parts  are  moving  in  counter- 
point above  and  below  it — a  count^point  more 
or  less  closely  modelled  on  the  tune.  In  such 
cases  the  tune  is  usually  mariced  in  the  score  as 
C.  F.  (canto  fermo).  Bach  treats  his  ohoral- 
melodies  in  the  same  way  (see  his  cantata  '  £in' 
feste  Burg';  his  organ  '  Vorspiele'  on  'Kyrie'; 
«Christe';  'Kyrie';  on  'Allein  Gott';  *Diee 
sind  die  heiligen' ; '  Vater  unser,*  etc.,  etc.),  and  in 
80  doing  styles  them  'canti  feimi.'  In  English  the 
term  is  often  translated  by  '  PlainHshant.'      [G.] 

CANTORIS.  One  of  the  most  imminent 
features  of  the  singing  in  the  services  of  the 
Christian  churches  is  its  antiphonal  character; 
that  is,  the  manner  in  which  the  singers  on  either 
side  of  the  church  answer  one  another  in  the 
chants  or  in  passages  of  the  muaic.  In  order  to 
distinguish  the  sides  from  one  another  in  English 
cathedrals  the  words  Deeemi  and  CwUwis  are 
used,  the  former  being  the  side  of  the  dean's  stall 
on  the  south  or  right-hand  ride  when  fodng  the 
altar,  and  the  latter  that  of  the  cantor  or  precentor 
on  the  north  or  left-hand  side.  [C.  U.  H.  P.] 

CANZONA  (ItaL)    The  name  of  a  particular 


CAPO  TASTO. 

variety  of  lyric  poetiy  ia  the  Italian  style,  vA 
of  Proven9al  origin,  which  closely  reeembled  the 
madrigaL  Musically,  the  term  is  a|)plied 
(i)  to  the  setting  to  music  of  the  wotds  of  a 
canzona^  whether  for  (Mie  or  more  voices,  the  oily 
difference  between  the  canzona  and  the  madiigal 
being  that  the  former  was  less  strict  in  ityle. 
(a)  The  name  was  also  given  to  an  instrumental 
piece  written  in  the  style  of  a  madrigal  An 
example  of.  such  a  oani5ona»  by  Sebastian  Bad), 
may  be  found  in  the  fourth  volume  of  Griepea* 
kerVs  edition  of  his  oigan  woriu.  (3)  Itsppean 
to  have  been  used  as  an  equivalent  for  aonstafor 
a  piece  of  several  movements ;  and  also  as  a  mark 
of  time,  in  place  of  Allegro  (Brossard).     [£.?.] 

CANZONET  (in  Italian  CamonOta)  origTnally 
meant  a  smaller  form  of  canzona.  Moriey  in 
1597  published  'Canzonets  or  little  shott  wn^ 
to  four  voices;  selected  out  of  the  best  and 
approved  Italian  authors.*  Afterwards  the  word 
was  used  for  vocal  soli  of  some  length  in  more 
than  one  movement ;  nowadays  it  is  applied  to 
short  songs,  generally  of  a  light  and  airy  cha- 
racter. Haydn  has  left  us  some  admiiaUe 
canzonets,  grave  and  gay;  for  example,  'She 
never  told  her  love,'  and  *  My  mother  bids  me 
bind  my  hair.'  [W.EC.] 

CAPELLA  (Ital.  a  chapel).  Di  capella.  tf 
k  capella,  mean  in  a  church-like  foshion,  as  dia- 
tinguished  friom  Di  camera^  or  Di  teatro,  in  the 
fiashion  of  the  chamber  or  the  theatre.  [Chi* 
PBLLB.]  The  same  word  in  Grerman,  Caklli, 
means  the  private  band  of  a  court  or  ckurcK 
or  even  a  dance-orchestra^  and  CAPfiLLMKum 
the  conductor  of  the  same.    pELkPJELLB.]      [O] 

CAPORALE,  Akdbba,  an  Italian  ceao-playr 
who  arrived  in  London  in  1735,  and  excited 
much  attention.  In  1740  he  joined  Handel's 
opera-band,  and  died  in  London  in  or  abuot 
1756.  He  was  more  famous  for  tone  andev 
pression  than  for  execution.  [^0 

CAPO  TASTO  (Ital.,  from  Capo,  head,  and 
tasto,  touch,  or  tie ;  Germ.  Oapotatier,  sometiiBei 
Capo  tC€utro).  In  Italian  the  nut  of  a  late  < 
guitar,  but  also  the  general  name  of  a  contrinaet 
for  shortening  the  vibratory  lengths  of  atnsft 
thus  forming  a  second  nut,  expressed  in  FtoA 
by  'barre,'  to  fiusilitate  duu^r^  of  key.  Tbe 
construction  of  a  capo  taste  varies  according  to 
the  stringing  and  shape  of  the  neck  of  i^ 
instrument  it  is  to  be  applied  toj^  but  it  vatj 
be  described  as  a  narrow  rail  of  haid  v^ 
metal,  or  ivory,  clothed  with  leather  or  ck^k 
and  often  fostened  by  a  screw  upon  the  f^^* 
from  which  it  is  intended  to  mark  off  tbe  sr* 
length  of  the  strings.  There  are  other  but  jtf 
simple  ways  of  attaching  itw  The  tecfaaial 
advantage  of  using  a  capo  tasto  Is  that  )a^^ 
diiifts  can  be  more  easilv  obtained ;  andtheiue'^ 
open  strings,  upon  whi<m  the  poaaability  of  cbonk 
often  deprads,  is  £aoalitated  m  a  higher  onapa' 
than  that  natural  to  the  instrument.  Hov  aai 
transposition  may  be  fooilitated  by  it  ia  ^^ 
shown  by  Henr  Hax  Albert  in  Mendel's  Jabo^ 


CAPO  TASTO. 


hVe  •  goHar  the  sfcringB  of  whkh  Are  toned  in 

lealnotee 


CARADOEI.  ALLAN. 


807 


g 


T 


£ 


E 


t^e  buia  of  aharp  keys :  with  a  capo  tasto  on 
the  fint  aemiu>ne  firei  we  have 


g=r^ 


5^ 


^ 


the  biais  of  flat  kejrs,  the  fingering  remaining 
the  same.  With  bow  instmmentB  the  capo  tasto 
b  so  longer  need,  but  it  was  formerly  with  those 
biTing  frets  as  the  viol  da  gamba.  Hie  use 
9t  the  thmnb  as  a  bridge  to  the  yiolonoello 
lemes  ss  a  ci^  taito,  as  also,  in  principle,  the 
pedftl  action  of  the  haip.  [A.  J.  H.] 

CAPRIOdETOX)  (Ital.,  dimin.  of  caprieeio), 
A  Capriccio,  on  a  small  scale,  and  of  no  great 
(k.elopment.  [^P*] 

CAPRIOCIO  aw.;  Fr.  eapriee).    (i)  This 

ume  was  originally  given,  according  to  Mar- 

puig,  to   pieces    written  for   the    harpsichord 

in  » fogued  style,  though  not  strict  fugues.    It 

vu  also  sometimes  applied  to  actual  fugues, 

vhen  written  upon  a  lively  subject;   and   the 

ecaopoeition  was  oonsequenUy  for  the  most  part 

in  quick  notes.    Examples  of  this  kind  of  ca* 

priodo  can  be  fonnd  in  Handel*s  *Third  set  of 

uflnoB  for  the  Harpsichord'  (Gennan  Handel 

^ety's  edition,  part  a),  and  in  the  second  of 

Bach'i  'Six  Partitas.'    Bach  also  nses  the  word 

uiponymons  with  'fantasia^'  i.e.  a  piece  in  a 

hm  fann,  in  his  'Oapriocio  on  the  departure  of 

a  bdored  brother.'    (a)  In  the  middle  of  the 

hit  ontuiy  the  term  was  applied  to  exercises 

for  Bttioged  instruments,  such  as  would  now  be 

oiled  '^ades,'  in  which  one  definito  figure  was 

CHried  through  the  oomposition.    (3)  In  the  pre- 

leat  day  the  woord  Gafbioi  is  nsiudly  employed, 

tad  the  name  ia  applied  to  a  piece  of  music  oon- 

ikniGted  either   on  original  subjects,   and  fire- 

qontiy  in  a  modified  sonata-  or  rondo-fonn  (as 

in  MendelsBohn's   'Three  Caprices,'  op.  35,  or 

Stcndale  Bennett's  Caprice  in  £),  or  to  a  bril- 

littt  tnnacriptioa  of  one  or  more  subjects  by 

ether  composers.    As  an  example  of  the  latter 

kind  may  be  named  Heller's  'Caprice  briUant 

nr  la  Truitede  Schubert.'    Although,  as  already 

BientioQed,  the  sonata-  or  rondo-fonn  is  firequently 

idopted  fw  the  caprice,  there  is,  as  implied  by  the 

name,  no  limitation  in  this  respect,  the  composer 

being  at  Uberty  to  follow  his  inclinations.    [£.  P.] 

CAPUlEPn  ED  I  MONTEOCHI,  I,  an 
Italian  opera  in  3  acts,  taken  from  Romeo  and 
Joliet;  libretto  by  Bomani,  music  by  Bellini, 
pit)daoed  at  Venice  March  la,  1830,  at  Paris 
•^UL  10,  1833,  and  in  London  at  the  King's 
Theatre  July  ao,  1833.  A  fourth  act  was  added 
by  Vucai,  and  is  usually  performed.  [G.] 

CARAGdO,  GiovAKm,  was  bom  at  Bergamo 
•boQtthe  middle  of  the  i6th  oentuzy.    He  wm 


9i  fiiti  a  singer  in  the  private  choir  of  the 
Elector  of  Bavaria.  Having  quitted  this  service 
he  spent  some  years  at  Bome  and  at  Venice,  and 
then  returned  to  his  native  place,  where  he  was 
appointed  Maestro  at  the  cathedral.  He  held 
this  post  for  twenty-three  years,  when  he  mi- 
grated to  Santa  Maria  Maggiore  at  Rome,  re- 
maining there  until  his  deatii  in  i6a6.  He  w«i 
one  of  those  fourteen  composers  of  different 
nations  who  showed  their  appreciation  of  Palet- 
trina's  genius  by  dedicating  to  him  a  volume  of 
Psalms  to  which  each  had  contributed.  [Palib- 
TBiVA.]  His  publishisd  works  are : — Magnificat 
omnitonom,  paxsi;  Venice  1581.  Mi^^nifioat 
omnitonum,  pars  a ;  Venice  158a.  Madngali  a 
5  vooi,  lib.  I ;  Venioe  1583.  Murica  a  5  rooi 
da  sonare ;  id.  1585.  Diidogo  h  7  voci  nel,  lib.  i, 
di  Madrigali  di  Claudio  cUk  Oorreggio;  Milan 
1588.  Madrigali  a  5  vod,  lib.  a  ;  Venioe  1589. 
Salmi  di  campieta  oon  le  antifone  della  Veigine, 
ed  otto  £alsi  bordoni  a  5  vod;  Venioe  1591. 
Salmi  a  cinque  per  tutti  i  vesperi  dell'  anno,  oon 
alcuni  hymni,  mottetti,  e  flEusi  bordoni  aooom- 
modati  anoora  a  vod  di  donne;  Venioe  1593. 
Madrigali  a  5  vod,  lib.  4;  Venioe  1594.  Sahni 
a  cinque;  Venioe  1594.  Madrigali  a  5  rod, 
lib.  5  ;  Venice  1597.  Canzoni  frwioesd  a  quat- 
tro;  Venioe  1597.  Canzonetto  a  tre;  Venioe 
1598.  Madrigali  a  5  vod,  lib.  6 ;  Venice  1599. 
Messe  per  i  defonti  a  quattro  e  cinque,  oon  mo- 
totti;  Milan  161 1. 

Bergameno  has  inserted  some  of  Caraodo's 
work  in  his  '  Parnassus  mudcus  Ferdinandeus,' 
a-5  vocum;  Venice  161.1;.  [E.H.P.] 

GARADORI- ALLAN,  Masta  CAnnnrA 
R08ALBINA,  fUe  de  Munck,  was  bom  in  1800  in 
the  Casa  Palatina  at  Milan.  Her  father,  the 
Baron  de  Munck,  was  an  Alsadan,  and  had  been 
a  colonel  in  the  French  army.  Mile.  Munok's 
muncal  education  was  completed  entirely  by  her 
mother,  without  assistance.  Her  fitther's  death 
obliged  her  to  avail  herself  of  her  gifts  in  order 
to  support  herself  Having  attempted  the  stage 
in  the  course  of  a  tour  through  France  and  part 
of  Germany,  she  took  her  mother's  family  name 
of  Caradori,  and  accepted  an  engagement  in 
London  in  i8aa.  She  made  her  d^but  on  Jan. 
I  a  at  the  King's  Theatre  as  Cherubuio.  'It 
may  be  observ^*  says  Lord  Mount-Edgoumbe, 
*as  an  odd  coinddence  that  Pasta,  Vestris,  and 
Caradori  all  have  acted  the  Page  in  Le  Nozse 
di  Figaro,  and  none  more  successfolly  than  the 
last,  who  by  aoddent,  not  chdce,  made  her  d^but 
in  that  part ;  and  it  proved  fortunate  for  her,  as 
her  channing  manner  of  performing  it  laid  the 
foundation  of  her  subsequent  favour.'  She  sang 
afterwards  in  'La  Clemenza  di  Tito,'  'Elisa  e 
daudio,'  and  '  Corradino,'  as  prima  donna ;  and 
in  i8a4,  as  seoonda  donna,  in  *  II  Fanatico,'  with 
Catalani.  She  continued  engaged  through  18  33 
and  a4 ;  and  in  the  latter  year  took  her  benefit 
in  '  Bon  Giovanni.*  In  a 5  she  sang  the  second 
part  in  'L'Addina'  of  Grenerali,  with  Mad. 
Rond  de  Begnis  as  prima  donna,  showing 
theroby  her  great  good  nature.  The  same  year, 
■he  played  Fatima  in  Rossini's  'Fietro  reramita,* 

X2 


308 


CABADOBI  -  ALLAK. 


and  oliose  '  Gob!  £eui  tutte*  for  her  benefit ;  and 
at  Velluti's  d^ut  in  '  II  crociato/  Mme.  Garadori 
sang  the  first  woman*8  part,  distinguiBhing  herself 
particularly  in  the  duet  'II  tenero  afietto*  with 
the  musico.  In  1826,  though  still  belonging  to 
the  oompany,  ahe  was  removed  for  the  purpose 
of  introauoing  Bonini,  who  was  better  suited 
as  a  foil  for  Velluti ;  and  Garadori,  when  she 
re-appeared  in  'La  Donna  del  Lago/  was  re- 
oeived  with  joy  by  the  publia  She  sang  also 
in  the  'Barbiere*  and  in  'Romeo  e  Giulietta;' 
And  took  her  benefit  in  '  Le  Nozse,*  as  Susanna. 

Pasta  having  returned  to  London,  and  ohosen 
Mayer*s  *  Medea*  for  her  benefit,  Garadoii  acted 
and  sang  most  charmingly  the  t^ider  and  gentle 
part  of  Greusa.  There  is  a  good  portrait  of  her 
in  this  character  by  J.  Hayter,  lithographed  by 
Hullmandel.  Her  voice,  though  not  very  power- 
ful«  was  exceedingly  sweet  and  flexible,  and  her 
style  almost  &ultless.  She  had  much  knowledge 
of  music,  and  sang  with  great  delicacy  and  ex- 
pression. In  a  room  she  was  perfect.  Her 
appearance  was  interesting,  her  countenance 
very  agreeable,  and  her  manner  modest  and 
unassuming :  she  always  pleased,  though  she 
never  astonished,  her  audience.  Her  saUtfy  rose 
gradually  from  £300  in  183a  to  £1200  in  27. 
In  54,  happening  to  be  again  in  England,  she 
cairied  on  the  operas  with  tolerable  success  until 
the  arrival  of  the  expected  prima  donna^  Giulia 
Grisi.  But  it  was  in  concerts  that  she  now 
achieved  her  greatest  success,  and  first  of  all  in 
the  Festival  in  Westminster  Abbey  in  this  same 
year,  in  which  she  sang  with  her  usual  excellence, 
and  was  well  heard,  though  -it  had  been  feared 
that  her  voice  was  not  powerful  enough  for  so  large 
a  space.  Her  '  With  verduis  clad  appeared  to 
Lord  Mount-Edgcumbe  to  be  '  decidedly  the  best 
solo  performance  of  the  whole  concert.'  She 
took  part  also  in  the  performance  of  the  '  Mount 
of  Olives,' '  in  which  it  need  not  be  said  she  sang 
well,*  and  gave  equally  well  'Rejoice  greatly,' 
which,  though  a  brilliant  song,  did  not  show 
her  to  the  best  advantage.  During  the  carnival 
of  1830  she  sang  with  success  at  Venice,  but 
after  1835  she  remained  in  England,  singing  at 
festivals  and  concerts.  She  sang  the  soprano 
part  in  'Elijah*  at  Birmingham,  Aug.  26,  1846, 
when  Mendelssohn's  judgment  of  her  performance 
was  not  so  favourable  as  Lord  Mount-Edgcumbe's 
(Letters,  Aug.  31).  She  died  on  8un£ky,  Oct 
15,  1865.  [J.M.] 

GARAFA,  MiCHELS,  bom  at  Naples  Nov.  a8, 
1785 ;  studied  under  Fazzi,  Fenaroli,  and  Ruggi, 
and  in  Paris  imder  Cherubini.  His  first  opera 
was  'D  Fantasma.'  So  little  however  did  Garafa 
feel  his  vocation  that  he  entered  the  army,  and 
became  an  officer  in  the  bodyguard  of  Murat, 
then  king  of  Naples.  Like  Henri  Beyle  (Sten- 
dhal) he  made  the  campaign  of  Russia  in  181 2, 
and  was  decorated  by  Napoleon.  After  the  Em- 
peror's fall  he  left  the  army  and  embraced  music 
as  his  profession.  His  first  opera,  'H  vasoello 
di  occidente,'  was  produced  at  Naples  in  1 814, 
and  was  followed  by  a  large  number  of  others. 
'Gabriele'  {iHiS),   'Ifigenia,'   'Berenice'  etc., 


CARESTINI. 

« 

etc.,  were  produced  in  Italy,  but  he  waB  equally 
successful  in  Vienna  and  in  Paris.  In  tiie  Ut- 
ter city  he  made  his  debut  with  'Le  Solitaire,' 
Aug.  17,  1822,  which  long  remained  extnus^ 
dinarily  popular.  In  27  he  took  up  hii  read- 
ence  in  Paris,  and  brought  out  'La  Violette,' 
'  La  fiancee  de  Lammezinoor,'  *  Masanidlo*  (Dec. 
27,  1827,  evidentlv  written  in  competition  with 
Auber*s  'Muette,^  Feb.  29,  1838),  *La  priwa 
d'Edimbourg,'  etc.  These  operas,  and  maaj 
others,  were  very  popular,  notwithstanding  the 
immense  counter  attractions  of  Auber  and  Bos- 
I  sini.  This  they  owe  more  to  an  easy  flow  of 
melody  and  natural  unaffected  instrmnentatioa 
than  to  any  original  character,  and  in  oonae- 
quenoe  they  have  now  fallen  into  oblivion.  Ai 
a  composer  for  the  pianoforte  Gara&  was  almoit 
equally  the  fashion,  and  at  Gherubini's  instanco 
he  was  made  Professor  of  Gomposition  in  the 
Gonservatoire  shortly  after  his  arrival  in  Parii, 
a  post  which  he  was  still  filling  in  1876.  In 
1837  he  was  elected  a  member  of  the  Acad^mie 
des  beaux  arts. 

The  'Dictionnairelyrique*  of  M.Felix  aement 
mentioDS  no  less  than  35  of  his  operas.         [G.] 

GARDARELU,  Siovoba,  a  ringer  who  per 
formed  the  part  of  Marina  in  Sacchini's  'L'bola 
d'amore'  at  the  King*s  Theatre  in  1776.  [J.  M.] 

GARDGN,  Louis,  a  harpist  of  great  repots 
of  Italian  parentage,  but  bom  in  Paris  lUr 
On  the  outbreak  of  the  Revolution  he  migrated 
to  Russia,  where  he  died  in  1805.  His  'An it 
jouer  la  harpe'  was  for  lon^  esteemed.  Hii 
brother  Pierre^  bom  1 751  in  Pari%  was  a  aiogv 
and  cello  player.  [M.C.C.] 

GARDOSO,  Manitbl,  a  Spanish  priest,  bon 
at  Fronteira  1569;  entered  the  Gannelite  order 
at  Lisbon  1588,  and  became  its  sub-prior  as4 
chapel-master,  and  a  great  favourite  of  Kin^ 
John  IV.  His  works  are  exclusively  for  the 
church.  Several  are  said  to  have  been  pub- 
lished, but  only  one  is  quoted,  'Livro  .  . . nsSe 
mana  Santa,'  Lisbon  1648.  Two  mot«ti  an 
given  by  Proske  in  the  '  Muaioa  Dirina,'  ii; 
Nob.  5  and  33.  [M.C.C.. 

GARESANA,  Gristoforo,  an  Italian  moi 
cian  of  note,  bom  at  Tarentum  1655,  and  «^ 
in  Naples  in  1680.  He  published  motets,  hji&Bi. 
and  duetti  da  camera^  and  left  many  MSS.  d 
the  library  at  Nicies.  But  lus  most  CaiD»'3> 
work  is  his  'Solfeggi*  (Naples,  1680),  of  whiei 
Ghoron  published  a  new  edition  for  use  in  the 
Gonservatoire.  [M.C.C.. 

GARESTINI.  Giovanni,  one  of  the  great* 
of  Italian  singers,  was  bom  at  Monte  Filatnfi^ 
Anoona,  about  1 705.  At  the  age  of  1 3  he  ^<^ 
to  Milan,  where  he  gained  the  protection  of  tk 
Gusani  family,  in  gratitude  to  ^om  he  asnsy' 
the  name  of  Gusanino.  Hia  voice,  at  fin^  ^ 
powerful  clear  aoprano,  afterwards  changed  t*' 
the  fullest,  finest,  and  deepest  contralto  evt:. 
perhaps,  heard.  His  first  appearance  wai  *^ 
Rome  1 72 1,  in  the  female  part  of  GostanB" 
Buononcini*s  'Griselda.'  In  1723  he  9i&J^ 
Prague,  at  the  coronation  of  Charles  YI  aa  £4 


CARESTINL 


CAREY. 


309 


«f  Bohemia.      The  following  year  he  wm  at 
Mantua,  and  in  1725  sang  for  the  first  time  at 
Venice  in  the  'Seieuoo'  of  Zuccari,  and  in  1726 
vith  Farinelli  and  Paita.    In  1728  and  30  he 
riaited   'Rome,   singing  in  Vind^s  'Alessandro 
SitU*   Indie*  and   'Artasene.*      Owen    Swiny, 
kftppenin^  to  be  in  Italy  with  Lord  Boyne  and 
Mr.  Walpole,  wrote  to  Cobnan  from  Bologna,  on 
Jaly  12,  1730,  mentioning  letters  which  he  had 
Rcdved  firom  Handel,  and  goes  on  to  say:   'I 
find  that  Senesino  or  Garestini  are  desired  at 
1200  guineas  each,  if  they  are  to  be  had.    I  am 
nre  that  Garestini  is  engaged  at  Milan,  and  has 
been  so  for  many  monuis  past'    Senesino  was 
engaged  for  London  on  this  occasion ;  but  three 
Jean  later   Handel  was  more  fortunate,   and 
Carestini  made  his  d^but  here  on  Deo.  4,  1733, 
in  'CajuB  Fabriciua,*  a  pasticcio ;  and  his  magni- 
ficent Toioe  and  style  enabled  Handel  to  with- 
itand  the  opposition,  headed  by  Farinelli,  at  the 
ether  house.    In  34  he  sang  in  'Ariadne,* '  Pastor 
Fido,' '  Pamaaso  in  Fearta,* '  Otho,' '  Terpsichore,* 
'Deborah,*  and  '  Athaliah*;  and  the  next  season 
m  *Ariodante*  and   'Aldna.*     In  the  cast  of 
the  latter  hia  name  is  spelt  Carestino,  as  it  is  also 
by  Colman.     In  '  Aldna'  occurs  the  beautiful 
»jog  'Verdi  prati,*  which  he  sent  back  to  the 
oompoeer  as  not  suited  to  him.    Handel  on  this 
became  furious,  ran  to  the  house  of  the  singer, 
ind  addressed  to  him  the  following  harangue : 
*Tou  tog  1  don't  I  know  petter  as  ^ourseluf  vaat 
«  pest  for  you  to  sing  f    If  you  vill  not  sing  all 
de  Bong  Taat  I  give  you,  I  will  not  pay  you  ein 
gtiTer*  (Bnmey).    In  1 735  Oarestini  left  England 
for  Venioe,  and  for  twenty  years  after  oontmued 
to  enjoy  the  highest  reputation  on  the  continent, 
nnging  at  Berlm  in  1750.  54,  and  55.    In  55  he 
vas  engaged  at  St.  Petersburg,  where  he  remadned 
tall  58,  when  he  quitted  the  stage,  to  retire  to 
his  native  country  and   enjoy  a   well -earned 
rqwse.     Shortly  after,  he  cQed.     He  was  held 
in  the  highest  esteem  by  Handel,  Hasse,  and 
other  composers,  in  whose  works  he  had  sung. 
Quantz  says :  '  he  had  one  of  the  strongest  and 
most  beautiful  contralto  voices,  which  extended 
from  D  (in  the  F  clef)  to  G  above  the  treble 
del    He  was  also  extremely  perfect  in  passages 
which  he  executed  with  the  diest-voice.  according 
to  the  principles  of  the  school  of  Bemaochi,  and 
liter  tl^  manner  of  Farinelli :   in  his  ornaments 
he  was  bold  and  felidtous.    He  was  also  a  very 
good  actor ;  and  his  person  was  tall,  handsome, 
ind  commanding.     There  is  a  good  mezzotint 
of  him  by  J.  Faber,  engraved  in  1735  from  a 
pictore  l^  Greozge  Knapton,  of  which  a  fine 
ifflpression  is  now  rare.  [J.  M.] 

CAREY,  Hbvbt,  a  reputed  natural  son  of 
George  Savile,  Marquis  of  Hali&x,  was  a  popular 
composer  and  dramatist  in  the  first  half  of  the  1 8th 
century.  His  first  mtisio-master  was  a  Grerman 
named  Olaus  Westeinson  Unnert,  and  he  subse- 
quently received  instruction  firom  Roseingrave 
ud  Geminiani.  Although  possessed  of  ready 
invention  as  a  melodist,  yet,  his  aoquaintanoe 
with  the  sdence  of  his  art  being  but  limited, 
he  had  to  gain  a  snbsistenoe  chiefly  by  teach- 


ing. In  1 715  he  wrote  and  composed  the  music 
for  the  farce  of  'The  Contrivances;  or.  More 
Ways  than  One,'  which  was  produced  at  Drury 
Lane  Theatre  on  August  9  in  that  year  witik 
much  success.  The  character  of  Arethusa  in 
this  piece  was  long  the  probationary  part  for 
female  singers  before  they  ventured  on  parts 
of  more  importance.  His  next  production  was 
a  farce  called  '  Hanging  and  Manriage ;  or.  The 
Dead  Man's  Wedding,'  performed  Mjtzch  15, 
1722,  at  Lincoln's  Inn  Fields  Theatre.  In  28 
he  set  to  music  the  songs  in  Yanbrugh  and 
Gibber's  comedy  '  The  Provoked  Husband.'  He 
next  wrote  the  operas  of  'Amelia'  (the  music 
by  Lampe),  which  was  performed  at  the  Hay- 
market  Theatre  in  th«  summer  of  1732,  and 
'Teraminta.,'  which  was  set  to  music  by  John 
Christopher  Smith  and  produced  at  Lonooln's 
Inn  Fields  Theatre  on  Nov.  20,  1732.  Each 
of  these  pieces  was  described  as  '  a  New  English 
Opera  after  the  Italian  manner.'  On  Dec.  2» 
32,  Carey  produced  at  Drury  Lane  Theatre 
a  ballad  opera  called  'Betty;  or.  The  Country 
Bumpkins,  which  met  with  a  cold  reception.  In 
33  he  wrote  and  composed  a  musiogd  enter" 
tainment  called  'Cephalus  and  Procris,'  which 
was  produced  at  Drury  Lane  Theatre  with  a 
pantomime  interlude  entitled  *  Harlequin  Volgi.' 
On  Feb.  22, 1734,  he  produced  at  the  Haymarket 
Theatre  *  The  most  Tragical  Tragedy  that  ever 
was  Tragedized  by  any  Company  of  Tragedians, 
called,  C&x>nonhotonthologos  ;  a  highly  humorous 
burlesque  of  the  bombast  and  fustian  prevalent 
among  some  of  the  dramatists  of  the  day,  and 
especially  of  their  partiality  for  tautologous  ex* 
pressions.  This  he  also  described  as  his  *  Traeedy  « 
of  half  an  act.'  In  1735  ^®  produced  a  bsliad- 
opera  entitled  *A  Wonder;  or,  the  Honest 
Yorkshireman,*  performed  by  the  Covent  Garden 
company  at  Lincoln's  Inn  Fields  Theatre  for  one 
night  only,  July  11,  1735,  but  which,  when 
transferred  to  the  Haymarket  and  Goodman's 
Fields  Theatres  later  in  the  same  year  under  its 
second  title,  met  with  such  success  that  it  was 
soon  adopted  at  the  other  theatres  and  long 
remained  a  stock  piece.  On  Oct.  26,  1737, 
Carey's  burlesque-opera  *  The  Dragon  of  Wantley,' 
a  satire  on  tne  Italian  opera  of  the  day,  tne 
music  by  Lampe,  was  produced  at  Covent  Garden 
Theatre  with  such  si^ial  success  that  it  ran  67 
nights  during  the  season.  In  the  next  year  the 
author  and  composer  joined  in  the  production  of 
a  sequel  entitled  '  Margeiy ;  or,  A  Worse  Plague 
than  the  Dragon'  (a  title  afterwards  changed  to 
'  The  Dnfoness'),  which  was  produced  at  Covent 
Garden  llieatre  on  Dec.  ^  1 738.  Although  by 
no  means  deficient  in  merit,  its  suooees  was  but 
partial.  In  39,  on  the  breaking  out  of  the 
war  with  Spain,  Carey  wrote  and  composed  a  mu- 
sical interlude  called  '  Nancy ;  or.  The  Parting 
Lovers,*  which  was  brought  out  at  Druiy  Lane 
Theatre  and  was  remarkably  successful.  It  was 
revived  at  Covent  Garden  Theatre,  with  alter- 
ations in  1755  (on  the  prospect  of  a  war)  under 
the  name  of  '  The  Press  Gang ;  or.  Love  in  Low 
life,'  and  frequently  brought  forward  on  similar 


310 


CABEY* 


oocasloni  under  the  title  of  'True  Blue.*  In  ihe 
latter  part  of  his  Hfe  Carey  collected  his  principal 
dramatic  pieces  and  published  them  in  1743  by 
subscription  in  a  quarto  volume. 

In  1720  Carey  published  a  small  volume  of 
Ids  poems.    This  he  afterwards  enlarged  and 

Subliflhed  by  subscription  in  29,  with  the  ad- 
ition  of  a  poem  called  *  Namby  Pamby  *  (a  good- 
humoured  satire  on  a  poem  written  by  Ambrose 
Phillips  on  the  in&nt  daughter  of  Lord  Carteret), 
whioh  received  the  commendations  of  Pope. 

The  songs  and  cantatas  written  and  composed 
by  Carey  were  very  numerous.  In  173  a  he  pub- 
;  lished  'Six  Cantatas/  and  in  I73(^40«  under  the 
title  of  'The  Musical  Centuiy,  m  One  hundred 
English  Ballads  on  various  subjects  and  occasions, 
iKiapted  to  several  characters  and  incidents  in 
Human  Life,  and  calculated  for  innocent  conver- 
sation, mirth  and  instruction,*  issued  two  folio 
volumes  of  songs  written  and  composed  by  him- 
s^,  to  the  first  of  which  his  portrait  is  prefixed. 
A  second  edition  appeared  in  1 740,  and  a  third  in 
43.  Of  all  his  compositions,  the  most  popular, 
and  ihat  which  will  transmit  his  name  to  pos- 
terity, is  his  ballad  of  'Sally  in  our  Alley,'  one  of 
the  most  striking  and  original  melodies  that  ever 
emanated  firom  the  brain  of  a  musician.  The 
author's  account  of  its  origin  is  as  follows : — '  A 
shoemaker's  prentice,  making  holiday  with  his 
sweetheart,  treated  her  with  a  sight  of  Bedlam, 
the  puppet  shows,  the  flying  chairs,  and  all  the 
elegancies  of  Mooriields,  from  whence  proceeding 
to  the  Farthing  Pye  House  he  gave  her  a  col- 
lation of  buns,  cheese-cakes,  gammon  of  bacon, 
stuffed  beef  and  bottled  ale,  through  all  which 
Scenes  the  author  dodged  them.  Charmed  with 
the  simplicity  of  their  courtship,  he  drew  from 
what  he  had  witnessed  this  little  sketch  of  nature.* 
He  adds,  with  pardonable  pride,  that  Addison 
had  more  than  once  expressed  his  approbation  of 
his  production. 

Carey  died  at  his  house  in  Great  Warner  Street, 
Olerkenwell,  on  Oct.  4,  1 743.  It  has  been  gen- 
erallv  said  that '  he  put  a  period  to  a  life  which 
had  been  led  without  reproach,  at  the  advanced 
age  of  eighty,  by  suicide,'  and  the  impulse  to  the 
act  has  been  variously  assigned  to  pecuniary 
^mbaTiassment,  domestic  unfaappiness,  and  the 
malevolence  of  some  of  his  fellow  profeteors. 
But  the  manner  of  his  death  seems  doubtful. 
In  the  Daily  Poet  of  Oct.  5, 1743,  ^®  '^^d  •  Yes- 
terday  morning  Mr.  H.  Carey,  well  known  to  the 
musi^  world  for  his  droll  compositions,  got  out 
of  bed  from  his  wife  in  perfect  health  and  was 
soon  after  found  dead.  He  has  left  six  children 
behind  him.*  An  advertisement  in  the  same 
newspaper  on  Nov.  17,  43,  announces  a  per- 
formance on  that  evening  at  Covent  Ganlen 
Theatre  '  For  the  Benefit  of  the  Widow  and  Four 
sma^  Children  of  the  late  Mr.  Henry  Carey,*  in 
which  the  widow  describes  herself  as  'left  en- 
tirely destitute  of  any  provision.*  His  age  at 
the  time  of  his  death  was  probably  much  over- 
stated. Sir  John  Hawkins  thus  estimates  Carey's 
abilities : — '  As  a  musician  Carey  seems  to  have 
been  one  of  the  first  of  the  lowest  rank ;  and  as 


dABILLON. 

a  poet  the  last  of  that  daas  c^  which  IXXJrfey 
was  the  first,  with  this  difference,  that  in  all  the 
songs  and  poems  written  by  him  <m  wine,  lore 
and  such  kind  of  subjects,  he  seems  to  have 
manifested  an  inviolable  regard  for  deoenej  and 
good  manners.* 

Caxey's  posthumous  son,  George  Savile  Caiey, 
inherited  much  of  his  father's  talent.  He  became 
an  actor,  but  not  succeeding  he  oontrived  by 
giving  entertainments  of  singing,  recitation,  and 
unitations,  to  earn  a  precarious  living  for  about 
forty  years.  In  the  latter  part  of  his  life  he 
claimed  for  his  ikther  the  composition  of  '  God 
save  the  King,*  and  the  daim  occupied  much 
attention  for  some  time.  Indeed  it  is  still  as 
hotly  debated  as  ever,  and  will  probably  never 
be  satisfaotorily  decided.  G.  S.  Carey's  daogfater, 
Anne,  was  the  mother  of  Edmund  Kean,  the 
tragedian.  [W.H.H.] 

CARILLON  is  the  name  given  to  a  set  0^ 
bells  so  hung  and  arranged  as  to  be  capable  of 
being  played  upon,  either  by  manual  action  or 
by  machinery,  as  a  musical  instrument,  i.e.  so 
as  to  give  out  a  regularly  composed  melody  in 
correct  and  unvarying  time  and  rhythm,  in  ocn- 
tradistinction  to  the  Wild  and  irregular  mu^ 
produced  by  chanse-ringing  on  a  p«al  of  be^Is 
hung  to  swing  m  the  more  usual  Skanner. 
[Bells.]  A  much  larger  number  of  bells  are 
required  to  make  a  go^  carillon  than  are  ever 
hunff  for  an  ordinary  peal,  which  latter,  owing 
to  t£e  difficulties  of  ringing  and  the  ipaoe  re- 
quired for  the  bells  to  swing  in,  can  scaruely 
exceed  ten  or  at  most  twelve  bells  with  ad- 
vantage, whereas  a  carillon  peal  not  infrequently 
includes  as  many  as  forty  or  more  beUs,  ihe 
adequate  performance  of  set  tunes  requiring  nnt 
only  a  more  extended  range  but  the  presence  of 
the  chromatic  intervals  of  the  scale,  instead  of 
the  simple  diatonic  scale  of  the  ordinary  peaL 
The  most  radical  distinction  in  the  meUiod  of 
hanging  and  sounding  a  carillon  as  <xmipared 
with  a  peal  is  that  while  in  the  latter  the  bells 
are  slung  to  a  wheel  and  axle,  and  are  souniied 
by  the  stroke  of  the  clapper  inside  on  being 
swung  round,  in  the  carillon  the  bells  are  abso- 
lutely fixed  on  the  frame,  and  are  struck  by  a 
hammer  on  the  outside.  It  is  owin^  to  thxi 
stationary  position  of  the  bell  that  so  large  a 
number  of  bells  can  be  safely  hung  in  a  towtf 
which  would  not  accommodate  half  the,  number 
of  swinging  bells;  and  it  is  obvious  that  the 
precise  moment  of  the  stroke  is  much  moire 
under  the  control  of  the  ringer  when  he  has 
only  to  regulate  the  striking  of  the  hammer 
ihaa.  when  he  has  to  bring  about  this  bj  causing 
the  bell  to  swing:  and  it  need  hardly  l«e 
mentioned  that  the  system  of  striking  on  the 
outside  of  the  bell  is  always  employed  when 
the  latter  is  made  use  of  for  ^king  the  houn 
upon  in  connection  with  a  dock.  In  fikct,  the 
carillon  system,  when  sounded  me^anically  •  as 
in  a  majority  of  cases  it  is),  may  be  regardevi  as 
an  extension  and  multiplication  of  the  stroke  nf 
Uie  clock,  with  which  it  is  ^jenerally  ootuiecU^l, 
rather-  than  as  allied  to  beU-ringiag  propertj 


CJLBILLOIX. 


GABILLON. 


811 


■»«al]ed.  OocaaonaUy,  however,  the  tinging* 
bells  ax«  Alao  used  as  jmrt  of  the  carillon^  an 
^paratoB  beb^f  fitted  up  in  the  ringing  chamber 
vh^^ebj  the  carillon  and  dock  haznmen  can  be 
amultaneoiuly  pulled  off  the  bella  before  com- 
mencing  the  ringiog  of  the  peal. 

The  system  of  playing  tunes  on  small  bells, 
kung  in  a  graduated  order  and  struck  by  hand, 
is  belieTed  to  be  of  some  antiquity,  as  indicated 
hf  oecainnnal  illustrations  of  some  such  system 
a  m^disTal  manuscripts;  and  it  seems  prob- 
able enough  that  so  obvious  a  means  of  musio- 
sBsking  in  a  simple  form  may  be  even  older  than 
any  such  records  imply.    But  we  first  meet  with 
emrilkm  mumc  in  its  greater  form  in  the  15th 
century,  when  the  steeples  of  the  churches  and 
^telsHle-ville  of  Holland,  Belgium,  and  North 
G^many  made  the  country  resound  with  the 
beU-maaic  for  which  Belgium   especially  was 
fsmed  during  that  and  the  three  succeeding  cen* 
tcriea.    The  Van  den  Gheyn  fiuuily,  of  whom 
the   most  notable   m^nber,   Mathias  vui  den 
Gheyn,   was  bom  in   1721,  were  pre-eminent 
aznong  tJv  Belgian  makers  of  carillons ;  Mathias 
himself  having  been  also  an  ozgan-player  and 
carillon -player.    The  fiunily  were  of  Mechlin, 
but  migrated  to  Louvain,  where  the  traditions 
of  their  manufacture  are  kept  up  by  the  firm  of 
Aenchodt.      Among  the  most  celebrated  and 
kigest  carillon-peals  ci  the  continent  may  be 
■mentioned  those  of  Antwerp  (40  bells),  Bruges 
(48  bells),  Malines  (44  bells),  Ghent  (48  bells), 
de  Toumai  (4a  beUs),  de  Boulers  (39  bells), 
Louvain  ^  (35  bells),  etc.  It  is  worth  remark  that 
this  bell-music  has  had  its  special  development 
in  fiat  countries,  where  its  loud  and  travelling 
sounds  are  heard  with  far  more  efiiect  and  at  far 
greater  distance  than  in  hilly  districts,  where  the 
sound  is  closed  in,  IntoTrupted,  and  echoed  back. 
Indeed,  the  instinctive  feeling  which  has  led  to 
gnat  sets  of  bells  being  placed  in  the  towers  of 
Hat  countries  is  analogous  to  the  instinct  which 
gave  rise  to  the  towers  themselves.     A  fiat  land- 
scape suggests  the  building  of  towers,  which 
beoome  far-seen  landmarks,  and  connect  one  city 
vitb  another ;  and  what  the  towers  were  to  the 
eye  the  bells  were  to  the  ear,  sending  greeting 
Of  warning  from  one  city  to  another  over  a  vast 
expanse  of  level  landscape. 

Carillon -playing  in  these  cities  of  the  Low 
Coimtries,  however,  was  not  always  a  mere  piece 
of  mechanism ;  it  took  rank  as  a  brandi  of 
executive  art  in  music,  and  required  the  culture 
of  a  musician  to  develop  its  resources.  The 
Belgian  and  Dutch  carillons  were  furnished  with 
a  keyboard,  rough  and  uncouth  enough  indeed, 
but  still  such  as  enabled  the  carilloneur  to  per- 
form pieces  in  two,  or  (by  the  aid  of  pedals 
and  of  the  prolonged  resonance  of  the  bells)  even 
in  three  parts.  Compositions  were  written  for 
or  extemporised  on  them ;  and  some  of  the  '  moi^ 
eeaoz  fogu^*  for  carillons  by  Mathias  van  den 
Ghejn  have  been  collected  and  published  (,by 
MesBiB.  Schott  &  Co.).    The  bells  which  were 

'  TheLooralii  peal  fiu  1»en  reprodneed,  or  nearly  no.  in  the  carillon 
Mda  hy  GfBot  and  Blaad  far  Oatdstodi  cfauroli  in  DuMlkhlf«b 


intended  thtu  to  be  played  by  haad  were  fur- 
nished with  an  inside  dapper  as  well  as  the 
outside  hammers,  the  clapper  being  oonnected 
by  a  wire  with  the  keyboiard  below,  and  the 
hammer  operated  upon  by  the  mechanical  barrel, 
so  that  the  same  set  of  bells  could  be  played 
either  by  machinery  or  by  hand*  The  keyboard, 
though  arranged  on  the  same  principle  as  the 
ordimffy  p]anofi)rte  keyboard,  was  a  large  afiaiv 
with  wooiden  keys,  so  far  distant  from  (me  an- 
other as  to  admit  of  being  struck  with  the  fist 
without  disturbing  the  keys  on  either  side ;  fiv 
as  the  leverage  of  the  key  had  to  raise  the 
weight  of  the  clapper,  which  in  the  larger  belU 
was  considerable,  and  as  the  force  of  the  sound 
depended  also  in  great  measure  on  the  force  with 
which  the  key  was  struck,  it  is  obvious  that 
mere  finger  work  was  out  of  the  question.  The 
keyboard  in  &ct  was  analogous  rather  to  the 
pedal  board  of  an  organ,  and  in  some  cases  the 
largest  bells  actually  were  oonnected  with  pedal 
keys,  so  as  to  enable  the  player  to  strike  a 
heavier  blow  than  he  could  with  his  hands.  It 
may  easily  be  imagined  that,  on  this  system* 
carillon-playing  was  a  matter  of  no  small  physi- 
cal exertion,  and  required  the  performer  to  pos- 
sess meru  $ana  in  corpore  sano  to  have  a  chance 
of  ^ting  succeasfully  through  his  task,  for 
whicn  he  clothed  himself  generally  in  a  suit  of 
flannels  alone,  the  hands  being  protected  by 
thick  gloves  to  prevent  inj  ury  in  striking  the  keys» 
It  was  perhaps  owing  to  these  practical  diffi- 
eulties  that  the  art  of  carillon -playing  never 
seems  to  have  been  very  extensively  practised, 
and  has  now  very  much  fiillen  into  disuse.  But 
the  difBculty  arising  from  the  player  having  to 
contend  with  the  weight  of  the  clapper  in  sound- 
ing the  bells  was  even  more  felt  in  the  applica- 
tion of  chiming  machinery  to  the  hammers 
which  struck  on  the  exterior  of  the  bells.  The 
chimes  were  sounded  by  means  of  a  large  barrel 
connt^cted  with  and  regulated  by  clockwork,  by 
which  it  was  periodically  released,  and  driven 
round  under  uie  ordinary  motive  power  of  a 
weight,  strong  pins  fixed  on  the  barrel  coming  in 
contact,  each  at  the  proper  m(Hnent,  with  levers 
which  raised  the  hammers,  and  released  them  to 
fall  upon  the  bell  at  the  moment  when  the  pin 
on  the  barrpi  quitted  the  lever.  The  barrel  was 
*  pricked'  for  various  tunes  (generally  seven  or 
eight),  a  change  being  effected  by  shifting  it 
slightly,  on  the  principle  fiuniliar  to  every  one 
in  the  'musical-box*  toy,  which  is  in  fact  a 
carillon  on  a  minute  scale,  playing  on  vibrating 
tongues  instead  of  on  bells.  The  application  of 
this  principle,  on  the  large  scale  necessary  for 
carillon-ringing,  is  fraught  with  difficulties,  which 
the  rude  and  unscientific  system  still  prevalent 
on  the  continent  (and  clung  to,  apparently,  with 
the  same  kind  of  conservatism  which  leads  the 
North  German  organ-builders  ti>  ignore  all  the 
refinements  of  modem  mechanism)  quite  failed  to 
meet.  As  with  the  clavier-system,  the  difficulty 
really  lies  in  the  weight  to  be  overcome  in  lifting 
the  striking  hammer.  As  the  pins  on  the  barrel 
had  to  take  this  whole  weight,  it  was  neccfitary 


812 


CARILLON. 


that  they  should  be  veiy  fstrong,  and  the  barrel 
itself  thus  became  so  large,  cumbrous,  and  ex- 
pensive an  affair  as  to  add  very  much  to  the 
difficulties  of  fixing  a  large  carillon-machine  both 
in  regard  to  cost  imd  space*  The  time  occupied 
in  raising  the  hammer  rendered  any  rapid  repe- 
tition of  a  note  impossible  with  a  single  hammer, 
especially  with  the  lai^ger  bells ;  consequently  a 
large  proportion  of  the  bells  had  to  be  furnished 
with  two  or  more  hammers  to  provide  for  this 
difficulty,  the  pins  being  arranged  so  as  to  sound 
two  or  three  hammers  successively  on  the  same 
bell  when  the  immediate  repetition  of  a  note  was 
required.  The  method  of  sounding  the  note  by  the 
release  of  the  lever  from  the  pin  did  not  conduce 
to  precise  accuracy  in  the  time  of  sounding,  but 
a  much  more  serious  interference  with  correct 
tempo  arose  from  the  fact  that  as  some  of  the 
heavier  hammers  offered  much  greater  resistance 
to  the  pins  than  others,  while  the  barrel  was 
driven  by  the  same  unifonn  weight,  the  progpress 
of  the  tune  was  constantly  retarded  before  the 
striking  of  the  larger  beUs,  producing  the  irregu- 
lar or  'stuttering*  effect  which  those  who  have 
listened  to  carillon  chimes  must  have  noticed.^ 
The  system  is  in  fact  mechanically  so  clumsy, 
and  involves  so  much  loss  of  time  and  power, 
that  it  is  obvious  that  carillon-chimes,  if  worth 
doing  at  all,  are  worth  doins  better  than  this. 

England  has  borrowed  uie  idea  of  carillons 
only  recently  from  the  continent,  but  has  the 
credit  of  inventing  and  perfecting  the  principle 
of  mechanism  which  has  surmounted  all  the 
above-named  drawbacks  of  the  Belgian  carillon 
machinery.  The  part  which  English  sdenoe  and 
ingenuity  has  played  in  the  matter  is,  in  fact, 
exactly  similar  to  that  which  it  has  taken  in 
regard  to  organ-building.  We  borrowed  from 
the  Germans  the  idea  of  the  grand  instruments 
with  full  pedal  organ  which  supplemented  the 
'box  of  whistles'  of  the  old  English  builders, 
but  our  modem  builders  have  applied  to  them* 
mechanical  refinements  which  have  almost  revo- 
lutionised organ-playing  (not  perhaps  always  in 
the  right  direction),  and  have  placed  at  the 
disposal  of  the  English  organist  facilities  for 
variety  of  effect  and  brilliant  execution  such  as 
his  German  brother  in  the  art  is  scarcely  cogni- 
sant of  at  all.  In  regard  to  the  improvement  in 
carillons  it  is  only  simple  justice  to  say  that,  so 
£»,  its  history  is  identified  entirely  with  one 
firm,  who  perseveringly  set  themselves  to  accom- 
plish the  task  of  simpliiying  and  perfecting  the 
control  of  the  bells  on  true  mechanical  principles. 
Messrs.  GiUett  and  Bland,  of  Croydon,  dock 
manu&cturers,  having  turned  their  attention  to 
the  construction  of  carillons,  aimed  at  getting 
rid  of  the  main  difficulty  which  is.  as  we  have 
shown,  at  the  bottom  of  all  the  defects  of  the  old 
system,  namely,  the  use  of  the  same  action  both 
for  lifting  and  letting  go  the  hammers.  The 
principle  on  which  this  improvement  is  effected 

>  To  many  llBtenen,  no  donM.  thin  txTBguIarlty,  ao  Us  from  detracting 
from  the  effect  of  tbb  airy  muiiie,  would  lenm  rather  plcwing  frum  Its 
old-fiuhloned  lound  and  aasoeUtious.  This  aaiociation,  however, 
though  it  mar  he  a  reaMiD  for  not  Interfering  wlUi  old  chimes.  Is 
DO  reuon  ^>r  repeating  tha  lame  defects  In  new  ooea. 


CARILLON. 

is  by  the  introduction  of  a  revolving  cam  whe^ 
beneath  each  lever,  which,  coatinually  taming, 
raises  the  lever  the  moment  the    hammer  has 
struck  the  bell,  so  that  the  latter  is  at   once 
brought  into  position  again  for  striking,  and  the 
action  of  the  pins  on  the  barrel,  instead  of  being 
a  lifting  and  letting-off  action,  is  merely  a  letting- 
off,  the  whole  of  the  lifting  being  done  by  the 
cam  wheels.    As  in  many  other  mechanical  in- 
ventions, the  simplicity  of  action  'which  charac- 
terises the  new  carillon  machinery  ^as  not  at- 
tained at  once.    In  the  first  attempts,  of  which 
the  chiming  machine  at  St.  Patrick  s  Cathedral, 
Dublin,  is  an  example,  the  barrel  ^was  still  of  an 
unwieldy  size,  though  an  attempt  ^vas  made  to 
compensate  for  this  in  some  measure  by  a  novelty 
of  construction,  the  burel  consisting  not  of  a 
solid  cylinder  but  a  series  of  double  bars,  be- 
tween which  the  pins  were  fixed  in  such  a  man- 
ner, by  screws,  as  to  be  readily  capable  of  being 
loosened  and  shifted  one  way  or  the  other,  so  as 
to  be  adjusted  to  a  new  set  of  tunes  if  desired. 
The  first  machine  made  on  this  system  was  put 
up  at  Boston,  playing  38  tunes  on  44  bells,  but 
the  connection    between    the   letting -ofif  and 
lifting  action  being  much  too  complicated  and 
circuitous,  the   inventors   patented    a    further 
improvement  which  very  much  simplified  the 
action,  and  the  contact  between  the   pins  and 
the  levers  was  brought  to  the  front  instead  of 
the  top  of  the  barrel,  so  as  to  render  the  most 
important  portion  of  the  mechanism  more  easily 
accessible.     These  improvements  were  first  in- 
troduced in  the  machine  erected  in  Croydon 
church.     There  was  still  a  weak  point  in  the 
action;  but  it  would  be  impossible  to  explain 
all    the    intermediate   stages  of   improvement 
without  the  aid  of  a  number  of  diagrams,  and 
we  must  be  content  here  with  giving  a  description 
of  the  new  carillon  action  in  its  most  perfected 
form,  as  described  in  the  following  extract  from 
the  '  Engineer'  of  August  13,  1875,  and  which  is 
rendered  more  intelligible  by  the  aocompanyiug 
diagram,  representing  in  a  simple  manner  the 
principle  of  the  action,  without  encumbering  it 
with  details  :^ 


'  The  diagram  is  supposed  to  show  the  gear  for 
working  one  hammer.  It  must  be  multiplied  in 
proportion  to  the  number  of  hanmiers,  but  the 
parts  are  all  repetitions  of  each  oth^r. 

'  The  musical  barrel  B  is  set  with  pins  in  the 

usual  way.    A  is  a  cam  whedl  of  very  peculiar 

i  construction,  operating  on  a  lever  C  by  what  is 


CARILLON'. 

to  all  mienis  and  paipoees  a  new  mecHanical  * 
motion,  the  pecaliarity  of  whioh  is  that,  however  < 
bet  the  earn  wheel  revolveB,  the  tripping  of  the 
kTcr  is  avoided.     In  all  cases  the  outer  end  i 
smst  be  lifted  to  its  fall  height  before  the  swing-  , 
ic^  piece  D  quits  the  cam.     The  little  spring 
roUer  £  directs  the  tail  D  of  the  lever  into  the 
cam  space,  and  when  there  it  is  prevented  from 
GDTidng  out  again  by  a  very  simple  and  elegant 
Bide  devioBy  which  the  inventors  do  not  at  pre-  | 
tad  desire  to  be  made  public,  by  which  certainty  | 
of  action  is  secured.     At  the  other  end  of  the  ; 
kver  G  is  a  trip  lever  F.    This  lever  is  pulled 
toward  G  by  a  spring,  and  whenever  C  is  thrown 
3p  by  the  cam  wheel,  F  seizes  it  and  holds  it  up ; 
bat  the  wire  to  the  bell-hammer  in  the  tower 
ftl«ove  is  secured  to  the  eye  G,  so  that  when  D  is 
HAed,  the  eye  G  being  pulled  down,  the  hammer 
i»  lifked.    Tlie  pins  in  the  musical  barrel  B  come 
s;^.unat  a  step  in  F,  and  as  they  pass  by  they 
posh  F  outwards  and  release  C,  which  immediately 
dn^is,  and  with  it  the  hammer,  so  that  the  in- 
stant the  pin  passes  the  step  F  a  note  is  sounded. 
But  the  moment  D  drops  it  engages  with  A, 
vhich  last  revolves  at  a  very  high  speed,  and  D 
id  incontinently  flung  up  again,  and  the  hammer 
rused,  and  raised  it  remains  until  the  next  pin 
on  B  passes  the  step  on  F,  and  again  a  note  is 
itnu^   It  will  be  seen  therefore  that,  if  we  may 
ue  the  phrase,  B  has  nothing  to  do  but  let  off 
traps  set  continually  by  A,  and  so  long  as  A  sets 
the  traps  £wt  enough,  B  will  let  them  off  in 
correct  time.    But  A  revolves  so  fast  and  acts  so 
poweriully  that  it  makes  nothing  of  even   a 
3  cwt.  luunmer,  much  less  the  little  ones ;  and 
thus  a  facility  of  execution  is  obtained  hitherto 
cnknown  in  carillon  machinery.*   We  venture  to 
think  that  our  readers  will  agree  with  us  that 
soch  a  carillon  machine  as  we  illustrate  is  about 
aa  ingenious  a  oombination  of  mechanism  as  is  to 
be  last  with  in  the  range  of  the  arts.' 

It  will  be  seen  that  here  we  have  a  system 
in  viuch  all  the  direct  work  that  the  musical 
barrel  has  to  do  is  merely  to  let  off  the  triggers, 
BO  to  speak,  of  the  hsimmers,  while  the  force 
neceasaiy  to  raise  them  is  so  distributed  and  so 
mach  better  applied  than  when  the  pins  on  the 
barrel  had  to  perform  this  office,  that  the  in- 
equality of  weight  between  the  large  and  small 
banuners  is  not  felt  as  a  perturbing  influenoe  on 
the  speed  of  working.  One  result  of  this  u  that 
the  barrel  is  greatly  reduced  in  dimensions ;  the 
pins  being  required  only  for  such  light  work  can 
be  made  much  smaller,  and  require  little  or  no 
leveTige  power  in  themselves ;  and  consequently, 
vhile  the  old  carillon  barrels  were  sometimes 
»ght  or  ten  feet  in  diameter,  that  at  Shoreditch 
is  only  ten  inches  diameter.  A  barrel  of  this 
926,  besides  taking  up  so  much  less  room,  can 
esdly  be  taken  out  and  exchanged  for  a  fresh 
one,  with  a  new  set  of  tunes,  when  desired. 

But  the  crowning  advantage  of  tiie  system  of 
the  letting-off  barrel  is  that  by  this  means  music 
cia  be  pUyed  on  the  bells  by  a  keyboard  like 
that  of  a  pianoforte  attached  to  the  frame,  with 
no  more  exertion  than  on  the  pianoforte  iisell 


CAEILLOK 


813 


Thus  the  physical  effort  entailed  by  carillon- 
playing  on  the  old  continental  system,  which 
rendered  it  an  art  only  to  be  attacked  by  a  mus- 
cular person  in  rude  health,  is  entirely  a  thing  of 
the  past,  and  there  is  no  reason,  so  far  as  the 
difficulty  of  the  task  is  concerned,  why  carillon- 
playing  should  not  be  as  common,  in  connection 
with  large  churches  and  public  buildings,  as 
organ-playing.  The  new  carillon  for  Manchester 
Town  Hail,  in  construction  at  the  time  of  writing 
these  remarks,  is  to  be  furnished  with  such  a 
keyboard,  in  addition  to  the  mechanical  arrange- 
ment for  sounding  the  chimes.  It  may  also  be 
observed  that  the  carillon  system  can  be  applied 
to  produce  mechanical  change-ringing,  by  having 
a  barrel  pricked  with  changes,  and  thus  the 
*  ringing  for  church*  can  be  done  automatically, 
in  places  where  ringers  capable  of  change-ringing 
are  not  to  be  found.  This,  however,  can  only 
be  r^arded  as  an  inferior  and  meagre  substitute 
for  the  grand  effect  produced  by  change-ringing 
with  swinging  bells ;  and  many,  perhaps,  would 
even  prefer  round-ringing  with  the  swung  bells 
to  mechanical  change-ringing  with  fixed  bells. 
The  result  however  can  be  heard  and  judged  of 
at  Greenfield  church,  and  at  St.  Mark's,  Oldham, 
where  this  contrivance  has  been  applied. 

The  beUs  composing  a  carillon  peal  are  fixed 
to  a  frame,  generally  of  oak,  slightly  pyramidal 
in  shape,  so  that  while  the  lower  cross-beams 
bear  upon  the  wall,  the  upper  portion  of  the 
frame  stands  free ;  this  is  not  so  absolutcdy  essen- 
tial as  in  the  case  of  bells  hung  to  swing,  where 
the  swaying  action  is  very  violent  when  the  peal 
is  being  rung ;  but  still  it  is  better  to  keep  the 
vibration  off'  the  wall  as  much  as  possible.  The 
large  bells  are  hung  at  the  bottom  of  the  frame 
(in  some  of  the  continental  towers  they  were 
hung  low  down,  below  the  barrel  and  quite  apart 
from  the  rest),  and  the  smaller  ones  above.  In 
arranging  the  scale  of  the  bells  it  is  seldom  con- 
sidered necessary  to  have  the  complete  chromatic 
scale  throughout ;  and  in  almost  all  the  older 
carillons  the  lower  portion  of  the  scale  was  re- 
stricted to  a  few  notes  giving  the  tonic  or  domi- 
nant to  the  keys  intended  to  be  most  used,  the 
intermediate  intervaU  being  omitted  on  account 
of  the  great  expense  of  the  laiger  bells,  and  the 
amount  of  space  which  they  occupied.  The  ar- 
rangement, in  frkct,  is  much  the  same  as  that 
which  obtained  on  the  pedal  boards  of  old  English 
organs,  before  what  were  at  first  called  'Gennan 
pedals*  (i.  e.  the  complete  scale)  were  introduced. 
This  principle  has  mostly  been  more  or  less  fol- 
lowed in  the  modem  English  peals.  The  follow- 
ing is  the  scale  for  Manchester  Town  Hall,  con- 
sisting of  twenty-one  bells:^ 

Hoar  BeU,  7  tooi. 


m 


Gf   $v 


n  f-j 


Here  the  carillon  scale  is  laid  out  for  the  keys  of 
D  and  A  principally,  and  the  selection  of  G  for 


814 


CARILLON. 


the  hoar  bell  appears  out  of  keeping;  but  in 
fact  the  hour  bdl  is  never  used  in  the  carillon, 
and  the  quarter  chimes  are  sounded  on  a  selec- 
tion from  the  carillon  peal  forming  a  scale  in 
the  key  of  0.  The  ten  bells  used  for  this  pur- 
pose are  also  hung  so  as  to  swing  and  be  rung 
by  hand  in  the  ordinary  manner,  the  carillon 
action  being  lifted  off  for  the  purpose :  so  that 
Manchester  in  reality  has  two  peals,  the  carillon 
peal  as  given  above,  rung  mechanically,  and  the 
following  scale — 


$ 


"sr 


-js: 


-"&- 


zs: 


-tfp- 


-<SP — — ' — 


formed  of  bells  selected  out  of  the  carillon  peal, 
rung  by  hand.  There  is  also  an  automatic 
change- ringing  barrel  to  operate  upon  these  bells 
when  desired.  It  may  be  mentioned  that  this  is 
the  first  town-hall  in  England  which  has  been 
fitted  with  a  ringing  peal.  Carillons  on  the 
perfected  principle  above  described  have  already, 
at  the  date  of  this  article,  been  put  up  in  the 
towers  of  Worcester  Cathedral,  of  Bradford.  Roch- 
dale, and  Reading  Town  Halls,  in  the  churches 
of  Leek,  Oldham,  Shoreditch,  Holsworthy,  Wit- 
ney, St.  Stephen's  Hampstead,  etc.,  all  by  the 
same  Croydon  firm  before  referred  to. 

How  far  manual  carillon- playing  may  be  car- 
ried, as  a  branch  of  music,  with  effect,  it  is  diffi- 
cult to  say.  The  class  of  composition  performed 
on  such  a  medium  can  never  he  very  elaborate  or 
varied,  and  must  probably  have  a  specialty  of 
character  to  suit  the  instrument  (if  one  may  call 
it  so)  and  the  circumstances  and  situation  in 
which  it  is  heard.  It  is  possible  that  these  con- 
siderations might  suggest  some  novelty  of  style 
and  effect,  if  the  keyboard  carillon  comes  more 
into  use.  The  clangour  and  prolongation  of  the 
sound,  however,  which  is  one  of  the  characteriHtio 
effects  of  a  peal  of  bells,  is  inimical  to  anything 
like  true  musical  definition ;  and  the  attempt  to 
damp  the  bellH  after  being  struck  would  rob  them 
of  much  of  their  peculiar  wildness  and  grandeur. 
It  would  seem,  therefore,  that  the  carillon  must 
always  be  an  instrument  for  effect  rather  than 
for  intricate  musical  design ;  though  it  would  be 
very  interesting  to  hear  the  experiment  tried  of 
executing  more  elaborated  music  on  a  carillon 
with  a  complete  chromatic  scale.  It  must  always 
be  remembered  however,  that  carillons,  like  Ijells 
proper,  are  to  be  judged  from  a  fair  distance,  and 
not  at  close  quarters ;  their  tones,  calculated  to  be 
heard  over  a  large  tract  of  country,  are  necessarily 
somewhat  harsh  and  jangling  when  too  near. 

What  may  be  termed  drawing-room  carillons 
are  also  made,  in  which. the  sounds  are  produced 
by  metal  bowls  like  the  bell  of  an  ordinary  time- 
piece, and  played  on  by  a  pianoforte  keyboard. 
These  may  perhaps  produce  some  new  musical 
effects  in  combination  with  such  an  instrument 
as  the  harmonium ;  but  probably  they  will  always 
be  regarded  as  pretty  toys  ratiier  than  serious 
means  of  musical  effect  or  expreraion.  [H.  H.  S.] 

CARIO,  JoHAVTN  Heinrich,  bom  at  Eckem- 
fimle  in  Holstein,  1736,  was  instructed  by  £m- 


CARISSIMI. 

I  mannel  Bach,  Telemann,  and  Schveoke,  and 
j  became  a  great  trumpet  player.     He  is  Mud  to 
I  have  invented  a  keyed  trumpet  which  would 
'  play  in  every  key,  and  to  have  executed  a  pre- 
lude in  Bb  minor.     He  may  therefore  have  been 
able  to  execute  the  trumpet  parts  in  Seb»tian| 
Baches  music  which  ue  now  unplayable.    Caiio 
was  living  in  1800.  [G.] 

CARLSSIMI,  GiACOMO,  was  bom  at  MariAoi 
near  to  Rome  in  1604,  according  to  Pitoni,  wb(tni| 
both  M.  Fetis  and  the  Abb^  Alfieri  follow  upon 
this  point;  but  at  Padua  in  158a,  if  Spiri- 
dione^  be  trusted  fw  the  place  of  his  birth,  aad 
Mattheson  for  the  date  of  it.  His  first  ppv 
fbssional  poet  was  that  of  Maestro  at  Assisi.  Tins 
he  held  for  some  years.  He  then  went  to  Rome, 
where  he  obtained  the  Mastership  at  the  chimrh 
of  S.  Apollinari?,  attached  to  the  German  Col- 
lie. In  this  office  he  passed  tlie  remainder  of 
his  days,  without,  in  all  probability,  ever  having 
crossed  the  Papal  frontier.  He  died  in  1674. 
That  he  gained  his  taste  and  style,  which  were 
admirable,  by  long  residence  in  Paris,  and  by 
writing  for  French  audiences,  is  one  of  by  no 
means  the  least  foolii^h  and  perverse  of  the  many 
foolish  and  perverse  assertions  of  the  Seigneur  de 
Fr^neuse.^ 

Carissimi  has  the  reputation  of  having  done 
more  than  any  other  Italian  of  his  epoch  towardi 
the  perfection  of  recitative.    To  him  Kircher  ad- 
mits that  he  owes  much  that  is  valuable  in  his 
'Musurgia*  upon  this  branch  of  art.^  He  was 
moreover,  although  not  the  actual  inventor  of  the 
sacred  cantata,  at  lea-t  its  parent  by  adoption  and 
development,  and  at  his  hands  it  received  thai 
elevation  of  form  and  accession  of  beauty  which 
enabled  it  to  supplant  the  madrigal,  and  give  to 
sacred  music  those  elements  of  pathos  and  dra- 
matic force  for  which  the  rise  of  the  opera  had 
created  a  general  appetite.    A  third  contribution 
by  Carissimi  to  the  progress  of  his  art  was  the 
lightness  and  variety  of   his  accompaniment. 
He  had  less  learning  and  more  imagination  and 
playfulness  than  his  predecessors  in  the  Roman 
school.     But  if  his  harmonies  were  less  elaborate 
than  theirs,  his  melodies  were  freer  and  more 
graceful,  and  his  effects  more  dramatic.    There 
was  something  essentially  modem  in  his  mu»ic, 
and  he  was  the  precursor  and  teacher  of  a  large 
group  of  polished  and  pleasant  artists,  among 
whom  Bassani,  Cesti,  Buononcini,  and  Ales^fkudro 
Scarlatti  were  conspicuous.     Ko  less  prolific  than 
original,  Caris&imi  left  a  great  quantity  of  finished 
work  behind  him.    Unhappily  too  little  of  it  his 
been  published,  and  too  much  of  it  was  destroyed 
at  the  time  of  the  suppression  of  the  Jesuits, 
when  the  collections  of  S.  ApoUinaris  and  tii0 
Gesh  were  sold  for  waste  paper.    In  the  library 
of  the  Ahh6  Santini  there  were  two  printed  col- 
lections of  motetti  by  Carissimi  for  two,  three, 
and  four  voices,  which  had  been  published  at 
Rome  in  1664  and  1667,  and  a  Lauda  Sion  and 

1  '  Mndca  Roman*  D.  D.  FogKte,  nwi—imi^  Ontianl,  aUofaiiKiub.* 
(BamberR.  less.) 

>  '  Coinpnraiion  de  U  Musique  ItaQenne  et  de  la  llttrique  tna^iiai,' 
Stee  |i«nle,  p.  «M).    ittnuMjlai  irvi) 


CAltlSSlMX. 


CABMAN^  WHISTLE. 


819 


•  Nia  Dominns^  both  for  eight  voices,  snd  both 
IB  mannflcript.    Baini  lays  that  in  the  archives 
of  the  Po&tifical  Chaj)el  there  ie  a  mass  by  Ca* 
risnmi  ibr  twelve  voices,  written  on  the  famous 
Pn»veB9»l  mriody   L'homrae  ami^.*    This  is  be- 
Ueved  to   be  the  last  oocasloii  on  which  that 
&vcHirite  theme  was  ever  employed.    The  Na- 
tional labra^  in  Paris  has  a  rich  manuscript 
eoUectaon   of  the  oratorios  of  Carissiibi.     The 
fbilowin^  is  a  list  of  their  names : — 'La  Plainte 
des  Dunn^* ;   *Histoire  de  Job' ;    '  fiztehias* ; 
'Baltaaar*;  'David  et  Jonaihas*}  'Abraham  et 
I«ac*;   'Jephte*;  'Le  Jugement  Dernier* ;  'Le 
Hauvais  Biche' ;  'Jonas*.     Chief  among  these 
ranks  the  Jephthah,  of  which  Hawkins  £u  said 
that  'for  sweetness  of  melody,  artful  modulation, 
snd  original  harmony,  it  is  justly  esteemed  one  of 
the  finest  efforts  of  musical  skill  and  genius  that 
the  world  knows  of.*     Handel  thought  it  worth 
wh'le  to  borrow  his  chorus  in  'Samson,*  'Hear 
Jacob's  God*  from  a  fiunous  movement  in  the 
'Jephte'    called    'Plorate    filiaB    Israel.'    Croft 
has   imitated   his    *6audeamuB,*    and    Aldrich 
adapted  his  motets  to  English  words  for  anthenu. 
Hawkins  prints  a  remarkably  graceful  little  duet 
of  Carissimi,  called  'Dite,  o  CSeli.'    It  was  in 
emulation  of  this  piece,  upon  hearing  it  over- 
praised by  King  Charles  II,  that  Dr.  Blow  com- 
poeed  his  celebrated  'Go,  perjured  man.'    The 
library  of  the  French  Conservatoire  is  rich  in 
the  manuscripts  of  Carissimi,  and  there  are  some 
Taluable  volumes  of  his  music  in  the  British 
Museum.    But  the  magnificent  collection  of  his 
vorks  made  by  Dr.  Aldrich  at  Oxford  throws 
all  others  into  the  shade,  and  forms  one  of  the  | 
ipedal  omamentn  of  the  library  at  Christ  Church.  > 
A  few  of  his  pieces  are  in  the  Musica  Bomana 
of  Spiridione,   and  a  few  more,  disfigured  by 
French  wordB,  in  the  collection  of  *Airs  serieux 
et  k  boire,*  published  by  Ballard.    There  are 
Mme  motets  of  his  in  St6vens*s  '  Sacred  Music,' 
sod  Crotch  has  published  one  or  two  examples  in 
his  'Selections  of  Music*     Five  specimens  are 
printed  in  the  'Fitzwilliam  Music'     Jephte, 
Judidom  Salomonis,  Jonas,  and  Baltazar  have 
been  published  by  Chrysander  (Schott);    and 
Jonah  by  Henry  Leslie  (Lamborn  Cock).   Enough 
haa  now  been  said  to  indicate  where  those  who 
aie  interested  in  this  master  may  form  acquaint- 
aace  with  his  work ;  and  it  only  remains  to  add 
that  the  '  Judgment  of  Solomon,'  a  cantata  often 
attributed  to  him,  was  in  all  probability  not  his, 
bat  the  production  of  his  pupil  Cesti.     [E.  H.  P.] 

CARLO,  Gebonimo,  bom  at  Beggio  in  the 
first  half  of  the  i6th  century ;  author  of  a  col- 
lection  of  five-part  motets  by  eminent  composers, 
Creqaillon,  Clemens  non  Papa,  Ciera,  etc.,  en- 
titled  'Motetti  del  Labirinto,*  a  vols.  (Venice, 
1554  and  1555).  [M.C.C.] 

CARLTON,  Bbv.  Bichabd,  Mus.  Bac,  pub- 
lished in  1 601  a  collection  of  twenty-one  *  Ma- 
drigals fat  five  voyces,*  the  prefiace  to  which  is 
dated  from  Norwich.  He  had  in  the  same  year 
toQtributed  a  madrigal,  'Calme  was  the  aire,* 
to  'The  Trimnphes  of  Oriana.'  Nothing  is  known 
of  his  biography.    One  of  the  same  name  was  in 


161  a  presented  to  the  rectory  of  Bawsby  and 
Gloethorp,  Norfolk.  [W.  H.  H.] 

CABMAGNOLE.  The  French  song  called 
'  La  Carmagm^e'  is  a  popular  tune  origiiiating  in 
Provence.  Gfi^try  (M^moires,  ill.  i^)  thought  it 
was  originally  a  sailor-song  often  heard  in  Mar- 
seilles ;  it  is  more  probaUy  a  ooun^  roundelay 
or  dance-tun^  adi^ted  to  a  patriotic  mili- 
tary song  which  was  written  either  at  the  end 
of  August  or  early  in  September,  179a.  The 
four  stanzas  ef  this  national  song  are  known 
to  a  very  few  historians  only ;  we  transcribe  the 
first  couplet  :— 

'Le  oaaon  vient  de  rtenner : 
Guerriers,  soyez  prSts  h  marcher. 

Citoyens  et  soldats, 

En  volant  aux  combati^ 

Dansons  la  carmagnole : 
Vive  le  son,  vive  le  son, 

Dansons  la  carmagnolei 
Vive  le  son 
Du  canon  I ' 

The  unknown  author  of  these  lines  was  pro- 
bably some  brave  soldier,  whilst  the  bloody  '  Car- 
magnole des  Boyalistes*  nuty  be  attribute*  i  to  the 
worst  of  demagogues.  The  original  eight  stanzas 
of  the  latter  began  as  follows : — 

'  Oui,  je  suis  aans  culotte,  moi» 
£n  depit  des  amis  du  roi. 
Vive  les  MarseiUois, 
Les  Bretons  et  nos  lois  I  * 

But  this  new  song  was  soon  enlarged,  and  when 
published  by  Fr^re  it  contained  thirteen  stanzas, 
the  first  of  which  ran  in  the  following  manner, 
to  the  tune  of  the  Gannagnole  i-^ 


P 


^:  £  r  &^ 


-PT-gtf 


Ma-daiiM  V«  •  to     a  -  rrit  pro-mii.  1U,-d$txm  Ve-to 


J-  ^  ii'l J •''.f I rt-r  Mr  p  rg 


«  -  valt   piDinia,      Dv  iUre  6  -got-gu  tout  Pa-rti,    De! 


bfa«    i  -  mat  '  gu    tout   Fa  -  rii;   Mala    lon  eoup   a    main 


^g 


S 


5^^t 


qui.   OiBoa    A     not    ea  -  nwmlwi.    Dan- 


te   car 


f^[i&&|J>  J\^j^.MJ  i^ 


Ruo-la.   VI. re   le  iod.    Ti-va  la   son.  DfA-ioni  la  Car - 


ICC 


^. 


\  .r*i 


i 


gno 


VI  -   ▼• 


son 


da 


noni 


During  the  French  Revolution  a  great  many 
songs  were  adapted  to  this  tune,  which,  in  spite 
of  its  association  with  the  Terreurf  has  often 
been  introduced  on  the  stage  in  vaudeviUes  or 
burlettas.  [G.C.J 

CARMAN'S  WHISJLE,  THE,  an  old  Eng- 
lish tune  found  in  the  Virginal  books  of  Lady 
Nevill  (159O  and  Queen  Elizabeth  (1603-1 2\ 
in  both  with  harmony  and  variations  by  Byrd. 


316 


CARMAN'S  WHISTLE. 


CARPANI. 


The  following  is  the  air  as  there  given  (see  Bur- 
ney,  *  HiBtory,'  iii.  89) : — 


f  ?f  ji^J  Jj.ir^  fr  JN'J*^ 


J-'  J  ^l^rijjli''  J'^IJ-."^ 


J ''  J.**  I J  ^J  jj-i^  J  -^N  ;7|^ 


Andantino 


In  Chappeirs  'Popular  Music  of  the  Olden 
Time'  (p.  139)  the  tune  is  given  to  the  words  of 
'The  courteous  carman  and  the  amorous  maid,' 
and  is  mentioned  (p.  438)  as  suiting  'The  country 
hostesses  vindication/  [G.J 

GARMIGNANI,  Giotanna,  sang  in  London 
in  1763,  taking,  among  others,  the  principal 
serious  part  of  I^vinia  in  '  La  Cascina,'  produced 
at  the  King's  Theatre  by  J.  G.  Bach.  Anna  de 
Amicis  sang  in  the  same  piece.  ,  [J .  M.] 

CARNABY,  William,  Mus.  Doc.,  bom  in 
London  in  i7;a,  was  a  chorister  of  the  Chapel- 
Royal  under  Ihr.  Nares  and  Dr.  Ayrton.  On 
leaving  the  choir  he  became  organist  at  Eye, 
which  he  quitted  for  a  similar  appointment  at 
Huntingdon.  Whilst  residing  at  the  latter  place 
he  published  'Six  Canzonets,'  and  alao  'Six 
Songs,'  which  were  favourably  received.  In  1805 
he  graduated  at  Cambridge  as  Bachelor  of  Music, 
and  in  1808  proceeded  to  Doctor.  In  the  interval 
he  had  settled  in  London,  and  on  the  opening  of 
Hanover  Chapel,  Regent  Street,  in  1823,  he  was 
appointed  its  oiganist.  His  compositions,  chiefly 
vocal,  were  numerous.  They  have  been  charac- 
terised as  scientific,  but  deficient  in  taste.  He 
died  Nov.  13,  1839.  [W.H.H.] 

CARNAVAL  DE  VENISE.  This  popular 
air,  which  was  heard  by  Paganini  at  Venice, 
when  he  visited  the  Queen  of  the  Adriatic  in 
1 81 6,  1824,  and  1826,  and  which  his  magic  bow 
has  made  a  favourite  tune  all  over  the  world,  is 
the  effusion  of  an  unknown  musician  probably  of 
the  end  of  the  last  century.  Seveial  talented 
composers  have  embroidered  it,  and  all  pianists 
have  played  the  brilliant  variations  and  fantasias 
wJtten  upon  it  by  Herz  and  Schulhoff.  It  has 
been  even  introduced  on  the  lyric  stage.  Am- 
broise  Thomas  has  composed  very  clever  variations 
on  the  tune  for  the  overture  to  his  opera  '  Le 
Camaval  de  Venise,'  and  Victor  Masse,  in  his 
'  Reine  Topaze,'  introduces  an  air  varie  upon  it 
to  the  words 

'  Yenise  est  tout  en  fStes, 
Car  voici  le  camaval.' 

In  England  it  was  for  long  known  to  the  words 

'  O  come  to  me,  I'll  row  thee  o'er 
Across  yon  peaceful  sea.' 

The  air,  aa  given  by  Paganini,  is  as  follows : — 


mi  rtJ'^^^ 


■r^i\f  n  iin^fAr  rJ  ? 


[G.C] 

CARNICER,  Ravon,  Spanish  dramatic  com- 
poser,  bom  near  Lerida  in  Catalonia  1 789,  died  in 
Mac'rid  1855.     In  18 18  he  was  appointed  con- 
ductor at  the  Italian  Opera  of  Barcelona,  and 
here  he  produced  successfully  his    first    opera 
'Adela  de  Lusignano,'  which  was  followed  by 
.several  others.     Between  1820  and  27  he  visited 
Paris  and  London,  and  was  favourably  received 
in  both.     In  28  he  was  appointed  conductor  at 
the  Theatre  Royal  in  Madrid,  for  which  he  com- 
posed 'Elena  e  Malvino'  (1829),  and  'Colombo' 
0^3i)y    generally    considered    his    best    work. 
He  largely  contributed  to  the  foundation  of  a 
national  opera.    From  1 830  to  54  he  was  professor 
of   composition   at  the    Madrid   Conservatoire. 
Besides  nine  operas,  he  composed  church  music, 
symphonies,  military  marches,  national  hynrnn, 
and  an  infinity  of  songs.    His  music  is  originsl 
and  rhythmical,  though  much  impregnated  with 
phrases  from  national  airs.  [M.  C.  C.J 

CAROL,  see  Himk. 

CARON,  FiBMiN,  a  composer  of  the  15th 
century,  probably  bom  about  1420.  He  is  said 
by  Tinctor  to  have  been  the  scholar  of  Binchois 
or  Dufay.  The  name  is  Flemish.  Baini  (*  Pales- 
trina')  states  that  the  Library  of  the  Pope's  Chapel 
possesses  a  MS.  volume  of  masses  by  Caron,  con- 
taining one  on  '  L'onuue  arm^.'  Caron  also  wrote 
secular  songs,  some  of  which  were  known  to 
M.  Fdtis,  who  found  them  to  surpass  those  of 
Ockenheim  and  Busnois  in  ease.  One  of  them 
begins 'Helasl  que  pourra  devenir.*      [M.C.C.] 

CAROSO,  Mabco  Fabricb,  of  Sennoneta,  in 
Italy ;  author  of '  II  Ballerino . . .  con  intavolaturs 
di  liuto,  e  il  soprano  della  musica  nella  sonata 
di  ciascun  ballo'  (Yenice,  1581),  valuable  for 
the  dance  music  which  it  contains.         [M. C.O.J 

CARPANI,  GiusEPPB,  poet  and  writer  on 
music,  bom  Jan.  28,  1752,  at  Yillalbese,  in  the 
district  of  Brianza.  His  father  destined  bim 
for  the  law,  he  studied  at  Milan  and  Padua, 
and  practised  under  the  celebrated  advocate 
Yillata  at  Milan.  But  he  soon  gave  up  the 
law,  entered  the  society  of  artists  and  literary 
men,  and  indulged  his  natural  taste  for  art.  He 
had  already  written  more  than  one  comedy 
and  several  opera-libretti  for  the  Italian  stage, 
among  others  'Canulla,'  composed  by  PoSr. 
In  consequence  of  some  violent  articles  against 
the  French  Revolution  in  the  'Gassetta  di  Milano,' 
of  which  he  was  editor  from  1792-96,  he  had  to 
leave  Milan  when  it  was  taken  by  tiie  French. 


CARPANI. 

rnt3  the  peace  of  Campo  Fonnio  in  1797  he 
lired  at   Vioma;    after  that  date  he  became 
oeosor  and  director  of  the  stage  in  Venice,  but  a 
malady  of  the  eyes  drove  him  back  to  Vienna, 
where  the  Emperor  pensioned  him  till  his  death. 
He  paUiohed  a  nmnber  of  translations  of  French 
snd  German  operas,  and  also  wrote  an  oratorio 
on  'La   passione  di  Gesii  ChristOy'  which  was 
si:^'to  musio  by  Weigl,  and  performed  in  1808, 
in  the  palace  of  Prince  Lobkowits,  and  in  1821 
bj  the  GeseUschaft  der  Muuk-Freonde.    He  also 
translated  the  '  Creation*  into  Italian,  and  wrote 
%  sonnet  on  the  celebrated  perfonnance  of  that 
vork,  at  which  Haydn  was  present  the  year  be- 
fore his  death.    Gaipani  had  the  greatest  esteem 
sad  affection  for  Haydn,  which  led  to  his  pub* 
lisbing  his  well-known  *Haydine,*  etc.  (Milan, 
1813,  and  a  second  enlarged  edition  at  Padaa> 
1 823).  '  La  Haydine*  is  a  lund  of  sesthetical  work, 
and  a  etdogy  on  Haydn^s  compositions,  written 
with  enthusiasm.    It  quickly  found  a  translator 
in  Beyle,  the  French  writer,  wno  published  it  as  his 
own  composition  under  the  name  of  Bombet — 
'  Lettzes  Rentes  de  Vienne,  etc.,  by  Louis  Alex* 
sadre  G^sar  Bombet*   (Paris,  1814).    Carpani 
attacked   this    piracy   in   two   spirited   letters 
— 'Lettere   due,   dell*  Autore    delle  Haydine* 
(Yienna,  1815).    Beyle  was,  nevertheless,  an- 
dadooa    enough   again    to    publish    his   work, 
this  time  under  the  alias  of  Stendahl,  'Vies 
de  Haydn,  Mozart,  et  M^tastase,*  etc.  (Paris, 
1817).     In    spite    of    Garpani*s    protestations, 
the  first  of  the  two  appeared  in  English  as 
'Lives  of  Haydn  and  Mozart'  (Murray,  181 7; 
sod  Boston,  U.S.,  1839).    Extracts  of  (>arpani*s 
original  work,  translated  by  D.  Mondo,  appeared 
at  Niort  in  1836,  and  in  a  complete  form  at 
Psris  1837,  under  the  tlUe  *  Haydbi,  sa  vie,  sea 
oaviages,  et  ses  aventures,  etc.,  par  Joseph  Car- 
pani; traduction  de  Mondo.*     Some  clever  but 
partial- sketches  of  Rowrini  were  published  by 
Csrpani   in   one    volume   as   *Le  Bossiniane^* 
(Psdoa^  1834).  ThisaLsowas  pirated  anonymously 
by  Bejrle  (Paris),  and  published  by  Mondo.    In 
1800  Carpani  accompanied  the  Archduke  John 
on  his  expedition  to  Italy.    After  the  return 
of  peace,  he  devoted  himself  to  starting  the 
'Biblioteca  Italiana.'    He  died  in  the  smaller 
liechtenstein  Palace  at  Vienna,  a  bachelor  of 
73,  on  Jan.  a 3,    1835,  from  simple  decay  <tf 
nsture.  [C.F.P.] 

CARPENTRAS,  OB  IL  CABPENTRASSO, 
the  sobriquet  of  Eliazar  G^enet,  bom  at  Car* 
pentras,  Vanduse,  before  1500.  Being  in  priest*8  1 
orders  he  became  a  member  of  the  Pope*s  Chapel, 
sad  wrote  some  Magnificats  and  Lunentations, 
the  hitter  of  which  induced  Leo  X  to  make  him 
Biihop  in  parlibus  in  15 18.  About  the  same 
time  he  became  the  Pope's  Chapel-master.  He 
was  mudi  employed  in  negotiations  by  both  Leo 
sod  Clement  Vll,  and  di^  after  the  year  1533 
—the  date  of  two  out  of  four  volumes  of  musio 
which  he  published.  VoL  i  contains  5  masses, 
written  on  the  most  secular  tunes — '  A  Tombre 
d'lm bnissonet,' '  Encore  irai-je  jouer,*  etc. ;  vol.  2, 
the  Lamentations  of  Jeremiah ;  vol.  3  is  Liber  ' 


CARTIER. 


817 


Hj^mnonun ;  vol.  4,  Liber  Magnificat.  Carpen* 
tras*  music  enjoyed  a  great  &me  at  the  time, 
and  was  much  published  (see  the  list  in  F^tis). 
His  Lamentations  were  so  favourite  as  to  keep 
those  of  Palestrina  out  of  the  Pope*s  Chapel  for 
many  years.  M.  F^tis  had  examined  them,  how- 
ever, and  finds  them  inferior  not  only  to  Pales- 
trina but  to  Josquin  des  Pr^ 

CARRODUS,  John  Tiflaot,  bom  at  Eeigh* 
ley,  Yorkshire,  Jan.  20,  1836.  His  father  was 
a  zealous  amateur,  a  violin  player,  and  leader  of 
the  local  Choral  Society.  The  boy  was  destined 
to  music  from  the  first,  and  at  13  years  of  age 
was  put  into  the  able  hands  of  Molique,  whom 
he  accompanied  to  Stuttgart,  and  with  whom  he 
remained  till  nearly  18.  (3n  his  return  to  Lon- 
don he  entered  the  orchestra  of  Covent  (jrarden, 
and  made  his  first  appearance  as  a  solo-player  at 
a  concert  of  the  Musical  Society  of  Lcnidon,  on 
April  33,  1863,  since  which  time  he  has  been 
frequently  heard  at  the  Philharmonic,  the  Crystal 
Palace,  tikd  other  leading  concerts,  both  metro- 
politan and  provincial.  He  has  published  two 
Violin  Solos  and  a  Morceau  de  Salon.  [6.] 

CARTER,  Thomas,  bom  In  Dublin  about 
1735*  '^  >^  ®^7  ^®  displayed  a  capacity  Ibr 
music,  and  was  sent,  under  tiie  auspices  of  the 
Earl  of  Inchiquin,  to  Italy  for  study.  He  after- 
wards went  to  India  and  undertook  the  direction 
of  the  music  at  the  Calcutta  Theatre,  but  the 
climate  proving  injurious  to  his  health,  he  re- 
turned to  England  and  appeared  as  a  dramatio 
composer.  He  furnished  Drury  Lane  Theatre 
with  music  for  '  The  Rival  Candidates'  (1775), 
'The  Milesians*  (1777),  and  the  *  Fair  Ameri- 
can* (i  7^0*  In  1 787  he  became  musical  director 
of  the  Royalty  Theatre,  Goodman's  Fields,  then 
opened  under  the  management  of  John  Palmer, 
and  produced  there  'The  Birth-day'  and  <The 
CbnstEhnt  Maid,'  besides  songs  and  catches.  In 
1793  he  composed  the  comic  opera  'Just  in 
Time,'  for  Covent  Grarden  Theatre.  He  pub- 
lished many  concertos  and  lessons  for  the  piano- 
forte, but  he  is  now  beet  known  as  the  composer 
of  Bishop  Percy*s  ballad,  '  O  Nanny,  wiU  thou 
gang  wi  mef*  and  the  naval  song  'Stand  to 
your  guns.*  Carter's  life  was  passed  in  a  constant 
succession  of  embarrassments,  consequent  upon 
his  incorrigible  carelessness  and  improvidence. 
He  died  Oct.  1 3»  1 804.  [W.  H.  H.] 

CARTIER,  Jban  Baftiste,  a  French  violinist^ 
bom  at  Avignon  in  1 765  ;  the  son  of  a  dancing- 
master.  His  first  teacher  on  the  violin  was  an 
Abb^  Walrauf.  In  1783  he  went  to  Paris  and 
continued  his  studies  under  Vioiti.  His  progress 
must  have  been  rapid,  as  he  very  soon,  on  viotti's 
recommendation,  obtained  the  post  of  accom- 
panyist  to  Marie  Antoinette,  which  he  held  up  to 
the  outbreak  of  the  Revolution.  In  1791  he 
entered  the  band  of  the  opera  as  assistant-leader 
and  solo-player.  From  1804  he  was  a  member  of 
the  Emperor  Napoleon's  private  band  under  Pai- 
siello  and,  after  the  Restoration,  of  the  Royal  band 
till  1830.  He  died  at  Paris  in  1841.  Cartier 
was  a  good  violinist,  and  it  was  his  great  merit 


818 


CARTIEE. 


to  hare  revived  the  noble  ^aditions  of  tbe  old 
Italian  Bohool  of  violin -playing  by  publishing 
new  editions  of  the  works  of  Corelli,  Tartini, 
Nardini  and  other  great  maateni,  which  at  that 
time  were  all  but  unknown  in  France.  He 
thereby  caused  not  only  his  own  numerous  pupils 
but  all  the  young  French  violinists  of  his  time  to 
take  up  the  study  of  theee  classical  worics  for  the 
violin.  In  his  work  'L'art  du  violon'  (Paris 
1798  and  1 801)  Cartier  gives  a  comprehensive 
selection  from  the  violin  music  of  the  best  Italian, 
French,  and  German  masters,  which  is  rightly 
regarded  as  a  practical  history  of  violin-litera- 
ture in  the  17th  and  i8th  centuries. 

It  is  much  to  be  regretted  that  a  history  of 
violin-playing,  which  he  wrote,  has  never  been 
made  public.  His  compositions  are  of  no  im- 
portance. He  published  Sonatas  in  the  style  of 
Lolli,  Etudes,  and  Duos  for  violins.  F^tis  also  men- 
tions two  Operas,  two  Symphonies  and  Violin- 
concertos,  which  have  remained  in  MS.     [F>D*] 

CARTONI,  a  barytone  engaged  at  the  King*s 
Theatre  in  i8aa,  at  a  salary  of  £700,  on  the 
leoommendation  of  Gamporese.  For  his  musical 
education  he  was  indebted  entirely  to  his  wife. 
He  made  his  first  appearance  as  the  King  in 
Pacini's  *  II  Barone  di  Dolsheim,*  and,  although 
not  possessed  of  first-rate  talents,  was  a  respect- 
able performer.  [J .  M.] 

OARULLI,  Febdikando,  an  eminent  guitar- 
ist, bom  at  Naples  1770,  died  in  Paris  1841. 
Though  self-taught  he  attained  a  perfection  of 
execution  hitherto  unknown  on  the  guitar,  and 
on  his  arrival  in  Paris  created  a  perfect  furore. 
In  the  space  of  twelve  years  he  published  300 
oompositions,  including  a  'Method  whioh  passed 
ihrouffh  four  editions.  He  was  also  the  author 
of  'L  Harmonic  appliquto  2k  la  Guitare*  (Paris, 
1825),  a  treatise  on  the  art  of  accompanying, 
which  was  the  first  work  of  its  kind.     [M.C.C.] 

CARUSO,  Luidi,  bom  at  Naples  1754,  died 
*t  Perugia  1822 ;  son  of  a  musician  at  Naples, 
studied  under  Nlcolo  Sala,  composed  in  all  sixty 
operas  (for  list  see  F^tis)  of  which  the  first  was 
*U  Barone  di  Trocchia*  (Naples,  1773),  and  the 
last '  L* Awiso  ai  Maritati  *  (^Rome,  1810).  His 
'Artaserae'  was  performed  in  London  in  1774. 
He  also  composed  four  oratorios,  four  cantatos, 
and  masses,  etc.,  of  a  style  more  dramatic  than 
ecclesiastical.  He  is  said  to  have  lived  for  some 
time  in  Paris  and  Germany,  and  to  have  been 
conductor  at  Palermo.  He  had  a  brother  £m- 
manuele,  also  a  musician.  [M.G.G.] 

G ASALI,  Giovanni  Battista.  Chapel-master 
of  St.  John  Lateran  in  Rome  firom  1759  till  his 
death  1792.  An  opera  of  his^  'Gampaspe,'  was 
produced  at  Venice  1 740.  Gri^tiy  was  his  pupil 
for  two  years  in  Rome,  but  Casali  did  not  de- 
tect his  talent,  and  sent  him  back  with  a  letter 
of  introduction  in  which  he  described  the  great 
opera  writer  as  'a  nice  fellow,  but  a  thorough  ass 
and  ignoramus  in  music'  Gasali*s  works  comprise 
4  masses,  motets,  magnificats,  and  many  other 
pieces  for  the  church.    He  wrote  in  a  very  pure 


CASINL 

style,  though  without  much  InTention.     A  man 
and  4  other  pieces  are  given  by  Liuck  (Sammlung, ; 
1859),  and  an  *  O  quam  suavis,'  »  pretty  melodi- 
ous movement,  by  Novello,  fnan  CSioron.       [G.] 

GASARINI,  S16NOBA,  sometimes  called  CA- 
S ARINA,  an  Italian  soprano  engaged  in  London 
for  HandeFs  operas  in  1748.  8ho  appeared  in 
'  Alexander  Balus*  and  '  Joshua.'  [J.  M.] 

CAS£»  John,  M.D.,  a  native  of  Woodstock, 
was  a  chorister,  first  at  New  GoUei^e  and  after- 
wards at  Christ  Church,  Oxford.  He  subse- 
quently became  a  fellow  of  St.  John^s  College, 
which  he  vacated  on  marriage,  when  he  esta- 
blished himself  in  Oxford  as  a  lecturer  to  private 
pupils  on  philosophy,  for  which  he  enjoyed  a 
high  and  deserved  reputation.  In  1586  he  pub- 
lished 'The  Praise  of  Musicke,'  and  in  1588 
'Apologia  Musices  tarn  vocalis  tain  instnuuen- 
talis  et  mixtse.*  Thomas  Watson  -wrote  a  song 
in  his  praise,  which  was  set  to  music  by  William 
Byrd.  He  died  Jan.  2^  1 599-1600.     [W.H.H.] 

CASENTINI,  SiQNORA,  a  good  singer  in  the 
comic  style,  appeared  at  the  Pantheon  in  London 
in  1 791,  taking  the  principal  part  in  Paisiello's 
'Locanda,'  and  other  operas.  Lord  Mount* 
Bdgcumbe  describes  her  as  '  a  pretty  woman  and 
genteel  actress.'  In  95  she  had  married  Boc^, 
second  violin  at  the  opera,  and  was  singing  at 
the  King's  Theatre ;  but  she  was  not  in  good 
health,  and  her  voice  was  too  weak  for  that 
house.    Her  later  history  is  not  known.     [J.M.] 

CASINI,  Giovanni  Mabia,  was  a  Florentine 
priest,  and  bom  towards  the  dose  of  the  1 7th 
century.     F^tis  gives  1675  as  the  date  of  his 
birth,  but  it  is  not  ascertained.     He  came  to 
Rome  early  in  life,  but  not  before  he  had  learnt 
the  elements  of  counterpoint  in  his  native  town. 
At  Rome  he  was  sucoessively  the  pupil  of  Matteo 
Simonelli  and  Bernardo  Pasquini,  under  the  last- 
named  of  whom  he  perfected  himself  as  an  organ 
player.    The  only  post  whidi  he  is  known  to 
have  held  was  that  of  organist  in  the  cathedral 
of  Florence.    He  was  simply  a  perverse  man  of 
talent  who  elected  to  join  the  ranks,  and  to  add 
one  or  two  more  to  the  absurdities,   of  those 
musical  reactionists  who  tried  to  stop  the  pro 
gross  of  the  art  in  the  17th  century.     He  fol- 
lowed in  the  wake  of  Doni  Yicentino  and  Coloniia 
in  endeavouring  to  revive  the  three  old  Greek 
'genera*  of  progression,  vis.  the  diatonic,  the 
chromatip,  and  the  enhannonic.    F^tis,  indeed, 
says  that,  as  several  enthusiastic  pedants  of  his 
class  had  done  before  him,  he  constructed  a 
davedn  in  which  the  notes  represented  by  the 
black  keys  were  subdivided,  so  as  to  obtahi  aa 
exact  equalisation  of  the  semitones.     Baini  does 
not  carry  him  this  length,  but  only  states  him 
to  have  adopted  the  views  of  those  who  thus 
wasted  their  labour  and  ingenuity.    In  his  ac> 
count  of  Gasini  the  last-named  biographer  tells 
us  that  the  most  celebrated  of  these  instrumeati 
was  one  which  he  purchased  himself  from  mo> 
tives  of  patriotism  to  prevent  such  a  curionty 
being  taken  out  of  Italy.     It  was  a  cembalo, 
whidi  had  been  constructed  in  1606  at  the  ex* 


CASINI. 

pme  of  OftmiUo  QoncagA,  Count  ef  NoTelUm.  ' 
It  had  £Mir  octovea^  each  divided  into  51  notes, 
and  as  the  highest  of  the  treble  was  in  octaves 
t)>  the  lowest  of  the  bass,  it  had  135  keys  in 
all,  black  uid  white.  He  bought  with  it  a  1 
f.'Or^strii^ged  instnunent>  noted  to  correspond 
sich  iti»  so  that  the  two  could  easily  be  tuned 
in  unison. 

Casini*s  pnUiahed  works  consist  of— a  Tolume 
d  motets  for  4  voices  in  the  '  stUe  osservato/ 
iatitaled  'Johannis  Mariae,  Casini  Majoris  £0- 
desiae  Florentiae  modulatoris,  et  sacerdotio 
proediti.  Moduli  quatuor  vocibus  :  opus  primum. 
K^xnae,  apud  Mascardum,  1706.*  ^Responsori 
pdf  la  Settiraana  Santa,  a  4  voci,  op.  2,  Florence, 
C.  Biadi,  1706.'  *  Motetti  a  4  voci  a  Cappella, 
ibid.  1 714.'  'Fantasies  and  Fugues  for  the 
Organ,  Florence,  1 714'  A  motet  of  his  is 
nTcn  by  Plroske  in  'Muaioa  Divina,'  ii.  No. 
58.  [E.H.P.] 

CASSATION,  perhaps  implying  'farewell,* 
dtsgnates  a  piece  of  instrumental  music  of  the 
bst  century,  for  the  open  air,  in  several  move- 
ments, much  like  the  SJtBSNADBor  DlYSBTlMSMTO. 
In  Kochel^s  Mozart  Catalogue  there  are  three, 
XoB.  63,  63,  9<^  the  two  last  of  7  movements 
each.  [G.] 

CASSEL,  GxTiLtJktJin,  bcm  at  Lyons  1794, 
died  at  Brussels  1 836 ;  dramatic  singer ;  studied 
fint  under  Georges  Jadin,  and  then  at  the  Paris 
Conservatoiiv  under  Garat  and  Talma.  He  made 
bis  i/ebicl  at  Amiens,  and  sang  at  various  places 
prenoDs  to  his  appeanmce  at  the  Op^ra  Comique 
ia  Paris,  where  he  remained  for  three  years.  At 
the  end  of  that  time  he  quarrelled  with  Pixdr6- 
eoort,  the  director,  and  retired  to  Belgium,  where 
he  wttled  for  life.  After  a  five  years*  engage-  < 
ment  in  Bmasels  he  retired  from  the  stage  in 
183a,  and  became  a  teacher.  He  trained  many 
emiseBt  pupib,  including  Madame  Borus-Gras. 
In  53  he  was  appointed  professor  of  singing  at 
the  Bnwispis  Conservatoire.  His  compoeitionB 
vere  uninqKirtant^  but  he  was  successful  as  a 
teacher.  [M.C.C.] 

CASTANETS.  A  pair  of  eastanets  (or  castag- 
aetles)  consists  of  two  small  pieces  of  hard  wood, 
■bped  somewhat  like  the  bowl  of  a  spoon,  or  a 
icaUop  ahfilL  These  are  hinged  together  by  a 
oord,  the  ends  of  which  pass  over  the  thumb  and 
fint  finger  of  the  perrormer.  The  remaining 
fiDgen  strike  the  two  halves  together,  either  in 
n^  strokes  or  in  trills  ;  the  instrument  endt- 
ting  a  deep  hollow  tiidc,  which,  altiiou^  not  a 
muieal  nole^  is  nevertheless  not  disagreeable  to 
the  ear.  The  perfoimer  has  usually  a  pair  in 
cai^  hand.  It  is  a  Moorish  and  Spanish  in- 
itnunflB^  and  is  intended  for  accompanying 
diDOQB.    Its  use  by  ballet*dancer8  is  well  known. 

When  required  to  be  played  in  the  orchestra^ 
to  aoeompany  danoe-musie,  it  is  best  to  attach  a 
pair,  half  on  each  side^  to  a  flat  pieee  of  hard 
VQod,  ending  in  a  stick  about  eight  inches  lonff. 
By  efaaki]^  this  apparatus,  the  required  effect  is 
podoeedt  without  the  naooBsity  of  fitting  the 


CATALANI. 


S19 


castanets  to  the  performer's  fingers,  who  gener- 
ally is  playing  some  other  instrument,  and  must 
suddenly  take  up  the  castanets  to  play  a  few 
bars. 

The  Spanish  name  is  CastaHuda,  either  be- 
cause made  sometimes  from  the  wood  of  the 
dieetnut-tree  eeutttno)  or  from  some  fancied  re- 
sonblance  to  the  two  halves  into  which  the  chest- 
nut {caataiia)  naturally  divides  itself.   [V.  de  P.] 

CASTELLI,  a  seconda  doxma  engaged  at  tlu» 
King's  Theatre  in  1835,  at  a  salary  of  £a^o. 
She  sang  the  part  of  Alma  in  '  B  Crociato*  with 
Velluti  in  35  and  26 ;  and,  in  the  latter  year,  also 
that  of  Cherubino  in  'Le  Nozze.'  She  pleased 
the  public,  though  far  from  equalling  Caradori 
in  that  rdle.  She  was  engaged  again  in  1838, 
since  when  her  name  does  not  occur.         [J.  M.] 

CASTELLI,  loKAZ  FRiEnRiCH,  bom  at  Vienna 
1781,  died  there  1854;  German  dramatist  of 
great  popularity,  author  of  the  librettos  of 
WeigFs  'Schweizer  Familie,*  and  Schubert's 
'  Verschwomen '  or  'HausUche  Krieg,*  and 
adapter  amongst  others  of  Meyerbeer's  '  Hugue- 
nots.' From  181 1  held  the  post  of  '  Hoftheater- 
dichter'  at  the  Kamthnerthor  theatre  in  Vienna. 
Founder,  and  from  1829  to  1840^  sole  editor  of 
the  'Allgemeiner  musikaUscher  Anaeiger.'  He 
was  a  good  amateur  violinist^  and  wan  greatly 
esteemed  and  beloved,  [M.C.C.] 

CASTBO,  Jkav  zme,  composer  and  lutist.  In 
1570  he  was  at  Lyons,  and  in  1580  ohi^ielmastar 
to  the  Prince  of  Juliers.  He  composed  many 
sets  of  madrigals,  odes,  sonnets,  and  sacred  songs 
(1569-1600).  One  collection,  'La  l^leur  des 
Chansons'  (Louvain  and  Antwerp.  1547).  con- 
tains, besides  compositions  of  his  own,  songs  by 
Severin,  Comet,  No^  Faignent^  Cl^reau,  Cr4- 
quillon,  Jacotin,  and  Jannequin.  For  list  see 
F^tis.  [M.C.C.] 

CASTRUCCI,  Pdbtro,  pupil  of  Corelli,  and 
distinguished  violin  player,  bom  at  Rome  1689. 
In  1 71 5  he  came  to  l^igland  with  Lord  Bur- 
lington and  became  leader  of  Handel's  opera-band. 
He  had  a  special  reputation  as  performer  on  the 
ViOLETTA  MABINA,  an  instrument  of  his  own 
invention.  In  Handel's  'Orlando'  is  an  air 
accompanied  by  two  Violette  marine  with  celU 
pizzicati, '  per  gli  Signori  Ca^trucci'  (see  the  MS.) 
meaning  Pietro  and  his  brother  Prospero.  In 
Handel's  *  Sosarme'  is  also  an  air  with  Violetta 
marina  obligate.  In  1757  he  was  superseded  at 
the  opera  by  Festing — not  by  Clegg.  To  his 
undoubted  talent  Castrucci  added  an  amount  of 
charlatanism  surprising  in  a  pupil  of  Corelli% 
though  paralleled  by  other  great  players,  Clement, 
Boucher,  Ole  Bull,  &c.  An  instance  of  these  is 
given  by  Bumey  (Hist.  iv.  353  note).  He  died 
1769  in  great  poverty.  Castrucci  is  said  to 
have  been  the  original  of  Hogarth's  'Enraged 
musician';  but  that  is  now  known  to  be  in- 
tended for  Festing.  [P.  D.] 

CATALANI,  Anoslioa,  bom  Oct  1779  at 
Sinigaglia,  whoe  her  lather  was  a  tradesman. 


820 


CATALANI. 


About  the  age  of  12  she  was  sent  to  the  convent 
of  Santa  Lucia  at  Gubbio,  near  Rome,  where 
her  beautiful  voice  soon  became  a  great  attraction. 
In  its  full  freshness,  according  to  Fetis  and  all 
other  authorities,  it  must  have  been  one  of 
extraordinary  purity,  force,  and  compass,  going 
as  far  as  G  in  altissimo,  with  a  sweet  clear  tone. 
This  exquisite  quality  was  allied  to  a  marvellous 
truth  and  rapimty  of  execution.  No  singer  has 
ever  surpassed,  or  perhaps  equalled,  her  in  chro- 
matic  scales,  whether  in  velocity  or  precision.  On 
leaving  the  convent,  into  which  she  had  been 
introduced  by  the  Cardinal  Onorati,  and  where 
the  congr^ation  could  frequently  not  be  pre- 
vented from  openly  applauding  her  splendid 
notes  in  the  services,  she  found  herself,  owing 
to  the  sudden  impoverishment  of  her  parents, 
oompelled  to  perform  in  public.  Her  musical 
education  had  been  but  ill  cared  for  in  the 
convent,  where  she  passed  three  years ;  and  she 
had  contracted  bad  tricks  of  vocalisation,  which 
she  never  entirely  overcame,  even  after  hearing 
such  great  models  as  Marcheei  and  Gresoentini. 
One  of  her  faults  was  that  she  could  never 
execute  certain  passages  without  a  very  per- 
ceptible oscillation  of  the  lower  jaw,  which  made 
them,  instead  of  being  even  and  smooth,  sound 
like  a  succession  of  staccato  passages  on  the 
violin.  In  spite  of  this  fault,  which  was  indeed 
more  within  the  criticism  of  connoisseurs  than 
of  the  public  generally,  hear  voice  was  so  full, 
powerful,  and  clear,  her  intonation  so  pure  and 
true,  and  her  Instinctive  execution  of  difficult 
and  brilliant  music  so  easy  and  imfoltering,  that 
her  singing  had  a  charm  which  has  scarcely 
ever  been  equalled,  and  her  very  first  steps  in 
a  theatrical  career  were  marked  by  the  most 
extraordinary  success.  When  she  began,  the 
&vourite  style  was  that  of  expressive  and 
pathetic  song,  and  in  this  she  never  produced  the 
effect  which  she  subsequently  made  in  bravura. 
Thus  at  Paris  she  fiuled  comparatively  in  a 
tender  song  of  Piccini*s,  'Se*l  ciel  mi  divide,* 
though  shortly  after,  she  created  the  greatest 
enthusiasm  by  her  'Son  regina,*  by  an  air  of  Bode's 
with  variations,  concerti  for  the  voice,  and  other 
pieces  of  the  most  florid  execution.  In  1795,  at 
the  age  of  16,  she  obtained  her  first  engagement 
at  the  Fenice  at  Venice,  and  made  her  debut  as 
Lodoiska  in  the  opera  of  that  name  by  Mayer. 
Her  £ace,  figure,  and  voice,  assured  her  success, 
a  success  which  grew  day  by  day,  and  lasted  for 
nearly  thirty  years.  In  the  season  of  1 798,  she 
sang  at  Leghorn  with  Crivelli,  Marchesi,  and 
Mrs.  Billington;  the  year  after,  at  La  Pergola 
in  Florence,  in  Nasolini's  '  Monima  e  Mitridate* ; 
and,  in  1801,  at  Milan,  in  the  ^Clitemnestra*  of 
Zingarelli,  and  Nasolini's  *  Baccanali.*  In  these 
early  efforts  her  effect  was  not  due  to  method  or 
skill;  it  was  her  superb  voice  that  carried  all 
before  her  From  Milan  she  went  to  Florence, 
Trieste,  Rome,  and  Naples,  exciting  eveiTwhere 
the  same  astonishment  and  admiration. 

Her  reputation  now  reached  the  ears  of  the 
Prince  Regent  of  Portugal,  who  engaged  her, 
with  Mme.  Gafforini  and  Gresoentini,  to  sing  at 


CATALANL 

the  Italian  Opera  there,  and  she  arrived  abou^ 
the  end  of  the  year  1804.  Her  salary  was  24,00c 
cruzados  (£3,000).  - 

Some  writers  have  said  that  she  derived  ver^ 
great  advantage  firom  the  instruction  of  Gre» 
centini,  which,  indeed,  seems  more  than  likely  I 
but  F^tis,  on  the  authority  of  Gresoentini  himself 
contradicts  this  statement  categorically,  affinniiu 
that  Gresoentini  told  him  that  he  had  endeavonre<{ 
to  give  her  a  little  advice,  which  she  bad  6e6me<l 
incapable  of  understanding.  It  was  here  thai 
she  married  Valabr^grue,  of  the  French  embassy  j 
but  she  never  quitted  her  name  of  Gatalani 
before  the  public.  Her  husband,  a  stupidj 
ignorant  soldier,  appears  to  have  had  no  ideal 
beyond  helping  his  talented  wife  to  gain  tb^ 
utmost  possible  amoimt  of  money  on  ever]! 
occasion,  and  spending  it  for  her  afterward^ 
From  their  marriage  dates  one  of  the  wont  ol 
the  many  speculations  that  have  been  based  ofl 
the  capital  of  a  grand  voice  and  great  persona] 
charm.  They  went  first  to  Madrid,  and  then  to 
Paris,  where  she  sang  only  in  concerts,  butj 
where  she  gained  even  more  &me  than  before. 

On  October  26,  1805,  Mme.  Gatalani  signed 
her  first  engagement  (in  the  possession  of  the 
writer)  with  F.  Goold  and  W.  TkyIot,  manager 
and  proprietors  of  the  King's  Theatre  in  the 
Haymarket,  for  the  season  from  September  15, 
1806,  to  August  1807,  at  a  salary  of  £2,000: 
sterling,  with  'a  further  sum  of  £100  steriing 
to  defray  the  expenses  of  her  journey  to  London.' 
and  also  'one  Benefit  Night  free  of  expence  in 
the  month  of  March,  at  which  a  new  opera  shall 
be  performed.'     Before  crossing,  however,  she 
gave  concerts  at  Madrid  and  Paiisi,  by  which 
she  gained  large  sums  of  money,  and  created  a 
deep  impression;   indeed.  Napoleon  offered  her 
an  engagement  from  which  she  had  some  difficulty 
in  escaping,  in  order  to  fulfil  that  at  the  King's 
Theatre.      At  the  moment  of  her  arrivsl  in 
London,  Grassini  and  Mrs.  Billington  had  just 
retired;   and,  as  Lord  Mount-Edgcumbe  says, 
'the  great,  the  far-£uned  Gatalani  supplied  the 
place  of  both,  and  for  many  years  reigned  aloo^ 
for  she  would  bear  no  rival,  nor  any  singer 
sufficiently  good  to  divide  the  applause.'    'It 
is  well  known,'  he  continues,  '  that  her  voice  is 
of  a  most  uncommon  quality,  and  capable  of 
exertions  almost  supernatural.    Her  throat  seems 
endued  (as  has  been  remarked  by  medical  men) 
with  a  power  of  expansion  and  muscular  motion 
by  no  means  usual,  and  when  she  throws  out  all 
her  voice  to  the  utmost,  it  has  a  volume  snd 
strength  that  are  quite  surprising;    while  its 
agility  in  divisions,  runnii^^  up  and  down  the 
scale  in  semi-tones,  and  its  compass  in  jum^in^ 
over  two  octaves  at  once,  are  equally  astonishing. 
It  were  to  be  wished,'  says  this  connoisseur  of 
the  old  school,  '  that  she  was  less  lavish  in  the 
display  of  these  wonderful  powers,  and  sought  to 
please  more  than  to  surprise ;  but  her  taite  is 
vicious,  her  excessive  love  of  ornament  spoiling 
every  simple  air,  and  her  greatest  delight  (indeed 
her  chief  merit)  being  in  songs  of  a  bold  and 
spirited  character^  where  much  ia  left  to  her 


OATALANL 

(or  indiKretioii),  withoat  being  oanfined 
br  tike  Moompaniment,  bat  in  which  ahe  can 
indiil^  in  ad  Ubitvm  pasnra  with  ft  luxariftooe 
■Bfd  TCdandftDcy  no  otber  anger  ever  poaooiiDod, 
or  if  poveHing  ever  pnustised,  mnd  which  she 
carriei  to  ft  fftntftttioel  exoeee/     The  opinions 
of  an  good  judges  were  nearly  the  Sftme  with 
•he  aboTe;  but  the  public  was  led  oompletelj 
awaj  by  her  marvellous  powers.     She  made  her 
d^bqt  Dec.  15,  1806,  in  the  '  Semiramide'  of 
Portogallo,  composed  for  her  expressly.     She 
appeared  also  in  '  Mitiidftte/  '  EUhda,'  and  most 
sawillu^ly  in  'La  Clemenza  di  Uto/  for  the 
strict  time  r^uired  in  Mozart's  music,  and  the 
importance  of  the  aocompaniments,  were  not 
Kiitfid  to  her  style.      She  was,  however,   the 
flEsger  who   introduced   to  the    "Rnglial*   stage 
kis   'Xozze  di   Figaro/  in  which  she  played 
SuaaoDft  to  admiration.      In  the  'Orasi'  she 
performed  the  psrt  of  the  first  soprano,  Curiazio, 
that  of  the  first  womftn  being  filled  by  Ferlendis. 
In  'Didone'  she  caused  the  rSU  of  Enea  to  be 
ffcag  by  Madame  Bussek,  who  was  entirely  un- 
Stt^  for  it ;   and,  in  another  opera^  she  made 
Madame  Dussek  act  the  first  woman's   part, 
rhnnsmg  for  herself  thftt  of  the  primo   uomo. 
Sobtequently  she   assumed   also   the   plftce  of 
prima  huffa,  and  succeeded  equally  well  in  thftt 
Hse;  nnging  with  greater  simplicity  and  ease, 
■he  was  by  some  preferred  in  comic  opera.    Her 
&oe  and  figure  suited  both  styles ;  for  her  hand- 
some countenance  was  capable  of  great  varieties 
of  expreasion.    Her  gains  soon  became  enormous. 
Sbe  was  the  greftt  attraction  of  Goold's  manage- 
mevt,    and   her   engagements  entailed  on   tiie 
tbeatre  an  expense  surpassing  anything  before 
apoicDced.    Mr.  Waters,  in  a  pamphlet  which 
be  published,  gives  the  total  amount  received  by 
kferfrom  the  theatre  in  1807,  including  benefits, 
it  £5,000,  and  her  total  profits  that  year,  with 
oofBcerts,  provincial  tour,  etc.^  at  £16,700, — an 
immense  sum  to  be  received  in  such  a  period  for 
tbe  servioes  of  a  single  artist.    That  eihe  some- 
times  found  a  difficulty  in  getting  payment  is 
not  surprising,  especially  frrai  su<m  a  manager 
K  Taylor.     Kbers  relates  that,  on  one  occasion, 
abe  refosed  to  sing  unless  a  debt  of  £1,000  due 
to  her  was  paid ;  and  that  he  gave  security  for 
this,  of  which  he  had  ultimately  to  pay  eveiy 
itftiung.    She  received  as  much  as  200  guineas 
Eor  flinging  'God  save  the  King*  and   'Bule 
ftitannia,  and  at  a  single  festival  £a,ooo.    Had 
sbe  practised  the  least  economy  she  must  have 
amsBBed  a  very  great  fortune ;  but  this  she  did 
Dot  do.     It  is  said,  for  example,  that  the  con- 
lamption  of  beer  by  her  servants  during  a  single 
year  amount^  to  £103.    More  serious  causes, 
bowever,  contributed  to  dissipate  these  riches  as 
fui  as  she  gained  them ;  for  her  husband  wfts 
ptnionatdy  addicted  to  gambling,  and  lost  vast 
ioiDB  at  play.     She  renuiined  seven  yean  in 
England,  where  she  finally  succeeded  in  becoming 
tbe  only  aanger  of  eminence,  and  led  in  both 
fines;  but  one  singer  does  not  constitute  an 
opera,  though  Valabr^gue    used  to   say   'Ma 
feffiine  et  quatre  ou  dnq  poup^e^ — ^voUk  tout 


GATALAKL 


821 


oe  qu^n  &ut.'  Neither  would  her  disposition 
endure  the  possibility  of  rivalry,  nor  the  ex- 
travagance of  her  increasing  deniands  allow  any 
manager  to  engage  other  singers.  She  quitted 
the  theatre  at  the  end  of  the  season  of  1813, 
having  first  endeavoured  (unsuooessfully)  to 
purchase  it,  and  so  become  sole  proprietor,  sole 
manager,  and  sole  singer.  After  leaving  this 
stage,  she  for  many  yeftrs  never  trod  any  other, 
except  at  Paris,  where  she  obtained  the  manage- 
ment of  the  Italian  opera,  with  a  subvention  of 
160,000  francs;  but  the  undertftking  was  not 
fortimate.  On  the  return  of  Napoleon,  in  181 5, 
she  left  Paris,  going  first  to  Hamburg,  and  after- 
wards to  Denmark  and  Sweden,  and  exciting 
everywhere  the  wildest  admiration  and  enthu- 
siasm. She  returned  to  France^  after  the 
Bestoration,  by  Holland  and  Belgium.  On  her 
arrival  at  Paris,  she  resumed  £e  direction  of 
the  Th^tre  Italien,  and  estoblished  the  same 
ruinous  system  which  had  destroyed,  for  a  time^ 
opera  in  London.  Every  expense  of  scenery, 
orchestra,  and  chorus,  was  curtailed,  and  every 
singer  of  worth  excluded,  in  order  that  the  entire 
receipts  might  go,  with  the  subvention,  into  the 
purse  of  V&b^gue.  This  was  not  idL  To  suit 
this  state  of  things  the  operas  were  arranged  in 
such  a  manner  tb^t  little  of  the  original  but  the 
name  remained.  The  rest  consisted  of  variations 
by  Bode,  and  similar  things,  with  the  Dunous 
'  Son  regina,*  interpolated  in  place  of  the  concerted 

Sieces  and  songs  which  h^  been  cut  out.  In 
fay  1816  Catalani  left  her  opera  in  the  hands 
of  managers,  and  went  to  Munich  to  give  some 
concerts  and  representibtions.  Thence  she  pro- 
ceeded to  Italy,  and  only  returned  to  Paris  in 
August  18 1 7.  In  the  next  April  she  left  her 
^ra  entirely,  and  resmned  her  ir^nderings. 
Having  engaged  Mme.  Gail  to  accompany  her, 
as  Pucitta  haid  done  in  London  and  Paris,  she 
started  for  Vienna.  No  sooner  had  they  arrived 
than  she  quarrelled  with  her  companion,  who 
returned  to  Paris.  Catalani  continued  her  tour 
alone,  and  it  lasted  nearly  ten  years.  In  1824 
she  returned  to  London,  performing  a  oertain 
number  of  nights  with  no  regular  engagement. 
She  reappeared  in  'H  Nuovo  Fanatioo  per  la 
Musica,  an  opera  by  Mayer,  arranged  for  her. 
'Her  powers  were  undiminshed.  her  taste  un- 
improved.* She  next  continued  her  wanderings 
on  the  continent.  In  18 26  an  attempt  w|tf  made 
by  Ebers  to  engage  her,  but  the  terms  proposed 
by  her  were  so  exorbitant  that  it  was  impossible 
to  consider  them  seriously.  Her  voice  was, 
however,  no  longer  what  it  had  been,  especially 
in  the  highest  part  of  her  register.  Though  still 
beautiful,  flexible,  and  strong,  it  was  losing 
gradually  a  little  of  tiieae  qualities.  In  turn  she 
visited  Germany,  Italy,  and  Paris  once  more^ 
where  she  sang  without  success;  then  Poland, 
jBussia,  and  the  north  of  Grermany  aeain  in  1827. 
About  this  time  she  sang  for  Uie  last  time  at 
Berlin,  and  resolved  to  cease  singing  in  public. 
But  she  revisited  England  once  more  in  i8a8,  and 
sang  at  the  York  Festival.  Lord  Mount-Edg- 
cuinbe  heard  her  the  same  year  at  Plymouth,  a^ 


822 


CATALAN!. 


describes  her  aa  having  lost,  perhaps,  a  little  Uk 
voice,  but  gained  more  in  expression :  as  eleotriiy- 
ing  an  au^enoe  with  her  *  Kule  Britannia  ;*  and 
as  still  handsome,  though  somewhat  stout.  After 
a  time,  she  retired  to  a  villa  which  she  had 
bought  in  the  neighbourhood  of  Florence.  On 
the  stage,  she  is  described  as  having  always 
produced  an  unnatural  impression,  owing  to  an 
invincible  nervousness,  whicn  made  her  exaggerate 
the  effects  she  wished  to  create.  She  said  nerself, 
that  it  was  as  painful  to  her  to  sing  in  the 
theatre  as  it  wai^  delightful  to  perform  at  a  con- 
cert. She  never  lost  her  simplicity  and  purity  of 
manners,  nor  her  piety,  modesty,  and  generosity. 
Her  charitable  deeds  were  innumerable,  and 
the  amount  of  money  earned  by  her  in  concerts 
for  such  purposes  alone  has  been  estimated  at 
a,ooo,ooo  firancs.  At  her  residence  she  founded 
a  school  of  singing  for  young  girls.  Catalan! 
died  of  cholera  at  Paris,  June  1 2, 1 849.     [J.  M.] 

CATARINA  CORNAKO,  the  last  of  Doni- 
settles  sixty-six  operas,  produced  at  Naples  in 
the  Carnival  of  1844,  and  performed  for  iLe  last 
time  in  1845.  [G.] 

CATCH  originally  meant  simplv  a  round  for 
three  or  more  voices  (unaooompanied),  written  out 
at  length  as  one  continuous  melody,  and  not  in 
score.  The  catch  was  for  each  succeeding  singer 
to  take  up  or  catch  his  part  in  time ;  this  is 
evident  not  only  from  the  manner  in  which  they 
were  printed,  but  also  from  the  simple  and 
innocent  character  of  the  words  of  the  oldest 
catches,  from  which  it  would  be  impossible  to 
elicit  any  ingenious  cross-reading.  But  in  course 
of  time  a  new  element  was  introduced  into 
catches,  and  words  were  selected  so  constructed 
that  it  was  possible,  either  by  mis-pronunciation 
or  by  the  interweaving  of  the  words  and  phrases 
given  to  the  different  voices,  to  produce  the  most 
ludicrous  and  comical  effects.  The  singing  of 
catches  became  an  art,  and  was  accompanied  by 
gesture,  the  skill  with  which  they  were  sung  has 
become  a  tradition,  and  certainly  many  old 
specimens  are  so  difficult  that  they  must  have 
required  considerable  labour  and  practice  to  sing 
them  perfectly.  The  oldest  published  collections 
containing  catches  were — 

1.  'Pammelia:  Musicke's  Miscellanie,  or 
mixed  varietie  of  Pleasant  Boundelayes  and 
delightful  Catches  of  3,  4,  5,  6,  7,  8,  9,  10  parts 
in  one.  None  so  ordinarie  as  musicall,  none  so 
musicall  as  not  to  all  very  pleasing  and  accept- 
able.   1609.* 

2.  'Deuteromelia :  or  second  part  of  Musicke's 
Melodie,  or  Melodious  Musick  of  Pleasant 
Roundelaies.  K.  H.  Mirth,  or  Freemen's  songs, 
and  such  delightful  catches.     1609.' 

3.  'Melismata :  Musicall  Phansies  fitting  the 
court,  citie  and  countrey  Humours.     1 61 1  .* 

Catches  were  most  in  v<^e  in  the  reign  of 
the  dissolute  Charles  II,  and  as  much  of  the 
popular  literature  of  that  period  was  sullied  by 
maecency  and  licentiousness  it  is  not  surprising 
that  catches  were  contaminated  with  the  pre- 
vailing and  fashionable  vice;    the  more  than 


CATCH  CLUB. 

qnestiooable  character  of  the  words  to  which 
many  of  the  catches  of  that  age  were  allied  has 
sufficed  to  ensure  the  banishment  of  a  large 
amount  of  clever  and  learned  musical  contrivanoe. 
In  later  times  Dr.  William  Hayes,  S.  Webbe, 
and  Dr.  Callcott  have  excelled  in  the  composition 
of  catches :  '  Would  you  know  my  Celia'a  channs' 
by  Webbe  is  a  well-known  example ;  'Ah,  how, 
Sophia,'  and  'Alas  cry'd  Damon  by  Calloott  are 
also  tolerably  well  known,  and  still  occasionallj 
performed. 

Dr.  W.  Hayes  pnblished  several  oollectioiis  of 
catches,  some  with  words  by  Dean  Swift,  and  in 
his  pre&ce  to  the  first  set  (i  763)  says,  *the  Catch 
in  music  answers  to  the  Epigram  in  poetrr. 
where  much  is  to  be  exprest  within  a  very  small 
compass,  and  unless  the  Turn  is  neat  and  well 
pointed,  it  is  of  little  value.'  [W.  H.  C] 

CATCH  CLUB.  This  society,  the  fbU  titte 
of  which  was  'The  Noblemen  uid  Gentletnen'fl 
Catch  Club,'  was  fonned  in  1761  for  the  en- 
couragement of  the  composition  and  perlbrmazbce 
of  canons,  catches,  and  glees,  and  the  first  meeting 
took  place  in  November  of  that  year,  when  then 
were  present  the  Earls  of  Eglinton,  Sandwich, 
and  March,  Generals  Rich  and  Barrineton,  ths 
Hon.  J.  Ward,  and  Messrs.  H.  Meynell  and  B. 
Phelps.  These  gentlemen,  with  ibe  I>iike  d 
Kingston,  the  Marquesses  of  Lome  and  Granhr, 
the  Earls  of  Bochford,  Orford,  and  Ashbumham, 
Viscounts  Bolingbroke  and  Weymonih,  Lofd 
George  Sutton,  Colonels  Parker,  Windua,  aid 
Montgomeiy,  Sir  George  Annytage,  and  Mef«n. 
H.  Penton,  W.  Gordon,  and  J.  Harris^  who 
joined  in  1762,  were  the  original  membeni,  and 
all  subsequently  enrolled  were  balloted  lor. 
Among  distinguished  persons  aftorwarda  admit- 
ted to  the  Club  were  G^rge  IV  (elected  whfs 
Prince  of  Wales  in  1786),  William  IV  (elected 
when  Duke  of  Clarence  in  1789),  the  Dukes 
of  Cumberland  (1786),  York  (1787%  Cam- 
bridge (1807),  and  Sussex  (1813).  i%e  pro- 
fessional members  elected  into  the  Society  cf 
the  Catoh  Club  included  Beard,  Battiahili,  Aiat, 
Hayes,  Atterbuiy,  Paxton,  S.  Webbe,  PioaL 
Knyvett,  Stevens,  Callcott,  Danby,  Greatoscx, 
Bartleman,  B.  Cooke,  Horslev,  Gobs,  WalmisI«T. 
and  Turle.  In  1763  the  Club  offered  its  fiiss 
prizes,  one  for  two  catches,  a  second  for  tv? 
canons,  and  a  third  for  two  glees,  and  they  were 
awarded  to  Baildon,  Mar^la^  Dr.  Hayes,  and 
G.  Berg.  From  its  foundation  to  1794  the  prtaes 
were  competed  for  annually,  and  among  ths 
winners  were  Ame,  Hayes,  J.  S.  Smith,  Danb?. 
S.  Webbe,  Lord  Momington,  Paxton,  Atterbirrr. 
Dr.  Cooke,  B.  Cooke,  Dr.  Aloock,  Stercza. 
Spofforth,  and  Callcott.  In  1787,  in  oooaeqiseBse 
of  Dr.  Callcott  having  submitted  neariy  loc 
compositions  in  competition  for  the  ptuea  a  re- 
solution was  passed  Uiat '  in  future  no  oompmer 
should  send  m  more  than  three  oompoBtiau 
for  one  prize.'  From  1794  to  1811  no  jpriaem 
were  offered,  and  after  b^ng  awarded  far  X^q 
years  they  were  again  discontinued,  trnt^l  m 
1 82 1  they  were  once  more  revived,  a  gold  ea^ 
taking  the  place  of  the  medals.    Tlie  miss  ef 


CATCH  CLUB. 

6e  dub  required  the  members  to  take  the  cluur 
ifi  turns  at  the  dumen  whibh  were  held  at  the 
Hiatdied  House  Tavern  every  Tuesday  from 
fe^roary  to  Jmie,  except  in  Passion  and  Easter 
R^s.  The  sncoessiYe  secretaries  of  the  Clob 
w&e  Warren  (1761-94),  S.Webbe  (1794-1813), 
Sale  (i8i2-a8),  R  Leete  (i838-36\  Jas.  Elliott 
11^36-53),  O.  Bradbury  (1852-73),  E.  Land 
(1859-76).  Webbe's glees 'Hail!  Starof  Bruns- 
wick* and  *  The  Mighty  Conqueror'  were  com- 
posed  specially  for  George  Iv,  who  invariably 
fe»k  Ins  call  and  sang  in  his  glee ;  and  the  late 
Dcke  of  Oambridge  attended  to  the  last  year  of 
ku  life  and  rarely  omitted  his  call,  one  of  his 
bToorite  glees  being  Webbe's  'Glorious  Apollo.* 
Is  1 86 1  the  Club  ^ebrated  its  oentenary  with 
BQch  vigour,  and  to  commemorate  the  event 
i&red  a  silver  goblet  for  the  best  four-part  glee, 
vhick  was  awarded  to  Mr.  W.  H.  Cummings  for 
'Song  shoold  breathe.*  The  present  subscription 
■  ten  guineas  each  season,  and  the  meetings  are 
kid  fortnighUy  at  Willis's  Booms  from  Enster 
to  Jnly.  [C.  M.] 

CATEL,  Chahles  Snroir,  bom  June  1773  at 
TAigle  (Ome) ;    began  his  studies  very  early 
n&der  Saochini,  Gob^i,  and  Gossec,  in  the '  Ecole 
tr.yile  de  chant  et  de  declamation,'  at  Paris. 
[CoxsEBVATOiBB  DE  MusiQUE.]    In  1 787  he  was 
Ettde  accompanist  and  'professeur-ad joint'   of 
tLe  School,    and  in  1790  accompanist  at  the 
Of«nL     The  same  year  he  became  chief,  con- 
jointly with  Gossec,  of  the  band  of  the  Garde 
^itioiQale,  for  which  he  wrote  a  vast  quantity  of 
military  music,  which  was  adopted  throughout 
ihe  revolutionaiy  army.    His  first  work  of  public 
nsM  was  a   'De  profundis'  for  the  funeral  of 
Govnon  in   1792.     Another  was  a  Hymn  of 
Victofy  on  the  battle  of  Fleurus  (June  26,  94), 
vrittea  for  chorus  with  wind  accompaniment 
oolj.    On  the  formation  of  the  Conservatoire  in 
95  Catel  was  made  professor  of  harmony.     He 
immediately  b^an  the  compilation  of  his  'Traits 
(fbannonie,*  which  was  published  in  1802,  and 
M&ained  for  many  years  the  sole  textbook  of 
Fnnce.    In  1810  he  became  one  of  the  In- 
ipectors  of  the  Conservatoire,  a  poei  which  he 
mained  till  the  suspension  of  that  institution  in 
1S14.     In  17  he  was  elected  Member  of  the 
Institat,  in  tiie  room  of  Monsigny,  and  in  24 
Chevalier  of  the  Legion  of  Honour.     He  died 
M  Paris  Nov.  29,  1830.    Catel  wrote  largely  for 
the  itage — 'Semiramis'  (1803),  'L'Aubeige  de 
Bagn^'  (1807),  'Les  Bayaderes*  (1810),  and 
cAher  operas  in   1808,   1814,   1817,  and  1818. 
Th@e  have  the  merit  of  elegance  and  purity, 
but  they  were  not  successful;  the  public  in- 
Bsted  on  recognising  Catel  as  a  savant  and  a 
professor,  and  prejudged  his  works  as  'learned 
music'    On  one  occasion  Napoleon,  who  had  a 
B&gnlar  taste  for  soft  and  ineffective  music,  had 
the 'Bayaderes'  performed  with  all  the  instru- 
ments muted  and  every  mark  of  expression  sup- 
^^Kd — a  very  severe  trial  for  any  opera.    Be- 
tides his  theatrical  and  military  music  Catel 
^nte  Symphonies  for  wind  only.  Hymns  and 
Cbotal  Recei^  Quintets  and  Quartets  for  strings 


CATHEDRAL  MUSIO. 


828 


and  wind,  Songs,  Solfeggi,  etc. ;  but  it  is  by  his 
Treatise  <m  Harmony,  by  his  great  practical  sense 
and  ability,  and  by  his  character  for  goodness 
and  probity  that  he  will  be  known  to  posterity. 

His  treatise  is  founded  on  those  of  Kimberger 
and  Turk,  and  at  once  superseded  the  more 
artificial  and  complicated  theories  of  Rameau, 
which  had  till  that  time  reigned  supreme  in 
France.  [G.C.] 

CATELANT,  Akobtx),  musician  and  writer 
on  music,  bom  at  Guastalla  March  30,  181 1. 
He  received  his  first  instruction  from  the  or- 
ganist of  the  place,  and  afterwards  at  Modena 
from  Giuseppe  Asioli  and  M.  Fusco.  In  31  he 
entered  the  Conservatoire  of  Naples,  then  under 
Zingarelli,  and  became  the  special  pupil  of 
Donizetti  and  Crescentini.  From  31  to  37  he 
was  director  of  the  Uieatre  at  Messina,  and 
finally  settled  at  Modena^  where  he  was  living 
a  few  years  ago  as  keeper  of  the  Este  Library. 
Catelani  is  the  author  01  three  or  four  operas,  as 
well  as  of  a  Requiem  and  other  pieces  of  chmrch 
music ;  but  his  claim  to  mention  rests  on  his 
archseological  works— Notice  on  P.  Aron  (1851) ; 
on  N.Vincentino  (1851);  'Epistolario  di  autori 
oelebri  in  musica'  (1852-4) ;  *  Bibliografia  di  due 
stampe  ignote  di  O.  Petruod  da  Fossombrone* 
(1856) — a  treatise  on  the  two  first  pieces  of 
mudc  printed  from  type;  Delia  vita  e  delle 
opere  di  Orazio  Vecchi  (1858) ;  Ditto  di  Claudio 
Merula  da  Correggio  ( 1 860) ;  Ditto  di  Alessandro 
StradeUa  (Modena,  Yinoenzi,  1866).  [G.] 

CATENACCI,  a  seoonda  donna,  appeared  in 
1 784  at  the  Kinff*s  Theatre  in  Anfossi's  *  IssipUe,' 
in  *  Le  due  Gremdle'  and  the  'Demofoonte'  ot^er- 
toni.  She  was  re-engaged  in  1 786,  and  sang  with 
Mara  and  Rubinelli  in  the  'Virginia'  of  Tarohi, 
under  the  direction  of  Cherubini.  [J.  M.] 

CATERS.  The  name  given  by  change  ringers 
to  changes  on  nine  bells.  The  word  should  prob- 
ably be  written  quaten,  as  it  is  meant  to  denote 
the  fiw^  that  four  couples  of  bells  change  their 
places  in  the  order  of  ringing.  [C.  A.W.T.] 

CATHEDRAL  MUSIC.  Music  composed 
for  use  in  English  Cathedral  Service  since  the 
Reformation. 

Just  as  the  Reformed  Liturgy  was  composed 
of  prayers,  versicles,  responses,  and  other  ele- 
ments which,  though  in  a  different  language, 
had  formed  the  basis  of  the  church  services  for 
centuries,  so  the  music  to  which  the  new  services 
were  sung  was  not  so  much  an  innovation  as  an 
inheritance  from  earlier  times :  precedents  can 
be  found  for  the  greater  part  of  it  in  the  pre- 
Reformation  churdi  music.  The  truth  of  this 
will  appear  if  we  compare  the  style  of  church 
music  used  in  England  at  the  end  of  the  15th 
and  beginning  of  the  i6th  centiuries  with  what 
was  introduc^  about  1550  as  an  accompaniment 
to  the  reformed  liturgy.  Our  inferences  as  to 
the  music  of  the  former  date  must  be  drawn 
chiefiy  from  breviaries  and  antiphonaries  with 
mu8i<»l  notes,  from  compositions  for  the  church, 
such  as  masses  and  motets,  and  from  treatises  on 
music.    We  learn  from  these  sources  that  the 

Y2 


824 


CATHEDBAL  MUSIC. 


paalms,  cantioles,  yerdclee,  responseB,  and  creeda 
were  sung  inyariably  in  plainsong,  which  rig- 
nifies  a  certain  specific  mode  of  chanting  in 
unison,  guided  by  definite  mlcB  that  can  still  be 
ascertained,  and  implying  to  a  great  extent  the 
use  of  certain  well-known  melodies  appropriated 
to  particular  parts  of  the  service.  Of  this  mode 
of  chanting  the  Gregorian  chants  used  at  the 
present  day  are  a  regular  form.  [Chant.]  So  &r 
then  as  regards  simple  melody  we  are  fairly  well 
informed  as  to  pre-Reformation  church  musia 
But  there  is  less  certainty,  as  to  the  use  of  har- 
mony. It  is  true  that  a  rude  style  of  part- 
singing,  called  '  organising,*  had  been  known  for 
centuries  before  the  Reformation,  and  later  on 
ihe  development  of  counterpoint  had  resulted  in 
the  conQ)OBition  of  masses  and  motets,  of  which 
we  have  specim^is  by  English  composers,  e.g. 
Byrd,  Tavemer,  Fayrfaz,  and  Tye,  dating  firom 
before  the  Beformation.  But  though  these  com- 
positions show  that  harmony  was  recognised  in 
English  church  music  before  1550,  it  is  dif- 
ficult to  show  to  what  extent  they  were  U8ed» 
and  whether  they  were  regularly  introduced  in 
the  way  that  anthems  by  various  composers  are 
now  employed  in  cathedral  service.  Possibly  at 
ferial  times  plainsong  may  have  predominated, 
and  at  festal  times  harmonised  compositions, 
chants,  and  canticles,  as  well  as  anthems,  may 
have  been  used ;  though  these  would  interfere 
with  the  plainsong,  which  invariably  formed  the 
'subject*  to  which  the  parts  were  adapted. 

Such  was  the  general  character  of  English 
church  music  as  it  was  found  by  the  reformers 
of  the  1 6th  centuiy.  We  must  now  enquire  in 
what  way  it  was  dealt  with  by  them  in  the 
transition  from  the  Romish  to  the  reformed 
service,  and  in  wliat  form  it  appeared  after  the 
change  had  taken  place.  The  two  works  which 
directlv  illustrate  the  mind  of  the  English  church 
as  to  the  musical  rendering  of  her  reformed  ser- 
vices are,  (i)  the  Litany  published  by  Oranmer 
with  its  musical  notation;  (a)  the  more  im- 
portant work  containing  the  musical  notation  of 
the  remainder  of  the  then  Common  Prayer  Book, 
edited  by  John  Marbeck.  Now  both  these 
works  seem  to  show  that  the  aim  of  the  re- 
formers was  not  to  discard  but  to  utilise  the 
ancient  plainsong,  by  adapting  it  to  the  trans- 
lated services.  In  the  first  pLu$e  the  music  of 
Cranmer*s  litany  is  a  very  ancient  chant,  almost 
identical  with  that  appointed  for  the  Rogation 
days  in  the  Roman  processional,  and  with  that 
which  occurs  in  the  Salisbury  ritual  for  the  pro- 
cession of  peace :  hence  we  see  that  it  was  from 
the  oldest  sources  that  Cranmer  obtained  the 
musical  setting  of  the  new  litany  in  English. 
Secondly,  the  music  of  Marbeck's  work  consists 
of  the  dd  plainsong  simplified  and  adapted  to 
the  new  services.  Mr«  D>yce,  in  his  *  Preface  and 
Appendix  to  the  Book  of  Common  Prayer,' shows 
conclusively  that  Marbeck  intended  to  follow  the 
ancient  Salisbury  use  (the  great  standard  of 
English  choral  music)  note  for  note^.as  far  as  the 
rules  of  plainsong  would  permit ;  and  that  where 
his  notation  varies  from  that  of  Salisbuxy,  the 


CATHEDRAL  MUSIC. 

variation  is  due  to  the  difPersDoe  between  the 
Englidi  and  Latin  syllables,  and  aa  audi  is 
merely  what  the  tedfmical  rules  of  plafnsoi^ 
would  dictate. 

It  would  appear  then  that  as  r^iards  plainsong, 
the  Reformation  brought  little  or  no  change  to 
our  services ;  the  ancient  melodies  were  presored 
intact,  except  where  change  was  required  to 
adapt  them  to  the  new  liturgy. 

As  to  compositions  in  hiuiuony,  these,  as  we 
saw  above,  had  been  undoubtedly  introduced  into 
the  service  to  some  extent  before  the  Refor- 
mation, but  were  sung  to  Latin  words.  During 
the  dianging  times  of  Henry  VIII,  Edward  VI, 
Mary,  and  Elizabeth,  when  the  fonn  of  church 
service  was  not  yet  settled,  the  great  church 
composers  wrote  and  arranged  for  whatever  ser- 
vices were  established  at  the  time — for  the  Latin 
words  of  mattins,  vespers,  the  little  hours,  and 
the  mass,  or  for  the  English  canticles  of  Monung 
and  Evening  Prayer,  and  for  the  EngliBh  Com- 
munion Service,  according  as  the  Romish  or 
Protestant  liturgy  was  recognised.  Sometimes, 
as  in  the  case  of  ByTd*s  '  Ne  irascaris,  Domine,' 
and  'Bow  thine  ear,  O  Lord,*  the  same  muse 
was  set  to  the  two  languages,  or  what  had 
been  written  for  the  one  was  adapted  to  the 
other.  And  thus  the  chancre  of  ritual  may  be 
said  to  have  affected  compositions  in  hannony 
even  less  than  it  affected  the  mere  melodic  fonns 
or  plainsong. 

Though  a  complete  scheme  for  tlie  mnaical 
service  was  set  forth  in  Marbeck*s  book  (except 
for  the  litany,  which  Cranmer  had  alreadj  sup- 
plied, and  the  Psalms,  which  no  doubt  M^beck 
intended  to  be  sung  in  the  manner  he  indicated 
for  the  .Canticles,  viz.  in  the  old  plainaan^} ;  the 
canticles  and  other  parts  of  the  servioe  were  set 
very  frequently  in  harmony,  about  the  time  wIkb 
Marbeck's  book  appeared.  All  the  church  mu- 
sicians whose  harmonised  compositions  remain  td 
us,  from  the  time  of  Edward  VI  onwards,  have 
set  the  canticles  anthem  wise  as  'services*;  and 
thus,  even  while  Marbeck's  was  the  only  au- 
thorised musical  -  service  book,  a  more  perfecs 
system  was  displayed  alongside  of  itw  Heaicfs 
could  not  fail  to  be  struck  by  the  superiority  <^ 
harmonised  canticles  and  services  over  the  simple 
melodies  sung  in  unison,  of  which  Marbeck'^ 
book  consists.  Dr.  Jebb  considers  that  the  latso* 
work  was  only  meant  as  an  elementary  aai 
tentative  one,  and  that  it  never  became  aa- 
thoritative.  However  this  may  be,  it  was  super- 
seded by  a  work  containing  haimosiaed  coe- 
positions,  contributed  by  TaUis,  Shepherd,  Tav  - 
emer,  and  some  others.  This  was  John  Daj* 
book,  published  in  1560,  and  entitled,  'CertaiBs 
Notes,  set  forth  in  foure  and  three  partes,  to  be 
sung  at  the  Morning,  Communion,  and  Evenis^ 
Praier, ....  and  unto  them  be  added  divn 
Grodly  praiers  and  psalmes  in  the  like  fionne.' 

The  Litter  clause  leads  us  to  the  coniddflratioe 
of  the  anthem,  with  reference  to  which  fitaa: 
(Introduction  to  the  Book  of  Common  I^nr't 
says  as  follows : — '  It  is  difficult  to  ascertain  lb* 
exact  time  when  the  practice  of  popular  hi 


CATHEDRAL  MUSIC. 

nd  meiiical  psalm  siiigmg  estAbliflhed  itsolf 
ii  eoonectkni  with  our  revimd  ritual,  tkough 
Bdependently  of  its  direct  authority.  Such 
Dgisg  was  in  use  eariy  in  Elizabeth's  reign, 
bring  doabdeaa  been  borrowed  from  the  I^ 
tectuts  abroad.  For  the  purpose  of  giving  a 
fiiasi-offidal  aancdon  to  a  custom  which  it  would 
h»TO  been  Teey  unwise  to  repress,  it  was  ordained 
b^  a  royal  injunction  in  the  year  1559,  that  while 
^ere  was  to  be  a  'modest  and  distinct  song  so 
Bsed  in  all  parts  of  the  conmion  prayer,  that  the 
•me  might  be  understanded  as  if  it  were  read 
pithoot  dnging  *  (in  other  words,  while  the  old 
tzaditiaaal  pl&insang  in  its  simplified  form  is  to 
be  aaployed  throughout  the  whole  service,  yet) 
*fcr  the  comfozting  of  such  as  delight  in  music 
is  may  be  permitted  that  in  the  beginning  or  at 
dbe  end  of  the  common  prayer  there  may  be  sung 
IB  hymn  or  such  like  song,  to  the  praise  of 
Ahnighty  God,  in  the  best  melody  and  music 
(bat  may  be  devised,  having  respect  that  the 
■ntenoe  of  the  hymn  may  be  understanded  ^ 
jeioeived.' 

This  injunction  gave  l^gal  authority  to  the 
letting  of  KngHfth  words  to  be  sung  anwemwise. 
The  first  anthems  written  for   tiie   Befonned 
Chuich  are  full,  i.e.  sung  in  regular  alternation 
by  the  whole  choir ;   they  resemble  the  motets 
of  the  Italian  Church,  which  flunished  models 
to  the  first  English  anthem-writers.     'Verse  an- 
thems', L  e.  those  in  which  certain  passages,  called 
Terses,  were  sung  in  slower  time,  not  by  all  the 
Totcea  on  one  side  but  by  a  selected  number,  were 
istrodnoed  abont  1670 ;  though  Dr.  Jebb  informs 
the  vriter  that  precedents  for  verse  anthems 
exated  in  the  pre-Befonnation  service. 

As  principal  composers  of  cathedral  music 
fittm  the  Reformation  to  the  Rebellion  we  may 
Klect  l^e,  Tallis,  Farrant,  Shepherd,  Tavemer, 
Bedfiird,  Mwley,  Byrde,  Bull,  and  Gibbons.  The 
ecHDpoaitions  of  this  period  are  more  conspicuous 
for  technical  skill  than  for  musical  expression,  and 
BO  difference  can  be  traced  between  the  secular 
and  the  aacred  style.  Dr.  Jebb  however  main- 
tuns  that  the  latter  was  at  least  national  and 
peculiar  to  this  country,  and  that  the  Church 
of  England  was  not  indebted  to  Palestrina; 
which  statement  he  supports  by  urging  the 
amilarity  of  the  style  of  Byrde  and  TiJUs  to 
that  of  Robert  White,  who  was  anterior  to  the 
great  Italian  composer. 

Under  the  Commonwealth,  music,  except  in  the 

form  of  metrical  psalmody,  was  expelled  from 

Bnghah  churches;  it  was  restored  in  1660  by 

Charles  II«  the  ^ect  of  whose  French  tastes 

^Q  Cathedra]   music    is  thus  described    by 

Tudway  (Bumey*s  History,  voL  iii.  443)  :  '  His 

majesty  was   soon  tired  with   the  grave  and 

td&aa  way  which  had  been  established  by  Bird 

ud  others,  and  ordered  the  composers  of  his 

chapel  to  add  symphonies  with  instruments  to 

their  aQthems ;  and  established  a  select  number 

of  hlfl  private  music  to  play  the  symphony  and 

ritomellos  which  he  had  appointoi.     The  old 

iDuters  of  music,  Dr.  Child,  Dr.  Gibbons,  Mr. 

Ix)w,  etc.,  hardly  knew  how  to  comport  them- 


CATLET, 


825 


selves  with  these  new  fimgled  ways,  but  pro- 
ceeded in  their  oompoeitions  according  to  the 
old  style.*  There  was  great  difiBculty  during  the 
first  years  of  the  Reflation  in  finding  boys 
capable  of  singing  in  the  choirs,  since  the  art 
had  been  so  much  neglected  during  the  Pro- 
tectorate. Hawkins  (History  of  Music,  iv.  349) 
says  on  this  pointy  '  Nay,  to  such  streights  were 
they  driven,  that  for  a  twelvemonth  after  the 
Restoration  the  clergy  were  forced  to  supply  the 
want  of  boys  by  comets,  and  men  who  had 
feigned  voices.' 

It  appears  from  a  passage  in  the  life  of  Arch- 
bishop Whitgift  (Biographia  Britannica,  p.  49$^), 
that  comets  had  been  before  intnMbced ;  for  an 
allusion  is  made  to  the  '  solemn  music  with  the 
voices  and  organs,- comets  and  sackbuts*;  and 
in  StowV  Aimals  (864),  we  read  that  at  the 
churching  of  the  Queen  after  the  birth  of  Mary 
daughter  of  James  I,  in  the  Royal  Chapel,  sundry 
anthems  were  sung  with  organ,  comets,  sackbut^ 
and  other  instruments  of  music*  [See  AirrHSM, 
and  period.] 

'tn  about  four  or  five  years  time*  says  Tudway, 
'some  of  the  forwardest  and  brightest  children 
of  the  chapel,  as  Pelham  Humphrey,  John  Blow, 
etc.,  began  to  be  masters  of  a  faculty  in  com- 
posing; this  his  majestv  greatly  encouraged,  by 
indulging  their  you&ful  £nciee.  In  a  few  years 
more,  several  others  educated  in  the  chapel, 
composed  in  this  style ;  otherwise  it  was  vain  to 
please  his  majesty.*  The  peculiar  influence  here 
ascribed  to  Charles  II  may  be  traced  in  the 
works  of  Humphrey,  Blow,  Wise,- and  their  con- 
temporaries, in  the  too  evident  aim  at  eflfect,^  and 
the  mannerisms  and  exaggerated<]maments  which 
oharacterise  them;  even  the  great  genius  of 
FuroeU  did  not  escape  the  effect  of  Charles's  fan- 
tastic tastes.  Many  of  his  finest  anthems  are 
disfigured  by  symphonies  of  sueh  a  kind  as  were 
evidently  invented  merely  to 'gratify  the  king^s 
desire  fbr  French  mannerisms.-  But  it  was  in 
the  1 8th  century  that  the  lowest  musical  standard 
prevailed  in  the  service  of  the  church.  A  florid 
sing-song  melody,  with  a  trivial  accompaniment, 
was  the  type  to  which  everything  was  sacrificed, 
and  a  rage  set  in  for  objectionable  adaptations 
and  arrangements.  The  woriu  of  Kares  and 
Kent  may  be  taken  as  specimetis  of  this  dass, 
though  one  worthy  exception  should  be  noticed  in 
Dr.  Boyce. 

Within  the  last  35  yean  choral  communions 
luwe  been  introduced :  they  had  been  discarded 
at  the  Restoration,  ttcm  which  time  up  to  1840 
the  Communion  Service  was  never  set  to  music 
except  in  so  frir  as  parts  of  it,  e.  g.  the  Sanctus, 
and  the  Gloria,  were  arranged  as  anthems  and 
introits.  [£.  H.  D.] 

CATHERINE  GREY,  n  opera  in  3  acts; 
libretto  by  Bunn ;  music  by  Balfe.  Produced  at 
Drury  Lane  Mav  27, 1837,  the  composer  himself 
playing  the  Earl  cf  Hertford.  [G.] 

CATLET,  Akkb,  was  bom  in  1745  in  an 
alley  near  Tower  Hill,  of  very  humble  parents, 
her  father  being  a  hackney  coachman,  and  her 


82« 


CATLEY. 


mother  a  wMherwomaa.  Endowed  with  great 
personal  beauty,  a  charming  voice,  and  a  natural 
talent  for  singing,  she  gained  her  living  at  the 
early  age  of  lo  years  by  singing  in  the  public 
houses  in  the  neighbourhood,  uid  also  for  the 
diversion  of  the  officers  quartered  in  the  Tower. 
When  about  15  years  of  age  she  was  apprenticed 
by  her  fitther  to  William  Bates  for  the  purpose 
of  receiving  regular  instruction  in  tiie  art  of 
singing,  Gatley  binding  himself  in  the  penalty 
of  £aoo  for  her  due  fiJfilment  of  the  covenants 
in  the  indenture.  She  made  rapid  progress,  and 
in  the  summer  of  176a  made  her  first  appearance 
in  public  at  Vauzhall  Gardens.  On  Oct.  8  in 
the  same  year  she  appeared  at  Govent  Garden 
Theatre  as  the  Pastoral  Nymph  in  Dr.  Dalton's 
alteration  of  Milton's  'Oomus.*  Early  in  1763 
she  became  acquainted  with  Sir  Francis  Blake 
Delaval,  a  young  baronet,  who  prevailed  on  her 
to  quit  the  house  of  Bates  and  reside  with  him. 
Desirous  of  obtaininff  a  legal  control  over  her, 
Delaval,  in  April  1 763,  induced  Bates  to  consent 
to  an  arrangement  for  his  pupil  doing  some  act 
which  would  put  an  end  to  the  apprenticeship, 
Delaval  paying  him  the  £200  penalty,  and  also 
the  amount  of  an  engagement  he  had  entered 
into  for  her  singing  during  the  summer  season  at 
Marylebone  Gurdens.  She  was  then  colourably 
apprenticed  to  Delaval  to  be  taught  singing  by 
him.  Application  being  made  to  her  father,  who 
was  then  coachman  to  Barclay^  the  quaker,  of 
Gheapside,  for  his  concurrence,  he  consulted  his 
master,  who^  shocked  at  the  iniquity  of  the  trans- 
action, at  once  sent  Gatley  to  nis  attorney.  A 
habeas  corpus  was  obtained  for  Delaval  to  pro- 
duce Anne  Gatley  before  the  Gourt  of  King*s 
Bench,  where  the  affair  being  inquired  into,  the 
Gourt  ordered  that  Delaval,  Bates,  and  John 
Frayne,  an  attorney  employed  by  Delaval,  should 
be  prosecuted  for  conspiracy,  the  Ghief  Justice^ 
Loid  Mansfield,  denouncing  their  conduct  in 
strongly  indignant  language.  They  were  aocord- 
iugly  tried,  convicted,  and  fined.  In  the  summer 
of  1 765  Anne  Gatley  fulfilled  her  engagement  at 
Marylebone  Gardens,  and  shortly  afterwards  be* 
came  a  pupil  of  Maoklin,  the  actor,  who  pro- 
cured her  an  engagement  at  Dublin,  where  she 
became  a  great  favourite.  O'Keefle,  the  dramatist, 
who  became  acquainted  with  her  there,  says,  in 
his  amusing  '  Beminisoences,'  '  She  wore  her  hair 
plain  over  her  forehead  in  an  even  line  almost  to 
her  eyebrows.  This  set  the  &shion  in  Dublin, 
and  the  word  was  with  all  the  ladies  to  have 
their  hair  CnUey-fied*  He  elsewhere  observes, 
'She  was  one  of  the  most  beautiful  women  I 
ever  saw;  the  expression  of  her  eyes  and  the 
smiles  and  dimples  that  played  round  her  lips 
and  cheeks  enchanting.  She  was  eccentric,  but 
had  an  excellent  heart.*  In  1770  she  returned 
to  England,  and  reappeared  at  Govent  Garden 
Theatre  on  Oct.  i  as  Boeetta  in  '  Love  in  a  Vil- 
lage.' After  the  season  she  was  again  engaged 
at  Marylebone  Gardens,  where  she  appeared  on 
July  30,  1 77 1,  and  saog  until  the  close  of  the 
season.  On  Feb.  6,  1773,  0'Hara*s  burletta, 
'The  Golden  Pippin,*  was  produced  at  Govent 


OAUvmi. 

Garden  Theatre.  Miss  Gatley  perftnnsd  Uit 
part  of  Juno  with  a  spirit  and  humour  that  ei- 
cited  the  utmost  api^use,  and  was  particolsrly 
admired  for  her  singing  of  two  of  the  songs,  m 
'  Push  about  the  jorum,* — the  tune  of  which  haft 
been  used  for  an  almost  endless  number  of  oosiic 
songs,— and  '  Where*s  the  mortal  can  rsust  me !' 
— the  tune  of  which,  slightly  varied,  has  long 
been  associated  with  the  Advent  Hymn.  HsTiag 
amassed  an  independence  Miss  Catley  retired 
from  public  life  in  1 784.  She  died  Oct.  14, 1789, 
at  the  house  of  General  Lascelles  (to  whom 
she  was  married),  near  Brentford.  The  paUic 
prints  of  the  day  eulogised  her  as  a  good 
mother,  a  chaste  wim,  and  an  aocompUsbed 
woman.  [W.  H.  a] 

GAURROT,  Fbanvois  Eustachb  do,  Sieor 
de  St.  Fr^min,  bom  at  Gerberoy  near  BeanTvi 
1549,  died  in  Paris  1609;  canon  of  the  Ste. 
Chapelle  and  prior  of  St.  Aloul  de  Prorbe; 
a  composer  of  great  merit  in  his  day.  He  wu 
appointed  director  of  the  King*s  band  in  1569, 
and  continued  in  office  during  the  rdgns  of 
Gharles  IX,  Henry  III,  and  Henry  lY.  In  1599 
the  post  of  Surintendant  de  la  Musique  da  Rui 
was  created  for  him.  He  was  buried  in  the 
Ghurch  des  Grands  Augustins.  A  monumeDt 
(destroyed  in  the  Revolution)  was  erected  to  hii 
memory  by  his  successor  Nio^as  Form^,  with  u 
epitaph  by  his  firiend  Gardinal  du  Perron.  Da 
Gaurroy  was  called  by  his  contemporaries '  Prinoe 
des  profeseeurs  de  musique/  a  title  he  shared 
with  Orlando  Lasso  and  Palc^trina.  His  com- 
positions include  'Missa  pro  defunctis,*  perfomed 
at  the  ftmerals  of  the  kings  of  France  until  the 
1 8th  century ;  one  copy  only  exists  at  the  Biblio- 
thbque  Nationale  in  Paris ;  'Preoesecdensstics' 
(Paris  1609),  'Precum  ecdesiasticarum  lib.  2' 
(Paris- 1609),  and,  published  by  his  grandnephev 
Andr^  Pitart>  '  Fantaisies*  in  3,  4.  5,  and  6  parts 
(Paris  1 610)  and  'Melanges  de  musique'  (Pani 
1 61  o)  from  which  Bumey  prints  in  his  3rd  tcjobm 
a  Noel  in  four  parts.  Du  Gaurroy  has  beea 
credited  with  the  airs  'Gharmante  Gabrielle' 
and  '  Vive  Henri  IV.'  [M.  C.  C] 

G  AUSTON,  Thomas,  was  a  gentleman  of  the 
Ohapel  Royal  in  the  reigns  of  Edward  VI,  Muy, 
and  Elizabeth.  He  contributed  to  the  curiooa 
collection  published  by  John  Day,  the  emineot 
printer,  in  1560,  in  separate  parts,  under  the  title 
of  '  Gertain  Notes,  set  forth  in  four  and  three 
parts,  to  be  sung  at  the  Morning,  Commnnion,  and 
Evening  Prayer*;  be  was  also  a  contributor  to 
the  collection  of  psalm  tunes  published  bj  D^y 
in  1563  under  the  title  of  'The  whole  Fsabne^ 
in  foure  parts,  which  may  be  sung  to  all  miuiol 
instruments.'  Some  of  his  compositions  are  etill 
extant.  '  They  are  remarkable  for  purity  of  part 
writing  and  flowing  melody,  closely  resemUio^ 
the  style  of  Orlando  Gibbons,  the  great  church 
composer  of  a  later  period.*  Gauston  died  Oct. 
28,  1569.  A  'Venite  exultemus,'  and  a  Coic- 
munion  service  by  him  were  reprinted  by  tbe 
Rev.  Dr.  Jebb  some  years  since.        [W.  H.  H.l 

GAUVINI,  an  Italian  singer,  described  b; 


CAUVQTL 

Lifd  Moumt-E^icambe  as  '  a  very  pretty  woman 
aifei  pleadng-  actresB,*  who  appeared  about  1813, 
IB  '  Coal  ^aa  tuite.*  Another  dnger  of  the  aame 
vme,  periiaps  her  husbancL  wDom  the  same 
mfeie  odis  'a  very  respectable  tenor/  appeared 
with  her  in  that  opera^  with  Tramezsani  and 
Kildi,  all  new  to  the  English  stage.  They  joined 
ihe  party,  including  Morelli,  Botinotti,  Collini, 
ttd  the  youthful  Miss  St«>hens,  whioh  was  driven 
brCataiani  to  secede  to  uie  Pantheon.  Nothing 
farther  is  known  of  the  Caavinis.  [J.  M.'J 

CAVATTJi'ft,  the  name  of  seTctral  generationB 

of  distinguished  oigan  builders  in  the  south  of 

faaoe.     The  present  eminent  member  of  this 

fexiily   is  AsiSTiDE    Ga vailxJ  -  GoL,    bom    at 

Montpellier,  iSii.    The  name  of  Ck)l  was  that 

9f  his  grandmother.    In  1833  he  went  to  Parian 

to  Ece  what  progress  was  being  made  in  his  art, 

bat  without  the  intention  of  establishing  himself 

there.     Hearing  that  there  was  to  be  a  com- 

^tion  for  the  construction  of  a  large  oigan  for 

tbe  royal  church  of  St.  Denis,  he  determined  to 

fsnd  in  a  tender,  although  only  two  days  remained 

for  preparing  it.     When  called  up  before  the 

committee  he  gave  them  such  interesting  ex- 

pkostioos  of    nis  plans  that  they  decided  to 

iccept  his  tender.      Barker*s  pneumatic  lever 

vu  firrt  used  in  this  organ.    He  thus  became 

established  in  Paris,  built  the  fine  organ  of  the 

Uaideleine,  and  many  others  in  the  capital  and 

io  the  provinoes.  [V.  Ds  P.] 

CAVACCIO,  GiovAWKT,  bom  at  Beigamo 
3i»att£^56,  was  for  a  time  singer  at  the  court 
of  Munich,  and  after  visiting  Rome  and  Venice 
settled  in  his  native  town  as  maestro  at  the 
Cathedral.  Thence  after  33  years  service  he 
was  called  to  be  maestro  at  S.  Maria  Maggiore 
at  Rome,  where  he  remained  till  his  death, 
Aog.  11,  1626.  Cavacdo  oontributed  to  a  od- 
lection  of  Psalms,  dedicated  in  1 59  2  to  Palestrina. 
His  works  are  Magnificats,  Psalms,  Madrigals, 
€to^  15S1-1611.  (See  list  in  F^tis).  Some  of 
lus  pieces  are  found  in  the  '  Parnassus  musicus' 
ofBergameno.  [G.] 

CAYALIERI,  EuiLio  dkl,  was   a  Roman 
gentleman  of  good  family  and  fine  musical  per^ 
oeptions.    He  was  bom  about  the  year  1550, 
ud  died  some  time  at  least  before  the  end  of 
the  i6ih  ocntuiy,  for  his  most  important  work, 
'  la  Rappresentazione  di  Anima  e  di  Corpo,*  was 
performed  for  the  first  time  in  1600,  and  all  the 
Kcounts  of  him  agree  in  stating  that  it  was 
wver  performed  in  his  lifetime.     He  spent  a 
great  portion  of  his  life  at  the  court  of  Ferdi- 
nand dei  Medicis,  who  appointed  him  to  the 
quaintly-named  office  of  '  inspector-General  of 
the  Artists'  at  Florence.    There  he  lived  upon 
tenns  of  intimacy  with  Giovanni  Bardi  of  Ver- 
wo,  Giolio  Caocini,  VinoensEO  Galilei,  Peri,  Corsi, 
and  Binuocini,  a  group  of  accomplished  artists 
ud  gentlemen,  who  were  bent  upon  freeing 
nrasic  from  the  trammels  of  the  *  stUe  osservato/ 
md  brining  about  some  better  result  from  the 
onion  of  instruments,  poetry,  and  the  human 
toice  than  had  up  to  IJieir  time  been  achieved. 


CAVALIEBL 


327 


Oavalieri,  then,  was  one  of  the  earliest  pro- 
jectors of  instrumental  accompaniment,  and 
among  the  first  to  employ  that  early  form  of  it 
which  goes  by  the  name  of  the  Basso  Contanuo, 
with  figures  and  signs  attached  to  guide  the 
different  instruments  in  filling  up  the  inter- 
mediate parts.  Aiessandro  Guidotti,  who  pub- 
lished 'La  Rappresentazione  di  Anima  e  dl 
Clorpo,'  after  the  death  of  its  author,  thus  ex- 
plains the  system  of  the  '  Basso  iigurato' : — '  I 
numeri  piccoli  posti  sopra  le  note  del  basso  con- 
tinuato  per  suonare,  significano  le  consonanze  e 
le  dissonanae  di  tal  numero,  come  il  3  terza,  il  4 
quarto,  e  cos\  di  mano  in  mano.*  Cavalieri  did 
not  attempt  to  elaborate  the  accompaniment  thus 
suggested;  a  great  deal  was  still  left  to  the 
players  themselves,  just  as  in  the  plain-song 
the  "Underlying  parts  were  filled  in  by  what  in 
England  was  known  as  *  descant,'  and  in  Italy  as 
'U  Gontrapunto  della  Mente.'  Not  the  less, 
however,  dSd  the  labours  of  Cavalieii  and  his 
contemporaries  constitute  at  once  a  starting-point 
and  a  stride  in  art.  He  was  also  among  the 
earliest  employers  of  vocal  ornaments,  such  as 
the  gruppetto  or  groppolo,  the  monachina^  the 
zimbalo,  and  perhaps  the  trillo.  It  may  be 
questioned,  however,  whether  the  last-mentioned 
was  the  true  'shake*;  that  is  to  say,  a  rapid 
oscUlation  between  two  tones  or  semitones;  or 
whether  it  was  only  a  certain  vibratory  produc- 
tion of  the  voice,  probably  considered  an  elegance 
in  eariy  times,  but  now  more  fitly  estimated  as 
a  fault  common  among  bad  singers,  uid  known 
as  the  '  tremolo.'     [Shake  ;  Tbkmolo.] 

A  dramatic  tendency  naturally  arose  out  of 
the  desire  to  make  vocal  and  instrumental  music 
subservient  to  the  illustration  of  words,  and  it 
is  not  surprising  therefore  that  Cavalieri  should 
have  produced  musical  dramas.  Of  these  he 
composed  four — H  Satire,  La  disperazione  di 
Fileno,  D  giuoco  della  cieca^  and  La  Rappresen- 
tazione, mentioned  already.  They  were  one  and 
all  of  them  arrangements  of  words  provided  by 
Laura  Guidiccioni,  an  accomplished  lady  of  the 
Lucchesini  family.  Of  these  works  the  last- 
named  only  has  been  edited,  as  stated  above,  by 
Guidotti  of  Bologna.  [£.  H.  P.J 

CAVALIERI,  Kathabina,  dramatic  mnger, 
bom  at  Wahring,  Vienna,  1 761.  At  a  very  early 
age  she  was  placed  under  Salieri  by  some  wealthy 
connoisseurs  who  had  heard  her  sing  in  church, 
and  in  1775,  when  barely  14,  was  engaged  at 
the  Italian  Opera.  A.  year  later  the  Emperor 
Joseph  founded  a  German  Opera,  to  which  she 
was  transferred.  As  Cavalieri  never  sang  out  of 
Vienna  her  name  b  almost  unknown  elsewhere, 
but  Mozart's  approval  stamps  her  as  an  artist  of  tha 
first  rank.  In  one  of  his  letters  (1785)  he  says 
'  she  was  a  singer  of  whom  Geannanj  might  well 
be  proud*;  and  it  was  for  her  he  composed  the 
part  of  Constance  in  the  '  Entflihrung,*  the  so- 
prano part  in  *  Davidde  penitente,*  that  of '  Mad. 
Silberklang'  in  the  '  Schauspiel-Director,*  and  the 
air  *  Mi  tradl*  in  <  Don  Giovanni,*  on  its  first  re- 
presentation at  Vienna,  May  7,  1788.    Salieri 


828 


CAVALIERI. 


called  her  hitf  faTOurite  pupil,  and  wrote  the 
principal  parts  of  Beveral  operas  for  her.  She 
sang  in  nearly  all  the  oratorios  raoduced  by  the 
Todcunstlef-Societat  (now  the  Haydn -VeTein), 
and  maintained  her  popularity  to  the  last, 
against  many  emineilt  singers.  Her  yoice  was 
of  considerable  compass,  and  she  was  a  culti- 
vated musician.  She  made  up  for  her  want  of 
personal  attractions  by  her  fascinating  manners. 
She  was  Compelled  fix>m  over-exertion  to  retire 
when  in  {he  prime  of  life  (1793),  and  died  June 
30,  1801.  [C.  F.  P.] 

CAVALLX,  PlBlito  FraKoesoo,  eminent  com- 
poser of  the  1 7th  century,  bom  at  Grema^  Venice, 
In  1509  or  1600.  His  real  name  was  Caletti- 
BmnC  and  he  took  tiiat  of  Cavalli  from  his 
patron.  In  161 7  he  became  singer  in  the  dioir 
of  St.  Mark's  under  Monteverde ;  in  1640  organist 
of  the  second  oigan,  in  65  oisanist  of  the  first 
organ  in  that  church ;  in  08  chapel-master, 
and  on  Jan.  14.  76,  he  died.  Of  lus  church- 
music  nothing  hu  been  published  beyond  a 
Mass,  Psalms,  and  Antiphon%  for  a  to  I  a  voices 
(Venioej  1656),  and  Vespers  for  8  voices  (ib. 
1675).  Santini  possessed  a  Bequiem  of  his  (sung 
at  Cavalli*s  funeral)  for  8  voices  in  MS.  His 
operas  Were  very  numerous*  He  began  to  write 
for  the  theatre  in  1637,  and  continued  so  to  do 
for  3  a  years.  There  were  then  five  theatres  in 
Vemce,  and  Cavalli  was  fully  employed.    F^tis 

fives  a  list— evidently  incomplete-— of  39  pieces, 
n  1660  he  was  called  to  Paris  for  the  marriage 
of  Louis  XlV|  and  produced  his  opera  of '  Xerse' 
in  the  Grand  GaUeir  of  the  Louvre ;  to  Paris 
again  in  i66a  for  tLe  Peace  of  the  Pyrenees^ 
when  he  brought  out  '  Eroole  amante  * ;  and  to 
Innspruck  for  the  fdte  on  the  reception  of  Queen 
Christina.  His  wife  belonged  to  the  Sozomeni 
family;  he  grew  rich  and  enjoyed  the  esteem 
and  affection  of  his  fellow-citizens.  He  took 
the  opera  from  the  hands  of  Monteverde,  and 
maintained  it  with  much  dramatic  power  and 
with  a  force  of  rhythm  before  unknown.  An  air 
by  Cavalli  and  some  fragments  will  be  found  in 
Bumey*s  *  History/  vol.  iv.  [G.] 

CAVATINA  originally  signified  a  short  song, 
but  has  been  frequently  applied  to  a  smootii 
melodious  air,  fonning  part  of  a  grand  scena  or 
movement.  Thus  Mozart*s  noble  scena  '  Andro- 
meda' commences  with  a  recitative  'Ah,  lo 
previdi ! '  followed  by  an  Aria^  Allegro,  then 
more  recitatives  in  ieveral  tempi,  and  lastly 
a  Oavatina,  Andantino  ;^— 


^rrt  J^i7 


Several  examples  of  cavatine  may  be  found  in 
Bellini*s  *  Sonnambula,'  Meyerbeer's  '  XJgonotti,' 
and  other  well-known  operas.     The  word  is 


CECILIA. 

sometimes  nsed  for  a  complete  air  or  song,  m  in 
Grounod*s  'Bomeo* — *L*amour!  oui  son  ardev 
attoubl^';  and  in 'Faust' — '  Salve  dimon.*  h 
thefull  score  of  Mendelssohn's  'St.  Paul'  'Bethw 
fidthf  ul  unto  death  *  is  called  a  cavatina,  but  in 
the  vocal  scores  it  is  described  as  an  aria.  Bee- 
thoven has  given  this  title  to  the  second  sbv 
movement^  Adagio  moUo  etipresgivo,  in  his  grat 
Quajftet  in  B  b  (op.i  30),  ode  of  the  most  toadung 
and  individual  pieces  to  be  found  in  all  his  worb. 
It  consists  of  a  song  in  two  sttttins  in  E  flat  ud 
A  flat,  an  episode  in  £  flat  minor  (expresave  of 
the  deepest  distress,  and  marked  in  the  autognph 
BeJdemmt — ehoked  with  grief),  and  a  retoni  to 
the  original  strain.  [W.  H.  C] 

CAVENDISH,  MicfEAiSL,  was  the  oomposcr 
of  a  set  of  '  Ayres  for  four  Voyces,'  pubMed 
in  1599.  He  contributed  a  madrigal— 'Gome, 
gentle  swaines' — ^to  'The  Triumphes  of  Oriani,' 
1 601,  and  was  one  of  the  ten  composers  7bo 
harmonised  the  tunes  for  '  The  Whole  Booke  of 
Psalmes  with  their  wonted  Tunes  as  they  are 
song  in  Churches  coowosed  into  fbure  paitit' 
published  in  159  a  by  Thomas  Este.  Notlung  ii 
known  of  his  biography.  [W.  H.  E] 

CAZZATI,  Maubizio,  bom  at  Mantua  about 
1630,  died  Ihere  1677,  appointed  in  1657  CSiApel- 
master  of  San  Petronio  m  Bologna.  He  redgned 
this  post  in  1674  on  account  of  a  vident  qoazrel 
with  Aresti,  organist  of  the  same  church,  who  had 
severely  criticiMd  the  Kyrie  in  a  mass  of  CazatTL 
His  voluminous  compositions  (for  list  see  F^iii) 
comprise  .masses,  psalm%  and  motets,  besidei 
canzonets  and  ails.  One  Of  his  motets  'Sunt 
breves  mundi  Bosee  *  was  printed  in  BaUaid^sooOee- 
tion  for  171a,  and  other  pieces  in  Profe'i  'Gei^ 
licher  Concerten '  (Leipeic  1 64 1 ).         [M.  G.  C] 

CECILIA,  ST.,  ViBOiN  and  Mabttb,  vu  1 
young  Boman  lady  of  noble  birth,  who.  bdng 
educated  in  the  duristian  faith,  vowed  to  lead  » 
celibate  life  and  to  devote  herself  to  the  eenrioe 
of  religion.  She  was,  however,  compelled  by  la 
parents  to  marry  Valerianus,  a  young  RonuQ 
noble  and  a  Pagan,  with  whom  she  prevailed  » 
much  as  not  only  to  induce  him  to  respect  her 
vow,  but,  with  his  brother,  to  embrace  the 
Christian  fiuth.  Seized  and  brought  hefon  the 
Pagan  authorities,  and  refusing  to  abjure  their 
fietith,  they  were  condemned  to  death,  the  brothefi 
being  decapitated,  and  the  viigin-wife  placed  in 
a  dry  bath  with  fire  beneath,  which  filing  to 
terminate  her  existence  as  rapidly  as  her  pe^ 
secutors  desired,  they  sent  an  executioner  to 
despatch  her  by  severing  her  head  from  her  body. 
These  events  occurted  at  Rome  about  339.  under 
Alexander  Severus,  according  to  most  writen, 
although  some  state  them  to  have  happened  in 
Sicily  under  Marcus  Aurelius  between  176  ud 
180.  Her  house  at  Rome,  where  she  was  put  to 
death,  was  converted  into  a  church,  or  a  dimth 
was  built  over  it,  to  which  in  831  her  remaus^ 
with  those  of  her  husband  and  brother  and  other 
martyrs  were  translated.  This  church  was  r^ 
paired  and  stmiptuously  embellished  in  1599}  vd 
a  monument  of  the  saint  erected. 


CECILIA. 

St.  OedliA  has  long  been  regarded  as  the  tate- 
hrj  saint  of  music  and  musiciuu,  but  the  period 
it  which  «he  was  Brst  bo  looked  upon  is  inyolved 
B  obKurity.  There  is  a  tradition  that  an  angel 
bjr  whom  she  was  Tisited  was  attracted  to  earth 
^  the  charms  of  her  singing;  but  when  it  origi- 
Hted  is  equally  unknown.  Early  writers  make 
so  oMatian  of  her  skill  in  music ;  even  as  late 
m  1594  a  long  Italian  poem  ^  Castelletti,  en- 
fitied '  La  Trionfatrioe  GedUa,  Yergine  e  Martire 
Bomsiia,*  was  published  at  Florence,  which  does 
KTt  allude  to  it.  It  is  certain  howeyer  that 
mriy  a  cenUiry  before  she  had  been  considered 
tf  Music's  patroness,  for  in  1503  a  musical  society 
vu  established  in  Louyain,  &e  statutes  of  whicn 
vere  sabmitted  to  the  magistrate  for  his  sanction. 
The  fotrndera  desired  to  place  the  new  association 
tmder  the  patronage  of  'St.  Job/  but  the  magis- 
lUte  dedded  that  it  should  be  put  under  the 
ftoipices  of  St.  CeciHa. 

For  a  yeiy  long  time  the  custom  of  celebrating 
vfoa  St  Ceolia's  festiyal  (Noy.  a  a)  the  praise  of 
Duic  by  musical  performances  existed  in  yarious 
eoantries^  and  many  associations  were  formed  for 
the  purpose.    The  earliest  of  such  associations 
of  which  any  notice  has  been  found  was  estab- 
lisbed  in  1571,  at  Eyreux  in  Normandy,  under 
ibe  title  of  'lie  Puy  de  Musique.'    A  solemn 
eelefaration  of  yespers  and  oomplin  took  place 
in  the  cathedral  on  the  yigil ;   high  mass,  yes- 
pen  sod  complin  were  performed  on  the  feast 
(by,  and  a  requiem  mass  for  the  souls  of  departed 
foooderB  on  die  morrow.    A  banquet  was  giyen 
iher  mass  on  the  feast  day,  and  prises  were 
avarded  for  the   best  motets,  part-songs,  airs, 
ud  mmets.    The  best  compoeers  of  the  day 
were  competitors  for  these  prizes,  and  amongst 
those  who  obtained  them  are  found  the  names 
cf  Odando  de  I^uso,  Eustache  du  Caurroy,  and 
Jioqaa  Salmon. 

It  was  a  century  later  before  any  similar  asso- 

dition  was  regularly  established  in  England.   In 

I'^SS  a  body  of  persons  known  as  '  The  Musical 

Society,'  hdd  the  first  of  a  series  of  annual  cele- 

^atioia.    Their  practice  was  to  attend  Diyine 

vonhip  (usually  at  St.  Bride's  church),  when  a 

^nl  aerrioe  and  anthem  with  orchestral  accom- 

fiaiiiieiits  (often   composed   expressly  for   the 

festiTalJ^  were  performed  by  an  exceptionally 

laige  number  of  musicians,  and  a  sermon,  usually 

in  defiance  of  cathedral  music,  was  preached. 

'^  then  repaired  to  another  place  (commonly 

S<*^onen'  HaU),  where  an  ode  in  praise  of  music, 

^tten  and  composed  expressly  for  the  occasion, 

w  perfionned,  after  which  they  sat  down  to  an 

entertaimnent.     These   odes   were   written   by 

^den  (1687  and  1697),  Shadwell,  Congreye^ 

^  t^rfey,  Hughes,  and  other  less-known  writers, 

Md  composed  by  Henry  Puroell  (1683  and  1692), 

Blow  (168^  1691,  1695,  and  1700).  Draghi,  Eo- 

^  Jeremiah  Garke,  and  others  of  lesser  note. 

Purceil  produced  for  1694  his  'Te  Deum  and 

Jubilate  in  D,*  and  Blow  his  for  1695.    These 

celebratioitt  were  kept  uninterruptedly  (with  the 

exception  of  the  years  1686,  1688,  and  1689) 

^^  1703,  after  which  they  were  held  only  coca- 


CELESTIKO. 


829 


sionally.  Pope  wrote  his  fine  ode  in  1 708,  but  it 
was  not  set  to  music  until  1750,  and  then  in 
an  altered  and  abbreyiated  form  by  Br.  Greene, 
as  the  exercise  for  his  doctor's  d^^ree.  It  was 
first  set  in  its  original  form  about  1757  by  Wil- 
liam Walond,  organist  of  Chichester  cathedral, 
and  at  a  much  later  period  by  Dr.  Thomas  Busby. 
In  1736  Handel  reset  Dryden's  'Alexander's 
Feast>'  originally  composed  in  1697  by  Jeremiah 
Clark,  and  in  1759  Dryden's  first  ode,  originally 
set  in  1687  by  Ihaghi.  Odes  were  comp^ed  at 
yarious  periods  hy  Drs.  Pepusch  and  Boyce,  by 
Posting,  Samuel  Wesley,  and  others. 

About  the  same  time  that  the  London  celebra- 
tions were  established  similar  meetings  were  held 
at  Oxford,  for  which  odes  were  written  by  Addi- 
son, Yalden,  and  others,  and  set  by  Blow,  Daniel 
Pui^cell,  etc.  These  meetings  were  continued  until 
1 708,  and  perhaps  later.  Other  places  followed 
the  example,  as  Winchester,  Gloucester,  Deyizes, 
and  Salisbury.  At  the  latter  place,  in  1748 
(the  time  of  holding  it  having  preyioualy  been 
changed),  the  meeting  was  extoided  to  two  days, 
and  gradually  deyeloped  into  the  modem  musical 
festival,  oratorios  being  performed  at  the  cathe- 
dral in  the  morning,  vni  secular  concerts  at  the 
Assembly  Boom  in  the  evening. 

There  are  some  records  of  a  musical  celebration 
having  taken  place  on  St.  Cecilia's  day  in  Edin- 
burgh in  1695,  and  in  the  early  part  of  the  i8th 
oentu^  sevend  took  place  in  St.  Patrick's  cathe- 
dral, Dublin. 

In  Paris  some  years  since  it  was  the  custom  to 
have  a  solemn  mass  performed  in  the  fine  church 
of  St.  Eustache  on  St.  Cecilia's  day,  for  the 
benefit  of  the  Society  of  Artist  Musicians.  On 
these  occasions  a  new  mass,  composed  expressly 
by  some  eminent  musician,  was  usually  prcxluced. 
Amongst  those  who  wrote  such  masses  were 
Adolph  Adam,  Niedermeyer  (1849),  Dietsch, 
Gounod  (1855),  and  Ambroise  Thomas  (1857). 

Musical  celeb  ations  on  St.  Cecilia's  day  are 
recorded  as  having  taken  place  at  various  periods 
in  Italy,  Germany,  and  eusewhere.  Spohr  com- 
posed a  'Hymn  to  St.  Cecilia'  for  the  Ceoilian 
Society  atCassel  in  1833,  and  Moritz  Hauptmann 
another  for  the  same  society  in  the  follo¥nng  year. 

It  only  remains  to  allude  to  the  fact  of  St. 
Cecilia  having  long  been  a  favourite  subject  with 
poets  and  painters :  from  Chaucer  to  Barry  Corn- 
wall, firom  Baffiaelle  to  Delaroche,  her  story  has 
frequently  been  set  forth  in  verse  and  on 
canvas.  [W.  H.  H.] 

CELESTENO,  Elioio,  a  violin-player,  bom  at 
Bome,  1739.  Bumey  heard  him  in  that  dty  in 
1 770,  and  considered  him  the  best  Roman  violinist 
of  the  period.  In  1 776  he  began  to  travel,  and 
settied  in  1781  at  Ludwigslust  in  Mecklenburg, 
as  leader  of  the  Ducal  band,  which  post  he  re- 
tained till  his  death  in  181  a.  When  sixty  years 
of  age,  Celestino  came  to  England,  and  met  with 
considerable  success.  In  Preston's  Catalc^e 
(London,  i797)t  we  find  of  his  ccHnposition  Six 
Sonatas  for  a  Violin  and  Bass  (op.  9),  and  three 
Duos  k  Violino  e  Violoncello  (London,  dementi, 
1798).  [P.  D.J 


830 


CELLO. 


CERONB. 


CELLOj  ft  contTaction  of  Violoitcello. 

CEMBAL  D'AMORE  transUted  is  'harpsi- 
chord  of  love/  but  according  to  Adlimg  ('  Musica 
Mechanica '),  this  instrument  did  not  belong  to  the 
clayioembalo  or  harpsichord  genus,  but  to  that  of 
the  clavichord.  The  strings,  he  states,  were  as 
long  again  as  in  the  ordinary  clavichord,  and  the 
tangents  which  produced  the  tone  from  the  strings, 
instead  of  touching  them  near  to  their  left-hand 
terminations,  made  the  impact  exactly  in  the 
middle  of  their  whole  length  between  the  bridges, 
of  which  there  were  two  instead  of  one  as  in  the 
clavichord,  and  two  soundboards  of  unequal  forms 
and  dimensions.  Both  halves  of  the  flirings  were 
thus  set  in  vibration  simultaneously,  which  ne- 
oeesitated  the  use  of  a  different  damping  contriv- 
ance to  the  simple  one  of  the  clavichord.  In  the 
oembal  d*amore  the  strings  lay  upon  the  damp- 
ing doth,  instead  of  its  being  woven  between 
them,  and  small  wooden  uprights  supported  it. 
The  strings  were  therefore  damped  when  at  rest ; 
when  raised  upwards  by  the  tangents  they  were 
free  to  vibrate,  and  remained  so  as  long  as  the 
keys  were  pressed  down.  The  form  of  a  cembal 
d'amore  was  that  of  an  English  spinet  with  the 
keyboard  to  the  right  hand  of  the  player  instead 
of  the  left,  thus  reversing  the  extension  of  the 
instrument  laterally.  Adlung  attributed  to  it 
more  tone  than  the  ordina£v  clavichord,  and 
more  capability  of  hehend  effoct  by  the  gentiv 
reiterated  movement  of  the  key.  But  too  much 
pressure  on  the  key  would  affect  the  intonation 
as  in  a  clavichord.  Li  estimating  its  dynamic 
power  he  places  the  cembal  d*amore  &r  behind 
the  pianoforte,  though  beyond  the  clavichord. 
Mattheson  (Critica  Musica)  refers  to  it  and  to  a 
parallel  between  the  Florentine  (pianoforte)  and 
Freiberg  (cembal  d'amore)  in  a  bantering  tone. 
Gottfried  Silbermann  of  Freilierg  (1683- 1753) 
invented  it,  and  Hahnel  of  Meissen  attempted 
to  improve  it  by  adding  a  'Celestine'  register. 
Others,  as  Oppelmann  and  Hasse  of  Hamburg, 
made  ike  instrument. 

Through  the  even  series  of  overtones  being 
banished  by  the  contact  with  the  first,  or  node 
at  the  half  length  of  the  string,  the  quality  of 
tone  or  timbre  must  have  tended  towards  that 
of  the  clarinet.  The  Rev.  J.  R.  Cotter,  of  Don- 
oughmore  Rectory,  Cork,  between  the  years  1 840 
and  1865  endeavoured  to  obtain  this  effect  from 
a  pianoforte  which  he  had  constructed  in  Messrs. 
Broadwoods'  workshops,  by  making  a  'striking 
place  *  at  the  middle  of  the  vibrating  length  of 
string.  Li  this,  the  Lyrachord,  as  he  named  it, 
the  clarinet  quality  was  a  prominent  diaracter- 
istic.  [A.  J.  H.]' 

CEMBALO  or  CnfBALO  (Italian^  a  dulcimer, 
an  old  European  name  of  which,  with  unimportant 
phonetic  variations,  was  Cymbal,  According  to 
Mr.  Carl  Engel  this  ancient  instrument  is  at  the 
present  day  called  cymhaly  by  the  Poles,  and  ofm- 
halom  by  the  Magyars.  The  derivation  of  cembalo 
IS  from  the  Greek  tcvfiffrj  (Latin  cymba),  a  hoUow 
vessel ;  and  with  the  Greeks  /eiffifiaka  were  small 
cymbals,  a  larger  form  of  this  ringing  instrument 


being  well  known  in   moden  mHitazy  bands. 
These  cymbals  and  bells  in  the  middle  agei  wen 
regarded  as  closely  allied,  and  rows  of  belli  of 
different  sixes,  UnHmtabula  or  glodceupidj  ven 
also    called   qfwbahL,     Virdung  (151 1)  nsmei 
zymbeH  and  glockem  (cymbals   and  USk)  to- 
gether.   It  was  most  likely  the  bell-like  tooe  of 
the  wire  strings  Btru<^  by  the  haamien  of  tbe 
dulcimer  that  attracted  to  it  the  name  of  cynbil 
or  oembalo.    It  is  explained  here^  however,  not 
only  for  the   meaning  dulcimer,   bat  for  the 
frequent  use  of  the  word  'cembalo*  by  oompoien 
who  witite  figured  basses,  and  its  eo^pAoymeDt  by 
them  as  an  abbreviation  of  davioembalo.    The 
dulcimer,  or  cembalo,  with  keys  added,  became 
the  clavicembalo.    In  course  of  time  the  fint  two 
syllables  being,  for  convenience  or  from  idlencs 
in  speaking  or  writing,  dropped,  'cembalo'  also 
was  used  to  designate  the  keyed  instrument,  that 
is,  the  clavicembalo  or  harpsichoid — ^just  sa  cdk 
in  the  present  day  frequently  stands  for  violoncello. 
In  the  famous  Passacaille  of  J  S.  Bach, '  cembalo' 
occurs  where  we  should  now  write '  manual,'  then 
being  a  separate  pedal  part    [See  Pjcdal.]  Bsi 
we  know  from  Forkel  that  Biach  used  a  doable 
'fliigel  *  or  clavicembalo,  having  two  keyboarda  and 
obbligato  pedals,  as  well  as  the  organ  wiib  pedals. 
There  is  a  story  in  the  Decamerone  of  Boccaccio 
of  one  Dion,  who  being  asked  to  sing,  said  he 
would  if  he  had  a  cembalo.    The  eariy  date  of  thii 
quotation  (1352-3)  has  led  to  much  difference  of 
opinion  among  musical  authorities  as  to  the  in- 
strument that  was  meant.    Bumey  leans  to  a 
tambour  de  basque,  a  tambourine,  which  by  worn 
caprice  had  been  designated,  some  time  or  other, 
oembalo.    Dr.  Rimbault  (Pianoforte,  p.  361  main* 
tains  that  it  was  a  small  davichord,  but  for  thii 
explanation  the  date  is  almost  too  eariy.    Tm 
opinion  of  Fdtis,  that  it  was  a  dulcimer,  is  prob- 
ably the  true  one.   [Harpsichord.]      [A.J.H.; 

CENERENTOLA,  LA,  opera  on  the  ator?  o( 
Cinderella,  by  Rossini,  libretto  by  Feretti ;  pro- 
duced at  the  Teatro  Valle  in  Rome  at  the 
carnival,  1 81 7,  at  the  Kiug^s  Theatre,  London. 
(much  mutilated),  Jan.  8,  1830,  and  at  the 
Th^tre  des  Italiens,  Paris,  June  8,  1822.  It» 
fkvourite  nimibers  are  *  Miei  rampoUi,'  'In 
segreto  d'importanza,*  and  'Non  piu  meeta.* 

'Cinderella  .  .  .  with  the  music  by  BoeBini' 
was  produced  in  Enfi^lish  at  Covent  GanieD. 
April  13,  1830;  but  it  was  a  mere  pastioci^^ 
the  music  being  made  up  from  'Cenerent<^' 
'  Armida,'  '  Maometto,'  and  '  William  TelL'  X> 
better  adaptation  has  yet  been  made.  L^'-. 

CERONE,  DoMEinoo  Pietro,  priest,  ban  «t 
Bergamo,  1566,  migrated  to  Spain  in  1591,  t^d 
entered  the  chapel  of  Philip  II  in  1593-  i^ 
1608  he  left  Spain  for  Naples,  where  he  beloogoi 
to  the  Chapel  Royal,  and  was  living  in  161.^. 
His  claim  to  mention  is  his  treatise  '  Kl  Melopei^.' 
a  folio  volume,  in  Spanish,  of  3  a  books  and  ii"0 
pages  of  small  print  (Naples,  1613),  a  wori. 
according  to  the  account  of  F^tis,  valuable  in 
some  respects,  but  tedious,  oonfiiaed,  and  unequal 
to  an  astonishing  degree.    It  is  founded  on  th* 


OEBOKB. 

fffskem  ot  Zarliao ;  indeed  there  is  Mme  roenfffi  ^ 
to  believe  that  it  is  a  mere  redactiozi  of  a  work 
with  the  mme  title  which  Zarlino  speaks  of  as 
hx^nag  wwnpleted  in  MS.,  bat  which  has  totally 
i^jsppeared.  The  whole  edition  of  Gerones 
work  is  said  to  have  been  lost  at  sea  except  13 
oopi<fs,  one  of  which  is  in  the  Fetiit  library  of  the 
Bibliotheque  Boyale  de  Belgique,  No.  5340.  [G.] 

CERTON,  PiXBBB,  a  French  musician  of  the 
iret  half  of  the  i6th  oentury ;  master  of  the 
dicdr  at  the  Saint  Chapelle,  Paris;  mentioned 
by  Rabelab  in  the  Nouveau  prologue  to  the  2nd 
kok  of  Pantagruel.  A  list  of  his  works  is  given 
>/f  Fetis.  They  include  31  Psalms  (1546); 
toother  ooUeetion  of  the  same  (155a) ;  3  Masses 
( 1558) ;  ]  Mass  U  55^  > ;  i  Beqniem.  A  Magnificat 
of'  his  is  found  in  a  collection  of  8  (Ganticum 
B.  M.  Virginis  etc.  I559\  and  many  of  his 
motets  are  ij^uded  in  the  collections  of  AttaJgnant 
(»533-49).  Susato  (Antwerp.  1543-50),  Phal^se 
(LoQvain,  1558),  and  Cipriani  (Venice,  1544). 
In  the  'Collection  of  Ancient  Church  Music 
printed  by  the  Motet  Society'  (1843),  a  piece 
by  Certon  is  given  for  a  trebles  and  tenor,  to 
&igliah  words,  which  k  very  melodious  and 
fTMefa],  and  with  a  mariLed  character  of  its 
own.  [GJ 

CEBVKTrO.  The  name  of  two  eminent  vio- 
kocello  playen  of  the  last  oentury. 

I.  Xtwasthesobiiquetof  GiAOOMO  BA8»Tl,bom 
in  July  1 68 a.  fie  came  to  England  and  joined 
the  ordiestra  of  Ihruiy  Lane  in  1 738.  The  cello 
was  not  then  known  in  England,  but  Cervetto, 
though  his  tone  is  said  to  have  been  coarse  and 
hia  execution  not  remarkable,  made  it  a  popular 
butroment.  Probably  theie  was  something 
gtioial  and  attractive  in  the  personality  of  the 
Dsn.  He  had  a  very  large  nose,  and  it  was  a 
bronrite  joke  to  call  to  Mm  from  the  gaUerv, 
'Play  up,  nosey* — an  expression  still  heard  m 
the  theatres.  That  he  was  a  man  of  humour 
ii  shewn  by  an  anecdote  ffiven  in  the  books. 
Gsiriek  was  playing  a  drunken  man,  and  ended 
by  throwing  himself  into  a  ohair.  At  this 
mament,  the  house  being  quite  still,  Cervetto 
give  s  long  and  loud  yawn,  on  whidi  Garrick 
■Urted  up,  and  ^mnrng  to  the  footlights  de* 
Bttnded  furiously  what  he  meant.  '  I  beg  your 
pardon,*  nid  Cervetto,  'but  I  always  gape  when 
I  am  particularly  enjoying  myself.'  He  became 
manager  of  iWry  Lane,  and  died  January  14, 
17S3,  over  100,  Iniving  £ao,ooo  to  his  son. 

a.  James,  who  was  bom  in  London  1758  or  p. 
He  made  his  first  appearance  when  1 1  years  old 
*i  a  concert  at  the  Haymarket  Theatre,  when 
^  the  performers  were  children.  Among  them 
were  GiaitUni  (11),  Gertrude  Sdmiahling  (9) — 
afterwards  the  celebrated  Madame  Mara,  but 
then  a  violin  player — and  Miss  Bumey,  sister  of 
the  avthoreas  of  *  Evelina.*  (Pohl*B  'Haydn  in 
^^^'^^^^  339.)  Up  to  the  death  of  his  father  he 
pUyed  at  tiie  professional  concerts  and  other 
orcheetru  of  the  day,  Crosdill  being  his  only 
rival ;  but  after  that  event  he  retired  upon  his 
[mune,  and  died  Feb.  5,  1837,  leaving  a  few 


OHACONNa 


881 


unimportant  pieces  for  his  instrument  behind 
him.  [G.] 

CESn,  Amtovio,  was  an  ecclesiastic,  a  native 
of  Arezzo  according  to  Baini,  whom  Fdtis  follows, 
but  of  Florence  according  to  Adami.  He  was 
bom  about  i6ao,  and  in  due  course  became  a 
pupil  of  Carissimi.  He  was  made  a  member  of 
the  papal  choir  on  Jan.  i,  1660.  Bertini  says 
that  he  was  subaeouently  Maestro  di  Cappella  to 
the  Emperor  Ferdinand  III. 

The  bent  of  Cesti's  genius  was  towards  the 
theatre,  and  he  did  much  for  the  progress  of  the 
musical  drama  in  Italy.  Bertini  says  of  him-* 
'Contribui  molto  ai  progressi  del  teatro  dram- 
matico  in  Italia,  riformando  la  monotona  sal- 
modia  che  allova  vi  regnava»  e  transportando  ed 
adattando  al  teatro  le  cantate  inventate  dal  suo 
maestro  per  la  chiesa.'  That  he  owed  mnbh  to 
his  master  Carissimi,  as  he  did  to  his  contempo- 
rary  Cavalli,  whose  operas  were  then  in  vogue  at 
Venice,  cannot  be  doubted,  but  that  he  deserves 
to  be  dismissed  as  the  plagiarist  of  either  of 
them  is  untrue. 

Allacci  gives  the  following  list  of  the  operas 
of  Cesti — L*Orontea ;  Cesare  Amante ;  La  Dori ; 
Tito;  La  Schiava  fortunata;  Genserioo:  this 
last  work  he  left  incomplete  at  his  death,  and 
it  was  finished  by  Domenico  Partenio.  To 
these  Fetis  adds  Aigene,  Argia^  and  H  Pomo 
d*Oro.  Bertini  and  Gerber  say  that  he  set 
Guarini*s  '  Pastor  Fido*  to  music,  but  the  work 
is  not  known  to  exist.  Dr.  Bumey  has  pre- 
served a  soene  from  '  LOrontea*  in  his  History 
of  Music,  and  Hawkins  has  done  the  like  by  a 
pretty  little  duet  for  soprano  and  bass,  called 
'Cara  e  dolce  h  libertJi.^  The  Abb^  Santini 
had  a  collection  of  his  chamber  pieces,  and  the 
score  of  his  Dori ;  some  of  his  canzonets  were 
published  in  London  by  Pignani  in  1665 ;  and 
there  is  a  solitary  sacred  motet  by  him  in 
the  National  Library  at  Paris.  [E.  H.  P.] 

CEVALLOS^  Fbavoisgo,  Spanish  composer 
from  1535  to  157a,  canon  and  musical  diroctor 
of  the  cathedrid  at  Burgos.  Among  his  com- 
positions scattered  throughout  Spain,  may  be 
mentioned  a  fine  mass  in  the  church  'Del  Pilar* 
at  Saragassa,  and  a  motet  *  Inter  vestibulum  *  in 
Eslava's  Lira  Sacra  fiispafia.  [M.  C.  C] 

CHACONNE  (Ital.  Ciaceana),  an  obsolete 
dance,  probably  of  Spanish  origin.  At  any  rate 
the  name  is  Spanish,  chaeona,  from  the  Basque 
chocuna,  'pretty'  (Littr^.  The  chaconne  was  a 
dance  ut^ually  in  3-4  time,  of  a  moderately  slow 
movement,  which  belonged  to  the  class  of  varia- 
tions, being,  in  fact,  in  the  large  majority  of 
cases,  actually  a  series  of  variations  on  a  'ground 
bass,'  mostly  eight  bars  in  length.  It  closely  re- 
sembles the  Passacaglia,  the  only  differences  being 
that  the  tempo  of  the  latter  is  somewhat  slower, 
and  that  it  begins  upon  the  third  beat  of  the 
bar,  whereas  the  chaconne  commences  upon  the 
first.  Among  the  most  celebrated  examples 
are  that  in  Bach's  fourth  sonata  for  violin 
Boloy    and   the    two  (one    with    ai   the  other 


888 


CHACONNB. 


with  6a  variaiionB)  In  Handel^s  'Suites  de 
Pibces.'  As  a  modem  example  of  the  chaoomie 
(though  not  BO  entitled)  may  be  instanced  Bee- 
thoven's 'thirty-two  variations  in  G  minor  on  an 
original  theme.'  Gluck  has  also  used  this  form, 
with  some  modifications,  in  the  ballet  music  of 
his  '  Iphig^nie  en  Aulide.'  In  Gouperin's  '  Pieces 
pour  id  davedn,'  edited  by  Braluns,  is  a  cha- 
conne  in  a -4  time.  [E.  P.] 

GHAIB  ORGAN,  a  oorraptionof  choib  oboait, 
in  use  in  the  last  century,  not  impossibly  arising 
from  the  fact  that  in  cathedrals  the  choir  organ 
often  formed  the  back  of  the  organist's  seat. 

CHALET,  LE.  A  comic  opera  of  three 
characters  and  in  one  act ;  the  libretto  by  Scribe 
and  M^lesville,  the  music  by  A.  Adam — his  most 
popular  work.    It  was  produced  at  Paris  Sept. 

25-  1834.  [^0 

GHALUMEAU.    Supposed  to  have  been  an 

old  instrument  of  the  dsfmet  or  oboe  tvpe,  now 

entirely  disused.    The  name  occurs  in  the  scores 

of  Gluck's  operas. 

The  word  is  also  used  lor  the  lowest  register  of 

the  Glarinet.    [Glabinxt.]  [W.  H.  S.] 

GHAMBEB  MUSIG  is  the  name  applied  to 
all  that  dass  of  music  which  is  spedaUy  fitted 
for  performance  in  a  room,  as  distinguished  from 
concert  music,  or  dramatic  music,  or  ecclesiastical 
music,  or  such  other  kinds  as  require  many 
performers  and  large  spaces  for  large  volumes 
of  sound. 

It  was  early  recognised  as  a  special  department 
of  the  art,  as  we  find  Louis  XI Y  with  a  *  Mattre 
de  la  Musique  de  la  Ghambre  dn  Boy,'  and  in 
Italy  as  early  as  the  beginning  of  the  17th 
oentuiy  Peri  and  Gaccini  and  many  other  dis- 
tinguished composers  of  that  time  and  shortly 
aftor  produced  an  abundance  of  'Gantate  da 
Camera'  and  '  Madrigali  da  Gamera,*  which  were 
generally  pieces  for  a  single  voice  with  ao- 
oonqMmiment  of  a  single  mstrument.  These 
were  probably  the  most  important  part  of 
chamber  music  for  some  time,  but  they  changed 
their  character  by  degrees,  and  becoming  more 
extensive,  and  more  fitted  for  large  nunu)ers  of 
perfonnera,  passed  out  of  its  domain.  The  name 
IS  now  more  generally  applied  to  instrumental 
music,  either  for  single  instruments  or  solo 
instruments  in  combination;  though  it  is  still 
appropriate  to  sones,  and  vocal  pieces  for  a  few 
voices,  alone  or  wiui  a  simple  accompaniment. 

The  earliest  forms  of  instrumental  chamber 
music,  as  indeed  of  all  instrumental  music,  were 
the  dance  tunes,  and  the  collections  of  dance 
tunes  which  weie  called  suites;  and  great 
quantities  of  these  exist  for  various  combinations 
of  instruments,  but  most  of  those  which  are  still 
well  known  are  for  '  clavier'  alone.  These  were 
the  forerunners  of  the  sonata  or  '  sound  piece,' 
which  is  the  type  of  the  greater  part  of  modem 
instrumental  music.  This  designation  is  now 
almost  entirely  restricted  to  works  for  pianoforte 
or  pianoforte  and  one  solo  instrument,  but  the 
first  sonatas  were  for  combinations  of  various 
instruments,  and  especially  for   strings;    and 


CHANGE. 

works  of  this  kind  exist  by  many  of  the  grea^ 
Italian  masters,  as  by  GorelU,  ajo^  by  our  owi 
Puroell,  whose  .' Gddien  Sonata*  for  two  violini 
and  bass  was  held  in  great  repate.  It  is  some 
what  singular  that  the  name  should  have  bees 
so  restricted,  as  the  works  which  "we  now  knon 
as  trios,  quartets,  quintets^  and  like  nama 
designating  the  nomber  of  solo  instraments  foi 
whidk  they  were  written,  are  always  in  the  sami 
form  with  the  pianoforte  worka  which  we  cal] 
sonatas,  and  the  legitimate  descendants  of  th< 
earlier  combinations  of  instrumenta  which  went 
by  the  same  name.  Works  of  thia  deacription 
form  a  very  considerable  portion  of  modern 
music  both  in  value  and  amount,  almost  all  the 
greatest  composers  of  the  last  hundred  years 
having  produced  some,  especially  Saydn*  Moxart, 
and  Beethoven.  The  latter  seemed  in  his  later 
years  to  regard  the  quartet  of  strings  as  one 
of  the  most  perfect  means  of  expreesing  his 
deepest  musical  thoughts,  and  left  some  of  the 
greatest  treasures  of  all  music  in  that  form. 
In  the  present  day  the  most  popular  form  of 
instrumental  music  of  this  description  seems  to 
be  the  combination  of  pianoforte  and  strings,  as 
duos,  trios,  quartets,  etc.,  and  of  snch  works 
great  quantities  are  constantly  produced  by  many 
distinguished  composers  of  Germany. 

Ghamber  music  offers  such  signal  opportunities 
for  the  display  of  the  finest  qualities  of  gnat 
players  that  it  has  become  a  common  practioe  to 
perform  it  in  large  ooncert  rooms  where  great 
numbers  of  people  can  come  together  to  hour  it^ 
so  that  the  title  threatens  to  bMome  anomalooa ; 
but  it  so  aptly  describes  the  dass  of  music  which  is 
at  least  most  fitted  for  performance  in  a  room  that 
it  is  not  likely  to  fell  mto  disuse.       [C.H.H.P.] 

GHAMBONNI^RES,  Jacques  Champion  di, 
son  of  Jacques  and  grandson  of  Antoine  Ghain- 
pion,  took  the  name  of  Ghambonni^res  from  his 
wife*s  estate  near  Brie,  was  first  harpsichord 
player  to  Louis  XIV .    Le  Gsllois,  in  his  '  Lettre 
k  Mdlle.  Regnault'  (Paris  1680),  says  Gham- 
bonni^res  excelled  every  performer  of  nis  day  in 
the  roundness  and  sonness  of  his  touch.    He 
foimed  the  school  of  harpsichord  playei.  which 
preceded  Bameau.  Among  other  pupils  he  tai:^fat 
Anglebert,  Le  B^^e,  and  the  earlier  Gouperins, 
of  which  celebrated  femily  he  introduced  Ix>uiB 
to  the  court.    Ghambonni^res  published  two  vol- 
umes of  harpsichord  music  (Paris  1670),  of  which 
the  first  is  in  the  library  of  the  Gonservatoiie 
and  the  second  at  the  Biblioth^ue  Nationsle. 
These   pieces   are   elegant,  original,   and  oor- 
rectlyluurmonised.    He  died  in  or  soon  after 
1670.  [M.  C.  C] 

GHAMPION,  AiTTOiNB,  grand&ther  of  Cham- 
bonnibres,  an  eminent  orguiist  in  the  reign  of 
Henri  IV.  A  five-part  mass  of  his  and  a  ^^ 
of  organ  pieces  (in  MS.)  are  in  the  Boyal  Library 
at  Munich.  HIb  son  Jacques  was  also  a  good 
organist  in  the  reign  of  Louis  XTTT.    [M.  C.  C] 

GHANGE.  I.  The  word  used  as  the  ihort 
for  change  of  key  or  Modulation,  under  wbico 


CHANGE. 

litter  liead  a  foDer  aooount  is  given.  Changes  are 
oommoDly  spoken  of  as  of  throe  kinds,  represent- 
ing three  degrees  of  abruptness. 

I.  The  Diatonic,  whidi  passes  firam  one  key 
to  soother,  nearly  lelated  to  it,  by  means  of  notes 
ooomuHi  to  both, 


CHANGE. 


83S 


45: 


r:i,^'j]i^fii  I 


ijlf  ifl'lLLL^y 


.   ^     r 


p 


i 


E'rPf 


P 


bam  Bach*8  Cantata, '  Freue  dich,  eiioste  Schaar.* 
2.  The  Chromatic,  when  accidentals   appear 
wbkh  are  not  common  to  both  keys,  as — 

Tu  tuMcipe  pro  animalbut  Ulii, 


1±A 


^ 


■^j- 


from  Mozart's  Beqidem. 

3.  The  Enharmonic,  where  advantage  is  taken 
of  the  fact  that  the  same  notes  can  be  called 
by  different  names,  which  lead  different  w^s, 
and  consequently  into  unexpected  keys.  For 
isstanoe,  the  dominant  7th  can  be  translated 
into  the  chord  of  the  augmented  6th,  and  by  that 
iBeaos  lead  into  very  remote  kevs,  and  by  the 
omTenal  transformable  power  of  the  inversions 
of  ihe  minor  9th,  we  can  pass  from  any  one 
l^ey  to  almost  any  other;  e.g.  in  Beethoven s 
'Leonore*  Overture  the  transition  from  £  major 
to  F  is  thus  managed — 


rV'V'rV^rfVr'L 


F 


£ 


tlie  chord  *  being  resolved  as  if  it  had  been 
^'litten  Bb,  Db,  G,  and  being  approached  as  if 


it  should  be  written  A|,  C|,  G.  Thus  there  is 
a  double  equivoque.  The  chord  as  it  is  approach- 
ed seems  to  be  an  inversion  of  the  minor  gth  of 
the  supertonic  of  E ;  it  is  then  written  as  an  in- 
version of  the  chord  of  the  minor  pth  of  the 
dominant  in  the  key  of  D,  and  resolved  as  an 
inversion  of  the  minor  9th  of  the  dominant  of  F. 
A  more  obvious  instance  to  the  uninitiated  is  the 
following — 


^m 


t!\  'I^Jltfy.. 


PP 


I     fst 


lg^  ig>^ 


m 


=S 


■^ 


J'W 


-of- 


etc. 


^ 


from  Chopin^s  Nocturne  in  G  minor  (op.  15), 
where  he  passes  from  Cf  major  to  F  in  this 
manner.  [C.  H.  H.  P.] 

II.  Change  is  the  term  applied  to  any  order 
in  which  bells  are  struck  other  than  the  usual 
order  in  which  rings  of  bells  are  arranged,  viz. 
the  diatonic  scale— struck  from  the  highest  to  the 
lowest  bell ;  and  Change  Ringino  ^  is  the  continual 
production  of  such  changes — without  any  repeti- 
tion— (from  the  time  the  bells  leave  the  position  of 
rounds  (123456)  to  the  time  tiiey  return  to 
that  position  again.  It  is  an  interesting,  and,  to 
many,  an  engrossing  art,  and  has  been  in  practice 
in  this  country,  it  is  supposed,  for  the  last  250 
years ;  during  which  time  many  persons  of  rank 
and  education  have  practised  it  as  an  amusement, 
among  the  earliest  of  whom  may  be  mentioned 
Lord  Brereton,  and  Sir  Cliff  Clifton  in  about 
1630.  Change  ringing,  as  has  been  said,  is  the 
constant  production  of  changes  without  repetition 
from  the  time  that  the  bells  leave  the  position  of 
rounds  to  the  time  that  they  return  to  that  posi- 
tion again.  It  is  a  rule  that  every  bell  which 
can  change  its  position  should  do  ao  in  order 
of  striking  at  each  successive  \A»w,  thus : — 

12345 

21435 
24  158 

It  is  the  change  ringers*  and  the  eomposer^s  object 
to  obtain  with  as  musical  a  combination  as  may 
be,  the  whole  of  the  changes  to  be  produced  on 
any  given  number  of  bells.  *  It  will  be  seen  by 
examining  the  following  figures  that  with  this 
simple  rule — that  every  bell  which  can  must 


1  This  work  beinc  &  Dictionary  of  Mosic,  a  Iodc  description  of  tbt  art 
would  bo  out  of  place,  and  we  mutt  therefore  refer  the  reader  to  the 
elementary  book  entitled  'Change  Binding'  by  Charles  A.  W.  Troyte, 
Keq^  of  Hontaham.  Deron  (Hasters,  New  Bond  Street),  and  for  the 
more  adTaneed  staoes  to  the  book  of  the  noM  name  by  Mr.  WiUlam 
Banlstor  (ToUard,  BzeterX 


884 


CHANGE. 


change  pUt'^es — only  lo  changes  can  he  prodaced 

on  five  belli 

12845  54821 

68412 

21435  85142 

24158  81524 

42518  18254 

45231  12845 

It  will  also  be  objierved  that  the  bells  work  in 
regular  order  from  being  first  bell  to  being  last, 
striking  two  blows  as  first  and  two  as  last :  this 
is  called  by  ringers  'hunting  up  and  down* — 
all  the  work  from  being  fint  bell  being  called 
hunting  *  up/  till  she  becomes  the  last  striking 
bell,  and  the  reverse  being  termed  going  *  down/ 
A  bell  can  never  be  made  to  skip  a  place,  she 
must  always  be  rung  in  the  next  place  to  that  in 
which  she  last  struck.  This  being  the  rule, 
therefore,  that  bells  must  thus  change  places^  and 
it  having  been  shown  that  by  simply  doing  so 
only  lo  changes  of  the  120  on  five  bells  (see 
Table")  can  be  produced,  it  becomes  necessary  to 
alter  the  rule  in  the  case  of  some  of  the  beDs,  by 
making  fresh  ones ;  and  these  rules,  being  more 
or  len  intricate,  comprise  the  methods  by  which 
peals  or  touches  are  produced.  For  the  purposes 
of  this  work  it  will  be  enough  to  glance  at  one  or 
two  of  those  in  most  general  use. 

The  Grandtire  method  is  supposed  to  be  the 
original  one,  and  shall  therefore  be  first  noticed. 
Taking  the  rule  above  griven  as  to  plain  'hunting,* 
and  which  has  been  shown  to  produce  ten  changes 
only  on  five  bells,  it  is  by  this  method  thus 
altered: — The  bell  that  leads  next  before  the 
treble  only  goes  up  into  3rd's  place  and  then 
goes  back  to  lead  again ;  the  bells  in  fourths  and 
fifths  places  are  by  this  thrown  out  of  their  work, 
as  will  be  seen  by  the  following  diagram  at  the 
asterisk,  and  are  said  to  dodge : — 


1 
2 
2 
8 
8 
4 
4 
5 


23 
13 


45 
54 
45 
15 
51 
21 
1  2 
8  2t 


51 
15 
12 
21 
25 
52 
58 


4 

2 
5 
5 
1 
8 
2 


8 

8 

4* 

8 

4 

5 

1 


By  following  this  rule  again  only  30  changes  of 
the  1 20  can  be  produced,  and  now  &e  services  of 
the  conductor  have  to  be  called  in,  who  uses  the 
terms  'Bob*  or  '  Single '  to  denote  the  changes  in 
work  shown  in  the  following  diagrams,  taking  up 
the  work  firom  the  f  in  the  foregoing  one.  We 
will  in  the  first  show  the  working  of  a  Bob,  in 
the  second  that  of  a  Single, — these  changes  of 
course  always  taking  place  when  the  treble  is 
leading : — 

'Smgle'  5  4  18  2 


'Bob'  54  132 
51428 
15432 
14528 
41582 
45128 


51428 
15482 
15428 
51432 
54128 


CHAK^B. 

treble,  an  thrown  oat  of  their  plain  hunting 
work ;  the  4th  and  5th  remain  below  3rd*s  place, 
and  the  2nd  and  3rd  keep  changing  places:  in 
change-ringins:  tenns  the  4th  and  5th  are  said  to 
*mtke  places.*  and  the  2nd  and  3rd  are  said  to 
make  a  'double  dodge.*  It  is  by  calling  these 
bobs  and  singles  at  intervals  previously  settled  on 
that  the  conductor  is  able  to  pioduoe  the  whole 
120  changes. 

This  method  is  much  and  generally  practised 
on  all  numbers  of  bells  from  5  to  1 2,  its  working 
being  exactly  the  same  on  all,  with  the  only 
difFerence  that  when  the  courses  of  the  bells  are 
altered  by  the  rule,  there  are  mora  bella  to  dodge, 
and  the  arrangements  of  bobs  and  singles  become 
more  complicated.  It  is,  however,  oonsidered 
better  suited  to  an  uneven  number  of  bells  with 
a  tenor  covering, — such  as  would  be  ten  bells 
when  only  the  fint  nine  were  changing. 

The  Stedman  method  is  another  and  favourite 
method  among  change-ringers.  It  derives  its 
name  from  a  Mr.  Fabian  Stednuui  by  whom  it 
was  invented  about  the  year  1640.  It  is  on  an 
entirely  different  principle  to  the  Grandsire 
method,  the  foundation  of  it  being  that  the  three 
first  bells  go  through  the  six  changes  of  which 
they  are  capable  (see  Table  of  Changes)  while  the 
belis  behind  '  dodge  * ;  at  the  end  of  each  six 
changes  one  of  these  bells  gcnng  up  to  take  part 
in  the  dodging,  and  another  coming  down  to  take 
its  place  in  the  changes.  It  is  an  intricate 
method,  and  our  space  will  not  allow  of  a  fuller 
explanation  ;  it  is  carefully  explained  in  Troyte's 
'  Change  Ringing/  to  which  we  have  already  re- 
ferred. ^ 

Treble  Bclb,  There  are  many  variations  of  this 
which  is  usually  perfonned  on  an  even  numba 
of  bells.  It  derives  its  name  from  the  &ct  that, 
instead  of  the  plain  hunting  course,  the  bells,  and 
more  especially  the  'Treble,*  have  a  dodging 
course.  This  will  be  seen  by  the  following  dia- 
gram, and  for  further  explanation  we  must  i^ain 
refer  to  Troyte's  '  Change  Binging.' 


128456 


It  will  be  observed  that  all  the  bells,  except  the 


2 
1 
2 
2 
4 
4 
2 
2 
6 
6 
2 
2 
5 


46 
35 
36 
63 
15 
63 
15 


5 
4 
5 
4 
3 
6 


5 
6 
5 
5 
8 
5 
8 
8 
1 
8 
1 
1 
4 


5 
2 
2 
8 
8 
2 
2 
I 


2 
5 
3 
2 
2 
3 
1 
2 


21 
12 
14 
41 
14 
41 
46 


6 
8 
5 
1 
5 
1 
3 
3 
4 
4 
2 
2 
6 
6 
1 


4 

1 

6 

4 

6 

4 

5 

6 

5 
36 
685 
658 
235 
258 
523 


1 

4 
4 
6 
4 
6 
6 
5 
6 
5 


The  foregoing  remarks  we  trust  will  explsin 
the  general  meaning  of  the  term '  Change  Ringing* 
as  used  technically.  The  following  Table  shams 
the  number  of  changes  to  be  derived  firom  any 
given  number  of  bells  up  to  12  (the  laigest  num- 
ber ever  rung  in  peal),  the  names  given  to  Bucb 


OHANOS. 

Aaaigem,  aad  ilie  tame   generally  allowed   fer 

_  •       -  ~ 

pBgltMf 


CHANSON. 


835 


=5  1 


Kame. 


S' 

4  8insle0 .   •   • 

5  Doubles    •   . 

6  Minor    •  •   . 
1  \  Triplea  .  .   . 
%<  Mjtfor    .  .  . 
» '.  Oiten  (<itiatera) 
1«  Bayal 
11 '  Cinqi 


IS'Mazimns  . 


No.  of 
Cbasg« 


M 

120 
720 

862,888 

S»e28300 

80.916^800 

490,001,600 


i 


8 
87 


1 
10 

106 
60 

856 


If 

3 


8 

4 
12 


9 
B 


1 

6 
80 


[C.A.W.T.] 

CHANOT,  Frak^ots,  wm  of  a  yiolin-maker, 

vu  bom  in  1 787  at  Mireoourt  in  France.     He 

filtered   the    army  as   an  engineer  under  the 

Ijnpire,  bat  quitted  it  after  the  Restoration. 

Betoming  to  Mireoourt,  he  made  special  studies 

CD  the  oonsteuction  of  the  violin,  and  ultimately 

\sr^i  one  which  deviated  considerably  in  form 

from  the  accepted  pattern.    Believing  that,  in 

order  to  make  evezy  part  of  the  instrument 

fotWke  equally  of  the  vibrations  of  the  sound,  the 

fibret  of  tiie  wood  should  be  preserved  in  their 

entire  length,   he  considered  the  comers  and 

corveB  of  the  outline  as  so  many  obstacles  to 

the  fntipag&tian  of   the  waves  of  sound,  and 

•ocGitiin^y  gave  his  violin  a  pear-shaped  form, 

resembling  that  of  the  guitar.    The  belly  he 

nade  quite  flat^   and   Im  out    the   soundpost 

tltogether,  on  the  ground  that  it  merely  served 

to  bresk  the  waves  of  sound,  while  in  reality  it 

traosnits  them  from  belly  to  back. 

This  violin  (if  one  may  still  call  it  so),  the 

QoJj  oDe  Chanot  ever  made^  he  submitted  to  the 

to^orities  of  the  Institut  de  France.     After 

IttTing  been  examined  by  a  committee  of  eminent 

lun^both  scientific  and  musical,  and  tried  against 

iutruments  of  Guamerius  and  Stradivarius,  it 

v»  pronounced  not  infwior  in  quality  to  the 

"nsXaa  of  these  great  makers.      (Kapport   de 

riutitat,  in  the  *Moniteur,'  Aug.  32,   18 17). 

It  ii  difficult  to  account  for  this  deicision,  whidi 

opoience  quickly  proved    to    be   a  complete 

delaaon,  as  all  instruments  made  after  the  new 

{Attem  tmned  out  of  indifferent  quality.    A 

brother  of  Chanot's,  a  violin-maker  at  Paris,  for 

sometime  continued  to  make  violins  of  this  kind. 

^Qt  was  soon   obliged  to   give   it    up.     This 

BodesToizr  to  improve  tmon  the  generally  adopted 

pstten  of  the  great  Italian   makers,  resulted, 

^  aU  similar  attempts  before  and  since,  in 

comf^fulmre.    Chanot  died  ini  8  23.    [P.  D.] 

CHANSON.  The  French  ekanton,  derived 
^^e  Latin  cavfM,  caiUumem,  is  a  little  poem 
of  which  the  E^ta^^  or  symmetrical  divisions  are 
«Ued  'ooq|dete/  Being  intended  for  singing, 
^  fioopleti  are  genendly  in  a  flowing  rhythm. 


and  written  in  an  easy,  natural,  simple,  yet 
lively  style.  As  a  rule,  each  couplet  concludes 
with  a  repetition  of  one  or  two  lines  constituting 
the  *  refrain* ;  but  the  refrain  is  sometimes  sepa- 
rate, and  pieoedes  or  foUows  tiie  couplet,  in 
which  case  it  may  be  a  distich  or  quatrain,  or 
even  a  stanza,  of  different  rhvthm  to  the  rest  of 
the  song.  The  history  of  the  chanson  would 
involve  a  review  of  the  whole  history  of  France, 
political,  literary,  and  social.  Suffice  it  to  say 
here  that  all  modem  songs  may  be  classed  under 
four  heads  —  the  'dumson  historique';  the 
'chanson  de  metier*;  the  'chanson  d'amour*; 
and  the  '  chanson  bachique  * ;  four  divisions 
which  may  be  traced  in  tihe  ancient  poets. 

I.  The  historical  songs  may  be  subdivided 
into  four  classes,  sacred,  military,  national,  and 
satirical.  The  sacred  songs  include  tiie  *can- 
tique,*  the  'noel,*  or  (Siristmas  carol,  the 
'hymne,'  and  also  the  'complainte,*  or  hunent, 
and  the  '  chanson  de  solennit^s  politiques,'  com- 
posed to  celebrate  an  accession  to  the  throne,  or 
other  public  event.  The  *  cantatas'  performed 
on  state  occasions  by  other  nations  took  their 
origin  from  these  'chansons  de  solennit^.'  The 
national  songs  of  France  are  entirely  modem. 
[See  ViYB  ^NBi  IV  ;  Mabsiillaisb  ;  Depart 
CHAirr  DU,  La  Pabibiekne,  &c.] 

a.  The  '  chansons  de  metier,'  like  the  *  chan- 
sons militaires,*  were  originally  merely  cries. 
(Kastner.  'Les  Yoix  de  Paris.')  Of  aU  the 
popular  songs,  these  professional  chansons  are 
the  fewest  in  number,  and  the  least  interesting 
both  as  regards  words  and  music. 

3.  Od  the  other  hand,  the  *  chansons  d'amour* 
are  innumerable  and  well  worth  studying.  In 
them  the  French  poets  exhausted  iJl  tiie  re- 
sources of  rhvthm.  The  'lai,'  an  elegiac  song, 
accompanied  by  the  rote,  harp,  or  vielle  (hurdy- 
gurdy)  ;  the  '  virelai,'  turning  entirely  on  two 
rhymes ;  the  *  descort,*  in  which  the  melody,  and 
sometimes  the  idiom  changed  with  each  couplet ; 
the  'aubade,'  the  'chant  royal,'  the  'ballade,* 
the  *  brunette,*  the  'rondeau,'  and  the  'triolet,' 
are  all  forms  of  the  '  chanson  amoureuse,'  which 
was  the  precursor  of  the  modem  '  romance.* 

4.  The  'chansons  bachiques*  are  also  remark- 
able for  variety  of  rhythm,  and  many  of 
them  have  all  the  ease  and  flexibility  of  the 
'couplets  de  fiEUsture'  of  the  best  vaudeville 
writers.  In  some  songs  the  words  are  more 
important,  in  others  the  music.  Hence  arose 
a  distinction  between  the  'note'  or  air,  and 
the  'chanson'  or  words.  The  old  chansons 
have  a  very  distinctive  character ;  so  much  so 
that  it  is  easy  to  infer  the  time  and  place  of 
their  origin  from  their  rhythm  and  style.  The 
popular  melodies  of  a  coimtry  where  the  in- 
habitants live  at  ease,  and  sing  merely  lor 
amusement,  have  as  a  rule  nothing  in  common 
with  those  of  a  people  whose  aim  is  to  per- 
petuate the  memory  of  the  pnst.  The  songs 
too  of  those  who  live  in  the  plains  are  mono- 
tonous and  spiriUess;  whilst  those  of  moun- 
taineers are  naturally  picturesque,  impressive^ 
and  even  sublime.     It  is  not  only  the  influence 


S36 


CHANSON. 


of  climate  wliich  leaves  its  mark  on  the  songs  of 
a  people ;  the  Bpirit  of  the  a^  has  a  great  effect, 
as  we  may  see  if  we  remark  how  the  chansons 
of  France  have  drawn  their  inspiration  mainly 
from  two  sources— church  music,  and  the  '  chan- 
sons de  chasse.'  Even  in  its  songs,  the  influence 
of  the  two  privileged  classes,  the  clergy  and  the 
nobility,  was  felt  by  the  people.  Without  pur- 
suing this  subject  further,  we  will  merely  remark* 
that  the  name  *  chansons  populaires  *  ^ould  be 
Implied  only  to  songs  of  which  the  author  of 
both  words  and  music  is  unknown. 

It  is  also  important  to  distinguish  between 
the  anonymous  chanson,  transmitted  by  tradi- 
tion, and  the  '  chanson  musicale,'  by  which  last 
we  mean  songs  that  were  noted  down  from  the 
first,  and  composed  with  some  attention  to  the 
rules  of  art.  Such  are  those  of  the  Chfttelain 
de  Coucy,  composed  at  the  end  of  the  lath 
century,  and  justly  considered  most  curious  and 
instructive  relics  in  the  history  of  music.  (Michel 
et  Feme,  'Chansons  du  Chfttelain  de  Coucy,' 
Paris,  1830).  Of  a  similar  kind,  and  worthy  of 
special  mention,  are  the  songs  of  Adam  de  la 
Halle,  of  which  some  are  in  throe  parts.  (Cousse- 
maker,  *  Adam  de  la  HaUe,*  Paris,  1871).  True 
these  first  attempts  at  harmony  are  rude,  and 
very  different  from  the  'Inventions  Musicales' 
of  Clement  Jannequin,  and  the  songs  for  one  or 
more  voices  by  the  great  masters  of  the  madrigal 
school ;  but  the  chanson  of  the  middle  ages  was 
nevertheless  the  parent  of  the  ariette  in  the 
early  French  operas-comique,  and  of  the  modem 
oouplet ;  while  the '  chanson  musicale*  in  several 
parts  is  the  foundation  of  choral  music  with  or 
without  Accompaniment.  By  some  of  the  great 
Flemish  musicians  the  word  chanson  was  ex- 
tended to  mean  psahns  and  other  sacred  pieces. 
It  is  much  to  be  regretted  that  the  Frencn,  who 
are  so  rich  in  literary  collections  of  songs, 
should  have  at  present  no  anthology  of  '  chan- 
sons musicales'  in  notation,  where  might  be  seen 
not  only  « Belle  Erembor*  and  *  TEnfant-G^rard,' 
anonymous  compositions  of  the  1 3th  century,  but 
the  best  works  of  the  troubadours  Adenez, 
Charles  d'Anjou,  Blondel,  Gace  Brul^  Colin 
Muset,  Thibault  IV,  Comte  de  Champagne,  and 
of  the  Norman  and  Picard  trouv^res  of  the  13th, 
14th,  and  15th  centuries.  One  great  obstacle  to 
such  a  work  lies  in  the  fact  that  the  chansons  of 
the  1 3th,  13th,  and  14th  centuries  were  so  often 
altered  in  transcribing.  It  \b  however  much  to 
be  hoped  that  some  musician  of  taste  and 
erudition  will  before  long  place  within  our  reach 
the  *  chansons  d 'amour,'  and  the  *  chansons  k 
boire,'  which  have  been  the  delight  of  the  French 
from'  the  middle  ages  downwards. 

The  best  worlu  on  the  subject  at  present 
are  : — '  Histoire  litt^raire  de  la  France,'  vol.  33 ; 
*  Les  Poetes  fran9ais'  (Cr^^pet,  Paris,  4  vols.); 
Du  Mersan's  *  Chants  et  Chansons  populaires  de 
la  France '  (Paris,  1848,  3  vols.),  with  accompani- 
ments by  Colet,  not  in  the  style  of  the  chansons ; 
Coussemaker's  '  Chants  populaires  des  Flamands 
de  France'  (Ghent,  1850);  Champfleuiy  and 
Wekerlin's  'Chansons  populaires  des  provinces 


CHANT. 

de  France*  (Paris,  i860) ;  Gragneor's ' doaaou 
populaires  du  Canada'  (Quebec,  1865);  Luidellei 
'Qiansons  maritimes'  (Paris,  1805);  Nissrd'i 
'Des  Chansons  populaires'  (Paris,  1867).  Ca- 
pelle's  *  La  a^  du  Caveau'  (4th  ed.  Psris,  187a) ; 
and  Yerrimst's  *  Bondes  et  Chansons  popnlsiiei 
illustr^ '  (Paris,  1876).  In  the  last  two  wotb 
the  songs  are  not  always  ooaectly  given.   [6.C.] 

CHANT.  To  chant  is,  generally,  to  ang; 
and,  in  a  more  limited  sense,  to  sing  oertuB 
words  according  to  the  style  required  by  mosical 
laws  or  eodesiastical  rule  and  custom;  and  wbst 
is  thus  performed  is  styled  a  Chant  and  CAaaU 
ing,  CamtiM  firmut,  or  Canto  fermo,  Ptocticall j, 
the  word  is  now  used  for  the  short  melodies 
sung  to  the  psalms  and  canticles  in  the  En^ 
Clhuroh.  ThescL  are  either  *  single,'  i.  e.  oduted 
to  each  single  verse  after  the  tradition  of  16 
centuries,  or  'double,'  i.e.  adapted  to  a  ooople 
of  verses,  or  even,  aooording  to  a  recent  liill 
greater  innovation,  'quadruple,'  ranging  orar 
four  verses. 

The  qualifying  tenns  Cfregoriant  AngUeiai, 
GaUiean,  Parisian,  Cologne,  etc.,  as  appUed  to 
the  chant,  simply  express  the  sources  from  which 
any  particular  ohAit  has  been  derived. 

It  is  historically  ideorrect  to  regard  the  stroctoR 
of  ancient  and  modem  chants  as  antagoniBti^l^ 
to  the  other.  The  famous  'Book  of  ComnMn 
Praier  noted,'  of  John  Marbeck  (1559),  wUdi 
contains  the  first  adaptation  of  music  to  the 
services  of  the  Reformed  Anglican  C^oidi,  ■ 
an  adaptation  of  the  ancient  nuisic  of  the  latia 
ritual,  aocordinff  to  its  then  well-known  niim, 
mutalu  mutanaii  to  the  new  English  tnuiUp 
tions  of  the  Missal  and  Breviary.  The  ancient 
Gregorian  chants  for  the  psalms  and  canticki 
were  in  use  not  only  immediately  after  the 
Beformation,  but  fax  on  ijito  the  17th  centuiy; 
and  although  the  Great  Rebellion  siloiced  the 
ancient  liturgical  service^  with  its  traditional 
chant,  yet  in  the  fifth  year  after  the  Be^ay 
tion  (1064)  the  well-known  work  of  the  Ber. 
James  Clifford,  Minor  Canon  of  S.  Paul's,  givti 
as  the  *Ounmon  Tunes'  for  chanting  the  English 
Psalter,  etc.,  oorrect  versioQS  of  each  of  the  eight 
Gregorian  Tones  for  the  PsaJms,  with  one  aidng 
to  each  of  the  first  seven,  and  both  the  unui 
endings  to.  the  eighth,,  together  with  a  form  d 
the  Peregrine  Tone  similar  to  that  given  hj 
Marbeck  K  Clifibrd  gives  also  three  tones  eet  tt> 
well-known  harmonies,  which  have  kept  their 
footing  as  chants  to  the  present  day.  The  fint 
two  are  arrangements  of  the  1st  Gregorian  Tone, 
4th  ending— the  chant  in  Tallis's  <(}athednl 
Service'  for  the  Venite — ^with  the  melody  bov- 
ever  not  in  the  treble  but  (according  to  anaest 
custom)  in  the  tenor.  It  is  called  by  CSiftid 
'  Mr.  Adrian  Batten's  Tune' ;  the  hormcn;  is 
essentially  the  same  as  thnt  of  Tallis,  but  the 
treble  takes  his  alto  part,  and  the  alto  his  tenor. 
The  second,  called  'Christ  Church  Tune'  and kI 
for  xst  and  and  altos,  tenor,  and  bass,  is  also  the 
same ;  except  the  third  chord  from  the  end— 

1  Sea  Tabla  of  ctuuti  In  *  Aoc.  humoDlM  to  BiM  Dincloiy.'  tr 
B«T.  T.  Balmon.   Aw.ILNo.ckL 


CHANT. 


CfHANT, 


Wi 


ChriU  Ckwreh  Tune. 


i'^ibi 


I 


f  S-'-^-^'-S-  '  S^^-dkd  '^  '•£ 


i 


Cliffonl's  third  specimen  iB  quoted  as  'Canter- 
burv  Tone/  and  is  that  set  to  the  Quicunqae 
nit  (Athanasian  Creed)  in  Tallis's  'Cathedral 
Senioe*;  but,  as  before,  with  hannoniea  differ* 
osly  iiranged. 

CanteHmry  TuiM. 

iCmmter  Ttnai^ 


-t"^- 


I 


CtmUrTater 


-mr 


I 


^ 


3s: 


JBL 


\    ti    rj 


\  vfBba 


}r  Baton  all  thlnci  it  to  > 
^    hold  tte  QOhoUc    ■' 


notb. 


It  has  all  the  characteristics  of  the  8th  Gre- 
pxnan  Tone,  with  just  such  yariations  as  might 
be  expected  to  occur  from  the  lapse  of  time, 
ind  decay  of  the  study  of  the  andent  fbrms 
lod  roles  of  Church  music 

The  fourth  of  Clifford's  examples  is  also  a  yery 
f«A  instanoe  of  the  identity,  in  all  essential 
diancteristicB,  of  the  modem  Anglican  chant 
ui  the  ancient  Gregorian  psalm  tones.  It  is 
an  sd^itation  of  the  8th  Tone,  ist  ending— the 
tone  being  in  the  Tenor  :— 


The  Imperial  Tune^ 


[taltetheV  aD  y 


and  eame 
bateabtoJ 


The  work  published  in  1661  by  Edward  Lowe^ 
atitled  *  Short  Directions  for  the  Performance 
of  Cathedral  Seryioe'  (2nd  ed.,  1664),  also  giyes 
the  whole  of  the  tones,  and  nearly  all  their 
odings,  according  to  the  Roman  Antiphonarium, 
tnd  M  Lowe  had  sung  them  before  the  Rebellion 
when  a  chorister  at  Salisbury.  He  also  giyes 
the  harmonies  quoted  above  as  the  '  Imperial' 
ttd  'Ganterbuir'  tunes,  and  another  harmony  of 
the  8th  Tone,  short  ending  (Marbeok's  'Yenite') 
vith  the  plainsong  in  the  bass. 

The  'Introduction  to  the  Skill  of  Muno,'  by 
John  Playford  (bom  161 3),  in  its  directions  for 
the  'Order  of  Performing  the  Divine  Service  in 
Cftthednls  and  Collegiate  Chapels'  ocnfirms  the 
above  statements.  Playford  gives  seyen  specimens 
of  Malm  tones,  one  for  each  day  of  the  week, 

vita 'Canterbury'  and. the  'Imperial*  tunes  in 


*  four  parts,  i^kroper  for  Choirs  to  sing  the  Psalms, 
Te  Deum,  Benedictus,  or  Jubilate,  to  the  organ.* 

The  Rev.  Canon  Jebb,  in  the  second  volume 
of  his  'Collection  of  Choral  Uses  of  the  Churches 
of  England  and  Ireland'  (Preface,  p.  io>,  gives 
from  uie  three  writers  quoted  and  fin>m  Morley's 
'  Introduction'  (1597)  a  table  of  such  old  English 
chants  as  are  evidently  based  upon  or  identical 
with  the  Gregorian  peidm  tones. 

It  is  interesting  to  note  also  that  in  the 
earliest  days  of  the  Reformation  on  the  Conti- 
nent,  books  of  music  for  the  service  of  the 
Reformed  Church  were  published,  containing 
muoh  that  was  founded  curectly  upon  the  Gre- 
gorian plainsong ;  and  it  was  chiefly  through  the 
rage  for  turning  everything  into  metre  that  the 
chant  proper  fell  into  disuse  among  Protestant 
oommunities  on  the  Continent.  Ses  the  'Nen 
Leipziger  Gesangbuch'  of  Vopelius  (Leipzig  1682). 

The  special  work  for  the  guidance  of  the  clergy 
of  the  Roman  Churoh,  and  all  members  of  canon- 
ical choirs,  in  the  plainsong  which  they  have 
imecially  to  chant,  is  called  the  Directorium  Chori, 
The  present  Directorium  corresponds  to  the 
fomous  work  prepared  by  Guidetti  (158a),  with 
the  aid  of  his  master  Palestrina,  But  as  is  the 
case  in  most  matters  of  widespread  traditional 
usance,  differences  are  found  between  the  books 
.of  present  and  past  liturgical  music,' not  simply 
in  oifferent  countries  andoenturies,  but  in  different 
dioceses  of  the  same  country  and  the  same  century. 
The  York,  Hereford,  Banffor,  and  Lincoln  *  uses' 
are  named  in  our  Prayer  Book,  as  is  also  that  gf 
SaUsbury,  which  obtained  a  foremost  place  of 
honour  for  the  excellence  of  its  church  chan^ 
Our  own  chants  for  the  responses  after  the  Creed, 
in  the  matins  and  vespers  of  English  cathedrals, 
are  ^e  same  to  the  present  day  with  those  found 
in  the  most  ancient  Sarum  Antiphonaiyi  and 
differ  slightly  from  the  Roman. 

The  psalm  tone,  or  chant,  in  its  original  and 
complete  form,  consists  of  (i)  An  Intonation  at 
the  beginning,  followed  by  a  recitation  on  the 
dominant  of  its  particular  mode;  (a)  A  Media- 
tion, a  tempOt  dosing  with  the  middle  of  eaoh 
verse ;  (3)  Another  recitaticm  upon  the  dondnant 
with  a  Termination  c<Mnpleting  the  Terse,  as  in 
the  following — the  Third  Tone  :— 


Intonation. 


Mediation, 


TennlnatUnv 


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In  the  modem  Anglican  chants  the  Intonation 
has  been  discarded,  and  the  chant  consists  of  the 
Mediation  and  Termination  only. 

When  the  tune  or  phrase  coincides  with  a 
single  verse  of  the  psalm  or  canticle  it  is  styled 
a  '  single  ohant>'  as  are  all  those  hitherto  cited. 
At  the  time  of  the  Restoration,  as  already 
stated,  the  Gregorian  chants  were  still  oommodly 
used,  till  lightor  tastes  in  music  and  the  lessened 
numbers  of  men  in  cathedral  choirs  led  to  the 
composition  of  new  treble  chants  and  a  rage  for 
yariety.  Some  of  these,  which  bear  such  nanuBS 
as  Farrant,  Blow,  and  Croft,  are  fine  and  appro- 
priate compositions.     But  a  different  feeling 


7t88 


.t3HANT. 


gradually  bxobi6  as  to  the  eBgentfal  character  df 
church  music;  double  chants,  and  pretty  melodies 
with  moderfl  major  or  minor  harmonies,  came  to 
be  substituted  for  the  single  strains,  the  solemn 
and  DUtfily  recitation  tones,  and  the  grand 
harmonies  of  the  i6th  century.  The  Gectgian 
period  teemed  with  flighty  chants,  single  and 
double;  many  of  which  can  hardly  be  called 
either  reverential  or  beautiful— terms  which  no 
one  cian  apply  to  the  following  (by  Camidge,) 
still  in  frequent  use,  and  by  no  means  the  worst 
that  might  be  quoted : — 


^^^^^m 


e 


3=: 


I 


zz 


^TfnfVt 


Ts: 


m 


m 


m 


But  howeyer  objectionable  this  practice  may 
be  regarded,  it  must  be  confessed  that  many 
Tery  charming  melodies  have  been  produced 
on  the  lines  of  the  modem  double  chant  by 
modem  composers  of  great  eminence.  The 
following  by  Dr.  Crotch  is  remarkable  for  its 
grace  and  elegance,  as  well  as  for  the  severity  of 
the  contrapuntal  rule  to  which  the  quondam 
Oxford  professor  has  subjected  hiiftself  in  its 
construction  (per  recte  et  retro).  Each  of  the 
four  parts  in  the  former  half  of  the  chant  hab  its 
notes  repeated  backwards  in  the  conesponding 
bars  of  the  second  halt, 


s 


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it  remains  to  adil  a  few  remarks  on  the 
■  arrangement  of  the  words  in  chanting. 

That  the  principles  of  the  old  Latin  chanting 
were  adopted  in  setting  the  music  to  the  new 
English  liturgy  and  offices,  is  evident  from  every 
text-book  of  English  chanting  from  Archbishop 
O  anmer  B  letter  to  Henry  Y III  and  from  Mar- 
beck  downwards,  as  long  as  any  decent  knowledge 
of  the  subject  remained  in  English  choirs.  Little 
by  little,  however,  the  old  rules  wen  entirely 
neglected ;  generally  speaking,  neither  the  clergy 
nor  the  lay  members  of  the  English  choirs  knew 
anything  more  about  chanting  than  the  oral 
traditions  of  their  own  churches;  thus  things 
grew  gradually  worse  and  worse,  till  no  rule  or 
guide  seemed  left;  choirmen  and  boys  took  their 
;^  owu  cpurse,  and  no  consent  nor  unity  of  effect 


Cl^APELLE. 

remained,  so.te  as  the  recitatioii  and  ^visioB 
of  the  words  were  concerned. 

On  the  revival  of  Ohurch  principlea  in  1830- 
1840  our  own  English  documents  of  ecNdeBasix* 
cal  chanting,  and  the  pcpe-Refotmataoii.  aourDei 
from  which  they  were  derived,  b^an  to  be 
studied.  Pickering  and  Rimbault  each  re-edited 
Marbeck.  Byce  and  Bums  published  an  adap- 
tation of  his  plainsong  to  the  Prayer  Book. 
Oakley  and  Redhead  Inought  out  the  'IjuidflB 
diumse'  at  the  chapel  in  BCaigaret  Stre^ 
London.  Heathcote  published  the  Oxford 
Psalter,  1 845.  Hehnore*s '  Psalter  Noted'  (1S49- 
50)  took  up  fiarbeck's  wcrk,  at  the  directioa 
after  the  Venite — 'and  so  with  the  Ftaalms  as 
they  be  appointed'  —  and  furnished  an  exact 
guide  for  chanting  according  to  the  editar*s  view 
of  the  requirements  of  the  case.  Moreton  Shaw, 
Sargent,  and  J.  B.  Gray  also  published  Gregoma 
Psalters. 

Meantime  the  moduli  Anglican  (^ant  wsf 
being  similarly  cared  for.  Numerous  books,  be- 
ginning with  that  of  Mr.  Jan^  (1843),  issued 
from  the  press,  giving  their  editors*  arrangemeDt 
of  the  syllables  and  chant  notes  for  the  Psalto- 
and  Canticles.  Among  the  most  prominent  of 
these  may  be  mentioned  Mr.  Hullkh's  '  Psalms 
with  Ohants'  (1844);  Hehnore*s  'Psalter  Noted' 
(1850) ;  the  Psalter  of  the  S.P.C  SI.  edited  by 
Turle  (1865);  the  'English  Psalter*  (1865); 
the  'Psalter  Accented'  (1873);  the  'Cathmbsl 
Psalter'  (1875)  ;  the  Psalters  of  Ouseley,  Elvej, 
Gauntlett,  Mercer,  Doran  and  Nottingham,  Hey- 
wood  and  Saigent.  Among  these  various  pubfi- 
cations  there  reigned  an  entire  discrepaix^  as 
to  the  mode  of  dlistributing  the  words.  Beyond 
the  division  of  the  verse  into  two  parts  gives 
in  the  Psalms  and  Canticles  of  the  Prayer  Book, 
no  pointing  or  arrangement  of  the  worda  to  the 
notes  of  ^e  ehant  has  ever  been  pujk  forwartl  by 
authority  in  the  Anglican  Church,  or  even  widely 
accepted.  Each  of  tiie  editors  mentioned  has 
therefore  followed  his  own  judgment,  and  the 
methods  employed  vary  from  the  strictest  syllabk 
arrangement  to  the  freest  attempt  to  make  the 
.musical  accent  and  expression  agree  with  those 
which  would  be  given  in  reading — which  is  cer- 
tainly the  point  to  aim  at  in  all  arrangements  cf 
word^  for  chanting,  as  fiu-  as  consicftent  with  fit- 
ness and  common  sense.  It  may  be  hoped  thst 
the  increased  attention  given  to  this  imp<fftaBt 
subject^  may  lead  to  the  use  of  thoee  guide  books 
only  which  best  reconcile  the  demands  <^  good 
reading  and  good  singing.  (^T.  H.] 

CHANTERELLE,  a  French  term  for  the 
upper  or  E  string  of  the  violin — ^that  on  which 
the  melody  is  usually  9v/ng.  [G.J 

CHAPEAU  CHINOIS.  [Chikksi  PATHJOir.l 

CHAPELLE,  originally  the  musicians  oT  a 
chapel,  and  now  extended  to  mean  the  choir  or 
the  orchestra,  or  both,  of  a  church  or  cbapd 
or  other  musical  establishment,  sacred  or  secular. 
The  maitre  de  chapelle  is  the  director  of  the 
music  In  German  the  wchyI  Kapelle  or  Gap^k 
is  used  xuore  exclusively  for  the  private  ordieita 


CHAPELL]^ 


CHAPPSLL  ft  CO. 


8dD 


«f  ft  prince  or  other  great  personage,  and  the 
Kipell-meiBter  is  the  conductor  or  director.  Gap- 
pelk  pontificale  is  the  term  for  the  whole  body 
of  singers  in  the  Pope's  service,  the  cantatore 
GiiqieUani,  the  cantatori  apostolioe,  and  the  can- 
tftiisn  pontificale. 

The  word  '  capella*  is  said  to  be  derived  from 
the  cape  of  S.  Martin,  on  which  solemn  oaths 
ised  to  be  taken.  Tbence  it  came  to  mean  the 
kiJding  containing  the  cape,  and  thence  the 
Bcsicians,  alao  the  vestments,  and  the  vessels  of 
ibe  building.  [6.] 

CHAPEI^  ROY  Ah,  Bodice  of  clergy  and  lay- 
ekrks  who  ministor  at  the  courts  of  Christian 
BODUchs;  and  also  the  places  in  which  they 
vonhip.  There  are  several  in  England — ^viz.,  at 
&  James's  Pahioe,  Whitehall,  and  St.  Qeorge'% 
Windsor,  etc.  From  the  'liber  Niger  IXnnus 
Regis'  (1 461),  the  earliest  known  record  on  tiie 
nbjeet,  we  learn  that  in  Edward  lY's  reign 
there  was  a  well-established  Chapel  Royal,  oon- 
ssung  of  a  dean ;  a  confessor  to  the  housdiold ; 
24  chaplains  and  clerks  variously  qualified — by 
ikill  in  descant^  eloquence  in  reading,  and  ability 
Id  organ-playing ;  2  epistlers,  ex-ohorister-boys ; 
8  children ;  a  master  of  the  grammar  school ; 
and  a  master  of  the  children,  or  master  of  song. 

The  term  Chapel  Royal  is  now  usually  applied 
to  that  at  St.  James*s  Palace.  The  chapel  is 
Ut^een  the  Colour  Court  and  the  Ambassadon* 
Coort.  Hie  establishment  consists  of  the  Dean, 
the  Lord  High  Almoner ;  the  Clerk  of  the  Closet, 
s&d  2  deputies ;  the  sub-dean ;  48  chaplains ; 
8  priests  in  ordinary,  a  master  of  the  children ; 
ooe  lay  composer ;  one  lay  organist  and  chapel* 
muter  or  choir-master ;  8  lay  gentlemen  and  10 
bojB ;  I  sergeant  of  the  vestry ;  i  groom  of  ditto ; 
and  other  attendants. 

The  service  is  a  full  choral  one,  at  10  ajn., 
12  noon,  and  5.30  p.m.  on  Sundays,  and  at 
11  a.  m.  on  fea^-days.  The  boys  are  educated 
«t  the  cost  of  the  chapel,  and  as  a  rule  sing 
there  only.  The  chief  musical  posts  of  the  es- 
talUahment  are  at  present  held  as  follows: — 
Mtfter  of  the  Children,  Rev.  Thos.  Helmore, 
ooe  of  the  priests  in  ordinary ;  Composer,  Sir 
John  Goss;  Organist  and  Choir-master,  Mr. 
C.S.JekyU. 

The  Chapel  Royal  at  Whitihall  (Banqueting 
House)  is  under  the  same  chief  officers  as  St. 
JaiDes's— but  is  now  attended  only  once  a  year 
by  the  choir  of  that  establishment  in  the  special 
Rrrioe  of  Maundy  Thursday,  on  the  afternoon 
ofTbunday  in  Holy  Week,  when  gifts  called 
'Benevolences*  are  distributed  by  the  Lord 
Ei^  Ahnoner  to  certain  poor  people,  as  many 
in  number  as  the  sovereign  is  years  old. 
The  ceremony  is  a  relic  of  a  service  which 
indnded  washing  the  feet  of  the  poor,  of  the  same 
itttoie  with  that  performed  by  the  Pope  on  the 
nme  day.  That  part  of  it,  however,  as  well  as 
the  distribation  <Sf  fish  and  bread  before  the 
Mcond  lesson,  has  long  been  discontinued. 

The  fioUowing  special  anthems  w««  fionnerly 
rang  in  the  course  of  the  service : — '  Hide  not 
thofl  thy  fiMse  from  us,  O  Lord'    (Farrant), 


'Plrevent  ns,  O  Lord*  (Byrd),  'Call  to  re- 
membrance, O  Lord'  (Farrant),  'O  praise  the 
Lord  all  ye  heathen'  (Croft).  They  are  now 
varied  ea<^  year. 

The  Chapel  Royal  of  the  Savot  (Strand)  is 
a  Chapel  Royal  in  name  only.  The  appointment 
of  minister  is  in  the  gift  of  the  Duchy  of  Limcaster, 
and  the  service  is  dependent  on  the  taste  or 
ability  of  the  minister,  as  in  any  other  ordinary 
chapel.  [T.H.] 

CHAPERONS  BLANCS,  LES.  A  comic 
opera  in  three  acts ;  the  libretto  by  Scribe,  the 
music  by  Auber.  Produced  in  Paris  April  9, 
1836.  [G.] 

CHAPPELL  ft  CO.  This  musical  firm  com- 
menced business  in  January  181  a,  at  124  New 
Bond  Street^  previously  tenanted  by  Goulding, 
D' Almaine,  A,  Co.  The  firm  consisted  of  Samuel 
Chappell,  John  Baptist  Cramer,  and  Francis  Tat- 
ton  Latour.  At  the  expiration  of  seven  yeac^. 
J.  B.  Cramer  retired,  and  Chappell  &  Co,,  re- 
quiring more  space,  renx>ved  to  a  nearly  opposite 
house,  50  New  Bond  Street.  Recent  enlargements 
have  increased  the  premises  to  three  houses 
in  Bond  St.,  and  the  site  of  a  former  stable- 
vard  as  well  as  of  large  back  gardens  of  three 
houses  in  George  Street.  The  first  oartnership 
is  noticeable  for  the  establishment  of  the  Phil- 
harmonic Society,  all  the  business  arrangements 
for  which  were  made  at  No.  124.  Mr.  Chi^pell 
further  lent  his  house  for  the  meetings  of  the 
Directors,  and  refreshed  the  weaiy  ones.  J.  B. 
Cramer  was  then  at  the  zenith  of  his  fiune,  and 
the  spirit  would  sometimes  move  him  to  play 
until  one,  two,  or  three  in  the  morning,  to  the 
great  delight  of  his  auditors.  When  the  society 
had  become  firmly  established,  a  silver  teapot 
was  presented  to  the  lady  of  the  house.  At  the 
end  of  the  second  term  of  partnership  (1826), 
Latour  withdrew,  and  carried  on  a  separate  busi- 
ness until  1830,  when  he  sold  it  to  his  former 
partner.  Samuel  Chappell  died  Dec.  1834,  and 
the  business  was  then  carried  on  for  the  widow 
by  her  sons, — ^William,  the  eldest,  being  25  years 
old.  Desiring  to  propagate  a  knowledge  of  the 
music  of  the  Madngalian  era,  William  ^in  1840) 

Lrojected  the  Musical  Antiquarian  Society,  which 
eld  its  meetings  and  rehearsab  at  No.  50.    He 

I  edited  Dowland's  songs  for  the  Society,  and  also 
edited  and  published  (1838-40)  a  'Collection  of 
National  English  Airs,*  giving  their  pedigrees  and 
the  anecdotes  connected  with  them,  with  an 
essay  on  minstrelsy  in  England.  This  was  after- 
wards expanded  into  his  '  Popular  Music  of  the 

I  Olden  Time'  (2  vols.  1855-59).  The  business 
was  greatly  Extended  by  Thomas  Chappell,  under 
a  feimily  arrangement  by  which  his  elder  brother 
left,  and  bought  the  half  of  the  business  carried 
on  under  the  name  of  Cramer  &  Co.,  with  the  late 

!  T.  F.  Beale  as  his  partner.  It  was  under  Thos. 
Chappell's  management  that  the  great  extension 
of  the  buildings  took  place,  and  he  was  the  pro- 
jector of  the  Monday  Popular  Concerts,  and  the 
Saturday  Popular  Concerts  which  sprang  out  of 
them,  both  of  which  havei  owed  their  sueoees  in 

Z  1 


I  kj 


940 


CHAPPELL  &  CO. 


great  measure  to  the  management  of  S.  Arthur 
Ghaimell,  the  younger  brother.  [MoimAT  PoPU* 
LAB  GoMOERTS.]  A  large  oonoert-room  had  been 
much  wanted  at  the  west  end  of  London,  and 
St.  James's  Hall  was  projected  and  carried  out 
mainly  by  the  Ghappells. 

The  pianoforte  nctory  of  Ohappell  and  Go.  is 
in  Ghalk  Fann  Road.  The  average  of  manu- 
froture  is  from  2  5  to  30  pianos  per  week.    [W.  G.] 

CHAPPINGTON,  John,  buUt  an  organ  in 
«597  for  Magdalen  GoUege.  Oxford.     [V.  db  P.]. 

GHAPPLE,  Saitoel,  was  bom  at  Grediton, 
In  1775.  Whilst  an  infant  he  was  deprived  of 
tsight  by  small-pox.  At  an  early  age  he  oem- 
meuiped  the  study  of  the  violin,  and  when  about 
fifteen  was  taught  the  pianoforte  by  a  master 
named  Eames,  who  had  been  a  pupil  of  Thomas, 
a  scholar  of  John  Stanley — all  blind  men.  In 
1795  he  was  appointed  oiganist  of  Ashburton, 
where  he  continued  for  upwards  of  Ibrty  years. 
He  composed  and  published  many  anthems,  songs, 
glees,  and  pianoforte  sonatas.  [W.  H.  H.] 

jGHABAGTERISTIO.  This  term  is  some- 
iimes- applied  to  music  which  is  designed  as  the 
expression  of  some  special  sentiment  or  cir- 
cumstance. Thus  in  vocal  music,  if  the  melody 
4s  appropriate  to  the  words,  we  may  speak  of  the 
^characteristic  settingof  the  text.*  In  instrumental 
music,  also,  the  woid  may  be  used  where  what 
is  known  as  'local  colouring*  is  introduced ;  e.e. 
the  'Banz  dee  vaehes'  movement  in  Rossini  s 
overture  to  'Guillaume  Tell'  might  be  properly 
4eecribed  as  'characteristic*  The  term  is  also 
occasionally  applied  to  programme  music.  Bee- 
thoven's sonata  'Adieu,  Absence,  and  Betum' 
18  frequently  entitled  the  'Senate  Garacteristique,' 
.though  it  does  not  appear  that  the  title  was 
given  by  the  composer.  He  has,  however,  him- 
jelf  used  it  for  the  overture  to  Leonore,  published 
as  op.  158.  (See  Nottebohm's  *Them.Verzeich- 
niss. )  Spohr^s  4th  Symphony  is  entitled  *  Die 
Weihe  der  Tone;  charakteristisohes  Tonge* 
made.'  Ac.  [E,  P.] 

GHABD«  Geobob  Willtah,  Mub.  Doc.,  was 
bom  about  1 765.  He  received  his  early  musical 
education  in  the  choir,  of  St.  Paul's  under  Bobert 
Hudson,  Mus.  Bac.  In  1 787  he  became  lay  clerk 
of  Winchester  Gathedral,  and  some  years  later 
was  appointed  organist  of  that  church. and. of  the 
adjacent  college.  In  181 2  he  took  the  degree  of 
Doctor  of  Music  .at  Gambridge.  He  composed 
some  church  music  and  other  sacred  pieces,  some 
of  which  have  been  publinhed,  And  some  songs 
and  glees ;  of  the  latter  he  published  'Twelve 
Glees,  for  three,  four,  and  five  voices.'  He  died 
May  23,  1849,  aged  84.  [W.  H.  H.] 

CHABITY  GHILDREN,  Meetino  a*  St. 
Paul's.  A  festival  service  attended  by  the 
childrenof  the  old  charity  schools  of  the  metropolis, 
is  held  annually  in  June  under  the  dome  of  St. 
Paul's  Gathedral,  the  children  taking  a  prominent 
part  in  the  singing.  The  first  of  these  festivals 
was  held  in  1704,  on  the  Thursday  in  Whitsun- 
week,  at  St.  Andrew's,  Holbom ;  the  second  in 


CHAULIETT. 

1705  at  St.  Sepulchre's,  where  the  service  took 
place  until  1738,  when  it  was  held  at  Christ 
Ghurch,  Newgate  St.,  and  was  continued  there 
until   1 80 1.      In  that  year  the  diildren  mtt 
at  the  cathedral,  where  the  services  have  rincc 
been  held,  except  in  i860  when  the  cathednl 
was  under  repair  and  the  schools  assembled  m 
the  Handel  orchestra  at  the  GryKtal  Palaoe.   On 
April  33,  1789,  the  children  met  at  St.  PsqI'b. 
when  George  the  Third  went  in  state  to  retan 
thanks  for  his  rest<»ation  to  health ;  and,  eariier 
still,  on  July  7,  171 3,  at  the  thanksgiving  for 
the  Peaoe  of  Utrecht  they  were  assemUed  in  tiu 
streets.   The  effect  of  the  music  has  been  recorded 
by  many  eminent  musicians,  including  Hsjds, 
in  whose  memorandum  Ixx^  in  the  GoDaoTi' 
toire  at  Vienna  there  is  a  note  on  the  eervioe, 
quoting  Jones's  double  chant  (Pohl's  'Hsjdn 
in  London,'  22.2),  and  Berlios,  who  was  pieient 
in  X851  (<Soir^  de  I'Qrchestre,'  No.  21).   Tix 
number  of  the  children  varies,  but  is  genenllT 
between  5000  and  6000 ;  they  are  arnnged  ii 
an  amphitheatre  constructed   for  the  occatioB 
under  the  dome.    The  service,  which  indodei 
the  Hallelujah  Chorus,  is  accompanied  by  t}je 
organ,  trumpets,  and  drums.     Up  to  1863  the 
113th  psalm  had  been  sung  before  the  sennoD, 
but  in  that  year  Mendelssohn's  '  Sleepers,  wake' 
was  substituted  for  it.    In  1865  Sir  John  Gi» 
wrote  a  unison  setting  of  the  *  'Te  Deum.'  wbkh 
took  the  place  of  Boyce  in  A,  and  in  1866  he 
wrote  a  'Jubilate'  in  the  same  form.    Among 
the  conductors  have  been  Mr.  Bates,  Mr.  E 
Buckland,  and  Mr. Shoubridge.  [G. M] 

GHABLES  THE  SEGOND.  An  EngM 
opera  in  two  acts ;  the.  words  by  Desmond  Rvan. 
the  music  by  Macfarren.  Produced  at  ths 
Princess's  Theatre  Oct.  27,  1849.  [^: 

GHASSE,  A  LA,  a  term  appliedto  music  which 
intentionally  imitates  hunting  or  contains  hoa 
passages  suggesting  it.  Such  are  Mehnl's  o>tr 
ture  to  '  Le  Jeune  Henri/  the  hunting  chonsei 
in  <  The  Seasons,' and  in' Der  Freiachiits.'  Boi 
this  does  not  excuse  the  French  publisher  wh<} 
entitled  Beethoven's  overture  in  G  (op.  115) '!« 
Ghasse,'  because  of  a  passage  for  two  h<ni 
in  the  introduction,  or  the  German  pubHsher 
who  foUowed  him  in  designating  it  'Jag^i; 
ouverture.'  [<j] 

GHATTEBTON,  J6ns  Balsib,  eminent  hMi^ 
ist,  bom  at  Norwich  1810,  studied  under  Bocha 
andLabarre;  succeeded  Bochsa  as  profesEor  of  tin 
harp  at  the  Bqjral  Academy,  and  in  1844  wu 
appointed  harpist  to  the  Queen.  He  retained 
both  appointments  till  his  death,  which  took  place 
in  London  in  187 1.  Ghatterton  wrote  modi  if* 
the  harp,  chiefly  operatic  selections.    [M.  C  C] 

GHAULIEU,  Gkablbs,  bom  in  Paris  irSS, 
died  in  London  1849,  pianist;  studied  in  the 
Gonservatoire  under  Adam  and  GfebteL  In  hit 
earlier  years  he  was  a  good  teacher,  but  failed  (a 
keep  pace  with  the  progress  of  execution.  I^ 
1840  he  settled  in  Loiulon.  He  arranged  ai 
immense  quantity  of  opera  airs  for  the  pianoiiartt^ 


CHAULIEU,^ 

Bil  composed  soiuitai,  caprices,  ro&defttix,  and  a 
ooiJecdun  of  studies  called  '  L'lndupensable  *  for 
tkaameinatnizneni.  He  oontributed  well-written 
tftkles  to  'Le  Pianiste'  a  musical  journal  (Paris 
1834  and  1835).  [M.  C.  C] 

CHAUNTEB.  The  hufhest  pipe  of  the  bagpipe, 
bam  which  the  'cfaaunt  or  melody  is  produced, 
m  opposed  to  the  drones,  which  each  "peak  only 
to  %  sngle  note.    [Baopipb.]  [W.  H.  S.] 

CHECK  (Fr.  VAUrapt,  La  Chaiae;  ItaL 
iStaUo  or  ParamarteUo ;  Ger.  P'dnger),  an  im- 
portant  member  in  the  action  of  a  grand  piano- 
fcrte,  cosnsistiii^  of  an  upright  of  thick  wire,  bearing 
in  almost  spade-shaped  head  of  leather  or  some 
%ht  wood  covered  with  leather.  It  is  fixed  in  the 
back  part  of  the  key  behind  the  hammeri  and  its 
duty  is  to  catch  the  hammer  when  it  falls  aoartain 
distance  away  from  the  string,  and  hold  it  until 
it  is  released  by  the  finger  of  the  player  allowing. 
th«  key  to  rise.  In  cottage  pianofortes  or  pianinos 
that  have  chedc  actions  the  check  is  placed  be- 
fore the  hammer,  and  a  stud  projecting  firom  the 
butt  of  the  hammer  comes  in  contact  with  the 
check.     [PlAHOTOBTB.]  [A..  J.  H.J 

CHEESE,  G.  J.,  organist  of  Leominster*  in 
1771,  and  subsequently  organist  and  professor  of 
the  pianoforte  in  London,  pubUshed '  Practical 
Bdes  for  Playing  and  Teaching  the  Pianoforte 
iDd  Organ.'  [W.  H.  H.] 

CHELABD,  HiPFOLiTS  ANDBi  Jbav  Bap- 
nsTK,  bom   Feb.  i,  1789,  in  Paris,  son  of  a* 
Dondan  at  the  Grand  Op^ra,  was  destined  for 
the  mosicai  profession  firom  his  childhood^  and 
itodied  at  the  Conservatoire  under  R.  Kreutzer 
for  the  violin,  and  Gossec,  M^ul,  and  Cherubini 
for  composition.    Having  won  the  '  Grand  Prix ' 
for  composition  he  went  to  Italy,  and  studied 
chmch  music  under   Baini  and   ZingareUi  in 
Boone,  and  dramatic  music  under  Paisiello  and 
FioT&vanti  at  Nicies.     He  produced  his  first 
work,  a  comic  opera,  'La  casa  da  veadere/  at 
Naples  in  1 81 5.     On  his  return  to  Paris  he 
beams  a  violinist  at  the  Grand  Op^nh  and  gave 
lesBuns,  composing  diligently  at  the  same  time. 
After  infinite  trouble  his  tragic  opera  of  '  Mac- 
belh'  (libretto  by  Bouget  de  1  Isle)  was  produced 
at  the  Grand  Op^ra  (June  29,  1827),  but  it  was 
Mon  removed  finun  the  boards,  and  Chelard  left 
Paris  for  Munich,  where  the  success  of  'Macbeth* 
vas  80  decided,  that  the  King  of  Bavaria  made 
him  his  chapel-master.     He  returned  to  Paris, 
and  remained  there  till  the  Bevolution  of  1830 
drove  him  back  to  Munich  to  become  wid^y 
known  as  a  composer  and  leader.    In  1851  he 
Wi  the  Thuringiaa  Festival  at  Erfurt.     In  1832 
^  1833  he  was  in  London  conducting  the 
Gennim  opera   company,   of   which    Schroder* 
BeTrient,  and  Haitzinger  were  members.^     In 
1836  he  was  employed  as  theatre  and  concert 
director  at  Augsbui^  and  in   1840  succeeded 
Hummel  as  court   Kapellmeister  at  Weimar. 
One  of  the  events  of  this  time  was  the  arrival  of 
Berlioz  in  1843 ;  and  it  is  pleasant  to  remember 

1  rilk  ■«•  that  MaUlmo  Mi«  IB  U» '  itiid«Dt' In  UBt 


.CHERUBINI, 


^i% 


that  it  was  Chelard  who  urged  the  eccentric 
Frenchman  to  visit  Mendelssohn  at  Leipsic,  and 
'made  him  blush'  at  the  suggestion  that  his  old 
friend  would  probably  not  be  glad  to  see  him. 
('  Voyage  musicale,'  Lettre  4.)  He  was  sue* 
ceeded  by  Liszt  in  1852,  but  he  continued  to 
the  dose  of  his  life  at  Weimar,  and  died  in 
i86i.  He  composed  several  other  operas,  but 
none  so  sucoeasful  as  'Macbeth.*  'Hermanns* 
Schlacht'  (Munich,  1835)  is  a  solid  and  carefully 
written  work  in  tlra  German  style.  His  operas, 
though  full  of  merit,  and  effective  in  their  day, 
are  no  longer  performed ;  the  overture  to  '  Mac- 
beth* alone  is-  occasionally  heard  at  concerts. 
While  he- clung  to  the  style  of  French  romantic 
opera,  he  strove  somewhat  ostentatiously  to  ad<^ 
that  of  the  German  school.  But  he  wanted  the 
pewes  to  enable  him  to  weld  these  conflicting 
elements  into  a  harmonious  whole,  [A.  M.J 

CHELL,  William,  Mus.  Bao.,  successively 
lay  vicav,  prebendary,  and  precentor  of  Hereford 
Cathedral,  graduated  in  music  at  Oxford  in 
1524.  He  was  authcar  of  two  works,  entitled 
'Musion  practice  Compendium/  and  'de  Pro- 
portionibus  Musicis.'  [W.  H.  H.] 

CHERUBINI.  Mabta  Luiot  Carlo  Zxnobi 
Salvatobe,  bom  in  Florence,  8ept.  14,  1760, 
son  of  a  musician  at  the  Peigolia  theatre.  His 
musical  faculty  was  evident  from  the  first.  'I 
began,'  says  he,  in  the  Pre&oe  to  his  autograph 
Catalogue,  'to  learn  music  at  six,  and  compo- 
sition at  nine.  The  first  from  my  father,  the 
second  from  Bartolomeo  and'  Alessandro  Felici« 
and  after  their  death  from  Bizzarri  and  J.  Cas' 
trucci.*  His  first  work  was  a  Mass  and  Credo 
in  D,  for  fbur  voices  and  accompaniment,  and 
by  the  time  he  was  sixteen  he  had  composed 
3f  Masses,  2  Dixits,  a  Magnificat,  a  Miserere, 
and  a  Te  Deum,  besides  an  Oratorio,  3  Gantatas, 
and  other  smaller  works.  In  1777  or  8  the 
Grand  Duke,  afterwards  the  Emperor  Leopold  II, 
granted  him  an  allowance  that  he  mi^t  study 
under  Sartl  at  Bologna.  Thither  Cherubini 
went,  and  there  he  remained  for  four  years, 
thoroughly  acquiring  the  old  Italian  contra- 
puntal style,  and  gaining  that  proficiency  in 
polyphonic  writing  m  which  no  composer  since 
nis  time  has  equalled  him,  unless  it  be  Men- 
delssohn. The  compositions  given  in  the  Cata- 
logue^ under  1778  and  9  are  all  Antiphons 
written  on  CariJti  ftrwi,  h  la  PaleUrina,  With 
the  eariy  part  of  1 780,  however,  this  stops.  His 
first  opera,  '  Qiunto  Fabio,*  was  written  during 
that  summer  and.  produced  at  Alessandria,  and 
for  the  next  fourteen  years  operas  and  dra- 
matic music  teem  to  have  engaged  almost  his 
entire  attention: — 1782,  'Armi<m'  (Florence), 
'Adriano  in  Siria*  (L^hom\  'II  Messenzio* 
(Florence);  1783,  'II  Quinto  Fabio'  (Rome), 
'Lo  spoeo  di  tre*  (Venice);  1784,  'Uldalide' 

>  TlM  OaUlOffM  nfcmd  to  h«ra  and  elNirlMre  tn  this  aitlda  «i* 
oompllwl  by  Charublnl  hinuelf,  with  aa  intereitliig  Preboe,  umI 
publiahed  after  his  death  by  Bott^  de  Toulnon,  under  the  title  of 
*  Notice  dee  manaoorita  aottirraphes  de  la  tnuiique  eotnpo^e  par  leu 
M.  L.  C.  Z.  8.  Cheniblnt.  ete^  etc^  Paris,  chei  les  prlndpanz  Bdlt«ur« 
de  mtudque.'  IMS.  It  has  boen  repriated  by  Mr.  BeOads  In  hia 
'lleaioriab.' 


942 


CHERUBINI. 


(Flarence\  'L*  AlesBandro  iiell*  Indie*  (MantuaX 
These  operas  most  have  made  his  name  known 
all  over  Italy.  In  1784  he  was  invited  to 
London,  and  wrote  'La  Finta  Principeesa* 
(1785),  a^d  'Giulio  Sabino'  (1786),  for  the 
King*8  Theatre,  but  without  success.  He  also 
made  larse  additions  to  Paisiello's  'Marchese 
Tulipano,  and  other  operas  then  on  the  stage 
in  London.  He  was  much  noticed  by  the  Prince 
of  Wales,  and  held  the  post  of  Composer  to  the 
King  for  one  year.  In  July  1 786  he  left  London 
for  Paris,  where  he  seems  to  have  remained  for 
the  whole  of  the  next  year,  very  much  fdted  and 
liked.  In  the  winter  of  1787-8  he  brought  out 
his  eleventh  opera  at  Turin,  'Ifigenia  in  Aulide.' 
He  then  returned  to  Paris,  which  from  that  time 
became  his  home.  His  first  opera  in  Paris  was 
'Demophon.*  to  Marmonters  libretto,  Deo.  5, 
1788.  In  this  opera  he  broke  loose  from  the 
light  and  trivial  vein  of  the  Neapolitan  school, 
and  laid  the  foundation  of  the  grand  style  which 
he  himself  afterwards  so  fully  developed.  Mean- 
while he  was  fully  employed.  Leonard,  Marie 
Antoinette's  coififeur,  had  obtained  permission  to 
found  an  Italian  Opera,  and  GheruDini  received 
the  entire  musical  direction  of  it.  During  the 
years  1789-92,  he  conducted  the  so-called 
'  Bouffons  *  at  the  Theatre  de  la  Foire  St.  Ger- 
main, in  operas  of  Anfossi,  Paisiello,  Gimarosa, 
and  other  Italians,  besides  writing  a  great 
number  of  separate  pieces  in  the  same  style 
for  insertion  into  these  works.  At  the  same 
time  he  was  eagerly  pushing  on  in  the  path 
opened  by  'Demophon.  On  the  i8th  of  July, 
1791,  he  brought  out  'Lodoiska,'  a  decided  step 
in  advance.  The  effect  produced  by  his  new 
style,  with  its  unusual  harmonic  combinations 
and  instrumental  effects,  was  both  startling 
and  brilliant,  and  took  the  composers  of  the 
day  completely  by  surprise.  'Lodoilska*  was 
followed  by  a  series  of  operas  in  which  he 
advanced  BtUl  further.  '  Koukourgi '  ( x  793)  re- 
mained in  MS.  to  be  afterwards  adapted  to 
'Ali  Baba';  but  'Elisa*  (Dec.  13,  1794), 
'Med^e'  (March  13,  97),  'L*  Hdtellerie  Por- 
tugaise'  (July  35,  98),  'Les  deux  Joum^es' 
(Jan.  16,  1800),  known  in  (rermany  as  'Der 
Wassertrager,*  as  well  as  a  number  of  small 
one-act  works,  such  as  'Anacr^n*  (1803),  and 
*Achille  k  Scyros,'  both  ballet-operas  and  both 
mastfOTpieces,  show  how  unceasing  was  his 
activity,  and  how  much  he  must  have  pleased 
the  opera-goers.  But  though  successful  with 
the  public,  his  pecuniary  position  was  anything 
but  satisfactory.  When  the  'Conservatoire  de 
Musique'  was  founded  in  1795,  he  was  ap- 
pointed one  of  the  three  'Inspecfceurs  des 
l^tudes,*  an  appointment  by  no  means  commen- 
surate with  his  genius  and  artistic  position, 
chiefly  no  doubt  because  of  Napoleon^s  dislike 
to  him,  a  dislike  which  the  Emperor  took  no 
pains  to  conceal.  Cherubinrs  nature,  at  all 
times  grave,  not  to  say  gloomy,  became  visibly 
depressed  under  these  circumstances,  and  he 
b^an  to  lose  all  pleasure  in  his  profession.  In 
1795  he  married  Madlle.  Cecile  Tourette,  a  step 


OHERUBINL 

not  likely  to  dimimsh  his  anxieties.  He  iheiv 
fore  willingly  acc^ted  an  offer  to  write  an  open 
for  the  Imperial  Theatre  at  Vienna,-  where  he 
arrived  early  in  July  1805.  Here  he  made 
acquaintance  with  Beethoven,  whose  des&ffi 
was  not  then  so  great  as  to  be  an  obstade  to 
conversation,  uid  the  two  were  often  together. 
Beethoven  esteemed  Cherubini  above  all  the  then 
living  writers  for  the  stage,  and  his  vocal  iciiiic 
was  much  influenced  by  hhn.  What  CSienihiiu 
thought  of  Beethovoi's  nrasio  is  not  so  dear. 
He  was  present  at  the  first  perfonnaDcei  of 
'  Fidelio,'  but  beyond  his  remarks  that  no  one 
could  teJl  what  key  the  overture  was  in,  asd 
that  Beethoven  had  not  sufficiently  studied 
writing  for  the  voice,  nothing  is  known.  'II 
^tait  toujours  brusque,'  was  his  one  answer  to 
enquiries  as  to  Beethoven*s  personal  chanets- 
istics.  (See  Schindler's  '  Beethoven,'  L  1 18,  also 
p.  184  of  this  Dictionary.) 

The  'Wassertriiger*  was  performed  ahortlj 
after  Chenibini*s  arrival,  and  'Faniska'  pro- 
duced Feb.  25,  1806.  But  it  was  a  poor  time 
for  operas  in  Vienna.  The  war  between  Aostria 
and  France  broke  out  inmiediately  after  his 
arrival;  Vienna  wae  taken  on  Nov.  13,  and 
Cherubini  was  soon  called  upon  to  oiganise  and 
conduct  Napoleon's  soirees  at  Schonbrnnn.  Bot 
his  main  object  at  Vienna  was  frustrated,  and  he 
returned  to  France.  His  mind  became  so  much 
embittered  as  to  affect  his  health.  Whilst  living 
in  retirement  at  the  chAteau  of  the  Prince  de 
Chimay,  his  friends  entreated  him  to  write  soiDe 
sacred  music  for  the  consecration  of  a  church 
there ;  for  a  long  time  be  refused,  but  at  last 
set  to  work  secredy,  and  surprised  diem  with  the 
Mass  in  F  for  three  voices  and  orchestra  (1809I 
With  this  work  a  new  epoch  opens.  It  is  tnie 
that  both  in  1809  and  1810  we  imd  one-set 
operas  (' Pinmialione,'  Nov.  30,  1809,  'Le 
Crescendo,*  Sept.  i,  1810),  that  in  1813  he  wrute 
the  *  Abeno^rages,*  and  even  so  late  as  1833 '  Ali 
Baba,*  but  the  fact  remains  that  after  1809  sacred 
music  was  Cherubini*s  main  occupation.  Beadei 
a  number  of  smaller  sacred  pieces  for  one,  two, 
three,  or  more  voices,  with  orchestra,  organ,  or 
quartet,  the  Catalogue  for  the  years  1816-25 
contains  the  '  Messe  Solennelle*  in  C  (March  14. 
1816),  a  'Gloria*  in  Bb,  a  •Credo*  in  D.  the 
'Messe  <lee  Morts*  (Requiem)  in  C  (all  181;); 
the  'Messe  Solennelle'  in  £  (i 818)  ;  that  inG, 
and  a  'Kyrie*  (both  1819);  that  in  Bb  (Not. 
i8ai)  ;  a  *Kyrie*  in  C  minor  (Sept.  13,  1823); 
the  Coronation  Mass  for  3  voices  (April  29. 
1835)  ;  and  lastly  the  '  Requiem*  in  D  for  men'i 
voices  (Sept.  24,  1836). 

During  ihe  hundred  days  Napoleon  made  him 
Chevalier  of  the  Legion  of  Honour ;  and  ahortly 
after,  under  Louis  XVIIT,  he  wasdected  memher 
of  the  *Institut,'  and  in  1816  was  appoint^ 
jointly  with  Lesueur  'musiciui  and  saperin- 
tendant  of  the  King's  Chapel,*  with  a  ffslary  <^ 
3,000  francs.  Thus  almost  at  once  did  banoor. 
position,  and  income,  all  fsM  upon  him.  Ini8]i 
he  becan^  Director  of  the  Conservatoire,  and 
the  euersjy  which  he  threw  into  his  new  v<A 


Cfl^RUBINL^ 

s  ibown  by   the  'Solf^es  poor  Texamen  cle 

Ytcole,^  whidi  fill  the  Catalogue  daring  the  next 

iew  years,  and  by  the  *  Coun  de  Contrepoint  et 

da  la  Fugae,*  which  was  published  in    1835. 

Nor  are   these   yean   barren   in  instrumental 

Tocks.    In  1 81 5  the  PhUhannonio  Society,  then 

leeaitly  formed,  offered  Bim  the  sum  of  £200 

hr  a  symphony,  an  overture,  and  a  vocal  piece, 

iD<i  at  their  invitation  he  paid  a  second  visit  to 

Landon.     He  arrived  in  March ;  the  Symphony 

(in  D)  was  finished  on  April  24,  and  played  on 

ike  1st  of  May.     It  was  afterwards  (in  1829) 

•oored  as  a  quartet.     The  Overture  was  per- 

ixmed  at  tlie  concert  of  the  3rd  of  April,  and 

mother  MS.  overture  on  May  29.    In  addition 

to  these  the  Catalogue  shows  a  Funeral  March 

for  fall  orchestra  (March   1820) ;  a  march  for 

'Yudska'  (May  15,  18.^1);  six  staring  quartets, 

Til.  in  £b  (18 14),  in  C,  from  the  Symphony,  with 

s  new  Adagio  (1829),  in  D  (July  31,  1834),  in 

t  i,Feb.  12,   1835),  m  F  (June  38,  1836),  in 

A  mmar  (July  22,  1^37) ;  and  a  string  quintet 

in  E  mhaor  (Ok.*!  28,  1837).    CThembini  died  on 

^bB  15th  of  May,  1843,  highly  honoured  and 

wteemnd.      In  addition   to   the  works   above 

nentioned    he   wrote   several   operas   in    oon- 

juBction  with  other  composers,  such  as  *  Blanche 

<k  Provence '  in  1821,  to  celebrate  the  baptism 

rf  the  Due  de  Bordeaux,  with  Bmeldieu,  Paer, 

^erton,  and  Kreutzer;  also  a  great  number  of 

eaaons  for    two,  three,  or   more  voices.      The 

eaulqgiie  contains  in  all  305  nnmbers,  some  of 

^hon  very  voluminous,  b^des  a  supplementary 

liit  of  thirty  works  omitted  by  Cherubini,  as 

well  as  eighteen  volumes  (some  of  them  of  more 

tioa  400  pages)  of  music  by  various  Italian 

vriten,  copied  out  by  the  great  composer  himself, 

a  practice  which  he  admits  to  have  learned  firom 

)Di  old  nutfter  Sarti. 

(Jherabini's  artistic  career  may  be  divided 

mto  three  periods.    The  first,  1 760-1791,  when 

b«  was  writing  motets  and  masses  k  la  Pales- 

trina,  and  operas  in  the  light  Neapolitan  vein, 

or  may  be  called  his  Italian  period.    The  second 

Operatic  period  opens  with  'Lodoiska,*  though 

tbe  beginning  of    the  change   is  apparent  in 

'Demophon  '  (1 788)  in  the  form  of  the  conceited 

piecei,  in  the  entrances  of  the  chorus,  and  the 

expressive  treatment  of  the  orchestra.     'Lodo- 

lika'  however  shows  an  advance  both  in  inspi- 

tAtion  and  expression.     '  Med^e '  and  '  Les  deux 

Journ^*  form  the  climax  of  the  operatic  period. 

In  the  former  the  Btemne>s  of  the  characters, 

the  mythological  background,  and  above  all  the 

pUBion  of  Medea  herself,  must  have  seized  his 

unagioation,  and  inspired  him  with  those  poig- 

puit,  almost   overpowering    accents    of  grief, 

jeabosy,  and  hatred  in  which  '  Med^*  abounds. 

Bat  it  is  impossible  not  to  feel  that  the  interest 

Tttta  mainly  in  Medea,  that  there  is  a  monotony 

in  the  sentiment,  and  that  the  soliloquies  are 

Miong;  in  a  word  that  in  spite  of  all  its  force 

ted  truth  the  opera  will  never  command  the 

^<ie  appreciation  which  the  music  as  music 

Swerves.    The  •  Deu*  Joum^es  *  form**  a  str«»ng 

<^<Mttra8t  to  *  Med^,*  and  is  a  brilliant  example 


CfifiRUBINl. 


M 


of  CJhenibini^s  versatility.  Here  the  sphere  of 
action  is  purely  human,  simple,  even  plebeian, 
and  it  is  mipossible  not  to  admire  the  art  with 
which  Gherubini  has  laid  aside  his  severe  style 
and  adi4>t6d  himself  to  the  minor  forms  of 
the  arietta  and  eonpUtf  which  are  in  keeping 
with  the  idyllic  situations.  The  finales  and 
other  large  movements  are  more  concise,  and 
therefore  more  within  the  range  of  the  general 
public,  and  there  is  an  ease  about  the  melodies, 
and  a  warmth  of  feeling,  not  to  be  found  else- 
where in  Cherubini.  This  period  closes  with 
the  'Abeno^rages*  in  1813,  for  <Ali  Baba,' 
thpugh  completed  in  1833,  was  laively  founded 
on  *Koukouigi*  (1793).  The  thircTp^od,  that 
of  his  sacred  compositions,  dates  properly  speak- 
ing finom  his  appointment  to  the  Chapelle  Boyale 
in  1816,  though  it  may  be  said  to  have  \M^n 
with  the  Maes  in  F  (1809),  which  is  important 
as  being  the  first  sacred  work  of  his  mature 
life,  though  it  is  inferior  to  that  in  A,  and 
especially  to  the  Bequiem  in  D  minor.  The 
tln^ee-part  writing  in  the  Mass  in  F  seems 
scarcely  in  keeping  with  the  broad  outMnes  of  the 
work,  and  the  fugues  are  dry  and  formaL  That 
in  A,  also  for  three  voices,  is  concise,  vocal,  and 
eminently  melodious.  The  Bequiem  in  C  minor 
is  at  once  his  greatest  and  most  fomous  work. 
The  Credo  for  eight  voices  a  eapeUa  is  an  aston- 
ishing instance  of  command  of  counterpoint^  and 
shows  how  thoroughly  he  had  mastered  the  style 
of  Paleetrina,  and  how  perfectly  he  could  a<li4>t 
it  to  his  own  individual  thoughts.  Tec?tnique 
apart,  it  ranks  below  his  other  great  sacred 
works.  It  is  probable  that  Cherubini  intended 
it  to  be  considered  as  a  study,  for  only  two  num- 
bers were  published  during  his  life-time,  viz.  the 
concluding  fugue  '  £t  vitam,*  and  an  elaborately 
developed  'Bicerca*  in  eight  parts  with  one  chieif 
subject  and  three  counter-suDJects,  in  which  aU 
imaginable  devices  in  counterpoint  are  emplox  ed. 
in  estimating  Cherubini*s  rank  as  a  musician, 
it  must  be  remembered  that  though  he  lived  so 
long  in  Paris,  and  did  so  much  for  the  develop- 
ment of  French  opera,  he  cannot  be  classed  among 
French  composers.  His  pure  idealism,  which 
resisted  the  fiuntest  concession  to  beauty  of 
sound  as  such,  and  subjugated  the  whole  appa- 
ratus of  musical  representation  to  the  idea ;  the 
serious,  not  to  say  dry,  character  of  his  melody, 
his  epic  calmness — never  overpowered  by  cir- 
cumstances, and  even  in  the  most  passionate 
moments  never  exceeding  the  bounds  of  artistic 
moderation — these  uharacteristics  were  hardly 
likely  to  make  him  popular  with  the  French, 
especially  during  the  excitement  of  the  Bevo- 
lution.  His  dramatic  style  was  attractive  from 
the  novelty  of  the  combinations,  the  truth  of  the 
dramatic  expression,  the  rich  harmony,  the 
peculiar  modulations  and  brilliant  instrument- 
ation, much  of  which  he  had  in  conmion  with 
Cluck.  But  his  influence  on  French  opera  was 
only  temporary.  No  sooner  did  Boieldieu  appear 
with  his  sweet  pathetic  melodies  and  delicate 
harmonies,  and  Aul>or  with  his  piquant  ele- 
g-mt  style,  than  the  severer  muse  of  Cherubini, 


-841 


CHERUBINI. 


dwelling  in  a'  reaSra  trf  furer  ihonglit;  drofiped 
it8  hold  on  the  public.  His  closest  tie  with  the 
French  school  arose  from  the  external  accident 
of  his  connection  with  the  Conservatoire,  where 
he  had  the  formation  of  all  the  important  French 
composers  of  the  first  half  of  the  centory.  It 
was  in  Germany  that  his  works  have  met  with 
the  most  enduring  appreciation.  His  church 
n^usici  '  Med^'  and  the  '  Deux  Joum^/  still 
k^p  their  hold  on  the  German  public.  One 
of  the  first  things  Mendelssohn  did  after  he  felt 
himself  safe  in  uie  saddle  at  Diisseldorf  was  to 
revive  the  latter  opera,  and  to  introduce  the 
n)asB  in  C  in  the  church.  Six  months  later  he 
brought  forward  one  of  the  Requiems,  and  when 
he  had  to  conduct  the  Cologne  Festival  in  1835 
it  is  to  Cherubini*s  MS.  works  that  he  turns  for 
something  new  and  good*  A  reference  to  the 
Index  of  the  Leipzig  Allgem.  musikalische 
Zeitung  will  show  how  widdy  and  frequently 
his  works  are  performed  in  Germany.  In 
England,  too,  the  operas  just  named  have  been 
revived  within  the  last  few  years,  and  the  opera- 
overtures  are  stock  pieces  at  all  the  best 
concerts..  Cherubini  forms  the  link  between 
classic  idealism  and  modem  romanticism.  His 
power  of  making  the  longest  and  most  elaborate 
movements  dear  is  ve^'y  remarkable,  especially 
when  combined  with  the  extraordinary  &cility 
of  his  part-writing ;  while  his  sense  of  form  was 
almost  as  perfect  as  Mourt^s,  though  he  cannot 
compare  with  Mozart  in  the  intemdtY  of  his 
melodic  expression,  or  in  the  individuauty  with 
which  Mozart  stamped  his  characters.  In  the 
Uphnique  of  composition,  and  in  his  artistic  con* 
ception  and  interpretation,  he  shows  a  certain 
affinity  to  Beethoven,  more  especially  in  his 
Masses,  His  greatest  gift  was  perhaps  the 
power  of  exciting  emotion*  His  style  had  a 
breadth  and  vigour  free  finim  mannerism  and 
national  peculiarities.  It  was  in  his  sacred 
music  that  he  was  most  free  to  develope  his 
individuality,  because  he  could  combine  the 
best  points  in  his  operas  with  masterly  coun- 
terpoint. When  we  consider  the  then  deplorable 
state  of  church  music,  it  is  difficult  to  exaggerate 
the  importance  of  the  change  he  wrought. 

.  The  latest  and  most  complete  work  on  Chem- 
bini  is  the  biography  of  Mr.  Edward  Bellasis, 
'  Qherubini :  Memorials  illustrative  of  his  Life,' 
London,  1874;  the  prefiwe  to  which  contains 
a  list  of  the  principal  authorities,  including 
Cherubini^s  own  Catalogue,  of  which  the  title 
has  been  already  given  in  fiill.  For  personal 
traits  and  anecdotes — ^and  in  the  case  of  Cheru- 
bini these  are  more  than  usually  interesting  and 
characteristic — the  reader  should  consult  the 
article  in  F^tis*s  'Biographic  universelle*  and 
Berlioz^B  'Memoirs,*  also  an  article  by  Hiller, 
which  appeared  in  'Macmillan*s  Magazine,*  July 
1875,  and  afterwards  in  his  'Musikalisches  und 
Personliches,*  1876.  His  portrait  by  Ingres  is 
in  the  gallery  of  the  Luxemberg,  Paris.  He 
left  one  son  and  two  daughters,  the  younger 
of  whom  was  married  to  Hippolyte  Rossellini 
of  Florence.  [A.  M.] 


CHIABBAK. 

CHEST-VOICE.    That  no  Toice  18  •produced* 

ihroughout  its  extent,  in  precisely  the  same! 
manner,  is  certain.  The  results  of  the  different 
manners  of  vocal  'production* — three  in  number, 
— ^are  sometimes  spoken  of  in  England  as  '  cheet« 
voice,'  '  head- voice,*  and  'fidsetto/  The  clasBfi* 
cation  and  terminology  adopted  by  the  Frenchi; 
vis.  'first,  second,  and  third  registers,*  are 
however  much  to  be  preferred,  nnoe  the  causes 
of  the  variety  of  ^tm^re  they  indicate,  of  which 
little  is  known,  are  left  by  them  unassuBaed.  Tbo 
average  compass  of  each  vocal  register  is  perhaps 
naturally  an  octave ;  but  the  facility  with  which 
the  nuxie  of  production  natural  to  one  register 
can  be  extended  to  the  sounds  of  another  renders 
this  uncertain.  By  'chest-voice*  is  commonly 
understood  the  lowest  sounds  of  a  Toice,  and  any 
others  tliat  can  be  produced  in  the  same  manner ; 
in  other  words,  the  'first  register.'  [J-  H.] 

CHEVAL  DE  BRONZE,  LK  A  comio 
opera  on  a  Chinese  subject,  in  three  acts ;  words 
by  Scribe,  music  by  Aubc^.  Produced  at  the 
Op^ra  Comique  March  25,  1855.  On  S^t.  21, 
i^57i  it  was  reproduced  with  additions  in  four 
acts  at  the  Acad^mie  (Grand  Opera"). 

As  'The  Bronze  Horae'  it  has  been  often 
played  on  the  London  boards  since  Jan.  s,  1836, 
when  it  was  produced  at  Drury  Lane.  [6.] 

CHEVALIER,  played  the  violin  and  the  quint, 
a  kind  of  viol,  in  the  private  band  of  Henri  IV 
and  Louis  XIII«  and  composed  in  whole  or  in 
part  between  the  years  1587  and  161 7  no  less 
than  34  court  ballets,  according  to  a  list  drawn  op 
by  Michel  Henry,  one  of  Louis  XIlFs  34  violins, 
and  now  in  the  Biblioth^ue  at  Paris.   [M.C.C.] 

CHEZY,  WiLHKLMiNB  (or  Helmike)  Chris- 
tike  VON.  a  literary  lady  of  very  eccentric  life, 
rUe  von  Klencke  1 783,  at  Berlin,  married  at  16, 
and  divorced  the  next  year;  married  again  at 
32,  in  Paris,  to  Antoine  L.  de  Ch^zy,  a  well- 
known  Orientalist,  and  was  divorced  again  in 
1810.    She  spent  the  rest  of  her  life  between 
Heidelberg,  Berlin,  Dresden,  Vienna  (1813-28), 
Munich  and  Paris,  and  died  at  Geneva,  1856. 
Her  dum  to  notice  here  is  her  having  written 
the  play  of  'Rosamunde,*  for  which  Schubert 
composeid  his  music,  and  the  libretto  of  *  Eury 
anthe*  for  Weber.      In  neither  case  was  the 
genius  of  the  musician  sufficient  to  save  the 
piece  from  failure.     See  Hellbom*s  *  Schubert,* 
chap,  xi;    Max  M.  von  Weber*s  ^Carl  Maria 
von  Weber*  (1864),  ii.  371,  517,  522,  &c.;  and 
her  own  *  Unvergessenes  .  •  •  an  meinem  Leben,* 
1858.  [GJ 

CHI  ABB  AN,  Fraitcesoo  (alias  Chabran,  or 
Chiabbano),  a  violin-player,  was  bom  in  Pied' 
mont  about  1723.  He  was  a  nephew  and  pupil 
of  the  celebrated  SoMis.  In  1747  he  entered 
the  royal  band  at  Turin,  and  about  the  yesr 
1 75 1  appears  to  have  gone  to  Paris,  where  bis 
brilliant  and  lively  style  of  playing  created 
a  considerable  sensation.  His  compositions  shoir 
that  his  character  as  a  musician  was  somewhst 
superficial,  and  Wanting  in  true  artistic  earnest-  ■ 
ness.^  The  three  sets  of  sonatas  which,  he  4»i^ 


emABRAK.  ^ 

&lied  in  1756  and  the  foUowing  jdan  are  fikosy 
is  coostnictioii  md  devoid  of  ideas,  and  appear 
to  be  intended  merdj  to  give  the  player  an 
df^forfcunity  of  displaying  hu  proficiency  in  the 
oecadon  of  double  atope,  staccato  passages, 
Unnonics,  and  other  technical  difficulties.  He 
tocsaonaUy  indulges  in  realilBtic  traits  of  de- 
■nptive  mnaic. 

If  we  consider  that  Ghiabran,  through  Somis, 
VIS  mdiiectly  a  pupil  of  Corelli,  his  deterioration 
baa  the  noble  style  of  that  gi^eat  master  is 
tally  astonishing,  tiiough  not  wiUiout  i>araUei  in 
The  present  day.  when  Uie  traditions  of  the  great 
Fitfif  school  of  Rode,  Kreutzer,  and  Viotti  appear 
ihoost  equally  foigotten  in  France.  [P.  D.] 

CHICEJBRING.      Messrs.    Chickering   and 
Sods,  pianoforte-makers    of   Boston    and  New 
Tork,'U.S.    They  daim  to  be  the  earliest  ex-' 
istiog  American  house,   and  the  first  to  have 
obubed  any  prominence.    According  to  infor- 
BAtion  supplied  by  Messrs.  Chickering,  the  first 
piuoforte  made  in  America  was  upon  an  English 
model,  probably  one  of  Broadwood's.    It  was 
made  by  Benjamin  Crehome,  of  Milton,  U.S., 
Wore  the  year  1803.    From  that  year  the  con- 
itroction  <M  American  pianofortes  was  persist- 
atly  earned  on,  but  without  any  material  de* 
Ttrlflpment  ontil    a    Scotchman    named   James 
Stewart,  afterwards  known  in  London  through 
Us  connection  with  Messrs.  Collard  and  Collard, 
g»ve  an  impetus  to  the  American  home-manu* 
iactuie.    Stewart  induced  Jonas  Chickering  to 
ysA  bim,  but    two   years    after,    Stewart  re- 
turned to  Europe,  when  Chickering  was  left 
DpoD  his  own    account.     The   year   given  as 
^  of  the  actual  establishment*  of  the  Chick- 
enng  finn  is  1823.    Two  years  subsequent  to 
tbia,  Alpheus  Babcock,  who  had  served  his  time 
with  Crehome,  contrived  an  iron  frame   for  a 
iqasre  pianofortey   with  the  intention  to  com- 
peonte  for  changes  of  temperature  afiTecting  the 
s^mgB,  for  which  he  took  out  a  patent.  Whether 
^  wai  Bugg[ested  by  an  improvement  with  the 
ame  object  patented  in  London  in  i Sao  by  James 
Than  and  William  Allen,  or  was  an  independent 
Klesis  not  known,  but  Babcock's  plan  met  with  no 
immediate  success.    However,  this  attempt  at 
compensation  laid  the  foundation  of  the  modem 
equipoise  to  the  tension  in  America  as  Allen's 
dkl  in  England.     Jonas  Chickering  produced 
*  iqQsre  pianoforte  with  an  iron  frame  com- 
plete, ezoq>t  the  wrest-pin  block,  in  1837.  From 
1840  this  principle   was   fostered   by  Messrs. 
Chickering,  and  applied  to  grand  pianofortes  as 
veil  u  §quaTe,  and  has  since  been  adopted,  by 
other  makers  in  America  and  Europe.     For  fur- 
ther psrtionlars  of  the  American  construction, 
«ee  PuHOFOBTE  and  Steikwat.  [A.  J.  H.] 

CHIUOT,  Thohas,  was  organist  of  the  Ab- 
bey Church,  Bath,  from  1733  until  late  in  the 
jut  century,  and  the  first  master  of  Thomas 
uoley,  the  composer.  He  produced  'Twelve 
Sogliih  Songs,  <he  words  by  Shakspeare  and 
other  odebrated  poets ;'  two  sets  of  harpsichord 
WMertoB,  sod  other  works.  tW.  H.  H.] 


CHIMENTI. 


S45 


•  CHILD,  William,  Mus.  Doe.,  was  bom  at 
Bristol  in  x6o6,  and  received  his  musical  edu- 
cation as  a  chorister  of  the  cathedral  there  under 
Elway  Bevin,  the  organist.  In  1631  he  took 
the  degree  of  Bachelor  of  Music  at  Oxford,  and 
ini63a  was  appointed  one  of  the  organists  of  St. 
Greoige*s  Chapel,  Windsor,  in  the  room  of  Dr. 
John  Mundy,  and  shortiy  afterwards  one  of  the 
organists  of  the  Chapel  ttoyal.  About  1660  he 
was  appointed  chanter  of  the  Chapel  Royal  and 
one  of  tne  king^s  private  musicians.  On  July  8, 
T663,  he  proceeded  Doctor  of  Music  at  Oxford, 
his  exercise  being  an  anthem  which  was  per- 
formed in  St.  Mary*8  church  on  the  13th  of  the 
same  month.  He  died  at  Windsor,  March  23, 
1697,  in  the  91st  year  of  his  age,  and  was  interred 
in  St.  Gleorge's  Chapel,  where  a  tablet  to  his 
memory  is  placed.  Dr.  Child  published  in  x  639,  in 
separate  parts,  engraven  on  small  oblong  copper 
plates,  a  work  entitied  '  The  first  set  of  Psalms 
of  iii  voyces,  fitt  for  private  chapels,  or  other 
private  meetings  with  a  continual  basse,  eitheir 
for  the  Organ  or  Theorbo,  newly  composed  after 
the  Italian  way,'  and  consisting  of  twenty  short 
anthems  for  two  trebles  and  a  bass,  the  words 
selected  from  the  Psalms.  This  work  was  re- 
printed, with  the  same  title,  in  1650,  and  wai 
again  reproduced,  fitnn  the  same  plates,  in  1656, 
but  with  the  titie  changed  to  'Choiee  Musick  to 
the  Psalmes  of  David  for  Three  Voices,  with  a 
Continuall  Base  either  for  the  dgan  or  Theorbo.' 
His  other  published  works  consist  of  '  Divine 
Anthems  and  vocal  compositions  to  several  pieces 
of  Poetry';  Catches  in  Hilton's  *  Catch  that 
Catch  can/  165a,  and  Playford's  'Musical  Com- 
panion,' 167a ;  and  some  compositions  in  'Court ' 
Ayres:'  Several  of  his  Churcn  Services  and  An* 
thems  are  printed  in  the  collections  of  Boyce 
and  Arnold,  in  Smith's  'Musica  Antiqua,'  and 
elsewhere,  and  many  more  are  extant  in  manu- 
script in  the  choir  books  of  various  cathedrals 
and  the  collection  made  by  Dr.  Tudway  for  Lord 
Oxford.  His  Service  in  D  is  a  fine  specimen  of 
writing  in  the  imitative  style,  with  much  pleas- 
ing m^ody,  a  feature  which  distinguishes  Child's 
music  generally.  Dr.  Child  did  a  munificent 
act  which  ought  not  to  be  left  unnoticed.  BUs 
salary  at  Windsor  having  fidlen  greatly  into 
arrear,  he  told  the  Dean  and  Chapter  that  if 
they  would  pay  him  the  amount  due  to  him 
1^  would  repave  the  body  of  the  choir  of  the 
chapel.  The  bait  took,  the  arrears  were  dis- 
charged, and  the  Doctor  fulfilled  his  promise. 
His  generosity  likewise  manifested  itself  on 
other  occasions.  He  gave  £20  towards  building 
the  Town  Hall  at  Windsor,  and  bequeathed  £50 
to  the  corporation  to  be  applied  in  charitable 
purposes.  A  portrait  of  Dr.  Child,  painted  in 
1663,  shortiy  after  taking  his  doctor's  degree, 
was  presented  by  him  to  the  Music  School  at 
Oxford.  [W.  H.  H  ] 

CHIMENTI,  Mahoarita,  dbtta  la  Dboghi- 
KBINA,  a  distinguished  singer,  the  origin  of  whose 
sobriquet  is  unknown.  She  was  engaged  in 
London  in  1737,  singing  the  part  of  aecondo  uomo 
in  Handel's  'Faramoi^o.'     She  had  arrived  at 


340 


CfflMENTi; 


the  end  of  173^,  for  the  'London  Daily  Post 
of  Nov.  18  announces  that  'Sg*.  Merighi,  Sg*. 
Chimenti,  and  la  Francesina,  had  the  honour  to 
ung  before  Her  Majesty,  the  Duke,  and  ihe 
Princesses  at  Kensington  on  Monday  night,  and 
met  with  a  most  gracious  reception.*  'Fara- 
mondo*  was  only  played  five  times.  In  1738 
Chimenti  appeared  as  Atalanta  in  '  Serse,*  which 
had  no  better  fortune  than  Faramondo.  She 
played  also  Absirto  in  'La  Conquista  del  Velo 
d'Oro  *  by  Pescetti  in  the  same  year,  after  which 
her  name  is  not  found  again.  [J.  M.] 

•  CHIMING.  A  bell  is  sMd  to  be  chuned  when 
she  is  swung  through  the  smallest  part  of  a  circle 
possible  so  as  to  make  the  clapper  strike ;  or  when 
a  separate  hammer  is  fixed  apart  from  her  and 
she  is  struck  by  it.  There  are  many  different 
machines  in  use  by  which  one  man  can  chime  any 
number  of  bells  :  of  these  the  best,  perhaps,  is 
that  invented  by  the  Key.  H.  T.  Ellaoombe  of 
Clyst  St.  George,  Deron,  which  is  put  up  by 
Messrs.  Warner  and  Sons,  Grippl^gate,  London. 
There  are  also  such  machines  patei^ed  by  nearly 
all  good  bell-founders. 

The  plan  adopted  in  many  towmv  of  £utening 
the  rope  of  the  bell  to  the  clipper  for  this  purpose 
is  a  most  dangerous  practice  and  ought  never  to 
be  allowed,  many  fine  bells  having  been  cracked 
in  this  way.  Even  if  no  actual  damage  is  done 
the  gear  of  the  bell  is  twisted  and  strained  by 
the  misapplication  of  the  tope.  It  is  called 
•  aocking  ^  the  bell.  [C.  A.  W.  T.l 

CHINESE  PAVILION,  CHINESE  CRES- 
CENT. OR  CHAPEAU  CHINOIS.  This  con- 
sists of  a  pole,  with  several  transverse  brass 
plates  of  some  crescent  or  fitntastio  form,  and 
generally  terminating  at  top  with  a  conical 
pavilion  or  hat,  whence  its  several  names.  On 
all  these  parts  a  number  of  very  small  bells  are 
hung,  which  the  performer  causes  to  jingle,  by 
shaking  the  instrument,  held  vertically,  up  and 
down.  It  is  only  used  in  military  bands,  and 
more  for  show  than  use.  j^V.  de  P.] 

CHIPP,  Edmund  Thomas,  Mtt«.  Doc.  Cantab., 
eldest  son  of  the  late  T.  P.  Chipp  (well  known 
as  the  pLayer  of  the '  Tower  drums  ),  bom  Christ- 
mas Day,  1823,  educated  in  her  Majesty's  Chapel 
Koyal,  St.  James*s.  Studied  the  violin  under 
Nadaud  and  Tolbecque,  and  entered  the  Queen's 
private  band  in  1844.  Became  known  as  an 
organist  of  some  repute,  and  in  47  succeeded 
Dr.  Gauntlett  at  St.  Olave's,  a  position  he  re- 
signed on  being  elected  o]v;inist  to  St  Mary-at- 
Hill,  Eastcheap.  On  Mr.  Best^s  retirement  from 
the  Panopticon.  Mr.  Chipp  was  chosen  to  suc- 
ceed him  as  organist,  and  retained  the  appoint- 
ment until  the  close  of  that  institution.  He 
was  invited  to  become  otglinist  to  Holy  Trinity, 
Paddington,  where  he  remained  until  his  appoint- 
ment as  organist  of  the  Ulster  Hall,  Belfast,  in 
6a.  In  66  he  was  appointed  organist  to  the  Kin- 
naird  Hall.  Dundee,  and  also  to  St.  PauFs 
Church,  Edinburgh  In  the  following  year  the 
position  of  organist  and  Magister  Cuoristarum 


CHIROPLAST. 

... 
to  Ely  Cathedral  was   offered  him,  a  positioii 
which  he  still  (1877)  occupies. 

The  works  produced  by  this  composer  an  die 
Oratorio  of  *Job';  *  Naomi,  a  Saca^  Idyl';  a 
book  of  34  sketches  for  the  organ,  and  vsriasa 
minor  works,  soogs,  etc. 

CHIROPLAST.  An  appantns  dengpoed  to 
faoilitate  the  aoquirament  ef  a  correct  podtion  of 
the  hands  on  the  pianoforte.  It  was  the  inventioD 
of  J.  B.  Logier,  and  was  patented  in  1814. 

It  consisted  of  a  wooden  framework  wbidi  a- 
tended  the  whole  length  of  the  keyboard,  and 
was  firmly  attached  to  the  same  by  meaoi  of 
screws.  At  the  front  of  the  keyboard,  aod 
therefore  nearest  the  player,  were  two  parallel 
rails,  betweeii  which  the  hands  were  placed. 
The  wrists  oould  thus  be  nether  raised  nor 
lowered,  but  oould  only  move  from  side  to  ode. 
At  a  suitable  elevation  above  the  keys,  aod 
about  six  inches  behind  the  parallel  iail%  was  a 
brass  rod  extending  the  whole  length  of  the 
framework,  and  carrying  the  ao-called  'Fmgcr 
Guides.*  These  were  two  braas  framea^  wiik^ 
opuld  be  moved  along  the  rod  to  any  part  of  tbe 
keyboard,  each  having  five  divistons,  through 
which  the  thumb  and  four  fingers  wers  intro- 
duced. The  divisions  were  formed  of  Uun  platM 
of  metal,  which  exactly  corresponded  to  the 
divisions  between  the  keys  of  ibe  instrument. 
They  hung  in  a  vertical  position  from  the  fana 
frames  above  mentioned  to  vo^  neariy  the  lerd 
of  the  keys,  and  of  course  prevented  the  fingen 
frt>m  moving  in  any  but  a  vertical  direction. 

To  the  top  of  each  finger-guide  was  attached 
a  stout  brass  wire  with  regulating  screw,  whkh 
pressing  against  the  outside  of  the  wrist,  kept 
the  hand  in  its  proper  position  wiUi  regard  to  the 
ann.  In  addition,  there  was  a  board  ruled  with 
bass  and  treble  staves,  called  the  gamut  board, 
to  be  placed  on  the  mosic-desk,  on  wUdi  each 
note  throughout  the  eptire  compass  of  the  instru- 
ment was  found  written  predselj  above  its  cor- 
responding key.  This  was  believed  to  be  of 
great  service  in  teaching  the  names  of  the  notei. 

The  chiroplast  was  designed  to  assist  Logier 
in  the  instruction  of  his  Uttle  daughter,  seven 
years  of  age.  He  was  then  living  in  Ireland, 
and  the  result  so  fully  answered  his  expecta- 
tions that  he  determined  to  repair  to  Dublin 
(about  1 814)  and  devote  himself  entirely  to  the 
propagation  of  his  system.  Here  his  sacoeas  vu 
so  considerable,  that  he  soon  took  the  higbeit 
position  as  a  pianoforte  teacher. 

His  method  included  two  novelties  —the  use  of 
the  chiroplast,  and«the  plan  of  making  sereial 
pupils,  to  the  number  of  twelve  or  more,  play  at 
the  same  time  on  as  many  pianofortes.  To  thii 
end  he  wrote  a  number  of  studies,  which  were 
published  in  his  '  First  Companion  to  the  Roval 
Chiroplast,*  and  other  works,  in  which  seroal 
studies,  of  various  degrees  of  difficolty,  were 
capable  of  being  played  simultaneously.  Aboot 
this  part  of  the  method  great  diversity  of  opin)>« 
existed.  Many  critics  could  p^oeive  nothing  I'Ut 
evil  in  it.  Spohr,  however,  in  a  letter  written 
fis>m  LondoB  to  the  ''Allgemeine  musikaiischs 


CEQDElOPLASr. 

IdtoDg,''  in  I  Sao,  oApioiaai  bimaelf  bkVoxaMj 
ipgrn  it.  He  wm  preaent  ftt  an  ezuniiubtion  of 
Logia  B  popila,  and  writes — *  when  a  new  study 
vM  b^gon  in  quick  tempos'  the  leas  advanced 
popils  were  unable  to  get  in  more  than  a  note  or 
tvo  in  each  bar,  but  by  degrees  they  conquered 
non  and  more  cf  the  difficulties,  and  in  a  ahorter 
time  thim  one  could  have  believed  possible  the 
itady  went  welL' 

By  the  terms  of  his  patent,  Logier  exercised 
the  right  of  gnuting  penniBsion  to  other  profea- 
nrs  to  make  use  of  die  chiroplast  and  his  systom, 
kr  which  they  paid  high  terms.  In  i8i6  he  sue- 
oeeded  in  persuading  so  many  professors  of  the 
exodlenoes  of  his  method,  that  chiroplast  aca- 
demies were  established  in  the  provinces,  and 
Ssmuel  Webbe»  at  that  time  in  great  vogue,  com- 
ntenoed  teaching  the  system  in  London. 

So  much  suooeas  was  not  allowed  to  pass  un- 
diallei^ed,  and  hostile  criticisms  found  racpres- 
wm  in  a  number  of  pamphletSy  some  respectable, 
Moe  merelr  abusive.  Of  these  the  principid 
vefe  an  article  in  the  '  Quarterly  Musical  Mag- 
inne  and  Review,'  i.  5 ;  'General  Obaervationa,* 
etc  (Edinburgh,  B.  Biizdie,  1817);  and  'Stric- 
turn  on  Mr.  Lcmer's  System  . . .«'  by  H.  do 
MoQfci  (Glasgow,  W.  Tumbnll). 

Fediiog  ihkt  these  publications  were  likely  to 
iBJore  him  Logier  determined  to  invite  the  mem- 
\m  of  the  Philharmonic  Society,  and  other  mu- 
aaam,  to  attend  an  examination  of  Webbers 
papila  in  L(mdon  on  Nov.  17,  181 7.  The  results 
q(  this  examination  were  published  by  him  in  a 
ptmphlet  entitled  'An  Authentic  Account,  etc., 
bj  J.  B.  Logier*  (Londim,  Hunter,  18 18). 

TUa  was  answered  in  a  new  pamphlet*  'An 
exposition  of  the  New  System  . . . ,  published  by 
ft  Coaunittee  of  Professors  in  London*  (London, 
Budd  and  Oalkin,  1818).  The  committee  was 
duKn  from  antong  those  who  had  attended  the 
examination  on  Ncyv.  17,  and  consisted  of  29  of 
the  moat  distinguished  musicians  of  the  day — 
Sir  Geoige  Snovt*  Drs.  Camaby,  Crotch,  and 
Saiitb,  Messrs.  Attwood,  Ayrton,  Beale,  Bur- 
rawB,  ^lan^ois  Qcamer,  Dance,  Ferrari,  Great- 
orex,  Griffin,  Hawea,  William  Horsley,  Hull- 
mandel,  Knyvett,  C.  Knyvett,  jun.,  lAtour, 
Mamnghi,  Neate,  Vincent  Novello,  Potter, 
Rie8»  Sherrington,  Scheener,  Walmisley,  T. 
Welch,  Williams. 

^^er  rejoined  in  a  not  very  temperate  tract — 
'A  Kefutation  of  the  Fallacies  and  Misrepre- 
KDtations,*  etc. 

For  Bome  time  after  this,  pamphlets  in  abund- 
ance made  their  appearance.  One  of  the  moat 
bitter  was  an  article  written  by  KoUmann,  or- 
piust  to  the  German  Chapel,  St.  James's,  to  the 
'Allgemeine  musikalische  Zeitung*  in  Nov.  1831, 
and  publiahed  at  the  same  time  in  English,  in 
vhk^  the  writer  is  candid  enough  to  say  that  he 
beUevea  the  principal  secret  of  Logier  s  system  is 
to  rob  all  other  professors  of  their  pupils. 

On  the  other  side,  Spohr,  in  the  letter  already 
quoted,  sayi^  *  There  is  no  doubt  that  the  chiro- 
fuflt  fulfils  ita  purpose  of  inducing  a  good  posi- 
^  of  the  luuids .  and  arrna^  and  is  of  great 


GHITABRONE. 


847 


'  service  to  Herr  Logier,  who  has  to  look  after 
thirty  or  forty  childron  playing  at  once.*    And  in 
i8ai  Frans  Stoepel,  who  was  sent  to  London  by 
the  Prussian  government  to  examine  into  Logier  s 
■  system,  made  so  favourable  a  report  that  Logier 
'  was  invited  to  Berlin,  where*  in  '  i8aa  he  es- 
I  tablished  a  chiroplast  school,  which  was  so  suc- 
cessful that  the  King  proposed  to  him  to  inatruet 
I  twenty  professors  in  his  method,  with  the  view 
of  spreading  it  over  the  whole  of  Prussia.   Lqgier 
aooordingly   remained    three    years    in   Berlin, 
visiting  London  at  intervals.   Meantime  the  chiro- 
plast was  introduced  into  many  of  the  leading 
towns  of  Germany.    In  Paris,  Zimmermann,  pro- 
fessor of  the  pianoforte  at  the  Conservatoire,  had 
classes  on  the  system,  but  in  England  it  gradually 
died  out,  until  it  may  be  doubted  if  a  single  pro- 
fessor remains  who  employs  the  method,  though 
the  apparatus  is  still  occasionally  to  be  met  with 
at  sales  of  secondhand  instruments. 

The  chief  drawback  to  the  chiroplast^  apart 
from  the  risk  of  the  hands  falling  into  bad  posi- 
tions when  the  support  was  withdrawn,  was  the 
fibct  that  the  thumb  could  not  be  passed  under 
the  fingers,  nor  the  fingers  over  the  thumb,  as  in 
scale-playing.  Kalkbrenner,  who  joined  Logier  in 
the  establishment  of  a  chiroplast  class  in  1 8 18,  per- 
ceived this,  and  in  oonsequenoe  adopted  his  so- 
called  hand-guide,  which  consisted  simply  of  the 
lower  rail  or  wrist-support  of  the  chiroplast,  with- 
out the  finger-guides,  in  which  simplified  foim  it  is 
manufactured  and  sold  at  the  present  day  (1877). ' 
By  another  modification  the  hand  was  placed  in 
a  sliding  wooden  mould,  made  to  fit  the  palm,  and 
secured  by  a  small  strap  which  passed  over  the 
back  of  the  hand,  thus  allowing  free  movement 
of  the  hand  along  the  keyboard,  and  of  the  thumb 
under  the  fingers. 

That  Logier  s  proceedings  were  not  free  from 
charlatanism  may  be  inferred  from  the  fact  of  the 
establishment  in  Dublin  of  a  '  Chiroplast  Club,' 
with  a  special  button;  and  that  his  pretensions 
were  extravagant  may  be  gathered  from  his 
remark  to  Mazringhi,  that  he  'considered  him- 
self an  instrument,  in  the  hands  of  Providence, 
for  changing  the  whole  system  of  musical  in- 
struction. Still,  the  object  in  view  was  good,  and 
the  attention  drawn  to  the  subject  cannot  fail  to 
have  exercised  a  beneficial  influence  on  pianoforte 
teaching.  [F.  X.] 

CHITARRONE  (Ital.,  augmentative  of  Chi- 
tarra).  A  theorbo,  or  double-necked  lute  of  great 
length,  with  wire  strings  and  two  sets  of  tuning- 
pegs,  the  lower  set  having  twelve,  and  the  higher 
eight  strings  attached  ;  ^e  unusual  extension  in 
length  afifording  greater  development  to  the  bass 
of  ^e  instrument.  The  Italian  chitarra  was  not 
strung  with  catgut  like  the  Spanish  guitar,  but 
with  wire,  like  the  German  cither  and  the  old 
English  cithern.  The  chitarrone,  as  implied  by 
the  suffix,  was  a  large  chitarra.  Like  its  cousin 
the  archlute  it  was  employed  in  Italy  in  the  i6th 
century  with  the  clavicembalo  and  other  instru- 
I  ments  to  accompany  the  voice,  forming  a  band, 
I  the  nutty,  slightly  bitter  timbre  of  which  must 


logbther    for    the 

Krformuioe  of 
oDteverde'i  'Or- 
fba'  in  1607,  In 
whiob  ^>pe>i  two 

vary  fine  specimen 
of  thU  ir 


gnved  u  ID  the 
South  Eenungton 
Mnaeum.  Th« 

length  of  it  ii 
5  (set  4  inchea.    It 


'Andrev  Tftui  in 
Siena,  1631.'  In 
the  photograph! 
published  by  the 
IJceo  Comunale  di 
Miuioaof  Bdogna, 
the  applicatioiu  ^ 
the  luun«  cMtai- 
rone  and  aicliluto 
^—  pouiblj  by  ui 
ovenight— tre  re- 
vsnad.  [AbchIiDTB, 
CiTHEB,  LUTI,  THB- 
dRBO.]      [A.J.H.] 

CHLADN^ 

Eb)I3T        FLOHKNa 

FBiiDKtcB,  who 
hae  been  caUed  the 
father  of  modem 
mcouitioi,  WM  bun 
ftt  Wittembe^  in 
I7j6.     Hia  &thcr 

cater,  and  hii 
joDth  wu  oonie- 
quentlj  ipent  in 
doee  application  to 

the  atudy  of  a  vs' 
riety  of  aubjeota,  of 
which  geography 
leems  to  have  tieen 
the  chie^  and  raa- 
.  aio  vei;  lubwdi- 
nate,  for  he  did 
not  bc^n  to  study 
the  latl«r  oonsiet- 
ently  tiU  he  waa  1 9, 
At   the  cuUege  of 

Grinuna  he  studied  law  and  medicine,  apparently 
uncertain  to  which  to  apply  himself.  At  Leipzig 
in  178a  he  »ai  made  doctor  of  laws,  but  soon 
abandoned  that  position  and  the  study  of  juris- 
prudence to  apply  himself  ejcluiively  to  physical 
■cience.  His  attenbioo  wae  soon  drawn  to  the 
iinperfeoUon  of  the  knowledge  of  the  laws  of 
sound,  and  he  determined  to  devote  himself  to 
their  innertigation.  His  first  raeearchee  on  the 
Tibrationt  of  round  and  equare  plates,  belli,  and 


■CHLADNL   ' 

rings,  wcM  published  aa  eariy  *•  178?-  '  It  was 
in  conneotim  with  these  that  be  invented  the 
beaiKitid  and  famous  eipariment  for  showing  the 
modes  of  vibration  of  metal  or  gjasa  plates,  by 
Bcsttering  sand  over  the  surfiuie. 

Uis  reeearches  extended  over  a  consideiable 
part  of  the  domain  of  acoiutics  1  embraeiag.  be- 
ndes  those  mentionod  above,  investigations  on 
longitudinal  vibrations,  on  the  notea  of  pipes 
when  filkd  with  different  gasea ;  on  tha  theorv 
of  oonaonanoe  and  disaoaaoce  ;  the  acoustical 
properties  of  ooncart-roums  1  and  the  distributioa 
of  musical  instrumenta  into  rlsnnwi  With  short- 
nghtedness  characteristio  at  once  of  the  greatest 
and  least  of  mortals,  he  thought  the  noblest 
thing  to  do  would  be  to  invent  some  new  instnt- 
msnt  on  a  principle  before  unknown.  To  this 
object  he  himself  said  that  he  devoted,  nuve  tim^ 
trouble  and  money,  than  to  bis  great  BoientiKc 
icaearches.  The  result  was  lirst  an  instrument 
which  he  called  Buphon,  which  ounsiated  chiefly 
of  small  cylinders  of  glass  of  tho  thioknois  of  a 
pen,  which  were  set  in  vibration  by  the  moistened 
fing:er.  This  he  afterwards  developed  into  an 
instrumeut  which  be  called  the  Clavi -cylinder, 
and  looked  ujhid  as  the  practical  application  of 
his  discoveries,  and  the  glory  of  his  bfe.  In  form 
it  was  like  a  square  pianoforte,  and  oomfoited 
four  and  a  half  octaves.  The  sound  was  produced 
by  friction  from  a  single  glass  cylinder  connected 
with  internal  machineiy,  by  which  the  diffeiencei 
of  the  nates  were  produced.  lis  advantages 
were  Hud  to  be  the  power  of  prolonging  bouikI 
and  obtaining  'crescendo'  and  ' dimiouemio'  at 
pleaitue.  Alter  iSoi,  when  he  published  his 
'Treatise  on  Acoustics,'  he  travelled  in  various 

Cof  Europe  taking  his  clavi-oylinder  with 
uid  lecturing  upon  it  and  on  aooustice.  la 
Paris,  in  iSoS,  he  was  intnidui^  to  Napcdeoa 
by  IjipUoe.  The  Emperor  with  characteristic 
Bf^reciation  of  his  importance  gave  him  6000 
Jrancs,  and  desired  him  to  have  bis  great  tiorii 
translated  into  French,  for  the  benefit  of  the 
nation.  This  work  he  undertook  himself,  and 
in  iSog  it  wss  published  with  a  short  auto- 
biography prefix^  and  dedicated  to  Napoleon. 
Ailer  this  he  resumed  his  travds  and  lectun* 
for  some  years.  His  labours  in  science,  mostly 
but  not  eicluravelf  devoted  to  acoustics,  con- 
tinued up  to  the  year  of  his  death,  which  hap- 
pened suddenly  of  apnplexy  in  1827. 

The  following  is  a  list  of  his  more  important 
works  in  connection  with  aooustia,  in  the  order 
of  their  appearance. 


CHOICE  OF  HERCULES. 

CHOICB  OF  HERCULES,  THE,  »  'musical 
interiude '  for  solos  and  chorus ;  the  words  fix>m 
Spenser*8  Polymefcis;  the  mvoao  by  Handel, 
ptrily  adapted  from  his  Alcestes.  Autograph 
in  Buckingham  Palace — begun  June  a8,  1750, 
finidied  July  5,  1750;  but  last  chorus  added 
tfterwaniB.  Produced  at  Ooyent  Garden,  March 
1, 1751-  [GJ 

CHOIB,  often  pronounced  QuiRi.  The  part  of 
(he  diurch  east  of  the  nave,  in  which  the  services 
are  celebrated.  The  term  is  now  almost  restricted 
to  cathedrals  and  abbey  churches,  'chancel' 
bdng  need  fiir  the  same  part  of  an  ordinary 
diureh.  'Choir'  is  also  used  for  the  singers  in 
diuiches  of  all  kinds ;  and  for  the  portions  into 
vhtch  a  chorus  is  divided  when  the  composition 
is  written  for  two,  three,  or  any  other  number 
of 'choirs.'  [G.] 

CHOIR  OBGAK.  The  name  given  to  the 
snail  organ  which,  in  cathedral  and  otiier  churches, 
Tised  to  hang  suspended  in  front  and  below  the 
luger  cr  Great  Organ.  It  derived  its  name  fivm 
its  employment  to  accompany  the  vocal  choir  in 
the  chief  portions  of  ^e  Choral  Service  except 
the  parts  marked '  Full,*  and  the '  Glorias,*  which 
were  usually  supported  by  the  'Loud  Oi^an'  as 
it  was  sometimes  called.  The  ch&ir  organ  was 
gmerally  of  Teiy  uprightly  tone  however  small  it 
might  be;  one  of  l^ee  strips  only  not  unfr^ 
qaently  consisting  of  the  following  combination- 
Stopped  Diapason,  Principal,  Fifteenth. 

Father  &Qith*s  choir  organ  at  St.  Paul's 
Csthedral  (1694-7),  the  most  complete  he  ever 
nude,  had  the  foUawing  eight  stops : — Stopped 
Bispsson  (Wood),Principal,  Flute  (Metal),  Gems- 
lam  Twelfth,  Fifteenth,  Mixture  III  ranks, 
Cremona  (through).  Vox  humana  (through). 

Since  the  dev^opment  of  the  swell  oi^n 
within  the  last  50  years,  the  choir  organ  has  Jiad 
to  yield  its  poedtion  to  its  more  attractive  rival 
the  'second'  manual,  and  now  occupies  the 
place  of  'third.'  It  is  nevertheless  .of  so  useful 
and  convenient  a  nature,  that  it  cannot  be 
omitted  without  its  at>senoe  being  constantly  felt. 
[Chaib  Oboak.]  [E.  J.  H.] 

CHOPIN,    Francois    "Fbxderjo,  was  bom 
Uarch  I,   1809   (not   18x0,   as   has  been  fre- 
qoenUy  stated  and  even  inscribed  on  his  tomb' 
stone^,  at  Zela  Zowa  WoIa>  a  village  six  miles 
fraoi  Wsnaw,  in  Poland ;  died  at  Paris,  Oct.  1 7, 
1849,  *^  ^^<^  buried  at  tho  cemetery  of  the 
Pere-Ia>Chaise,  between  the  graves  of  Cherubini 
ud  Bellini.   Bobert  Schumann,  when  reviewing 
Chopin's  Preludes  for  the  '  Neue  Zeitschrift  fUr 
muieik,*  in  1839,  called  him  'the  boldest  and 
proudest  poetic   spirit   of  thfi   times!*     (Ges. 
Hcfariften,  iii.  123) ;  he  might  have  added  with 
ftt  lesst  equal  truth,  and  in  the  face  of  all  con- 
temporary (^iposition,  that  Chopin  was  a  legiti- 
iDstely  trained  musicinn  of  quite  exceptional 
Attumoeuts,  a  pianist  of  the  very  first  order, 
u^  a  writer  for  the  pianoforte    preeminent 
Itepnd  comparison — a   great  master  of  style, 
ft  fsBcinating  melodist,  as  well  as  a  most  origi- 
Hftl  maoipoUtor  of  puissant  and  refine^  rhyt^ 


CHOPm. 


849 


and  harmony.  As  he  preferred  forms  in  which 
some  sort  of  rhythmic  and  melodic  type  is  pre- 
scribed at  the  outset,  —  such  as  the  Mazurka, 
Polonaise,  Valse,  Bolero,  Tarantelle,  &c.,  he 
virtually  set  himself  the  task  of  saying  the  same 
sort  of  thing  again  and  again;  yet  Ee  appears 
truly  inexhaustible.  Each  Etude,  Prelude,  Im- 
promptu, Scherzo,  Ballade,  presents  an  aspect 
of  the  subject  not  pointed  out  before ;  each 
has  a  raiaon  dative  of  its  own.  With  ^w  ex- 
ceptions, aU  of  which  pertain  to  the  pieces 
written  in  his  teens,  thought  and  form,  matter 
and  manner,  shades  of  emotion  and  shades  of 
style,  blend  perfectly.  like  a  magician  he  ap- 
pears possessed  of  itte  secret  to  transmute  and 
transfigure  whatever  he  touches  into  some 
weird  crystal,  convincing  in  its  conformation, 
transparent  in  its  eccentricity,  of  which  no 
duplicate  is  possible,  no  imitation  desirable. 
He  was  a  great  inventor,  not  only  as  regards 
the  technical  treatment  of  the  pianoforte,  but 
as  regards  music  per  «e,  as  regards  composi- 
tion. He  spoke  of  new  things  well  worth 
hearing,  and  found  new  ways  of  saying  such 
things.  The  emotional  materials  he  embodies 
are  not  of  the  very  highest ;  his  moral  nature 
was  not  cast  in  a  sublime  mould,  and  his  in- 
tellect was  not  of  the  profoundest ;  his  bias  was 
romantic  and  sentimental  rather  than  heroic 
or  naive — but  be  his  material  ever  so  exotic, 
he  invariably  makes  amends  by  the  exquisite 
refinement  of  his  diction.  He  is  most  careful 
to  avoid  melodic,  riiythmio,  or  harmonic  com- 
monplaces; a  vulgar  melody  or  a  halting  rhythm 
seem  to  have  been  instinctively  revolting  to 
him;  and  as  for  refined  harmony,  he  strove 
so  hard  to  attain  it,  that  in  a  few  of  his  last 
pieces  he  may  be  said  to  have  overshot  the 
mark,  and  to  have  subtilised  his  progressions 
into  obtuseness. 

The  list  of  his  works  extends  only  np  vo 
op.  74,  and  when  bound  up  in  a  few  thin  vo- 
lumes Chopin  is  *certainly  not  formidable,  yet 
his  published  pieces  represent  an  iounenee 
amount  of  care  and  labour.  With  regard  to 
rare  musical  value,  origmaliinr  and  perfection 
of  style,  the  solo  pieces  might  be  classed  as 
follows  :  —  Etudes  and  Preludes ;  Mazurkas 
and  Polonaises ;  Ballades  and  Scherzi ;  Noc- 
turnes and  Valses;  etc.  The  two  concertos  are 
highly  interesting  as  far  as  the  treatment  of' 
the  solo  part  is  concerned,  but  the  orchestration 
is  poor. 

During  Chopin*s  lifetime  it  seems  to  have 
been  a  fixed  notion  with  the  generality  of  musi- 
eians  that  he  was  a  sort  of  inspired  nmateur, 
who  could  not  be  classed  witn  professional 
academically  trained  musicians.  Liszt^s  singular 
and  clever  essay,  'Frederic  Chopin,*  did  not 
mend  matters  much — for  Liszt  too,  though  he 
of  all  men  knew  best  how  eminent  a  musician 
Chopin  was,  chose  to  accent  the  poetical,  ro- 
mantic side  of  his  individuality.  Liszt  was, 
moreover,  led  into  errors  of  fact  by  the  paucity 
of  authentic  biographical  materials.  The  truth 
about  Chopin's  biiiih,  family,  health,  character. 


8&0 


CHOPIN. 


CHOBAGUS. 


friendshipfly  early  training,  and  the  dawn  of  hif 
career  as  a  player  and  composer,  was  not  known 
tiil  the  publication  of  Murits  Karasowski's  re- 
cent and  trustworthy  biography  (Dresden  1877, 
Bies).  A  Polish  emigrant,  'Grzymala,*  who 
was  amongst  Chopin's  early  acquaintances  at 
Paris,  seems  answerable  for  the  various  mis- 
statements in  the  contemporary  Dictionaries, 
and  in  LisEt's  essay.  The  assertion  for  in- 
stance that  Prince  RadziwiU,  the  comp«)Ber  of 
tolerable  music  to  Goethe's  'Faust/  had  de- 
frayed the  expenses  of  Chopin*s  schooling,  is  as 
much  without  foundation  as  the  sentimental 
talk  about  Chopin*s  extreme  feebleness  .and 
continuous  ill-health.  Both  Liszt,  and  Greorge 
Sand  (in  her  memoirs),  chose  to  paint  Chopin  as 
a  feeble  youth  continually  at  death's  door,  living 
in  an  atmosphereof  moonc^ine  and  sentimentality. 
The  truth  was  quite  the  revorse.  He  was  not 
a  robust  person,  but  he  did  not  know  a  moment's 
illness  before  the  last  ten  years  of  his  life,  when 
the  germs  of  bronchitis  and  consumption  deve- 
loped rapidly  under  the  late  hours  and  excite- 
ment of  Parisian  life. 

As  a  young  man  he  was  fresh  and  lively, 
ready  for  all  kinds  of  fun  and  frolic,  a  good 
mimic  and  caricaturist,  and  quite  strong  enough 
to  stand  long  journeys  in  rough  German  stage- 
coaches. There  are  records  of  his  visits  to 
Berlin,  Dresden,  Dantzig,  Leipzig,  Vienna,  &c., 
ere  he  was  twenty.  Nicolas  Chopin,  his  father, 
a  Frenchman  by  birth  and  extraction,  a  native 
of  Nancy,  came  to  Warsaw  as  a  private  tutor. 
He  became  professor  at  the  Lyc^e  of  Warsaw, 
and  kept  a  select  private  school  of  his  own, 
where  young  men  of  good  &milies  were  brought 
up,  together  with  his  son  Frederic.  The  mother, 
Justine  Kryzanowska,  was  of  a  pure  Polish 
.  frunily,  and  seems  to  have  transmitted  to  her 
son  the  peculiar  sensitiveness  of  her  Sdavonic 
temperament.  In  18 18,  when  barely  nine, 
Frederic  played  a  concerto  by  Gyrowetz,  and 
improvised  in  public.  His  iirst,  very  early 
comj)ositions,  were  dances:  Polonaises,  Mazur- 
kas, and  Valses.  A  native  of  Bohemia,  Zwyny, 
and  a  learned  German,  Joseph  £lsner,  d'rector 
of  the  school  of  music  at  Warsaw,  composer  of 
much  mediocre  church  music,  &c.,  a  sound  mu- 
sician, and  it  is  always  said  a  devoted  student  of 
Bach  (i.e.  of  what  little  was  then  and  there 
known  of  Bach),*  were  his  masters  and  subse- 
quently his  friend«.  At  nineteen,  a  finished 
virtuoso,  equal  if  not  superior  to  all  contem- 
poiaries  except  Liszt,  Chopin  started  with  his 
two  concertos  and  some  minor  pieces,  via  Vienna 
and  Munich,  where  he  gave  concerts,  for  Paris, 
ostensibly  on  his  way  to  England.  But  he 
settled  in  Paris,  and  rarely  stined  from  thence. 
He  used  to  say  that  his  life  consisted  of  an 
episode,  without  a  beginning  and  with  a  sad 
end.  The  episode  was  this :  at  Liszt's  instiga- 
tion, in  1836,  he  made  the  acquaintance  of 
Madame  George  Sand,  and  was  completely  fasci- 
nated and  aUorbed.  In  the  autumn  of  38, 
when  he  had  begun  to  suffer  from  bronchitis, 
Madame  Sand  took  him  to  Majorca^  where  they 


I'spient  the  winter,  and  where  she  Hnned  and 
I  loved  him,  for  which  kindness  he  was  profuse  in 
expressions  of  gratitude  to  the  end  of  his  davs. 
Soon  after  their  return  to  Paris  she  put  him 
into  one  of  the  least  attractive  of  her  novels, 
'  Lucrezia  Floriani,'  under  the  name  of  Prince 
Karol,  whom  she  depicts  as  a  highfiown,  con- 
Bumptive,  and  exasperating  nuisance,  and  left 
him  after  some  eight  years  of  sentimental  ame- 
nities to  his  cough  and  his  piano.  Barring 
a  couple  of  '  short  visits  to  England,  and  one 
to  Scotland  shortly  before  his  death  in  49,  he 
lived  a  retired  yet  far  from  quiet  life  in  Paris, 
giving  lessons,  practising,  and  at  intervab  com- 
posing— the  spoiled  child  of  a  small  cirde  of 
sympathising  admirers.  But  it  was  no  ig- 
noble retirement,  as  the  names  of  aome  of  his 
Parisian  friends,  such  as  Liszt  and  Berlioe, 
Balzac  and  Bellini,  Adolph  Nounrit  and  Heine, 
Emst,  Delacroix,  and  Meyerbeer,  sufficiently 
attest. 

Chopin's  works  include  2  Concertos  for  Piano 
and  Orchestra;  i  Trio  for  Piano  and  Strings; 
2  Duos  for  Piano  and  Cello.  For  Piano  Solo  3 
Sonatas;  27  Etudes;  52  Mazuricas;  25  Pre- 
ludes; 19  Nocturnes;  13  Waltzes;  12  Polo- 
naisoM ;  5  Rondos ;  4  Schenos ;  4  Ballades ; 
4  Fantaisies;  3  Eccoasaises;  4  Impromptus; 
4  sets  of  Variations;  a  Barcarole;  a  Berceuse; 
a  Krakoviak;  a  Bolero;  a  Tarantelle;  a  Funeral 
March ;  an  Allegro  de  concert,  also  a  Rondeaa 
for  2  Pianos,  and  16  Polish  songs,  in  aU  74  num- 
bered and  7  unnumbered  works.  By  &r  the 
best  edition  is  Carl  Klindworth's,  published  at 
Moscow.  There  is  a  Thematic  Catalogue,  pub- 
lished by  Breitkopf  &  Hartel.         ^  [£.  D] 

•  CHORAGUS.  A  titular  functionary  in  the 
University  of  Oxford,  who  derives  his  name  from 
the  leader  of  the  chorus  in  the  ancient  Greek 
drama  (xop^T^)*  Ii^  the  year  1626,  Dr.  William 
Heather,  desirous  to  ensure  the  study  and  practioe 
of  music  at  Oxford  in  future  ages,  establisued  the 
offices  of  Professor,  Choragus,  and  Cozyphaeus,  and 
endowed  them  with  modest  stipends.  -  The  Pro- 
fessor was  to  give  instruction  in  the  theory  of 
music ;  the  Choragus  and  the  CoiyphsBus  were  to 
superintend  its  practice.  'Twice  a  week,'  say  the 
ordinances  of  Dr.  Heather,  'is  the  Choragus  to 
present  himself  in  the  Musxc  School  and  conduct 
the  practice,  both  vocal  ^^d  inKtrumental,  of  all 
who  may  choose  to  attend.'  The  instruments  to  be 
used  by  the  students  at  these  performancei$  were 
furnished  out  of  Dr.  Heather's  benefactions; 
provision  was  made  for  obtaining  treble  voioei^ 
and  everything  requisite  to  the  regular  and  prac- 
tical cultivation  of  music  as  one  of  the  academic 
«tudies  appeared  to  have  been  devised.  Yet  Dr. 
Heather  must  have  had  certain  misgivings  as  to  the 
future  of  his  institutions,  for  he  enacts  that  'if  no 
one  shall  attend  the  meetings  in  the  Music  School, 
then  the  Choragus  himself  shall  sing  with  two 
boys  for  at  least  an  hour.'  Little  as  Dr.  Heather 
asked  of  posterity,  he  obtained  stiU  less.    Tbe 

>Qiieorth«ni*Mdnrliic  ttwBevotaitloiiof  *«.  Ba  omc  tm  eoa* 
oerts  In  London,  at  the  houm  of  Mr.  fartortai  and  Lotd  Wmin^ 
•a4  playvd  a*  Oattdhatt  at  the  FoU*  Bill  In  ] 


.;  theiikstruiDQQt9W9redi8peTM<|»' 
aad  their  remnant  finally  broken  up  by  ihe  au- 
ti)»ntieB  as  old  lumber;  and  no  Choragus  has 
either  conducted  or  sung  in  the  Music  School 
vithin  the  memory  of  man.  The  history  of  this 
sell-meant  endowment  may  point  either  to  the 
bii^renoe  and  mismanagement  of  a  University, 
or  to  the  doubtful  vitality  of  official  attempts 
to  foster  a  finee  art.  Of  late  years  the  Choragus 
bu  been  charged,  along  with  the  Professor,  with 
the  conduct  of  the  examinations  for  musiod  de- 
gTves.  The  emolum^its  of  ^e  office,  derived  in 
ptft  from  the  above-mentioned  endowment,  in 
{art  from  fees  paid  on  examination,*  amount  In 
ill  to  an  insignificant  totsd.  [C.  A.  F.} 

CHORALE  (G«r.  Choral  and  Corale),  a  sacred 
choral  song  (caatus  choralis)  which  may  almost 
be  nid  to  belong  exclusively  to  the  reformed 
church  of  Germany,   in   which   it   originated. 
Lather  introduced  a  popular  element  into  wor* 
ibip  by  writing  hymns  in  the  vemacular  and 
T«dding  them  to  riiythmic  music,  which  should 
ftj^wal  to  the  people  in  a  new  and  more  Uvelv 
term  than  the  old-&shioned  unrhythmio  church 
moAc    The  effect  was  as  great  (with  all  due 
n>pect  to  the  different  quality  of  the  lever)  as 
the  ManeUlaiae  in  France  or  Lillibullero  in  £ng* 
Uod,  or  Auber'e  Maaaniello  and  the  Braban^onne 
jQ  Broisels ;  for  it  cannot  be  doubted  that  no 
iofignificant  share  in  the  rapid  spread  of  the 
new  ideas  was  owing  to  these  inspiriting  and 
Tiljoroas  hjrmns,  whid^  seemed  to  burst  from  the 
hnrti  of  the  enthusiastic  and  earnest  men  of 
vhom  Luther  was  the  chiet     The  movement 
)saaed  rapidly  over  Gennanv,  and  produced  in  a 
ihort  time  a  literature  of  sacred  hymns  and 
tuiKs  which  cannot  be  surpassed  for  dignity  and 
limple  devotional  earnestness.     Luther  and  his 
friend  Walther  brought  out  a  collection  at  Erfurt 
in  1534,  which  was  called  the  '  Enchiridion,'  or 
hftodbook.     Though  not  absolutely  the  first,  it 
m  the  most  important  «u4y  collection,  and  had 
•  pre'soe  by  Luther  himself.    A  great  number 
of  collections  appeared  about  the  same  time  in 
ttrious  parts  of  Germany,  and  continued  to  ap- 
pear till  the  latter  part  of  the  1 7th  century,  when, 
from  political  as  well  as  religious  circumstances, 
die  stream  of  production  became  sluggish,  and 
tlieo  ihortly  stopped  altogether. 

The  sources  of  the  chorales  were  various ; 
giwt  numbers  were  original,  but  many  were 
idapted  from  the  old  church  tunes,  and  some 
vere  from  altogether  secular  sources.  For  in- 
stuwe,  thechoimle  'Der  Du  bist  drei*  is  from  the 
ucient  '0  beata  lux  Trinitatis*;  and  'Allein 
Goit  in  der  Hoh  sei  Ehr,'  which  Mendelssohn 
lues  in  a  modified  form  in  '  St.  Paul.'  is  also 
bued  upon  a  hymn  of  the  Roman  church.  On 
the  other  hand  'Herr  Christ  der  einig'  Gott's 
Sohn'  is  taken  frtnn  a  secular  tune  '  Ich  hort'  ein 
Fradein  Uagen';  and  'Herzlich  thut  mich  ver- 
langen,*  which  appears  seveitJ  times  in  Bach's 
'^iatihiitiSrPasBion' — for  instance  to  the  words 
'0  Haapt  voU  Blut  und  Wunden* — is  taken 
fr^m  a  aeonlar  tune  '  Mein  Gemuth  ist  mir 
.verwinet,'    Of  maoy  of  them  it  is  difficult  to  fix 


CHORAL  FANTASIA. 


zm 


it 


the' origin.  That  generally  known  in  England 
as  Luther's  Hymn  (Es  ist  gewisslich)  cannot  with 
probability  be  attributed  to  him ;  but  there  seems 
no  doubt  that  the  frunous  'Ein*  feste  Burg,'  which 
Meyerbeer  took  as  the  text  of  'The  Hugue» 
nots,'  and  Mendelssohn  used  in  his  Reformation 
Symphony,  Wagner  in  his  '  Kaiser  Marsch/  and 
Bach  in  various  ways  in  his  Cantata  to  the 
same  words,  is  really  by  the  great  reformer. 
The  most  prolific  composer  of  chorale?  was 
Johann  Criiger,  who  was  bom  some  time  after 
Luther's  death.  One  of  his,  '  Nun  danket  alle 
Gott,'  is  best  known  in  England  from  its  use 
by  Mendelssohn  in  his  '  Lobgesang.' 

The  chorale  which  Men'ielssohn  uses  in  'St. 
Paul,'  at  the  death  of  Stephen,  is  by  Georg 
Neumark,  who  also  wrote  the  original  words 
to  it.  In  the  preface  to  Bennett  and  Grold- 
schmidt's  'Chorale-book  for  England'  this  tune 
is  said  to  have  been  so  popular  that  in  the 
course  of  a  century  after  its  first  appearance  no 
less  than  400  hymns  had  been  written  to  it. 

A  very  frunous  coUection  of  tunes  was  pub- 
lished in  Paris  in  1565  by  Claude  Goudimel. 
Most  of  these  soon  found  their  way  into  the 
German  collections,  and  became  naturalised. 
Among  them  was  the  tune  known  in  England  as 
the  '  old  Hundredth.'  Its  first  appearance  seems 
to  have  been  in  a  French  translation  of  the 
Psalms  with  music  by  Marot  and  Beza,  pub- 
lished at  Lyons  in  1563.  Many  of  the  tunes 
in  Groudimers  collection  were  fix>m  secular 
sources. 

The  custom  of  accompanying  chorales  on  the 
organ,  and  of  playing  and  writing  what  were 
called  figured  chorales,  caused  great  strides  to  be 
made  in  the  development  of  harmony  and  coun- 
terpoint, and  also  in  the  art  of  playing  the 
organ ;  so  that  by  the  latter  part  of  the  1 7th 
century  Germany  possessed  the  finest  school  of 
Qi^ganists  in  Europe,  one  also  not  likely  to  be 
surpassed  in  modem  times.  [C.  BL.  H.  P.] 

CHORAL  FANTASIA.  A  composition  of 
Beethoven's  (op.  80)  in  C  minor,  for  piano  solo, 
orchestra,  solo  quartet  and  chorus.  It  is  in  two 
sections — an  '  Adagio '  and  a  '  Finale,  Allegro.' 
The  Adagio  is  for  piano  solo  in  the  style  of  an 
improvisation ;  indeed  it  was  actually '  extem- 
porised by  Beethoven  at  the  first  performance, 
and  not  written  down  till  long  after.  The  Or- 
chestra then  joins,  and  the  Finale  is  founded  on 
the  melody  of  an  early  song  of  Beethoven's — 
*  Gegenliebe' — ^being  the  second  part  of  '  Seufzer 
eines  Ungeliebten'  (1795) — first,  variations  for 
piano  and  orchestra,  Allegro ;  then  an  Adagio ; 
then  a  Marcia,  assai  vivace ;  and  lastly,  an  Alle- 
gretto in  which  the  solo  voices  and  chorus  sing 
the  air  to  words  by  Kufiher  in  praise  of  music. 
The  form  of  the  piec»  appears  to  be  entirely 
original,  and  it  derives  a  special  interest  from 
its  being  a  precursor  of  the  Choral  Symphony. 
In  both  the  finales  are  variations ;  the  themes  of 
the  two  are  strikingly  alike ;  certain  passages  in 
the  vocal  part  of  the  Fantas'a  predict  those  in 
the  Symphony  (compare  '  und  luraft  vermiUilen ' 
with  '  t^rm  Stemenzelt') ;  and  lastly,  there  is 


8!$2 


CHORAL  FANTASIA. 


*     *  ' 

tho  fiAct  that  Beethoven  speaks  of  the  finale  of 
the  Symphony  as  '  in  the  same  style  as  the  Fan* 
tasia  but  fiu  more  extended  *  (Letter  to  Probst, 
March  lo,  1824).  It  was  first  performed  by 
Beethoven  himself,  at  the  Theatre  an  der  Wien, 
Dec.  22,  1808 ;  published  July  181 1  ;  dedicated 
to  the  King  of  Bavaria.  Its  firat  appearance  in 
the  Philharmonic  programmes  is  May  8,  1843 — 
repeated  on  22nd — Mrs.  Anderson  pianist  both 
times.  Sketches  for  the  Fantasia  are  said  to 
exist  as  early  as  1800,  with  those  for  the  6 
Quartets  (op.  18),  and  the  C  minor  Symphony 
(Thayer,  Chron.  Yerzeicbniss,  no.  142).  [G.J 

CHORAL  HARMONIC  SOCIETY.  The 
members  of  this  amateur  society  met  at  the 
Hanover  Square  Rooms  for  the  practice  of 
concerted  vocal  and  instnmiental  music.  In 
1837  Mr.  Dando  was  the  leader,  Mr.  Holdemess 
the  conductor,  and  Mr.  Bevington  the  organist. 
The  programmes  usually  included  a  glee  or 
madrigal  with  symphonies^  overtures^  and  vocal 
solos.  [C.  M.] 

CHORAL  HARMONISTS'  SOCIETY.  An 
association  of  amateurs  devoted  to  the  performance 
of  great  choral  works  with  orchestral  accompani- 
ments ;  held  its  first  meeting  at  the  New  London 
Hotel,  Bridge  btreet,  Blackfriars,  Jan.  a,  1833, 
and  the  subbequ^it  ones  at  the  London  Tavern 
until  the  last  Concert^  April  4,  1851,  twelve 
months  after  which  the  Society  was  dissolved. 
It  had  a  full  band  (containing,  in  1838, 14  violins, 
6  violas,  3  cellos,  3  basses,  with  complete  wind) 
and  chorus.  The  solo  singers  were  professionab — 
Clara  Novello,  Miss  Birch,  Miss  Dolby,  Mr. 
J.  A.  Novello,  etc.  Its  conductors  were  Messrs. 
Y.  Novello,  Lucas,  Neate,  and  Westrop ;  leader 
Mr.  Dando.  The  programmes  were  excellent. 
Amon^  the  works  performed  were  Beethoven's 
Mass  m  D  (April  i,  1839,  and  again  April  i, 
1^4^),  Haydn*8  Seasons,  Mendelssohn's  Walpur- 
gismght,  etc. 

The  Choral  Harmonists  were  a  secession  firom 
the  City  op  London  Classical  Harmonists, 
who  held  their  first  meeting  April  6,  1831, 
and  met  alternately  at  Farn*s  music  shop, 
72  Lombard  Street,  and  the  Horn  Tavern,  Doo- 
tors'  Commons.  Mr.  T.  H.  Severn  was  conductor, 
and  Mr.  Dando  leader,  and  the  accompaniments 
were  airanged  for  a  septet  string  band.  Among 
the  principal  works  thus  given  were — Oberon, 
Spohr*s  Mass  in  C  minor,  and  *  Letzten  Dinge,* 
a  selection  fi^)m  Mozart's  Idomeneo,  etc.  The 
name '  City  of  London'  was  intended  to  distinguish 
it  from  the  Classical  Harmonists,  a  still  older 
society^  meeting  at  the  Crown  and  Anchor  Tavern, 
Strand,  of  which  Mr.GriflSn  and  Mr,  Y.  Novello 
were  conductors.  £C.M.] 

CHORAL  SYMPHONY.  The  ordinary 
English  title  for  Beethoven's  9th  Symphony 
(op.  125)  in  D  minor,  the  Finale  of  which  is  a 
chain  of  variations  for  solos  and  chorus.  Fr. 
'Symphonie  avec  Choeurs.'  Beethoven's  own 
title  is  'Sinfonie  mit  Schluss-Chor  iiber  Schil- 
ler's Ode  An  die  Freude.'  The  idea  of  com- 
posing Schiller's  Ode  to  Joy  'yerse  by  verse/ 


CHORL^Y. 

occurred  to  Beethoven  as  early  aa  1 792  (nee 
p.  166  a) ;  but  no  traces  remain  of  mnsic  to  it  at 
that  date.  In  1811  we  find  a  sketch  for  an 
'  Ouverture  Schiller,'  with  the  opening  words  of 
the  ode  set  to  notes  (Thayer,  Chr.  Verz.  no.  23?". 
but  no  further  mention  of  it  has  been  diacovoed 
till  1822.  The  first  allusion  to  Uie  Symphony 
in  D  minor  is  as  the  third  of  three  which  he  pro- 
jected while  writing  nos.  7  and  8  in  181 2  (p.  1S6 
o).  The  first  practical  beginning  was  made  in 
1817,  when  large  portions  of  the  first  movement 
and  the  Scherzo  are  found  in  the  sketch^MwkE. 
The  Finale  was  settled  to  be  choral,  bnt  Schfl- 
ler's  Ode  is  not  named  till  after  the  revival  of 
Fidelio,  in  Nov.  1S23.  It  then  appeam  in  the 
sketch-books.  After  inventing  with  infinite 
pains  and  repetitions  the  melody  of  the  Finak, 
and  apparently  the  variations,  a  mode  had  to  be 
discovered  of  connecting  them  with  the  three 
preceding  movements.  The  task  was  one  of  vey 
great  difficulty.  The  first  solution  of  it  was  te 
make  the  bass  voice  sing  a  recitative,  'Jjei  us 
sing  the  song  of  the  immortal  Schiller.'  This 
was  afterwards  changed  to  '  O  friends  not  then 
tones*  {i.e.  not  the  tremendous  disoords  of  its 
Presto  3-4 — which  follows  tiie  Adagio— and  d 
the  Allegro  assai),  *  Let  us  sing  something  plea- 
santer  and  fuller  of  joy,'  and  this  is  immedu^y 
followed  by  the  Chorus  '  Freude,  Freode.*  Tbs 
whole  of  this  process  of  hesitation  and  invention 
and  fin»il  success  is  depicted  in  the  meet  munis- 
takeable  manner  in  the  music  which  now  inter- 
venes between  the  Adagio  and  the  choral  porti<a 
of  the  work,  to  which  the  reader  must  be  re- 
ferred. 

The  Symphony  was  commissioned  by  the  Phil- 
harmonic Society  (Nov.  10, 182a),  for  ^50,  and 
they  have  a  MS.  with  an  autograph  inscription, 
*6ro88e  Sinfonie  geschrieben  fiir  die  Philhv- 
monische  GeseUschaft  in  London  von  Ludw^ 
van  Beethoven.'  But  it  was  performed  in 
Yienna  long  before  it  reached  the  Society,  aad 
the  printed  score  is  dedicated  (W  Beethoven^  fa> 
Frederic  William  III,  King  of  PkiiMa,.  Tbs 
autograph  of  the  first  3  movements  is  at  Beriin. 
with  a  copy  of  the  whole  carefully  corrected  by 
Beethoven. 

The  first  performance  took  place  «t  the  llieakr 
an  der  Wien,  May  7,  1824.  First  perfbrmanoe 
in  London,  by  the  Philharmonic  Society,  Maidt 
21,  1825.  At  the  Paris  Conservatoire  it  wu 
played  twice,  in  1832  and  34,  half  at  the  beginning 
and  half  at  the  end  of  a  concert.  At  L^pzif. 
on  March  6,  1826,  it  was  played  bosn  tbt 
parts  alone ;  the  conductor  having  never  seen  the 
score!  [G.l 

CHORD  is  the  simultaneous  occnirence  cf 
several  musical  sounds,  producing  harmony,  sucJi 
as  the  '  common  chord,  tiie  chord  of  the  sixtiL 
of  the  dominant)  of  the  diminished  seventh,  dt 
the  ninth,  etc.,  etc  [C.  H.  H,  P.] 

CHORLEY,  Hknbt  Fothsbgill,  joumalH 
author,  and  art  critic,  was  bom  Dec.  15,  iScS. 
at  Blackley  Hurst,  in  Lancashire.  Sprung  frvia 
an  old  Lsocashiie  family,  he  had  a  self-wilki 


CHORLBT. 


CHOBON. 


ase 


mminc  dbaracter,  and  «&  enatic  teiap«nmiexit» 
ccmmon  to  most  of  its  xnembero,  which  aooorded 
iO  with  the  rigid  tenets  of  the  Society  of  Friends, 
to  whkfa  ihej  belonged.    At  8  yean  of  age  he 
kst  his  &ther,  and  he  received  afterwarids  a 
wmewhat  desoltory  edacation,  first  at  the  hands 
flf  priTate  tutoTB,  and  then  at  a  day-school  at 
Sl  Hden'^B.    School,  however,  was  intolerable  to 
him.     At   an  early  age  he  was  removed,  and 
piboed  in  a  merchant's  office.    This  suited  him 
xs  little.    The  only  approach  to  systematic  teach- 
isf  in  music  whidi  he  ever  received  was  from 
J.  Z.  Herrmann,   afterwards  conductor  of  the 
Liverpool  Philhannonlo  Society.     It  soon  be- 
came evident  that  nothing  like  executive  profi- 
ciency was  to  be  attained  by  him,  and  this  he 
had  the  sense  to   perceive   and   acknowledge. 
Mosic,  however,  remained  his  leading  passion. 
He  frequented  all  the  nerformances  within  reach ; 
aod  his  notes  of  these  m  his  journal  bear  witness 
to  the  steady  growth  of  his  judgment.     In  Sep- 
tember 1830   he  made  his  first  appearance  in 
the  columns  of  the  'Athenaeum,*   and  shortly 
liter  was  received  upon   its   stitff.     He  then 
settled  in  London,  and  continued  to  write  for 
the  AthenAum  until  within  a  few  years  of  his 
death  in  1872.    The  work  entrusted  to  him  was 
very  varied,  and  shows  how  high  an  estimate  of 
liii  ability  must  have  been  formed  by  its  shrewd 
editor,  before  an  untried  youth  could  have  been 
selected  to  criticise  such  authors  as  Moore,  Lan- 
der, Southey,  Crabbe,  Mrs.  Hemans,  William  and 
Mary  Howitt^  and  Mrs.  Jameson ;  or  to  write 
the  obituaiy  notice  of  Coleridge.     In  all  this 
be  acijuitted  himself  admirably,  but  naturally 
made  some  enemies,  partly  through  the  criti- 
cisms of  other  writers  being  attributed  to  his 
paa.    At  the  same  time  he  attempted  composi- 
tioa  in  other  branches  of  literature  —  novels, 
dramas,  biographies,  and  poems.     Among  these 
may  be  mentioned  '  Sketches  of  a  Seaport  Town* 
U^M)  ;  'Conti,  the  Discarded'  (1835)  ;  'Memo- 
rials of  Mrs.  Hemans'  (1836) ;  'The  Authors  of 
England*   (1838);    'The  Lion,  a  Tale  of  the 
Coteries'  (1839) ;  '  Music  and  Manners  in  France 
aod  North  Germany*  (1841);  *01d  Love  and 
New  FortunQ*  (1850),  a  five-act  play  in  blank 
yene;  'Pamfret'(i845);  'The Lovelock' (1854); 
'Dnchess  Eleanour*  (1866).     He  dramatised  6.. 
SaDd*8  '  LHJscoque,*  set  to  music  by  Benedict ; 
Sa  whom  also  he  wrote  the  libretto  of  'Red 
Beard.*  Besides  translating  many  foreign  libretti, 
be  wrote  the  original  word-books  of  one  version 
of  the  'Amber   Witch'  (Wallace),   of  'White 
Magic*  (Biletto),  of  the  'May  Queen*  (Bennett), 
'Judith*  and  'Hdyrood*  (Leslie),  'St.  GedUa' 
(Benedict),    'Sapphire    Necklace*   and   'Kenil- 
worth'  (Sullivan),  and  words  for  many  songs  by 
Meyerbeer,  Goldachmidt,  Gounod,  SuUivan,  etc. 
He  wiU  be  best  remembered,  however  as  a 
musical  critic:.     Within  a  year  of  his  joining  the 
itaff  of  the  'Athenaeum*  he  had  that  department 
eitmsted  entirely  to  him,  which  he  did  not  give 
up  tiU  1868.     His  two  published  works  which 
nU  live  the  longest  are  those  which  contain 
tbe  deliherate  expretsioiL  of  his  opinioiUL  on  the 


'  subject  of  musio,  vis.  'Modem  Gemian  Music' 
(1854) — a  republication,  with  large  additions, 
of  his  former  work  'Music  and  Manners* — and 
'Thirty  Years'  Musical  Beoollections *  (1862). 
His  musical  ear  and  memory  were  remarkable^ 
and  his  acquaintanoe  with  musicial  works  wa» 
very  extensive.  He  spared  no  pains  to  make  up 
for  the  deficiency  of  his  early  training,  and  from 
first  to  last  was  conspicuous  tor  honesty  and  in* 
tegrity.  Full  of  strong  prejudices,  yet  with 
the  highest  sense  oi  honour,  he  frequently  oriti- 
oised  those  whom  he  esteemed  more  severely 
than  those  whcxm  he  dfetiked.  The  natural 
bias  of  his  mind  was  undoubtedly  towards  oon- 
servatism  in  art,  but  he  was  often  ready  to 
acknowledge  dawning  or  unrecognised  genius, 
whose  claims  he  would  with  unwearied  pertin- 
acity urge  upon  the  public,  as  in  the  cases  of 
Hullah,  Sullivan,  and  Gounod.  Strangest  of  all 
was  his  insenslMity  to  the  music  of  ^hamann. 
'  Perhaps  genius  alone  fully  comprehends  genius,* 
says  Schamann,  and  genius  Ohorley  had  not, 
and,  in  consequence,  to  the  day  of  his  death  ha 
remained  an  uncompromising  opponent  of  a 
musician  whose  merits  had  already  been  amply 
recognised  by  the  English  musical  public.  He 
was  still  more  stnmgly  opposed  to  recent  and  more 
'advanced*  eomposers.  Of  Mendelssohn,  on  the 
other  hand,  he  always  wrote  and  spoke  with  the 
enthusiaon  of  an  intimate  friend.  Beside  his 
many  notices  in  the  Athenaeum  and  in  the 
musical  works  already  mentioned,  he  contributed 
an  article  on  Mendelssohn  to  the  'Edinburgh 
Beview '  (Jan.  1862),  and  a  Preface  to  Lady  Wal- 
]ace*s  translation  of  the  Reisebriefe.  In  the  second 
volume  of  his  letters  Mendelssohn  names  him 
more  than  once.  He  had,  indeed,  won  the  esteem 
and  friendship  of  most  of  the  distinguished  literary 
and  artistic  men  and  women  of  lus  day,  and  '  it 
was  not  a  small  nor  an  obscure  number,  either 
in  England  or  on  the  continent,  who  felt,  at  the 
announcement  of  his  death,  Feb.  16,  1872,  that 
an  acute  and  courageous  critic,  a  genuine  if  in- 
complete artist,  and  a  warm>hearted  honourable 
gentleman  had  gone  to  his  rest*  (See  'H.  F. 
Chorley,  Autobioflnn^hy,  Memoir,  and  Letters, 
by  H.  G.  Hewlett?    Loudon,  1873).         [J.  M.] 

CHOBON,  Alexandbb  Etienni,  bom  at 
Caen  October  21,  1771,  died  at  Paris  June  29, 
1834.  He  was  a  good  scholar  before  becoming 
a  musician.  He  b«^;an  the  study  of  music  with- 
out assistance,  but  afterwards  received  lessons 
fit>m  Rose,  Bonesi,  and  other  Italian  professors. 
Highly  gifted  by  nature,  he  soon  acquired 
great  knowledge  in  mathematics,  languages,  and 
every  branch  of  music,  and  published  his  '  Prin- 
cipes  d'aocompagnement  dee  ^coles  d*Italie* 
(Paris,  1804).  In  1808  he  gave  his  '  Principes  de 
composition  des  ^coles  d*Italie*  (3  vols.),  in  which 
he  introduced  Sala*s  practical  exercises  on  fugue 
and  counterpoint,  Marpurg's  treatise  on  fugue, 
many  exercises  frtan  Padre  Martini*s  '  Esempbure,' 
and  a  new  system  of  harmony  of  his  own — a 
work  which  cost  him  much  time  and  money. 
He  next  became  a  music  publisher,  and  published 
many  fine  wwks  of  the  1>Qst  Iti^an  and  Qennan 

Aa 


iU 


GHOBON. 


mastere.  In  ocmjiinctioii  with  Fayolle  he  then 
undertook  the  publication  of  his  '  Dictionnaire 
del  MusicienB*  (2  toIb,  8to.,  Paris,  18x0-11). 
Though  devoted  to  his  scientific  studies  and 
hampered  with  an  unsuccessful  business,  Choron 
oouloi  not  resist  the  temptation  of  trying  his 
powers  as  a  composer,  and  gave  to  the  public 
'  La  Sentinelle/  a  song  still  popular,  and  intro- 
duced in  many  French  plays.  But  his  great 
scheme  was  his  '  Introduction  k  Tetude  g^n^rale 
et  raisonn^  de  la  Musir|ue,*  a  capit^  book, 
which  he  left  unfinished,  because  his  necessities 
obliged  him  to  devote  his  time  to  teaching  music 
and  to  accept  the  situation  of  'Directeur  de  la 
musique  des  fStes  publiques'  from  181  a  to  the 
fall  of  Napoleon.  He  was  appointed  director 
of  the  Acad^mie  royale  de  Musique  (Opera)  in 
January  1816,  but  the  appointment  having  been 
rudely  revoked  in  181 7  he  founded  a  school  for 
the  study  of  music,  which  was  supported  by  the 
government  from  1824  to  1830  under  the  title 
of  'Institution  royale  de  Musique  classique  et 
religieuse,'  but  declined  rapidly  when  deprived 
of  external  aid.  Amongst  the  musicians  edu* 
eated  by  Choron  in  this  fiimous  school  we  shall 
mention  only  the  composers  Dietsch,  Monpou, 
Boulanger-Kunz^,  G.  Duprez,  Scudo,  Jansenne, 
and  Kicou-Choron ;  the  lady  singers  Clara  No- 
veUo,  Bosine  Stolz,  and  Hubert-Massy. 

The  premature  death  of  Choron  may  be  at- 
tributed to  disappointments  and  difficulties  after 
the  fidl  of  Charles  X.  This  learned  musician 
and  very  kind-hearted  man  ocanpoeed  a  Mass  for 
three  voices,  a  Stabat  for  three  voices,  and  a 
number  of  hymns,  psalms,  and  yocal  pieces  for 
the  church ;  but  his  best  titles  to  fame,  after  the 
works  already  mentioned,  are  his  translations 
and  editions  of  Albrechtsberger*s  works,  his 
'M^thode  concertante  de  Musique  k  plusieurs 
parties'  (Paris,  181 7),  his  'M^thode  de  Plain- 
Chant,'  his  '  Manuel  complet  de  Musique  vocale 
et  instrumentale  ou  Encyclopedic  musicale,* 
which  was  published  by  his  assistant  Adrioi 
de  La  Fage  in  1836-38  (Paris,  6  vols,  and  a 
vols,  of  examples),  and  several  other  didactic 
treatises,  which  contributed  greatly  to  improve 
the  direction  of  musical  studies  in  France.  In 
fact,  Choron  may  be  considered  as  a  pedagogue 
of  genius,-  and  he  had  the  credit  of  opening  a 
new  field  to  French  musicians,  such  as  F^tis, 
Geo.  Kastner,  and  Adrian  de  La  Fage.  A  full 
list  of  his  essays,  titles,  and  prefaces  of  intended 
works,  revised  treatises  of  Italian,  German,  and 
French  didactic  writers  would  be  too  long  for 
this  dictionary;  it  is  given  by  Fetis  in  a  remark- 
able article  on  Choron  in  hu  '  Biographic  Uni- 
verselle.'  For  more  detailed  information  the 
reader  may  be  referred  to  that  work  and  to  the 
'  Kloges'  of  Gauthier  (Caen,  1845)  and  A.  de  La 
Fage  (Paris,  1843).  Scudo,  in  his  'Critique  et 
Litt^rature  musicales'  (Paris,  1852,  p.  333),  has 
given  a  vivid  picture  of  Choron  as  director  of  his 
school  of  music.  Choron's  drawback  appears 
to  have  been  a  want  of  perseverance,  and  a 
propensity  to  forsake  his  plans  before  he  had 
carried  them  out.    But  he  exercised  a  yery  use- 


caaouQUKT. 

ful  influence  on  musical  education  in  Frmnoe,  snd 
will  not  soon  be  forgotten  there.  [G.  C] 

CHOBUS.   i.  The  body  of  singers  at  an  opera, 
oratorio,  or  concert,  by  whom  the  chorases  are  song. 

a.  Compositions  intended  to  be  sung  by  a 
considerable  body  of  voices — ^not  like  glees,  which 
are  written  for  a  single  voice  to  etuck  part,  cr 
like  part-songs,  which  may  be  sung  indiffereatly 
by  single  voices  or  larger  numbers.  Chorasei 
may  be  written  for  any  number  of  parts,  from 
unison  (Bach,  No.  5,  in  'Ein*  festa  Burg*; 
Mendelssohn,  parts  of  No.  7  in  '  Lauda  Sion*) 
and  two  parts  (Haydn.  Credo  of  Mass  No.  3;  * 
Mendelssohn,  No.  2  of  95th  Psalm)  to  40  or  50 ; 
but  the  conmion  number  is  from  4  to  8.  Haiuid 
mostly  writes  for  4,  though  occasionally,  as  in 
'Acis  and  Galatea,'  for  5,  and,  in  'Israel  in  Egypt,' 
for  8,  divided  into  two  choirs.  In  the  latter  dan 
of  the  Italian  school,  GabrielU,  Pitoni,  etc^  wn^ 
masses  and  motets  for  as  many  as  10  and  12 
choirs  of  4  voices  each.  Tallis  left  a  dhams  m 
40  independent  parts,  called  his  '40-part  aoi^.' 
Choruses  for  2  choirs  are  called  double  choross; 
those  in  Handel's  'Israel  in  Egypt*  and  Bach'i 
'Matthew  Passion*  are  the  finest  in  the  world. 
The  two  choirs  answer  one  another,  and  the 
effect  is  quite  different  from  that  of  8  real  parts, 
such  as  Palestrina's  'Confitebor,'  'lAudate,'  vt 
*Domine  in  virtute'  (see  De  Witt^s  ed.  ii.  131, 
etc.),  Gibbons's  'O  clap  your  hands,'  or  Mea- 
delssohn's  'When  Israel  out  of  ^ypt  came.' 
Handel  often  begins  with  massive  chords  ami 
plain  harmony,  and  then  goes  ofiT  Into  frigal 
treatment.  In  the  *  Darkness'  chorus  in  *  Israel.* 
he  introduces  choral  recitative ;  and  Mfaidelswihn 
does  something  similar  in  the  chorus  in  'Si. 
Paul,'  *  Far  be  it  from  thy  path.'  In  his  *  Kirches 
Cantaten'  Bach's  choruses  are  often  grounded 
on  a  chorale  worked  among  all  the  parti,  or  saag 
by  one  of  them,  with  independent  imitative 
counterpoint  in  the  rest.  But  for  these  varietia 
see  the  article  FoRH. 

In  the  opera  the  chorus  has  existed  firam  tht 
first,  as  is  natural  from  the  fact  that  opera  begaa 
bv  an  attempt  to  imitate  the  form  of  Grvek 
plays,  in  which  the  chorus  filled  an  all-imporUBS 
part.  Till  Gluck's  time  the  chorus  was  ranged 
in  two  rows,  and  however  stirring  the  words  or 
music  they  betrayed  no  emotion.  It  was  he  vho 
made  them  mix  in  the  action  of  the  piece,  la 
modem  operas  the  choruses  are  absolutely  real- 
istic, and  represent  the  peasants,  prisoners,  &hcr- 
men,  etc.,  wno  form  part  of  the  dramaiig  permm*i 
of  the  play.  [^G.; 

CHOUQUET,  GusTAVB,  bom  at  Havre  April 
16,  1819,  has  written  the  vemes  of  a  great  man; 
choruses  and  songs.  He  contributed  for  a  nnmbtf 
of  years  to  'La  France  musicale,*  and  'L'Ait 
Musical'  still  giving  occasional  musical  artkles 
to  'Le  M^nestrel'  and  the  '(Jazette  masicale'; 
but  his  chief  works  are  'Histoid)  de  la  Mosiqae 
dramatique  en  France,  depuis  ses  origines  josqa  a 
nos  jours,'  Paris,  1873,  and  'Le  Mus^  du  CVo- 
servatoire  national  de  Musique,'  Paris,  1875,  two 
works  containing  original  views  and  much  is- 


CHOITQUBT. 

jarma^im.  M.  Chouquet  has  been  keeper  of  £Ke 
Doaeam  of  the  Conservatoire  since  187 1,  and  has 
nude  laz^  additions  to  it.  [6.] 

CH1U5MANN,  Fb Airz  Xavier,  secular  priest, 
eminent  organ-builder,  date  and  place  of  birth 
unknown.  He  worked  chiefly  in  Upper  and 
Lower  Austria  and  in  Styria.  His  name  first 
ftppears  in  connection  with  a  monster  organ  at 
the  monastery  of  St.  Florian,  near  Linz,  begun 
in  1770,  but  left  unfinished  in  consequence  of  a 
qunel  with  the  provost.  The  fame  of  this  oxgan 
spread  fiu-  and  wide,  though  it  was  not  completed 
tin  1837.  He  also  built  organs  at  the  abbey 
Spital-am-Fyhm,  and  in  the  Benedictine  mon- 
utety  at  Admont,  both  organs  destroyed  by  fire. 
The  latter  he  considered  his  best  work.  Mo- 
zart and  Albrechtsbeiger  were  present  in  1790 
ti  the  opening  of  an  oxgan  built  by  Chrismann  in 
the  churdi  of  Schottenfeld,  one  of  the  suburbs  of 
Tiennai  and  bodi  pronounced  it  the  best  organ 
m  Yiemuk  Though  little  known  it  is  still  in 
existence,  and  in  spite  of  its  small  dimensions 
the  warkmanahip  is  admirable,  particularly  the 
anai^ment  and  voicing  of  the  stops.  Chris- 
nonn  died  in  his  70th  year,  May  30, 1795,  when 
engaged  upon  an  organ  for  the  church  of  the 
anall  town  of  Bottenmann  in  Styria,  where  there 
ii  a  monument  to  his  memory.  The  date  and 
place  of  his  death  have  only  recently  been  asoer- 
tamed.  [C.  F.  P.] 

CHRISTMANN,  Johavn  Fbtedbioh,  bom  at 
Ludwigsbuig  1752,  died  there  1817  ;  Lutheran 
deigyman,  composer,  pianist,  flutist,  and  writer 
on  the  theory  of  music.  He  was  educated  at 
TabingHk,  and  in  1 783  was  appointed  minister  in 
his  native  town.  His  great  work  '  Memen  tarbuch 
d£r  Tonkunst*  is  in  two  parts  (Spire,  1783  and 
1790)  with  a  book  of  examples.  He  was  joint 
editor  of  the  Spire  '  Musikalische  Zeitung* ;  in 
which  among  other  articles  of  interest  he  de- 
tailed a  plan  (Feb.  1 789)  for  a  general  Dictionary 
of  music.  This  scheme  was  never  carried  out. 
He  was  also  »  contributor  to  the  Musikalische 
Zettong  of  Leipeic.  Christmann  composed  for 
1^0,  violin,  and  flute,  and  with  Knecht  arranged 
and  edited  a  valuable  collection  for  the  Duchy 
of  Wortemberg,  entitled '  VoUstftncfige  Sammlung 
....  Choral-melodien.*  Many  of  the  318  hymns 
were  his  own  composition.  He  was  a  friend  of 
the  AhU  Vogler.  [M.  C.  C] 

CHRISTUS,  an  oratorio  projected,  by  Men- 
delnohn  to  form  the  third  of  a  trilogy,  with 
'St  Paul*  and  'Elijah.'  The  book  of  words 
vas  sketdied  by  Chevalier  Bunsen,  and  given 
to  Mendelssohn  at  Easter  1844,  before  he  had 
begim  'Elijah.'  He  made  great  alterations  in 
it,  and  in  1847,  his  last  year,  after  'Elijah'  was 
off  his  hands,  during  his  visit  to  Switzerland, 
loade  to  much  progress  with  the  work  that  8 
nnmberB  of  recitotives  and  choruses — 3  from  the 
^  part^  'the  birth  of  Ghrist,'  and  5  fix>m  the 
»xnd  part,  'the  sufferings  of  Christ,* — were 
sufficiently  completed  to  be  published  soon  after 
^  death  (op.  97 ;  No.  27  of  the  posthumous 
vodu).    The  fraginents  were  first  pofonned  at 


.CHB031ATIG. 


555 


the  Birmingham  Musical  Festival,  September  8, 
1853.  [GJ 

CHRISTUS  AM  OELBERGE.  The  original 
title  of  Beethoven's  MouirT  of  Olivss. 

CHROMATIC  is  a  word  derived  from  the 
Greek  xpufiarticot,  the  name  of  one  of  the  ancient 
tetrachofds,  the  notes  of  which  were  formerly 
supposed  to  be  similar  to  the  scale  known  as 
'chromatic*  in  modern  times.  It  is  applied  to 
notes  marked  with  accidentals,  beyond  those 
normal  to  the  key  in  which  the  passage  occurs^ 
bii  t  not  causing  modulation.  A  scale  of  semitones 
does  not  cause  modulation,  and  is  called  a  chro- 
matic scale,  as  in  the  following  from  the  Andante 
of  Mozart's  symphony  in  B— 


which  remains  in  the  key  of  G  throughout ;  and 
various  chords,  such  as  that  of  the  augmented 
sixth,  and  the  seventh  on  the  tonic,  are  chromatio 
in  tha  same  manner.  The  followinsp  example, 
from  Beethoven  s  sonata  in  Bb  (op.  106),  is  in 
the  key  of  D  : — 


m.  ^  If — i^    .'TTj 


E 


P 


^a^n 


^w 


•cc 


With  regard  to  the  writing  of  the  chromatio 
scale,  the  most  consistent  practice  is  obviously  to 
write  such  accidentals  as  can  occur  in  chromatio 
chords  without  changing  the  key  in  which  the 
passage  occurs.  Thus  taking  the  k(^  of  C  as  a 
type  the  ivst  accidental  will  be  Db,  as  the  upper 
note  of  the  minor  9th  on  the  tonic;  the  next  will 
be  Eb,  the  minor  3rd  of  the  key,  the  next  will  be 
Ff ,  the  major  3rd  of  the  supertonio — all  which 
can  occur  without  causing  modulation — and  the 
remaining  two  will  be  Ab  and  Bb,  the  minor  6th 
and  7th  of  the  key.  In  other  words  the  twelve 
notes  of  the  chromatio  scale  in  all  keys  vrill  be 
the  tonic,  the  minor  2nd,  the  major  2nd,  the 
minor  3rd,  the  major*  3rd,  the  perfect  4th,  the 
augmented  4th,  the  perfect  5th,  minor  6th,  major 
6th,  the  minor  7th  and  the  major  7th. 

Thus  in  Mozart*s  Fantasia  in  D  minor,  the 
chromatio  scale  in  that  key,  beginning  on  the 
dominant,  is  written  as  follows— 

Aa2 


d£r6 


CHROMATIO. 


CHX7BGH. 


in  Beeihoyen*8  Violin  Sosftta  in  6  (op.  96),  the 
ohromatic  scale  of  Ijiat  key  is  written  tiiii%  be- 
ginning on  tiie  minor  7th  of  the  key — 


and  as  a  more  modem  instance,  the  chromatic  scale 
of  A  which  occurs  in  Chopin^s  Inqsromptu  in  F 
major,  is  written  by  him  thus — 


beginning  on  the  minor  3rd  of  the  key. 

The  practice  of  composers  in  thin  respect  is 
however  extremely  'irregular,  and  rapid  passages 
are  frequently  written  as  much  by  Mozart  and 
Beethoven -as  by  more  modem  composers  in  the 
manner  which  seemed  most  convenient  for  the 
player  to  read. .  Beethoven  is  occasionally  very 
irregulav.  Fur  instance,  in  the  last  movement 
of  the  Concerto  in  G  Bsajor  he  writes  the 
fftMoving 


in  which  the  same  note  which  is  written  Ab  in 
one  octave  is  written  Gt  in  the  other,  and  that 
which  is  written  £b  in  one  is  written  Dt  in 
the  other.  But  even  here  principle  is  obewvable, 
for  the  first  octave  is  correct  in  ihe  scale  of  G  ac- 
•cordiBfir  to  the  system  given  above,  bat  having 
started  it  so  far  according  to  rule  he  probably 
thought  that  sufficient,  and  wrote  the  rest  for 
convenience.  In  another  place,  viz.  the  slow 
movement  of  the  Sonata  in  G  (op.. 31,  No.  i),  he 
affords  some  justification  for  the  modem  happy- 
go-lucky  practice  of  writing  sharps  ascending  and 
flats  descending;  but  as  .«ome  basis  of  prin- 
ciple seems^desirable,  even  in  the  lesser  details 
of  art,  the  above  explanation  of  what  seems 
the  more  theoretically  correct  system  has  been 
giwn.  [C.H.H.P.] 

CHRYSANDER.  Friedbich,  bom  July  8, 
1826,  at  Liibthee,  in  Mecklenburg,  studied  at 
the  university  of  Rostock,  lived  for  some  time  in 
England,  and  now  resides  on  his  own  estate  at 
Bergedor^  near  Hambui^.  Chrysander  is  known 
to  the  musical  world  chiefly  through  his  profound 
and  exhaustive  researches  on  Handel,  to  which 
he  has  devoted  his  life.  His  biography  of  Han- 
del, standing  evidence  of  these  studies,  is  not  yet 
completed.^     In  detail  and  historical  research 

«  Breltkopr*  Hiirtel.  Leiixle:  voU,  18BB;  toL  2.1860;  roLS,  part  1. 
18S7. 


this  work  k  all  that  can  be  wished  bnft  iti  view 
of  Handel*8  abstract  importance  aa  a  muociaa 
must  be  accepted  with  reservation,  and  has 
indeed  roused  considerable  opposition*  It  cannot 
be  denied  that  Chrysander*s  bias  for  Handel  in 
some  measure  prejudices  his  judgment.  He  re« 
presents  him  not  only  as  the  culnm&ating  point 
of  a  previous  development,  and  the  master  wlu^ 
perfected  the  oratorio,  but  aa  the  abeolute  coli 
minating  point  of  all  music,  beyond  whom  furi 
ther  progress  is  impossible.  While  holding  thes^ 
views  Chrysander  is  naturally  a  declared  oppo^ 
nent  of  all  modem  music ;  he  is  also  partial,  if  no^ 
unjust,  in  his  criticisms  on  the  older  masters,  snch 
as  J.  S.  Bach.  Besides  these  bipgrophical  studies 
CShrysander  is  occupied  in  editing  the  complete 
works  of  Handel  for  the  Geraian '  Handel -Geaelli 
schafl.'  [Handsl.]  His  laborioua  collations  oi 
the  original  MSS.  and  editions^  hie  astounding^ 
funiliarity  with  the  most  minute  details,  and  Hi 
Indefatigable  industry,  combine  to  moke  this  edi^ 
tion  a  work  of  the  hi^est  importance,  at  once 
worthy  of  the  genius  of  Handel  and  honourable 
to  the  author.  Amongst  other  writings  of  Chryi 
Sander  .may  be  mentioned  two  admirable  trea^ 
tises,  '  Uber  die  Moll-tonart  in  Volksgesangen,' 
and  'Uber  das  Oratorium*  (1853);  also  'Diei 
Jabrbucher  fiir  Musikalische  Wissenschaft*  (d 
which  2  vols.,  1863-67,  have  been  published 
(Breitkopf  &  Hiiitel) ;  and  finally  a  number  of 
articles  in  the  AUgemeine  Musikalische  Zeitung 
of.Leipsic  (which  he  edited  from  1868  to  71), 
violently  criticising  the  productions  of  the  modem 
school.  He  has  also  published  some  excellent 
editions  of  Baches  Klavierwerke  (4  vols.,  with 
preface ;  IJVolfenbiittel,  1856),  and  Carissimi's  ora- 
torios Jephte,  Judicium  Salomonis,  Jonas,  and 
Baltazar,  which  appeared  in  iiis  collection  '  Denk- 
maler  der  Tonkunst*  (Weiasenbom^-BeTgedarfl 
Upon  the  whole  it  would  not  be  un£ur  to  say 
that  Chrysander  is  more  a  learned  professor  than 
a  musician.  For  his  research  and  industry  every 
one  is  grateful  to  him ;  but  his  opinions  as  a 
conservative  critic  have  provoked  much  vehement, 
not  to  say  personal,  opposition.  [A.  M.] 

CHURCH,  John,  bom  at  Windsor  in  1675, 
received  his  early  musicaltoducation  as  a  choristt^r 
of  St.  John*s  College,  Oxford.  On  Jan.  31, 1697. 
he  was  admitted  a  gentleman  of  the  Chapel 
Royal,  and  on  Aug.  i  following  was  advanced  to 
a  full  place,  vacant  by  the  death  of  James  Cobb. 
He  obtained  also  the  appointments  of  lay  vicar 
and  nuuter  of  the  choristers  of  Westminster  Ab- 
bey. Church  composed  some  anthems  and  also 
many  songs,  which  appeared  in  the  collections  of 
the  period,  and  he  was  the  author  of  an  '  Intro- 
duction to  Psalmody,*  published  in  1723.  The 
compilation  of  a  book  of  words  of  Anthems 
published  in  1712  under  the  direction  of  the 
Sub-dean  of  the  Chapel  Royal  (Dr.  Dolben)  has 
been  ascribed  to  Church,  although  it  is  more 
generally  attributed  to  Dr.  Croft,  and  perhaps 
with  greater  reason,  considering  tiie  intimacy 
between  the  sub-dean  and  the  organist.  Church 
died  Jan.  5,  1741,  and  was  buried  in  the  south 
doister  of  Westminster  Abbey.  [W.  H.  H.] 


CTAJA,  AzxoLiKO  BcBNADiNO  Dblla,  bom  ] 
«t  ^enft  1 671,  oompowr,  orgMiist,  and  amateur 
ori^-bnilder.  Besides  his  pablished  works— 
'Salmi  ooncertafci'  (Bologna  1700),  'Gantate  da 
euDflra'  (lioocai  701,  and  Bologna  1 70a),  'Sonate 
yer  eemfaalo*  (Rome  1727),  he  lelt  in  MS.  3 
nttases,  18  preludes  and  oijgan-sonatas.  In  1733 
Oaj%,  as  a  Knight  of  St.  Stephen,  presented  a 
nuignificent  oigan  to  the  church  of  that  order 
b  Kaa,  still  one  of  the  finest  in  Italy,  containing 
4  TTuinnalii  and  100  stops.  He  not  onlj  super- 
intended its  oonstroction  bnt  personally  assisted 
the  workmen.  [M.  0.  C] 

CIAMPI,  LMitEinsio  ViKOBHZO,  bom  at  Pia- 
eensa  1 719,  dramatic  composer ;  came  to  London 
iQ  1748  with  a  company  of  Italian  singerB,  and 
fcetvoen  that  year  and  62  produced  'Gli  tre 
ckatbei  ridiooli/  'Adriano  in  Siria,'  'B  trionfo 
di  Camilla,*  '  Bertddo/  previously  performed  in 
Italy,  'Didone^*  and  some  songs  in  the  Pastiocio 
'Tdomeo/  Bumey  says  that  'he  had  fire  and 
ftbilities  *  but  no  genius.  His  comic  operas  were 
the  most  saocessful,  but  'Bidone*  is  said  to 
«oiitain  beantifol  music.  He  also  composed  6 
trioB  fat  strings,  5  oboe  concertos,  Italian  songs, 
^▼erfeares,  and  a  mass  (1 758),  now  in  the  Royal 
libnty  at  BerHn.  [M.  G.  0.] 

CIANCHBTTINI,  Yebohioa,  nster  of  J. 
L  Duasek,  bom  at  Czaalau  in  Bohemia  1779^ 
]Haiu8t  and  composer,  studied  the  pianoforte  un- 
der her  fiither  tcom  in&ncy.  In  1 797  she  idned 
her  brother  in  London,  where  she  married  rVan> 
cesoo  Cianchettini.  She  was  a  successful  teacher, 
ud  composed  two  conoertos  and  several  sonatas 
far  the  pianoforte. 

Her  son,  Pio,  bom  in  London  1799,  was 
ft  composer  and  pianist.  At  five  yean  old  he 
ftppeand  at  the  Opera  House  as  an  infant 
prodigy.  A  year  later  he  travelled  with  his 
fiiher  through  Holland,  Grermany,  and  France^ 
vhere  he  was  hailed  as  the  Eo^rlish  Mosart. 
By  the  age  of  eight  he  had  mastered  the  English, 
fteoch,  uennan,  and  Itab'an  languages.  In  1 809 
he  performed  »  concerto  of  his  own  composition 
in  London.  Catalani  appointed  him  her  composer 
sod  director  of  her  concerts,  and  frequently  sang 
Italian  airs  which  he  wrote  to  suit  her  voice. 
He  published  a  cantata  for  two  Tuioes  and 
cfaonis,  to  words  from  'Paradise  Lost* — said  to 
be  a  &ie  work ;  music  to  Tape'B  'Ode  on  Soli- 
tude* ;  '^ixty  Italian  Nottumos*  for  two,  threes 
sod  four  voices,  and  other  vocal  pieces.  He  was 
aim  editor  and  publisher  of  an  edition  in  score 
of  Bymphonies  and  overtures  of  Mozart  and 
Beethoven,  and  died  in  1 849.  [M.  0.  C] 

CIBBER,  Sdsavva  Maria,  sister  of  Dr. 
Thomas  Augustine  Ame,  the  celebrated  com- 
poser, was  bom  Febr.  1714.  She  made  her  first 
imblic  appearance  in  1732,  at  the  Haymarket 
'fheatre,  as  the  heroine  of  Lampe*s  opera  '  Ame- 
lia,* with  considerable  success.  In  April  1734 
lbs  became  the  second  wife  of  Thec^hilus  Gibber. 
On  Jan.  ij,  1736,  Mrs.  Gibber  made  'her  first 
ftttempi  as  an  actress*  at  Druiy  Lane  Theatre 
in  Aaron  Hill's  tragedy  of  'Za^'  and  wai  soon 


<:)IPRA. 


isl 


accepted  as  the  first  tragedian  of  her  time,  a  posi- 
tion which  she  maintained  for  thirty  years.  Her 
success  as  an  aetress,  did  not,  however,  lead  her 
to  abandon  her  position  as  a  vocalist;  in  the 
theatre  she  continued  to  .rq>resent  Polly  in  *  The 
Beggar*8  Opera.'  and  other  like  parts,  but  it  wa^ 
in  tiie  orchestra,  and  more  espedaUy  in  th^ 
oratorio  orchestra,  that  her  greatest  renown  as  a 
singer  was  achieved.  The  contralto  songs  in  the 
'  Messiah,'  and  the  part  of  Micah  in  '  Samson,' 
were  composed  by  Handel  expressly  for  her, 
and  when  we  consider  that  the  great  composer 
must  have  regarded  singing  as  an  intellectual  art^ 
and  not  merely  as  the  means  of  displaying  fine 
natural  gifts  of  voice,  unaided  by  mental  culti- 
vation or  musical  skill,  we  may  judse  why  he 
selected  Mrs.  Gibber  as  the  exponent  ot  his  iaeas. 
Her  voice,  aooordine  to  all  contemporary  testi- 
mony, although  smaB,  was  indescribably  plaintive^ 
and  her  powers  of  expression  enabled  her  to 
impress  most  forcibly  upon  the  mind  of  the  hearer 
the  meaning  of  the  language  to  which  she  gave 
utterance.  Passing  by  the  songs  in  'Messiah,' 
which  call  for  the  hig^hest  powers  of  declamatioA 
and  pathetic  narration,  we  have  only  to  examine 
the  part  of  Micah  in  '  Samson,'  comprising  songt 
requiring  not  only  the  expression  of  pathetio  or 
devout  feelings,  but  also  brilliancy  and  fecility 
of  execution,  to  judge  of  Mrs.  Gibber's  ability. 
And  what  sterling  advantages  must  have  been 
derived  from  the  combination  of  the  powers  of 
a  great  actress  with  those  of  a  vocalist  in  the 
defivery  of  recitative  1  Mrs.  Gibber  died  Jan.  30^ 
1 766,  and  was  buried  in  the  cloisters  of  West- 
minster Abbey.  It  is  said  that  Garrick,  <mi 
hearing  of  her  death,  eirfflairaej^  '  Dien  Tragedy 
expired  with  her.'  [ W.  H.  H.] 

GIFRA,  ANTomo,  was  bom  at  Rome  during 
the  latter  part  of  the  i6th  century,  and  was  one 
of  the  few  pupils  actually  taught  by  Palestrina 
during  the  sbort  time  that  the  great  master  as- 
sociated himself  with  the  school  of  Bernardino 
Nanini.  In  16 10  he  was  Maestro  at  Loreto, 
bnt  in  1620  removed  to  San  Giovanni  in  Late- 
rano.  Two  years  later  he  entered  the  service 
of  the  Archduke  diaries,  and  in  1629  returned 
to  Loreto,  where  he  died.  That  he  was  an 
eradite  and  elegant  musician  is  shown  by  the 
hct  that  the  Padre  Martini  inserted  an  Agnus 
Dei  of  his,  as  a  specimen  of  ffood  work,  in  his 
essay  on  counterpoint.  He  himself  pubUshed 
a  l&rge  quantity  (^  his  Sacred  Motets,  Madrigals, 
and  Psalms,  at  Rome  and  at  Venice,  of  which 
a  specific  catalogue  need  hardly  be  given  here. 
After  his  death  Antonio  Poggioli  of  Rome  pub- 
lished a  volume  containing  no  less  than  aoo  of 
his  Motets  for  3,  3,  4,  6,  and  8  voices.  The 
title-page  of  this  book  contains  a  portrait  of  him 
taken  in  the  45th  year  of  his  age.  Underneath 
the  engraving  are  the  following  exceedingly  poor 
verses — 

'Qui  poteras  numaris  s^dvas  lapidesque  movers^ 
Siocine  praeruptus  funere,  Gifira,  siles  ? 

Fallimur ;  extincto  vivis  hetissimus  sevo^ 
£t  oaaeris  propriis  darus.ubique  modis.* 


858 


OIFRA. 


Cifra  18  Bmaag  the  'masten  flourishiiig  about 
that  time  in  Italy/  of  whose  works  Milton  sent 
home  'a  chest  or  two  of  ohoioe  mudo  books.* 
(Phillips's  Memoir.)  [£.  H.  P.] 

CIMA.DOB,  GiAMBATTiSTA,  of  anoble  figunily 
in  Venice  1 761,  died  in  London  about  1808 ;  com- 
poser,  and  player  on  the  violin,  cello,  and  piano- 
forte. In  I78yhe  produced  in  Venice  'Pigma- 
lione/  an  interlude,  with  which,  notwithstanding 
its  Buooess,  he  was  so  dissatisfied  as  to  bum  the 
iwore  and  renounce  composition  for  the  future. 
Cherubini  used  the  words  of  several  scenes  from 
this  interlude  for  his  opera  of  '  Pimmalione.* 
About  1 791  Cimador  settled  in  London  as  a 
teacher  of  singing.  Hearing  that  the  orchestra  of 
the  King^s  Theatre,  in  the  Haymarket,  had  refused 
to  play  Mozart*s  symphonies  on  account  of  their 
difficulty,  he  arranged  six  of  them  as  sestets  for 
Btrings  and  flute.  The  work  was  well  done,  and 
the  symphonies  first  made  known  in  this  form 
speedily  took  their  proper  place  with  the  public. 
Ue  composed  duos  for  two  violins  and  violin  and 
alto,  and  a  few  vocal  pieces.  [M.C.  0.] 

OIMAROSA,  DoMBKioo,  one  of  the  most  cele- 
brated Italian  dramatic  composers,  the  son  of 
poor  working  people,  bom  at  Aversa,  Naples, 
Dec.  17,  1749.  Gimarcsa  received  his  musical 
training  at  the  Conservatorio  Santa  Maria  di 
Loreto.  He  attended  that  oedebrated  school 
for  eleven  years  (1761-1772),  and  acquired  a 
thorough  knowlec^e  of  the  old  Italian  master* 
under  Sacchini,  Fenaroli,  and  Piccinni.  In 
1772  he  produced  his  first  opera,  'Le  Strava- 
ganze  del  Clonte,*  which  was  so  successful  as  to 
give  him  at  once  a  place  among  composers. 
From  that  date  till  1780  he  lived  alternately 
at  Rome  and  Naples,  and  composed  for  the  two 
cities  some  twenty  operas,  'LUtaliana  in  Loudra' 
among  the  number.  Between  1780  and  1787 
he  was  busy  writing  as  the  acknowledged  rivaJ 
of  Paisiello,  who,  up  to  that  time,  had  been 
undisputed  chief  of  Italian  operatic  composers. 
His  operas  were  also  performed  abroad,  not  only 
in  London,  Paris,  Vienna,  and  Dresden,  where 
an  Italian  opera  existed,  but  elsewhere,  through 
translations.  To  this  period  belong  'II  oonvito 
di  pietra,'  *La  ballerina  amante'  (Venice,  1783), 
*I1  pittore  Parigino,'  'II  Sacrifizio  d'Abramo,' 
and  'L'Olimpiade'  (1787).  In  1787  Cimarosa 
was  invited  to  St.  Petersburg  as  chamber  com- 
poser to  Catherine  II,  and  there  developed  an 
amazing  fertility  in  every  species  of  composition. 
Among  his  operas  of  this  time  should  be  men- 
tioned 'II  fanatico  burlato*  (1788).  Some  years 
later,  on  the  invitation  of  Leopold  II,  he  suc- 
ceeded Salieri  as  court  chapel -master,  and  it  was 
there  that  he  composed  his  most  celebrated  work 
'  II  matrimonio  segreto*  (1792),  a  masterpiece  of 
its  kind,  which  at  the  time  roused  an  extraor- 
dinary enthusiasm,  and  is  the  only  work  by  which 
Cimarosa  is  at  present  known.  So  great  was  the 
effect  of  its  first  performance,  that  at  the  end 
the  emperor  had  supper  served  to  all  concerned, 
and  then  commanded  a  repetition  of  the  whole. 
His  .engagement  at  Viemia  terminated  by  the 


CINQUBS. 

emperor*B  deatii  (179a).  Salieri  was  again  ap 
pointed  chapel -master,  and  in  1793  Clmam 
returned  to  Naples,  where  he  was  received  wi 
every  kind  of  homage  and  distinction ;  the  M 
trimonio  segreto  was  performed  57  tunes  nmnl 
and  he  was  appointed  chapel-master  to  the  ki 
and  teacher  to  the  princesses.  From  his  i: 
exhaustible  pen  flowed  another  q)lendid  serii 
of  operas,  amonff  which  may  be  specified  ' 
astuzie  feminile,  '  L'ImiM-esario  in  angustie^^ 
'II  matrimonio  per  raggiro,'  and  the  serioi 
operas  'GU  Orazii  e  Curiazii,'  'Artasene,'  a: 
'  Semiramide.*  His  last  years  were  troubled 
a  melancholy  change  of  fortune.  The  outl 
of  revolutionary  ideas  carried  CimaitMa  with  i^ 
aind  when  the  French  republican  army  marchedl 
victoriously  into  Naples  (1799)  ^®  expressed, 
his  enthusiasm  in  the  most  open  mannerj 
Cimarosa  was  imprisoned  and  condemned  toi 
death.  Ferdinand  was  indeed  prevailed  ap<a 
to  spare  his  life  and  restore  him  to  liberty  oa| 
condition  of  his  leaving  Naples,  but  the  imprison* 
ment  had  broken  his  spirit.  He  set  out  for  Sc! 
Petersburg,  but  died  at  Venice  Jan.  11,  1801, 
leaving  hiof  finished  an  opera,  'Artemisiay'  whick' 
he  was  writing  for  the  i^proaching  canuTsl., 
It  was  universally  reported  that  he  had  bees 
poisoned,  and  in  consequence  the  government 
compelled  the  physician  who  had  attended  him 
to  make  a  formal  attestation  of  the  cause  of  his 
death. 

B^des  his  operas  (76  in  all,  according  to  F^tis) 
Cimarosa  composed  several  oratorios,  cantaUs, 
and  masses,  etc.,  which  were  much  iMlmired  in 
their  day.  His  real  talent  lay  in  comedy — in  his 
sparlding  wit  and  unfailing  good  humour.  Uib 
invention  was  inexhaustible  in  the  representation 
of  that  overflowing  and  yet  naif  liveliness,  that 
merry  teasing  loquacity  which  is  the  distinguish* 
ing  feature  of  genuine  Italian  'bufib* ;  his  chief 
strength  lies  in  the  vocal  parts,  but  the  orchestra 
is  delicately  and  effectively  handled,  and  his 
efuemhles  are  masterpieces,  with  a  vein  of  humour 
which  is  undeniably  akin  to  that  of  Mozart  It 
is  only  in  the  fervour  and  depth  which  animate 
Mozart's  melodies,  and  perhaps  in  the  construction 
of  the  musical  scene,  that  Cimarosa  shows  himself 
inferior  to  the  great  master.  This  is  more  the 
case  with  his  serious  operas,  which,  in  spite  of 
their  charming  melodies,  are  too  conventional  in 
form  to  rank  with  his  comic  operas,  since  taste 
has  been  so  elevated  by  the  works  of  Idozart. 
Cimarosa  was  the  culminating  point  of  genuine 
Italian  opera.  His  invention  is  simple,  but 
always  natural ;  and  in  spite  of  his  Italian  love 
for  melody  he  is  never  nv>notonou8;  but  both 
in  form  and  harmony  is  always  in  keeping  with 
the  situation.  In  this  respect  Italian  opera  has 
manifestly  retr(^;raded  since  his  time.  A  bust  of 
Cimarosa,  by  Canova,  was  placed  in  the  Panthem 
at  Rome.  The  most  complete  list  of  his  works 
is  given  by  F^tis  in  his  and  edition.         [A.  M] 

CINQUES.  The  name  given  by  change-ringers 
to  changes  on  eleven  bells,  probably  firam  the  Hetd 
that  five  pairs  of  bells  change  places  in'  «der  of 
ringing  in  each  successive  change*      [C.  AW.TJ 


€INT1. 

CTNTI.    See  Bamobbau.  •  f 

CIPRANDI,  Eboolb,  an  excellent  tenor,  who 
mag  in  Londaii  from  1754  to  65.  He  was  bom 
about  1738.  He  played  Danao  in  'Ipermestra* 
hy  Haaae  and  Lampugnani,  prodaced  at  the 
Kmg^B  Theatre  Key.  9,  1754.  In  65  he  was  stiU 
linging  at  the  same  theatre,  and  appeared  as 
Antigone  in  *Eumene.*  Bumey  found  him  at 
MilaA  in  1770,  as  fine  a  singer  as  before.  He 
vas  living  in  1790.  [J.  M.] 

CIPRIANI,  LoBBNZO,  ft  capital  huffo  singer 
it  the  Pantheon  in  London,  About  1 790.  He  per- 
fumed in  the  same  company  with  Pacchierotti, 
Mara,  and  Morelli.  In  91  heplayed  Valerio  in 
*La  Locanda'  of  Paisiello.  Tnere  is  a  capital 
ikeich-porirait  of  him  'in  the  character  of  Don 
Alfonso  Scnglio,  in  La  Bella  Pescatrice,  jper- 
fermed  at  the  King*s  Theatre,  Panthe<Hi,  Dec. 
24,  1791 ;  drawn  by  P.  Violet»  and  engraved  by 
C.  Gmsan,  pnpU  to  F.  BarUdozsi,  R.A.^   [J.  M.] 

CIRCASSIENNE,  LA,  op^racomiqne  in  3 
acts:  words  by  Scribe,  music  by  Aubar;  pro- 
dooed  at  the  Op^ra  Comique  Feb.  3,  1861,  and 
in  London.  [G.] 

CIS,C£3.  The  German  terms  fin- Of  and  Cb. 
Ksne  of  the  books  explain  the  <nrigjn  of  this  liann, 
vhidi  runs  through  the  Gennan  scale — ^Dis.  Es, 
Ai,  etc.,  except  B  and  H;  and  in  the  double 
flats  and  shiurps,  Desee,  Gisis,  etc.  [G.] 

CITHER,  CrriiBBX,  Cithobit,  or  Cittebh 
(Ft.  Ciftre,  StMire,  or  Coarante ;  Ital.  Cetera ; 
Ger.  Cither,  Zither),  An  instrument  shi4)ed  like 
a  lute,  but  unlike  a  lute  strung  with  wire  strings, 
gBDeraOy  adjusted  in  pairs  of  unisons,  and  played 
wiUi  a  plectrum  of  quill.  The  cither  during  the 
1 6th  and  1 7th  centuries  appears  to  have  enjoyed 
great  &voar  on  the  Continent  and  in  England. 
The  En^sh  citherns  had  usually  four  pairs  of 
wire  strings,  but  according  to  Mr.  Engel  ('  Mu- 
sical Instruments,'  etc.,  1874)  it  was  not  limited 
to  this  number.  He  quotes  a  curious  title-page : 
'  New  Citharen  Lessons  with  perfect  Tunings  of 
the  same  from  four  oouT'te  of  strings  to  four-teene 
eoane,  &c.*  adorned  with  an  engraving  of  a 
Bijuga  (two-necked)  cither,  the  counterpart  of  a 
theorbo  or  two-necked  lute,  strung  with  seven 
pun  of  strings  over  the  fingerboard,  and  seven 
nngle  strings  at  the  side.  The  date  of  this  is  1 609. 
John  Play  ford  published  a  book  entitled  '  Mu- 
tick^B  Delight,  containing  new  and  pleasant  lessons 
on  the  Cithern,  London,  1666.'  The  Cetera  or 
Italian  cither  was  used  by  improvisatori,  and  ex- 
tant sfiecimens  are  often  tastefully  adorned  with 
ornament  FinaUy,  keyed  cithers  with  hammers 
were  patented  by  English  and  German  makers. 
The  Gorman  Streichzither,  as  the  name  indicates, 
was  played  with  a  bow.  This  was  horizontal, 
like  the  Schlagrither  and  its  prototype  the 
Scheidholt.  all  of  which  variants  will  be  more 
omveaiently  described  under  the  accepted  modem 
sfipellation  of  Zither,  an  instrument  to  place 
upon  a  table,  well  known  in  SouUi  Germany. 
The  diffierenoe  between  a  cither  and  a  lute  is 
that  the  cither  has  wire  strings  and  is  played 


CLAGOET. 


t8$ 


with  a  plectrum,  while  the  lute  ha«  catont 
strings  to  be  touched  with  the  fingers.  Ine 
guitar  also  has  catgut  strings  but  has  a  flat  back, 
4ot  pear-shaped  like  the  lute,  and  has  incurva- 
tions at  the  sidesi,  evidence  of  its  derivation  IrcNn 
a  bow  instrument.  The  name  cither  is  derived 
from  the  Greek  taSApa,  which,  however,  was 
another  kind  of  stringed  instrument.  (See  Ltbb  ; 
also  Chitarbonb,  Lutie,  and  Zithxb.)    [A.  J.  H] 

CITOLE.  This  word,  used  by  poets  in  the 
13th,  14th,  and  15th  centuries,  has  been  derived 
from  cislella  (Lat.)  a  small  box,  and  is  supposed 
to  mean  the  small  box-shaped  psaltery,  sometimes 
depicted  in  MSS.  of  the  period  in  representations 
of  musicians.  Dr.  Rimbault  (*  The  Pianoforte,* 
i860,  p.  35)  has  collected  several  poetic  re- 
ferences to  the  dtole,  including  quotations  from 
the  'Roman  de  la  Rose,*  Gavin  Douglas,  Gower, 
and  Chaucer  ('Knight's  Tale,'  'a  dtole  in  hire 
right  hand  hadde  she').  According  to  the  same 
authority  (p.  3 a)  the  name  was  used  as  late  as 
154.^-  [Sed  PsALTSBT.]  A  modem  instance  of 
the  use  of  the  name  is  in  D.  G,  Rosetti's  *  nessed 
DamoaelleL* 

'And  angels  meeting  us  shall  sing 

To  their  citherns  and  dtoles.'     [A.  J.  H.] 

CIVIL  SERVICE  MUSICAL  SOCIETY, 
instituted  in  1864  for  the  praoticie  of  vocal  and 
instrumental  music  among  the  dvil  servants  and 
exdse  servants  of  the  crown.  The  Prince  of 
Wales  is  patron,  and  aU  the  members  of  the  royal 
family  are  life  members.  Sir  W.  H.  Stephenson, 
of  the  Board  of  Inland  Revenue,  was  its  first 
president,  and  Mr.  Frederick  Clay  its  first  vice- 
president.  The  first  conductor  of  the  orchestra 
was  Mr.  Arthur  Sullivan,  and  the  first  conductor 
of  the  choir  Mr.  John  Foster;  but  upon  the 
resignation  of  Mr.  Sullivan  Mr.  Foster  became 
sole  conductor.  The  sodety  meets  for  practice 
at  Ring's  College,  Strand,  where  it  has  an  ex- 
ceptionally good  library  of  vocal  and  instrumental 
music.  Its  concerts,  of  which  upwards  of  fifty 
have  been  given,  take  place  at  St.  James*s  Hall, 
admission  bdng  confined  to  members  and  their 
firiends.  The  programmes  include  symphonies, 
overtures,  and  other  orchestral  works ;  the  special 
feature  in  the  vocal  music  is  the  singing  of  the 
male  voice  choir,  the  sodety's  original  plan  of 
practising  exclusively  music  written  for  male 
voices  having  been  rigidly  adhered  to.  The  present 
officers  (1S77)  are — President,  Lord  Hampton; 
Vice-president,  Sir  F.  J.  Halliday;  Conductor, 
Mr.  John  Foster ;  Treasurer,  Mr.  F.  L.  Robin* 
son;  and  Hon.  Sec.,  Mr.  S.  McCauL         [CM.] 

CLAGGET,  Charles,  a  violinist,  and  about 
1 766  leader  of  the  band  at  the  theatre  in  Smock 
Alley,  Dublin.  He  was  notod  for  his  skill  in 
accompanying  the  voice.  He  was  also  a  com- 
poser of  songs  (one  of  which,  'Tve  rifled  Flora's 
painted  bowers,'  gained  much  popularity),  and  of 
duets  for  violins,  violin  and  cello,  and  flutes. 
Coming  to  London  and  being  of  an  inventive 
turn  of  mind,  he  devoted  hi  4  attention  to  the 
improvement  of  various  musical  instruments.  In. 


8A 


jCIJLOOBT. 


Dee.  1775  fae  took  oat  a  patent  for  'Impvove* 
inents  on  tlie  violin  and  other  instroments  played 
on  finger  boards/  which  he  asserted  rendered  it 
*  almost  impossible  to  stop  or  play  oat  of  tune.* 
In  Aogust,  1788,  be  took  oat  another  patent  for 
/Methods  of  oonstnioting  and  tuning  musical 
instruments  which  will  be  perfect  in  their  kind 
and  mach  easier  to  be  performed  on  than  any 
hitherfco  discovered.'  Among  these  were  the 
following : — 'A  new  instrument  called  the  Telio- 
chordon,  in  form  like  a  pianoforte,  but  capable 
of  being  put  much  better  in  tune,  for  the  grand 
pianoforte  or  harpsichord  divide  every  octave 
only  into  thirteen  parts  or  semitones,  whereas  on 
this  imrtrument  every  octave  can  be  divided  into 
thirty  nine  parts  or  gradations  of  sound ;  for  any 
finger-key  will,  at  the  pleasure  of  the  performer, 
produce  three  different  degrees  of  intonation.' 
He  represented  that  by  this  instnunent  all  thirds 
and  firths  could  be  highly  improved,  and  what  is 
called  the  'woulfe'  entirely  done  away  with. — 
A  method  of  uniting  two  trumpets  or  horns,  one 
in  D,  and  the  other  in  £  flat,  so  that  the  mouth- 
piece might  be  applied  to  either  instantaneously, 
thereby  getting  the  advantage  of  a  complete 
chromatic  '  scale. — ^Tuning  forks  with  balls  or 
weights  for  the  more  easy  tuning  of  musical  in- 
struments.— A  new  instrument  composed  of  a 
proper  number  of  these  tuning  forks  or  of  single 
prongs  or  rods  of  metal  fixed  on  a  standing  board 
or  box  and  put  in  vibration  by  finger  keys.  Or 
a  celestina  stop  made  by  an  endless  fillet  might 
be  applied,  producing  the  sounds  on  these  forks 
or  prongs  as  it  does  on  the  strings. — Tuning  keys 
of  a  form  which  rendered  them  steadier  and 
easier  to  use  than  others. — And  lastly,  a  better 
method  of  fitting  the  sounding  post  of  a  violin  to 
its  place.  Clagget  was  also  the  inventor  of  the 
'Aiuton,  or.  Ever-tuned  Oxgan,  an  instrument 
without  pipes,  strings,  glasses,  or  bells,  which 
will  never  require  to  be  retuned  in  any  climate.* 
Of  this  ioBtrument  and  others  he  published  a 
descriptive  account  under  the  title  of  '  Musical 
Phenomena.*  He  kept  his  collection  of  instru- 
ments at  his  houHo  in  Greek  Street^  Soho,  which 
he  called  *  The  Musical  Museum.*  About  1 791 
he  exhibited  them  publicly,  at  the  Hanover 
Square  Rooms.  On  Oct.  31,  1793,  Clagget  gave 
what  he  termed  an  'Attic  Concert,*  at  the  King*s 
Arms  Tavern,  ComhiU,  several  of  the  pieces 
being  played  on  or  accompanied  bv  the  various  in- 
struments invented  or  improved  by  him.  The 
performance  was  interspersed  with  '  A  Discourse 
on  Musick,*  the  object  of  which  was  professedly 
to  prove  the  absolute  necessity  of  refining  the 
harmony  of  keyed  instruments,  and  of  course  to 
insist  that  Clagget's  inventions  had  effected  that 
object.  In  the. course  of  this  address  a  letter 
from  Havdn  to  Clagget,  dated  1 792,  was  read,  in 
which  the  great  composer  expressed  his  fuU 
approbation  of  Clagget*8  improvements  on  the 
pianoforte  and  harpsichord.  The  discourse  was 
published  with  the  word;book  of  the  concert,  and 
to  it  was  prefixed  a  well-engraved  portrait  of 
Clagget,  who  is  described  beneath  it  as  *Har- 
moniMRr  of  Musical  Instruments/  etc.,  «tc.    He 


CLARt 

Ui  repreeented  with  a  vioKn  how  In  las  ri^t 
hsnd,  and  in  the  left  a  tuning  fork  of  very  lazge 
dimensions,  each  prong  of  which,  is  bifurcated,  so 
that  there  are  three  fotkB  in  one.         IW.  H.  H.] 

CL APISSON,  Aktoine  Lours,  bom  at  Naplw 
Sept.  15,  1808.  died  at  Paris  March  19,  1866. 
was  a  good  vioHn-player  before  beoonaing  a  com- 
poser, and  published  a  great  many  ramxncem  and 
songs,  which  edibit  an  easy  veiii  of  melody. 
His  operas  are  *La  figurante'  (5  acts,  1838V, 


'  La  Symphonie'  (1839) ;  •  La  Perruche*  (i  840) ; 
•Frfereet  Man' (1841);  '  Le  Code  noir  *  (3  acts, 


'Lee  Mystbres  d'Ud<dphe*  (3  acts,  1852^;  'La 
Promise     (3  acts,  1854);    *La    FancdionBetle-' 
(3  acts,  March  i,  1856);   'Le  Sylphe'  (2  acts, 
Nov.   1856);    'Margot'  (3  acta,    1857);    'Les 
trois  Nicolas*   (3  acts,  1858);    and    'Madams 
Gr^goire'    (3    acts,    1861).      These    plays    are 
generally  poor,  and  many  of  them   were  un- 
successful.   In  fact,  '  La  Promise'  and  *  La  Fan- 
chonnette*  are  the  only  two  of  his  operas  which 
gained  public  fiivour.    There  is  however  much 
good  music  in   'Gibby,'  *Le  Code   noir,'  and 
several  others.    His  style  is  somewhat  bombastie 
and  deficient  in  genuine  inspiration;    but,  in 
almost  every  one  of  his  operas  there  are  to  be 
found  graceful  and  fluent  tunes,  fine  harmonies, 
pathetio  passages,  and  characteristic  effects  of 
orchestration. 

Clapisson  was  made  Chevalier  de  la  Legion 
d*Honneur  in  1847,  and  member  of  the  '  Institst* 
in  1854.  He  collected  ancient  instruments  of 
music,  and  sold  his  collection  to  the  French 
government  in  1861 ;  it  is  now  included  in  the 
museum  of  the  Conservatoire.  Annibale  dei 
Rossi's  splendid  spinet,  ornamented  with  precious 
stones  and  exhibited  at  the  South  Kensington 
Museum,  was  bought  fix>m  Clapisson.        [G.  CJ 

CLARI,  GiovAKHi  Carlo  Mabia,  was  bom  st 
Pisa  in  1669  where  he  became  Maestro  di  Cap- 
pella.  He  studied  music  at  Bologna,  under  the 
well-known  Colonna,  of  whom  he  has  always  been 
considered  to  have  been  one  of  the  best  pupils. 
For  the  theatre  of  the  last-named  town  he  wrote 
an  opera  intituled  'II  Savio  delirante/  which  had 
considerable  success.  But  his  renown  chiefly 
comes  from  a  collection  of  vocal  duets  and  trios 
written  with  a  basso  contanuo,  which  he  published 
in  1730.  A  later  edition  of  'these  is  extant,  pub- 
lished  by  Carli  of  Paris  in  1823,  and  amiiged 
with  a  modem  accompaniment  for  the  piano  by  a 
Polish  composer  named  Mirecki.  In  these  his 
novel  treatment  of  fugue,  and  his  approach  to- 
wards  the  modulation  of  later  times,  help  to 
mark  an  epoch  in  composition,  and  stamp  hiin  as 
a  progressive  and  profound  musician. 

There  is  a  Stabat  Mater  by  Clari  in  G  minor 
in  the  Royal  Library  at  Copenhagen ;  and  Lan<iB*' 
berg  of  Rome  had  the  following  worics  of  h».' 
a  Mass  for  5  voices,  strings  and  organ ;  a  Credo 
for  4  voices ;  Psalms  for  4  voices  in  2  dialogued 
ohoruves;  a  De  Profun<tis  for  4  vcnoes  sod  tb^ 


d 


CLABI. 


OLABINSrEl 


HI 


■gn;  ft  Bfttfiiwii  liar  nine  vmdea,  rtriagi  and 
flfsu;  a  Mass  di  Oappella  lor  4  Toioas;  aome 
habm  for  CompUns  anranged  for  two  ohorusai. 
>'ov^lo*s  'FitzwiHuun  mjuic*  oontaiiis  no  law 
tbo  33  oompoeilioiu  of  GUri's  from  MasieBAiid 
^  Stobat  Mftter,  which  for  adence,  dignity, 
aad  sweetnesBy  fully  bear  out  hit  reputation. 

"nie  exact  date  of  his  death  is  nnknown,  but  it 
Tu  probably  about  1 745.  [£.  H.  P.] 

CLARINET  OB  CLARIONET  (Fp.  Clari- 
wtk,  Ger.  KUuinHtey  Ital.  ClarwOto),  An  in- 
^roment  <^  4-fbot  tone,  with  a  single  reed  and 
Booth  qoali^,  oommanly  said  to  have  been  in- 
vented about  the  year  1690,  by  J<^iiann  Chri» 
topher  Demer,  at  Nui«mbeii?.  Mr.  W.  Chappell 
is  however  of  opinion  that  he  can  trace  the  in* 
•mnaaDt  back  to  medieeTal  times  as  the  shawm, 
KbAfan,  or  schahnnse  (Hist  of  Music,  i.  364). 

The  prsMQt  name,  in  both  f<»mfl,  is  evidently 
ftdimi&utive  of  Clarino,  the  Italian  for  trumpet, 
ud  0arkM  the  English  eqoiTalent,  to  whidi  its 
tooe  has  some  similaifty. 

Since  ita  first  invention  it  has  been  suooearf vely 
improved  by  Stadler  of  Vienna,  Iwan  Muller, 
£ks^  andothers.  The  last-named  musician  U  S43) 
eompletely  reotganised  the  fingering  of  tiie  in- 
itrament,  on  the  system  conmionly  called  after 
Boehm,  which  is  also  applied  teethe  flute,  oboe, 
ud  baaaoon.  A  general  deacrfption  of  the  older 
lod  more  uaoal  form  will  be  given.  It  may 
btfwever  be  remaAed  hers^  that  Ssehm  er  Klos^'a 
fingeoog  is  hardly  so  Veil  adapted  to  this  as 
to  the  octave -scaled  instruments.  It  certainly 
ranovaa  some  difficnltiee,  but  at  the  expenae  of 
pf»Af  increased  oomplkntlon  of  mechanism,  and 
tafaflitj  to  get  out  of  order. 

The  cUrinet  oonsista  eaaentially  of  a  mouth* 
Neoe  fnmiahed  with  a  aingle  beatng  reed,  a  cy- 
tiodrieal  tube,  terminating  in  a  bell,  and  eighteen 
(JpeniDgs  in  the  side,  half  closed  by  the  ffaigers,  and 
Wf  by  keya.  The  fimdamental  aeale  compriaes 
Bmeteen  aemitones,  from  £  in 
the  baa  atave.  These  are  pro- 
duced by  removal  of  the  eight 
bgen  and  the  t^umb  of  the  left  hand  succes- 
B^elj  froaa  nine  open  holes,  and  by  the  lifting 
of  nine  closed  keys.  The  lowest  note  ia  emitted 
throogh  the  bell ;  the  treble  G  through  a  hole  at 
the  bftck  of  the  tnbe,  peculiar  to  this  instrument. 
Thii  register'  is  termed  Chalumeau,  and  is  of  a 
■r>mevbat  different  quality  from  the  higher  notes. 
The  latter  are  obtained  by  a  contrivance  which 
fonsfithe  chief  initial  difficulty  in  learning  the 
>3i^stnmient,  but  has  the  advantage  of  givii^  it 
i  T«(y  extended  oompasa.  The  lever  of  the  Bb 
^nsDied  above  ends  close  to  the  back  thumb- 
He,  and  aaswera  a  double  purpose.  In  conjunc- 
tioQ  with  the  A^  key  it  (noduces  its  own  open 
>^  bat  when  raiaed  by  the  point  of  the  left 
thumb,  while  the  ball  of  the  aame  doeea  the 
^  hole,  it  aerves  to  determine  a  node  within 
^  tabe,  and  nuses  the  pitch  by  an  interval  of 
a  twelfth.  If  all  the  side  holea  be  now  closed  by 
the  fingen,  the  note  isauing  by  the  bell  is  B.], 


in  the  treble  istftvv,  and  by  suooesaive  removal  of 
fingers  or  opening  of  keys  fifteen  more  aemitones 


are  obtained,  reaching 


« iiiiiMiiHir  mkci  four  miUtan^  traatiiig  C9ial» 


^# 


the  thumb 


i 


I 


beii^  constantly  kept  at  Its  douUe  duty  of 
dosing  the  6  hole  and  opening  the  3b  key. 
With  the  high  C%,  what  may  be  termed  the 
natural  acale  of  the  instrument  ends,  althosgh 
a  whole  octave  more  of  notes  may  be  got  by 
croas-fingerings,  depending  considerably  on  the 
individual  akill  of  the  player.  It  is  usually  under- 
stood that  the  extreme  note  obtainable  is  Cjj 
or  Of  in  altisaimo,  an  8ve  above  that  juat  given. 
But  it  is  most  undesirable  to  write  for  the  instra- 
ment  above  the  intermediate  £  ^^ 

G,  and  in  piano  passages  above 
G.  We  thus  have  in  all  three 
octov^B  and  a  sixth,  of  which 
the  lower  three  octaves  are  perfectly  available 
for  legitimate  use,  and  which  it  will  be  presently 
shown  are  considerably  extended  by  the  employ' 
ment  of  several  instruments  in  different  keys. 

The  mouthpieoe  is  a  conical  stopper,  flattened 
on  one  side  to  form  the  table  for  tiie  reed,  and 
thinned  to  a  c^aaeL  edge  on  the  other  for  con- 
venience to  the  lips.  The  cylindrical  bore  passes 
about  two-thirds  up  the  inside,  and  there  termi- 
nates in  a  hemispherical  end.  From  this  bore 
a  lateral  orifice  is  cut  into  the  table,  about  an 
inch  long  and  half  as  wide,  which  is  dosed  in 
playing  by  the  thin  end  of  the  reed.  The  table 
on  whldi  the  reed  lies,  instead  of  \ffing  fla^  is 
purposely  curved  backwards  towards  the  point, 
so  as  to  leave  a  gap  or  slit  about  the  thickness 
of  a  sikpoQCe  between  the  end  of  the  mouthpiece 
and  the  point  of  the  reed.  It  is  on  ihe  vibration 
of  the  reed  against  this  curved  table  that  the 
sound  of  the  instrument  depends.  The  ourve  of 
the  teble  is  of  considerable  importance.  [See 
MuuTHFiKoe.]  The  reed  Itaelf  is  a  thin  flat  slip 
cut  fr^Hn  a  kind  of  tall  grass  {arando  ao/tva), 
commonly,  though  incorrectly,  termed  'oape.* 
[See  Reed.]  It  is  flattened  on  one  side,  and 
thinned  on  the  other  to  a  feather-edge.  The 
older  players  secured  this. to  the  table  of  the 
mouthpiece  by  a  waxed  cord,  but  a  double 
metallic  band  with  two  small  screws,  termed  a 
ligature,  is  now  employed.  The  reed  was  origin- 
ally turned  upwards,  ao  as  to  rest  against  the 
upper  lip ;  but  this  necessitated  the  holdiiw  of 
the  instrument  at  a  large  ungraceful  angle  from 
the  body,  and  caused  it  to  bear  against  a  weaker 
mass  of  musdes  than  is  the  case  when  it  is 
directed  downwards.  In  England,  France^ 
and  Belgium  it  is  always  held  in  the  latter 
position. 

The  compass  given  above  is  that  of  an  in- 
strument in  C,  which  sounds  corresponding  notes 
to  the  violin,  descending  three  semitones  bdow 
'fiddle  G.'  But  the  C  clarinet  is  not  very  ex- 
tensively used  in  the  ordiestra  or  military  bands. 
The  latter  employ  an  instrument  in  Bb,  sounding 
two  semitonea  below  its  written  position,  and 
consequently  standing  in  the  key  of  two  flats. 
For  the  aouter  notes  they  use  a  smiJler  clarinet 


868 


CLABINET. 


in  Kb,-  which  BOtrnds  a  minor  ihinl  ftbove  its 
written  scale,  and  stands  in  three  flats.  In  the 
orchestra  an  instrument  in  A,  sounding  a  minor 
third  below  the  corresponding  note  of  a  0  instru' 
ment,  is  much  used,  and  stands  in  three  sharps. 
It  will  be  seen  that  the  Bb  and  A  clarinets  re- 
spectively lower  the  range  of  the  ^  j 
lowest  note  to  D|j  and  Cf ,  thus  aug-   Szz3 


m 


menting  the  whole  compass  of  the  instrument. 
They  idso  have  the  advantage  of  lessening  the 
number  of  flats  and  sharps  in  the  signature. 
Although  the  clarinet  has  been  much  improved 
it  still  presents  great  difficulties  in  extreme  keys, 
and  these  are  to  some  extent  avoided  by  the  B  b 
instruments  lessening  the  flats  by  two  in  flat 
keys,  and  the  A  instrument  the  sharps  by  three 
in  sharp  signatures.  A  melody  in  C  would  thus 
have  to  be  pli^ed  in  G  by  the  F,  in  A  by  the  Eb, 
in  D  by  the  Bb,  and  in  £b  by  the  A  clarinets. 
The  following  table  shows  how  the  notes  will  be 
written  for  each  instrument^  so  as  to  sound  like 
those  of  the  C  clarinet : — 


I.  C  clarinet 


^ »  f"  J  c-r 


fe 


a.  Bb 


•I 


pirrTjrf- 


3-  A      II 


4-  Eb    „ 


^>-n^"^ 


i 


£2 


^^ 


& 


E 


S-P 


»f 


^A^jhi 


6.  For  Como  di  bassetto  in  F  : 


m 


rrCTiT^ 


7.  The  Italians — as  Cavallini  and  Cannngia — 
sometimes  write  for  tho  Bb  clarinet  in  the  tenor 


clef 


;i 


zr  sounding  ^  ■    p    -  as  if  written 

'0%  in  the  ordinary  way  (No,  2  above). 

Ml)         r —  '^^  two  intrinsic  flats  of  the  instru- 
•/  ment  have  of  course  to  be  supplied 

by  the  player. 

Besides  the  four  instruments  already  named 
others  are  occasionally  used.  A  small  clarinet 
in  F,  above  the  C  instrument,  has  been  merci- 
fully given  up,  except  in  an  occasional  piece 
of  German  dance  music.  The  I),  between  these 
two,  is  also  considered  by  some  composers  to 
blend  better  with  the  violins  than  the  graver- 
pitched  clarinets.  The  Db  is  convenient  for 
taking  the  part  of  the  military  flute,  which  stands 
in  that  key.  A  clarinet  in  H  would  puzzle  mo»t 
English  players,  although  it  appears  in  Mozart  s 
score  of  *Idomeneo' — being  the  German  for  Bft. 
Below  the  A  clarinet  we  also  have  several  others. 
Que  in  Ab  is  useful  in  military  music    In  F 


CLABINET. 

we  have  die  tenor  clarinet^  and  the  oono  di 
bassetto  or  bassethom,  perhaps  the  most  beutifnl 
of  the  whole  fionily.  The  tenor  in  Bb  sUndi  in 
the  same  relation  to  this  as  the  Bb  does  to  tha 
C,  and  is  consequently  used  in  military  btnk 
[CoRNO  DI  Bassetto.]  Proceeding  stiU  lower  in 
the  scale  we  arrive  at  the  baas  darinete.  Tba 
conunonest  of  these  is  in  Bb,  the  octave  of  the 
ordinary  instrument,  but  the  writer  hss  »  C 
basso  of  Italian  make,  and  Wagner  has  mittn 
for  an  A  basso.  They  are  none  of  them  ray 
satisfactory  instruments ;  the  characteriatic  tou 
of  the  dannet  seeming  to  end  with  the  oono  di 
bassetto.    [See  Bass  Olariket.] 

Helmholtz  has  analysed  the  tone  and  muaal 
bharacter  of  the  clarinet  among  the  other  wind  ia- 
struments,  and  shows  that  the  sounds  proper  to  tiie 
reed  itself  are  hardly  ever  employed,  being  var 
sharp  and  of  harsh  quality  ;  ^oae  aotnally  pro- 
duced being  lower  in  pitch,  dependent  on  the 
length  of  the  column  of  air,  and  oorrespoodiqg 
to  the  sounds  proper  to  a  stopped  cfgan-pipt 
With  a  cylindrical  tube  these  are  the  third,fi&h. 
seventh,  and  eighth  partial  sounds  of  the  im^ 
mental  tone.  The  upper  register  rising  a  twdfth 
from  the  lower  or  chalumeau,  aeems  to  canr 
out  the  same  law  in  another  form.  On  the  otber 
hand,  the  conical  tubes  of  the  oboe  and  bawn 
correspond  to  open  pipes  of  the  same  length,  ia 
which  the  octave,  the  twelfth,  and  the  doabit 
octave  form  the  ftrst  three  terms  of  tiie  tm». 
See  his  paper  in  the  'Journal  fnr  leine  oni 
angewandte  Mathematik,'  vol.  IviL 

The  lowest  note  of  the  register  is  dearlr  n 
arbitrary  matter.  It  has  probably  been  dic^ 
tated  by  the  fact  that  nine  of  the  ten  avBihbk 
digits  are  fully  occupied.  But  M.  Sax,  whose  isa- 
provemente  in  wind-instruments  have  snrpwied 
those  which  explicitly  bear  his  name,  bas  ex- 
tended the  scale  another  semitone  by  adding  > 
second  key  for  the  right  little  finger.  Even  tbe 
octave  C  can  be  toudied  by  employing  the  rigit 
thumb,  which  at  present  merely  suppocts  ik 
instrument.  It  is  always  so  employed  in  the 
bassethom,  and  a  Bb  instrument  thia  ex- 
tended must  have  been  known  to  Maon 
who  writes  the  beautiful  obbligato  to  'Fkru' 
in  his  '  Clemenza  di  Tito,*  down  to  bass  B?,  1 
major  third  bdow  the  instrummit  as  now  made. 

To  whatever  period  we  may  ascribe  the  la- 
vention  of  the  darinet,  it  is  certain  that  it  don 
not  figure  in  the  sorwes  of  the  earlier  compnei^ 
Bach  and  Handel  never  use  it.  An  instrameas 
entitled  Chalumeau  appears  in  the  writings  d 
Gluck,  to  which  Berlioz  appends  the  note  that  ii 
Is  now  unknown  and  obsolete.  This  mav  bn 
been  a  clarinet  in  some  form.  Haydn  wes  ':* 
very  sparingly.  Most  of  his  symphoniei  vt 
without  the  part,  and  the  same  remark  ^iplies  t.^ 
his  church  music.  There  is,  however,  a  fine  w 
for  two  (darinets  and  bassoon  in  the  '  £t  Inctf- 
natus '  of  the  First  Mass,  and  there  are  ooe  c 
two  prominent  passages  in  the  '  Oeatioii,'  esp 
dally  obbligatos  to  ^e  air  '  With  verdure  cWS 
and  'On  mighty  pens,'  and  a  quartet  of  r«t^i» 
accompanying  the  trio    'On  Thee  each  liriif 


OLABINET. 

Kol  ft«vt&*    Bat  it  is  with  Moswt  that  the 
tttranent  first  beoames  ft  leading  ofehestral 
T^ioe.    'Ah,  if  we  had  bat  clitfinetB  too ! '  says 
k:  'yoo  cannot  imagine  the  qplendid  effect  of 
i  f^mphony  with  flutes,  oboea,  and  darineta.' 
iLrtter  iiq.)    Nothing  can  be  more  beautiful, 
«r  more  admirably  adapted  to  its  tone  than  the 
pvti  provided  for  it  in  his  vocal  and  instru- 
nental  works.   The  symphony  in  Eb  is  sometimes 
died  Uie  Clarinet  Symphony  firoin  this  reason, 
the  oboes   being   omitted   as   if  to  ensure  its 
proonneooe.     There  is  a  concerto  for  clarinet 
with  foil   orchestra   (Kbchel,   No.  622)  which 
ii  m  hJB  best  style.     For  the  tenor  clarinet  or 
Isdwthnrn,  the  opera  of  *  Clemen ta  di  Tito* 
is  freely  scored,  and  an  elaborate  obblisato  is 
slkitted  to  it  in  the  song  '  Non'piii  di  fieri?    His 
'Requiem*  contains  two  comi  <u  bassetto,  to  the 
exdusiaa  of  all  other  reed -instruments,  except 
bidBooDs.    His  chamber  and  concerted  music  is 
mora  foil  for  clarinets  than  that  of  any  other 
writer,  except  perhaps  Weber.    It  is  somewhat 
remarkable  that  many  of  his  great  works,  especially 
the  'Jupiter*  Symphony,  should  be  without  parts 
fat  the  instrument,  notwithstanding  his  obvious 
kaowledge  of  its  value  and  beauty.    The  ordinary 
explanation  ia  probably  the  true  one ;  namely, 
that  being  attached  to  a  amall  court,  he  seldom 
bd  at  his  disposal  a  fiiU  band  of  instrumentaliBts. 
Beethoven,  on  the  other  hand,  hardly  writes  a 
HDgle  woric  without  clarinets.    Indeed  there  is  a 
digtinot  developnoent  of  this  part  to  be  observed 
ia  the  oouiae  of  his  symphonies.    The  trio  of  the 
Fuit  contains  a  passage  of  importance,  but  of  such 
limplidty  that   it    nught    be    allotted    to    the 
trumpet.    Hie  Larghetto  (in  A)  of  his  Second 
Snnphony  ia  iull  of  melodious  and  eaay  passages 
h  two  darinets.     It  is  not  until  we  reach  the 
'Pastoal*  Symphony  that  difficulties  occur ;  the 
puMge  near  the  close  of  the  first  movement 
bdog  angularly  trying  to  the  player :— > 


CLARINBT. 


968 


Rat  the  Eighth  Symphony  contains  a  passage  in 
the  Trio,  combined  with  the  horns,  which  few 
ptffonnen  can  execute  with  absolute  correctness. 


_fgrr:L^ir?firT^-;rf^^ 


♦-» 


m 


m 


ings  lis  in  the  upper  part  of  its  scale,  and,  except 
an  occasional  bit  of  pure  accompaniment,  there 
is  nothing  out  of  the  compass  of  the  violin. 

Mendelssohn,  on  the  other  hand,  seems  to 
revel  in  the  chalumeau  notes.  He  leads  off  the 
Scotch  Symphony,  the  introductory  notes  of 
'  Elijah,'  and  the  grand  chords  of  his  overture 
to  'Kuy  Bias'  with  these,  and  appears  fully 
aware  of  tiie  singular  power  and  resonance  whiiji 
enables  them  to  balance  even  the  trombones. 
Throughout  his  works  the  parts  for  clarinet  are 
fascinating,  and  generally  not  difficult.  The 
lovely  second  subject  in  the  overture-  to  the 
'Hebrides*  (after  the  reprise)— 


-/  b  M  f  J  jg^iTrrgfr  ^^\f}r^ 


^ 


^m 


ife 


^ 


^^ 


^r=F^ 


the  imitative  passage  for  two  clarinets,  which 
recurs  several  times  in  the  Overture  to  'Melu- 


f^t-jMJJJII   HTTT^^ 


and  the  rolling  wavelike  passages  in  his  <  Meeres- 
stille,*  deserve  special  mention.  On  the  otherhand, 
there  are  occasional  phrases  of  great  complexity 
in  his  works.  The  scherzo  of  the  Scotch 
Symphony,  the  saltarello  of  the  Italian,  are 
cases  in  point  ;  but  even  these  are  exceeded  by  a 
few  notes  in  the  scherzo  of  the  'Midsummer 
Night's  Dream,'  which  are  all  but  unplayable. 


^•^ifff  itfifffffi  r  I 


Beethoven  does  not  seem  to  have  appreciated  the 
lower  ifigister  of  this  instnmient.     All  his  writ- 


Weber  appears  to  have  had  a  peculiar  love 
for  the  clarinet.  Not  only  has  he  written  several 
great  works  especially  for  it,  but  his  orches- 
tral compositions  abound  in  figures  of  extreme 
beauty  and  novelty.  The  weird  effect  of  the 
low  notes  in  the  overture  to  '  Der  Freischtitz,' 
followed  by  the  passionate  recitative  which  comes 
later  in  the  same  work— both  of  which  recur  in 
the  opera  itself— will  suggest  themselves  to  all ; 
as  will  the  cantabile  phrase  in  the  overture  to 
'  Oberon,'  the  doubling  of  the  low  notes  with  the 
violoncellos,  and  the  (Ufficult  arpeggios  for  flutes 
and  clarinets  conmionly  known  as  the  '  drops  of 
water.'  His  Mass  in  G  is  marked  throughout  by 
a  very  unusual  employment  of  the  clarinets  on 
their  lower  notes,  forming  minor  chords  with  the 
bassoons.  This  work  is  also  singular  in  being 
written  for  Bb  clarinets,  although  in  a  sharp  key. 
The  'Credo,'  however,  has  a  characteristic 
melody  in  a  congenial  key,  where  a  bold  leap  of 
two  octaves  exhibits  to  advantage  the  large  com- 
pass  at  the  composer's  disposal. 

Meyerbeer  and  Spohr  both  employ  the  clarinets 
extensively.  The  former,  however,  owing  to  his 
friendship  with  Sax,  was  led  to  substitute  the 


im» 


CLARINET. 


bass  claarhieta  in  some  plaoee.  [Bass  CSLAMKVr.] 
Spohr  has  written  two  conoertoi  for  the  ioBtni- 
ment,  both — eepeciAlly  the  second— of  extreme 
diffio^ty.  Bat  he  has  atilised  its  great  powers 
in  concerted  music,  and  as  an  obbligato  aooom* 
paniment  to  the  voices  both  in  his  erratic  works 
and  his  oratorios,  and  in  the  six  songs  of  which 
the  '  Bud  and  the  Maiden'  is  the  best  known. 

An  account  of  this  instrument  would  be  in- 
oomplete  without  mention  of  Rossini's  writings. 
In  the  *Stabat  Mater'  he  has  given  it  some 
exquisite  and  appropriate  passages,  but  in  other 
works  the  difficulties  assigned  to  it  are  all  but 
insuperable.  The  overtures  to  '  Semiramide/ 
*  Otello,'  and  'Gazza  Ladra,'  are  all  exceedingly 
open  to  this  objection,  and  exhibit  the  carelessness 
of  scoring  whi^  man  his  iaoomparable  gifts  of 
melody. 

No  instrument  has  a  greater  scope  in  the  form 
of  solo  <st  concocted  masic  ^leoially  written  for  it. 
Much  of  this  is  not  so  well  known  in  this  country 
as  it  ought  to  be.  The  writer  has  therefore  com- 
piled, with  the  assistaiioe  of  Mr.  Leonard  Bed- 
iiome>  whose  collection  of  clarinet  music  is  all  but 
complete,  a  list  of  the  principal  compositions  by 
great  writers,  in  which  it  takes  a  prominent  part. 
This  is  i^>p^ded  to  the  present  notice. 

A  few  words  are  required  in  concluding,  as  to 
the  weak  points  of  the  instrument.  It  is  singu- 
lariy  susceptible  to  atmospheric  changes,  and 
rises  in  pitch  very  considerably,  indeed  more 
than  any  other  instrument,  with  warmth.  It  is 
therefore  essential,  after  playing  some  time,  to 
flatten  the  instrument ;  a  caution  often  neglected. 
On  the  other  hand  it  does  not  bear  large  alter- 
•tions  of  pitch  without  beoomii^  out  of  tune. 
In  this  respect  it  is  the  most  difl^ult  of  all  the 
orchestral  mstruments,  and  for  this  reason  it 
ought  undoubtedly  to  exercise  the  privilege  now 
granted  by  ancient  usage  to  the  oboe;  that» 
namely,  of  giving  the  pitdi  to  the  band.  In  the 
band  of  t£»  Crystal  Pataoe^  and  some  others, 
this  is  now  done  ;  it  deserves  general  imitation. 
Moreover,  the  use  of  three,  or  at  least  two 
diffiarent- pitched  instruments  in  the  orchestra, 
is  a  source  of  discord,  which  it  requires  large 
experience  to  counteract.  Many  performers  meet 
the  difficulty  to  some  extent  by  dispensing  with 
the  G  olarine^  the  weakest  of  the  three.  Gom* 
posers  would  do  well  to  write  as  little  for  it  as 
may  be  practicable.  Mendelssohn,  in  his  Sym- 
phonies, prefers  to  write  for  the  A  clarinet  in  three 
flats  rather  than  for  the  G  in  its  natural  key, 
thus  gaining  a  lower  compass  and  more  fulness 
of  tone.  Lastly,  the  whole  beauty  of  the  instru- 
ment depends  on  the  management  of  the  reed. 
A  player,  however  able,  is  very  much  at  the 
mercy  of  this  part  of  the  mechanism.  A  bad 
reed  not  only  takes  all  quality  away,  but  ex- 
poses its  possessor  to  the  utterance  of  tiie  horrible 
shriek  termed  couae  (i.e.  'quack')  by  the  French, 
and  'a  goose'  in  the  vernacular.  There  is  no  in- 
strument in  which  failure  of  lip  or  deranged  keys 
produce  so  unmusical  a  result,  or  one  so  impos- 
sible to  oonceal ;  and  proportionate  care  should 
be.  exercised  in  its  prevention. 


•  CLARINO. 

lAd  of  tki  principal  tolo  and  eoncerUd  mutU 
for  the  darmei:  crigimal  tsorib,  neC  tumfff 
mentM, 

Mozart. — ^Trio  for  clarinet,  viola,  and  {Msno, 
op.  14  ;  Two  Serenades  for  two  oboes,  two  clari- 
nets, two  horns,  and  two  bassoons,  op.  24  and 
37  ;  Quintet  for  oboe,  clarinet,  bom,  basBOon, 
and  piano,  op.  29  ;  Goncerto  for  daiinet  and 
orchestra,  op.  107 ;  Quintet  for  clarinet  and 
strings,  op.  10 1 ;  Grand  Serenade  for  two  oboes, 
two  clarinets,  two  basBOthoms,  two  French  horns, 
two  bassoons  and  double  bassoon. 

Beethovek. — Three  duets  fat  clarinet  and 
bassoon;  Trio  for  clarinet,  violoncello,  and  piano, 
op.  II ;  Quintet  for  oboe,  clarinet^  horn,  bas- 
soon, and  piano,  op.  16;  Grand  Septet  for 
violin,  viola,  cello,  oontra-basso,  clarinet,  horn, 
and  bassoon,  op.  ao;  the  same  arranged  by 
composer  as  trio  for  clarinet,  oello,  and  piano; 
Sestet  for  two  clarinets,  two  horns,  and  two 
bassoons,  op.  71 ;  Ottet  for  two  oboes,  two  clari- 
nets, two  horns,  and  two  bassoons,  op.  103; 
Rondino  for  two  oboes,  two  clarinets,  two  boms, 
and  two  bassoons. 

Webeb.— Concertino,  op.  26 ;  Air  and  Variar 
tion,  op.  55 ;  Quintet  for  clarinet  and  string 
quartet,  op.  34  ;  Gonoertante  duet,  clarinet  and 
piano,  op.  48  ;  Goncerto  i,  with  orchestra,  op.  73; 
Goncerto  a,  with  orchestra,  op.  74. 

Spohb.^  Goncerto  i,  for  clarinet  and  orche^tn, 
op.  a6 ;  Goncerto  a,  for  clarinet  and  orchestra, 
op-  57  >  Nonet  for  strings,  flute,  oboe,  clarinet, 
horn,  and  bassoon,  op.  31 ;  Ottet  for  violin, 
two  violsfl,  oello,  basso,  darinet,  and  two  ham», 
op.  3a;  Quintet  for  flute,  clarinet,  horn,  bas- 
soon, and  piano,  op.  5a  ;  Septet  for  piano,  violin, 
cello,  and  same  wind,  op.  147 ;  Six  songs,  with 
clarinet  obbligato,  op.  103. 

ScHUMAKV. — Fantasiestticke  for  clarinet  and 
(nano,  op.  73;  Mahrchenerzahlungen,  for  darinet^ 
viola,  and  piano,  <^.  132. 

Onslow. — Septet  for  flute,  oboe,  clarinet,  bora, 
bassoon,  double  baas,  and  piano,  op.  79 ;  Nonet, 
for  strings,  flutey  oboe,  tdarinet,  horn,  and  bassoon, 
op.  77  ;  Sestet  for  piano,  flute,  clarinet^  born, 
bassoon,  and  doable  bass,  op.  30. 

Kalliwoda. — Variations  with  oroheetra,  of^ 
ia8. 

A.  BoMBEBO.— Quintet  for  clarinet  and  strings 

op.  57. 

HuvxEL.'^MSxtaTy  Septet,  op.  114. 

G.  KBE0T2EB.— Trio  for  piano,  darinet,  m4 
bassoon,  op.  43 ;  Septet,  for  violin,  viola,  cello, 
oontra-basso,  clarinet,  horn,  and  bassoon,  op  62. 

S.  Nbokohii.  —Quintet  for  clarinet  and  strings* 
op.  8. 

A.  Reicha.— Quintet  for  darinet  and  strings; 
Twenty-four  quintets  for  flute,  oboe,  darinet* 
horn  and  bassoon,  ops.  88-91,  99,  100. 

E.  Paueb. — Quintet  for  piano,  oboe,  darine*» 
horn,  and  bassoon,  op.  44. 

Be»ugeb» — Gonoertos,  cmdb.  61a.  14ft,  18& 

IW.H.S.] 

GLARINO.    The  Italian  name  for  the  Tbcm- 

P£T. 


CXAEK. 

CLABK»  JsBSMiAH,  WM  m  ckorister  In  the 

Cbipel  Bojttl  imder  Dr.  Blow.    After  leaving 

the  dboir  he  became,  fi>r  a  short  time*  organist  of 

WiDchsster  College.    In  1693  lus  master,  Br. 

Bknr,  resigBed  in  his  &voiir  the  appointments  of 

almonflr  and  Tuastwr  of  the  children  of  St.  Paa]*s 

OolwdraL    About  1695  he  was  appointed  or* 

guirt  and  one  of  the  vicars  choral  m  Si  PaaVs. 

Od  July  7,  1700,  dark,  and  his  fellow-popil, 

WUHam  Cbroft,  were  sworn  in  as  gentlemen  ex- 

tnofdiaary  of  the  Chapel  Boyal,  with  the  joint 

leraraon  of  an  oiganist's  place,  whenever  one 

ikmid  &11  vacant,  a  contingency  which  happened 

dn  May  15,  1704,  bj  the  death  of  Francis  Pig^ 

gott,  on  which  Clark  and  Croft  were  on  May  25 

ivom  in  as  joiot  organists.    Clark,  having  the 

■Jafortime  to  become  enamoured  of  a  lady  whose 

poiifcion  in  life  rendered  his  union  with  her  hope- 

kn,  feU  into  a  state  of  despondency,  under  the 

jdloenoe  of  which  he  shot  lumself.    The  precise 

dite  of  his  death  has  not  been  ascertained,  but 

it  was,  donbtles,  shortly  befers  Nov.  5,  1 707, 

vliai  Croft  was  sworn  into  the  fall  place  of  or- 

gMUt  of  the  Chapel  Boyal.    Clark  composed 

•evoal  snthema,  duefly  of  a  pathetic  kind,  but 

sot  deficint  either  in  roroe  or  dignity.     He  wse 

ti*  original  composer  of  Bryden^s  fiunous  ode, 

'Alfiunder's  Feast,'  which  was  performed  at 

Stitiosen'  Hall  cm  the  occasion  for  which  it  was 

siitlea,  the  feast  on  St.  Cecilia's  day,  Nov.  aa, 

1697,  sod  at  two  or  three  concerts  shortly  after- 

vvdB ;  bat  the  nuisic  was  not  printed,  and  seems 

mm  irretrievably  lost    In  the  same  year  Clark 

(iAoonjunctiQii  with  Daniel  Purcell  and  Richard 

Itfveiidge)  composed  the  music  for  the  opera 

'The  Maad  PruacesB,'  and  (jointly  with  Daniel 

Pnodl)  for  the  opera  <  The  World  in  the  Moon.' 

B»  sbo  fomiehed  music  for  *The  Fond  Hus- 

bnd'  (1676),   Sedley  s  'Antony  and  Cleopatra' 

(1677),  'Tiiua  Andionicus'  (1687),  and  <A  Wife 

kf  uty  Man,'  besides  composing  an  ode  in  praise  of 

the  Uaad  of  Barbados,  a  cantata  called  <The 

Asnuptiaa,'  some  lessons  for  the  harpsichord, 

nd  numerous  eongs  published  in  the  collections 

of  the  day.  [W.H.H.] 

CLARK,   BiOHARD,  was  bom   at   Datchet, 
Bodes,  April  5, 1780.  At  an  early  age  he  became 
•  cfaorister  at  St.  George's  Chapel,  Windsor,  un- 
4a  Dr.  Aylward,  and  of  Eton  College   under 
Stephen  Heather.    In   1 80a  he  succeeded  his 
gniid&ther,  John  Sale,  the  elder,  as  lay  clerk  at 
tit.  George's  and  Eton  College;   these  appoint- 
ments he  hekl  until  181 1.    In  1805  he  officiated 
u  deputy  in  Hhe  metropolitan  choirs,  and  in  the 
ttme  year  was  appointed  secretary  to  the  Glee 
Club.    He  subsequently  obtained  the  places  of 
Uy  vicar  of  Westminster  Abbey,   and   vicar- 
eWonl  of  St.  Paul's,   and  in   1820  succeeded 
Joeeph  Corfe  as  a  gentleman  of   the  Chapel 
HoyaL    In  181 4  Chtfk  published  a  volume  of 
the  poetiy  of  the  most  favourite  glees,  madrigals, 
iwuida,  tad  catches,  with  a  preface  containing  an 
aoGooBt  of  the  song  'God  save  the  ELing,'  the 
e<vipositioa  of  whidi  he  there  attributed  to  Henry 
C&tey.    A  second  edition  of  this  work  appeareid 
ia  1^24,  but  tiie  subject  of  the  popular  tune  was 


CLASSICAL. 


m 


omitted,  Clark  having  fai  1822  published  a  sepa- 
rate volume  assigning  its  composition  to  Dr. 
Jotm  Bull.  [See  God  says  thi  Kino.]  Clark 
distinguished  himself  by  his  as&iduity  in  en- 
deavooring  to  procors  tat  the  various  cathedral 
and  collegiate  choirs  a  restitution  of  their  statatory 
rights  ami  privileges.  He  was  the  composer  it 
a  few  anthems,  chants*  and  glees,  and  the  author 
of  several  pamphlets  on  'Handd  and  the  Har- 
monious Blaokwnith,  etc.';  Handel's  'Mesnah''; 
the  derivation  of  the  word  '  Madrigale,'  Musical 
pitch,  eta    He  died  Dot.  5,  1856.      [W.  H.  H.] 

CLAKKE,  JoHK,  MuB.  Doc,  afterwards  known 
as  Clabkb-Whitfeld,  was  bom  at  Gloucester 
Dec.  13, 1 770,  and  received  his  musical  education 
at  Oxford  under  Dr.  Philip  Hayes.     In  1789  h^ 
was  appointed  organist  of  the  parish  church  of 
Ludlow ;  in  1 793  he  took  the  degree  of  Bachelor 
of  Music  at  Oxford  ;  in  1 795  he  was  appointed 
organist  of  Armagh  Cathedral,  which  he  quitted 
in  the  same  year  for  the  places  of  oiganist  and 
master  of  the  choristers  of  St.  Patri^'s  Cathe- 
dral and  Christ  Church,  Dublin.    In  1798  the 
Irish  rebellion  led  him  to  resign  his  appointments 
and  return  to  England,  where  he  soon  afterwards 
became  organist  and  master  of  the  choristers  of 
Trinity  and  St.  J(^'s  Colleges.  Cambridge.    In 
the  foHowing  year  Le  took  the  degree  of  Doctor  of 
Music  at  Cambridge,  and  in  18 10  was  admitted 
€ui  eundem  at  Oxfiwd.    He  assumed  the  name  of 
Whitfeld,  in  addition  to  his  paternal  name  of 
Clarke,   on  the  death  of  his  maternal   uncle, 
Henry  Fotheriey  Whitfeld.    In  i8ao  he  resigned 
his  appointments  at  Cambridge  for  those  of  or* 
ganist  and  master  of  the  choristers  of  Hereford 
Cathedral,  and  on  the  death  of  Dr.  Hague,  in 
i8ai,  he  was  elected  Professor  of  Music  in  the 
University  of  Cambridge.    In  1833,   in  conse- 
quence of  an  attack  of  paralysis,  he  resigned  his 
appointments  at  Hereford.    He  died  at  Holmer, 
near  Hereford,  Feb.  a  a,  1836,  and  was  buried  in 
the  cloisters  of   Hereford  Cathedral,  where  a 
mural  tablet   is  erected   to  his  memory.     Dr. 
Clarke -Whitfeld's  compositions  consist  of  Cathe- 
dral Services  and  Anthems  (published  in  four 
vols,  in  1805  and  subsequently),  '  The  Crucifixion 
and  the  Resurrection,'  an  oratorio,  and  numerous 
glees,  songs,  etc.    He  edited  a  collection  contain- 
ing thirty  anthems  from  the  works  of  various 
composers.    Amongst  the  many  works  arranged 
by  him  for  voices  and  pianoforte  his  edition  of 
several  of  Handel's  oratorios  and  other  pieces 
must  not  be  forgotten,  as  being  the  first  of  that 
author^  works  so  treated.  [W.  H.  H.] 

CLASSICAL  is  a  term  which  in  music  hsM 
much  the  same  signification  as  it  has  in  liter- 
ature. It  is  used  of  works  which  have  held 
their  place  in  general  estimation  for  a  consider- 
able time,  and  of  new  works  which  are  gener- 
ally considered  to  be  of  the  same  type  and  style. 
Hence  the  name  has  come  to  be  especially  ap- 
plied to  works  in  the  forms  which  were  adopted 
by  the  great  masters  of  the  latter  part  of  the 
last  century,  as  in>trumental  works  in  the  sonata 
form,  and  operas  eonstructed  after  the  received 


1 


«« 


.GLASSIQAL. 


traditioni ;  and  in  this  sense'  the  term  vftm  lised 
as  the  (^iK>8ite  of  '  romantic/  in  the  controversy 
between  the  moAicians  who  wished  to  retain 
absolutely  the  old  forms,  and  those,  like  Schu- 
mann, who  wished  music  to  be  developed  in  forms 
which  should  be  more  the  free  inspiration  of  the 
composer,  and  less  restricted  in  their  systematic 
development.    [See  Romantic]       [G.  H.  H.  P.] 

CLASSICAL  HABMONISTS.  See  Choral 
Harmonists. 

CLAUDINE  VON  VILLABELLA.  Drama 
by  Goethe,  music  by  Schubert ;  composed  in 
1815  but  not  performed.  The  first  Act  alone 
survives,  and  is  now  in  the  library  of  the  Gesell- 
schaft  der  Musikfreunde  at  Vienna;  the  other 
Acts  were  burnt  by  accident,  with  those  of  the 
'Teufels  Lustschloss.'  It  is  dated  at  beginning 
and  end  July  26  and  Aug.  5.  On  Nov.  iK 
Schubert  was  at  work  on  another  opera.         [G.] 

CLAUS,  WiLHKLMiKB,  one  of  the  eminent 
pianists  of  our  time,  daughter  of  a  merchant, 
bom  at  Prague  Dec.  13,  1834.  She  received  her 
musical  education  at  the  f^ksch  Institute  at 
Prague,  and  in  1849  made  her  first  concert  tour, 
exciting  great  attention  both  at  Dresden .  and 
Leipsic  (1850).  Nevertheless,  she  lived  almost 
unnoticed  in  Paris  for  nearly  a  year,  although 
Berlioz  interested  himself  much  in  her  &vour. 
She  announced  a  concert,  but  it  was  postponed 
on  account  of  her  mother's  death.  Being  now 
a  total  orphan,  she  was  kindly  received  by  the 
singer  Muie.  Ungher-Sabatier,  and  in  the  follow- 
ing year  her  claims  were  acknowledged  in  Paris. 
From  thence  her  fame  spread  through  Europe; 
she  gave  concerts  in  Paris,  London,  and  Ger- 
many, receiving  everywhere  tributes  of  the 
wannest  admiration.  She  was  in  London  in 
1852,  and  sgain  in  1871.  She  married  (1857) 
the  author  Friedrich  Szarvady,  and  now  lives 
in  Paris,  seldom  appearing  in  public.  Her  reper- 
toire mainly  consists  of  the  works  of  Scarlatti, 
Bach,  and  Beethoven,  and  it  is  upon  her  execu- 
tion of  these  that  her  great  reputation  is  founded. 
Her  chief  gift  is  the  power  of  penetrating  into 
the  spirit  of  the  work  she  executes;  her  con- 
scientiousness is  great,  and  she  rejects  all  arbi- 
trary interpretations,  no  matter  how  ingenious 
they  may  be.  In  this  respect  she  worthily  ranks 
with  Madame  Schumann.  Still  Madame  Szar- 
vady has  a  strong  and  romantic  individuality, 
which  used  to  be  very  charming.  [A.  M.] 

CLAVECIN.  The  French  name  for  a  harpsi- 
chord, derived  from  davicymbalum.  According 
to  M.  VioUet  Le-Duc  (Dictionnaire  du  Mobilier 
Fran^ais,  1872)  the  clavecin  superseded  the  psal- 
tery in  France  some  time  in  the  i6th  century. 
[See  Habpsiohosd  and  Psaltert.]     [A.  J.  H.] 

CLAVICEMBALO.  One  of  the  Italian  names 
for  a  harpsichord,  and  the  most  used.  It  is  de- 
rived frt>m  clavis,  a  key,  and  cembalo,  a  dulcimer 
or  psaltery.  Other  Italian  names  for  this  instru- 
ment are  graviceinbalo  (a  phonetic  variation 
caused  by  the  interchange  of  r  with  I)  and  hurp- 
icordo,  from  which  comes  our  '  haipsichord.'  [See 
Cembalo,  and  Harpsioaord.]  [A.  J.  H.] 


CLAVICKOBD. 

CLAVICHORD  (Ger.  Clatuhord  ae  Clavier, 
It.  Clavicordo),  a  stringed  instrument  with  keys. 
In  German  the  name. has  been  limited  to  that 
keyed  stringed  instrument,  the  tones  of  which 
were  produced  by  '  tangents ' ;  while  the  oooe 
synonymous  term  CUivier  became  tnuisfexTed  ta 
the  successor  of  the  clavichord,  the  square  piaao- 
forte.  In  Italian,  clavieordo  may  fonneriy  have 
meant  any  keyed  instrument  wiUi  atringa,  whe- 
ther the  tones  were  produced  bj  tangents  or 
'jacks.*  Existing  specimens  of  Italian  make 
have  jack  actions,  and  would  be  oorrectly  de> 
signated  in  EngUsh  as  virginals.  The  FrHkch 
have  done  without  this  appellation  altogethe , 
and  perhaps  without  the  tangent  instmmeot  it- 
self, unless  it  was  included  with  the  manirhnrd 
or  monochord.  The  Clavecin  (It.  CJavictmbaio, 
£ng.  Harpsichord)  had  a  jack  action,  differing 
from  the  clavichord  in  the  means  by  which  it 
produced  the  sound,  and  in  its  musical  effect.  Hie 
French  translation  of  the  '  Wohltemperizie  Cla- 
vier* or  well-tuned  clavichord,  of  J.  S.  Bach,  hf 
*le  Clavecin  bien  temper^,*  is  therefore  inaccc- 
rate,  inasmuch  as  it  conveys  rather  the  ides 
of  the  rigid  harpsichord  or  spinet  than  tkat  cf 
the  gentle  and  intimate  clavichord.  In  KngUn^ 
and  Scotland  during  the  Tudor  period,  freqneoi 
mention  is  found  in  contemporary  reoords  of  the 
davichord,  darichord,  and  monochord  (see  Biia- 
baulVs  '  Pianoforte,*  i860) ;  all  three  names  aeem- 
ing  to  be  shared  by  one  instrument,  and  thsl 
most  probably  the  true  clavichord — for  the  vir- 
ginal also  appears  at  that  time.  Wzitera  on  tia 
subject  have  followed  each  other  in  aastuning  s 
gradual  progreaiy  and  stating  that  either  the 
clavichord  or  the  clavicytherium  was  the  finl 
in  order  of  time,  of  a  series  of  keyed  instramentB 
that  included  the  virginal  wad  ^linety  and 
culminated  in  the  clavicembalo  or  wing-ahi^>ed 
harpsichord.  But  on  this  we  are  quite  in  the 
dark,  for  the  earliest  dependable  mentian  of  the 
clavichord  (Eberhard  Cersne's  'Rules  of  die 
Minnesingers,'  a.d.  1404)  includes  with  it  tfe 
monochord  and  the  davioembalo.  No  £ngiisfc 
clavichord,  as  distinct  from  a  vii^ginal,  being  in 
existence,  unless  in  the  lumber-room  of  aome  oid 
country-house,  we  will  confine  our  attention  to  the 
German  clavichord,  to  avoid  an  endless  oonfusiGB, 
from  different  names  having  been  firequoiilv 
given  to  one  instrument^  while  one  name  hm 
been  as  often  attached  to  different  instruments; 
even  musical  authorities  having  failed  to  observe 
the  desirability  of  accurate  definition. 

In  shape  the  clavichord  has  been  followed  bj 
the  square  pianoforte,  of  which  it  was  the  pt%3»- 
type  (Fig.  i ).  The  case  was  oblong  and  was  placed 
upon  a  stand  or  legs.  The  length,  aooording  to 
the  compass  and  pmod  of  oonstructiony  was  firoa 
four  to  five  feet;  the  breadth  less  than  twv 
fJBet;  the  depth  of  case  five  to  seven  inches.  The 
keys  were  in  finont,  and  extended  beneath  the 
sound-boaid  to  the  back  of  the  case;,  ea^  bang 
balanced  upon  a  wire  pin,  and  prevented  from 
rattling  against  its  neighbour  by  a  small  piece 
of  whalebone  projecting  from  the  kej  and 
sheathed  in  a  groove  behind  (Fig.  2).    The  lows 


CLAVICHOBD. 

cntnr*]  keys  wen  umklly  bkck,  uid  the  upper 
ir  duwoatie.  white.  In  Italy  and  Ibe  Nethei^ 
had!  the  pmctice  ma  the  nrene.  The  (tringi, 
it  tioc!}'' drawn  bram  wire,  were  itretiched  nearlr 
Is  the  directicn  of  Che  length  of  the  case,  but  with 
1  biu  (owaids  the  back.  On  the  right  of  the 
fityei  were  faiaerted  in  the  aoUDd-boarH,  atrength- 
mei  m  the  under  v<le  b;  a  >lip  of  oak  to  receive 
Ihtm.  tite  wieat  or  tuning-piiu  round  which  tbe 
Sriigi  wve  tautened,  while  at  the  haiA  and 
pinljalonff  the  left-hand  aide  of  the  case,  tbe; 
•ere  attaehad  by  Doall  eyes  to  hitch-pini  of 
itecka  win.  On  the  right  hand  the  rtring*  reeled 
epn  a  curved  bridge,  pinned  to  fix  their  di- 
lution, and  amdocting  their  ■ound-wai'ea  to  the 
■nnd-boud.  a  flat  lurfiH*  of  wood  beneath,  er- 
bsding  partly  oyta  the  imtniment  and  frequently 
ttned  with  a  loimd-hole  cot  ai  a  na 


-CLAVICHORD. 


»7 


other  ornamental  derloe— often  the  initiali  of  the 
m^er's  name.  Nearly  at  the  back  of  each  key. 
in  an  upright  podtion,  wai  placed  a  amall  braaa 
wedge  or '  tangent '  (()  aboat  an  inch  high  and  an 
eighth  of  an  inch  broad  at  the  top  (  Fig.  3).  The 
tangent,  when  tbe  key  was  pat  down,  roea  to 
the  string  and  preanng  it  upward*  «et  it  in 
vibration.  With  a  good  touch  tlie  player  oould 
feel  the  elaaticitj  of  the  itring,  and  the  more 
this  waa  felt  the  better  the  inatrument  waa 
mnaidered  to  be.  By  the  preasure  of  the  tangent 
tbe  string  waa  divided  into  two  unequal  leugtha, 
each  of  which  would  have  vibrated,  but  the 
ahorter  waa  instantly  damped  by  a  narrow  band 
of  cloth  interlaced  with  the  etriogs,  which  alio 
damped  the  longer  tection  directly  the  player 
'  the  key  to  rise  and  the  tangent  to  All. 
tiiUB  not  tody  produoad  the  tone* 


«*  ^u; 

W  aomethi 


bM  KTml  as  a  •eoond  bridge  to  meMora  oS  the 
"•"••inglrngtha  required  for  the  pitch  of  the 
"~  ~    a  delicate  tone  waa  obtained  that 

;  in  it  charmingly  heaitaUog  or 
tone    although    very    weak,    yet 

:e  tiie  harpeichard  or  apinet,  of 
""f^  sad  decreaae,  reflecting  the  fintat  and 
■Ml  lender  grwlationi  of  the  touch  of  the  player. 
™  in  this  power  of  eipreasion  without  a  rival 
mtC  the  pianoforte  waa  Invented.  To  ean 
"™*i»i«d  to  the  pianoforte,  the  'blocking' 
"™i  imepatabla  from  the  claviohord  tone 
n^  »«in  a  disadvantage.     A  pianoforte,  out 

^  Uio  strings,  would  however  give  a  very 
?^|ee«nM  and  disagreeable  notioD  of  this 
■""ml  PKuliarity  of  the  clavichord.     Koch, 


I 
in  hia  Mufdcal  Leiioon,  deacribea  the  cUvichord 
as  '  Labul  dee  Dulders,  und  dee  Frohsinns  theil- 
nehineodeo  Fround'  (tbe  comfort  of  the  sutferop 
and  the  sympathising  friend  of  cheerfulness). 

Up  to  the  be^nning  of  the  present  century  the 
use  of  the  clavichord  in  Grermany  was  general, 
and  we  are  told*  by  Mr.  Carl  Engel  ('Musical 
Instmmenla,'  eta,,  1874I  that  it  is  frequently  to 
be  met  with  there  to  this  day  in  oountiy  placea. 
It  was  a  favourite  instrument  with  J.  S.  Bach, 
who  preferred  it  to  tbe  pianoforte ;  and  with  hli 
SOD  Emmanuel,  who  wrote  the  'Veivuch  fiber 
die  wahre  Art  das  Klavler  m  spielen,'  an  easay 
on  the  tme  method  of  playing  the  clavichord, 
and  the  basisof  all  succeeding  text-books  of  keyed 
stringed  instrument.  Mattheson  lauded  the 
clavichord  above  the  olavicymbel  or  hsjpsichord. 


^68 


CLAVICHORD. 


Moaart  used  the  clavichopd  now  in  tiie  Mosavieom 
at  Salzburg  in  composing  his  '  Zauberflote  *  and 
other  musterpieoes,  although  in  playing  he  least 
to  the  harpsichord  style.  Beethoven  is  reported 
to  have  said  'among  all  keyed  instrumentB  the 
clavichord  was  that  on  which  one  could  beet 
control  tone  and  ezpfesaiva  interpretation*  (For- 
trag), 

Glaviohords  made  prior  to  the  last  century  had 
ctrings  for  the  lower  or  natural  keys  only ;  the 
Bemitones  on  the  upper  keys  being  produced  by 
tangents  directed  towards  the  strings  of  the 
lower.  Thus  Cf  was  obtained  by  striking  the 
C  string  at  a  shorter  length ;  D|  in  like  manner 
from  the  D  string.  We  are  told  that  in  old 
■instruments  three  and  four  keys  were  often 
sharers  in  one  string.  At  last,  about  the  year 
1725,  Daniel  Faber  of  Grailsheimy  gave  each 
semitone  its  own  string,  and  instruments  so  made 
were  distinguished  as  '  bundfrei'  firom  the  older 
'gebunden.  In  the  clavichords  last  made  there 
were  two  strings  to  each  tangent  and  note,  tuned 
in  unison.  An  admired  effect  of  the  davichcxrd 
was  a  change  of  intonation,  caused  by  a  stronger 
pressure  on  the  key,  which  displacing  a  little  the 
point  of  contact  of  the  tangent,  shortened  the 
vibrating  part  of  the  string  and  made  the  note 
very  slightly  sharper  in  pitch.  Another  special 
grace  was  that  of  repeating  a  note  several 
timee  in  succession  with  varying  power  of 
touch,  a  dynamic  effect  (German  Bdmng)  which 
could  not  be  done  on  the  harpsichord,  although 
Beethoven  sought  to  imitate  it  on  the  pianoforte 
with  the  touch,  aided  by  the  double  shifting 
of  the  soft  pedal,  which  in  his  day  was  usual 
XSonatas,  Op.  106  and  no,  Billow's  edition,  1871; 
pp.  53-108).     [Bebuno.] 

The  early  history  of  the  clavichord  previous 
to  the  15th  century,  tc^ether  with  that  of  the 
chromatic  keyboard — a  formal  division  at  the 
very  foundation  of  modem  music — ^rest  in  pro- 
found obscurity.  We  are  still  free  to  regard  our 
keyboard  as  an  invention  sprung  complete  from 
the  brain  of  some  one  mediseval  musician,  or  as 
tlie  result  of  gradual  contrivances  due  to  the 
increasing  requirements  of  many.  The  small 
evidence  that  can  be  adduced  favours  the  latter 
notion. 

However,  the  keyboard  vrith  its  &miliar 
division  into  seven  long  and  five  short  notes, 
was  not  designed  to  bring  within  the  limits  of 
the  octave  the  theoretical  circle  of  fifths;  the 
short  notes  or  semitones  were  long  used  *per 
fictam  musicam,'  and  not,  like  the  seven  naturals, 
as  practical  starting-points  for  scales.  It  was 
not  until  the  epoch  of  J.  S.  Bach  that  the  semi- 
tones gained  equal  privileges  with  the  naturals. 
Again,  our  chromatic  keyboard  was  not  suggested 
by  the  'chromatic'  genus  of  the  Greeks,  a  totally 
different  idea.  The  problem  really  solved  by  it 
was  that  of  the  transposition  of  the  church  tones, 
a  series  of  scales  on  the  natural  keys  employing 
each  in  succession  as  a  starting-point.  The  first 
and  Seventh  were  consequently  nearly  an  octave 
apart.  Bearing  in  mind  that  some  of  the  Latin 
hymns  embraced  a  compass  of  twelve  or  thirteen 


CLAVICBOBB. 

'  Botes, it'is  evident  that  wdinaiy  veiees oould nok 
sing  them  or  even  those  of  lass  extent,  vithout 
oonceasion  in  pitch.     Arnold  Schhck  ('Spiegel 
der     Ozgelmadier     und    Oiganisten,'   Mainz, 
1 511)  gives  several  instances  of  neoessvy  tni» 
position,  which  were  only  possible  by  tbeiueitioB 
of  the  semitones  between  the  naturals,  h  evea 
then  it  was  a  law  that  the  interval  of  an  oetart 
should  be  grasped  by  the  hand,  the  broader  keii 
of  the  older  organs  having  been  aboUsbed.  % 
this  insertion  of  the  semitones  they  became  tis 
willing  guides  to  the  cadenoea;   the  6|  alooe 
being  doubtful  on  account  of  the  *  wolf'  in  touog. 
Schlick  in  his  chapter  on  tuning, — in  vrhick  he 
includes  the  clavichord  and  clAvizymmel  (dan- 
cembalo),  the  symphonia»  a  smaller  keyed  instni- 
ment,  lute,  and  harp — says  that  the  semitaDs 
could  not  be  rightly  tuned  or  brought  into  concord. 
But  he  names  all  the  semitones  we  now  nse,  lad 
speaks  of  double  semitones  having  been  tried  is 
the  organ  twelve  years  before   (I499)»  vhidi 
failed  through  the  difiBculty  of  playing. 

Yirdung,  a  priest  at  Basel,  who  published  his 
*  Musica  getuscht  und  ausgezogen*  ako  in  151 1, 
(afterwards  translated  into  Latin  as  'Miisingi&. 
seu  Praxis -Musicae,'  Strasburg,  153^)  '^  ^ 
oldest  authority  we  can  specially  refo*  to  ab»3t 
the  clavichord.  The  next  in  order  of  ^e,  bet 
a  hundred  years  later,  is  Praetorius  ('Syntagna 
Musicum,'  1614-18).  We  are  told  by  him  tia; 
the  earliest  clavichords  had  only  twenty  k^  i^ 
genere  cHatonico,  with  two  black  keys  (Bj),  *> 
there  were  not  more  than  three  semitoaies  it 
an  octave ;    like  the  scale  attributed  to  Goido 

'  d'Arezzo,  the  full  extent  of  which  would  bre 
embraced  11  keys  in  all — 


t 


j-'rrrrrT^rr^^^^,,^ 


but  Praetorius  gives  no  nearer    indication  d 
the  compass,  and  of  course  none  of  the  pitdL 
[Hexaohord.]     But  in  Virdung's  time  thi3t 
were  thirty-five   keys   or    more;,   starting  frc^ 
the  F  below  the  haaa  stave  and  embradng  ^ 
complete  system  of  half-tones ;   and  in  ^  « 
Praeburius  four  octaves,  which  was  still  the  asi 
:#:       compass  when  J.  S.  Bach  vn^ 
A,^         fi-^=\    the   'Wohltemperirte  Clavia; 
1   ^f-^^    By  the  end  of  the  i8tb  cestar 
S^*^^  five  octaves  were  attained.  Woe- 

ker  vonGrontershausen  ('  Der  Clavierfaan,^  Fnak- 
fort,  1870)  endeavours  to  find  a  solution  to  ^ 
keyboanl  problem  by  starting  from  the  Bb  ^dcW 
to  the  Btof  the  earliest  clavichorda,  and  asnsi^ 
the  gradual  introduction  to  the  ke3Fboard  ^ 
other  semitones,  until  the  twelve  in  the  octtn 
were  complete,  an  achievement  he  attributed  y. 
Zarlino  (1548).  Welcker  describes  the  0^ 
clavichord  he  had  met  with  as  bearing,  in  'h 
sound -hole,  the  date  1520 ;  and  through  the  i^ 
octaves  of  this  instruihent  the  notes  DS  aad^y 
were  wanting  1  But,  after  the  evidence  of  Vs- 
dung,  either  Herr  Welcker  had  miBiead  the  date 
or  the  instrument  had  been  made  after  so  (^ 
solete  pattern ;  yet  this  solitary  inatanoe  Tsosscsi 


CLilVICHOBD. 

d  an  inoomplete  dmmuitio  oompaH  may  be  as 
the  lait  word  praaervod  of  a  foi^ttezi  language, 
or  the  last  peak  above  the  water-line  of  a  sub* 
Doged  ifllaad.  The  statement  of  the  comple- 
tkn  of  the  <diromatic  aoale  by  Zarlino  fiiJlB  to 
the  groond,  and  moreoyer,  according  to  Praetoriua, 
the  organ  at  fialberitadt^  built  about  1360,  had 
in  twenty-two  notes  a  complete  chromatic  scale. 
Dr.  Bimbanlt  (UistoiET  of  the  Organ,  1870)  re- 
girds  this  as  the  earliest  authentic  aoooont  of 
ft  keyboard  with  half  tones. 

lieie  is  great   probability  that   the  Greek 

suDOcbord,   a  string   stretched   over   a   sound- 

beard,  and  measured  off  into  vibrating  lengths 

hy  bridges,  was  a  stepping-stone  to  the  invention 

gf  the  davichord.     Used  for  centuries  in  tiie 

Church  to  initiate  the  singers  into  the  mysteries 

of  (he  eight  tones,  it  must  a^  last  have  seemed 

more  oonTenient  to  dispense  with  shifting  bridges, 

and  at  the  points  of  division  to  adjust  fixed 

bridges  raised  by  an  apparatus  iiQitated  from  the 

keys  of   the  organ,  to  pre«s  the   strings   and 

prjdaoe  the  notes  required.    This  would  be  an 

elementary  clavichord  action,  and  may  account 

fordavichords,  and  harpsichords  too,  being  styled 

moDOohords  in  the  15th  and  i6th  centuries,  and 

eren  as  late  as  the  i8th  (D.  Scoipione,  'Bifles- 

aone  armoniehe*;  Naples,  1701).    The  earliest 

notice  of  a  monochord  among  musical  instrunxents 

is  to  be  found  in  Wace's '  Brut  d' Angleterre*  (circa 

U).  1 1 1 5), '  Symphonies,  psalt^ons,  monaehordes.' 

Heir  Ambros  ('Geschichte,'  1864,  vol.  ii.^  p.  199)* 

from  the  silenoe  of  Jean  ^  Muris  as  to  tiie 

davichard,  though  repeatedly  enumerating  the 

sainged  instruments  in  use  ('Musica  Speioula- 

tiTs',  1323),  infers  that  it  did  not  then  exist,  and 

from  tbjs  and  other  negative  evidence  would 

pUoe  the  epoch  of  invention  between   1350- 

1400.    De  Muris  refers  to  the  monochord  with 

a  angle   string,    but  recommends   the    use  of 

doe  with  four  strings,  to  prove  intervals  not 

prerioosly  known.    These  four  strings  were  the 

indiceB  to  the  eight  church  tones.    Dr.  Rimbault 

('Hie  Pianoforte,'  p.  36)  has  been  deceived  in 

quoting  fiom  Bohn's  edition  of  Sismondi  the 

well-known  advice  to  a  jongleur  by  Guiraut  de 

GabDBOQ  (died  aj>.  laii).    It  is  there  stated 

that  the  jongleur  should  play  on  the  dtole  and 

msDdoro,  and  handle  the  cUiriekcrd  and  guitar. 

Beferanoe  to  the  original  (Paris  MS.  La  Valli^re, 

No  14,  foRtierly  2701),  confirms  the  dtole  and 

nandora,  but  instead  of  *Glarichard*  we  find 

'MsDioorda  una  corda,*  doubtless  a  simple  mono- 

ehord,  for  in  the  *  Roman  de  Flamenca'  we  find 

'I'autr'  aooorda  lo  sauteri  ab  manicorda*   (the 

other  tune  the  psaltery  to  the  monochord).    In 

the  *  XHcAionnaire    ^tymologique,'   Paris,   1750, 

'nanioQrdion '  is  rendered  by  monodiord.    Citole 

■nd  masdore  are  also  ihezp,  but  not  davichord. 

Ab  to  the  etymology  of  davichotd :  .the  word 
dome,  key,  in  the  solzpisation  .system  of  Guido 
S^KBOf  was  used  for  note  qr  tone,  and  thus  the 
^om  was  the  '  key*  to  the  musical  sound  to  be 
Tvoduoed.  The  ctoves  were  described  by  alpha- 
Mticsl  letten,  and  those  occupying  coloured 
linesi  as  F  on  the  red  and  0  on  the  yellow,  were 


CLAY. 


969 


clavM  nanaJUUt  the  origin  of  our  modem  defik 
When  the  simple  monochord  gave  place  to  an 
instrument  with  several  strings  and  keys,  how 
easy  the  transference  of  this  figurative  notion 
of  clavet  from  the  notes  to  the  levers  producing 
them  1  Thus  the  name  Olavichord,  from  clavit, 
key,  and  chorda,  string,  would  come  very  na- 
turally into  use.  (Heir  Ambro^  '  Greschichte  te 
Musiky'  vol.  ii.,  Braslau,  ^864). 

According  to  Fischhof  (Versuch  einer  Ge« 
Bchichte,  etc.,  1853),  Lemme  of  Brunswick,  Wil; 
helmi  of  Cassel,  Vensky,  Horn  and  Mack  of 
Dresden,  BSid  Kramer  of  Gottingen,  were  re- 
puted in  the  last  century  good  clavichord 
makers.  Mr.  Engd  quotes  the  prices  of  Lemme*s 
as  having  been  finom  three  to  twdve  louis  d*or 
each  ;  Kramer^s  from  four  to  fourteen,  according 
to  size  and  finish.  Wilhdmi  chaiged  finom  twenty 
to  fifty  thalers  (£3  to  £7  lOf.).  [A.  J.BL] 

CI^VICYTHERIUM.  An  upright  instro- 
ment  allied  to  the  horizontal  harpsichord  and 
spinet,  but  concerning  which  of  all  that  tribe  we 
have  the  least  evidence.  Mr.  Carl  Engd  (De- 
scriptive Catalogue,  J 874),  surmises  that  'a  pair 
>  of  new  long  virj^nalls  made  haip  fashion  of  dpres 
with  keys  of  ivory,*  mentioned  in  the  inventory 
of  Eling  Henry  YIITs  musical  instruments,  was 
a  davicytherium.  He  goes  on  to  say  that  this 
instatiment  had  a  stop  or  register  to  cause  the 
strings  to  be  twanged  by  smaU  brass  hooks^ 
whereby  a  quality  of  tone  like  that  of  the  harp 
was  produced,  and  hence  the  name  'Aipichord,* 
by  which  Prsetorius  (Syntagma  Musicum;  Wolf- 
enbiittel,  1619)  describes  a  davicytherium.  j^See 
J^ABPSICHOBD.]  [A.J.H.] 

CLAVIER.  In  Frendi,  a  keyboard  or  set  of 
Iceys  of  an  organ  or  pianofoite ;  Italian  ToMkt' 
tura ;  in  Grerman  expressed  by  CUmeiivir  or  Tas' 
tatur.  Clavier  in  German  is  a  pianoforte,  spedaJly 
a  square  pianoforte,  the  prototype  of  which  is  Htd 
davichord,  having  borne  the  same  name.  [Clavi* 
OHOBD,  Kbtboabo,  Pianofobtb.]         [A.J.H.] 

CLAY,  Fbedebio,  son  of  James  Clav,  M.P. 
for  Hull.  Bom  Aug.  3,  1840,  in  the  Rue 
.Chaillot,  Paris;  educated  in  music  entirdy 
by  Molique,  with  the  exception  of  a  short 
period  of  instruction'  at  Ldpzig  under  Haupt- 
mann.  Mr..Clay*s  compositions  have  been  almost 
wholly  for  the  stage.  After  two  small  pieces 
for  amateurs,  'The  Pirai(e!s  Ide*  (1859)  and 
'Out  of  sight*  (i860),  he  made  his  public  d^ut 
in  1862  ait  Govent  Garden  wi^  'Court  and 
Cottage,'  libretto  by  Tom  Taylor,  lliis  was 
followed  by  'Constance'  (1865),  by  'Ages  ago* 
(1869),  'The  Gentleman  in  Black*  (1870), 
'Happy  Arcadia*  (1872),  'Cattarina'  (1874% 
'Princess  Toto,*  and  'Don  Quixote*  (both  1875). 
In  addition  to  these  Mr.  Clay  wrote  part  of  the 
music  for  'Babil  and'  Bijou*  and  tne  'Black 
•Crook*  ('both  1872),  and  inddental  music  to 
'Twelfth  Night*  and  to  Albery's  'Oriana.'  He 
has  also  composed  two  cantatas,  'The  Knights 
oftheCross' (1866)  and  '  Lalla  Rookh,*  produoed 
with  great  success  at  the  Brighton  Festival  in 
February  1877 ;  and  not  a  few  separate  songt. 


tr% 


OLAY. 


In  ikQ  hii  works  Mr.  dagr  shows  %  imttiral 
jpiift  of  gr»oeful  melody  and  ir  feeling  for  rich 
narmonio  colouring.  Although  highly  sucoessfol 
in  the  treatment  of  dramatic  masioy  it  is  probable 
Ihat  his  songs  will  give  him  the  most  lasting 
Aune.  'She  wandered  down  the  mountain  side/ 
<Long  ago,'  and  'The  sands  of  Dee,'  amcmg 
ty^erSy  are  poems  of  great  tenderness  and  beauty, 
and  not  likely  to  be  soon  forgotten.  [S.] 

CLAYTON,  THOirAS,  was  one  of  the  king's 
l)and  in  the  reign  of  William  and  Mary.  He 
went  to  Italy  for  improvement.  On  his  return 
he  associated  himself  with  Nicola  Francesco 
fia3rm  and  Charles  Dieupart,  both  excellent  mu- 
cioians,  in  a  speculation  for  the  performance  of 
musical  pieces  at  Druiy  Lane  Theatre.  Clayton 
liad  brought  with  him  from  Italy  a  numbw  of 
Italian  songs,  which  he  altered  and  adapted  to 
the  words  of  an  English  piece  written  by  Peter 
Motteuz,  called  '  Aninoe,  Queen  of  Cyprus,'  and 
Inrought  it  out  in  1705  as  an  opera  of  his  own 
composition.  Elated  by  his  success  he  proceeded 
'to  set  to  music  Addison's  operas,  'Rosamond,* 
which  was  perfonned  in  1707  and  completely 
exposed  his  incapacity.  The  speculation  however' 
continued  to  be  carried  on  until  1711,  when  the 
Italian  opera  being  firmly  established  in  the 
Haymarket,  the  managers  of  Drury  Lane  Theatre 
determined  to  discontinue  the  production  of  mu- 
tiical  pieces.  Clayton  and  his  colleagues  then 
MAYS  concerts  at  tne  Music  Boom  in  York  Build- 
mgs,  and  John  Hughes,  the  poet,  having  at  the 
request  of  Sir  Richard  Steele,  altered  Dryden's 
'Alexander's  Feast,*  it  was  set  to  music  by 
Clayton  and  performed  there  on  May  34,  1711, 
in  conjunction  with  'The  Passion  of  Sappho,'  a 
poem  by  Harrison,  also  set  by  Clayton.  Both 
iftiled  from  the  worthlessness  of  the  music,  and 
have  long  since  sunk  into  oblivion ;  but  copies  of 
some  of  his  operas  which  were  printed  testify 
'to  Clayton's  utter  want  of  merit  as  a  com- 
poser. [W.H.H.] 

CLEF  (Ital.  Chiare,  from  the  Lat.  Clavis; 
Grer.  ScklUesel),  i.  e.  key,  the  only  musical  cha- 
racter by  which  the  pitch  of  a  sound  can  be 
iibsolutely  represented.    The  clefs  now  in  use  are 

^^^^^^     IMI     Jl    mm^a  ^S^  These  severally  repre- 
only—  IRI'   g)'  •^  ^   sent  the  sounds  known 

as  middle  C  (of  the  pianoforte),  the  G  a  fifth 
above  it,  and  the  F  a  fifth  below  it.     Two  other 

cle&,  severally  represent-  Jf  and  the  G,  a  ^j^v. 
ing  the  D,  a  fifth  above  ^'  seventh  below  ^' 
have  been  long  obsolete.  From  the  last  of  these, 
r,  the  Greek  gamma,  which  represents  the  lowest 
sound  of  the  musical  system,  is  derived  the  word 
^amtU,  still  in  use. 

The  following  tables  (from  Koch's  Musikal- 
isches  Lexicon)  will  show  that  the  three  cle& 
now  in  use  are  but  corruptions  of  old  forms  of 
the  letters  C,  G,  and  F :— 

tl|:|Kc=IHl;       <§  =  ^; 
f  ?  ;  4i  =  @. 


CLSGO. 

One  or  other  of  these  duiaeten,  placed  <a 
one  or  other  of  the  lines  of  a  stave,  indicated, 
and  still  indicates,  the  name  and  pitdi  of  the 
notes  standing  on  that  line,  and  by  inferenoe 
those  of  other  notes  on  lines  and  ^>aoes  above 
and  below  it. 

The  stave  which,  at  various  times  and  fcr 
various  purposes,  has  oonsisted  of  various  niui- 
bers  of  lines,  consists  now  oommonly  of  fire. 
[Stave.]  On  any  one  of  these  each  of  the  three 
clefs  might  be  (almost  everyone  has  been)  plaoei. 
In  the  following  examples  they  oocupy  tiie  posi- 
tions in  which  they  are  now  most  oomBunhr 
found : — 


* 


i 


i 


ss 


Only  however  in  its  relation  to  tlie  stave  of 
five  lines  can  a  def  be  said  with  truth  to  chsogc 
its  place.  On  the  Great  Stave  of  Elevein  Is^ 
[S^avb]  the  clefs  never  change  their  places ;  but 
any  consecutive  set  of  five  lines  can  be  eelectefl 
from  it,  the  clef  really  retaining,  though  appar 
ently  changing,  its  place : — 


11- 


a 


==.it» 


mm 


5- 


C 


From  the  above  it  wUl  be  seen  that  wha 
notes  are  written  '  in  the  tenor  clef*  (mere 
properly  '  on  the  tenor  stave*)  they  are  written 
on  the  3rd,  4th,  5th,  and  6th  Unee  of  the  'gm: 
stave'  of  eleven ;  that  when  written  '  in  the  alto 
clef  they  are  written  on  the  4th,  5  th,  6th,  ;t]L 
and  8th  lines  of  this  great  stavo ;  and  when  *'m 
the  soprano  clef  on  the  6th,  7th,  8ih,  and  QitL 

The  more  familiar  'bass  and  treble  staves' 
consist  severally  of  the  lowest  and  the  hjghes 
five  lines  of  the  great  stave  :-— 


11; 

»■ 

SI 


h 


In  early  musical  MSS.  two,  and 
(defe  are  sometimes  found  on  the  same 
would  be  in  no  way  inconsistent  with 
theoiy,  and  indeed  might  be  ctuvenient  in  boota 
of  inrtruction,  so  to  place  them  now  :^ 


# 


[j.h: 

CLEGG,  John,  a  distinguiiSied  violins^ 
was  bom  in  1714,  probably  in  Irehmd.  He 
appears  to  have  been  a  pupil  of  Dubumir  A 
Dublin,  and  afterwards  of  BononcmL  Wlea 
only  nine  years  of  age  he  perfonned  in  Lond^ 
in  public  a  concerto  of  Vivaldi,  and  alierwank 
gained  an  eminent  position  in  the  nnuocal  ytp- 
fession,   surpassing;  according  to  oontemposxr 


CLEQ6. 

vriten,  every  otSier  player  in  England  In  tone 
tnd  execatMm.  in  1742  hxnrever,  owing  proba- 
Uj  to  exoeerive  practioe.  he  became  ineaDe,  and 
iM  confined  in  Bedlam  Hospital,  where,  as 
Bone  J  zelates,  '  it  was  longafathionable,  though 
jnhaman  amaeement,  to  viait  him  there,  among 
9ther  lonatiGB,  in  hopes  of  being  entertained  by 
Us  fiddle  or  his  foUy.  Clegg  appears  also  to  have 
been  a  composer  for  his  instmment,  bat  no  work 
ifhia  has  oome  down  to  us.  [P.  D.] 

CLEMENS  NOK  PAPA,  the  sobriqnet  of 
Jsoqnos  dement,  one  of  the  most  renowned 
moactaDS  of  the  1 6th  oentury.     He  was  bom 
m  Flanders,  and  succeeded  Gombert  as  chief 
Cbipel-master  to  Charles  V.    Of  the  time  and 
place  of  his  birtii  or  death,  or  of  any  event  of 
his  life,  nothing  is  known.    It  is  probable  that 
he  ipent  wveral  years  in  Italy ;  and  it  is  certain 
that  he  died  before  1558,  since  a   motet  on  his 
death,  by  Jacob  Vaet,  is  contained  in  a  work 
publiabed  in  that  year  ('Novum  et  insigne  opus 
.  .  .'tom.  L  Noribergae,  1558).    Clement  was 
one  of  the  most  pzx>lific  oompoeets  of  his  day. 
This  men,  whose  very  name  is  now  known  only 
to  s  few  curious  students,  was  the  universal 
&Toorite  of  cultivated  Europe,  and  his  works, 
both  sacred  and  secular,  were  printed  and  re* 
printed  in  every  shape,  from  costly  folios  to 
cheap  pocket  editions.    They  formed  the  gems 
of  the  various  collections  puUished  in  Italy, 
Gennany,  Belgium,  and  fVance.    The  sobriquet 
itself  is  a  proof  of  the  reputation  of  the  man, 
Bnoe  it  was  intended  to  distinguish  him  firom 
Pope  Clement  VI,  and  in  one  of  the  chief  col- 
lections of  the  time  he  is  styled  '  Nobilis  Clemens 
Bfli  Papa.*    Some  of  his  works  appeared  in  1 543 
(PfctiB),  others  in  1556-1560.    F^tis  enumerates 
II  masses  uid  9a  motets.     Also  four  books  of 
FlaniBh  psalms  (Souter  Idedekens)  and  one  of 
French  chansons.     Separate  pieces  will  be  found 
in  the   *  liber    primus   Cantionum    sacrarum* 
(LosYain,  1555);  the  'Motetti  del  lAbirinto* 
(Veniee,  1554);    and  the  'Becueil  des  fleurs,* 
etc  (Loovain,   1569).     Commer  has  published 
43  of  his  motets  a^  chansons,  as  well  ss  the 
flemish  psalms  (CoUectio  op.  mus.  batavorum). 
Proske  has  included  three  motets  in  his  '  Musica 
IMvina,^  and  winds  up  a  notice  of  his  life  by 
the  following  remarks: — 'He  seems   to   have 
attempted  all  the  styles  then  known.     He  was 
no  slave  to  counteipoint,  but  for  his  time  pos- 
sessed an  extraordinary  amount  of  melodies  and 
dear  harmony.    No  one  in  his  day  surpassed 
liim  for  tunefulness  and  elegance,  his  melodies 
are  &r  more  fresh  and  pleasing  than  those  of 
lus  oootemporaries,  and  his  style  is  easy,  simple, 
ud  dear.   That  he  often  pushed  imitation  too 
ht  and  neglected  the  due  accentuation  of  the 
text  ia  only  to  say  that  he  belonged  to  the  i6th 
centaiy.*  [G.] 

GLl^MENT,  Felix,  bom  at  Paris  Jan.  13, 
1^23,  ocmposer,  and  writer  on  musical  history 
*Qd  ardueology.  His  meet  important  published 
coopontions  are  choruses  for  Kacine^s  '  Athidie* 
*Bd  *  Eathsr.'    For  several  years  he  contributed 


CLEMENT. 


t7l 


largely  to  Didron's  'Annales  arch^<^<iues,' thus 
preparing  himself  for  his  '  Histoire  g&^rale  de  la 
Musique  religieuse*  (Paris,  1861),  in  which  are 
includied  translations  from  Cardinal  Bona*s  treatise 
'De  divin&  PteknodiA'  and  Formby's  'Gregorian 
chant  compared  to  modem  music.*  He  has  edited 
several  books  of  religious  music  for  the  Boman 
church,  such  as  'Euccdoge  en  musique  sekm 
le  rit  parisien'  (Paris,  1I43  and  1851);  'La 
Paroissien  rouiain'  (Paris,  1854);  and  'Chants 
de  la  Sainte  Chapelle.'  His  '  Methods  oomplite 
de  Plain-CShant*  does  not  contain  anything  new, 
but  is  clear  and  orderly.  His  '  Methods  d'orvne' 
exhibits  a  moderate  kaowledge  of  thorough  baas 
and  fugue.  M.  Clement's  most  useful  compilatioa 
IS  his  '  Dicttonnairs  lyrique,*  a  oonvenient  list 
of  operas  on  the  plan  of  Allacoi*s '  Drammatuzgia,* 
ooaqnled  from  Babault's  '  Dictionnaire  g6a6nl 
des  Th^tres*  and  similar  works,  not  without 
occasional  errors  and  omissions.  Two  supple- 
mentary parts  have  been  issued,  bringing  the 
work  down  to  1873.  He  has  also  published 
'Les  Mustdeiis  e^lbbres  depuis  le  i6^me  siMe* 
(Paris,  1868,  4a  portraits).  [G.C.] 

CLEMENT,  Fbanz,  an  eminent  violin-player, 
was  bom  in  1780  at  Vienna,  where  his  father 
was  butler  in  a  nobleman's  establishment,  snd  at 
the  same  time,  after  the  fashion  of  the  period, 
a  member  of  his  master*s  private  bandL  His 
liather  and  Kurzweil,  the  leader  of  another 
nobleman's  band,  were  his  teachers.  Clement 
began  to  play  the  violin  when  he  was  only  four, 
and  at  the  age  of  seven  made  his  first  successful 
appearance  in  public  at  a  concert  in  the  Imperial 
Opera-house.  He  soon  began  to  travel  with  his 
father,  and  in  1790  came  to  London,  were  he 
gave  very  successful  concerts,  some  of  which 
were  conducted  by.  Haydn  and  Salomon.  He 
also  played  at  Oxford  at  the  second  conoert 
given  in  celebration  of  Haydn*s  installation  as 
I)octor  of  Music.  Having  returned  to  Vienna 
he  was  appointed  Solo-player  to  the  Emperor, 
and  in  1802  conductor  d  the  newly  established 
theatre  'an  der  Wien,'  which  post  he  retained 
till  1811.  From  1812  to  1818  he  travelled  in 
Kussia  and  Germany,  and  then  again  for  three 
vears  eonducted  the  Opera  in  Vienna.  In  i8ax 
he  began  to  travel  with  the  celebrated  singer 
Catalan!,  conducting  her  concerts,  and  also  was 
for  a  short  time  conductor  of  the  Opera  at 
Prague.  He  died  in  poor  ciroumstanoes  at 
Vienna  in  184a. 

Clement  was  not  only  a  remarkable  violins- 
player,  but  an  unusually  gifted  musician.  Some 
eurious  facts  are  reported,  bearing  testimony 
to  his  general  musical  ability  and  especially 
to  his  prodigious  memory.  Spohr,  in  his 
Autobiography,  relates  that  C3ement  after  having 
heard  iwo  rehearsals  and  one  performance  of 
the  oratorio  'The  Last  Judgment,*  remembered 
it  so  well,  that  he  was  able  on  the  day  after  tiif 
performance  to  play  several  long  pieces  from  it 
on  the  piano  without  leaving  out  a  note,  and 
with  all  the  harmonies  (no  email  item  in  a  com- 
position of  Spohr*8)  and  accompanying  passages ; 
and  all  this  without  ever  having  seen  the  soore. 

Bb2 


872 


CLEMENT. 


Similarly  lie  was  Bud  to  have  made  a  piano-BOore 
of  the  '<>eation*  from  memory,  after  having  heard 
the  oratorio  a  few  times,  merely  with  the  help  of 
the  book  of  words,  and  that  his  arrangement  was 
so  good  that  Haydn  adopted  it  for  publication. 
If  Weber,  in  one  of  his  published  letters,  does 
not  speak  highly  of  Clement  as  a  conductor,  it 
must  be  remembered  that  Weber's  criticism  was 
fleldom  unbiassed,  and  that  he  probably  felt  some 
satisfaction  at  Clement's  want  of  success  at 
Prague,  where  he  was  Weber's  successor. 

Clement's  style  was  not  vigorous,  nor  his  tone 
very  powerful :  gracefulness  and  tenderness  of 
expression  were  its  main  characteristics.  His 
teohhicaT  skill  appears  to  have  been  extraordinary. 
His  intonation  was  perfect  in  the  most  hazardous 
passages,  and  his  bowing  of  the  greatest  dex- 
terity. Beethoven  himself  has  borne  the  highest 
testimony  to  his  powers  by  writing  especially  for 
him  his  great  violin-concerto.  The  original 
manuscript  df  this  greatest  of  all  violin-concertos, 
whidh  is  preserved  in  the  imperial  library  at 
Vienna,  bears  this  inscription  in  Beethoven's 
own  handwriting: — ;' Concerto  par  Clemenza 
pour  Clement,  primo  violino  e  Direttore  al 
Theatro  &  Vienne  dal  L.  v.  Bthvn.,  1806.' 
Clement  was  the  first  who  played  it  in  public, 
on  Deo.  33rd.  1806. 

If  we  hear  that  in  later  years  Clement^s  style 
deteriorated  considerably,  and  that  he  yielded  to 
a  lamentable  degree  to  the  temptation  of  show- 
ing off  his  technical  skill  by  the  performance  of 
mere  (our$  de  force  unworthy  of  an  earnest 
musician,  we  may  ascribe  it  to  his  unsteady 
habits  of  life,  which  brought  him  into  difficulties, 
from  which  he  had  to  extricate  himself  at  any 
price.  But  the  tendency  showed  itself  early .  It  is 
difficult  to  bdlieve.  if  we  had  not  the  programme 
still  to  refer  toi,  thsA  at  the  concert  at  which  he 
played  fieethoven's  Concerto  for  the  first  time, 
3ie  alsa  performed  a  set  tff  variations  '  mit  umge- 
kebiter  Violine' — with  the  violin  upside  down. 

He  published  for  the  violin  35  oonoertinos, 
6  concertos,  I3  studies,  a  great  number  of  airs 
▼ari^  and  smaller  pieces.  For  the  piano,  a 
concerto.  For  orchestra,  thi^  overtures.  For 
the  stage,  an  opera  and  the  music  for  a  melo- 
drame.  All  these  works  are  howeyer  entirely 
focgotten.  [PI>J 

GLSKENT,  JOHANV  GsoBa,  whom  Gerber 
calls  dementi;  bom  at  Breslau  about  17 10, 
Knight  of  the  Golden  Spur,  and  Chapel-master 
for  over  fifty  Tfan  ^t  the  church  of  St.  Johann 
in  Breslau.  His  numerous  compositions  for  the 
church  comprise  masses,  offertories,  Te  Deums, 
etc.,  and  a  requiem  performed  at  the  funeral  of 
the  Emperor  Charies  VI  (1743).  None  of  them 
have  been  published.  For  list  see  F^tis.  He  left 
two  sons,  one  at  Vienna;  the  other  first  violin 
at  Stuttgart,  1790,  at  Cassel  1793,  and  after- 
wards Chapel-master  at  Carlsruhe.       [M.  C.  C] 

CLEMENTI,  Muzio,  bom  at  Rome  1753,  died 
at  Evesham  March  9,  1833.  dementi's  feither, 
an  accomplished  workman  in  silver,  himself  of  a 
musical  turn,  observed  the  child's  uncommon 


CLEMEKTI. 

musical  gifU  at  an  early  period,  and  induced  a 
relation  of  the  &mily,  Buroni,  choirmaster  at 
one  of  the  churches  at  Rome,  to  teach  him  the 
rudiments.     In  1759  Buroni  procured  him  lee- 
sons  in  thorough  bass  from  an   oivaidst,  Con- 
dioelli,  and  afW  a  couple  of  years   application 
he  was  thought  suffidently  advanced  to  ccan* 
pete   for  an   appointment  as  organist,   which 
he  obtained.     Meanwhile  his   musical  studies 
were    continued    assiduously;    Carpani   taught 
him  counterpoint  and  Sartarelli  sipging.    When 
barely  14  Clementi  had  composed  several  con- 
trapuntal works  of  considerable   size,   one   of 
which,   a   mass,  was   publicly  performed,  and 
appears  to  have  created  a  sensation  at  Borne. 
An  English  gentleman,  Mr.  Bedford,  or  Beck- 
ford,   with  some  difficulty  induced  Clemcfnti's 
£ftther    to    give    his    consent    to    the    youth's 
going  to   England,   when  Beckford  offered  to 
defray  the  expenses   of  his   further  education 
and   introduce   him   to   the  musical   world  of 
London.    Until  x  770  Clementi  quietly  pursued 
his  studies,  living  at  the  house  of  his  protector 
in  Dorsetshire.    Then,  fiilly  equipped  with  musi- 
cal knowledge,  and  with  an  unparalleled  com* 
mand  of  the  instrument,  he  came  upon  ihe  town 
as  a  pianist  and  composer.     His  attainments 
were  so  phenomenal  tlubt  he  carried  everything 
before  him,   and  met  with   a   most  brilliant, 
hardly  preoedented,  success.    From  1777  to  80 
he  acted  as  cembalist,  i.  e.  conductor,  at  the 
Italian  Opera  in  London.     In  1781   Clementi 
started  on  his  travels,  beginning  with  a  series  of 
conoerts  at  Paris;  from  thence  he  passed,  vii 
Strasbui^  and  Munich,   to  Vienna,,  where  he 
made  the  acquaintance  of  Haydn,  and  where,  at 
the  instigation  of  the  Emperor  Joseph  U,  he 
engaged  in  a  sort  of  musical  oombat  at  the  piano- 
forte with  Mozart.    Clementi,  after  a  shoit  pre- 
lude, played  his  Sonata  in  Bb — ^the  opening  of 
the  fbrst  movement  of  which  was   long  after- 
wards made  use  of  by  Mozart  in  the  subject 
of  the  Zauberfiote  overture— and  followed  it  up 
with  a  Toccata,  in  which  great  stress  is  laid 
upon  the  rapid  execution  of  diatonic  thirds  and 
other  double  stops  for  the  right  hand,  esteemed 
very  difficult  at  that  time.     Mozart  then  began 
to  preludise,  and  played  some  variations;  then 
both  alternately  read  at  sight  some  MS.  sonatas 
of  Paisiello's,  Mozart  playing  the  allegros  and 
Clementi  the  andantes  and  rondos;  and  finallj 
they  were  asked  by  ihe  Emperor  to  take  a 
theme  from  PaisieIlo*s  sonatas  and  accompany 
one  another  in  their  improvisations  upon  it  on 
two  pianofortes.  The  victory,  it  appears,  was  left 
undecided.   Clementi  ever  afterwards  spoke  with 
great  admiration  of  Mozart*s '  singing*  touch  and 
exquisite  taste,  and  dated  from  this  meeting  a 
considerable  change  in  his  method  of  playing: 
striving  to  put  more  music  and  less  mechaniod 
show  into  his  productions.  Mozart*s  harsh  verdict 
in  his  letters  (Jan.  12, 1782 ;  June  7,  1783)  was 
probably  just  for  the  moment,  but  cannot  fiuily 
be   applied  to  the  bulk    of   Clementina  work. 
He   disliked   Italians;    the   p<^ular   prejudice 
was  in  their  favour,  and  they  were  oontiAa* 


CLEMENTI. 

iHj  in  Us  way.-  He  depicts  dementi  as  'a 
BMo  mechanician,  atrong  in  rune  of  thirde,  bat 
vithoai  a  pennyworth  of  feeling  or  taste.'  But 
L  Berger,  one  of  Glementi*s  best  pupils,  gives 
the  following  explanation  of  Mozart's  hard  sen- 
tence:— 'I  asked  Clementi  whether  in  1781  be 
had  begun  to  treat  the  instrument  in  his  pre- 
•ent  (1806)  style.  He  answered  no,  and  added 
that  in  those  early  days  he  had  cultivated  a 
man  brilliant  execution,  especially  in  double 
itopsy  hardly  Jinown  then,  and  in  extemporised 
adenzas,  and  that  he  had  subsequently  adtiieved 
•  more  melodic  and  noble  stvle  of  performance 
after  listening  attentively  to  mmous  singers,  and 
ak>  by  means  of  the  perfected  mechanism  of 
Engti^  pianos,  the  construction  of  which  for- 
miaij  stood  in  the  way  of  a  cantabile  and  legato 
style  of  playing.' 

With  the  exception  of  a  concert  tour  to  Paris 
in  1785  Clementi  spent  all  his  time  up  to 
1803  in  Kngland,  busy  as  conductor,  virtuoso, 
and  teadier,  and  amassing  a  considerable  for- 
tone.  He  had  also  an  interest  in  the  firm  of 
Longman  &  firoderip,  '  manufacturers  of  musical 
iostnmients,  and  music-sellers  to  their  majesties.' 
The  (ailare  of  that  house,  by  which  he  sustained 
havy  losBo,  induced  him  to  try  his  hand  alone 
at  pablishing  and  pianoforte  making ;  and  the 
nltimate  success  of  his  undertaking  (still  carried 
on  onder  the  name  of  his  associate  Mr.  Collard) 
ihowa  him  to  have  possessed  commercial  talents 
nre  among  great  artists.  In  March  1807  pro- 
perty belonging  to  dementi's  new  firm,,  to  the 
amount  of  £40,000,  was  destroyed  by  fire. 

Amongst  his  numerous  pupils,  both  amateur 
ind  professional,  he  had  hitherto  trained  John 
B.  Cramer  and  John  Field,  both  of  whom  soon 
took  rank  amongst  the  first  pianists  of  Europe. 
In  1802  Clementi  took  Field,  viA  Paris  and 
Vunna,  to  St.  Petersburg,  where  both  master 
ud  papil  were  received  with  unbounded  en- 
thonsBm*  and   where  the  latter  remained   in 
sSnent  circumstances.     On  his  return  to  Crer- 
many  dementi  counted  Zeuner,  Alex.  Klengel, 
Lndwig  Berger,  and  Meyerbeer    amongst  his 
pnpils.    With  Klengel  and  Berger  he  aft^wards 
went  again  to  Bussia.     In  1810  he  returned  to 
London  for  good,  gave  up  playing  in  public,  de- 
voted his  leisure  to  composition  and  ms  time  to 
iMuinesB.    He  wrote  symphonies  for  the  Philhar- 
monic Society,  which  succumbed  before  those  of 
Haydn,  many  pianoforte  works,  and  above  all 
completed  that  superb  series   of  100  studies, 
Gradtu  adPamauwm  (181 7),  upon  which  to  this 
day  the  art  of  solid  pianoforte  playing  rests.    In 
1820  and  ax  he  was  again  on  the  continent, 
ipen^ng  an   entire  winter  at  Leipzig,  much 
iniaed  and  honoured.    He  lived  to  be  80,  and 
the  I  a  final  years  of  his  life  were  spent  in  London. 
He  retained  his  characteristic  energy  and  firesh- 
aen  of  mind  to  the  last.    He  was  married  three 
timea,  had  children  in  his  old  age,  and  shortly 
DeficrehiB  death  was  stiU  able  to  rouse  a  com- 
ply of  pupils  and  admirers — amongst  whom 
vexe  J.  B.  Cramer  and  Moscheles — to  enthusiasm 
viihlus  playing  and  improvisation. 


CLEMENTL 


873 


Clementi  has  left  upwards  of  100  sonatas,  of 
which  about  60  are  written  for  the  piano  wi^oui 
accompaniment,  and  the  remainder  as  duets  or 
trios — sonatas  with  violin  or  flute,  or  violin  or  flute 
and  violoncello ;  moreover,  a  duo  for  two  pianos, 
6  duets  for  four  hands,  caprices,  preludes,  and 
'  point  d'orgues  compost  dans  le  gout  de  Haydn, 
Mozart,  Kozeluch,  8terkel,  Wanlud  et  dementi,' 
op.  19 ;  Introduction  k  I'art  de  toucher  le  piano^ 
avec  50  lemons;  sundry  fugues,  toccatas,  varia- 
tions, vahies  etc.,  preludes  and  exercises  remark- 
able for  several  masterly  canons,  and  lastly,  as 
his  indelible  monument,  the  'Gradus  ad  Pamas- 
sum '  already  mentioned. 

As  Yiotti  has  been  called  the  fiither  of  violin- 
playing,  so  may  Clementi  be  regarded  as  the 
originator  of  the  proper  treatment  of  the  modem 

Caoforte,  as  distinguished  from  the  obsolete 
f  sichord.  His  example  as  a  player  and 
teacher,  together  with  his  compositions,  have 
left  a  deep  and  indelible  mark  upon  everything 
that  pertains  to  the  piano,  both  mechanically 
and  spiritually.  His  works  fill  a  large  space  in 
the  records  of  piano-playing ;  they  are  indis- 
pensable to  pianists  to  this  day,  snd  must  re- 
main so. 

In  a  smaller  way  dementi,  like  Cherubini  in 
a  larger,  foreshadowed  Beethoven.  In  fieetho* 
ven's  scanty  library  a  lasge  number  of  dementi's 
sonatas  were  conspicuous ;  Beethoven  had  a 
marked  predilection  for  them,  and  placed  them 
in  the  front  rank  of  works  fit  to  engender  an 
artistic  treatment  of  the  pianoforte;  he  liked 
them  for  their  freshness  of  spirit  and  for  their 
concise  and.  precise  form,  and  chose  them  above 
all  others,  and  in  spite  of  the  opposition  of  so 
experienced  a  driller  of  pianofbrte  players  as  Carl 
Czemy,  for  the  daily  study  of  his  nephew. 

The  greater  portion  of  dementi's  Gradus,  and 
several  of  his  sonatas — for  instance  the  Sonata 
in  B  minor,  op.  40 ;  the  three  Sonatas,  op.  50, 
dedicated  to  Cherubini ;  the  Sonata  in  F  minor, 
etc. — have  all  the  qualities  of  lasting  work :  dear 
outlines  of  form,  just  proportions,  concise  and 
consistent- diction,  pure  and  severe  style ;  their 
very  acerbity,  and  the  conspicuous  absence  of 
verbiage,  must  render  them  tne  more  enduring. 

like  his-  Italian  predecessor  D.  Scarlatti, 
dementi  shows  a  fiery  temperament^  and  like 
Scarlatti,  with  true  instinct  for  the  nature  of  the 
instrument  as  it  was  in  his. time,  he  is  fond  of 
quick  movements — quick  succession  of  ideas  as 
well  as  of  notes ;  and  eschews  every  sentimental 
aberration,  though  he  can  be^  pathetic  enough  if 
tlie  fit  takes  him.  His  nervous  organisation 
must  have  been  very  highly  strung.  Indeed  the 
d^ree  of  nervous  power  and  mussular  endurance 
required  lor  the  proper  execution  of  some  of  his 
long  passages  of  (^atonic  octaves  (as  in  the  So- 
nata m  A,  No.  a6  of  Knorr's  edition),  even  in 
so  moderate  a  tempo  as  to  leave  them  j  ust  aeceptr 
able  and  no  more,  frmn  a  musical  point  of  view 
(bearing  in  mind  Mozart's  sneer  that  he  writes 
prestissimo  and  plays  moderate,  and  recollecting 
the  difiference  in  touch  between  his  piano  and 
ours),  is  prodigious,  and  remains  a  task  of  almost 


174 


CLBMENTf. 


hisnperable  difficulty  to  »  yirivLOeo  of  to-day,  in 
Bpite  of  the  proposieroas  amoant  of  time  and 
labour  we  now  devote  to  Buch  things. 

He  is  the  first  completely  equipped  writer  of 
•onatas.  Even  as  early  as  his  op.  9  the  form 
sketdhed  by  Soariatti,  and  amplified  by  Emanuel 
Badli,  it  completely  systemattsed,  and  has  not 
changed  in  any  essential  p<^t  since.  Glementi 
represents  the  sonata  proper  from  beginning  to 
end.  He  played  and  imitated  Scarlatti's  haipsi- 
chord  sonatas  in  his  youth;  he  knew  Haydn's  and 
Mozart's  In  his  manhood,  and  be  was  aware  of 
Beethoven's  in  hie  old  Mpe ;  yet  he  preserved  his 
artistic  ph  vsiognomy — me  physiognomy  not  of  a 
ioaA  of  genras,  but  of  a  man  of  the  rarest  talents — 
from  first  to  last.  He  lived  through  the  most 
memorable  period  in  the  history  of  music.  At  his 
birth  Handel  wae  alive,  at  his  death  Beethoven, 
Schubert,  and  Weber  were  buried. 

miere  is  an  amsoyhig  confrision  in  the  various 
editions  of  hia  worics :  arrangements  are  printed 
as  orighials,  the  same  piece  appenrs  under  various 
titles,  etc.  etc.  The*  so-called  complete  editions  of 
Iris  solo  sonatas-  the  best,  that  puUished  by  HoUe 
it  WolfenbtttteI,.aiid  edited  by  Schumann's  friend 
Julius  KnoiT,  and  the  original  edition  of  Breit- 
Icopf  k  Hartel,  since  reprinted  by  that  firm — are 
both  incomplete ;  the  sonatas  with  accompaniment 
etc.  are  out  of  print,  and  his  orchestral  worics 
have  not  been  printed  at  all.  A  judicious  selec^ 
tion  frxim  hi»  entire  works,  carefully  considered 
with  a  view  to  the  requirements  and  probable 
powers  of  consumption  of  living  pianists,  would 
be  a  boon.  [E.D.] 

CLEMENZA  DI  TITO,  LA.  Mozart's  asrd 
and  last  opera ;  in  a  acts ;  words  adapted  from 
Metastasio  hr  Mazzola.  Finished  Sept.  5,  1 791, 
and  first  performed  the  following  day  at  Prague. 
At  the  King's  Theatre,  Haymarice^  March  27, 
1806.  The  autograph  is  entirely  in  Mozart's 
hand,  and  contains  no  recitatives.  They  were 
probably  supplied  by  SUssmayer.  The  German 
title  of  the  open  is  '  Titus.'  [G.] 

GLEBINI,  a  Frenchwoman,  who  had  altered 
her  name  frt>m  Le  Olerc,  and  had  an  engagement 
at  the  Opera  in  London  in  1823  at  £150.  She 
sang  the  part  of  Servilia  in  'La  Clemenza  di 
Tito '  that  yesr ;  but,  beside  her  fiuse,  she  had  no 
attraction.  She  app^ured  again  as  Albina  in  *  La 
IXmna  del  Lago '  in  the  same  season.        [J.M.] 

CLICQUOT,  Fban^is  Hxim^  eminent  oi^gan- 
builder,  bom  in  Pans  1728,  died  there  1791. 
In  1760  he  built  the  organ  of  St.  Gervais.  In 
1765  he  eiitered  into  partnership  with  Pierre 
IHillery,  and  the  firm  constructed  the  organs  of 
Notre  Dame,  St.  Nioolas-desChamps,  the  Sainte 
Chapelle,  and  the  Chapelle  du  Boi  at  YerBailles. 
Clicquot's  finest  organ  was  that  of  St.  Sulpice, 
built  after  his  partnership  with  Dalleiy  had  been 
dissolved,  and  containing  5  manuals  and  66 
Stops,  including  a  pedal-stop  of  52  feet.  For 
the  organ  in  the  Cathedral  at  Poitiers,  his  last 
a'ork,  he  received  92,000  frtmcs.  His  instru- 
ments were  over-loaded  with  reeds — a  common 
defect  in  French  oi^gons.  [M.C.C.] 


CUVIL 

*  CLIFFORD,  RW7,  J AHE8,  the  aon  of  Edward 
Clifibrd,  a  cook,  was  bom  in  the  pansh  of  St. 
Mary  Magdalen,  Oxford,  in  162a.     In  1632  he 
was  admitted  a  chorister  of  Magdalen  College, 
Oxford,  and  so  remained  until  1642.     On  July  i, 
i66r,  he  was  appointed  tenth  minor  canon  of  8t 
Paul's  Cathedral,  and  in  1675  was  advanced  to 
the  sixth  minor  canonry.    In  1682  he  became 
senior  cardinal.     He  was  also  for  niany  years 
euiate  of  the   parish   churdi  of  Si.  Gregory 
by  St.  Paul's,  and  chapfaun  to  the  Society  ol 
Serjeant's  Inn,  Fleet  Street.     He  died  about  the 
year  1700.    In  1663  dilRjrd  pablished,  under 
the  title  of  'The  Divine  Servioea  and  Anthems 
usually  sung  in  the  Cathedrals  and  Oc^egiate 
Choirs  of  i£e  Chuch  of  England.*  a  collection  of 
the  woids  of  anthems ;  the  first  of  its  kind  which 
appeared  in  the  metropolis.     (It  had  been  pr^ 
ceded  by  a  collection  compiled  and  printed  by 
Stephen  Bulkley  at  York  in  1662.)     So  great 
was  the  success  of  the  work  that  a  aeoond  editioa, 
with  large  additions,  appeared  in  1664.     To  the 
ifavt  edition  are  prefixed  'Briefe  Directions  for 
the  understanding  of  that  part  of  the  Divine 
Service  performed  with  the  Organ,  in  St.  Paol'i 
Cathedral  on  Sundayea  and  Holydayea' ;  and  to 
the  second  chants  for  Y enite  and  the  Fiaalms  and 
for  the  Athanasian  Creed.    The  woilc  is  curious 
and  interesting  as  showing  what  remained  of  the 
cathedral   music   produced   befiwe    the   parlia- 
mentary suppression  of  choral  service  in  1644, 
and  what  were  the  earliest  additions  made  after 
the  re-establishment  of  that  service  in  i6^)0. 
Clifford's   only  other   publications  were   *Tbe 
Catechism,  oontaimng  the  Principles  of  Christian 
Religion,'  and  '  A  Praparation  Sermon  before  the 
receiving  of  the  Holy  Sacrament  of  the  Lord's 
Supper,  preached  at  Serjeants'  Inn  ChapeL  ia 
Fleet  Street,*  which  appeared  together  in  16^4. 
Clifford  had  a  younger  brother,  Thomas,  bom 
in  Oct.  1633,  who  was  admitted  chorister  of 
Magdalen    College    in   164a   and   resigned   ia 
1645.  LW.H.H.] 

CLIYE,  Catrsriks,  daughter  of  William  Kaf- 
tor,  an  Irish  gentleman,  was  bom  in  London  in 
1 7 1 1 .    Displaying  a  natural  aptitude  for  the  stage 
she  was  engaged  by  CoUey  Cibber  for  Druiy  L&ne 
Theatre,  and  made  her  nrst  appearance  there  fa 
November  1728,  as  the  page  Ismenes,  in  Nat. 
Lee's  tragedy  '  Mithridates.'     In  1729  she  at- 
tracted great  attention  by  her  performance  of 
PhiUida  in  Colley  Gibber's  ballad  opera,  'Love 
in  a  riddle.'    Her  personation  of  NeU  in  Coffey's 
ballad  opera,  'The  Devil  to  pay/  in  1731,  ests- 
blished  her  reputation,  and  caused  her  salary  to 
be  doubled.  On  Oct.  4,  1734,  she  married  George 
Clive,  a  barrister,  but  the  pair  soon  agreed  to 
separate.    She  continued  to  delight  the  public  in 
a  variety  of  characters  in  comedy  and  comic 
opera  until  April  24,   1 769,  when,  having  ac- 
quired a  handsome  competence,  she  took  leave  of 
the  stage,  and  retired  to  Twickenham,  where  she 
occupied  a  house  in  the  immediate  vicinity  of 
Horace  Walpole's  fiunoos  villa  at  StrawUnv 
Hill,  until  her  death,  which  occurred  on  Dec.  pi 
1785.    One  of  the  most  prominent  events  ia 


CLIVB. 

Un.  CUfe't  oaner  as  «  linger  wm  HmmM's 
lelectum  of  her  m  the  repnaentative  of  DalQ% 
ii  his  omtorio  'Samaon^'  oa  its  prodootion  in 
1743.  [W.H.H.) 

CLOCKING.  See  GBiimro. 
CLOSE  18  a  word  rerj  frequently  used  in  the 
ttzne  sense  as  Cadsncs,  which  see.  In  ordinary 
floorersation  it  may  very  naturally  have  a  little 
Bkore  expansion  of  meaning  than  its  synonym, 
ft  serres  to  express  the  ending  of  a  phrase  or 
» tbeme^  or  of  a  whole  movement  or  a  section 
of  one,  as  a  fiust,  and  not  as  denoting  the 
pardcttlar  sucoeasion  of  chords  which  are  re- 
cognised as  forming  a  cadence.  Hence  the 
teem  'half-close*  is  very  apt,  since  it  expresses 
K^  only  the  most  common  fbrm  of  imperfect 
esdenee  which  ends  on  the  dominant  instead  of 
titt  tame,  but  aho  the  position  in  which  that 
fcrm  of  close  is  usually  found,  viz.  not  at  the 
end  of  a  phrase  or  melody,  but  marking  the  most 
Wttl  symmetrical  division  into  two  parts  in  sueh 
»  maimer  that  the  flow  of  the  complete  passage 
is  nol  interrupted. 

The  word  is  also  used  as  a  verb,  where  again 
h  bss  the  advantage  of  the  word  cadence,  since 
one  csn  say  'Such  a  passage  closes  in  such  a 
key/  but  one  cannot  say  'Such  a  passage  ca- 
dences 80* ;  and  if  one  could,  it  would  hardly 
express  the  sense  so  plainly.  [0.  H.  H.  P.} 

CLUEB,  J.,  an  engraver  and  publisher  of 

none,  who  carried  on  business  in  Bow  Church- 

faid,  Loadon,  in  the  middle  of  the  first  half  of 

tiie  18th  century.    He  issued  his  publications  in. 

connection  with  'B.  Oeake^  at  y*  Bible,  in  Jer- 

mjB  Street^  St.  James's.*    Cluer  engraved  and 

pabliihed  in  lyao  Handel's  Suites  de  Pieces 

poor  le  clavecin,  and  between  1723  and  1729 

nine  of  the  same  composer's  Italian  operas,  viz. 

'Ginlio  Cesare,*  'Tamerlane,'  'Rodetinda,'  *Ales- 

landro^'  'Scipione,*  'Bicdardo  Prime,'  'Siroe,' 

ud  *  Lotario.'     The  titles  of  these  operas  are 

contained  in  a  label  upon  an  engraved  emblematic 

design,  very  fairly  executed.   Ciusr  also  published 

'A  Pocket  Companion  for  Oentlemen  and  Ladies, 

being  a  collection  of  Opera  Songs  in  8vo.  size, 

never  before  attempted^'  2  vols.    He  was  mis- 

Uken  m  supposing  that  music  had  never  before 

been  publibhed  in  octavo  size.    Half  a  century 

earlier  Henry  Brome,  the  bookseller,  had  adopted 

it  for  Banister  and  Low's  'New  Ayres  and  bia- 

lognes/  1678,    and    the   contemporary  French 

printers  had  for  some  years  frequently  used  it. 

Among  other  works  engraved  and  published  by 

Clner  were  a  periodical  called  *The  Monthly 

ApoUo,  a  collection  of  New  Songs  and  Airs  in 

BogUsh  and  Italian,*  and  two  padcs  of '  Musical 

Playing  Cards.'  [W.H.H.] 

COBBOLD,  WiLUAH,  a  oompoBer  of  the  lat- 
ter part  of  the  sixteenth,  and  early  part  of  the 
following  century,  was  one  of  the  ten  musicians 
who  harmonised  the  tunes  for  '  The  Whole  Booke 
{i  Psahnee  with  their  wonted  Tunes  as  they  are 
King  in  Churches,  composed  into  foure  partes,' 
pabliahed  ^y  Thomas  Este  in  1592.  He  oon- 
tribnted  a  madrigal,  'With  wreaths  of  rosa  and 


OOCKS&CO; 


tw 


laDveili'  to  *The  Tiiianphei  of  Oriana,^  i6oi« 
The  only  other  known  oon^ositions  by  him 
are  another  madrigal,  'New  Fashions,'  and  an 
anthem,  '  In  Bethlehem  towne,*  of  which  some 
separate  parts  are  preserved  in  the  Ubrary  of  the 
Saored  Harmonie  Society.  Nothing  is  known  of 
his  life.  [W.H.H.} 

COCCHETTA.    SeeGABBnu.!,  O. 

GOOCHI,  GiOAOCfHn?o,  bom  at  Padua  1720, 
died  in  Venice  1804;  dramatic  composer;  pro- 
duced his  first  operas,  'Adelaide*  and  'Biga- 
sette,*  in  Rome  (1743  and  1746).  In  1750  he 
was  at  Naples,  and  hi  1753  was  appointed 
Chapel-master  of  the  Oonservatorio  degli  In- 
curaoiH  at  Venice.  Here  he  wrote  '11  Pasao 
glorioso.'  In  1757  he  came  to  London  as  com- 
poser to  the  Opera.  During  a  sixteen  year^ 
residence  in  this  country  he  oomposed  1 1  operas^ 
as  well  as  taking  part  in  several  piMticcios.  For 
list  see  F^tis.  In  1773  he  returned  to  Venice. 
His  reputation  was  considerable  for  a  time  both 
in  Italy  and  in  this  country.  Btmiey  praises  '  hi« 
good  taste  and  knowledge  in  counterpoint.*  but 
says  he  '  lacked  invention,  and  hardly  produced 
a  new  passage  after  kis  first  year  in  England.^ 
He  realised  a  large  sum  by  teaching.     [M.  0. 0.) 

COGCIA,  Cablo,  bom  at  Naples  178^  date 
and  place  of  death  uncertain ;  son  of  a  violinist, 
studied  under  Fenaroli  and  Paisiello.     BLis  early 
compositions   were   remarkable   for  his   years. 
Paisiello  was  extremely  fond  of  him,  procured 
him  the  post  of  accompanist  at  King  Joseph 
Bonapartes  private  concerts,  and  encouraged  hun 
after  the  fiulure  of  his  first  opera,  '  D  Matrimonio 
percambiale'  (Borne,  1808).    Between  the  yeam 
1808  and  19  he  composed  3a  operas  lor  various 
towns  in  Itabr,  and  two  cantatas,  (me  for  the 
birth  of  the  King  of  Rome  (Treviso^  181 1),  thf 
other  (by  a  curious  irony,  in  which  Cherubini 
also  shared)  fer  the  entry  of  the  allied  armies 
into  Paris  (Padua,  1814).    In  1820  he  went  to 
Lisbon,  where  he  composed  four  operas  and  a 
cantata,  and  thence  to  London   (August,  33), 
where  he  became  conductor  at  the  Opera.    He 
discharged  his  duties  with  credit,  and  profitec| 
by  hearing  more  solid  works  than  were  performed 
in  Italy,  as  he  showed  in  the  single  opera  ho 
wrote  here,  'Maria  Stuarda'  (1827).    He  was 
also  professor  of  composition  at  the  Royal  Academy 
on  its  first  institution.     In  28  he  returned  to 
Italy.    In  33  he  paid  a  second  visit  to  England, 
and  then  settled  finally  in  Italy.     In  36  he 
succeeded  Mercadante  at  Novara,  and  was  ap- 
pointed Inspector  of  Singing  at  the  Philharmonio 
Academy  of  Turin.    His  last  opera,  '  H  Lago 
delle   Fate'   (Turin,   1814),   was   unsuocessfol. 
Cocda  wrote  with  extreme  rapidity,  the  entire 
opera  of  *  Donna  Caritea'  (Turin,  1818),  being[ 
completed  in  six  days.  'Glotilde'  (Venice,  1816), 
was  the  most  esteemed  of  all  his  works  in  Italy. 
He  was  highly  thought  of  in  his  day,  but  his 
science  was  not  sufficient  to  pve  durability  to  his 
compositions.    (For  list  see  F€tis).       [M.  C.  C] 

COCKS  k  CO.,  RoBXBT,  one  of  the  principal 
London  music -publishing  firms.     The  businesf 


1 


m 


COG^  &  CO. 


WM  OBtablished  in  i8a7  by  the  present  senior 
partner,  Robert  Cocks,  and  was  carried  on  at 
,  No.  30  Princes  Street,  Hanover  Square,  for  about 
21  years,  when  it  was  i^amoved  to  No.  6  New 
Burlington  Street,  where  it  is  still  conducted. 
In  1 868  Robert  Cocks  took  into  partnership  with 
him  his  two  sons,  Arthur  Lincoln  Coclu  and 
Stroud  Lincoln  Cooks.  The  present  firm  consists 
of  Robert  and  Stroud  Lincoln  Cocks.  During 
the  half  centuiy  of  its  existence  upwards  of 
i6,ooo  publications  have  issued  from  the  house, 
including  many  worics  of  solid  and  permanent 
worth,  such  as  Csemy's  Schools  of  Practical 
Composition  and  of  tiie  Pianoforte;  Spohr's 
and  Campagnoli's  Violin  Schools;  Albrochts- 
bezger's  and  Cherubini*s  Treatises  on  Counter- 
point; Beitini*s  Method ;  J.  S.  Bach's  Pianoforte 
Works,  etc.,  etc.  A  periodical,  the  Monthly 
Miscellany,  eontains  cniginal  notkes  of  Beethoven 
byCzemy.  [W.H.H.] 

CODA.  Coda  is  the  Italian  for  a  tail,  and 
that  which  goes  by  the  name  in  musio  is  very 
fairly  expressed  by  it.  For  it  is  that  part  which 
comes  at  the  end  of  a  movement  or  piece  of  any 
kind,  and  has  to  a  certain  extent  an  independent 
existence  and  object^  and  though  not  always  ab' 
Bolutely  necessarv  cannot  often  be  easily  dispensed 
with.  The  earhest  idea  of  a  musical  coda  was 
probably  a  few  simple  chords  with  a  cadence 
which  served  to  gite  a  decent  finish  to  the  me* 
ohanical  puzzles  over  which  so  much  ingenuity 
was  wont  to  be  expended  in  old  days.  For  in- 
stance when  a  number  of  parts  or  voices  were 
made  to  imitate  or  follow  one  another  according 
to  rigorous  rules  H  would  often  occur  that  as  long 
as  the  rules  were  observed  a  musical  conclusion 
could  not  be  arrived  at.  Indeed  sometimes  such 
things  were  constructed  in  a  manner  which  ena- 
bled the  piece  to  go  on  for  ever  if  the  singers 
were  so  minded,  each  followiog  tke  other  in  a 
circle.  In  order  to  come  to  a  oondusion  a  few 
chords  would  be  constructed  i^Murt  from  these 
rigorous  rules,  and  so  the  coda  was  arrived  at. 
Applied  to  modem  instrumental  music  this  came 
to  be  a  passage  of  optional  dimensions  which  was 
introduced  after  the  regular  set  order  of  a  move- 
ment was  concluded.  For  instance,  in  a  series  of 
variations,  each  several  variation  would  only 
offer  the  same  kind  of  conclusion  as  that  in  tiie 
first  theme,  though  in  a  different  form ;  and  in 
the  very  nature  of  things  it  would  not  be  aesthe- 
tically advisable  for  such  conclusion  to  be 
veiy  strongly  marked,  because  in  that  case  each 
several  variation  would  have  too  much  the  char- 
acter of  a  complete  set  piece  to  admit  of  their 
together  forming  a  satisfactorily  continuous  piece 
of  music.  Therefore  it  is  reasonable  when  all  the 
variations  are  over  to  add  a  passage  of  sufficient 
importance  to  represent  the  oondusion  of  the 
whole  set  instead  of  one  of  the  separate  com- 
ponent parts.  So  it  is  common  to  find  a  fugue, 
or  a  finale  or  other  passage  at  the  end  which, 
though  generally  having  some  connection  in 
materials  with  what  goes  before,  is  not  of  such 
rigorous  dependence  on  the  theme  as  the  varia- 
tions themselves.  i 


CODETTA. 

Similarly  in  the  other  fonnB  of  instrumental 
oompoeition  tiiere  is  a  certain  set  order  of  subjedd 
which  must  be  gone  through  for  the  movemeai 
to  be  complete,  and  after  that  is  over  it  is  at  th# 
option  of  the  composer  to  enlvge  the  oondurmL 
independently  into  a  coda.  When  the  sections 
of  a  complete  movement  are  very  strongly  marked 
by  double  bars  the  word  is  firequently  written,  asj 
In  the  case  of  Minuet  and  Trio,  and  the  corre> 
spending  form  of  Scherzos,  which  are  mostly 
constructed  of  a  part  which  may  be  called  A^ 
followed  by  a  part  which  may  be  called  B,  which 
in  its  turn  is  followed  by  a  repetition  of  the  part 
A ;  and  this  is  all  that  is  absolutely  necessary. 
But  beyond  tUs  it  is  common  to  add  an  inie- 
pendent  part  whksh  is  called  the  ooda,  which 
serves  to  make  the  whole  more  complete.  In  in- 
strumental forms  which  are  less  obviously  definite 
in  their  construction,  the  coda  is  not  distinguished 
by  name,  though  easy  to  be  diatinguidied  in 
fact.  For  instance,  in  a  rondo,  which  is  con- 
structed of  the  frequent  repetition  of  a  theme 
interspersed  with  episodes,  when  the  theme  has 
been  reproduced  the  number  of  times  the  com- 
poser desires,  the  coda  naturally  follows  and  com- 
pletes the  whole.  The  form  of  a  first  movement 
is  more  involved,  but  here  again  the  necessary 
end  according  to  ride  may  be  distinguished  when 
the  materials  of  the  first  part  have  been  repeated 
in  the  latter  part  of  the  second,  generally  coming 
to  a  dose ;  uid  here  again  the  coda  follows  so- 
cording  to  the  option  of  the  composer. 

In  modem  music  the  coda  has  been  developed 
mto  a  matter  of  very  considerable  interest  and 
importance.      Till    Beethoven*s    time    it   was 
generally  rather  unmeaning  and  frivolous.    Mo- 
zart occasionally  refers  to  his  subjects,  and  does 
sometimes  write  a  great  coda,  as  in  the  last 
movement  of  his  Symphony  in  C,  known  as  the 
'Jupiter,*  but  most  often  merely  runs  about 
with  no  other  ostensible  object  than  to  make  the 
conclusion  effectively  briUisnt.    The  independent 
and  original  mind  of  Beethoven  seems  to  have 
seized  upon  this  last  part  of  It  movement  as  most 
suitable  to  display  the  marvellous  fertility  of  his 
fanof,  and  not  unfrequently  the  coda  became  in 
his  nands  one  of  the  most  important  and  interest- 
ing parts  of  the  whole  movement,  as  in  the 
firat  movemelit  of  the  'Adieux'  Sonata,  op.  8i, 
the  last  movement  of  the  quartet  in  £b,  op. 
127,   and    the   first   movement  of  the  Eroica 
Symphony.     Occasionally  he  goes  so  far  as  to 
intnxiuce  a  new  feature  into  the  coda,  as  in  the 
last  movement  of  the  violin  and  pianoforte  sonata 
in  F  major,  but  it  is  especially  noticeable  in  him 
that  the  coda  ceases  to  be  merely  '  business'  and 
becomes  part  of  the  sesthetical  plan  and  intention 
of  the  whole  movement,  with  a  definite  purpose 
and  a  relevancy  to  all  that  has  gone  before. 
Modem  composers  have  followed  in  his  steps, 
and  it  is  rare  now  to  hear  a  movement  in  which 
the  coda  does  not  introduce  some  points  of  in- 
dependent interest,  variety  of  modulation  and 
new  treatment  of  the  themes  of  the  movement 
being  alike  resorted  to  to  keep  up  the  interest 
tiU  the  last.  [C.H.H.P.] 


CODETTA. 

CODETTA  IB  the  diminutiTe  of  Coda,  from 
vLicb  it  offers  no  m*terial  differences  except  in 
dimeiuions.  It  is  a  passage  which  occurs  inde- 
pendently after  the  set  order  of  a  piece  is  con- 
cluded, as  for  instance  in  the  combination  of  the 
fflinuet  and  trio^  or  march  and  trio;  after  the 
mmuet  or  march  has  been  repeated  a  short  pas- 
age  is  freqaently  added  to  give  the  end  more 
ccmpletnesa.     [See  Coda.]  [C.H.H.P.] 

COL  ARCO,  ItaL  'with  the  bow.*    See  Aboo. 

GOLBR  AN,  Isabella  Aitoela,  bom  at  Madrid 

Feb.  3,  1785.     Her  father  was  Giamii  Colbran, 

eoort-maaiciaii  to  the  King  of  Spain.     At  the 

age  of  six  she  received  her  first  lessons  in  music 

fran  F.  Pareja,  of  Madrid.    Three  years  later, 

ihe  pesied  under  the  care  of  MarindU,  by  whom 

^  was  taqght  until  Gresoentini  undertook  to 

form  her  voice  and  style.     From  1806  to  15 

the  enjoyed  the  reputation  of  being  one  of  the 

best  iiDgers  in  Europe.    In  1809  she  was  prima 

donna  teria  at  Milui,  and  sang'  the  year  after 

at  the  Fenioe  at  Venice.    Thence  she  went  to 

Some,  sod  so  on  to  Naples,  where  she  sang  at 

tiie  San  Carlo  till  1821.     Her  voice  remained 

tnie  ind  pure  as  late  as  18 15,  but  after  that 

time  she  began  to  sing  excruciatingly  out  of 

time,  sometimes  flat  and  sometimes  sharp«    The 

poor  Neapolitans  who  knew  her  ixkfluence  with 

Btfbsja,  Uie  manager,  were  forced  to  bear  this  in 

aleooe.    She  was  a  great  favourite  with  the 

King  of  Naples ;  her  name  became  a  party-word, 

aod  the  royalists  showed  their  loyalty  by  ap- 

pl&nding  the  singer.    An  Englishman  asked  a 

friend  one  night  at  the  San  Carlo  how  he  liked 

MlkColbran:  '  Like  her?  I  am  a  royalist  1 '  he 

Rplied.    On  March  15,  1833,  at  Castenaso  near 

Bologna,  she  was  married  to  Rossini,  witii  whom 

ebe  went  to  Vienna.    In  24  she  came  with  her 

hiohaod  to  London,  and  sang  the  principal  part 

in  his  'Zelmira.'    She  was  tiien  entirely  patfaee, 

and  unable  to  produce  any  effect  on  the  stage ; 

but  her  taste  was  excellent,  and  she  was  much 

admired  in  private  concerts.    On  leaving  £ng- 

hod,  ihe  quitted  the  stage,  and  resided  at  Paris 

vA  Bologna.    She  was  herself  a  composer,  and 

btf  left  a  few  collections  of  songs.    She  died  at 

BulognaOct.  7,  1845,  [J.M.] 

OOLLA.  PARTE  OB  COLLA  VOCE,  'with 
tbe  part,'  denoting  that  the  tempo  of  the  ae- 
mnpuiment  is  to  be  accommodated  to  that  of 
ihe  solo  instrament  or  voice* 

COUiARD.  This  firm  of  pianoforte-makers  in 
OtoiYenor  Street  and  Cheapeide,  London,  is  in 
^u^  Bnocession,  through  .Muzio  Clementi,  to 
I^'DgiDsn  and  Broderip,  music  publishers  located 
&t  No.  26  Cheapside,  as  the  parish  books  of  St. 
^«lut  show,  as  long  ago  as  1767.  Becoming 
tfterwuds  pianoforte-makers,  their  instruments 
vese  in  good  repute  here  and  abroad,  and  it  is  a 
tradition  that  6ieb*s  invention  of  the  sauare 
«opper  or  grasshopper  was  first  applied  by  tnem. 
'Hirai  business  operations  were  facilitated  by 
mooey  advances  from  Clementi,  whose  position  as 
a  crimpoter  and  pianist  was  the  highest  in  £ng- 
'^  The  fortunes  of  Longman  and  Broderip  do 


.tX)LMAir. 


S77 


not  appear  to  have  been  conmiensurate  with  their 
enteipiifie:  Clement!,  about  1798- 1800,  had  to 
assume  and  remodel  the  business,  and  Uie  Hay* 
market  branch  passing  into  other  hands  we  find 
him  in  the  early  years  of  this  century  associated 
with  F.  W.  Collard  and  others,  presumably  out  of 
the  old  Longman  and  Broderip  concern,  pianofivta 
makers  in  Cheapside.  There  can  be  no  doubt 
that  the  genius  of  this  eminent  musician  applied 
in  a  new  direction  bore  good  fruit,  but  it  was 
F.  W.  CoUard,  whose  name  appears  in  the  Patent 
Office  in  conneotioQ  with  improvements  in  piano* 
fortes  as  early  as  181 1,  who  impressed  the  stamp 
upon  that  xnake  of  pianofortes  which  has  suo* 
cessively  borne  the  names  of  'Clement!'  and  of 
'CoUard  and  Collard.'  The  description  of  the 
improvements  from  time  to  time  introduced  by 
the  house  will  be  found  under  Piakoforti. 
The  present  head  of  the  firm  (1877)  is  Mr. 
Charles  Lukey  Collard.  [A.  J.  H.] 

COLLEGE  YOUTHS.  Anoiint  Society  op. 
This  is  the  chief  of  the  change-ringing  societies 
of  England.  It  dates  back  to  the  early  part  of 
the  1 7th  century,  and  derives  its  name  from  the 
fact  that  the  students  at  the  college  founded  by 
the  renowned  Sir  Richard  Whittington  about  that 
date,  having  six  bells  in  their  ooll^^  chapel,  used 
to  amuse  ^emselves  by  ringing  Uiem ;  and  the 
annals  of  the  society  show  that,  being  joined  by 
various  gentlemen  in  the  neighbourhood,  the 
society  was  definitely  started  under  the  name 
'Collm  Youths'  by  the  then  Lord  Salisbury, 
Lord  Brereton,  Lord  Dacre,  Sir  Cliff  Clifton,  and 
many  other  noblemen  and  gentlemen  connected 
with  the  city  of  London,  on  Nov.  5, 1637.  There 
are  books  in  possession  of  the  society  (which  has 
gone  througn  many  vicissitudes)  in  which  are 
recorded  the  performances  of  its  members  for  the 
last  150  years.  Of  late  years  the  society  has 
been  in  a  most  flouiisning  condition ;  its 
books  contain  the  names  of  many  noblemen  and 
gentlemen,  not  only  as  patrons  but  as  actual  per* 
formers,  and  there  are  few  counties  in  England 
in  which  it  has  not  members.  It  flourishes  also 
in  the  ringing  line,  for  there  is  no  society  of  ringers 
in  England  who  can  equal  some  of  its  later  per- 
formances, amongst  the  most  important  of  which 
should  be  mentioned  a  peal  of  15,840  changes  of 
Treble  Bob  Major  rung  by  eight  of  its  members 
in  1868  at  St.  Matthew's,  Bethnal  Green,  and 
which  lasted  without  any  pause  for  nine  hours 
and  twelve  minutes.  [C.  A.W.T.] 

COL  LEGKO,  'with  the  wood,'  a  term  indi- 
cating that  a  passage  is  to  be  played  by  striking 
the  strings  of  the  violin  with  the  stick  of  the 
bow  instead  of  with  the  hair  ~  the  effect  pro- 
duced beii^  something  like  that  of  guitar  and 
castanets  combined.  Amonsst  others  Spohr  has 
employed  it  in  the  Finale  lul'  Espagnola  of  his 
sixth  violin-concerto,  and  Auber  in  Carlo  Broechi's 
airin'Lapartdudiable.'  [P.I>.] 

COLMAN,  Charles,  Mus.  Doc.,  was  chamber 
musician  to  Charles  I.  After  the  breaking  out 
of  the  civil  war  he  betook  himself  to  the  teaching 
of  music  in  London,  and  was  one  of  those  who 


STB 


fSOlMAS. 


tangbt  the  viol  lyn-way.  Some  of  his  tonga  an 
eonUtned  in  the  seToral  editions  of  '  Select  Ma- 
•ieall  Ayres  and  Dialogues,*  165a,  1653  and  1659, 
and  some  of  his  invlniinental  oompositiona  are  to 
be  foond  in  'CooFtly  MaMuing  A^ree,*  1662. 
He  was  associated  widi  Henry  Iiawes,  Gapt. 
Cooke,  and  George  Hudson  in  the  oomposition  of 
Ao  music  for  Sir  William  Davenant's  <  First 
Day*a  Entertainment  at  Rutlaad  House  by  Be- 
slamations  and  Mualck,*  1 657.  He  died  in  Fetter 
Lane  in  1664.  [W.H.H.] 

COLMAK,  Edwabd,  son  of  Dr.  Charles  Col- 
man,  was  a  singing  master  and  teacher  of  the 
lute  and  viol.  In  1656  he  and  his  wife  took 
part  in  the  performance  of  the  first  part  of  Sic 
William  Davenant*s  'Siege  of  Rhodes,*  at  Rut* 
land  House,  she  playing  lanthe,  and  the  little 
they  had  to  say  being  spoken  in  recitative.  Upon 
the  re-establi^mient  of  the  Chapel  Royal  in  1660 
Colman  wa»  appointed  one  of  the  gentiemen.  Of 
Mrs.  Colman,  who  was  one  of  the  flnt  females  who 
appeared  on  the  English  stage,  Pepys,  who  was 
well  acquainted  with  both  her  and  her  husband, 
writes,  under  date  of  Oct.  31,  1665,  'She  sung 
very  finely,  though  her  voice  Is  decayed  as  to 
strength,  but  mighty  sweet,  though  soft/  Col- 
man died  at  Greenwich  on  Sunday,  Aug.  19, 1 669. 
Some  of  his  songs  are  printed  in '  Select  Musicall 
Ayres  and  Dialogues,*  1653,  and  other  of  his 
compositions  in  Playfard*s  '  Musical  Companion,' 
167a.  [W.H.H.] 

COLOGNE  CHORAL  ITNION,  the  English 
title  of  a  singing  society  of  men*a  voices  onl^,  who 
visited  London  in  1853  and  54.     [See  MJLNN£B- 

GK8AVQ-VEBKIN.] 

COLOMBANI  or  COLUMBANI,  Obazio,, 
bom  at  Verona  in  the  i6th  century,  eminent 
eontrapuntist.  Cordelier  monk,  and  Chapel- 
■laster  to  the  convent  of  San  Franoesoo  at  Milan. 
Besides  five  collections  of  Psalms  for  5,  6,  and  9 
voioes,  and  two  of  madrigals,  published  in  Italy 
( 1 576-1 587),  there  is  a  Te  Deum  of  his  in  Lind- 
ner*8  '  Corollario  cantionum  sacrarum,*  and  two 
Magnificats  and  some  madrigals  in  the  King  ot 
Portugal's  Library  at  LisboQ.  One  of  the  Mag- 
nificats is  in  14  parts.  Colombani  united  with 
other  musicians  in  dedicating  a  collection  of 
Psafans  to  Palestrina  (159a).  [M.C. C] 

COLOMBE  LA.  A  comic  opera  in  two  acts, 
words  by  Barbier  and  CarrS,  music  by  Gounod ; 
produced  at  the  Opi^ra  Comique,  June  7,  1866. 
The  libretto  was  translated  l^  Famie  as  'The 
Pet  Dove,*  and  produced  at  the  Crystal  Palace  on 
Sept.  ao,  1870.  [G.] 

COLOMBI,  ViscBNZO,  an  Italian,  built  the 
magnificent  organ  in  the  church  of  St.  John 
Lateran  at  Rome,  in  1549.  [V.de  P.] 

COLONNA,  Giovanni  Paolo,  was  bom  about 
1640,  at  Brescia  according  to  Cozzando,  but  at 
Bologna  according  to  other  authorities.  He  was 
the  son  of  Antonio  Colonna,  a  maker  of  organs, 
who  must  not  be  confounded  with  the  Fabio 
Colonna  who  constructed  the  'Penteoonta 
ohordon.'     The  subject  of  this  notice  studied 


COLTELLim. 

mode  at  Rome  under  Cariasimi,  Abbttisi,  and 
Benevoli.  In  167a  we  find  him  eiftsbfiabed  at 
Bologna,  where  he  was  four  times  deetod  Prin- 
cipal of  the  Musical  Academy.  AmoQg  dmbj 
pupils  of  note  he  numbered  the  lamoas  sod  vb- 
fortunate  Buononcini.  Nearly  all  his  compos- 
tions  were  for  the  ekuich,  but  he  eondesoeaidai 
to  write  one  opera,  *  Amilcare^*  which  wm  per 
formed  at  Bologna  in  1693.  He  is  eataiol; 
entitled  to  take  raak  among  the  most  distb 
guished  Italians  of  his  century.  At  all  tprm» 
his  music  is  far  al)ove  the  level  of  his  epiupi^ 
which  has  been  unfortunately  preserved  :— 

'Joannes  Paulas  oantfta  basis  atqne  Galnsm, 
Hie  situs  est ;  omnis  vox  pia  juztik  casst.' 

He  died  on  Nov.  a8, 169^.  Fitis,  in  his  'Bagn- 
phie  universelle  des  Mu»icienB '  gives  a  list  of  Ui 
works  extending  to  no  less  than  44  itena.  A 
Magnificat  and  Nunc  Dimittis  of  Kis  for  tvo 
choirs  are  printed  in  the  ooUectkm  of  the  N(«l 
Society,  and  fomr  other  pieoes  in  the  Fitzwillian 
music.  [l.EF.J 

COLOPHOKIUM,  the  Gennan  term  fortk 
rosin  used  for  fiddle  bows,  from  Kokupoma,  » 
called  because  the  best  roeia  came  from  Cob- 
phon,  in  Asia  Minor,  the  same  place  which  givt 
its  name  to  the  imprints  of  early  books,  aod  hu 
thus  left  a  double  mark  on  modem  times,  b 
French,  Colophane  is  the  term  used.  'fi] 

COLORATUR.  Vocal  mosio  eoUund,  tiut 
is,  ornamented,  by  runs  and  rapid  purn^  a 
divisions,  where  osoh  syllable  of  the  wodi  Iw 
two  or  more  notes  to  it.  It  is  what  the  old  ultai 
called '  figurato* — ^figured.  Colorat*ir  may  be  car 
ployed  in  slow  or  fast  airi«,  jdaintave  or  pasiva- 
ate.  Almost  all  the  great  airs  contain  example^  J 
it.    The  following  example  fraia  the  MeMsh:- 


]^r./rvir^*LLfci' 


3=i=l 


,P>tfr 


TC-Jola^ 


fTdtiiiimi  nf    B-ok 


contains  both  plain  and  odorattir  passages.  C^ 
the  other  hand,  '  How  beautiful  are  ^e  feti 
(Messiah),  or  '  Hear  ye,  Israel*  (ISlijah).  sr  si 
ooloratur  songs.  Nor  are  passages  in  ^^ 
each  note  has  its  svllable,  as  in  SchmDani* 
'  Die  Rose,  die  lilie,  or  Mozart's  '  La  piooM' 
(Madamina),  however  rapid  they  may  be.    [^] 

COLPORTEUR,  LE,  ou  l*enpah7  dc  bco* 
moN,  lyric  drama  in  3  acts ;  words  by  PlsB»ii 
music  by  Onslow ;  prtxluoed  in  Paris  Kot.  2; 
1827.  Given  at  Drury  Lane  as  *Tke  Emianrr; 
or,  the  Revolt  of  Moeoow,'  May  13,  1831.  ^^ 
overture  wa«  formerly  a  ikvouiite  at  dsflul 
concerts.  [^-J 

COLTELUNI,  CELBsn,  bom  at  Leglxn 
1 764,  death  uncertain  ;  daughter  of  a  poec  »d 
a  celebrated  singer,  made  her  first  appesnuKc  >l 
Naples  in  1781.  The  Empeoror  Joaepti  II  » 
gag^  her  for  the  Opera  at  Vienna  in  178^  ^sJ 


COLTBLLZNL 


COMIC  OPERA. 


S7t 


^  ^  not  retom  to  NaploB  tiH  1790;  She 
larned  a  Krench  merduuit  named  M^rioofre, 
lod  retired  from  tlie  itoge  in  1 795.  Her  voioe 
«M  A  nMno-eoprmno,  and  ahe  excelled  in  tbe  ez- 
ftmon  of  sentiment.  Paiaiello  wrote  his  '  Nina' 
far  Imt,  and  on  one  ooraaion  ai  she  was  singing 
the  air  '  n  mio  ben  qnando  verrk  f  a  lady  among 
lbs  sodienoe  bnrst  faito  tears,  crying  alond  '  Si 
a,  Id  rivedmi  il  tuo  lindoro.*  [M.  C.  C] 

COM BINATIOK  PEDALS  {PSdaU$  de  com- 
kmUim)  are  an  ingemons  modem  French  inven- 
titt  originating  wiUi  the  eminent  firm  of  Clsvaill^- 
CoL  Instead  of  operating  npon  the  draw-stops 
tbeyset  upon  the  wind-supply,  and  in  the  fol- 
bwmg  numner.  A  great  <»gan  contains,  say, 
tvelTe  ftope.  The  iint  Ibor  (1-4)  will  be  placed 
n  one  soimd-board ;  the  next  four  (5-8)  on  a 
ttoond ;  and  th&  remaining  four  (9- 11)  on  a  third 
annd-boaid.  Each  sound-board  receives  its  wind- 
npplj  through  its  own  separate  wind-trunk,  and 
in  tbkt  wind-trunk  Is  a  ventil  which  when  open 
iBows  the  wind  to  reach  the  sound-board,  and 
viwn  dosed  intercepts  it ;  which  ventil  the  cr^ 
g^niii  oontrok  by  means  of  a  pedaL  The  ad« 
Tutages  of  the  ventil  system  are,  firsts  that 
iMtesd  of  the  stops  coming  into  use  in  certain 
fix«d  and  invariable  groups,  any  special  combi- 
mkn  can  be  first  prapaied  on  the  three  sound* 
boaids.  and  then  be  brooffht  into  use  or  i&enced 
ftt  the  right  moment  by  simply  the  admission  or 
exelonon  of  the  wind.  Moreover  their  action  is 
ilsolately  noiseleos,  as  it  oonsisto  in  merely  open- 
ing or  closing  a  valve^  instead  of  shifting  a 
Bomber  of  long  wooden  sliders  to  and  fro.  The 
objection  has  been  raised,  that  in  the  ventil 
i^Ktem  the  stops  no  longer  *  register*  what  is 
liboat  to  be  heard ;  and  the  extreme  case  is  dted 
that  erery  stop  in  the  ofgan  may  be  drawn,  and 
yet  no  Bound  reepond  to  the  toucii  if  the  ventils 
bedoied.  [E.J.H.] 

COME  SOPBA.  'as  above* ;  when  a  passage 
or  sectioQ  is  repeated,  to  save  the  double  ot 
Roomposing;  reprinting,  or  recopying. 

COMES,  Juan  Baptista,  bom  in  the  pro- 
rince  of  Valenda  about  1 560 ;  Chapel  master  of 
tbe  Cathedral  and  of  the  Church  del  Patriarea 
It  Valencia.  His  compositions,  said  to  be  ex- 
Client,  are  to  be  found  mainly  at  Valencia  and 
in  the  Eacurial.  Eslava  in  his  '  Lira  sacra'  pub- 
Vishea  a  aet  of  Christmas  Dav  responses  for  three 
choirs  in  twelve  parte,  which  amply  justify 
Cornea'  reputation  in  Spain.  [M.  C.  C.  J 

OOMErrXANT,  OscAB,  hum  at  Bordeaux, 
Aprfl  18, 1819,  entered  the  Paris  Conservatoire 
in  N'ov.  18^,  where  he  studied  under  Elwart 
udCarafia  till  the  end  of  43.  He  first  became 
known  as  a  pianist,  and  as  the  author  of  a 
Bomber  of  pieces  for  that  instrument,  duete  for 
puto  and  violin,  as  well  as  songs  and  choruses. 
He  also  came  forward  as  a  writer,  and  soan 
obtained  repatetion  as  the  musical  critic  of  the 
'Sl^le/  with  which  he  is  still  connected  (1877). 
Comettant  has  an  easy,  humorous,  brilliant 
*^yl«;  he  is  a  great  traveller,  and  has  pobl  shed 
t  large  nomber  of  books  on  variuos  subjecto  which 


are  both  instructive  and  pleasant  reading.  Of 
his  musical  works,  the  following  are  among  the 
most  important: — Trois  ans  anx  Etats-unis 
(Paris  1838):  La  Ph>pri^t^  intellectuelle,  etc 
(Paris  1858) ;  Histoire  d'un  inventeur  a« 
I9^e  Si^e  (Paris  i86o)^a  life  of  Adolpha 
Sax,  and  defence  of  his  claims;  M unique  et 
Musideni  (Paris  1863) — a  collection  of  articles 
originally  published  in  the  'Si^e*;  Le  Dana- 
mark  tel  qu'il  est  (Paris  1865) ;  La  Musique,  les 
Musioienai,  et  les  Instrumente  de  musique  diea  lea 
differente  peuplesdu  monde  (Paris  i8o(>) — an  inw 
portant  woric,  written  on  the  occasion  of  the 
Exhibition  of  1867;  Les  Musiciens,  les  Philo* 
sopheSy  et  les  Oaiet^  de  la  Musique  en  chiffres 
(Paris  1 8 70)— -a  polemical  treatise.  [G.  C] 

COMIC  OPERA.  Opera  has  in  recent  times 
been  cultivated  more  or  less  sucoessfollv  by  every 
people  having  any  claim  to  be  called  musical. 
The  particular  bruich  of  it  which  is  the  subject 
of  this  article,  as  it  originated,  so  it  has  attained 
ite  highest  development,  among  the  French.  In 
the  dramas  with  music  of  the  Trouv^res  of  the 
13th  century  we  find  at  least  the  germ  of  '  opera 
oomique*;  and  in  one  of  them,  'Li  Gieus  de 
Robin  et  de  Marion,'  of  Adam  de  la  Hale, 
whidi  has  reached  us  intact,  an  example  of  ite 
class  of  great  interest,  whether  regarded  from 
a  literary  or  a  musical  point  of  view.  The 
renascence  of  'opera  comique'  in  France  dates 
from  the  latter  part  of  the  17th  century,  and  is 
attributeble  in  great  part  to  the  decline  in  popu- 
larity of  the  style  of  Lully  and  his  imitators. 
In  his  '  Parall^le  des  Italiens  et  des  f^ran^ais,  en 
ce  qui  regarde  la  musique  et  les  opera,' — the  re- 
sult of  a  visit  to  Naples,  the  school  of  which 
under  Alessandro  Scarlatti  had  already  given 
earnest  of  ite  future  supremacy — the  Abb^  Fran- 
9ois  Raguenet  first  gave  utterance  to  the  extent 
of  this  decline  in  ue  year  1703.  Some  yeara 
prior  to  this  publication  d*Allard  and  Yander- 
berg,  proprietors  of  'marionette'  or  puppet  the- 
atres, had  introduced  music  into  their  perform- 
ances at  the  '  Foire  St.  Germain'  with  such 
success  as  to  excite  the  jealousy  of  Lully,  who 
obtained  an  order  forbidding  the  performance  of 
vocal  music  in  the  marionette  theatre,  and  re- 
ducing the  orchestra  to  four  stringed  instrumente 
and  an  oboe.  Moreover  the  entrepreneurs  of 
the  'Com^e  Fran9a]se,'  on  whose  domain  the 
marionettes  would  seem  considerably  to  have 
encroached,  obtained  another  order  forbidding 
even  speech  in  their  representetions.  At  the  in- 
stigation of  two  ingenious  playwrights,  Chaillot 
and  Remy,  the  difficulty  created  by  these  orders 
was  in  some  sort  met  by  furnishing  each  per- 
former with  a  placard  on  which  were  inscribed 
the  words  he  would  or  should  have  uttered  under 
other  circumstances.  These  placards,  of  neoessity 
large,  being  found  to  impede  the  action  and  even 
sight  of  the  performers,  their  'parte'  were  subse- 
quently appended  to  the  scene.  The  utterance, 
mndad  or  other,  of  the  songs  of  which  thesci 
were  largely  made  up,  though  forbidden  to  the 
actors  were  not  unallowable  for  the  audience, 
whO|  perfectly  fiamiliar  with  the  airs  to  which 


S80 


C50MIC  OPERA, 


(yaudeville-wifle)  they  had  been  written,  took  on 
themitelyeB  this  portion  of  the  dumb  aoton' 
duties— doubtless  with  sufficient  spirit  and  in- 
tensity. The  popularity  of  these  performances, 
which,  in  spite  or  because  of  the  restrictions 
upon  them,  increased  day  by  day,  eventually 
brought  about  a  treaty  of  peace  between  the 
would-be  monopolists  of  speech  and  song  and  the 
'marionettes.'  In  1716  Catherine  Vanderberg, 
then  directress,  obtained  a  licence  for  the  pre- 
sentation of  dramatic  pieces  intersperwd  with 
singing  and  dancing,  and  accompanied  by  instru- 
ments, to  which  the  ^  name  '  op^ra  comique*  was 
given,  and  has  since  inFrance  always  been  applied. 

Meanwhile  the  numerous  alunmi  of  the  Nea- 
politan school,  of  whose  existence  the  Abb^ 
Kaguenet  had  first  made  his  countrymen  aware, 
had  been  continuing  the  important  work,  ini* 
tiated  by  the  Florentine  Academy  a  century 
earlier,  of  cultivating  and  refining  musical  ex- 
pression— the  widest  sphere  for  whose  exercise  is 
unquestionably  the  musical  drama.  As  among 
the  French  'opera  eomique,*  so  among  the 
Italians  '  opera  ouffa,^  took  root  and  flourished, 
though  restricted  for  a  long  time  to  short  pieces 
of  one  act  only,  which  were  given  (as  'diver- 
tissements' continued  to  be  till  our  own  time) 
between  the  acts  of  'opere  serie.*  One  of  the 
most  successful  of  these  (it  still  keeps  the  stage), 
the  '  Serva  Padrona*  of  Pergolesi,  was  produced 
in  Paris  by  French  performers  in  1746 — ten 
years  after  the  untimely  death  of  its  composer — 
with  favour,  but  without  any  perceptible  effect 
on  the  French  taste.  But  its  second  production, 
in  175  a,  resulted  in  bringing  the  new  Italian 
and  the  old  French  tastes  into  direct  and  fierce 
antagonism.  Among  the  leaden  in  this  war, 
of  which  that  of  the  Gluckists  and  Piccinnists 
was  but  a  continuation,  one  of  the  most  dis- 
tinguished was  Jean  Jacques  Boueseau,  who 
indulged  his  love  of  paradox  to  the  extent  of 
endeavouring  to  prove  that,  the  French  lan- 
guage being  incapable  of  association  with  music, 
French  music  was  and  always  must  be  non- 
existent. Rousseau's  practical  commentary  on 
this  thesis  was  the  subsequent  and  very  suocess- 
ful  production  of '  Le  Devin  du  Village.' 

Since  the  beginning  of  the  i8th  century  comic 
opera  has  everywhere  divided  with  serious  the 
attention  and  affection  alike  of  composers  and 
audiences.  Among  every  people  cultivating  mu- 
sical drama  it  has  had  its  creators  and  admirers. 
The  ccnditions  of  comic  opera  in  Italy  and 
France,  where  it  has  as  yet  taken  the  deepest 
root  and  branched  out  most  luxuriantly,  have 
remained  unchanged  since  its  first  growth  in 
either  country.  In  the  former  the  dialogue  of 
opera  is  still  uttered  musically ;  in  the  latter  it 
is  for  the  most  part  spoken.  A  class  of  come- 
dian has  consequently  been  formed,  and  indeed 
brought  to  perfection,  in  France,  which  has  no 
existence  in  Italy — a  class  fonned  of  actors,  and 
therefore  on  the  French  stage  speakers,  who  are 
also  not  unfirequendy  singers  of  considerable,  and 

1  Comic  open  Is  th*  open  of  oonedj,  not  'oomlc'  la  the  rolgar 
SngUab 


COMMER. 


indeed  very  oonsidorable,  skill.  On  the  It 
stage  the  singing  actor  never  speaks 
progress  therefore  of  comic  opera  in  the  directi< 
it  haa  taken  in  France  has  in  Italy  been  im] 
sible;  and  whether  finom  this  or  some  ot 
cause  productiveness  in  this  delightful  form 
art  on  the  part  of  Italian  oompoeers  may  be 
to  have  come  to  an  end.  More  than  sixty  yc 
have  elapsed  since  the  production  of  'U 
biere,*  thirty  since  that  of  'Don  Pasqi 
Moreover  some  of  the  best  modem  works  of 
class,  whether  by  Italian  or  other  com} 
have  been  formed  on  the  French  model  and 
produced  on  the  French  stage.  '  Le  Comte 
of  Rossini,  and  *  La  Fille  du  Regiment'  of 
zetti,  are  to  all  intents  and  purposes  Fi 
operas.  The  present  undisputed  representatii 
of  Italian  musical  drama,  Verdi,  made  some  ex^ 
periments  in  opera  buffa  at  the  outset  of  hU 
career;  but  with  such  small  success  as  to  hsTC 
discouraged  him  from  renewing  them.        [J.H.] 

COMMA.  A  comma  is  a  very  minute  inten-al 
of  sound,  the  difference  resultingfrom  the  proceHol 
tuning  up  by  several  steps  from  one  note  to  aootfaef 
in  two  different  ways.    There  are  two  commas. 

I.  The  common  comma  is  found  by  tuning  up 
four  perfect  fifths  from  a  fixed  note,  on  the  ooe 
hand,  and  two  octaves  and  a  major  third  on  the 
other,  which  ostensibly  produce  the  same  note, 
thus~> 


g 


■  ^.i^vag- 


-iS^ 


s^f^*a^ 


^-^^^- 


or  by  multiplying  the  number  of  the  vibrstioni 
of  the  lowest  note  by  J  for  each  fifth,  by  2  for 
each  octave,  and  by  4  ^or  the  perfect  third. 
The  result  in  each  case  will  be  found  to  be 
different,  and  the  vibrations  of  the  two  souii<ii 
are  found  by  the  latter  process  to  be  in  the  ratio 
of  80  :  81.  The  difference  between  the  two  is 
a  comma. 

2.  The  comma  maxima,  or  Pythagorean  comma, 
is  the  difference  resulting  from  the  process  of 
tuning  up  twelve  perfect  hfths  on  the  one  hand, 
and  the  corresponding  number  of  octaves  on  the 
other ;  or,  by  multiplying  the  number  of  vibra- 
tions of  the  lowest  note  by  5for  every  fifth,  and 
by  2  for  every  octave.  The  difference  will 
appear  in  the  vibration  of  the  two  notes  thus 
obtained  in  the  ratio  of  524,288  :  55i,44i>  or 
nearly  80:81*0915. 

Oti^er  commas  may  be  found  by  analognns 
processes,  but  the  above  two  are  the  only  ones 
usually  taken  account  of.  [C.H.H.P.] 

COMMANO,  Giovanni  Giuseppb,  an  Italian 
basso,  engaged  at  the  King*s  Theatre  in  Handel's 
company  in  1731.  He  sang  the  part  of  the 
Mago,  originally  intended  for  a  tenor,  in  the 
revival  of  '  Hinaldo  *  in  that  year ;  and  that  of 
Timagene  in  '  Poro.*  His  name  does  not  occur 
again.  [J.M.) 

COMMER,  Fbanz,  bom  Jan.  23,  iRi3»  ** 
Cologne,  a  pupil  of  Joseph  Klein,  Leibl,  Rungen- 
hagen,  A.  W.  Bach,  and  A.  £.  Marx;  librarian  ki 


COMHEB. 

tke  'EonlgUche  Mufflk-Inrtitat/  choir-master  at 
tbe  (>Uh(^o  church  of  St.  Hedwig  in  Berlin 
(1846),  member  of  the '  Akademie  der  Kunste^* 
lad  joint-founder  with  Theodor  KuUak  of  the 
Berlin 'Ton-KuBstler-Verein.'  He  is  best  known 
tf  Uie  editor  of  the  following  important  works : — 
'Gc41ectio  operum  musicorum  Batavorum  saeculi 
XVi;  I  a  vols.;  •Murica  sacra  XVI,  XVII, 
■dcnlonmi,'  13  vols.,  containing  organ-pieces, 
BWtt  snd  motets  for  men*s  yoices  and  full  choir ; 
'Collection  de  compositions  pour  Torgue  des 
Xn.  X Vn.  XVni  slfecW  6  parts.  '  Cantica 
Bcn . . .  aus  den  XVI-XVIII  Jahrh.'  a  vols. 
Cjmmer  has  also  composed  some  church  music, 
lieder  and  dances  for  pianoforte.  [A.  M.] 

COMMON  TIME.    The  rhythm  of  two  or 
f)ar  bests  in  a  bar,  also  ealled  Equal  time. 
Aooordiiig  to  the  method  of  teaching  usually 
obaerred  in  England,  common  time  is  divided 
into  two  kinds,  Simj^e  and  Compound,  Simple 
eamnion  time  including  aU  rhythms  of  two  or 
firar  in  a  bar,  except  those  in  which  the  'measure 
ute,*  or  equivalent  of  a  beat,  is  dotted ;  while  a 
riiytiim  of  two  or  four  beats,  each  of  which  is 
dotted  and  therefore  divisible  into  three,  U  called 
Compoond  common  time.     Thus'  4-4  time  or 
har  crochets  in  a  bar,  and  2-4  or  two  crochets, 
ire  ample  common   times;  while  6-4  or  six 
cndietB,  6-8  or  six  quavers,  and  i  a-8  or  twelve 
qtuTen,  are  compound  common,  because  though 
the  number  of  beats  in  a  bar  is  even,  each  beat 
ii  of  the  value  of  three  crochets  or  quavers  re- 
spectiTdy,  and  may  be  expressed  by  a  dotted 
Bote.   A  better  and  more  logical  method  is  that 
tM^t  in  Germany,  by  which  all  rhythms  are 
(imifed  into  Equal  and  Unequal,  that  is  having 
tvo  or  three  baits  as  a  foundation,  and  each  of 
th  se  again  into  Simple  and  Compound ;  simple 
thythma  being  such  as  have  either  two  or  three 
beats  in  a  bar,  the  first  alone  aocented,  and  com- 
pound rhythms  those  in  which  each  bar  is  made 
op  of  two  or  more  bars  of  simple  time,  and 
vbidi  have  therefore  two  or  more  accents,  the 
lint  being  the  strongest.    It  will  be  seen  that 
Mooding  to  this  system,  4-4  time,  which  we 
tall  limple  common  time,  will  be  considered  as 
eoopoond  common,  being  made  up  of  two  bars 
of  a-4  time,  just  as  6-8  is  compound  common, 
bong  made  up  of  two  bars  of  3-8  time.    And 
tUs  plan  has  the  advantage  that  it  idlows  for  the 
Howdary  accent  which  properly  belongs  to  the 
third  be^  of  a  bar  of  4-4  time,  but  which  is  not  ao- 
cooDted  for  by  the  theory  that  the  time  is  simple. 
Although  the  term  common  time  is  generally 
•pplied  to  all  equal  rhythma,  it  propeidy  belongs 
ooly  to  that  of  four  crochets  in  a  bar,  tiie  tempo 
c^^^Morio  of  the  Italians,  demoted  l^  the  sign 
C>  which  is  a  modernised  form  of  the  semi- 
°>cl«  C  ^  the  ancient  'measured  music,'  in 
^hidi  it  signified  the  so-called  '  tempus  imper- 
^ctmn*  or  division  of  a  breve  into  two  semi- 
^■'Brei,  in  contradistinction   to    'tempus    per- 
^om'  in  which  the  breve  was  worth  three. 
A&other  relic   of  the   ancient  time-signatures 
which  is  of  importance  in  modem  music  is  the 
■pi  of  the  'diminutio  simplex/  which  was  a 


COMMUNION  SERVICE. 


881 


semidrcle  crossed  by  a  vertical  line  (^ ,  and  indi- 
cated a  double  rate  of  speed,  breves  being  sung 
as  semibreves,  semibreves  as  minims,  and  so  on. 
The  modem  form  of  this  sign,  0,  has  much  the 
same  signification,  and  indicates  the  time  called 
'alia  breve,*  or  two  minims  in  a  bar  in  quick 
tempo.    [SeeBBKTX.]  [F.T.] 

COMMUNION  SERVICE.  The  ancient 
counterpart  of  the  English  Communion  Service,  the 
Mass,  bias  always  been  looked  upon  by  those  who 
have  held  music  to  be  an  impoiiant  part  of  wor* 
ship  as  a  fit  opportunity  for  displaying  the  grand- 
est resources  of  musical  effect.  The  magnificent 
works  which  have  been  produced  by  great  masters 
for  the  use  of  the  Roman  church  are  well  known 
to  musicians,  but  for  a  variety  of  reasons  which 
this  is  not  the  place  to  discuss,  the  Engliah  Com- 
munion Service  has  not  been  so  fortunate,  though 
the  words  available  for  musical  purposes  are  al- 
most the  same.  Most  of  those  remarkable  coni" 
posers  who  wrote  the  music  for  the  English  services 
in  the  early  days  of  the  Reformation  have  been  fu 
less  liberal  of  their  attention  to  this  than  to  the 
ordinary  Moming  and  Evening  Services,  having 
been  content  to  write  music  merely  for  the  Creed 
and  the  Kyiie,  and  sometimes  the  Sanctus.  This 
was  evidently  not  the  intention  of  the  compilers 
of  the  service,  nor  was  it  the  idea  of  Marbeck,  who 
adapted  the  first  music  for  it.  In  the  first  I^yer 
Book  of  Edward  VI  the  Communion  Service  was 
jerdered  to  be  introduced  by  An  '  Introit,*  accord- 
ing to  an  ancient  custom  of  the  Western  church, 
which  was  sung  to  a  chant.  This  injunction  was 
omitted  in  later  editions,  but  the  custom  of  fringing 
while  the  priest  goes  up  to  the  altar  still  continues, 
though  there  is  no  ruorical  direction  for  it.  At 
one  time  it  became  customary  to  sinff  a  Sanctus, 
but  that  seems  to  be  growing  into  ms&vour  at 
the  present  time. 

*Ae  Offertory  sentences  were  ordered  to  be  said 
or  sung,  and  far  them  also  there  is  music  in  Mar- 
beck,  but  none  in  later  composers  of  the  early 
period,  probably  because  the  word  'sung'  was 
afterwanis  struck  out  of  the  rubric,  and  the  sen- 
tences ordered  to  be  read  by  the  priest^an  order 
which  does  not  now  prevent  their  being  sung  by 
the  choir  in  many  churches  after  the  maimer  of 
an  anthem.  The  Kyrie  which  follows  each  com- 
mandment is  almost  universally  sung  wherever 
there  is  any  music  in  the  service  at  all,  and  the 
settings  of  it  are  £airly  innumerable.  Many  at- 
tempte  have  been  made  te  vary  the  monotony  of 
the  repetitions  by  setting  each  to  different  music, 
by  varying  the  harmonies  of  a  common  melody,  or 
by  alternating  harmony  and  unison  of  the  voices, 
like  latter  probably  best  hits  the  desired  mean 
between  musical  effect  and  comprehennibility. 

The  Creed  has  invited  most  composen  who 
have  written  for  the  service  at  all.  Marbeck*s 
setting  of  it  with  the  '  Gloria  in  excelais  *  is  the 
fireest  and  most  musical  of  all  his  arrangement. 
[Crbsd.]  With  the  Creed  most  frequency  ends 
the  musical  part  of  the  service,  probably  be- 
cause there  has  been  a  very  general  prejudice 
against  unconfirmed  choir-boys  being  present  at 
the  oelebratioii.    Hence  abo  there  is  not  much 


tSi 


COMIHTNION  SEBYICB. 


mvuic  written  for  the  latter  part,  though  M«rbeck*B 
and  Tallis^B  settiiigs  go  throughout  the  aenrioe  to 
the  end.  Marbeok's  woric  embraces  a  good  deal 
which  18  not  sung  now,  lubh  as  the  vermdes  with 
which  the  Poat  Communion  used  to  begin,  and  the 
Xjord*8  Prayer  which  yeed  to  follow  them,  and  now 
begins  the  Post  Communion,  ilie  venicles  having 
been  removed.  But  tiiough  the  Lord*8  Prayer  is 
ctiU  retained,  It  ia  not  customary  to  sing  it  as  used 
to  be  done  in  the  Roman  and  in  the  early  days  of 
the  English  church.  Marbeok*8  setting  of  it  is  to 
what  is  called  a  varied  descant,  and  the  chants 
for  the  veraicles  are  most  of  than  drawn  from  old 
Boman  antiphonaria.  The  Sanctus  has  been  more 
frequently  set  than  the  Gloria  in  Exoelsis,  probably 
because  it  was,  as  he&xe  mentioned,  used  out  of  its 
proper  place  while  the  choir-boys  were  still  in 
church. 

In  the  {Nrim'tive  ehuroh  it  was  customary  to 
sing  a  psalm  while  the  people  were  oommuni- 
oating.  It  was  called  'communio.'  The  psalm 
'  O  taste  and  see*  wm  bo  sung  in  the  churohes  df 
Jerusalem  and  Antioch  in  the  4th  century.  In 
the  first  edition  of  the  English  Prayer  Book  this 
custom  was  ordered  to  be  preserved,  but  the  in- 
junction was  afterwards  removed.     [C.  H.  H.  P.] 

COMPASS,  from  the  Lathi  o(mptutu$,  'a 
cirde,*  designates  the  range  of  notes  of  any  voice 
or  instrument  as  lying  within  the  limits  of  the 
extreme  sounds  it  is  capable  of  producing. 

The  compass  of  I2ie  various  instruments  which 
are  in  use  in  modem  music  will  be  found  under 
their  respective  names ;  but  it  may  be  said  gen- 
erally that  it  is  limited  in  the  direction  of  the 
bass,  but  often  varies  in  the  direction  of  the  treble 
according  to  the  skill  of  the  player,  except  in 
instruments  of  fixed  intonation. 

The  compass  of  a  modem  orchestra  is  gene- 
rally from  about  the  lowest 
note  of  the  double  basses  to 
about  £  in  altissimo,  which 
can  be  taken  by  the  violin  if 
properly  led  up  to. 

The  compass  of  voices  fbr  choms  purposes  is 
frtnn  F  below  the  bass  stave  to  A  above  the 
treble  stave.  Solos  are  not  often  written  above 
O  in  alt,  except  for  special  singers ;  as  the  part  of 
Astraiiammante  in  Mozart's  '  Zauberflote,'  which 
was  written  for  Josepha  Hofer,  his  sister-in-law, 
and  goes  up  to  F  in  altissimo.     [See  Aoujari.] 

The  compass  of  voices  varies  much  in  different 
climates.  In  Russia  there  are  said  to  be  basses 
of  extraordinary  depth,  capable  of  taking  the  F 
an  8ve  below  the  bass  stave.  Basses  are  not 
often  heard  in  England  who  can  go  below  lower  C, 
whidi  is  a  fifth  above  that.  [C.  H.  H.P.] 

COMPERE,  LoTSET,  eminent  contrapuntist  of 
the  15  th  century,  chorister,  canon,  and  chancellor 
of  the  Cathedral  of  St.  Quentin,  where  he  was 
buried  1 5 18.  In  Crespel's  lament  on  the  death 
of  Okeghem  he  is  mentioned  among  the  dis- 
tinguished pupils  of  the  latter-^ 

'Agricola,  Yerbonnet,  Prioris, 

Josquin  des  Pr^s.  Gaspard,  Brumel,  Comp^, 

Ne  parlfiz  plus  de  joyeulx  chants^  ne  ris^  I 


OOBffPOaiTION  PEDAIfl. 

compoBez  an  ne  rioorderis,  | 

Pour  lamenter  n6tre  maktre  et  bon  pb«.* 

His  reputation  stood  high  with  the  oontrapontifiEi 
of  his  own  and  the  succeeding  age,  and  it  I 
amply  sustained  by  the  few  compositionB  wbiij 
are  known  to  be  his.  These  are,  two  motets  i 
Petrucoio  di  Fossombrone's  *  Motetti  XXXIIIJ 
a  I  compositions  in  Petraodo^s  '  Harmomce  M< 
sices  Odhecaton' ;  two  songs  in  Petraccio's  cd^ 
lection  of  'Frottole*;  an  'Aaperges'  and  , 
*  Credo,*  both  it  4,  in  Petruocio's  'Frsgmenj 
Missarum* ;  a  motet  'O  bone  Jesu,*  signed  simp 
Loyset,  in  Petruocio's  'Motetti  deUa  Carona 
some  motets  in  the  collection  'Trium  vocui 
Cantiones'  (Nuremberg,  1541),  and,  finally, 
curious  five-part  motet,  now  in  the  Pope's  Chap^ 
in  which  the  tenor  and  second  alto  sing  'Fd 
pessima  devoravit  filium  meum  Joseph,*  while  t^ 
treble,  first  alto,  and  baas  are  recounting  the  ii 
juries  received  by  Pope  Julius  II  fixMn  I^wis  X] 
of  France.  Compare  has  been  confounded  wi^ 
Piston,  who  had  the  same  Christian  namen 
Loyset,  a  diminutive  of  Louis.  The  oonfiisi(| 
arises  from  the  practice  of  the  early  masten,  ^ 
signing  their  compositions  with  the  Chrislii^ 
name  alone.  [M.C.C| 

COMPOSITION  means  literally  'putting  td 
gether,*  and  is  now  almost  exclusively  applied  i 
the  invention  of  music — a  novelist  or  a  pM 
being  never  spoken  of  as  a  composer  except  bj 
way  of  analogy,  but  a  producer  of  music  beiDJ 
almost  invariably  designated  by  that  titl^ 
'Gedichtet,*  says  Beethoven,  'oder  wie  ms^ 
sagt,  componirt*  (Briefe,  Nohl,  no.  aoo).  A 
far  as  the  construction  of  a  whole  movemea 
from  the  original  ideas  is  concerned  the  word  il 
perhaps  not  ill  adapted,  but  for  the  ideas  theiQ 
selves  nothing  could  be  more  inappropriate.  Foj 
the  mysterious  process  of  originating  them  tiM 
word  'invention  seems  more  suitable,  but  eveg 
that  does  not  at  all  describe  it  with  certainty.  £ 
is  the  fruit  sometimes  of  concentration  and  some^ 
times  of  accident ;  it  can  hardly  be  forced  witli 
success,  though  very  ingenious  inutations  of  otha 
peoples'  ideas  to  be  .made  to  look  like  new  may 
be  arrived  at  by  practice  and  the  habitual  study 
of  existing  music.  Nevertheless  the  title  of  com- 
poser,  though  only  half  applicable,  is  an  honoor- 
abie  one,  and  those  who  do  put  together  other 
people's  ideas  in  the  manner  which  should  best 
justify  the  title  are  generally  those  who  an 
most  seldom  called  by  it.  [C.H.H.F.] 

COMPOSITION  PEDALS.  As  up  to  within 
the  last  century  English  organs  were  quite  ua- 
provided  with  pedals,  the  notes  required  to  be 
played  had  to  be  lowered  exclusively  by  the 
fingers  of  the  two  hands ;  and  as  a  hand  oodd 
rarely  be  spared  for  changing  the  combinataon  of 
stops  during  the  performance  of  a  piece  of  musi^ 
the  same  stops  that  were  prepared  previooaly  to 
its  commencement  had  generally  to  be  adhered 
to  throughout.  When  the  instnmient  had  two 
manuals  of  full  compass,  as  was  the  case  with  au 
the  most  complete  examples,  a  change  from  fof^ 
to  jiiano,  and  bacl^  was  practicable,  aad  repr»> 


OOMPOfimON  PSD^XS. 

0ied  afanert  the  foH  BmtmtA  of  <xni4ny(k  tfioi  * 
fnil«hfe ;  and  th»  dcrpartenentB  which  are  now 
ailed  the  'great*  BJid  'choir'  oigwiB  were 
dMQ  not  anfirequently  named  from  this  circun^ 
gtax  the  'loud*  and  the  'soft*  oigans.  When 
tite  (Hgan  po— eooed  but  one  oomplete  mannal, 
te  meins  for  even  thie  relief,  either  by  chaofie 
fif  row  of  keys  or  shifting  of  stops  by  the  hctndg^ 
va«  not  readily  presented ;  anid  this  difficulty 
pointai  to  the  necessity  for  some  costriyanoe  for 
ebtaining  it  by  the  foot ;  and  the  invention  id 
tbe  'ahiftii^  movement'  as  ii  was  called,  was 
ibe  result. 

Fftther  Smith's  smaller  oi^gans,  generally  con- 
■stiiig  of  a  Great  manual  of  full  compass  and  an 
HJH)  to  middle  C,  were  usually  supphed  with  an 
apptiaaoe  of  this  kind.  On  depressing  the  con* 
tralli^  pedal  all  the  stops  smaller  than  the 
inndpal,  indading  the  reed,  were  silenoed ;  and 
«D  leitiiig  it  rise  they  again  sounded,  or  at  least 
10  many  of  them  as  ^d  in  the  first  instance 
bae&  drawn.  The  pedal  was  hitched  down  when 
Is  oae,  and  when  relessed  the  sliders  were  drawn 
bck  into  position  by  strong  springs. 

Shifting  movements  remained  in  use  for  small 
ffgana  up  to  the  commencement  of  the  present 
eentoty,  about  which  time  they  were  superseded 
by  the  kte  Mr.,Biahop's  invention  called '  Com- 
poetioii  Pedals,'  in  which  the  contending  springs 
vere  done  away  with,  and  the  stops  were  left  te 
nmuB  SB  the  pedal  ammged  them  until  another 
pa(i4  or  a  hand,  made  a  readjustment.  We 
cui  now  lay  a  *  hMid,'  because  a  few  years  before 
ibe  mve&tion  of  Mr.  BiBh<^'s  appliances  pedals 
h  diswing  down  the  lower  notes  of  the  iw^^iMtla 
W  been  added  to  English  organs,  so  that  a 
budooold  be  spared  lor  the  above  purpose. 

Compofiition  pedals  were  of  two  kmds — bingle- 
irtioo  and  double  action;  but  the  latter  only 
•R  BOW  made.  A  'single-action'  would  eithor 
tiuDw  oat  or  draw  in  given  stops,  but  would  not 
<lo  both.  A  'doubk^botioii'  composition  pedal 
vifl  not  only  dmw  out  a  given  number  of  stops*- 
ve  will  suppose  the  first  four—but  will  draw  in 
All  bit  the  same  four.  [E.  J.  H.] 

C0HPOT7ND  TIMS.  A  rhythm  formed  by 
the  oombination  of  two,  three,  or  four  ban  of 
liiDplfl  time.  The  compound  times  mcst  osed 
tteMfQUews:^ 

Compound  Common  Times, 
<^8  fenned  ef  two  ban  of  3^  time. 

^-4       If  »        3-4    »f 

x«-8       „         four    „       3-8    „ 

Componnd  Triple  Timee. 

9-8  fanned  of  three  ban  of  3-8  time. 

^4  f»  ff  3*"4     »» 

To  theee  may  be  added  4-4  time,  which  is 
"wte  19)  of  two  ban  of  3-4  time,  «ad  in  Ger- 
^J  IB  always  dassed  with  the  compound 
^unn>  In  England  however  it  is  more  often 
<^Ued  rimple  tbae,  those  rhythm?  only  being  con- 
Bdered  as  compound^  in  which  each  beat  is  divi- 
BbUmto  three  parts.  [See  Common  Time.]  [F.T.] 

COMTE  ORY,  LE,  an  opera  in  two  acts; 
libratto  in  French  by  Scribe  and  DelestrePoinoOy 


CX)NCENT0B18  SODALES.        MS 

miisio  by  Bosnni;  produced  at  the  Acad^mie 
Boyale,  Aug.  ao,  i8a8.  N«ther  libretto  nor 
music  were  new ;  the  former  was  an  adaptation 
of  a  piece  produced  by  the  same  authom  la  yean 
before,  and  the  greater  part  of  the  music  had 
been  written  for  *  D  viaggio  it  Beims,'  an  opera 
composed  for  the  coronation  of  'Charles  X«  '  Le 
Comte  Ory'  was  first  performed  in  England  by 
a  French  company  (Mr.  MitcheU)  at  the  St. 
James's  Theatre,  June  ao,  1849.  P'-] 

CONACHER  k  Co.  established  an  organ 
factory  at  Hnddersfield  in  1854.  Out  of  a  list 
of  upwards  of  400  omms  bidlt  or  enlarged  by 
them,  we  may  quote  those  of  the  parish  church, 
Hnddersfield.  St.  Michael's.  Hulme,  near  Man- 
chester, Glasgow  University,  and  the  CaUiolio 
cathedral,  St.  John's,  New  Brunswick.  [Y.  de  P.] 

CON  BRIO,  'with  lifo  and  fire.'  Allegro  oon 
brio  was  a  fiavourite  tempo  with  BeeUioven; 
hardly  one  of  his  earlier  works  but  has  an 
example  or  two  of  it,  and  it  is  found  in  the 
overture  op.  134,  and  in  the  last  piano  sonata. 
The  most  notable  instances  are  the  first  move- 
ments of  the  Eroica  and  the  C  minor,  and  the 
Finale  of  the  No.  7  symphonies.  Mendelssohi^ 
on  the  other  hand,  rarely  if  ever  employs  it. 
His  fifcvourite  quick  ttfliqx)  is  Allegro  molto  or 
di  molto.  [6.] 

CON  SPIBITO,  'wfth  spirit';  an  indication 
oftener  found  in  Haydn  and  Mozart  than  in 
later  compositions.  {GJ] 

CONCENTORES  SODAXES,  established  in 
June  1798,  and  to  some  extent  the  revival 
of  an  association  formed  in  2790  by  Dr.  Call- 
cott,  Dr.  Cooke,  and  othen.  For  that  society 
Dr.  Calloott  wrote  his  glee  'Peace  to  the 
souls  of  the  heroes,'  and  Robert  Cooke  'No 
riches  fix>m  his  scanty  store.'  After  its  dis- 
solution the  want  of  such  an  association  was 
greatly  felt,  and  in  1798  Mr.  Horsley  pro- 
posed to  Dr.  Callcott  the  formation  of  the 
'Concentores  Sodales.'  The  fint  meeting  was 
held  on  June  9,  at  the  BufiaLo  Tavern,  Blooms- 
buiy,  and  was  attended  by  Dr.  Callcott,  R. 
Cooke,  J.  Pring;  J.  Honfall,  W.  Honley,  and 
S.  Webbe,  jun.  Among  the  early  memben 
were  S.  Webbe,  sen.,  Linley,  and  Bartleman, 
Harrison,  Greatorex,  Spofibrtih,  etc  Each  mem- 
ber who  was  a  composer  contributed  a  new  canon 
on  the  day  of  his  presidency.  In  the  Additional 
MSS.  in  the  British  Museum,  a  7, 69 3,  is  the 
programme  of  Thursday,  Nov.  18,  i8oa.  The 
society  began  to  decline  about  181  a,  and  it  was 
decided  to  dissolve  it.  In  May  181 7,  at  a  meet- 
ing at  the  Freemasons'  Tavern,  at  which  Attwood* 
EUiott,  Horsley,  Linley,  and  Sptyfiorth  were  pre- 
sent, it  was  resolved  to  re-establish  it,  with  this 
difference  —  that  no  one  should  be  a  member 
who  was  not  practising  composition  and  did  no^ 
previous  to  lus  ballot^  produce  a  work  in  at 
least  four  parts.  The  original  memben  were 
soon  joined  by  Evans,  W.  Hawes,  T.  F.  Walmisley, 
and  Smart,  and  later  by  Bishop,  Goss,  Jolly, 
and  Attwood.  The  associates  included  King, 
Leete,  Terrail,  and  Sale.    The  memben  took  t£e 


1 


S84 


CONGENTOBES  SODALES. 


chair  by  turns,  and  the  chainnan  for  the  eveninff 
tuiaally  produced  a  new  canon  which  was  followed 
by  glees  of  his  own  composition,  and  a  madrigal 
or  some  vocal  work.  As  an  illustration  of  the 
programmes  may  be  cited  that  of  Feb.  13,  1824, 
when  Mr.  (now  Sir)  John  Goss  presided : — new 
canon,  4  in  a,  'Cantate  Domino*;  new  glees, 
'While  the  shepherds/  *My  days  have  been/ 
'When  happy  love/  'There  is  beauty  on  the 
mountain,'  '  Kitty  Fell,*  '  Calm  as  yon  stream,* 
'  List  1  for  the  breeze* ;  glee  by  Spofforth,  '  Hail, 
smiling  mom/  The  society  was  dissolved  in 
1847,  when  it  was  resolved  to  present  the  books 
belonging  to  it  to  Gresham  College,  the  wine  to 
the  secretary,  T.  F.  Walmisley.  and  the  money  in 
hand  was  spent  on  a  piece  of  plate  for  Mr.  Hors- 
ley,  the  &ther  of  the  society.  [C.  M.] 

CONCERT.  The  word  was  originally  'con- 
sort * — as  in  Eoclus.  xxzii.  5,  or  in  Milton  s  lines, 
'  At  a  Solemn  Musick ' — and  meant  the  union  or 
symphony  of  various  instruments  playing  in 
concert  to  one  tune.  A  'consort  of  viols*  in 
the  15th  and  i6th  centuries  was  a  quartet  or 
sestet,  or  other  number  of  stringed  instruments 
performing  in  concert — concerted  music  From 
this  to  the  accepted  modem  meaning  of  the  term, 
a  musical  performance  of  a  varied  and  miscel- 
laneous programme — for  an  oratorio  can  hardly 
be  accurately  called  a  concert — the  transition  is 
easy.  In  Grermau  the  word  'Conoert*  has  two 
meanings — a  concert  and  a  concerto. 

The  first  concerts  in  London  at  which  there 
was  a  regular  audience  admitted  by  payment 
seem  to  have  been  those  of  John  Banister,  be- 
tween 1671  and  78.  They  were  held  at  his  house 
in  Whitefriars,  Fleet  Street,  daily  at  four  in  the 
afternoon,  and  the  admission  was  one  .shilling. 
After  Banister's  death,  concerts  were  given  by 
Thos.  Britton,  *  the  smsdl-coal  man,*  at  his  house 
in  ClerkenweH,  on  Thursdays,  subscription  los. 
per  annum,  and  continued  till  his  death  in  17 14. 

By  the  latter  part  of  last  century  the  ooRoerts 
of  London  had  greatly  multiplied,  and  were  given 
periodically  during  the  season  by  the  '  Academy 
of  Antient  Music'  (founded  1710),  the  -'Castle 
Society'*  (1724^  the  'Concert  of  Antient  Music* 
(1776),  'The  Professional  Concerts*  (1783),  be- 
sides occasional  concerts  of  individual  artists, 
amongst  which  those  of  Salomon  and  Haydn 
were  preeminent  in  1791  and  93.  In  1813  the 
Philharmonic  Society  was  founded,  to  give  eight 
concerts  a  year,  and  has  been  followed  in  our 
own  time  by  many  other  enterprises,  of  which 
the  Musical  Society,  the  New  Philharmonie 
Society,  the  Crystal  Palaoe  Saturday  Concerts, 
and  the  British  Orchestral  Society,  for  orchestral 
music ;  the  '  Musical  Union,*  the  '  Monday  and 
Saturday  Popular  Concerts.*  and  Charles  Halle*s 
Recitals,  for  chamber  music ;  the  Sacred  Harmonic 
Society,  Leslie's,  Bamby*s,  and  the  Bach  Choir 
for  vocal  music,  have  been  most  prominent  in 
the  metropolis.  Mr.  Mullah's  four  historical  con- 
certs (1847)  must  not  be  forgotten. 

At  the  present  date,  in  addition  to  the  esta- 
blished periodical  concerts  just  named,  there 
were  given  in  the  metropolis  between  March  i 


CONCERT-PITCH. 

and  June  30,  1877,  no  less  than  386  oonceH 
and  recitals  of  individual  artists,  indading  Uj 
'Wagner  Festival,*  Mr.  Rubinstein's  Becttalj 
etc.,  etc. 

In  Manchester  there  are  the  GentIemen*B  Cca 
certs  and  Mr.  Charies  Halle's  Concerts.  | 
Liverpool,  the  Philharmonic.  In  Edinboirf 
the  Reid  Concert  and  the  Choral  Union;  ^ 
Glasgow  the  Choral  Union. 

In  New  York  the  Philharmonic  is  on  the  modi 
of  our  own ;  Mr.  Thomas's  orchestra  gives  peri 
odical  concerts  of  deserved  reputation.  InBost^ 
the  Handel  and  Haydn  Society  for  Oratorios,  &i^ 
the  Harvard  Institute  for  chamber  music,  si 
the  chief  musical  bodies. 

In  yienna»  the  concerts  of  the  Tonkunstlei 
Societat  appear  to  have  been  the  earliest  insi! 
tution  for  periodical  performances.  They  we^ 
founded  at  the  same  date  with  Banister's  Con 
oerts  in  London,  1773.  The  histoiy  of  Concerts  ii 
Vienna  has  been  thorou^y  examined  in  Hana 
lick*s  '  Concert- wesen  in  Wien*  (Vienna  1869). 

The  first  of  the  &mous  Gewandhaus  Concerb 
of  Leipsic,  which  through  MendelB8ohn*8  exet 
tions  reached  so  high  a  rank  in  the  mosic  d 
Europe,  was  held  on  Nov.  25,  1781. 

In  France,  the  'Concerts  Spirituels*  began  u 
far  back  as  1725,  and  the  concerts  of  the  Con 
servatoire  (Societi^  des  Concerts)  in  1828;  iU 
Ck>ncerts  Populaires  (Pasdeloup),  1861,  etc. 

In  Amsterdam,  the  'Felix  Mentis'  Conoerti 
(i  780)  are  oelebrated  all  over  the  continent 

The  programme  of  a  miscellaneous  concert  ii 
not  less  important  than  the  execution  of  it  Fot 
fifty-nine  seasons  the  programme  of  the  Phil* 
harmonic  Society  included  a  symphonies  and  a 
overtures,  besides  a  concerto,  and  oflen  anoUier 
piece  of  full  sonata-form,  with  several  vocsl 
pieces  and  smaller  instrumental  compositions. 
In  1873,  however,  after  the  removal  of  the 
concerts  to  St  James*s  Hall,  this  rule  was 
broken  through,  and  the  programmes  are  now 
of  more  reasonable  lengUi.  A  miphony,  a 
concerto,  and  two  overtures,  beeiaes  less  im- 
portant items,  are  surely  as  much  as  any  mu- 
sical appetite  can  properly  digest  Mendelssohn 
somewhere  psoposes  to  compose  an  oitire  pro- 
gnunme^  in  which  all  the  pieces  should  have 
due  relation  to  each  other,  but  he  never  c^^ 
out  his  intention.  L^'J 

CONCERT-MEISTER,  the  German  term  for 
the  leader,  i.  e.  the  first  of  the  first  violins  in  an 
orchestra*  who  sits  next  the  conductor  and  trans- 
mits his  wishes  to  the  band.  He  is,  as  far  as 
any  one  player  can  be,  responsible  for  the  attack, 
the  tempo,  the  nuances  of  the  playing.  Fe^ 
dinand  David,  who  was  the  head  of  the  orchestra 
at  the  Gewandhaus  concerts  during  Kendels* 
sohn*s  reign,  and  till  his  own  death,  was  the 
model  concert-meister  of  our  time.  [^'1 

CONCERT-PITCH,  An  absurd  expression, 
meaning  a  pitch  slightly  higher  than  the  ordinaiy 
pitch,  lued  at  concerts  for  the  sake  of  produdi^ 
brilliancy  and  effect  Since  attention  has  been 
given  to  the  subject  of  pitch  the  expression  is  or 
ought  to  be  obsolete.  [^  J 


OONCEBT  SPIBiTUEL. 

CONCERT  SPIBrrUEL.  JL  great  nrancal 
foedtafeion  of  France,  dating  from  the  reign  of 
h}m  XV.  The  Acad^mie  Koyale  de  Mucdque 
libe  Opera  Home)  being  doeed  on  the  great  re- 
fidons  festiTalB,  it  oecurred  to  Anne  Danican 
philidor  to  giTe  ooncerts  on  these  oocadonB  in 
pbce  of  the  prohibited  perfonnanoes.  Having  ob- 
waed  tbe  necesaaxy  permission,  Philidor  entered 
into  an  sgreement  with  Erancine,  the  Impresario 
of  the  Opera,  by  which  he  pledged  himself  to  pay 
1000  francs  a  year,  and  to  perform  neither  Frend^ 
Bcr  Gper»  music.  The  first  (>oncert  Spirituel  ac- 
cordingly took  place  between  6  and  8  p.m.  on 
Sunday  m  Passion  Week,  March  i8, 1 725.  The 
{sognunme  included  a  Suite  for  yiolin  and  a 
Cafnodo  by  Lalande,  Corelli's  '  Nuit  de  Noel* 
(C(mcerto  8,  op.  6),  and  a  'Gonfitebor'  and  'Can- 
tate  Domino*  of  Lalande,  and  the  concert  was 
most  sQcoessfuL  The  number  Of  ooncerts  in  the 
jear  ne?er  exceeded  twenty-four.  They  were 
held  in  the  Salle  des  Suisses  of  the  Tuileries,  on 
Purification  Day,  Feb.  a ;  Lady  Day,  March  25  ; 
<m  certain  day^  between  Palm  Sunday  and  Low 
Sunday  (first  Sunday  after  Easter) ;  Whit  Sun- 
day; Corpus  Chriflti  Sunday ;  on  Aug.  15,  Sept. 
S,  Not.  I,  8 ;  Dec.  34,  35 — ^those  being  Uie  days 
<B  which  the  Opera  was  dosed. 

In  1728  Philidor,  having  previously  acquired 
the  right  of  introducing  French  and  opera  music 
mto  ^e  programmes,  transferred  his  privilege  to 
Simard,  on  an  annual  payment  of  3000  finanos, 
ud  the  musical  direction  of  the  concerts  was 
confided  to  Mouret.  On  Dec.  25,  1734,  Thuret^ 
the  th^  Impresario  of  the  Opera,  took  the  con- 
<s1b  into  hu  own  hands^  and  appointed  Bebel 
leader  of  the  orchestra.  In  1741  ne  resigned  it 
to  Boyer  for  six  years,  at  an  annual  rent  of  6oco 
fiiacs;  in  1749  Boyer  renewed  the  contract  on 
the  same  terms,  in  partnership  with  Caperan. 
In  1752  the  rent  was  raised  to  7500  francs,  and 
in  1755  to  9000  francs,  at  which  it  remained  for 
eight  years.  On  Beyer's  death  in  1 755,  Mondon- 
viile  took  the  direction  of  the  concerts  until 
1762,  when  he  was  succeeded  by  D*Auvergne, 
who  retained  it  for  nine  years  in  combination  with 
Joliveaa  and  Caperan.  In  1771  D*Auveigne 
ffid  Berton  renewed  the  agreement;  but  the 
concerts  had  for  some  time  been  &iling,  and 
D'AQTeignfi  —  as  we  leam  fitmi  a  remark  by 
Barney  ^'Present  State,'  etc.  p.  23) — becoming 
^  poor,  cancelled  the  agreement  after  a  short 
trial  Gavini^s,  in  1773,  took  the  direction  with 
U  Due  and  Gossec,  and  was  more  successf  uL 
I«  Gros  succeeded  him  in  1 777,  with  Berthaume 
,  as  hiB  partner  in  1789 ;  but  political  events  gave 
^  a  &tal  blow  to  the  undertaking,  and  in  1791  the 
Conoerts  Spirituels  ceased  to  exist. 

We  have  given  the  names  of  the  successive 
Impitaarios  because  many  among  them  are  wor- 
thy of  meution,  not  as  mere  speculators,  but  as 
tne  artists.  Mouret^  Bebel,  l)*Auvetgne,  and 
Scrton  are  among  the  best  composers  and  leaders 
ot  the  Qidiestra  that  the  Academic  can  show  in 
^  i$th  century ;  while  Oavini^s,  Simon  Leduc, 
Lahonseaye,  Gu^nin,  and  Berthaume,  who  oon- 
teed  the  ooncerts  during  the  last  eighteen 


CONCERT  SPIRITUEL. 


885 


yearn  of  their  eyistenoe,  were  all  violin-players  of 
very  great  merit. 

Whatever  may  be  said  of  the  vocal  music  and 
the  French  fldngers  at  the  Concerts  Spirituels  it 
must  be  admitted  that  foreign  artists  iJways  met 
with  the  most  courteous  reception,  and  also  that 
the  concerts  greatly  assisted  the  progress  of  music 
in  France^  especially  by  developing  a  taste  for  the 
highest  orchestral  music.  Among  the  celebrated 
artists  who  appeared,  it  will  be  sufficient  to  men> 
tion  the  fiunous  brothers  Besoszi,  whose  duets  for 
oboe  and  bassoon  made  furore  in  1735;  the 
violinists  Traversa,  Jamowick,  Fran9oiB  La- 
motte,  Viotti,  and  Frederic  Eck ;  the  horn*  players 
Punto  and  Rodolphe  ;  Jerome  Besozzi  and  Louis 
Lebrun  (oboe)  ;  Etienne  Ozi  (bassoon)  ;  Michel 
Yost  (clarinet),  and  many  others  of  less  repute. 
Among  many  illustrious  singers  we  must  content 
ourselves  with  mentioning  Farinelli,  Raff,  Caf* 
fiirelli,  Davide,  Mesdames  Agujari,  Danzi,  Todi, 
and  Mara. 

Up  to  the  present  time  no  history  of  the  Con- 
certs  Spirituels  has  been  written,  though  ample 
materials  exist  in  the  monthly  'Meroure  de 
France,'  which  plainly  testifies  to  the  importance 
of  the  concert  movement  and  the  influence  it 
exercised  on  musical  art  in  France.  To  the 
brilliant  success  of  the  Concerts  Spirituels  must 
be  attributed  the  creation  of  many  rival  societies 
which  served  the  cause  of  good  music  in  France, 
and  also  encouraged  it  abroad. 

Thus  in  1770  the  important  enterprise  of  the 
Concert  des  Amateurs  was  founded  by  d'Ogni 
and  Delahaye  at  the  Hotel  Soubise.  It  was  con- 
ducted by  Gossec,  and  its  solo  violin  was  the 
fiiunous  Chevalier  de  St.  Georges.  At  these  con- 
certs the  symphonies  of  J.  B.  Toeschi,  Van  Mal- 
dere,  Yanhall,  Stamitz  and  Gossec,  for  wind  instru- 
ments, were  first  produced.  When  the  Amateurs 
removed  to  the  Galerie  de  Henri  ITT,  in  the  Rue 
Coq  H&ran,  they  adopted  the  title  of  Concert  de  la 
Loge  Olympique,  and  their  orchestra  contained 
the  best  players  of  the  day.  The  change  took 
cdaoe  in  1780,  a  year  after  the  introduction  of 
Haydn's  symphonies  into  France  by  the  violinist 
Fonteski.  So  great  was  the  success  of  these 
admirable  compositions  as  to  induce  the  directora 
to  engage  the  great  composer  to  write  six  sym- 
phonies specially  for  the  society.  They  date  from 
1784  to  1789;  are  m  C,  G  minor,  Eb,  Bb,  D, 
and  A ;  and  were  afterwards  published  in  Paris 
BB  op*  5iy  nnder  the  special  title  of  'Repertoire 
de  la  Loge  Olympique. 

Two  similar  institutions,  the  Concert  de  la  Rue 
de  Cl^  (I78^)>  And  the  Concert  Feydeau  (1794), 
may  be  considered  as  feeble  imitations  of  the 
Loge  Olympique.  They  had,  however,  their 
periods  of  success — according  to  F6tis  in  1796 
and  1802.  Among  the  artists  who  chiefly  con* 
tributed  to  the  ^dat  of  the  performances  we  can 
only  name  the  violinists  R.  Kreutzer  and  Rode, 
Fred.  Duvemoy  the  horn-player,  and  the  singers 
Garat  and  Mme.  Barbier-Valbonne. 

In  1805  ^®  Concerts  Spirituels  were  re-esta- 
blished by  the  Impresario  of  the  Italian  Opera 
House,  and  the  sacred  concerts  given  during 

Co 


886 


CONCERT  SPIRITUBL. 


CONCEBTIKA. 


Holy  Week  in  Paris  at  the  Cirque  d'hiver,  the 
Conservatoire,  and  other  places,  are  still  known 
by  that  name.  In  &ct,  in  a  historical  point  of 
view,  the  Concerts  du  Conservatoire  must  be  oon- 
eidered  as  the  successors  of  the  Concerts  Spiri- 
tuels  and  of  the  Concerts  de  la  Lege  Olympique. 

The  creation  of  the  celebrated  Soci^t^  des 
Concerts  du  Conservatoire  was  due  to  Habeneck, 
and  its  first '  Matinee  dominicale*  took  place  on 
Sunday,  the  9th  of  March,  1828,  at  2  p.m.,  in  the 
theatre  of  the  Conservatoire — the  same  hour  and 
place  at  which  they  are  still  given.  The  pro- 
gramme was  as  follows : — (i)  Beethoven*s  Eroica 
Symphony;  (2)  Duet  from  the  ' Semiramide,' 
sung  by  N^lia  and  Caroline  Maillard ;  (3)  Solo 
for  Horn,  composed  and  executed  by  Meifred; 
(4)  an  air  of  Rossini's,  sung  by  Mile.  N^lia 
Maillard ;  (5)  Concerto  by  Rode,  performed  by 
Mr.  Eugene  Sauzay ;  (6)  Chorus  from  '  Blanche 
de  Provence  * ;  ( 7)  Overture  to  *  Les  Abenc^rages  * ; 
and  (8)  the  Kyrie  and  Gloria  from  the  Coro- 
nation Mass — all  by  Cherubini.  The  efifect  of 
this  programme  was  extraordinary. 

The  concerts  are  held  on  Sundays  at  7  p.m. 
The  season  originally  consisted  of  six  concerts, 
but  by  degrees  the  number  has  been  increased  to 
nine.  Since  Jan.  7,  1866,  the  same  programme 
has  been  always  repeated  on  two  consecutive 
Sundays  in  consequence  of  a  division  of  the  sub- 
scribers into  '  old '  and  '  new.'  The  seats,  which 
originally  varied  from  2  to  5  francs,  are  now  5, 
9,  10,  and  12  francs.  The  orchestra  is  composed 
of  84^  musicians,  74  of  them  being  '  Sod^taires,' 
and  the  other  ten  assistant  members.  The  fol- 
lowing is  the  list  of  conductors  :— 


Conductor       Sub-Conductor 


Habeneok 
Narcisse  Girard 
Tilmant 
6.  Hainl 
Deldeves 


Date 


Mar.  9, 1828— Ap.  10, 48 
Jan.  14, 49— Jan.  00 
1860-1808 
188^-March  17. 72 
May  26, 72-1877 
1877 


Tilmant  sind 

Ditto 
Deldeves 
Ditto 
Lamoureuz 
B.Altte 

The  choir  contains  36  members,  with  a  small 
number  of  assistants.    M.  Heyberger  leader. 

The  repertoire  of  this  society  comprises  all  the 
symphonies  of  the  classical  masters,  overtures  of 
every  school,  oratorios,  selections  from  operas 
and  religious  music,  choruses  with  and  without 
accompaniment,  pieces  for  the  orchestra  alone, 
ode -symphonies  and  instrumental  solos.  For 
some  years  the  pn^frammes  have  been  moro 
varied  than  was  formerly  the  case,  introducing 
the  works  of  Schumann,  Berlioz,  and  Wagner, 
and  of  the  young  masters  of  the  modem  French 
school.  M.  A.  El  wart  published  in  i860  his 
'  Histoire  de  la  Soci^t^  des  Concerts  du  Conser- 
vatoire,* and  the  author  of  this  article  has  col- 
lected materials  for  a  '  Histoire  du  Conservatoire 
National  de  Musique,*  which  will  contain  a 
sketch  of  the  work  of  that  illustrious  institution 
from  its  foundation  by  Habeneck  to  the  present 
date  [1878].  [G.C.] 

CONCERT-STUCK,  i,  «.  Concert-piece.     A 
term  fruniliar  to  the  English  reader  through 
>  FowtMB  flat,  sod  fganeaaMooodrlollas.  | 


Weber's  well-k]y>wn  composition  in  F  mino 
(op.  79),  which  is  to  all  intents  and  purposes  1 
concerto  for  piano  and  orchestra.  Weber's  intei 
tion  was  to  make  it  more  dramatic  than  luosi 
and  to  have  given  the  movem^its  expreaa^ 
headings,  and  hence  perhaps  the  variation  in  th 
title.  Schumann  has  left  a  'Conoert-Stiick'  fo 
4  boms  and  orchestra  (op.  82),  which  also  i 
a  concerto  under  another  name. 

CONCERT  ANTE  (ItaL).  In  the  last  centor 
this  name  was  given  to  a  piece  of  music  fo 
orchestra  in  which  there  were  parts  for  soil 
instruments,  and  also  to  compositions  for  seven 
solo  instruments  without  orchestra.  T^e  fin 
concerto  by  Handel  in  C  major,  for  two  violin 
and  violoncello,  aooompanied  by  strings  and  twi 
oboes  (published  in  part  2 1  of  the  German  Handf 
Society  s  edition)  is  in  Amold*8  old  Englisl 
edition  entitled  '  Concertante.'  In  the  preeeni 
day  the  word  is  chiefly  used  as  an  adjective 
prominent  solo  instrumental  parts  being  spokei 
of  as  '  concertante  parts,*  and  a  work  being  mi 
to  be  'in  the  oonoertante  style'  when  it  affordi 
opportunities  (br  the  brilliant  display  of  tlx 
powers  of  the  performers.  For  example*  those 
quartets  of  Spohr  in  which  especial  prominenot 
is  given  to  the  part  of  the  first  violin  are  some* 
times  called  'oonoertante  quartets.'  His  op.  48 
is  a  *Sinfonie  concertante,  pour  a  Violons  svec 
Orohestre';  hia  op.  88  a  'Concertante'  for  the 
same.     See  also  his  op.  iia-115,  etc.        [£-P-] 

CONCERTINA,  a  portable  instrument  of  the 
Seraphine  fiunily,  patented  by  the  late  Sir 
Charles  Wheatstone  June  19,  1829. 

It  is  hexagonal,  and  has  a  key-board  at  each 
end,  with  expansible  bellows  between  the  two. 
The  sound  is  produced  by  the  pressure  of  air 
8«a  £         from  the  bellows  on  free  metallic 
£        reeds.    The  compass  of  the  treble 
'  concertina  is  four  octaves,  through 

.  which  it  has  a  complete  chromatic 

scale.    This  instrument  is  doubJe 
action,  and  produces  the  same  note  both  on  draw- 
ing and  pressing  the  bellows.    Much  variety  of 
tone  can  be  obtained  by  a  skilful  player,  and  it 
has  the  power  of  being  played  with  great  ex- 
pression and  complete  sostenuto  and  staccato. 
Violin,  flute,  and  oboe  music  can  be  performed 
on  it  without  alteration ;    but  music  written 
specially  for  the  concertina  cannot  be  played 
on  any  other  instrument,  except  the  arg»R  or 
harmonium.     Nothing  but  the  last-named  in- 
struments can  produce  at  once  the  extended 
harmonies,  the  sostenuto  and  staccato  combined, 
of  which  the  concertina  is  capable.    There  are 
also  tenor,   bass,   and  double  bass  concertinas, 
varying  in  size  and  shape.     These  instromeots 
are  single-action,  producing  the  sound  by  pressure 
only,  ukd  are  capable  of  taking  tenor,  bass,  and 
double  bass  parts  without  alteration.    The  com* 
pass  of  these  is  as  follows — 


$ 


Tmor  *      Bast  .    t:      (Sm 


DoiMehatt 
(8i«  lowr) 


CONCERTINA. 

mking  ihe  total  range  of  the  four  iiutrmnentB 
6i  octavo.  The  late  Signor  Begondi  was  the 
fint  to  make  the  instrument  known,  and  was 
followed  by  Mr.  George  Case.  Mr.  Richard 
BiagroTB  is  now  the  principal  perfonner  and 
profesor.  Among  the  music  written  specially 
ix  the  instrumeoit  are  2  Ck>nGerto8  in  G  and  D 
far  Bolo  concertina  and  orchestra^  by  Molique ; 
3  ditto  ditto  in  D  and  £b,  by  G.  Regondi; 
Sooata  for  piano  and  concertina  in  Bb,  by  Mo- 
fique;  Quintet  for  concertina  and  strings,  by 
G.  A.  Macfarren ;  Adagio  for  8  concertinas  in 
£,  by  £.  Silas;  Quintet  in  D  for  piano,  con- 
certina, yidin,  yjoIa,  and  cello,  by  the  same ;  6 
Trioa  for  piano,  concertina,  and  violin,  by  the 
ame.  Much  brilliant  talon  music  has  also  been 
written  ioT  it.  Messrs.  Wheatstone  &  Co.  are 
the  best  maken.  [G.] 

CONCERTINO  (ItaL,  dim.  of  Coneerto),  A 
piece  for  one  or  more  solo  instruments  with 
QTchestrai  accompaniment^  which  differs  from 
the  GoircBBTO  in  its  much  greater  ooncise- 
neas.  The  concertino  is  less  restricted  in  form 
than  the  concerto ;  it  may  be  in  three  short 
iQOTements,  which  are  usually  connected ;  but  it 
mare  often  consists  of  one  rather  long  movement, 
m  which  the  time  may  be  changed  or  a  middle 
part  in  slower  tempo  be  introduced  episodically. 
Ab  good  examples  may  be  cited  Weber's  '  Con- 
certino'  for  clarinet,  op.  26,  and  Schumann's 
'Introduction  and  Allegro  Appassionato,'  op.  93, 
for  piano  and  orchestra.  For  some  not  very 
obTiooB  reason  the  form  is  much  less  frequently 
Used  for  the  piano  than  for  the  violin  or  other 
Qcchestral  instruments,  [B'^O 

CONCERTO  (Ital.;  Ger.  and  Fr.  Concert), 
This  name  is  now  given  to  an  instrumental  com- 
pcdtion  designed  to  show  the  skill  of  an  ex- 
ecutant, and  which  is  almost  i&variably  accom- 
panied by  orchestra— one  exception  being  Liszt's 
'Conoert  Path^tique  *  for  two  pianos,  and  another 
Schumann's  Sonata  op.  14,  originally  published 
as  'Concert  sans  orchestre.'  The  word  was 
however  at  one  time  used  differently.  It  was 
&3t  employed  by  Ludovico  Yiadana,  who  in 
1603-3  published  a  series  of  motets  for  voices 
a&d  organ,  which  he  entitled  'Concerti  ecclesi- 
astici.'  In  this  sense  the  word  was  used  as 
eqaivalent  to  the  Latin  *concentus,'  and  such 
works  were  called  *  Concerti  da  Chiesa'  (Church 
Concertos).  Soon  other  instruments  were  added 
to  the  organ ;  and  ultimately  single  instrumental 
iiu)vements  in  the  sacred  style  were  written 
which  a]so  received  the  name  of  'Concerti  da 
Chiesa.'  The  real  inventor  of  the  modem  con- 
certo as  a  concert  piece  was  Giuseppe  Torelli, 
who  in  1686  published  a  'Concerto  da  Camera* 
for  two  violins  and  bass.  The  form  was  deve- 
loped by  CoreDi,  Geminiani,  and  Vivaldi.  From 
the  first  it  resembled  that  of  the  sonata ;  and 
u  the  latter  grew  out  of  the  suite,  the  move- 
l^entB  becoming  larger  in  form  and  with  more 
mtemal  cohesion,  so  it  was  also  with  the  con- 
certo: there  is  as  much  difference  between  a 
concerto  by  Bach  and  one  by  Beethoven  as  there 


CONCERTO. 


887 


tB  between  Uie  'Suites  Anglaises'  and  the '  Wald- 
stein*  sonata.  In  the  time  of  Bach  and  Handel 
the  word  '  Concerto,'  though  applied  exclusively 
to  instrumental  music,  had  a  less  restricted  sig^ 
nification  than  is  given  to  it  in  the  present  day. 
Many  of  the  specimens  of  this  form  m  the  works 
of  the  masters  named  more  nearly  resemble  sym- 
phonies than  concertos  in  the  modem  acceptation 
of  the  term.  For  instance,  the  first  of  Handel's 
so-called  '  Oboe  Concertos'  is  written  for  strings, 
two  flutes,  two  oboes,  and  two  bassoons,  and 
excepting  in  occasional  passages  these  are  treated 
orchestrally  rather  thim  as  solo  instruments.; 
while  of  &udi  we  have  a  concerto  for  violino 
piccolo,  three  oboes,  one  bassoon,  and  two  homs^ 
with  string  quartet,  and  another  fat  three  vio- 
lins, three  violas,  three  violoncellos,  and  double 
bass,  neither  of  which  possess  the  characteristics 
of  a  modem  concerto.  The  form,  moreover,  of 
the  older  concerto  was  much  freer  than  now. 
With  Bach  we  find  a  preference  for  the  three- 
movement  form  at  present  in  use.  In  the  whole 
of  his  piano  concertos,  as  well  as  in  those  for  one 
or  two  violins,  we  find  an  allegro^  a  slow  move- 
ment, and  a  finale  in  quick  time — generally  3-8. 
The  two  concertos  named  above  are,  exception- 
ally, the  former  in  four  and  the  latter  in  only 
two  movements.  With  Handel,  on  the  other 
hand,  the  three-movement  form  is  the  exception. 
As  examples  of  the  fireedom  of  which  he  makes 
use,  may  be  quoted  the  movements  of  two  of  his 
'Twelve  Grand  Concertos'  for  two  violins  and 
violoncello  toli,  with  accompaniment  for  stringed 
orchestra.  These  works  are  concertos  in  the 
modem  sense,  as  regards  the  treatment  of  the 
solo  instruments ;  but  their  form  is  as  varied  as 
possible.  Thus  the  sixth  consists  of  a  Larghetto, 
Allegro  ma  non  troppo.  Musette,  and  two  Alle- 
gros, the  second  of  which  (though  not  so  entitled) 
is  a  minuet ;  while  the  eighth  contains  an  Alle- 
mande.  Grave,  Andante  allegro.  Adagio,  Siciliana^ 
and  Allegro.  It  should  be  mentioned  here  that 
Handel  was  one  of  the  first,  if  not  the  first,  to 
introduce  opportunities  for  extempore  perform- 
ance on  the  part  of  the  soloist,  thus  anticipating 
the  'cadenza,'  an  important  feature  of  the  modem 
concerto,  to  be  spoken  of  presently;  In  the 
second  movement  of  his  Organ  Conoerto  in  D 
minor  (No.  4  of  the  second  set)  are  to  be  found 
no  less  than  six  places  marked  organo  ad  libUum, 
and  with  a  pause  over  the  rests  in  the  aoconk- 
paniments,  indicating  that  the  player  (that  is 
to  say,  he  himself)  was  to  improvise. 

The  modem  form  of  the  concerto  was  finally 
settled  by  Mozart,  and  though  several  modifica- 
tions have  been  introduced  during  the  present 
century,  the  general  lines  of  construction  remain 
the  same  as  fixed  by  him.  Neariy  fifty  oonoertos 
of  his  composition  for  various  instruments  are  in 
existence,  and,  while  presenting  slight  differ- 
ences of  detail,  closely  resemble  one  another  in 
the  more  important  points.  The  conoerto  form 
is  founded  upon  that  of  the  Sonata  (which  see) ; 
there  are  however  several  variations  which  must 
be  noted.  In  the  first  place,  a  concerto  consists 
of  only  three  movements,  the  scherzo,  for  some 
'  Oo2 


888 


CONCERTO. 


not  very  obviona  reason,  being  ezdnded.  For 
the  sake  of  completeness  it  should  be  mentioned 
that  Litolfir's  so-called  Concerto -Symphonie  in 
£  flat,  for  piano  and  orchestra,  has  exceptionally 
a  scherzo  as  the  third  of  four  movements. 

The  first  movement  in  Mozart's  concertos 
always  benns  with  a  tutti  passage  for  the 
orchestra,  m  which  the  principal  subjects  are 
announced,  much  as  in  the  first  part  of  the  first 
movement  of  a  sonata.  Sometimes  the  *  second 
subject'  is  omitted  in  this  portion  of  the  piece, 
but  it  is  more  frequently  introduced.  An  im- 
portant difference  in  form,  however,  is  that  this 
first  tutti  always  ends  in  the  original  key,  and 
not  in  the  dominant,  or  the  relative  major  (if  the 
work  be  in  a  minor  key),  as  would  be  the  case 
in  a  sonata.  The  solo  instrument  then  enters, 
sometimes  at  once  with  the  principal  subject, 
and  sometimes  with  a  brilliant  introductory  pas- 
sage. A  repetition,  with  considerable  modifica- 
tion, of  the  first  tutH  mostly  follows,  now  divided 
between  the  principal  instrument  and  the  or- 
chestra ;  the  second  subject  is  regularly  intro- 
duced, as  in  a  sonata,  and  the  'first  solo'  ends 
with  a  brilliant  passage  in  the  key  of  the  domi- 
nant (or  relative  major,  as  the  case  may  be). 
A  shorter  tutti  then  leads  to  the  second  solo, 
which  corresponds  to  the  '  DurchfUhrungsatz,'  or 
'working  out'  of  a  sonata,  and  whidi,  after 
various  modulations,  leads  back  to  the  original 
key.  The  principal  subject  is  then  re-introduced 
by  the  orchestra,  but  in  a  compressed  form,  and 
IS  continued  by  the  soloist  with  the  '  third  solo,' 
which  corresponds  in  its  form  to  the  latter  part 
t)f  a  sonata  movement.  A  short  final  tutti  brings 
the  movement  to  a  close.  In  most  older  con- 
certos a  pause  is  made,  near  the  end  of  this  last 
tutti  upon  the  6-4  chord  on  the  dominant  for 
the  introduction  of  a  cadenza  by  the  player. 
Though  very  general,  this  custom  was  by  no 
means  universal ;  in  sevoral  of  Dussek's  con- 
certos— notably  in  his  fine  one  in  G  minor, 
op.  49 — no  such  pause  is  indicated.  The  ca- 
denza, when  introduced,  could  be  either  impro- 
vised by  the  player,  or  previously  composed, 
either  by  himself  or  by  some  other  person. 
Mozart  has  left  us  thirty-five  cadenzas  written 
for  various  concertos  of  his  own,  which,  though 
presenting  in  general  no  very  great  technical 
difficulties,  are  modelsof  their  kind.  Beethoven 
has  also  written  cadenzas  for  his  own  concertos, 
as  well  as  for  that  by  Mozart  in  D  minor.  In 
the  cadenza  the  player  was  expected  not  merely 
to  show  off  his  execution,  but  to  display  his  skiU 
in  dealing  with  the  subjects  of  the  movement  in 
which  it  was  introduced.  A  cadenza  consisting 
entirely  of  extraneous  matter  would  be  altogther 
&ulty  and  out  of  place,  no  matter  what  its 
technical  brilliancy.  It  was  the  invariable 
custom  to  finish  the  cadenza  with  a  long  shake 
on  the  chord  of  the  dominant  seventh,  after 
which  a  short  passage  for  the  orchestra  alone 
concluded  the  movement.  In  older  works  the 
soloist  was  silent  during  these  few  bars ;  but  in 
his  concerto  in  C  minor  (Koohel's  Catalogue, 
No.  491)  Mozart  for  the  first  time  tried  the 


CONCERTO. 

experiment  of  associating  the  piano  with«th( 
orchestra  after  the  cadenza;  and  his  exampli 
was  followed  by  Beethoven  in  hia  oanoertos  ii 
C  minor,  6  major,  and  £b. 

Before  proceeding  to  speak  of  the  modification 
introduced  into  the  concerto  by  Beethoven  an< 
other  more  modem  composers,  it  will  be  well  ti 
complete  our  description  of  the  form  as  left  h\ 
Mozart.  The  second  movement,  which  migh 
be  an  andante,  a  larghetto,  an  adagio,  or  an^ 
other  slow  tempo,  resembled  in  its  fbim  tlu 
corresponding  portion  of  a  sonata.  SometizDe 
the  variation  form  was  used,  as  in  Mozart's  tw< 
concertos  in  Bb  (Kochel,  Nos.  450  and  456) ;  bo 
more  frequentlv  the  ordinary  andante  or  laigbett^ 
was  introduced  Two  channing  examples  of  Uu 
Romance  will  be  found  in  the  slow  movement 
of  Mozart's  concertos  in  D  minor  and  D  majui 
(Kochel,  Nos.  466  and  537),  though  the  latter  it 
not,  like  the  first,  expreuly  so  entitled,  but 
simply  bears  the  inscription  larghetto.  The  »!( 
part  in  the  slow  movements  is  frequently  of  an 
extremely  florid  character,  abounding  in  pa£8a^ 
of  ornamentation.  Sometimes  a  cadenza  \a  alfc 
introduced  at  the  close  of  this  movement— e.g. 
in  Mozart's  Concertos  in  A  major  (Kiichel,  414), 
C  major  (Kochel,  415),  and  6  major  (Kochel, 
453).  In  such  cases,  as  is  evident  from  the 
examples  written  by  Mozart  himself  for  the 
works  mentioned,  the  cadenza  should  be  much 
shorter  than  in  the  first  movement. 

The  finale  of  a  concerto  was  mostly  in  rondo 
form,  though  examples  are  to  be  found  in  Mozart 
of  the  variation  form  being  employed  for  this 
movement  also;  see  concertos  in  C  minor  (Kochel, 
491),  and  Gr  major  (Kochel,  453).     Sometimef 
this  rondo  was  interrupted  by  a  complete  change 
of  tempo.     Thus  the  rondo  of  the  concerto  in 
C  major  (Kochel,  415),  which  is  in  6-^  time^  i> 
twice  interrupted  by  an  adagio  in  C  minor,  2-4; 
in  the  middle  of  &e  rondo  of  the  concerto  in 
£b  (Kdchel,  482)  is  introduced  an  andandno 
cantabile ;  while  another  concerto  in  £b  (Kochel, 
271)  has  a  minuet  as  the  middle  portion  of  the 
final  presto.    Short  cadenzas  were  also  frequently 
introduced  in  the  finales;   the  concerto  in  £b, 
just  mentioned,  has  no  less  than  three,  all  of 
which,  instead  of  being  left  to  the  discretion 
of  the  player,  are,  exceptaonally,  written  out  in 
full.    Similar  short  cadenzas  will  be  found  in 
the  rondo  of  Beethoven's  concerto  in  0  minor, 
op.  37,  while  in  the  finale  of  the  conoerto  in  G, 
op.  58,  a  pause  is  made  with  the  special  direction 
'  La  cadenza  sia  corta' — ^the  cadenza  to  be  short. 

The  innovations  introduced  by  BeethoTon  in 
the  form  of  the  concerto  were  nmnerous  and 
important.  Foremost  among  these  was  the 
greater  prominence  given  to  the  orchestra.  I& 
the  concertos  of  Mozart,  except  in  the  tuttis, 
the  orchestra  has  little  to  do  beyond  a  tamjAo 
accompaniment  of  the  soloist,  but  with  Beethuven, 
especially  in  his  later  concertos,  the  instrumental 
parts  have  really  symphonic  importance.  Bee- 
thoven was  also  the  first  to  connect  the  second 
and  third  movements  (see  concertos  in  G  vi^ 
£  flat),  an  example  which  was  imitated  hy  Hen* 


CONCERTO. 

debsohn,  in  -whose  pianoforte  oonceiioa  in  G 
mxaor  vnd  D  minor  all  the  movements  follow 
ajntinaously.  Beethoven,  moreover,  in  his  con* 
certos  in  6  and  £  flat^  broke  through  the  custom 
•f  coaimencing  the  work  with  a  long  tutti  for  the 
orchestra ;  in  the  fonner  the  piano  begins  alone, 
tsd  in  the  latter  it  enters  at  the  second  bar.  It 
u  worthy  of  remark  that  the  same  experiment 
hA  been  onoe,  and  only  once,  tried  by  Mozart, 
in  his  litUe-known  concerto  in  £b  (Kochel,  ayi), 
where  the  piano  is  introduced  at  the  second  bar. 
One  more  innovation  of  importance  remains  to 
be  noticed.  In  his  conc^to  in  £b,  op.  73> 
Beethoven,  instead  of  leaving  a  pause  after  -the 
6-4  chord  for  the  oustomaiy  cadenza,  writes  his 
own  in  lolly  with  the  note  'Non  si  fa  una 
Cadenza,  ma  attaoca  subito  il  seguente* — '  do  not 
make  a  cadenza,  but  go  on  at  once  to  the  following.* 
His  cadenza  has  the  further  peculiarity  of  being 
•occanpanied  from  the  nineteenth  bar  by  the 
orchestra.  Another  curious  example  of  an  ao- 
coznpsQied  cadenza  is  to  be  found  in  that  which 
Beeihoven  has  written  for  his  pianoforte  arrange- 
ment of  his  violin  concerto,  op.  61,  through  a 
considerable  part  of  which  the  piano  is  accom- 
panied by  the  drums^  which  give  the  chief  subject 
of  the  movement. 

It  is  evident  that  the  example  of  Beethoven 
m  his  £b  concerto  led  the  way  to  the  disuse 
of  the  introduced  cadenza  in  the  first  movement. 
Keiiher  Mendelssohn  nor  Brahms  in  their  piano- 
fijTte  concertos  have  inserted  one  at  all ;  and 
where  such  is  intended,  composers  mostly  write 
oit  in  fuU  what  they  wish  played,  as  for 
example  Mendelssohn  in  his  violin  concerto,  op. 
64  (where,  it  may  be  remarked  in  passing,  the 
cadena  is  the  middle  of  the  first  movement,  and 
not  at  the  end).  Schumann  (concerto  in  A 
minor,  op.  54)  and  Rafi^  (concerto  in  C  minor,  op. 
iS5>  have  also  both  written  their  cadenzas  in  fuU. 

The  concertos  written  since  those  of  Beethoven 
h&Te  been  mostly  constructed  upon  the  lines  he 
laid  down.  The  introductory  tutti  has  been 
ihortened  (Us  in  Mendelssohn^s,  Schumann's,  and 
BafiTs  concertos),  though  occasionally  works  are 
Btill  written  in  ^e  older  form,  the  most  striking 
example  being  Brahms's  concerto  in  D  minor,  in 
which  the  piano  does  not  enter  till  the  ninety- 
fint  bar.  Sometimes  also  a  quickening  of  the 
tempo  is  introduced  at  the  end  of  the  firat  move- 
ment (Schumann,  op.  54 ;  Grieg,  op.  16).  Various 
other  modifications  have  been  made  by  different 
composers,  of  which  it  is  not  necessary  to  speak 
in  detail,  as  they  are  merely  isolated  examples, 
and  have  not,  at  least  as  yet,  become  accepted  as 
models  of  the  form.  The  two  concertos  for  piano 
and  orchestra  by  Liszt  are  constructed  upon  a 
plan  BO  different  from  that  generally  adopted 
that  they  should  rather  be  described  as  fantasias 
or  rhapsodies  than  as  concertos  in  the  ordinary 
meaning  of  the  term. 

Sometimes  concertos  are  written  for  more  than 
one  aolo  instrument,  and  are  then  known  as 
double,  triple,  etc.,  concertos  as  the  case  may  be. 
The  construction  of  the  work  is  precisely  the 
ume  as  when  composed  for  only  one  instrument. 


CONDUCTOR. 


88» 


As  examples  may  be  named  Bach's  concertos 
for  two  violins,  and  for  two,  three^  and  four 
pianos ;  Mozart*s  Concerto  in  £b  for  two  pianos, 
and  in  C  for  flute  and  harp ;  Beethoven's  triple 
concerto,  op.  56,  for  piano,  violin,  and  violon- 
cello; Maurer*8  for  4  violins  and  orchestra. 
Mendelssohn's  autograph  MSS.,  now  in  the  Im- 
perial  Library  at  B^lin,  contain  a  Concertos  for 
a  pianos  and  orchestra^  and  one  for  piano  and 
violin,  with  strings.  [£.  P.] 

CONCORD  is  a  combination  of  notes  which 
requires  no  further  combination  following  it  or 
preceding  it  to  noake  it  satisiactoiy  to  the  ear. 
The  concords  are  perfect  fifths,  perfect  fourths, 
major  and  minor  thirds,  and  major  and  minor 
sixths,  and  such  combinations  of  Uiem,  with  the 
octave  and  one  another,  as  do  not  entail  other 
intervals.  Thus  the  combination  of  perfect  fifth 
with  major  or  minor  third  constitutes  what  is 
known  as  a  oonmion  chord,  as  (a).  And  dif- 
ferent dispositions  of  the  same  note^  which  are 
called  its  inversions,  give,  first  a  bass  note  with 
its  third  and  axth,  as  (h) ;  and,  secondly,  a 
bass  note  with  its  fourth  and  sixth,  as  (c). 

Besides  these  a  chord  composed  of  the  third 
and  sixth  on  the  second  note  of  any  scale  is 
regarded  as  a  concord,  though  there  is  a  dimi- 
nished fifth  or  augmented  fourth  in  it  according 
to  the  distribution  of  the  notes,  as  (d)  or  (e) 


§=^^4  II  ^  '^^^  I  w  ':?^  I  g  II 1^ 


— since  the  naturally  discordant  quality  of  the 
diminished  fifth  and  augmented  fourth  is  con- 
sidered to  be  modified  by  placing  the  concordant 
note  below  them,  a  mooificatlGn  not  effected 
when  it  is  placed  above  them-  This  combi- 
nation was  treated  as  a  concord  even  by  the 
theorists  of  the  old  strict  diatonic  style  of  coun- 
terpoint.    [See  Habhont.]  [C.H.H.P.] 

CONDELL,  Henbt,  was  a  violinist  in  the 
orchestras  at  the  Opera  House  and  Drury  Lane 
and  Covent  Garden  Theatres  earl^  in  the  present 
century.  In  18x1  he  gained  a  prize  at  the  Catch 
Club  for  his  glee,  '  Loud  blowe  the  wyndes.'  He 
composed  the  music  for  the  following  dramatic 
pieces: — 'The  Enchanted  Ishmd,'  ballet,  1804; 
*  Who  wins?'  musical  farce,  1 808 ;  and '  Transform- 
ation/ musical  fiuxse,  1 8 10 ;  and  was  one  of  the  six 
contributors  to  the  comic  opera,  *  The  Farmer's 
Wife,'  1814.  He  died  in  June  1824,    [W.  H.  H.] 

CONDUCTOR— the  English  equivalent  f«r 
the  German  *  Capellmeister,'  and  the  French 
'Chef  d'ordhestre — has  to  study  the  score,  cor- 
rect the  parts  and  see  that  they  are  clearly 
marked,  beat  the  time  for  the  band  and  chorus 
at  rehearsal  and  performance,  animate  them  with 
the  spirit  of  the  work,  and  generally  be  respon- 
sible for  the  due  interpretation  of  the  composer's 
intentions  and  for  the  success  of  the  music. 

A  separate  conductor,  standing  in  ^ front  of  the 

1  In Oemumjtbe OQodiwIor  do«  not  now itaiid.  mwIUi  hi,  enetlf 
In  ttM  oeatre  of  the  orchMtn  with  hlf  back  to  tlia  aadtonoe,  but  a 
trifle  to  Uw  right,  with  bli  talt  aide  tomrdi  th«  room. 


890 


CONDUCTOR. 


orcheetra  and  beating  time  with  a  baton,  though 
apparently  long  known  abroad,  is  in  England  an 
institation  of  oomparatiyely  recent  date.  In  for- 
mer times  the  chief  musician  sat  at  a  pianoforte  in 
the  orchestra  with  the  score  before  him ;  but  it 
does  not  appear  that  he  beat  time  continuously, 
or  in  any  way  influenced  the  band,  or  did  more 
than  put  in  a  few  chords  now  and  then  when  the 
orchestra  was  going  astray,  which  when  heard 
must  have  had  a  very  bad  effect.  The  leader  it 
was  who  kept  the  band  together — or  as  neaiiy 
together  as  possible — beating  time  with  his  bow, 
stamping,  and  occasionally  tapping  on  the  desk. 
But  as  he  stood  in  the  middle  of  the  violins  and 
was  therefore  out  of  sight  of  the  majority  of  the 
orchestra  he  could  have  had  but  a  very  small 
influence  on  the  other  players. 

The  programmes  of  the  Philhannonio  Society 
(founded  1813)  for  the  first  seven  years  always 

end  with  the  following  words,  '  Leader  Mr. , 

Pianoforte,  Mr. ^  and  the  names  are  rarely 

if  ever  the  same  for  two  concerts  together.  '  Mr. 
Cramer'  and  '  Mr.  dementi '  took  it  nearly  turn 
about  at  the  piano  till  Sir  G.  Smart  shued  it 
with  them :  but  the  leaders  varied  between  Salo- 
mon,  F.  Cramer,  Spagnoletti,  Yiotti,  Taniewics, 
Weiohsel,  Mori,  Baillot.  Thus  the  band  was  each 
time  under  a  fresh  head,  and  the '  reading'  of  the 
works,  and  the  style  of  performance— as  &r  as 
such  things  were  then  attempted — must  have 
changed  with  each  concert.  With  the  second 
concert  of  1820  (March  ao)  the  announcement 
changes  to  '  Leader,  Mr.  Spagnoletti ;  Cimdmtor, 
Mr.  Cramer,'  a  change  apparently  due  to  the 
resolution  of  Spohr,  who  in  a  pleasant  passage  in 
his  Autobiography  describes  the  old  state  of 
things  and  his  action  at  the  concert  which  he 
had  to  direct  (during  the  series  of  iSao),  when 
he  produced  his  baton  and  insisted  on  conducting 
from  the  front  in  the  present  sense  of  the  word, 
and  as  he  had  been  accustomed  to  do  (Selbst- 
biographie,  ii.  87).  'Henceforth,*  says  he,  'no 
one  was  ever  again  seen  seated  at  the  piano  during 
the  performance  of  symphonies  and  overtures? 
But  the  alternations  of  leaders  and  conductors 
continued  for  many  years.  The  first  attempt  at 
uniformity  was  made  in  1844,  when  the  4th,  5th, 
6th,  7th,  and  8th  concerts  were  conducted  by 
Mendelssohn,  the  leader  still  changing  each  time. 
The  concerts  of  1845  were  conducted,  3  by  Sir 
H.  Bishop,  and  5  by  Moscheles,  and  at  length  in 
1846  we  iind  tibe  simple  announcement  'Con- 
ductor, Signer  Costa>*  and  the  commencement  of 
the  present  system.  That  system  is  obviously 
the  right  one.  The  oflSce  of  conducting  is  to  a 
great  extent  a  mechanical  one.  A  perfect  per- 
formance depends  far  more  than  it  might  be 
supposed  on  such  matters  as  the  legibility  and 
accuracy  of  the  parts,  and  the  intelligibility  of 
the  conductor's  beat  and  of  his  communications 
with  the  players ;  and  it  is  obvious  that  this  part 
of  a  conductor's  duties  can  only  be  adequately 
performed  if  he  is  constantly  engaged  with  the 
same  band.  In  a  perfect  conductor  mechanical 
excellence  must  be  accompanied  with  knowledge, 
feeling,  appreciation,  enthusiasm,  poetzy,  and  the 


CONRADL 

highest  qualities  of  the  musician ;  but  these  but 
wUl  be  of  little  avail  without  the  former,  or 
without  the  iamiliar  relation  between  the  con- 
ductor and  the  band  which  long  knowledge,  or 
at  any  rate  several  rehearsals,  alone  can  give. 
Composers  do  not  always  make  good  conductors. 
Beethoven,  apart  from  his  deafiiess,  was  tooi 
strange  and  eccentric ;  Schumann  forgot  what  he 
was  about ;  Mendelssohn,  on  the  other  han<i, 
had  the  practical  intelligence  and  the  rare  tact 
and  temper  which  made  him  an  exceptionally 
good  conductor.  But  it  is  better  that  the  t^o 
offices — the  composer  and  the  conductor — should 
be  kept  apart. 

So  far  the  Philharmonic,  as  representative  of 
London  concerts.  At  the  Opera  the  change 
is  said  to  have  been  brought  about  by  Chelard, 
who  conducted  the  Grerman  Company  in  London 
in  33. 

Of  late  years — ^with  Herr  von  Billow— the 
practice  of  conducting  from  memory  has  come 
m,  and  for  those  who  can  stand  the  enormous 
strain  which  is  implied  in  the  reoollection  of 
every  nwmoe  and  the  exact  entry  of  every  in- 
strument in  a  long  and  complicated  work,  no 
doubt  it  is  a  great  comfort  not  to  have  to  think 
of  the  book,  but  the  power  most  surely  be  con- 
fined to  a  few  and  must  alv^ys  be  full  of  risk. 

It  would  be  difficult  within  the  limits  of  ihii 
article  to  give  any  definite  inBtmctions  on  the 
art  of  conducting,  even  if  such  instructions  could 
be  practically  useful;  but  conducting,  perhaps 
more  than  any  other  business,  is  a  matter  of 
natural  gifts  and  practice.  Those  however  who 
wish  to  see  what  has  been  said  on  the  subject  by 
three  great  musicians  may  consult  the  'Yollkom- 
mene  Capellmeister'  of  Mattheson  (I739)r  ^} 
'  Orchestral  Conductor'  of  Berlioz — the  appendix 
to  his  Modem  Instrumentation  and  Orchestration 
— and  (less  didactic  and  more  polemical)  the 
'Ueber  das  Dirigiren'  of  Wagner.  There  is  a 
description  from  a  different  point  of  view,  well 
worth  reading,  in  Berlioz's  letter  to  Liszt^  No.  3 
of  his 'Voyage  musical.*  [(^O 

CONDUCTOR'S  PART.  A  substitute  for  s 
full  score,  in  which  the  parts  are  condensed  into 
two  staves,  and  the  names  of  the  various  instru* 
ments  are  inscribed  as  they  enter.  Spohr's  D 
minor  Symphony  is  published  in  this  shapo 
only. 

CONFORTI,  Giovanni  Luoa,  was  a  Calabrian, 
and  bom  at  Mileto  about  1560.  He  was  ad- 
mitted into  the  Papal  Choir  in  1591.  He  was 
doubtless  a  suooessful  and  accomplished  singer 
according  to  the  fashion  of  his  time;  but  his 
chief  title  to  notice  seems  to  have  been  the  pub- 
lication of  a  volume  containing  a  series  of  vocal 
ornamentations  of  all  kinds  wherewith  to  overlap 
the  Psalms  in  ordinary  use  in  the  church  on 
Sundays  and  holidays  throughout  the  year.  Baini 
ascribes  to  him  what  he  considers  the  restoration 
ofthe'triUo.'   [Tbemolo;  Tbillo.]     [E.H.P.] 

CONRADI,  August,  bom  at  Berlin  1821, 
studied  harmony  and  composition  under  Bun- 
genhagen.    In  1843  he  produced  a  symphon/, 


OOKRABL 

ad  ilk  1847  an  opera, '  Bubexahl,'  both  at  Berlin. 
Ib  1S49  he  was  c^pel-master  at  Stettin,  and  con- 
doctor  Bocoeeuvely  at  the  Kdnigstadt  Theatre  in 
Beriin,  at  Duseeldarf,  Cologne,  uid  finallWi853) 
•t  the  Kroll  Theatre  in  Berlin.  In  1^5  his 
'Moaa  der  letzte  Maurenfhrat*  wag  performed  at 
'Msn.  Hia  other  compoBitians  include  5  eym- 
jhcmee,  overtures,  string  quartets,  danoe-muric  for 
piffioforte  and  orchestra,  and  a  quantity  of  lieder. 
He  £ed  at  Berlin,  May  ai,  1873.  [M.C.G.] 

CONRADI,  JoHAKN  GxoBO,  chapel-master  at 
Ocfttingen  in  Bavaria  towards  the  end  of  the 
17th  century,  one  of  the  earliest  composers  of 
German  opera.  He  produced  successfully  at  the 
Bsmborg  Theatre  'Ariadne,*  'Diogenes,'  and 
'NnmaPompDius'  in  1691 ;  'Karl  der Grosse*  and 
'Jerosalem'  (1692);  'Sigismund,*  'Geiserich,' 
lad  *  PygmaUon'  (1693).  [M.  C.  C.] 

COKSECnTIVE,  the  tenn  applied  to  intervals 
vhich  recur  between  the  same  parts  or  voices, 
bat  more  especially  to  such  as  are 
iocbidden  to  do  so,  as  consecutive 
fifths,  which  efverybody  perceives 
to  be  ugly ;  or  consecutive  octaves,  which  are 
only  perceived  to  he  objectionable 
in  a  combination  of  distmct  parts. 

It  is  hdd  that  consecutive  fifths 
are  objectionable  because  the  parts  move  simul- 
ttneooaly  in  two  different  keys ;  hence  when  the 
effect  of  two  keys  is  avoided  they  are  admissible } 
18  when  the  lower  part  progresses  from  tonic 
to  dominant  (a)  (between  the  tenor  and  bass) ; 
or  from  tonic  to  aubdominant  (b)  (between  treble 
and  alto). 


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Gonsecutive  octaves  are  held  to  be  objection- 
able  because  in  music  in  parts  which  are  clearly 
Refined  the  balance  is  suddenly  disturbed.  For 
if  three  voices  are  singing  together,  each  with 
a  vdl  defined  part  assigned  to  it^  and  two  of 
^>em  suddenly,  without  any  ostensible  reason, 
ang  the  same  notes  in  two  or  three  successive 
chords,  not  only  is  the  harmony  weakened  by 
the  loss  of  a  part»  but  the  succession  of  notes 
which  they  sing  together  is  brought  into  unsea- 
noable  prominence.  When  it  is  intended  to 
|>ring  a  melody  or  a  phrase  into  prominence  it 
if  common  to  double  it  in  octaves;  but  when 
^  is  done  in  music  in  definite  parts  it  must 
be  continued  bng  enough  for  the  intention  to  be 
perceived. 

Some  theorists  add  consecutive  sevenths  to  the 
category  of  forbidden  progressionB,  but  there  are 
10  many  to  be  found  in  the  works  of  the  greatest 
^''^^'ferB,  and  when  they  are  harsh  they  are  so 
obriously  bo,  that  the  rule  seems  both  doubtful 
and  mmeoeflsary. 
Tbfi  forbidden  oonsecutives  are  moot  objection- 


CJONSERVATOmE  DE  MUSIQUE.      891 

able  in  vocal  music,  or  music  for  solo  instruments 
in  combination,  such  as  quartets  and  quintets  of 
strings,  when  each  part  stands  out  distinctly,  and 
the  relations  of  the  parts  are  easily  perceived. 
In  pianoforte  music  and  orchestral  music  the 
objectionable  efiect  would  be  often  lost  in  the 
mass  of  sound. 

Instances  of  violations  of  the  rule  against  con- 
secutive  fifths  are  to  be  found  in  the  works  of 
almost  all  the  greatest  composers.  Sometimes  it 
may  have  been  an  oversight^  at  others  it  may 
have  been  done  on  principle.  Bies*s  well-known 
anecdote  (Biog.  Notizen,  p.  87)  referring  to  a 
passage  in  one  of  Beethoven's  quartets,  op.  18, 
may  show  either  one  or  the  other.  Elsewhere 
Beethoven  seems  to  have  considered  that  it  was 
better  to  violate  such  a  rule  or  incur  a  consider- 
able TiaT«hni»aa  than  to  duuige  the  order  of  a 
thoroughly  established  idea^  because  the  altera- 
tion of  the  idea  not  only  produces  a  sense  of 
weakness,  but  is  also  muck  more  disturbing 
Aesthetically  than  the  violation  of  a  rule  of  bar* 
mony.  Thus  in  the  finale  of  his  Sonata  in  A, 
op.  loi,  rather  than  alter  his  established  idea  (a), 
he  allows  the  part  below  to  make  consecutive 
fifths  with  it  (  *  «  ). 


i 


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^ 


It  was  long  considered,  from  the  description  of 
it  which  exists,  that  the  supposed  first  form  of 
harmony,  whidi  was  called  Diaphony,  or  Or- 
ganum,  consisted  of  continuous  consecutive  fifths, 
fourths,  and  octaves ;  but  later  investigations  of 
the  subject  tend  to  show  that  the  description  has 
been  misunderstood,  and  refers  in  reality  to  a 
repetition  of  phrases  at  the  fifth  above  or  the 
fourth  below.  [O.H.H.P.] 

CONSERVATOIRB  DE  MUSIQUE.  A 
free  school  of  music,  established  in  Paris  by  the 
Convention  Nationale,  Aug.  3,  1795.  Its  first 
suggestion  was  due  to  a  hom-plaver  named  Ro- 
dolphe,  and  the  plan  which  he  submitted  to  the 
minister  Amelot  in  1775  was  carried  into  effect 
on  Jan.  3,  1784,  by  Baron  Breteuil,  of  Louis 
XVTs  household,  acting  on  the  advice  of  Crossec. 
This  Ecole  royale  de  Chant,  under  Gossec*s  di- 
rection, was  opened  on  April  i,  1784,  in  the 
Hotel  des  Menus-PlaisirB  du  Boi,  then  used  by 
the  Academic  for  its  rehearsals.  The  first  publio 
concert  was  given  April  18,  1786,  and  on  the 
addition  of  a  class  for  dramatic  declamation  in 
the  following  June  it  adopted  the  name  of  the 
Ecole  royale  de  Chant  et  de  Declamation.  The 
municipality  engaged  a  band  under  Sarrette  in 
1790,  and  instituted  on  June  9,  170a,  the  Ecole 
gratuite  de  Musique  de  la  Garde  Nationale 
Parisienne,  which  did  good  service  under  Sar- 
rette's  skilful  direction,  and  finally  took  the  name 
of  Institut  National  de  Musique,  Nov.  8,  1793. 
But  the  independent  existence  of  both  these 
schools  came  to  an  end  on  the  formation,  by 
government^  of  the  Conservatoire  de  Musique, 


892     CONSERVATOIRE  BE  MIJSIQT7E. 

Aug.  3,  1 795,  in  which  th^  were  incorporated. 
Sarrette  wasshoriljafberwftraa  appointed  president 
of  the  institution,  and  in  1 797  his  chaige  extended 
to  125  professors  and  600  pupils  of  both  sexes, 
as  well  as  to  the  printing-omoe  and  warehouse 
established  at  15  Faubourg  Poissonni^  where 
the  '  M^thodes  du  Conservatoire/  prepared  under 
the  supervision  of  Catel,  M^hul,  Rode,  Kreutzer, 
and  other  eminent  professors,  were  published. 
The  organisation  of  the  Conservatoire  was  modified 
by  Bonaparte  in  March  1800,  after  which  the 
staff  stood  as  follows  : — ^A  Director — Sarrette ; 
five  Inspecton  of  Tuition — Gosseo,  Mehiil,  Le- 
sueur,  Cherubini,  and  Monsigny;  thirty  first- 
class  Professon — ^Louis  Adam,  JBerton,  Blasius, 
Catel,  Devienne,  Bugazon,  Duvemoy,  Garat, 
Gavini^,  Hugot^  Kreutzer,  Persuis,  Plantade, 
Rode,  Rodolphe,  Sallentin,  etc.;  fortv  second- 
class  Professon — Adrien,  Baillot,Boieldieu,  Dom- 
nich,  Eler>  Jadin,  etc.  The  Conservatoire  was 
again  re-oiganised  Oct.  15,  181 2,  by  the  famous 
D^cret  de  Moscow,  under  which  eighteen  pupils, 
nine  of  each  sex,  destined  for  the  Th&tre  Franfais, 
received  an  annual  allowance  of  iioo  francs,  on 
the  same  footing  with  the  Pensionnaires— eighteen 
vocal  students,  twelve  male  and  six  female.  This 
Pensionnat  had  been  established  in  1806 ;  but 
the  men  alone  lived  at  the  Conservatoire. 

On  Dec.  28,  18 14,  Sarrette  was  abruptly  dia- 
missed  from  the  post  he  had  filled  with  so  much 
zeal  and  talent^  and  though  reinstated  on  May 
36,  181 5,  was  compelled  to  retire  finally  on  the 
17th  of  the  following  November.  The  studies 
were  interrupted  for  the  time,  and  the  school 
remained  closed  until  April  18 16,  when  it  re- 
opened under  its  former  title  of  Eode  royale  de 
Musique,  with  Peme  as  Inspector-general.  Che- 
rubim succeeded  him  April  i,  1822,  and  remained 
until  Feb.  8,  1842,  when  he  was  replaced  by 
Auber,  who  directed  the  Conservatoire  until  his 
death.  May  12,  1871 ;  M.  Ambroise  Thomas, 
the  present  director,  was  appointed  on  the  6th  of 
the  following  July. 

Before  speaking  of  the  Conservatoire  of  our 
own  day,  its  financial  condition,  staff,  and  musical 
importance,  we  must  enumerate  some  of  the  most 
remarkable  acts  which  marked  its  successive 
administrations. 

The  budget  originally  amounted  to  240,000 
francs,  but  this  in  1802  was  reduced  to  100,000, 
a  feet  indicative  of  the  grave  money  diffi- 
culties with  which  Sarrette  had  to  contend 
through  all  his  years  of  office,  in  addition  to  the 
systematic  opposition  of  both  artists  and  autho- 
rities. By  the  publication  of  the  *  M^thode  du 
Conservatoire,'  however,  to  which  each  professor 
gave  his  adherence,  he  succeeded  in  uniting  the 
various  parties  of  the  educational  department 
on  a  common  basis.  Amongst  the  savants  of 
the  institution  who  assisted  in  this  work  were 
Ginguend,  Lac^p^de,  and  Prony.  Under  Sarrette 
the  pupils  were  stimulated  by  public  practisings ; 
to  him  is  also  due  the  building  of  the  old  library, 
begun  in  1 80 1,  and  the  inauguration  of  the  theatre 
in  the  Rue  Bergfere,  181 2.  In  the  same  year  he 
obtained  an  increase  of  26,800  firancs  for  the 


CONSERVATOIRE  I>B  MUSIQUE. 

expenses  of  the  Pensionnat  i  and,  tbe  insiitiition 
of  the  <Prix  de  Rome'  in  1803,  which  secured 
to  the  holders  the  advantage  of  resicUng  in  Italy 
at  the  expense  of  govemmexLt^  was  his  doing. 

Under  Feme's  administration  an  '  Eoole  pn- 
maire  de  Chant'  was  fonned,  April  23,  18 17,  in 
connection  with  the  Conservatcdre,  and  directed 
by  Chonm.  The  inspectoraihip  of  the  Eode  de 
Musique  at  Lille  was  given  to  Plantade.  In 
1 8 10  it  adopted  the  title  of  '  Conaervatoirs 
secondaire  de  Paris,'  in  which  it  was  followed  by 
the  Ecole  at  Douai,  no  longer  in  existence,  lite 
formation  of  special  classes  for  lyrical  dedama- 
tion  and  the  study  of  opera  parte  was  also  due 
to  Peme. 

Chembini's  strictness  of  rule  and  his  profound 
knowledge  made  his  direction   very  favourable 
for  the  progress  of  the  Conservatoire.    The  men  s 
pensionnat  was  re-organised  under  him,  and  the 
number  of  public  practices,  which  all  prize-holders 
were  forced  to  attend,  increased  in  1823  from  six 
to  twelve.    By  his  means  the  opera  pitch,  uni- 
versally allowed  to  be  too  high,  was  lowered  in 
1826,  and  the  Eoole  de  Muaique   founded  at 
Toulouse  in  1821  was  attached  to  the  Conserva- 
toire, as  that  of  Lille  had  previoiuly  been.    He 
opened  new  instrumental  rlBwwfiB,  and  gave  much 
encouragement  to  the  productioDs  of  the  'Soci^ie 
des  Concerts  du  Conservatoire.'     By  his  mesos 
the  Hbrary  acquired  the  right  to  one  of  the  two 
copies  of  every  piece  of  music  or  book  npon  music 
which  authors  and  composers  are  compelled  to  de- 
posit with  the  Ministre  de  I'lnt^eur  (March  29, 
1834).    In  1 841,  through  Cherabini's  instrumen- 
tality, the  Eooles  of  Marseilles  and  Mets  becsme 
'Succursales  du  Conservatoire' ;   in  short,  dorin^ 
his  long  administration  he  neglected  no  means  of 
raising  the  tone  of  the  studies  of  the  Central  Con- 
servatoire, and  extending  its  influence.     The 
following  were  among  his  principal  coadjnton: — 
Habenedc  and  Paer,  inspectors  of  tuition;  1^ 
sueur,  Berton,  Reicha,  F^s,   Hal^vy,  C&n&^ 
composition ;  Lain^,  Lays,  Garat,  Plantade,  P<m- 
chard,    Banderali,   Bordogni,   Panseron,   Mme. 
Damoreau,   singing  :   instrumental  classes — ^Be- 
noist>   the  organ;   Louis  Adam  and  Zimmer- 
man, piano;  BaiUot,  Kreutzer,  Habeneck,  violin; 
Baudiot,  Norblin,  Vaslin,  violoncello;  Gnilloo, 
Tulou,  flute  ;  Vogt,  oboe ;  Lef^vze,  Klos6,  cla- 
rinet; Delcambre,  Gebauer,  bassoon;  Dauprat, 
Meifired,  horn;    Dauvem^,    trumpet;    "Dieppo, 
trombone ;  Naderaian,  Prnmier,  harp ;  Adolphe 
Nourrit,  tiie  opera;  Michelot,  Samson,  Provost 
and  Beauvallet,  professors  of  tragedy  and  comedy. 

Amongst  the  professors  appointed  by  Auber 
we  may  mention  Adolphe  A&m,  Ambroise  Tho- 
mas, Reber,  composition ;   MM.  Elwart,  Babb, 
harmony;    Battaille,    Dupres;,    Faure,    Garcis, 
R^vial,  Masset,  singing;  Madune Farrenc,  Henri 
Herz,  Marmontel,  Le  Couppey,  piano;  Ahrd, 
Girard,  Massart,  Ch.   Danchn   violin;  Franch- 
omme  and  Chevillard,  violonoello.    daases  for 
wind  instruments — ^Toulou,  Dorus,  flute;  Ver^ 
roust,  oboe;  Willent,  Cokken,  baraoon;  GflU&yr 
Meifred,  horn;  Forestier,  Arban,  comet;  MUo* 
Brohan,    MM.    R^nier,    Monrose,    Bressao^ 


CX)NSEEVATOIEB  DE  MUSIQUE. 

ffSeaen  of  comedy.  Auber  also  instittited 
ktujes  on  the  histcny  and  literature  of  xnusic, 
to  vhicli  he  appointed  Samson  in  1855.  The 
dtTDutfl  under  Auber's  management  were  most 
liillijuii)  and  he  drew  public  attention  to  the 
Conssrvatoize  by  reviving  the  public  practices. 
Tk  &9ade  of  the  eetabliwmeat  in  the  Faubourg 
Poisoimi^re  was  re-built  in  1845,  and  in  1864 
the  building  was  considerably  enlarged,  and 
those  in  the  Rue  du  Conservatoire  inaugurated, 
including  the  hall  and  offices  of  the  theatre,  the 
Biiiaeam,  and  library.  The  associate  daases  of 
military  pupils,  formed  on  the  suppression  of  the 
Gymnase  nulitaire  in  1856,  made  these  enlarge- 
ments indispensable. 

But  notwithstanding  the  growing  importance 
of  the  Conservatoire  under  Auber  s  strict  and 
impartial  direction,  the  last  years  of  his  life  were 
emUttered  by  the  revival  of  the  office  of  '  Ad- 
ministivteur*  in  the  person  of  Lassabathie,  and 
^e^pointment  of  a  conmiission  in  1870  to  re- 
(n^gaoise  the  studies — a  step  in  which  some  mem- 
bers foresaw  the  ruin  of  the  school.  In  1859,  at 
the  beginning  of  this  troubled  period,  the  reform 
of  tbe  pitch  took  place  which  fixed  the  A  at  870 
vibrations.  Lassabathie  at  the  same  time  pub- 
lished his  'Histoire  du  Conservatoire  imperial 
de  Mmaque  et  de  Declamation'  (Paris,  i860), 
m  hasty  selection  of  documents,  but  containing 
ample  details  as  to  the  professorial  staff. 

Since  the  nomination  of  M.  Ambroise  Thomas, 
the  present  director,  the  office  of  'Adminis- 
tcateur*  and  the  pensionnat  have  been  sup- 
prened,  and  Mr.  Emile  R^ty  has  been  appointed 
Secretazy-GeneraL  Lectures  on  the  general 
history  of  music  have  been  instituted ;  M. 
Bvb««au,  the  original  lecturer,  has  been  suc- 
ceeded by  M.  Eu^ne  Gautier ;  an  orchestral 
dus  directed  by  M.  Deldevez,  and  compulsory 
Tccal  dasses  for  reading  at  sight  have  been 
founded,  and  the  solfeggio  teaching  has  been  com- 
pletely refonned.  The  following  professors  have 
been  appointed  : — ^MM.  Theo.  Dubois,  Guiraud, 
haraxmy ;  MM.  Crosti,  Bussine,  Boulanger,  Po- 
tiff,  Mme.  Yiardot,  who  has  lately  resigned,  and 
been  suooeeded  by  M.  Barbot,  singing;  M. 
Charles  Colin,  oboe;  M.  Jancourt,  bassoon;  M. 
Belisse,  trombone;  M.  Maury,  comet-k-piston. 
H.  Ambmse  Thomas  has  endeavoured  to  improve 
the  tuition  in  all  its  branches,  to  raise  the  sala- 
nes  of  the  professors,  and  increase  the  general 
budget,  whidi  has  risen  to  aio,ooo  francs,  and  is 
expected  soon  to  reach  240,000  francs — a  sum 
amply  sufficient  for  the  expenses  of  the  Institution 
with  its  staff  of  8  titulaiies,  77  professors,  and 
10  employ^. 

The  tuition  at  present  is  divided  as  follows : — 
16  flolieggio  classes  under  4  masters — in  12  of 
which  the  lessons  are  individual,  in  the  remaining 
4  in  daas ;  8  singing  classes  under  8  masters ; 
a  clsBB  for  vocal  hamony,  and  another  for  the 
Etady  of  part-writing,  each  with  its  professor. 
Tor  lyricid  declamation  there  is  i  class  for  the 
<^)er&  and  2  classes  for  the  opera-comique.  The 
31  instromental  classes  are  as  follows : — 6  for 
^olin;  a  for  cello;  i  for  double-bass,  for  flute, 


CONSERVATOIRE  DE  MUSIQUE.      898 

oboe,  clarinet,  bassoon,  horn,  comet,  trombone, 
harp,  chamber  music,  organ,  improvisation,  and 
orchestral  composition.  There  are  also  10  classes 
for  piano,  4  for  men  and  6  for  women. 

For  the  study  of  harmony  there  are  6  classes. 
Also  three  for  composition,  counterpoint,  and 
fugue  (under  Reber,  Mass^  and  Bazin,  all 
members  of  the  Institut  de  France).  To  these 
classes  must  be  added  those  for  the  general 
history  of  music,  grammar,  prosody,  and  ortho- 
phony, 3  classes  for  dramatic  declamation,  i  for 
stage  deportment,  and  i  for  fencing. 

The  dasses  are  held  3  times  a  week,  each  one 
lasting  a  'hours.  The  regulation  number  of 
pupils  is  either  8,  10,  or  12,  according  to  the 
class,  but  a  few  candidates  are  also  admitted  as 
'auditeurs.'  Among  the  professors  who  have 
charge  of  the  dasses  just  enumerated,  we  find 
such  names  as  Massd,  Franchonmie,  Qievillard, 
Ren^  Baillot,  Dddeves,  Reber,  Bazin,  R^gnier, 
Bressant,  and  many  of  the  most  cdebrated  artists. 
The  academic  year  begins  on  the  first  Monday  in 
October,  and  doses  at  the  end  of  July. 

The  names  of  those  seddng  admission  to  the 
Conservatoire  must  be  sent  in  to  the  committee 
of  management  at  the  beginning  of  October, 
and  an  examination  before  the  Committee  of 
Tuition  must  be  successfully  passed.  The  youngest 
pupils  only  are  admitted  into  the  preparatory 
solfeggio  and  piano  dasses  ;  in  the  higher 
classes,  for  vocal  music  and  declamation,  the  age 
is  limited  to  22.  The  pupils  have  to  pass  two 
examinations  in  each  academic  year,  and  take 
part  in  one  or  more  public  practices;  they  are 
also  admitted  to  the  July  competitions  according 
to  their  ability.  The  competitions  in  singing, 
opera,  opera-comique,  tragedy,  comedy,  and 
instrumental  music,  are  held  publidy  in  the 
large  concert-room.  The  distribution  of  prizes 
follows,  under  the  presidency  of  the  Minister  of 
Public  Education  and  Fine  Arts. 

This  importuit  instituticm  provides  musical 
and  dramatic  instruction  for  upwards  of  600 
pupils  and  '  auditeurs,*  who,  besides  their  regular 
studies,  have  the  advantage  of  an  extensive 
library  and  a  museum  of  musical  instruments. 

The  Library,  which  dates  from  the  foundation 
of  the  Bchod  itself,  is  open  to  the  public  daily 
from  10  to  4.  The  first  librarian,  Eler,  was 
followed  by  LangU  (i 796-1807),  the  Abb6  Roze 
(1807-1810).  Peme  (1820-1822),  F^tis  (1827- 
1831),  Bott^  de  Toulmon  (1831-1850),  Berlioz 
(as  conservateur  1 839-1 850,  and  as  librarian 
1852-1869),  FdUcien  David  (1869-1876).  Since 
1876  M.  Weckerlin  has  acted  as  librarian. 

Hie  Library  contains  over  30,000  works,  and 
the  nimiber  is  increased  every  year  by  means 
of  a  special  grant.  It  also  possesses  a  considerable 
number  of  manuscripts  and  autographs,  to  which 
those  of  the  Prix  de  Rome  were  added  in  1871, 
through  the  efforts  of  the  writer.  This  collection 
contains  the  autographs  of  all  the  prize  cantatas 
since  the  foundation  of  the  Prix  de  Rome  in 
1803.  Amongst  the  other  important  collections 
are  those  of  Mer,  composed  of  works  of  the  i6th 
and  17th  centuries  put  into  score;  of  Bottle  de 


894     CONSERVATOIRE  DE  MUSIQUE. 

Toulmon,  comprising  85  volumes  of  MS.  copies 
of  the  chefs-d  oeuvre  of  the  I4thy  15th,  and  i6th 
centuries  from  Munich,  Vienna,  and  Rome,  in- 
cluding all  Pale8trina*B  masses.  Unfortunately, 
most  of  these  compositions  are  written  in  'pro- 
portional notation,*  and  are  still  in  separate 
parts.  The  departments  of  engraved  opera  scores 
and  of  vocal  and  instrumental  nUtfiodes  are  very 
complete.  In  1872  the  library  was  farther 
enriched  by  Sohoelcher's  collection,  containing 
every  edition  of  Handel's  works  and  a  vast  array 
of  Handel-literature.  The  number  of  dramas  is 
6,000,  and  increasing  daily,  and  the  department 
of  works  on  the  art  and  histoiy  of  music  contains 
many  thousand  French  and  foreign  volumes. 
Amongst  these  are  some  extremely  rare  works, 
'£1  Melopeo'  by  Cerone;  treatises  by  Agrioola, 
Luscinius,  Pnetorius,  Mersenne ;  several  editions 
of  Gafori ;  *  H  TransUvano*  bv  Diruta ;  original 
editions  of  most  of  the  old  ciavednists ;  '£*0r- 
ch^sographie'  of  Thoinot  Arbeau;  the  'Ballet 
Comique  de  la  Reine' ;  the  'flores  musioe'  of 
1488 ;  old  missals  and  treatises  on  plain-chant; 
besides  other  very  rare  and  valuable  books  and 
tneikodea. 

The  Museum — of  recent  date,  having  been 
formally  maugurated  on  Nov.  20,  1864 — ^is  open 
to  the  public  on  Mondays  and  Tharsdays  from 
12  to  4.  At  that  time  it  merely  contained  the 
230  articles  which  the  government  had  purchased 
from  Olapisson  in  1861,  and  123  musioJ  instru- 
ments transferred  from  the  Garde  Meubles  and 
other  state  institutions,  or  presented  by  private 
donors.  On  the  appointment  of  the  present 
conservateur,  M.  Gustavo  Chouquet,  Sept.  30, 
1 87 1,  the  number  of  objects  did  not  exceed  380, 
but  it  now  possesses  700  instruments  and  objects 
of  art  of  the  greatest  interest.  A  full  historical 
catalogue  has  been  published  by  M.  Ghouquet, 
entitled  'Le  Mus^  du  Conservatoire  national 
de  Musique*  (Paris,  F.Didot,  1875;  8vo.).  This 
magnificent  collection  is  the  largest  and  most 
complete  in  Europe,  and  the  space  allotted  to  it 
must  strike  every  one  as  inadequate. 

The  Conservatoire  itself  suffers  from  want  of 
room.  In  the  Faubourg  Poissonnibre,  No.  15, 
are  the  offices  of  the  adnunistration,  the  entrance 
to  the  small  theatre,  where  not  only  the  ex- 
aminations, but  the  classes  for  choral  singing  and 
dramatic  declamation,  lessons  on  the  organ,  and 
lectures  on  the  history  of  music  are  held.  Two 
smaller  theatres  serve  for  solfeggio  and  opera 
classes.  In  the  large  theatre,  which  contains  an 
organ  of  32  feet,  tiie  Socitft^  des  Concerts  du 
Conservatoire  has  held  its  concerts  since  its 
creation ;  it  also  serves  for  the  public  practices, 
the  competitions,  and  the  distribution  of  prizes. 
It  was  restored  and  decorated  in  the  Pompeian 
style  in  1864 ;  and  contains  only  a  thousand  seats. 
The  educational  management  of  the  Conservatoire 
is  in  the  hands  of  a  central  committee,  with 
two  sub-committees,  for  the  superintendence  of 
the  musical  and  dramatic  studies  respectively. 
The  committees  for  the  admission  of  pupils  and 
the  examination  of  the  classes  are  named  by  the 
director. 


CONSTRUCTION". 

At  the  present  date  (1878)  there  are  Sto 
provincial  Ecoles  de  Musique,  branches  of  the 
Conservatoire,  viz.  Lille,  Toulouse,  Dijon,  Nantea, 
and  Lyons  (founded  April  2,  1874). 

In  1871  M.  Henri  Reber  succeeded  M.  Am- 
broise  Thomas  as  inspector  of  these  provincial 
schools.  [G.C.] 

CONSERVATORIO.  The  CoiiMnratorioa  in 
which  the  great  schools  of  Italian  music  were 
formed  were  so  called  because  they  were  intended 
to  preserve  (eotuervare)  the  science  of  munc 
from  corruption..  Of  these  the  most  anci^it  were 
the  Neapolitan  ones — Santa  Maria  di  Loreto 
(1537),  I  Poveri  di  Gesu  Christo  (1589^,  L» 
Pietk  de'  Tuichini  (1583),  San  Onofrio  (1583), 
which  all  sprang  from  Uie  first  school  of  music 
founded  at  Naples  (1496)  by  Jean  Tinctor,  a 
Fleming,  reoonstituted  by  Gresoaldo,  Prince  of 
Venosa,  and  Alessandro  Scarlatti,  and  illostrated 
by  a  long  roll  of  eminent  musicians.  [See 
Naples.] 

The  Conservatories  of  Venice  arose  out  of 
the  sdiool  founded  by  another  Fleming,  Willaeit, 
at  the  same  date  with  that  of  Naples,  and  were 
also  four  in  number: — L'Ospedale  della  Pieu, 
Dei  Mendicanti,  Degl*  IncurabiU,  L'Ospedaletto 
de'  SS.  Giovanni  e  Paolo.  [See  Venice.]  Nor 
does  this  list  include  the  various  'chapel  schools' 
of  music  for  the  choirs  of  the  great  cathedrals, 
after  the  pattern  of  the  musicid  school  founded 
in  the  6th  century  by  Gregory  the  Great  for  the 
Pontifical  Chapel  at  Rome,  the  archives  of  which 
were  destroyed  in  the  sack  of  Rome  by  Charles  V, 
1537.    [See  Rome.] 

The  Venetian  Conservatories  have  ceased  to 
exist,  those  of  Naples  are  now  represented  bj  s 
Royal  Neapolitan  College,  and  there  is  a  'lU^e 
Conservatorio  di  Musica*  extant  and  flourishing 
at  Milan. 

The  Conservatoire  of  Paris  is  described  in 
the  preceding  article.  The  Conservatorioms  of 
Leipzig  (founded  through  the  exertions  of  Men- 
delssohn in  1843),  Vienna^  and  other  Gennsn 
towns,  will  be  mentioned  under  the  names  of 
those  places.  [C. M. P] 

CONSONANCE  is  a  combination  of  notes 
which  can  sound  together  without  the  harshness 
which  is  produced  by  beats  disturbing  the  smooth 
flow  of  the  sound. 

The  consonances  which  are  within  the  Unuts 
of  the  octave,  and  the  ratios  of  the  vibratiooal 
numbers  of  their  notes  are — 

Minor  third 


The  octave .  •  1:2. 
Fifth  ...2:3. 
Fourth  .  .  •  3:4. 
Major  third    .    4:5. 


Major  sixth 
Minor  sixth 


5:6. 

3'-5' 

5:8. 


[C.H.H.P.] 

CON  SPIRITO,  'with  spirit';  an  indicstion 
ofteoier  found  in  Haydn  and  Mozart  than  in 
later  compositions. 

CONSTRUCTION  is  the  writing  of  a  piece 
of  music  aooording  to  an  appreciable  plan. 

The  element  of  construction  is  most  important 
in  instrumental  music,  where  there  is  no  acces- 
sory interest  to  keep  the  mind  engaged.    In  ^ 


CONSTRUCTION. 

imic  oonnected  -with  wards  the  definitenees  of 
omstractioii  must  yield  to  the  order  of  the  lan- 
guage, and  be  dependent  on  what  it  expressee 
fer  the  chief  port  of  its  effect ;  but  in  instminental 
Buidc  it  would  be  imponible  for  the  mind  to 
receive  a  satisfactory  impression  from  a  work 
vliich  was  purely  continuous,  and  had  no  such 
ooonection  between  its  parts  as  should  enable 
the  hearer  to  refer  from  one  part  to  another,  and 
thereby  asnst  his  attention.    The  only  manner 
m  which  the  sense  of  proportion  and  plan,  which 
is  so  important  in  works  of  art,  can  be  introduced 
ma  music  is  by  repetition  of  parts  which  shall 
be  distinctly  recognised  by  the  rhythm  and  order 
of  sucoeasion  of  their  notes,  and  are  called  the 
labjects.     And  the  construction  of  a  fine  move- 
Dent  is  like  that  of  a  grand  building,  in  which 
the  main  subjects  are  the  great  pillars  upon 
vhich  the  whole  edifice  rests,  and  all  the  smaller 
details  of  ornamentation  are  not  just  an  irregular 
medley  of  ill -assorted  beauties,  but  being  rein* 
tetidaoed  here  and  there,  either  simply  or  dis- 
goudd  with  graceful  devices,  g^ve  wat  unity 
iiid  completeness  to  the  general  effect  which  the 
abaeoce  of  plan  can  never  produce.    As  instru- 
iseolal  music  grows  older  new  plans  of  oonstruo- 
tioQ  are  frequently  invented,  especially  in  small 
Inkal  pieces,  which  imitate  more  or  less  the 
chaiactc^  of  songs,  or  represent  some  fixed  and 
definite  idea  or  emotion,  according  to  the  sup- 
posed order  or  progress  of  which  the  piece  is 
arnstroeted.     In  small  pieces  for  single  instru- 
mexLta  originality  of  plan  is  generally  an  advan- 
tage ;  but  in  lai^  forms  of  instrumental  compo- 
Btion  it  is  most  desirable  for  the  general  plan 
to  be  to  a  certain  extent  fiuniliar,  though  it  is 
OD  the  other  hand  undesirable  that  it  should  be 
very  obvious.    The  former  strains  the  attention 
too  heavily,  the  latter  engages  it  too  slightly. 
An  account  of  the  plans  most  generally  used  for 
inch  huge  instrumental  works  as  symphonies, 
coDcertos,  overtures,  sonatas,  etc.,  will  be  found 
Bnder  the  article  Form.  [C.H.H  J».] 

CONTI,   FsANCBSCO    Babtolomso,   eminent 
ihenrbist  and  dramatic  composer,  bom  at  Flo- 
rence Jan.  20,  168 1,  appointed  oourt-theorbist  at 
Vieima  in  1701.     He  resigned  in  1705,  but  was 
R&ppointed  theorbist  in  1 708,  i\  ith  the  additional 
post  in  1 71 3  of  court-composer.    From  this  time 
be  devoted  himself  with  marked  success  to  the 
composition  of  operas,  especially  the  higher  kind 
of  ocHnic  operas.    His  best  work  was  the  tragi- 
onnic  opera  'Don  Ghisdotte  in  Sieira  Morena^' 
vbich  ia  a  model  of  its  kind  for  the  dear  delinea- 
^  of  each  separate  character.     It  was  per- 
formed first  at  the  Camaval  of  1719  in  Vienna, 
ind  afUrwards  (1722)  at  Hamburg,  in  German. 
His  first  opera,  'Clotilde*  (Yienna^  1706),  was 
pt^oced  in  London  (1709),  and  the  songs  pub- 
^1^  Kparately  by  Walsh.    Ck)nti*s  cantatas  and 
<«atorios  are  solid  and  thoughtfid.    Yon  Kochel 
(J.  J.  Fux:  Yienna,  1872)  gives  a  catalogue  of 
•^hia^orkg  performed  in  Yienna  between  1706 
"'^  1 733*    They  comprise  16  grand  operas,  13 
*»ciuuies  or  'Feste  teatrali,*  and  9  oratorios, 
^KQtes of  which  are  to  be  found  ahnost  entire 


CONTRALTO. 


895 


in  the  Imperial  library  and  in  the  archives  of 
the  '  6eselL9chaft  der  Musik-freunde'  at  Yienna. 
Mattheson,  in  his  *  Yollkonmiene  Kapellmeister' 
(^739'  P*  4°)>  ct^BkB  a  grave  slur  on  Gonti's 
character  through  a  confusion  between  him  and 
his  son  Ignaz.  The  mistake  was  corrected  by 
Quantz  in  Marpurg*s  'Kritische  Beitriige*  (1754, 
voL  i.  p.  219),  and  by  Grerber  in  his  'Neues 
Lexicon,*  but  F^tis  maintained  the  authenticity 
of  the  anecdote  in  the  'R^vue  musicale*  (1827, 
No.  3),  and  even  repeated  it  in  his  'Biographic 
Universelle*  after  the  real  facts  had  been  made 
known  by  Molitor  in  the  '  Allg.  musik.  Zeitung' 
(-1838,  p.  153).  Gonti  died  in  Yienna  July  20, 
1732.  Mendel,  in  his  'Mus.  Gonv.  Lexicon/ 
states  that  he  was  promoted  to  the  post  of  court 
chapel-master,  but  this  is  incorrect^  as  he  was 
still  eourt-composer  at  the  time  of  his  death.  The 
younger  Conti>  Ignaz,  whom  F^tis  is  uncertain 
whether  to  call  the  son  or  the  brother  of  Francesco, 
was  reaUy  his  son,  bom  in  1699.  He  held  the 
post  of '  Hof-scholar'  up  to  the  time  of  his  death, 
March  28, 1759*  and  composed  several  serenades 
and  oratorios  which  bear  no  traces  of  his  father*s 
abiHty.  [O.F.F.] 

GONTL    See  Ouzibllo. 

GONTINUO.  The  short  for  BAsaoGoHTnruo, 
which  see. 

GONTRABASSO,  the  Italianfor  Double  Bass. 

GONTRABASSPOSAUNE.  SeeTBOMBONB. 

CONTRABASS  TUBA.    See  Boxbabdon. 

GONTRAFAGOTTO,  the  ordinary  name  in 
orchestral  scores  for  the  Doqbli  Bassoon.  See 
scores  of  Beethoven*s  Symphonies  5  and  g, 
Brahms*s  Yaiiations  on  a  theme  of  Haydn*s,  etc. 

GONTRALTO.  The  lowest  of  the  three  prin- 
cipal varieties  of  the  female  voice  (the  two 
otners  being  soprano  and  mezzo  soprano),  and 
that  to  which  in  choral  music  the  part  next 
above  {coTUrat  or  counter  to)  the  alto  is  assigned. 
[Alto.]  The  culture  and  employment,  as  a  solo 
instrument,  of  the  female  oontinJto  voice,  like 
that  of  its  correlative  the  bass,  is  comparatively 
modem,  and  even  yet  not  universal.  By  the 
opera  composers  of  France  and  Grermany  it  has 
been,  and  still  continues  to  be,  but  rardiy  em- 
pl(^ed.  In  his  adaptation  fat  the  french 
Theatre  of  his  Italian  'Orfeo,'  originally  com- 
posed (1762)  for  a  contralto,  Gluck  transposed 
and  otherwise  re-cast  the  music  of  the  title- 
character  for  a  tenor.  It  is  to  Rossini  and  his 
Italian  contemporaries  that  this  voice  owes  its 
present  very  important  status.  In  few  of  their 
operas  is  it  unemployed.  In  the  choral  music  how- 
ever of  the  composers  of  all  nations  it  has  now 
definitively  taken  its  place — ^till  lately  monopo- 
lised, in  Frngland  especially,  by  the  male  counter- 
tenor, a  voice  of  s<Hnewhat  different  compass 
and  altogether  different  quality.  [Alto.]  In 
extent  the  contralto  voice  sometimes  exceeds 
every  other,  male  or  female.  like  the  bass  it 
has  a  third  register,  but  &r  more  frequently  and 
successfully  brought  under  control.  A  contralto 
has  been  known  to  possess  an  available  oompass 


S96 


CX)NTRALTO. 


GOOKB. 


of  three  octavoB.  Its  most  effective  notes  how- 
ever, and  those  only  which  it  is  safe  to  employ  in 
choxal  mu0ic,  are  the  notes  which  can  be  placed 
on  the  stave  (unfortunately  obsolete)  which  has 
the  G  def  on  the  second  line—from  the  G  — — 
below  middle  G  to  th^  octave  above  the  :  ff — 
latter  —  incorrectly  called  the  Mezzo-  uu 
soprano  stave.  Though  not  so  penetrating  as  the 
soprano,  the  contralto  voice  surpasses  it  in  ten- 
derness uid  in  volume ;  and  even,  which  is  more 
remarkable,  in  flexibility,  recent  oontralti  have 
certainly  equalled,  perhaps  surpassed,  vocalists  of 
every  other  class.  As  examples  of  singers  in  the 
full  acceptation  of  the  term  the  names  of  Gras- 
sini,  Pisaroni,  Brambilla,  and  Alboni,  all  con- 
tnUti,  have  become  historical.  [J.H.] 

GONTRAPUNTAL  is  properly  that  which  is 
written  according  to  the  rules  of  strict  Gounter* 
point,  which  see ;  but  it  is  commonly  used  to 
describe  music  of  a  pure  and  dignified  style,  in 
which  the  effect  is  produced  more  by  the  inde- 
pendent motion  of  the  parts  than  by  the  mass- 
ing of  the  harmonies.  The  larger  proportion  of 
early  modem  music  was  essentisJly  contrapuntal, 
and  it  seems  that  the  first  ideas  of  harmony  were 
derived  from  the  species  of  counterpoint  called 
Discantus,  which  was  a  popular  device  of  the 
latter  part  of  the  eleventh  century,  and  consisted 
of  fitting  two  independent  tunes  together.  This 
basis,  and  the  £M>t  that  musicians  were  slow  in 
developing  a  sense  for  more  than  very  simple 
harmonies,  made  the  contrapuntal  style  their 
natural  mode  of  musical  expression.  But  the 
development  of  the  elaborate  harmonies  of  mo- 
dem instrumental  music  has  so  changed  its 
whole  character,  that  an  attempt  to  write  true 
contrapuntal  music  at  the  present  day  is  some- 
thing like  trying  to  write  a  poem  in  the  English 
of  Chaucer;  and  very  few  composers,  unless  they 
devote  their  attention  specially  to  it,  are  likely 
to  achieve  a  contrapuntal  work  which  shall  not 
have  the  appearance  of  being  either  forced  or 
meaningless.  [G.H.H.P.] 

GONTRARY  MOTION  is  the  progression  of 
parts  in  opposite  directions,  one  or  more  as- 
cending while  the  other  or  others  descend, 


In  contrapuntal  music  it  was  considered  pre- 
ferable to  similar  or  oblique  motion,  and  it  always 
has  a  stronger  and  more  vigorous  character  than 
either  of  these.  Many  conspicuous  examples  of 
its  use  in  modem  music  may  be  found,  as  for 
instance  in  the  slow  movement  of  Beethoven's 
Symphony  in  G  minor — 


^^m 


i 


^^ 


I 


Passing  notes  are  allowed  to  progress  con- 
tinuously by  oontraiy  motion  untU  they  arrive 
at  notes  which  form  a  part  of  some  definite 
harmony  (  «  ),  as — 


from  the  first  movement  of  Beethoven's  S^onata 
in  Bb.  op.  106.  [G.H.H.P.] 

GONTREDANSE  (Engl,  eounfry-dance.  Get. 
eorUretanz).  A  dance  of  Rngliah  origin,  which 
was  introduced  into  France  in  the  Begeaij, 
^T^S^^Sy  <^<1  1^^  since  become  very  popular. 
The  music  to  the  contredanse  is  of  a  lively 
character ;  it  is  written  either  in  2-4.  or  iA  6-8 
time,  and  consists  uniformly  of  eight-bar  phrases, 
each  of  which  is  usually  repeated.  The  name 
probably  arose  from  the  fact  that  the  daoceri 
were  ranged  over  against  {eontre)  one  another. 
The  English  term  'country -dance*  is  probably  a 
mere  adaptation. 

Beethoven  has  written  twelve  oontredanses  for 
orchestra,  frvm  one  of  which  he  developed  the 
finale  of  his  'Eroica*  symphony.  Mozart  has 
also  left  a  large  number  of  spedmens  of  thia 
class  of  composition.  A  series  of  five  or  six 
oontredansee  forms  a  Quadbillb.  [E.  P.] 

GONVERSI,  GiEOLAMO,  was  bom  atCorreggio 
'about  the  middle  of  the  16th  cenfcuxy,  and  it 
known  as  the  author  of  the  following  works  :— 
Ganzoni  a  5  vod ;  Venice,  G.  Sootto  1575 ;  re- 
printed by  the  same  publisher  in  1580  in  4to; 
Madrigali,  a  6  vod,  fib.  i ;  Venice  1584  j  ibid. 
in  4to.  Gonversi  is  &miliar  to  English  amateiin 
through  his  fine  Madrigal  '  When  all  alone  my 
pretty  love  was  playing. '  [E.  H.  P.] 

GONVIGT  (Gonvictorium),  an  establishment 
existing  in  many  German  towns  for  the  free  or 
very  economical  education  of  boys ;  usually  con- 
nected with  the  convent  system,  and  supported 
by  the  state  or  private  foundation.  Its  only 
claim  to  mention  here  is  the  fact  that  Schubert 
was  educated  for  the  Hof-kapdle  at  the  Convict 
at  45  in  the  Piaristen  Gasse,  Josephstadt,  Vienna. 
That  for  the  choristers  of  St.  Stephen's  is  in  the 
Stubenbastei,  No.  a. 

GOOKE,  Benjamin,  Mus.  Doc.,  the  son  of 
Benjamin  Gooke,  a  music  publisher  in  New 
Street,  Govent  Garden,  was  bom  in  1734-  ^ 
his  ninth  year  he  was  placed  under  the  instroc- 
tion  of  Dr.  Pepusch,  and  made  such  rapid  pro- 
gress as  in  three  years  time  to  be  able  to  act 
as  deputy  for  John  Robin^n,  oi^ganist  of  West- 


COOKB. 

jBiaiter  Abbey.     In  1753  be  was  appobited  sao- 
oesBor  io  Dr.  Pepusoh  as  conductor  at  the  Aca- 
(kmy  of  Ancient    Music.      In  September   57, 
CB  the  resignation  of  Bernard  Gates,  he  obtained 
ib&  ^ipointment  of  master  of  the  choristers  of 
Westminster  Abbey,  and  on  Jan.  37,  58,  that 
of  lay  vicar   there.      On  July  i,  62,  on  the 
(kath  of  Bobinaon,  Cooke  was  appointed  organist 
cf  the  Abbey.     In    75  he  took  the  degree  of 
Doctor  of  Music  at  Cambridge,  and  in  oa  was 
sdmitted  to  the  same  degree  at  Oxford.     In  the 
latter  year  he  was  elected  organist  of  St.  Martin- 
iihthe-fleldB.  In  1 789  he  resigned  the  conductor- 
ship  of  the  Academy  of  Ancient  Music  to  Dr. 
Arnold.  He  died  Sept.  14,  1 793,  and  was  buried 
in  the  doisterB  of  Westminster  Abbey,  where  a 
mnial  tablet,   with  a  fine  canon,  records  his 
^iU  and  wortih.     Dr.  Cookers  compositions,  which 
are  voluminous,  are  for  the  church,  concert-room, 
and  chamber.     For   the   theatre   he  produced 
nothing  except  an  ode  fat  Dr.  Delap's  tragedy, 
'The  Captives/  1786.    His  church  music  com- 
{Hues  the  fine  service  in  6,  and  one  composed  in 
17B7  at  the  request  of  Lord  Heathfield  for  the 
use  of  the  garrison  in  Gibraltar ;  two  anthems 
composed  in    1748   and  49  for  the   Founder's 
day  at  the   Charter  House ;    an  anthem  with 
orchestral  aooompaniments  for   the   funeral  of 
WQfiam,  Duke  of  Cumberland,  1764;   another 
of  the  same  description,  for  the  insteJlation  of 
the  Bishop  of  Osnabuzg,  afterwards  Duke  of 
York,  SB  Knight  of  the  Ikith,  1 773  ;  and  fourteen 
oChen,  besides   several  dumts  and  psalm  and 
hjmn  tunes.      For  the  Academy   of  Ancient 
MoBBC  he  added  choruses  and  accompaniments 
toPexgolesi's  '  Stabat  Mater,'  1759,  and  to  Gal- 
Iiud*8  'Morning  Hymn'  (printed  1773);   and 
composed  an  Ode  for  Christmas  Day,  1 763 ;  *The 
gyreiiB'  Song  to  Ulysses' ;  CoUins's  Ode  on  the 
hm(m  (pnnted  1784) ;  Ode  on  the  Genius  of 
Chstterton,  1 786 ;   and  Ode  on  the  King's  re- 
eatery,  1789.     But  the  compositions  by  which 
be  18  best  known,  and  which  will  convey  his  name 
to  posterity,  are  his  numerous  and  beautiful  glees, 
cavma,  etc.    "Far  seven  of  these  (five  glees,  a 
canon,  and  a  catch)  the  Catch  Club  awarded  him 
prises.    Dr.  Cooke  published  in  his  life-time  a 
coQecdon  of  his  glees,  and  a  second  collection 
*{qpeared  in  1795  under  the  care  of  his  son 
S<^>ert.    Twenty-nine  glees,  and  eleven  rounds 
ca^es  and  canons  by  Dr.  Cooke  are  printed  in 
Warren's  collections.     His  instrumental  com- 
positians  consist  of  organ  pieces,  concertos  for 
^  (ffchestra,  marches,  and  harpsichord  lessons. 
Apart  from  his  eminence  as  a  composer  and  practi- 
cal mnsddan,  Dr.  Cooke  was  one  of  the  beet  and 
most  learned  theorists  of  his  tune,       [W.  H.  H.] 
COOKE,  Henbt— '  Captain  Cooke'— was  edu- 
cated in  the  Chapel  Boval  of  Charles  L    On  the 
Wting  out  of  ^e  civil  war  he  joined  the  king's 
spy,  and  obtained,  in  164a,  a  captain's  commis- 
sion. Dmingthe  Commonwealth  he  subsisted  by 
^Baching  music    On  the  re-establishment  of  the 
Cbapel  Boyal  in  1660,  Cooke  was  appointed  one 
^  the  gentlemen  and  master  of  the  children. 
In  1663  ^  obtained  a  grant  for  himself  and  his 


OOOKB. 


897 


suooesBon  of  £30  per  annum  for  the  diet,  lodg- 
ing, washing,  and  teaching  of  each  of  the  childr^ 
of  the  chapel.  In  July  1664  he  was  appointed 
'  Composer  of  the  kill's  private  music  for  voices,* 
at  a  yearly  salary  of  £40.  Cooke  died  July  13, 
167a,  and  was  buried  on  July  17  in  the  east 
cloister  of  Westminster  Abbdy.  Antony  Wood 
asserts  that  his  death  was  hastened  by  chagrin 
at  finding  himself  supplanted  in  favour  by  Pel- 
ham  Humfiney,  who  had  been  his  pupiL  Cooke 
retained  the  tiUe  of  *  captain  *  until  his  death.  He 
composed  several  anthems,  the  words  of  which 
are  contained  in  Clifford's  collection,  and  a  pro- 
cessional hymn  which  was  performed  at  Windsor 
at  the  festival  of  the  Knights  of  the  Garter, 
April  17,  1 661.  He  also  contributed  some  of 
the  music  to  Davenant's  '  First  Day's  Entertain- 
ment at  Butland  House'  in  1657.        [W.  H.  H.] 

COOKE,  Nathaniel,  bom  at  Bosham,  near 
Chichester,  in  1773,  was  nephew  of  Matthew 
Cooke,  organist  of  St.  George,  Bloomsbury,  from 
whom  he  received  the  chief  part  of  his  musical 
education.  He  became  organist  of  the  parish 
church  of  Brighton,  for  the  use  of  the  choir  of 
which  he  published  a  Collection  of  Psalm  and 
Hymn  tunes,  indudiog  some  of  his  own  com- 
positions, which  long  continued  in  fiivour.  He 
also  published  some  small  pieces  for  the  piano- 
forte. [W.H.H.] 

COOKE,  BoBSBT,  son  of  Dr.  Benjamin  Cooke, 
succeeded  his  father,  on  his  death  in  1793*  as 
organist  of  St.  Martin-in-the-Fields.  On  the  death 
of  Dr.  Arnold,  in  180  a,  he  was  appointed  or- 
ganist and  master  of  the  choristers  of  Westmin- 
ster Abbey.  In  ,1814  he  unfortunately  became 
deranged,  and  in  a  paroxysm  of  his  disorder 
drowned  himself  in  the  Thames.  Robert  Cooke 
composed  an  Evening  Service  in  C  and  an  an- 
them, 'An  Ode  to  Friendship,'  and  several 
songs  and  glees.  Three  of  the  latter  obtained 
prizes  at  the  Catch  Club.  A  collection  of  eight 
of  his  glees  was  published  by  the  author  in 
1805.  [W.H.H.] 

COOKE,  Thomas  Simfsok,  fiuniliarl^  known 
as  Tom  Cooke,  was  bom  in  Dublin  m  178a. 
Evincing  early  a  taste  for  music  he  studied 
under  Ids  father,  and  made  such  rapid  progress 
as  to  perform  in  public  a  violin  concerto  when 
only  seven  years  of  age.  He  received  instruction 
in  composition  from  Giordani.  When  only  fifteen 
he  was  appointed  leader  of  the  band  at  the 
theatre  in  Crow  Street,  Dublin,  in  which  situ- 
ation he  continued  several  years,  and  composed 
several  musical  pieces.  On  one  of  his  benefit 
nights  he  announced  himself  to  sing  the  tenor 
part  of  The  Seraskier,  in  Storaoe's  opera  '  The 
Siege  of  Belgrade,'  an  experiment  which  proved 
quite  successful,  anil  led  to  his  removal  to 
London,  where  he  made  his  first  appearance, 
in  the  same  character,  at  the  English  Opera 
House,  Lyceum,  on  July  13,  181 3.  On  Sept.  14, 
1 81 5,  he  appea^red  as  Don  Carlos  in  'The  Du- 
enna,' at  Druiy  Lane  Theatre,  where  he  con- 
tinued as  a  principal  tenor  singer  for  nearly 
twenty  years.    During  this  period,  on  one  of  his 


898 


COOKE. 


benefit  mghts,  lie  exhibited  tbe  Yersatility  of 
his  talents  by  performing  in  Buocession  on  the 
violin,  flute,  oboe,  clarinet,  bassoon,  horn,  violon- 
cello, double  bass,  and  pianoforte.  About  1823 
he  undertook,  alternately  with  his  duty  as  tenor 
singer,  the  duty  of  leader  of  the  band.  Some 
years  later  he  was  engaged^  at  Druiy  Lane  and 
Govent  Garden,  as  &ector  of  the  music  and 
conductor.  He  was  a  member  of  the  Phil- 
harmonic Society,  and  occasionally  led  the  band 
or  conducted  the  concerts.  In  1846  he  succeeded 
John  Loder  as  leader  at  the  Concert  of  Antient 
Music.  For  several  years  he  held  the  post 
of  principal  tenor  singer  at  the  chapel  of  the 
Bavarian  Embassy.  He  died  at  his  house  in 
Great  Portland  Street,  Feb.  26,  1848,  and  was 
buried  at  Kensal  Green  cemetery.  Cooke's  com- 
positions were  numerous  and  varied.  He  wrote 
much  for  the  theatre,  but  his  music  of  that 
description  has  mostly  passed  out  of  memory. 
As  a  glee  composer  he  was  more  successful,  and 
several  of  his  compositions  of  that  class  obtained 
prizes  from  the  Catch  and  Glee  Clubs.  As  a 
singing-master  he  had  a  deserved  reputation, 
and  several  of  his  pupils  achieved  distinction; 
amongst  them  Miss  M.  Tree,  Mrs.  Austin,  Miss 
Povey,  Miss  Bainforth,  the  Misses  A.  and  M. 
Williams,  and  Mr.  Sims  Reeves.  He  wrote  a 
treatise  on  singing,  which  was  much  esteemed. 
Cooke's  principal  dnmatic  pieces  were  'Frederick 
the  Great,'  1814;  'The  King's  Proxy,'  1815 ; 
'  The  Count  of  Anjou.'  1816 ;  'A  Tale  of  Other 
Times'  (with  Bochsa),  1823;  'The  Wager,  or, 
The  Midnight  Hour,'  1825;  'Oberon,  or.  The 
Charmed  Horn,'  1826;  'Malvina,'  1826;  'The 
Boy  of  Santillane,'  1827;  'The  Brigand,*  1829, 
one  song  in  which,  'Gentle  Zitella,'  attained 
great  popularity;  'Peter  the  Great,'  1829; 
'The  Dragon's  Gift,'  1830;  'The  Ice  Witch,* 
1831;  'Hyder  Ali/  1831 ;  'St.  Patrick's  Eve,' 
1832;  'King  Arthur  and  the  Knights  of  the 
Bound  Table,'  1835;  additional  songs  for  'A 
Midsummer  Night's  Dream,'  1840.  He  also  ad- 
apted several  foreign  operas  to  the  English  stage, 
after  a  fashion  in  vogue  in  his  time,  i.  e.  omitting 
much  that  the  composer  wrote,  and  supplying 
its  place  by  compositions  of  his  own.  He  pub- 
lished 'Six  Glees  for  3  and  4  voices'  in  1844, 
besides  many  singly.  Among  his  glees  which 
gained  prizes  were  'Hail!  bounteous  Nature,' 
1829;  'Come,  spirits  of  air,*  1830;  'Let  us 
drain  the  nectared  bowl,'  1830;  'Thou  beauteous 
spark  of  heavenly  birth,'  1832 ;  'O  fair  are  thy 
flowerets,'  1836 :  he  likewise  obtained  a  prize 
for  his  catch,  'Let's  have  a  catch  and  not  a  glee,' 
1832.  Cooke  had  considerable  abilities  as  a  wit 
and  humourist.  His  eldest  son,  Hbnbt  Anqelo 
Michael  (commonly  known  as  Gbattan)  Cooke, 
was  educated  in  the  Boyal  Academy  of  Music, 
and  for  many  years  held  the  post  of  principal 
oboe  in  all  the  best  orchestras,  and  was  subse- 
quently band-master  of  the  second  regiment  of 
Life  Guards.  [W.  H.  H.] 

COOMBE,  William  Francis,  son  of  a  sing- 
ing-master  at  Plymouth,  was  bom  there  in  1 786. 
Commencing  his  musical  studies  under  his  &ther, 


COPEBABIO. 

he  subsequently  prosecuted  Hhexa  nnder  Chuichil 
and  finally  under  Jackson  of  Sxeter.  ^  At  foui 
teen  years  of  age  he  obtained  the  appointment  <i 
organist  of  Chard,  which  he  in  a  few  years  rej 
signed  for  that  of  Totnes,  wMeh  he  in  turn  gaT( 
up,  after  holding  it  for  nine  years,  for  the  likt 
place  at  Chelmsford.  He  published  several  piano 
forte  pieces  of  his  composition.  [W.  H.  H. 

COOMBS,  James  Mobris,  was  bom  at  Sali» 
bury  in  1769.  He  was  admitted  a  ohorister  oi 
the  cathedral  under  Dr.  Stephens  and  PanyJ 
Li  1789  he  was  appointed  oi^ganist  at  Chippen^ 
ham,  and  retained  that  place  until  his  death  in 
1 820.  His  published  works  consist  of  a  Te  Deuni 
and  Jubilate,  songs,  glees,  a  set  of  canzonets,  and 
a  selection  of  psalm  tunes.  t^*  ^*  ^1 

COOPER,  Geobgx,  son  of  the  assistant  ae- 
ganist  to  St.  Paul's;  bom  in  Lambeth  July  7,; 
1820.     His  quickness  of  ear,  readiness  of  execu- 
tion, and  taste  for  good  music,  developed  them- 
selves very  early,  and  his  road  to  the  organ  was 
smoothed  by  an  old  harpsichord  with  pedals  and 
two  rows  of  keys,  on  which  the   lad  practised 
at  all  available  times.     When  1 1  yean  old  he  I 
often  took  the  service  at  St.  Paul's  for  his  father, 
and  at  the  Festivals  of  the  Sons  of  the  dergy  U 
was  Attwood's  delight  (then  chief  oiiganist)  to 
make  him  extemporise.    On  one  such  occasion 
Mendelssohn   is  said   to   have    remarked  and 
praised  him.    At  15}  he  was  made  oiigamst  of 
St.  Benet»  Paul's  Wharl     On  Attwood's  death 
he  became  assistant  organist  of  St.  Paul's,  rice 
his  father  resigned ;  in  1836  organist  of  St.  Ann 
and  St.  Agnes ;  and  on  the  death  of  his  &ther,  in 
1843,  suceeeded  him  at  St.  Sepulchre's,  and  be- 
came  singing-master   and  organist  to  Christ's 
Hospital  as  well.    On  the  death  of  Sir  George 
Smart  he  was  appointed  organist  of  the  Chapel 
Boyal.     He  died  Oct.  2,  1876,  much  regretted. 

Cooper  did  much  to  fiuoiiliarise  his  hearen 
with  the  works  of  Bach  and  other  great  com* 
posers,  which  he  played  in  a  noble  style.  His 
'  Organ  Arrangements,' '  Organist's  Manual.'  and 
'Organist's  Assistant,'  are  well  known,  and  bo 
is  his  'Introduction  to  the  Organ,'  long  the 
only  work  of  its  kind  in  England.  Then 
were  his  only  publications  of  any  moment.  Be 
had  a  strong  taste  for  natural  adence,  and 
divided  his  time  between  the  organ,  his  ferns, 
and  photogn^hy. 

COPEBABIO,  John,  was   an   EngUahmsn 
named  Cooper,  who,  having  Italianised  his  name 
during  a  sojourn  in  Italy,  continued  the  cue  of 
it  after  his  return  to  England.    He  was  a  com- 
poser for  and  performer  on  the  lute  and  viol  da 
gamba,  and  the  musical  instructor  of  the  childiea 
of  James  I.     In  1606  he  published  'Funeral 
Teares  for  the  Death  of  the  Bight  Honorable  the 
Earle  of  Devonshire :  figured  in  seaven  aongeSf 
whereof  size  are  so  set  forth  that  the  wordes  may 
be  ezprest  by  a  treble  voice  alone  to  the  Lute 
and  Base  Violl,  or  else  that  the  meane  part  may 
be  added,  if  any  shall  affect  more  fuhieese  of 

{>arts.    The  seaventh  is  made  in  forme  of  a  Pia^ 
ogue  and  can  not  be  suqg  without  two  voyces.       \ 


OOPERAMO. 

He  eompoaed  the  mnmc  to  'The  Masque  of  the 
lonier  Temple  and  Grraye's  Tnn/  performed  at 
^liitehaD,  Feb.  20, 161  a.  In  161 3  he  published 
'Songs  of  Mourning  bewailing  the  untimely 
death  of  Prinoe  Henry.  Worded  by  Tho.  Cam- 
fioQ  and  aet  forth  to  bee  sung  with  one  voyoe  to 
the  Lute  or  ViolL'  He  contributed  three  of  the 
eoBgs  to  the  masque  performed  at  Whitehall  on 
St  Stephen's  Night,  1614,  and  supplied  the 
vhole  of  the  music  in  '  The  Masque  of  Flowers  * 
pnKnted  in  the  same  place  on  Twelfth  Night 
in  the  same  year,  both  masques  being  given  in 
honour  of  the  marriage  of  the  Earl  of  Somerset 
and  L*dy  Franoee  Howard.  He  composed  a  set 
of  FandeB  for  the  organ  for  Charles  I,  the  manu- 
Kript  of  which  is  still  extant,  and  numerous 
Fancies  for  viols.  He  contributed  two  vocal 
fieoee  to  '  The  Teaies  or  Lamentacions  of  a  Sor- 
Towfull  Soole/  published  by  Sir  William  Leigfaton 
in  1614.  Cqperario  was  the  master  of  Henry 
and  WlUiam  Lawes.  He  died  during  the  Pro- 
tectorate. [W.H.H.] 

COPPOLA,  GiVSiPFB,  a  singer  at  the  King*s 
'Rieatre  in  1777.  He  appeal  as  'Ciro*  in 
Sacchini*8  '  CraBO,'  and  in  other  operas.     [J.  M.] 

COPPOLA,  Fub  Astonio,  bom  in  1793  at 
Castrogiovanni  in  Sicily,  son  of  a  musician, 
fitidied  at  the  Boyai  College  of  Music  at  Naples. 
His  fint  operB>  'H  Figlio  bandito'  (1816)  was 
veQ  received,  and  his  'Nina  pazza  per  amore' 
(Rome,  1835),  was  performed  m  every  town  of 
Italy,  in  Vienna^  Berlin,  Lisbon,  Spain,  Mexico, 
and,  as  an  op^ra-comique  with  the  title  of  '  Eva,' 
in  Paris  (1839).  In  1836  he  composed  'En- 
nchetta  di  Baienfeld'  for  Vienna,  and  this  was 
Mowed  by  'Gli  Ulinese'  (Turin),  one  of  his  best 
vorks;  and  'La  bella  Celeste  degli  Spadari* 
(Milan).  At  the  Bo3ral  Theatre  in  Lisbon  he 
produced  'Giovanna  i"^'  (1841),  and  'Inbs  de 
Castro'  (184a).  Li  1843  he  returned  to  Italy, 
and  composed  five  more  operas,  which  were  less 
BQooessful  than  his  earlier  works,  and  he  finally  re- 
tomed  to  his  post  at  Lisbon.  Coppola  might  have 
taken  a  higher  place  had  he  not  come  into  com- 
petition with  BossinL  Some  masses,  litanies,  and 
other  church  music  are  to  be  found  in  the  libraries 
at  Naples.    He  died  Nov.  14, 1877.      [M.C.C.] 

COPTBIGHT.  The  statutes  regulating  copy- 
right inmosic  are  3.  4  Will.  IV,  c.  15  ;  5,  0  Vict, 
c  45 ;  and  7,  8  Yict.  c  I  a ;  and  the&  joint  effect 
ia,  that  the  composer,  or  the  person  to  whom  he 
transfers  his  interest,  has  an  exclusive  right  to 
publish  or  give  performances  of  the  work  during 
the  lifetime  of  the  composer  and  seven  years 
afterwards,  and  also  during  the  period  of  rorty- 
two  years  firom  the  publication  or  first  performance 
of  the  work.  The  copyright  proprietorship  of  a 
Britidi  composer  in  his  work  is  complete  fix>m 
the  moment  of  composition ;  but  for  purposes 
of  public  convenience  a  register  is  kept  at 
Stationer's  Hall,  at  which  the  title,  date,  and 
proprietonhip  of  any  work  mav  be  officially 
entered:  and  although  such  entry  is  not  necessary 
to  give  the  composer  the  copyright  of  his  work, 
sod,  without  making  any  such  entry,  an  action 


COPYBIGHT. 


899 


can  be  brought  against  any  person  performing 
the  work*  without  written  permission,  yet  no 
action  can  be  brought  against  anyone  publishing 
the  work  until  the  entry  has  been  made.  A 
similar  entry  should  be  made  whenever  the 
copyright  changes  hands.  Such  transfer  may 
also  be  made  by  writing,  and  in  this  case  the 
exact  nature  of  the  rights  transferred  will  be 
collected  from  the  document ;  but  if  the  transfer 
is  evidenced  by  registration  alone,  an  entry  of 
the  transfer  of  the  copyright  will  be  taken  to 
prove  no  more  than  the  transfer  of  the  right 
of  pvMication,  and  the  right  of  performance  will 
remain  with  the  transferor.  If  therefore  the  latter 
right  is  intended  to  pass,  a  written  contract 
should  be  made  to  this  effect.  To  obtain  the 
full  benefit  of  the  English  law,  even  for  British 
subjects,  the  first  publication  or  performance 
must  take  place  in  the  United  Kingdom ;  if  it 
takes  place  abroad,  the  work  is  in  every  respect 
considered  as  foreign,  although  the  author  be 
a  British  subject.  An  arrangement  for  the  piano 
of  a  work  written  for  other  instruments  lutf  not 
hitherto  been  considered  as  an  infringement  of 
the  copyright  of  the  latter;  but  the  cases  do  not 
go  so  fiff  as  to  prove  that  any  bare  transcription 
of  the  score  to  pianoforte  staves  would  necessiBrily 
escape  with  impunity.  The  amount  of  change 
constituting  a  really  new  work  cannot  be  expressed 
in  any  general  rule ;  each  case  is  deteimined  on 
its  merits. 

We  now  pass  to  works  composed  by  foreigners, 
or  first  published  or  performed  abroad.  There  is 
no  doubt  that  a  foreigner,  by  residing  in  England 
at  the  time  of  publication  or  first  perftmnance, 
may  place  his  work  in  every  respect  imder 
British  law ;  but  it  has  hitherto  been  held  that 
for  this  purpose  residence  in  Great  Britain  at 
the  time  of  publication  is  indispensable.  It  is 
doubtful  whether,  under  the  Aliens  Act  of  1870, 
this  is  still  so ;  but  the  short  residence  neoessazy 
is  a  less  evil  than  the  chance  of  expensive 
litigation.  If  a  foreigner  sell  to  a  British  subject 
his  work  while  still  unpubUshed  and  still  un- 
performed, the  purchaser  has  full  English  copy- 
right property  in  the  work,  just  as  if  he  had 
written  it  himself.  But  a  work  first  published 
or  performed  abroad  can  only  obtain  protection 
in  England,  when  a  treaty  exists  between  this 
country  and  the  country  where  the  work  is 
produced,  creating  reciprocal  copyright  interests. 
Such  treaties  eust  between  this  country  and 
France,  Prussia,  and  some  other  German  states, 
Belgium,  Spain,  and  Italy.  There  is  no  copy- 
right treaty  with  the  United  States,  nor  with 
Austria,  Russia,  Norway,  or  Sweden.  The  Act 
7  and  8  Vict,  c  12,  upon  which  international 
copyright  rests,  requires  that  every  Order  in 
Councfl  granting  copyright  privileges  to  foreigners 
shall  prescribe  a  time  within  which  the  work 
shall  be  registered  at  Stationers'  Hall.  Regis- 
tration therefore,  as  concerns  foreign  productions, 
is  of  the  utmost  importance.  Not  only  is  it 
neoeasazy,  as  in  the  case  of  English  worlu,  that 
entry  shall  be  made  before  legal  proceedings  can 
be  oommenoed  against  an  unlicensed  publication ; 


400 


COPYRIGHT. 


but,  unlefls  the  work  be  regifltered  at  Stationers' 
Hall,  no  protection  can  at  any  future  time  be 
obtained  for  it.  The  period  within  which  a 
work  must  be  registered  is  specified  in  the  Order 
of  Council  announcing  in  the  London  Gazette 
the  terms  of  each  copyright  treaty  when  made ; 
and  the  terms  may  vary  in  everv  treaty.  Foreign 
musicians  who  contemplate  mtroduoing  their 
works  into  England  ought  therefore  to  consult 
a  qualified  adviser  immediatdy  upon  the  com- 
pletion of  their  work ;  or,  for  want  of  this 
precaution,  they  may  find  their  productions  public 
property  at  the  moment  that  they  might  have 
become  remunerative.  The  opera  of '  Faust'  has 
experienced  this  fiite  ;  not  having  been  registered 
within  the  three  months  specified  in  the  Order 
of  Council,  its  perfonuanoe  is  open  to  all  Her 
Majesty's  subjects.  [C.  A.F.] 

COB  AJ7GLAIS.  (Ital.  Oboe  di  Caeoia ;  and 
Como  Jnglete ;  Germ.  Englisches  Horn,)  A  tenor 
oboe,  standing  in  the  key  of  F,  and  therefore 
speaking  a  fifth  lower  than  the  ordinary  oboe. 
It  has  we  same  scale  and  compass  as  the  latter 
instrument,  from  £  or  £b  in  the  bass,  to  about  A 
or  Bb  above  the  treble  clef.  It  bears  the  same 
relation  to  the  oboe  that  the  bassethom  does  to 
the  clarinet,  hence  frequent  confusion  between 
the  two  instruments.  It  is  probably  similar  in 
many  respects  to  the  'oboe  di  caocia*  found  in 
Bacns  scores,  and  perhaps  to  the  'chalumeau '  of 
Gluck*s  operas ;  al&ough  the  former  was  made  in 
the  form  of  a  bassoon  or  alto-fiigotto,  and  the 
latter  may  have  been  a  kind  of  clturinet. 

Beethoven  has  written  a  fine  trio,  Op.  39,  for  two 
oboes  and  cor  anglais,  and  variations  on  'La  d 
darem,*  which  though  performed  at  Vienna  on 
Deo.  23,  1797,  are  still  m  MS.  Boesini  employs 
it  to  represent  the  alpenhom  in  the  overture  to 
*  William  Tell*;  Meyerbeer,  Wagner,  Hal^vy, 
Ambroise  Thomas,  and  other  modem  compoBers 
frequently  introduce  it  in  their  operas.  It  has  a 
peculiar  wailing  and  melancholy  tone,  which  is 
very  effective,  but  it  is  difficult  and  somewhat 
treacherous  in  the  orchestra.  [W.  H.  S.] 

COBBET,  Fbanoisqub,  whose  real  name  was 
Francesco  Corbetti,  bom  at  Pavia  about  1630, 
died  in  Paris  about  1 700 ;  the  best  player  of  his 
time  on  the  guitar.  After  travellmg  in  Italy, 
Spain,  and  Germany,  he  settled  for  a  time  at  the 
court  of  the  Duke  of  Mantua^  who  sent  him  to 
Louis  XIV.  He  stayed  for  a  few  years  in  the 
French  court,  and  then  came  to  England,  where 
Charles  n  appointed  him  to  an  office  in  the 
Queen's  household,  with  a  large  salary,  and 
provided  him  with  a  wife.  The  Bevolution  of 
16S8  drove  him  back  to  France.  His  best  pupils 
were  De  Vabray,  De  Vis^,  and  M6dard,  who 
wrote  a  curious  epitaph  on  him.  [M.  C.  C] 

COBBETT,  William,  an  eminent  English 
violinist  at  the  commencement  of  the  i8th  cen- 
tury, was  one  of  Queen  Anne^s  band  of  music, 
and  leader  of  the  band  at  the  Opera  House  in 
the  Haymarket  on  its  first  opening  in  1 705.  On 
the  production  of  Handel's  'Binaldo*  in  1711  a 
new  set  of  instrumentalists  was  introduced  into 


COBELLI. 

the  opera  orchestra,  and  C<H*bett,  quitting  hi 
position  in  the  Queen's  band,  went  to  Italy,  am 
resided  for  many  years  at  Borne,  making  occs 
sional  visits  to  Venice,  Milan,  Florence,  Cremoiu 
Bologna,  Naples,  etc.,  amassing  during  the  tin 
a  huge  collection  of  music,  and  a  most  valuabl 
assemblage  of  Italian  violins,  etc.  Those  m 
quainted  with  his  drcumstanoes  were  at  a  losa  t 
account  for  his  ability  to  make  these  purchase 
except  by  the  supposition  that  he  was  a  goTen 
ment  spy,  employed  to  watch  the  movemente  < 
the  Ptetender.  Corbett  returned  to  England  i 
1 740,  and  seems  to  have  resumed  his  position  i 
the  royal  band.  He  died,  at  an  advanced  age,  ii 
1748.  ^By  his  will  he  bequeathed  his  collectioi 
of  instruments  to  Gresham  College,  providinj 
also  for  the  stipend  of  a  person  to  show  them 
and  for  their  care.  The  college  authorities,  faon 
ever,  rejected  the  gift  on  the  ground  that  ther 
was  no  room  in  the  college  for  its  reception,  an^ 
the  instruments  were  conseqaently  sold  bj  aiM 
tion  '  at  the  Great  Boom  over  against  Beaofoii 
Buildiuffs,  in  the  Strand,  formerly  the  Hoo] 
Tavern,  on  Saturday,  March  9,  1751.  Corbett' 
collection  of  music  was  also  sold  by  auctioi}  at 
his  house  in  Silver  Street,  Grolden  Square.  Befon 
quitting  England  Corbett  published  several  sett 
of  sonatas  for  violins,  flutes,  oboesy  etc.;  some 
concertos  for  orchestra ;  and  instrumental  music 
for  'Henry  IV,*  1700;  'As  you  find  it,'  1703; 
and  *Love  Betrayed,  or,  The  Agreeable  Du- 
appointment,'  1703.  After  bis  return  he  pub* 
lished  'Concertos,  or  Universal  Bizzames  com- 
posed on  all  the  new  Gustos  during  many  yean' 
residence  in  Italy,*  containing  thirty«five  concertos 
in  seven  parts,  professing  to  exhibit  the  different 
styles  of  various  countries  and  cities.    [W.H.H.] 

COBDIEB,  Jaoques,  better  known  under  the 
name  of  Booan,  bom  in  Lorraine  about  ij8o; 
dancing-master  and  performer  on  the  violin  and 
rebec  in  the  reign  of  Louis  XIH.  He  was 
unable  to  read  music,  but  had  great  power  of 
execution,  and  Mersennus  mentions  his  giit  of 
modulating  the  tones  of  the  violin.  He  was 
dancing^master  to  Henrietta  Maria,  Qneen  of 
Charles  I,  and  came  with  her  to  England.  The 
King  took  great  delight  in  hearing  lum  play  the 
violin.  He  returned  to  Paris  when  the  Ci^ 
War  broke  out,  said  his  tomb  at  St.  Germain 
r Auxerrois  was  restored  in  1 843.  Chancy's  'Tab- 
lature  de  Mandore*  (Paris^  1629),  contains  a 
graceful  'branle*  by  Cordier.  [M.C.C.] 

COBELLI,  Aboanoelo,  a  great  violinist  and 
composer,  bom  at  Fusignano,  Imola,  1653.  He 
learnt  counterpoint  from  Matteo  Simondli,  and 
the  violin  from  G.  B.  Bassani.  Of  the  earlier 
part  of  his  life  but  little  is  known.  He  appear 
to  have  travelled  in  Grermany,  and  to  hare 
stayed  for  some  time  at  Munich,  attached  to  the 
court  of  the  Elector  of  Bavaria.  It  if  ^ 
related  that  he  went  to  Paris  in  167a,  but  soon 
left  it  again,  owing  to  Lulli*s  jealousy.  This 
however,  according  to  F^tis,  is  veiy  doubtfiii. 
In  1 68 1  he  returned  to  Italy  and  settled  at 
Bome,  where  he  published  his  first  woric,  a  set 
of  twelve    sonatas.      He  soon  made  a 


COBELLI. 

Rpatation  as  perfonner  and  oompoBer,  and 
became  a  favoorifce  in  the  highest  cirdea  of 
Boman  society.  Gardinal  Pietro  Ottoboni,  an 
eoUiusiaBtio  lover  of  the  arts  in  general  and 
of  music  in  particular,  was  his  great  friend  and 
pstron.  Corelli  lived  in  the  Cardinal*8  palace 
up  to  the  day  of  his  death,  conducting  the 
eoncertsy  which  took  place  every  Monday,  and 
which  were  considered  the  most  important  and 
interesting  events  in  Roman  musical  life.  He 
abo  lived  on  terms  of  intimate  friendship  with 
eome  of  the  most  eminent  painters  of  the  time, 
Ci^rnam,  Maratti,  and  others,  with  whose 
SB&istajice  he  formed  a  collection  of  valuable 
pictures.  This  collection,  together  with  a  not 
inconsiderable  sum  of  money,  he  left  in  his 
wiU  to  his  friend  and  benefrictor  the  Cardinal, 
who  however  accepted  the  pictures  only  and 
huuied  over  the  money  to  Corelli^s  relations. 

Corelli  appears  to  have  been  of  the  most 
amiable    di^tosition,    and    a   model   of   truly 
artistic    modesty.      He    was  very  simple  and 
unpretentiooB  in  all  his  habits.    Handel,  though 
esteeming  him  highly,  used  to  sayof  him :  '  He 
likes  nothing  better  than  seeing  pictures  without 
paving  for  it,  and  saving  money.*    He  dressed 
almost  shabbily,  and  would  on  no  account  hire 
a  carriage,  but  always  went  on  foot.    Hawkins, 
in  his  History  of  Music,  gives  an  account  of 
bis  meeting  with  Handel  at  Rome.     Handel 
oondocted  some  of  his  own  cantatas,  which  were 
written  in  a  more  complicated  style  than  the 
made  with  which  CorelH  and  the  other  Italian 
moiicians  of  that  period  were  fi^miUar.    Handel 
tried  in  vain  to  explain  to  Corelli,  who  was 
leading  the  band,  how  a  certain  passage  ought 
to  be  executed,  and  at  last,  loeins^  his  temper, 
Biatched  the  violin  from  Corelli  s  hands  and 
played  it  himself,  whereupon  Corelli  remarked 
u  the  politest  manner  '  Ma,  caio  Sassone,  questa 
muaca  e  nel  stilo  franoese,  di  oh*  io  non  m* 
i&tendo*  (but,  my  dear  Saxon,  this  music  is  in 
the  French  style,  of  which  I  have  no  experience). 
It  was  the  overture  to  '  II  trionfo  del  tempo,* 
which  Handel,  probably  with  special  regard  to 
Corelli,  had  written  in  the  style  of  his  concert! 
grooi  with  two  solo-violins.    It  is  a  fiery  im- 
petuous piece,  truly  Handelian  in  character,  and 
it  is  not  difficult  to  understand  how  Corelli  in 
lus  ({uiet  elegant  manner  fidled  to  attack  with 
Eoffident  vigour  those  thundering  passages.   That 
Corelli,  who  in  his  own  compositions  never  goes 
beyond  the  third  position,  might  have  been  puzzled 
by  this  passage,  which  occurs  in  the  same  over- 
ture, is  also  possible, 
but    it    is    hardly 
likelytohave  caused 
the  scene  described 
above. 
His  fione  was  not  limited  to  Rome  and  Italy. 
From  aU  countries  youi^^  talents  came  to  benefit 
by  his  instruction ;  and  his  compositions  were 
published  in  Amsterdam,  Antwerp,  Paris,  and 
London,  as  well  as  in  Italy.    Among  his  nume- 
rous pupils  the  most  eminent  were  Greminiani, 
UcatelU,  Somis,  Baptiste,  and  Castmod. 


CORELIX 


401 


Illustrious  foreigners  visiting    Rome  hardly 
ever  failed  to  pay  homage  to  CorellL    When 
Queen   Christina  of  Sweden    oame    there,   he 
conducted  in  her  palace  the  performances  of 
an  orchestra  of  150  musicians.    The  Kii^  of 
Naples  repeatedly  tried  to  induce  him  to  settle 
in  his  capital,  and  made  him  most  fibvourable 
offers,   which   were    however   all  declined   by 
CoreUi,  who  was  not  willing  to'  give  .up  his 
happy  position  at  Rome,  where  he  was  uni- 
versiidly  loved  and  esteemed.    It  was  not  till 
late  in  life  that  he  visited  Naples,  which  town, 
with  Alessandro  Scarlatti  as  its  leading  musician 
and  an  excellent  orehestra,  was  at  that  period 
by  £ar  the  most  important  musical  centre  of 
Italy.    Corelli,  who  appears  not  to  have  been 
away  from  Rome  for  many  years,  was  mout 
anxious  to  ensure  complete  success  in  NapleB, 
and,  in  order  to  be  sure  of  effective  accompani- 
ment, took  with  him  two  vioUnists  and  a  vio- 
lonodlo  player.      But  he  soon  saw  that  this 
precaution  had  been  superfluous.    At  the  first 
rehearsal  Scarlatti*s  band  went  through  the  intro- 
ductory tutti  of  one  of  Corelli*s  concertos  with- 
out a  mistake,  whereupon  Corelli  admirina^ly 
exclaimed  :  '  Si  suona  a  NapoU  I*     (They  play 
well  at  Naples!)     The  king  however  did  not 
appreciate  his  playing,   and,   pronouncing   his 
adagio   tedious,  left   the  concert -room   before 
Corelli  had  finished.     But  this  was   not  all. 
Soon  afterwards  Corelli  was  leading  the  per- 
formance of  a  composition  of  Scarlatti's,  when, 
in  a  passage  that  probably  was  not  well  written 
for  the  violin,  he   made   a  very  conspicuous 
mistake,  while  Petrillo,  the  Neapolitaa  leader, 
who  was  familiar  with  the  passage  in  question, 
executed  it  correctly.    Then  came  a  piece  in  the 
key  of  C  minor.    Corelli,  already  disconcerted, 
led  it  off  in  C  major.     'Ricominciamo  1*  (let  us 
begin  again!)    said   Scarlatti,  with  his  usual 
pcditenessy  and  poor  Corelli  started  once  more 
m  major,  so  that  Scarlatti  was  at  last  obliged 
to  p(nnt  out  his  mistake.      Corelli    felt    this 
incident  as  a  great  humiliation,  and  left  Naples 
immediately.    Returned  to  Rome  he  found  that 
a  new  violinist,  Valentini,  had  won  the  general 
applause   and   admiration  of  the   public,   and 
considering   himself  slighted    and  superseded, 
took  it  so  much  to  heart  that  his  health  began 
to  &il.    In  171a  he  published  his  last  work, 
dedicated  to  his  admirer  John  William,  Prince 
Palatine  of  the  Rhine,  and  died  January  18, 
1 713.     He  was  buried  in  a  princely  style  in 
the  Pantheon,  not  far  from  Ri^hael's  tomb, 
and  Cardinal  Cttoboni  erected  a  marUe  monu- 
ment over  his  grave,  the  inscription  on  which 
bears  testimony  of  the  high  esteem  and  admi- 
ration in  whidi  Corelli  was  held.    For  many 
years  a  solenm  musical  service  was  held  on 
the  anniversary  of  his  death»  when  some  of  the 
great  masters   compositions    were    perfonned, 
conducted  by  one  of  his  pupils. 

Corelli  has  a  double  claim  to  a  prominent 
{dace  in  the  history  of  musical  art — as  a  great 
violinist  who  Udd  a  firm  foundation  for  all 
friture   development   of   technique   and   of  a 

Dd 


4oa 


OOBELU. 


pore  style  of  playing;  and  as  a  oampoaer  wlio 
materially  advanced  the  progreas  of  composition. 
Still  there  can  be  no  doubt  that  above  all  he 
was  a  great  violin-player,  and  that  all  he  wrote 
grew  out  of  the  very  nature  of  his  instrument ; 
and  as  the  violin  is  not  only  a  solo  instrument 
but  at  the  same  time  the  leading  orchestral  one, 
we  owe  to  Corelli  the  typical  treatment  of  it  in 
two  important  branches  of  composition.  In  his 
ohamb^-sonatas  and  concert!  grossi  (op.  i,  2,  3« 
4,  and  6)  he  must  be  considered  the  founder 
of  the  style  of  orchestral  writing  on  which  the 
future  development  in  this  direction  is  based, 
while  in  the  sonatas  (op.  5)  which  have  merely 
an  accompanying  fundamental  bass,  he  gives 
a  model  for  the  solo  sonata,  and  thereby  for 
all  writing  for  the  violin  as  a  solo -instru- 
ment. " 

All  his  works  are  characterised  by  conciseness 
and  lucidity  of  thought  and  form,  and  by  a 
dignified,  almoBt  aristocratic  bearing.  The  slow 
movements  show  genuine  pathos  as  well  as 
grace,  bringing  out  in  a  striking  manner  the 
singing  power  of  the  violin.  The  quick  move- 
ments are  not  on  the  whole  of  equal  merit  with 
the  adagios, — at  least  in  point  of  originality  of 
thought  and  variety  of  character.  They  appear 
to  our  modem  feeling  somewhat  dry,  almost 
ezeroise-like. 

Corelli*s  gavottes,  sarabandes,  and  other  pieces 
with  the  form  and  rhythm  of  dances,  do  not 
materially  differ  from  similar  productions  of 
his  immediate  predecessors  and  contemporaries, 
although,  like  everything  that  he  wrote,  they  are 
distinguished  by  great  earnestness  and  dignity 
of  style,  and  are  especially  well  adapted  to  the 
instrument.  He  was  not  so  much  an  innovator 
as  a  reformer ;  he  did  not  introduce  new  striking 
effects;  it  cannot  even  be  denied  that  his 
technique  was  a  limited  one — he  never  goes 
beyond  the  third  position  —  but,  by  rigidly 
excluding  everything  that  appeared  to  him 
contrary  to  the  nature  of  the  instrument^  and 
by  adopting  and  using  in  the  best  possible  way 
everything  in  the  ezistifig  technique  which  he 
considered  conformable  to  the  nature  of  the 
violin,  he  not  only  hindered  a  threatened  de- 
velopment in  the  wrong  direction,  but  also  gave 
to  this  branch  of  the  art  a  sound  and  solid  basis, 
which  his  successors  could  and  did  build  upon 
successfully. 

The  following  are  the  titles  of  the  original 
editions  of  his  works : — 

a)XIISoiiataatx»,<hieTlolliil  eTloIonodlo,oollMaoper  IVnKMMK 
op,  1 :  Boma,  lOBS.  Anotber  wUtkni  of  Uiii  woric  wm  pubUihad  In 
1«S8  St  Antwerp ;  aooiher  at  Amtterdam.  Q)  XII  SaoiuUe  da  aumiu 
a  tre,  doe  TtoUnl.  violonceUD  •  vlolone  o  cembalo,  op.  S;  Boma,  168B 
Two  later  edlttooi  poblUod  at  Amitanlain.  (9  xn  Snonate  a  ti« 
due  Tiolinl  e  ardfluto  ool  baao  p«r  roivaiio.  op.  S ;  Bologna,  IflDO  , 
Autwwp.  IflSl:  Anutardam.  U>  XII  Suooato  da  camera  a  tt«^  dw 
vlollnl  a  Tloloae  o  oambalo,  opu  4 ;  Bologna,  ISBl  Another  edition  o.' 
tlila  wofk  91  Amiteidam  onder  the  title,  Balatti  da  oameim.  (R  XII 
Buonate  a  vtoUno  e  violone  o  cembalo,  o^  6;  Boma,  1700.  Ibe  ■una 
arranflBdbr  Oenlnianl  ai  Oonooni  groirf.  (S)  Oonoerti  groari  oon  due 
tIoUdI  •  TlolonoeUo  dl  ooocertino  obUgati.  e  due  altri  vloUni  a  ba«o  dl 
eoncerto  groeio  ad  arbitrlo  cheat  potramo  radoppiaK, op. 6;  Boma. 
ITUL  Another  edlttoo  at  Ameterdara.  A  number  of  ipuiioui  vorfei 
were  published  under  GonUi'i  naoa^  bat  nona  are  genuine  except  the 
aboredx.  jp  j^  j 


COBKELIDS. 

CORFE,  J06BFH,  bom  in  1740  at  Salialmiy, 
was  one  of  the  choristers  at  the  cathedral  there 
under  Dr.  John  Stephens,  oi^ganist  and  master  of 
the  boys.  In  1 782  he  was  appointed  Gentlanaa 
of  the  (Chapel  BoyaL  In  179a  be  socoeeded 
Robert  Parry  as  organist  and  master  of  the 
choristers  ef  Salisbury  Cathedral,  which  officsB 
he  held  until  1804.  Gorfe  composed  and  pub- 
lished a  volume  of  Gathedral  Music,  consisting  of 
a  service  and  eight  anthems,  etc. ;  three  set«  of 
Glees,  of  twelve  each;  a  TreatiBe  on  Suoging; 
a  Treatise  on  Thorough  Basa,  a  work  still  held 
in  esteem ;  besides  editing  a  S^ection  of  Sacred 
Music  made  by  James  Harria,  and  other  worka 
He  died  in  1820,  aged  80. 

His  son  Abthcb  Thomas,  was  bora  at 
Salisbury,  April  9,  1773.  In  1783  he  became 
a  chorister  of  Westminster  Abbey  under  Dr. 
Cooke.  He  subsequently  studied  the  piano- 
forte under  Muzio  Clementi.  In  1804,  on  ihe 
resignation  of  his  father,  he  was  appointed  op- 
ganist  and  master  of  the  children  of  SaEsbnrjr 
Cathedral.  A.  T.  Corfe  produced  and  published 
a  service  and  some  anthems,  several  piano^nte 
pieces,  and  'The  PrincipleB  of  Harmony  sod 
Thorough  Bass.'  He  died,  whilst  kneeling  in 
prayer,  Jan.  aS,  1863,  in  the  90th  year  of  hii 
age,  and  was  buried  in  the  cloisters  of  Salisbury 
Cathedral,  where  a  tablet  was  erected  to  him 
by  his  thirteen  surviving  children,  one  of  whom, 
CoA&LBS  William,  Mus.  Boc,  is  organist  of 
Christ  Church,  Oxford.  [ W.  H.  H.] 

COREINE,  William,  probably  a  late&ist, 
published  in  1610  'Ayres  to  Sing  and  Play  to 
the  Lute  and  Basse  Yioll.  With  Pavins,  Galli- 
ards,  Almaines  and  Corantos  for  the  Lyra  Violl,' 
and  in  161a  '7?he  Second  Booke  of  Ayres,  some 
to  sing  and  play  to  the  Base  Yioll  alone ;  othen 
to  be  sung  to  the  Lute  and  Base  Yioll,  with  new 
Corantoes,  Pavins,  Almaines ;  as  also  divers  new 
Descants  upon  old  Grounds,  set  to  the  Ljrs 
Yioll.'  Nothmg  is  known  of  his  life.    [W.H.H.] 

CORNEGA,  an  Italian  contndto,  engaged  by 
Ebers  for  the  season  of  1826,  at  a  salary  of  £500. 
Among  other  parts,  she  played  Felicia  in  'II 
Crodato,'  which  had  been  played  by  GsrdsB 
daughter  the  year  before.  iShe  was  re-engaged 
in  1 827  at  a  salary  of  £ 200.  [J.  M.] 

CORNELIUS,  Pbteb,  a  near  relation  of  the 
painter  of  the  same  name,  and  as  composer  and 
author  a  prominent  representative  of  the  so- 
called  New-German  school,  was  bom  at  Mayenoe 
Dec.  94,  1824.    He  was  originally  intended  for 
the  stage,  and  it  was  not  till  after  his  fint  pe^ 
formance,  which  seems  to  have  been  nnsuoceasfal, 
that  he  decided  to  adopt  music  as  a  ^rofeeaoO' 
His  musical  education  had  beoi  incomplete,  but 
his  dramatic  studies  had  made  him  acquainted 
with  literature,  and  were  of  considerable  tervioo 
in  developing  his  poetic  &culties.     He  worked 
hard,  and  acquired  a  vast  amount  of  general 
information.    After  the  death  of  his  ftAher  {1^44) 
he  pursued  music  with,  eneigy  <»*H  complete- 
ness ;  but  his  tendencies  were  forwards  towards 
the  modem  ideal,  rather  than  backwards  to  the 


OOBNELina. 

itnct  roles  of  coonterpoiat.    In  1853  he  went 
to  Wdmar  and  jomed  the  younff  artists  who, 
voder  Liaat^B  leaderBhip,  woe  stn-ving  to  cury 
out  the  ideas  of  Kichara  Wagner.    They  formed 
eTentoally  a  separate  school,  to  whidi  uie  name 
'New-OOTnan'  became  attached.     It  was  here 
tikat  ComeliiiB  became  aoquainted  with  Wagner's 
works»  while  with  Liszt  he  formed  ties  of  the 
closest  intixnacy.     His  active  and  versatile  pen 
vas  of  great  service  to  the  young  enterprise. 
He  strov^e   to  elucidate  the  new  principles  in 
the  'Neae  Zeitschrift  f&r  Musik/  the  organ  of 
the  party^  both  by  original  articles  and  by  trans- 
lating a  aeries  of  lectures  given  in  French  by 
Liszt.     As  a  practical  emb^iment  of  the  new 
views  he  oomposed  a  comie  <^>era,  '  Der  Barbier 
ytm.  Bagdad,'  of  which  only  a  single  performance 
took  plaoe  (1858).    Liszt  resent^  the  judgment 
of  the  public,  and  left  Weimar,  which  ceaMd  to 
be  the  centre  of  the  school.    In  1858  Cornelius 
Vent  to  Vienna^  where  Wagner  was  then  living, 
and  became   intimate  wi^  him  also.      When 
Xing  Ladwig  II  invited  Wagner  to  Munich, 
Cornelius  followed   him  there  (1865),  first  as 
reader  to  the  lun£^,  and  later  as  professor  of 
hannony  and  rhetoric  at  the  Conservatoire,  after 
it  had  been  transformed  into  the  'Konigliche 
Mosik-schule'  with  H.  von  Bulow  as  principaL 
Corneliuses  grand  opera  the  'Cid,*  produced  at 
VTeimar  (1865),  may  be  considered  as  the  fruit  of 
bis  intercourse  with  Wagner.    He  was  working 
at  another,  entitled  'Guolod'^^f  which,  after 
'Wagner^s  example,  he  had  himself  taken  the 
■abject  from  the  legends  of  the  Edda — when  he 
died  at  Mayence,  Oct.  24,  1874.    The  effect  of 
hi*  dramatic  works  in  furthering  the  Wagner 
mofvement  cannot  fairly  be  estimated,   as  the 
public  have  had  no  real  opportunity  of  judging 
cf  them.    HiB  published  works,  principally  vocal, 
ibow  him  to  have  had  much  feeling.    The  fol- 
lowing deserve  mention  : — '  Duets  tor  Soprano 
ud  Baritone,*  op.   6 ;   '  liedeisjyclus,*   op.   3 ; 
'WeihnachtsUeder,*  op.   8;   and  'Trauerchdre* 
{tar  men^s  voices),  op.  9.     Most  of  these  are 
MttingB  of  his  own  poems.      He  published  a 
volume    called    'Lyrische    Poesien      in    1861. 
Some  of  his  works  will  shortly  be  published ;  and 
Gonldd  is  to  be  completed  ftt>m  his  ample  notes 
by  bis  friend  Hofbauer  of  Munich,  [A.  MJ 

CORNEMUSE.  The  Italian  and  French 
lame  for  the  Baopipk. 

CORNET.  (ItaL  ComeUo;  Fr.  Comet  a 
piatoat).  The  name  was  fonnerly  given  to  a 
rode  reed  instrumoit  of  the  oboe  frunily,  but 
ii  now  applied  to  a  brass  instrument  with 
eopped  mouthpiece,  intermediate  between  the 
French  horn,  trumpet^  and  bugle,  of  compara* 
tivdy  modem  construction,  and  formerly  called 
iIbo  CoiuroFBAir.  It  possesses  the  usual  scale  of 
open  or  harmonic  notee^  as  foUows:— 


OOBNXT. 


4oa 


J  r  r 


^=^ 


the  real  fundamental  being  the  octave  below  the 
lowen  here  given,  which  is  never  made  use  of^ 


It  is  also  ponible  to  produce  fbnr  notes  above 
the  top  C,  corresponding  to  those  commonly  used 
in  the  trumpet ;  but  for  the  jl   £   £  £ 

laiger  bore  and  mouthpiece      D    T    i      i      \ 
of  the  oomet  they  aie  diflB-    ^)  '      '      '     ^ 

cult,  and  comparatively  un-    Jj  ■" 

used.  The  French  horn,  on  the  other  hand* 
standing  an  octave  lower  than  the  comet,  obtains 
two  hannonio  sounds,  the  Bb  and  C,  above  the  O 
last  given. 

The  chief  characteristio  of  the  comet  is  the 
use  of  valves  or  pistons  for  the  purpose  of  in* 
creasing  its  compass  and  bridging  over  the  gaps 
between  the  natural  harmonic  sounds.  The  valves 
are  usually  three  in  number.  They  consist  es* 
sentially  of  mechanism,  by  means  of  which  a 
bye-way  or  diversion,  somewhat  longer  than  the 
direct  road,  is  opened  to  the  vibrating  column 
of  air.  The  first  valve  thus  depresses  the  pitch 
by  a  tone,  the  second  by  a  semitone,  the  third 
by  three  semitones.  They  can  be  used  singly  or 
together.  In  this  manner  the  lower  limit  is 
removed  downward  to  F|  in  the  bass  stave,  and 
six  semitones  are  obtained  by  the  use  of  the 
pistons  singly  or  in  combination:— 

l.SkS       1.8         %t      1.9or8      ^1  J 


i      *»f     gf 


^ 


By  the  same  method  all  notes  intervening 
between  the  open  notes  of  the  natural  scale  can 
be  provided  for.  In  the  absence  of  such  a  con- 
trivance, the  early  composers  for  the  trumpet 
were  driven  to  mike  use  of  the  superior  octave, 
in  which  a  consecutive  scale  of  open  notes  can  be 
obtained.  This  is  well  seen  in  Handel's  solos  for 
the  trumpet.  It  materiallv  increases  the  bril- 
liancy and  the  difficulty  of  ^e  older  instrument. 

The  comet  was  originally  made  with  several 
'crooks,*  for  the  keys  of  A,  Bb,  Ab,  6,  G,  and 
even  others ;  but  it  has  been  customary  of  late 
to  dispense  with  all  but  the  A  and  Bb  crooks^ 
which  correspond  to  the  clarinets  of  similar  name. 

The  bore  of  the  instrument  is  intermediate  in 
size  between  the  smaU  cylindrical  tube  and  re- 
stricted bell  of  the  trumpet,  and  the  broad 
conical  form  of  the  bugle,  llie  tone  stands  in 
corresponding  relation  to  those  instmmenta^ 
lacking  the  penetration  of  the  former,  and  the 
smooth  hornlike  fulness  of  the  latter. 

The  comet  has  not  yet  been  much  employed  in 
the  scores  of  classical  music,  though  occasionally 
used  in  orchestras  instead  of  the  trumpet.  Jn 
operas  an  instance  of  its  use  which  will  be 
fiuniliar  is  the  air  *  When  other  lips '  in  Balfe's 
'Bohemian  Girl.'  [W.H.S.] 

CORNET.  This  name  is  given  to  several 
kinds  of  organ  stops;  among  others  to  pedal 
reed-stops  of  4  and  2  feet  length  in  numerous 
Dutch  and  German  organs.  A  'Gomette*  of  4 
feet  occurs  in  the  cathedral  oigan  at  Kronstadt; 
a  ' Cometin*  of  a  feet  in  the  '  Old  Church'  orgaa 
at  Amsterdam ;  and  a  '  Comettino,'  a  feefe>  in  the 
music  hall  organ  at  Boston  in  America. 

The  great  organ  Solo  Comet  oomprised  either 
5,  4,  or  3  ranks  of  pipes.    When  of  the  former 

Dd2 


-401 


CORNET. 


it  conflbted  of  a  stopped  dlapasoii,  jprindpal, 
twelfUiy  fifteenth,  and  tierce.  When  of  4  rankB 
the  stopped  diapason  was  omitted;  when  of  3, 
that  and  the  principal  were  left  out;  so  that 
the  'composition*  on  the  middle  0  key  stood 
thofl^ 

0  ninki  4  nnki  t  imnki 


^ 


± 


I 


and  the  one  or  two  separate  stops  necessary  were 
added  or  'drawn*  with  the  comet  when  the 
series  of  5  pipes  was  not  complete.  The  pipes 
of  the  solo  comet  were  4  or  5  'scales'  wider 
or  'larger'  than  the  corresponcUng  pipes  of  the 
ordinary  stops,  to  render  the  tone  very  power- 
ful and  brc«d;  and  very  frequently,  in  (ffder 
to  make  it  still  more  prominent,  the  stop  was 
placed  on  a  sound-boaid  of  its  own  and  raised 
a  few  feet  above  the  surrounding  pipes,  in  which 
case  it  was  called  a  'mounted  comet.'  Father 
Smith's  solo  comet  at  the  Temple  (4  rtmks) 
was  not  mounted. 

The  Echo  Comet,  of  soft  tone,  and  shut  up  in 
a  box,  was  of  3  ranks,  or  4  at  most,  the  composi- 
tion being  as  above  given.  '  Comet  Voluntaries,' 
as  they  were  called,  were  in  great  vogue  for  a 
very  long  time,  and  consisted  of  runs  and  twirls 
for  the  right  hand,  played  in  single  notes,  first 
on  the  louder  stop  and  then  repeated  on  the 
softer,  the  left  hand  meanwhile  playing  a  soft 
bass.    So  fashionable  were  these  peculiar  display 

Eieces  that  Dr.  Dupuis  states  on  the  title-page  of 
is  volume  of  voluntaries,  containing  specimens 
of  the  kind,  that  they  were  '  Performeld  before 
their  Majesties  at  the  Chapel  Royal,  St.  Paul's 
Cathedral,  etc.*;  while  Russell,  in  his  book 
printed  in  181 2,  shows  that  the  attachment  for 
the  old  Echo  still  lingered  exactly  a  century 
after  it  had  been  improved  upon  by  the  inven- 
tion of  the  Swell  (in  171 2),  by  directing  at  the 
head  of  one  of  his  pieces  '  The  Swell  Pedal  not 
to  be  used  in  this  movement.'  The  name  '  Echo 
Comet'  is  still  frequently  applied  to  a  compound 
stop  of  small  scale  and  light  tone  in  swell 
organs.  In  many  of  the  continental  organs  the 
comet  stop  extends  down  to  tenor  C ;  and  in 
some  places  it  is  used,  on  account  of  its  strong 
and  l3«velling  tone,  as  an  accompaniment  to 
the  priest's  voice  at  the  far  end  of  the  church. 
This  is,  or  was,  the  custom  a  few  years  ago  in 
many  of  the  churches  of  Cologne,  including  the 
caUiedral. 

As  the  comet  is  a  compound  stop  that  can  be 
carried  through  the  usual  compass  of  a  manual 
without  any  'break'  in  its  composition,  it  is 
sometimes  looked  upon  as  a  good  stop  for  oover^ 
ing  the  repetitions  which  necessarily  occur  in  all 
compound  stops  that  rise  to  a  greater  altitude 
than  itself  above  the  unison.  At  such  times  it 
is  made  as  a  'progressive'  stop ;  that  is  to  say, 
it  has  fewer  pipes  in  the  bass,  with  an  increasing 
number  up  to  the  middle  of  the  k^- board. 
Commencing  with  two  pipes  on  the  CC  key,  a 
nk  IS  added  at  tenor  C^  and  a  fourth  at 


CORKYSHE. 

middle  C ;  and  the  stop  starts  with  a  fifteentl 
and  tierce,  to  which  are  added  first  a  tweLftl 
and  then  a  principal,  thus— 


Siula 


SimDki 


$ 


¥ 


p 


¥ 


m 


^ 


The  'large  scale'  is  preserved,  but  the  pipei 
have  only  narrow  mouths,  and  produce  a  plea 
sant  and  rather  flute-like  quality  of  tone.  A 
stop  somewhat  of  this  kind  occurs  on  the  grea 
manual  of  Schulze's  fine  oigan  in  Dancastei 
parish  church.  [£.  J.  H.' 

CORNETTE,  ViCTOB,  son  of  an  organist,  hon 
at  Amiens  1795,  a  musician  of  indefiiLtigabli 
activity.  He  entered  the  Paris  Conservatoire  ii 
181 1,  and  studied  composition  under  Lesueur. 
He  served  in  the  band  of  the  'Grenadiers  tirail- 
leurs de  la  Garde  Imp^riale'  in  1813  and  1814, 
and  was  at  Waterloo ;  was  professor  at  the  Col- 
lege of  St.  Acheul  from  1817  to  1825  ;  membei 
of  the  orchestra  at  the  Od^n  (1835),  Op^n 
Comique  (1827);  choms  master  at  the  Open 
Comique  (1831-1837);  director  of  singing  at 
the  Gymnase  de  musique  militaire  (1839)  ;  con- 
ductor of  the  Strasbuig  theatre  (1842)  ;  dionu 
master  to  the  Op^ra  national  (1847)  *  <^^  again 
chorus  master  at  the  Op^ra  Comique  (1848) ;  also 
trombonist  in  the  band  of  the  Garde  Natlosale, 
and  deputv  organist  at  St.  Sulpice  and  the  In- 
valides.  Comette  composed  an  enormous  mass 
of  music  for  every  variety  of  instrument,  and 
published  methodet  for  trombone,  ophicleide,  cor- 
net k  pistons,  bugle,  saxhorn,  saxophone,  bassoon, 
oboe,  horn,  trumpet,  harp,  cello,  viola,  or,^, 
and  harmonium.  [M.  C.  C] 

CORNO,  the  Italian  term  for  HoBir. 

CORNO  DI  BASSETTO.    See  BAasET-HORK. 

CORNO  DI  CACCIA,  i.  t,  hunting  hom.  the 
French  horn.  The  name  often  occurs  in  J.  S. 
Bach's  scores. 

CORNOPEAN,  a  name  originally  applied  to 
the  comet  k  pistons,  though  now  disused. 

CORNYSHE,  or  CORNISH,  Williah,  wm 
master  of  the  children  of  the  Chapel  Royal,  is 
which  office  he  succeeded  Gilbert  Banestre  about 
the  year  1490,    In  the  Privy  Purse  Expensea  of 
Henry  VII  under  date  Nov.  12,  1493,  a  paj- 
ment  is  entered  '  to  one  Comyshe  for  a  prophecy 
in  rewarde,  13s.  4^.,*  and  in  the  Privy  Puwe 
Expenses  of  Henry's  Queen,  Elizabeth  of  York, 
under  date    Dec.    150a,  a  similar  amount  for 
'  setting  of  a  carralle  upon  Christmas  day.'  \Ch.&i 
the  chUdren  of  the  chapel  under  Comyshe  took 
part  in  the  performance  of  a  play  at  court  they 
were  rewarded  with  the  sum  of  *6^  131.  J^' 
Comyshe  was  a  great   &vourite   with  Heniy 
Vin.    We  find  a  payment,   '8   Henry  Vlll. 
Nov.    To  Master  Comishe,  gentylman  of  the 
King's  Chapell,  upon  a  warraunt»  in  reward<^ 


CORNYSHE. 

loo^*  But  ihu  large  sum,  no  doubt,  included 
gratoiiies  to  his  brethren  in  the  Chapel.  In 
1504  Comyahe^  being  confined  in  the  Fleet 
\nsGii,  upon,  as  he  informs  us,  some  fiJse  in- 
funnation  given  by  an  enemy,  wrote  a  poem 
eititled,  'A  Treatise  between  Tronth  and  In* 
fonnacion,'  some  extracts  from  which  are  given 
in  Hawkins's  History  of  Music.  The  real  cause 
of  his  incarceration  is  unknown,  but  it  haa  been 
omjectured  that  he  had  allowed  his  pen  greater 
freedom  than  was  agreeable  to  some  persons. 
However  in  1508  we  again  find  him  taking  part 
in  a  court  play,  as  appears  by  a  payment  'To 
Hr.  Kite,  Comishe,  and  other  of  Uie  Ghapell 
that  played  affore  the  King  at  Ridmionte,  61, 
ly.  id*  The  date  of  Gomyshe's  death  is  un- 
certain, bat  it  WAS  before  1526,  in  which  year  the 
name  of  William  Crane  occurs  as  master  of  the 
diildren,  [W.  H.  H.] 

CORNYSHE,  William,  junior,  son  of  the 
preceding,  was  a  composer  in  the  early  part  of 
the  sixteenth  century.  Three  part-songs  by  him 
are  contained  in  a  manuscript  volume  compiled 
by  Dr.  Robert  Fayrfax,  and  now  in  the  library 
of  the  British  Museum  (Add.  MSS.  5465.)  Two 
of  those  songs  were  printed  by  Hawkins  in  his 
History  of  Music.  [W.  H.  H.] 

CORRI,  BoMBNico,  bom  in  Naples  1744,  died 
in  London  about  1826;  studied  under  Porpora 
from  1763  to  67.  In  74  setUed  in  London,  pro- 
ducing there  'Alessandro  neU'  Indie*  (1774),  and 
same  years  later  'The  Travellers,*  his  best  work  ; 
but  devoted  himself  chiefly  to  teaching  singing. 
Hit  daughter,  a  singer  and  harpist  of  merit, 
married  Ddsskk,  with  whom  Com  entered  into 
partnership  as  musio-seller  and  publisher  (1797), 
bat  (he  speculation  fSeuiled.  His  compositions  in- 
dnde,  besides  the  operas  above  named,  a  quantity 
oi  songs  to  English,  French,  and  Italian  words ; 
sonatas,  airs,  and  rondos ;  '  The  Art  of  Fingering' 
(London  1799);  and  'The  Singer*s  Preceptor' 
(ditto  1798)  ;  also  a  'Musical  Dictionary'  (Lon- 
don 1 79S)  and  a  '  Musical  Grammar.'  He  left 
three  sons,  Antonio,  who  settled  in  America; 
Montagu,  dramatic  composer;  and  Hatdn,  a 
teacher  in  Dublin.  [M.  C.  C] 

CORRI-P  ALTONI,  Mdmb.  Frances,  daughter 
of  Natale  Corri,  and  nieoe  of  Domenico,  bom  in 
Edinburgh  1801,  a  dramatic  singer  of  ability; 
■todied  under  CataUni  in  1 8 1 5  and  1 6.  She  sang 
in  London  (1820) ;  in  Grermany ;  in  Italy,  where 
the  married  Paltoni,  a  singer ;  in  Madrid  (1827) ; 
and  with  Lablache  in  Milan  (i8a8).  In  1830  she 
returned  to  Germany.  Her  voice  was  1^  fine  mezzo- 
soprano,  with  a  brilliant  shake.  [M.  C.  C] 

CORTEGCIA,  Fbanoesoo  di  Bebnabdo,  bom 
early  in  the  i6th  century  at  Arezzo,  died  in 
Florence  1571 ;  in  1531  organist  of  S.  Lorenzo  in 
Florence,  and  in  4a  chapel-master  to  Cosmo  I ; 
sbio  a  Canon  of  S.  Lorenzo.  His  compositions 
include  nine  pieces  for  4,  6,  and  8  voices  with 
Tarions  instruments,  in  a  rare  work  called  '  Mu- 
sicbe  fatte  nelle  nozze,  etc.'  (Venice,  Gardano, 
1539)  i  'Madrigldi  a  quattro  voci,'  lib.  i  and  a 


COSSMANN. 


405 


(Tb.  1545  and  1547) ;  'Prime  libro  de*  Madrigal! 
a  5  e  6  voci'  (lb.  1547) ;  'Responsoria  et  lecti- 
ones  hebdomadae  sanctae '  (lb.  1 5  70)  ;  '  Residuum 
cantid  Zacchariae'  (lb.  1570) ;  and  'Canticorum 
liber  primus'  (lb.  15 71),  published  a  few  months 
after  his  death.  A  copy  of  the  madrigals  is  in  the 
library  of  Christ  Church,  Oxford.  The  Libraiy 
of  S.  Lorenzo  also  contahis  3  a  hymns  in  4-part 
counterpoint.  Cortecda,  with  Striggio,  composed 
music  for  Cini's  intermezzo  '  Psichl  e  T Amorino,* 
for  the  marriage  of  Francesco  de'  Medici  and 
Joanna  of  Austria  in  1 565.  [M.  C.  C] 

CORTELLINI,  Camilik),  a  composer  of  church 
music,  who  lived  at  the  conmiencement  of  the 
1 7th  oentury,  and  was  in  the  service  of  the  muni- 
cipality of  Bologna.  From  his  proficiency  on  the 
violin  he  weat  by  the  name'  of  II  Violino.  Vin- 
centi  of  Venice  published  several  volumes  of  his 
works,  oonsiBting  of  Psalms,  Litanies,  Masses,  and 
oth^  sacred  pieces.  The  preface  to  one  of  these 
volumes,  intituled  '  Messe  concertate  a  otto  voci,' 
is  interesting  because  it  gives  a  hint  of  the  man- 
ner in  which  in  those  early  times  the  instru- 
mental and  vocal  parts  were  combined  in  church 
music.  The  passage  alluded  to  is  as  follows :  'La 
Messa  In  Domino  confide  ha  la  Gloria  concertata ; 
e  dove  saranno  le  lettere  grandi,  il  cantore  canterib 
solo ;  e  dove  saranno  le  linee,  i  tromboni  e  altri 
simili  stromenti  soneranno  soli.'  [E.  H.  P.] 

CORYPH^US  (itopwpatiM,  chorus-leader).  An 
officer  on  Dr.  Heather's  foundation  at  Oxford, 
intended  by  the  founder  to  take  the  lead  in  the 
musical  exercises  conducted  by  the  Chobaous. 
The  duties  of  the  Coryphseus  have  long  beei^ 
imaginary :  his  salary  waa  never  more  than 
nominal.  [C.  A.  F.] 

C^SI  FAN  TUTTE,  os^iA  La  scuola  dboli 
AM ANTi.  An  opera  bu£b  in  two  acts,  commanded 
by  the  Emperor,  Ubretto  by  Da  Ponte,  music  by 
Mozart;  produced  at  Vienna  Jan.  a6,  1790; 
London,  King's  Theatre,  May  9,  181 1.  The 
libretto  is  so  bad  and  the  music  so  good  that 
various  attempts  have  been  made  to  fit  the  opera 
with  new  words,  as  'Le  Laboureur  Chinois* 
(1807),  'Peines  d'amour  perdues'  (Barbier  & 
Carr^,  1863).  Otto  Jahn  possessed  a  MS.  Mass 
made  up  froin  it.  In  England  it  was  translated 
AS  '  Tit  for  Tat.'  The  German  version  is  entitled 
Weibertreue, 

COSSMANN,  Bebnhabd,  an  eminent  violon- 
cellist, son  of  a  Jewish  merchant ;  bom  at  Dessau 
May  17,  i8aa.  His  first  instructors  on  the  cello 
were  Espenhahn  and  Karl  Drechsler  at  Bruns- 
wick, Theodor  Miiller  (of  the  Miiller- quartet) 
and  Kummer  at  Dresden.  After  completing  his 
studies,  Cossmann  went  to  Paris,  where  he  played 
in  the  orchestra  of  the  Grand  Op^ra,  and  thence 
to  London  (1841),  in  the  then  palmy  days  of 
Italian  opera.  In  1843  he  was  an  acknowledged 
master  of  his  instnunent  in  Germany.  Men- 
delssohn secured  him  in  1847  for  the  Gewandhaus 
concerts,  and  he  utilised  lus  stay  in  Leipsic  by 
studying  under  Hauptmann.  His  appointment 
as  fiirst  cello  under  Liszt  at  Weimar,  in  185  a, 
exercised  an  important  influenoe  on  his  career. 


40d 


CTOSSMANN. 


He  had  a  comdderable  Bhare  with  Joachhn,  and 
alflo  with  Biilow  and  Tansig,  in  the  movement 
which  took  place  under  list's  leadership.  In 
1866  he  becMne  professor  at  the  Conservatoire  at 
Moscow,  where  he  worked  with  Laub  and  Kioolaus 
Bubinstein  until  his  return  to  Gennany  in  1870. 
Since  then  he  has  lived  without  any  fixed  ap- 
pointment at  Baden-Baden.  Gosomann  is  a 
virtuoso  of  the  first  rank.  He  is  remarkable 
alike  for  science,  polished  execution,  and  power 
of  singing  on  the  instrument.  Furthermore  he 
is  a  great  soloist,  and  an  excellent  chamber 
musician,  above  all  in  quartets.  This  last  quality 
he  owes  partly  to  his  studies  under  MfiUer,  and 
partly  to  the  general  cultivation  he  acquired  at 
Weimar.  He  is  much  interested  in  compositions 
for  his  instrument ;  he  has  brought  forwud  many 
new  concertos,  as  well  as  those  of  Schumann  and 
A.  Rubinstein,  which  are  too  much  neglected. 
His  compositions  embrace  a  concert- stUck  for 
cello,  but  are  not  important.  [A.  M.] 

COSTA,  an  Italian  singer  at  the  King's  The- 
atre about  1 790«appeared  in  Cimarosa*s  'Ninetta,' 
in  the  'Due  Casiellani  burlati'  of  Fabzizi,  in 
Nasolini's  'Andromaca,*  Federici*s  'L*Usurpatore 
innooente,'  and  Bianchi*s  ''Villanella  rapita.'  He 
was  a  good  perfonner  of  what  were  called  mezzi 
corotfm.  [J.  M.] 

COSTA,  Andbsa,  teacher  of  singing ;  bom  at 
Brescia,  settled  in  London  in  1825.  His  best 
pupils  were  Mdme.  Boigondio,  and  Mdme.  Alber- 
taud.  He  published  a  method  called  'Ana- 
lytical ConsiderationB  on  the  Art  of  Singing' 
(London  1838).  [M.C.C.] 

COSTA,  MioHABL,  son  of  the  late  Cavaliere 
Pasquale  Costa,  of  an  old  Spanish  family,  was 
bom  at  Naples  Feb.  4,  181  o.  Having  a  great 
indination  for  music,  he  was  placed  at  the 
B<wal  Academy  of  Music  in  Naples,  and  at  a 
public  examination  obtained  a  tr&e  scholarship 
from  Ferdinand  I,  King  of  the  two  Sicilies.  At 
the  age  of  15,  he  composed  a  cantata,  for  the 
theatre  in  the  college,  entitled  '  L'Immagine.* 
In  x8a6  he  composed  for  the  same  theatre  an 
opera  called  'II  Delitto  punito';  and  in  1827 
another,  'U  Sospetto  fiinesto.'  He  composed 
also  at  this  period  a  Grand  Mass  for  4  voices, 
a  'Dixit  Dominus,*  three  symphonies,  and  an 
oratorio,  'La  Passione.'  In  i8a8  Costa  was  en- 
gaged by  the  manager  of  the  Teatro  Nuovo  to 
compose  an  open  send-seria,4called  'H  caroere 
d'Ud^gonda.'  In  1829  he  comj^Med  '  Malvina,'  an 
opera^  for  Barbaja,  the  &mous  impresario  of  San 
CWla  In  the  autumn  of  that  year,  Zingarelli, 
his  maestro,  sent  him  to  Birmingham,  to  direct  a 
psalm  of  his  composition,  '  Super  flumina  Babilo- 
nis.'  On  the  young  Costa's  arrival,  through 
some  misunderstanding,  he  was  obliged,  having 
a  fair  tenor  voice,  to  nmt  in  the  psalm,  instead 
of  directing  the  music.  In  1830  he  was  engaged 
by  Laporte,  as  nuustro  al  piano  at  the  Ki^*s 
Theatre.  In  the  next  year  he  composed  the 
music  of  the  grand  ballet,  'Kenilworth.'  In 
1832  Monck  Mason,  the  then  impresario,  engaged 
him  as  director  of  the  music ;  and  in  that  capacity 


COSTA. 

he  wrote  the  ballet,  '  Une  lienre  k  Naples,'  ttA 
several  other  pieces  for  operas  and  ooDcert-rooms. 
*  This  was  the  year,'  writes  Mr.  Chorley, '  when 
(happy  event  for  England !)  the  Italian  orchestn 
was  placed  under  the  direction  of  Signer  Coeta.' 
In  1833,  engaged  by  Laporte  as  director  and 
conductor,  he  composed  Uie  ballet  'Sir  Boon' 
for  Taglioni,  and  the  favourite  quartet,  *£coo 
quel  fiero  istante.'    At  the  invitation  of  Sevenni, 
Uie  impresario  of  the  Italian  opera  at  Paris,  he 
wrote  the  opera  '  Malek  Adhet'  in  1837,  which 
was  performed  there  in  February   1838  with 
moderate  success,  but  with    better   fortune  in 
London.    The  critic  already  quoted  says  on  this 
point, '  Whether  a  great  conductor  can  ever  be 
a  great  composer,  is  a  doubtful  matter.  .  .  . 
From  the  first  evening  when  Signer  Costa  took 
up  the  baton, — a  young  man,  firam  a  country  then 
demised  by  every  musical  pedant,  a  youth  who 
came  to  England  without  flourish,  announcement, 
or  protection  ...  it  was  felt  that  in  him  were  com- 
bined the  materials  of  a  great  conductor ;  nerve 
to  enforce  discipline,  readiness  to  the  second,  and 
that  certain  influence  which  only  a  vigorous  man 
could  exercise  over  the  disconnected  folk  who 
made  up  an  orchestra  in  those  days.     Hu  Malek 
Adhel  IS  a  thoroughly  conscientious  wotk,  con- 
taining an  amount  of  melody  with  which  he  has 
never  been  duly  credited.*    It  contained  a  song 
for  Bubini  of  stupendous  difficulty — which  has 
been  a  main  obstacle  to  its  revival — as  well  as 
some  telling  music  for  the  other  singersu     In 
1842  Costa  composed  the  ballet-music  of  'Alma' 
for  Cento ;  and  in  1844  the  opera  'Don  Carlos.' 
In   1844  three  new  operas  were  produced  in 
London,   of   which   *the  worthiest,*  says  Mr. 
Chorley,  *was  Signer  Coeta*s  Don  Carlos,  which 
had  nevertheless  not  the  good  fortune  to  please 
the  public.    Yet  it  is  fuU  of  good  music :  the 
orchestra  is  handled'  with  a  thorough  knowledge 
of  effect  and  colour.     One  trio  for  male  voices 
is  so  solid  and  fine  that  it  ought  not  to  have 
been  soon  forgotten.*     In  1846  he  quitted  the 
opera ;  and  the  orchestra,  which  he  had  brought 
to  a  point  of  perfection  previously  unknown  in 
England,  passed  into  other  hands.    In  1 846  Costa 
undertook  the  direction  of   the   Philbannonic 
orchestra;  and  that  of  the  new  Italian  Open» 
Covent  Garden;   and  in  48  that  of  the  Sacred 
Harmonic  Society.    In  49  he  was  engaged  for 
the  Birmingham  Festival,  which  he  has  since 
continued  to  conduct.     With  the  season  of  54 
he  gave  up  the  baton  of  the  Philharmonic,  and 
was  succeeded  (for  one  year)  by  Richard  Wagner. 
In  55  he  composed  lus  oratorio  'Eli'  for  the 
Birmingham  Festival.    He  conducted  the  Brad- 
ford Festival  in  53,  and  the  Leeds  Festival  in 
74 ;  and  as  conductor  of  the  Sacred  Harmonic 
Society  has  directed  the  Handel  Festivals  from 
57  to  the  present  date.     Beside  other  occasonal 
compositions,  his  second  oratorio,  '  Naamso,'  was 
also  written  for  Birmingham,  in  1864.    He  has 
written  additional  accompaniments  for '  Solomon, 
'Judas,'  and  others  of  Handel's  oratorios  for  tbe 
Sacred  Harmonic  Society.    In  1869  he  received 
the  honour  of  knighthood.    Sir  Michael  is  sUo 


COSTA. 

deooraied  wiih  orden  from  the  sovereigiiB  of 
Genaanj,  Turkej,  the  Netherlands,  Wtirtembeig, 
Italy,  etcl,  in  recognition  of  his  talent  and  position. 
He  has  been  since  1871  'director  of  the  mndc, 
composer,  and  conductor '  at  Her  Majesty's  Opera. 
His  serrioes  in  those  capacities  will  not  soon  be 
fnigotien  in  London.  [J.  M.] 

COSTAKTINI,  a  seconda  donna,  who  played 
Matilda  m  Handel*s  'Otho'  in  1726,  which  had 
been  Anastasia  Robinson*B  part  in  1723.  She  also 
speared  aa  Armira  in  '  Scipio*  in  the  same  year, 
tHiee  which  her  name  does  not  occur.  [J.  M.] 

COSTANTINI,  Fabio,  bom  in  Borne  about 
X570,  chapel-master  to  the  confraternity  of  the 
Eoesry  at  Ancona,  and  afterwards  at  the  cathe- 
dral of  Orvieto.  His  compoeitionB  include  motets 
for  3y  3,  and  4  voices  (Borne  1596)  ;  'Motetti 
.  .  .  .  e  Psahni  e  Magnificat*  (lb.  16x8);  and 
'Omdette  amoroso,*  a  aeries  of  canzone  and  mad- 
rigals (Orvieto  162 1).  He  also  published  'Se- 
lectae  cantiones  excellentissimorum  auctorum* 
(Borne  1614),  a  collection  of  8-part  motets  by 
Palestrina^  the  Nanini,  the  Anerii,  Marensio, 
WateDo,  Giovanelli,  and  others  beside  himself; 
and  another  coUection  of  airs  and  madrigals  called 
'GlnrUtfidettaamarosa*  (Orvieto  1621).  [M.G.C.l 

COSTANZI,  JuAV,  known  as  Gioannino  di 
Boma,  because  he  was  bom  there ;  was  for  some 
time  in  the  household  of  Cardinal  Ottoboni,  and 
vsB  a{^inted  in  1 754  chapel-master  of  St.  Peter's, 
which  he  retained  till  his  death  in  1778.  He 
(XHnposed  an  opera  '  Carlo Msfino '  (Bome  1729) ; 
sfine  *Miser«re* ;  motets  in  10  parts  for  4  dioirs, 
offaioriums,  and  other  church  music.    [M.  C.  C] 

(X^STE,  Gaspabd,  chorister  in  the  cathedral 
of  Avignon  about  1530,  composer  of  songs  and 
madrigals,  preserved  in  the  following  collections ; 
'Trente-dnq  livres  des  rhanarms  k  quatre  parties* 
(Paris  1539-1549) ;  'Le  Parangon  des  chansons* 
(LjoDs  1 540 -1 543) ;  'Motetti  del  Fiore*  (lb. 
1533-1539);  'Sdegnosi  ardori;  Musica  di  di- 
versi  authori  sopra  un  istesso  loffetto  di  parole' 
(Munich  1575);  and  *Ghirlaada  di  IMoretti 
moricale'  (Rome  1589).  [M.C.C.] 

CX)STEL£T,  WiLZJAM,  a  Scotch  musician, 
bom  153I9  setUed  in  France,  and  was  organist  to 
Henri  U  and  Charles  IX.  Author  of  a  treatise 
called  'Musique'  (Paris  1579);  *o^^  hi  the 
'Chansons  k  4  et  5  parties*  published  by  Le  Boy 
ind  Ballard  (lb.  1567).  Some  pieces  of  his  are 
in  the  library  at  (Orleans.  Costeley  was  one  of 
the  lodety  called  '  Puy  de  musique  en  honneur 
de  Ste-Ceciie'  (1571)  at  Svrenz,  and  sometimes 
entertained  the  members  at  his  ovn  house  in 
Evreuz.    He  died  there  in  1606.  [M.C.C.] 

009TN,  Benjawiit,  was  probably  a  son  of 
John  Cosyn,  who  in  1585  published  sixty  pialms 
in  BIX  parts  in  plain  counterpoint.  He  was 
eminent  as  a  composer  of  lessons  for  virginals. 
Many  of  his  pieces  are  extant.  He  flourished  in 
the  first  half  of  the  17th  centoiy.       [W.  H.  H.] 

COrnXON  (». e.  '  a  petticoat').  Originally  a 
ample  French  dadbe  of  the  age  of  Lods  XIV, 
which,  acoQirding  to  same  authars^  resembled  the 


COUNTEBPOINT. 


407 


BitANLS,  but,  according  to  others,  was  a  variety  of 
quadrille.  The  modem  cotillon  is  simply  a  species 
of  quick  waits,  of  great  length  and  elaborate 
eontrivances,  but  with  no  special  music :  for  the 
different  varieties  of  it,  waltzes^  polkas,  mazurkas, 
and  galops,  are  employed.  [£.  P.] 

COTTAGE  PIANO  (Fr.  Piano  droit ;  Ital. 
and  Ger.  also  Fr.  Pianino).  An  upright  piano- 
forte usually  about  four  feet  high,  invented  early 
in  this  century,  nearly  at  the  same  time  as  the 
Cabinet  piano,  but  less  thought  of  for  some  years, 
until  the  more  convenient  height  and  better  action 
of  the  lower  instrument,  combined  with  cheaper 
construction,  found  appreciation,  and  brought 
about  the  displacement  of  the  Cabinet  and  the 
once  &miliar  Square.  To  Bobert  Womum  the 
younger,  whose  patent  (No  3419)  for  an  upright^ 
with  diagonal  strings,  was  taken  out  in  1811,  is 
due  the  invention  and  earliest  manufacture  of 
oblique  and  vertical  cottage  pianofortes  in  Eng- 
land. In  the  year  1815  Ignaoe  Fleyel,  founder 
of  the  house  of  Pleyel,  Wolff,  et  Cie.,  employed 
Henri  Pape,  an  ingenious  iheohanician,  to  organise 
the  introauction  of  the  ooDstruotion  of  these  in- 
struments in  Paris  (Pape,  8ur  les  Inventions,  etc. ; 
Paris,  1845),  from  which  beginning  arose  the 
important  manufacture  of  French  cottage  pianos. 
In  Grermany  and  America  upright  pianos  have 
not  made  much  way.  [See  Piaitofobtx,  also  Cabi- 
HIT  Piano,  Oblxqui,  and  Piooolo.]     [A.  J.  H.] 

COTUMACXJI,  or  CONTUMAOCI,  Carlo, 
bom  at  Naples  1698,  died  there  1775;  pupil  of 
A.  Scarlatti,  succeeded  Durante  at  S.  Onofrio ; 
(MTganist  and  prolific  composer  of  church  music. 
He  wrote  'Begole  deU'  aocompagnamento '  and 
'Trattato  di  contrapunto,*  worlu  which  have 
remained  in  MS.,  excepting  some  '  Partimenti,* 
published  by  Choron  in  his  *  Pxincipes  de  compo* 
sition  des  ^coles dltalie '  (Paris  1808).  [M.O.C.] 

COUAC  (French  for  '  quack*),  a  sudden  hor- 
rible noise  to  which  any  clarinet  is  liable  when 
the  reed  is  out  of  order  and  the  wind  not  quite 
under  control.  Called  also  'the  goose.*  (Siee  a 
good  story  in  Spohr,  Selbstbiogxaphie,  i.  167.) 

COUNTEBPOINT  is  '  the  art  of  combining 
melodies.*  Its  name  arose  from  the  ancient 
system  of  notation  by  points  or  '  pricks.*  When 
one  set  of  points  was  added  to  another,  to  signify 
the  simultaneous  performance  of  various  melo* 
dies  agreeing  in  harmony,  it  was  called  '  point 
against  point* — i.e.  contrapunctum,  or  counter- 
point. Counterpoint  is  usually  divided  into  two 
kinds — plain  and  double—and  each  of  these  is 
subdivided  into  various  orders  or  species.  There 
are  very  stringent  rules  about  the  use  of  dif- 
ferent intervals  in  plain  counterpoint,  which  are 
more  or  less  relaxed  in  modem  music;  when, 
however,  they  are  fully  observed,  the  piece  is 
said  to  be  written  in  '  strict  countcorpomt.  It  is 
usual  to  take  some  fragment  of  an  old  chant  or 
chorale  as  the  'canto  fisrmo*  or  plain-chant,  to 
which  other  parts  or  melodies  are  added  as  ao- 
oompaniments  according  to  the  rules  above 
referred  to.  This  is  called  'adding  a  counterpoint 
to  a  given  subject.* 


408 


COrNTERPOINT. 


The  difference  between  the  ancient  strictnesB 
and  modem  laxity  in  plain  counterpoint  chiefly 
relates  to  the  admission  of  consecutive  octaves 
and  fifths  by  contrary  motion,  even  between 
extreme  parts,  and  the  doctrine  of  false  relations, 
especially  that  of  the  tritone.  Plain  counter- 
point, however,  is  most  useful  at  a  stvdy,  whereby 
Ukcility  may  be  acquired  in  conquering  difi^culties 
arising  from  the  various  motions  of  the  different 
parts  in  a  piece  of  music.  It  is  obvious,  there- 
fore, that  the  more  stringent  rules  should  be 
observed  by  students  with  a  view  to  this  par- 
ticular object,  and  that  therefore  they  are  enforced 
in  the  beet  text-books. 

Plain  counterpoint  is  generally  divided  into 
five  species.   The  first  is  called '  note  against  note.* 

Canto  JhTHO. 


$ 


■^ 


zz 


zz 


^ 


^ 


-^ 


19- 


zz: 


i 


CimnterpoinL 

The  second  species  is  called  'two  notes  to  one.' 
Canto  ffrmo. 


ff~ 



1 — 

-a — ' 

^ 

f^^ 

1 — 

32: 

■— 1 

=& 

-^- 

1 — 

Counterpoint, 


ZZ 


zz: 


•js. 


m 


± 


f.^r.f  r 


± 


^ 


^ 


1 


The  third  species  is  called  '  four  notes  to  one.* 
Covnierpoint. 


lp^iiUfi^r\fr^i\>^fU\ 


^r- 

Vanto/ermo, 


ZZ 


-^ 


i 


iriirJ''Jr^'jiiUijji..r'M^ 


za: 


3a: 


"sr 


i 


The  fourth  is  called  'syncopated  counterpoint.* 
Counterpoint,  -^^  ^...^  ^..^ 


P 


5: 


32: 


^^ 


-f^ 


^\J     J 


— <^- 
Canto/ermo, 


■^- 


COUNTERPOINT. 

The  fifth  species  is  called  '  florid  eounierpoint,' 
and  is  a  combination  or  rather  alternation  of  the 
last  three,  with  certain  ornamental  variations 
peculiar  to  itself. 

Caunterpoit^ 


j.  •M;i^j..ij|jjjj|jjrirrb37i 


m 


-^ 


zz: 


(kaUo/ermo, 


I 


-jqJ  M^^  f^  cr  [^r  ■  f\r  'FP^ 


^g 


zz: 


-^ 


is: 


m 


Plain  counterpoint  may  be  in  any  number  of 
parts,  and  the  canto  fermo  may  be  assigned  to 
the  upper,  middle,  or  lowest  parts,  according 
to  circumstances. 

Double  counterpoint  is  when  two  or  more 
melodies  are  so  constructed  that  either  of  them 
may  form  a  correct  bass  to  the  others;  and  when 
the  various  melodies  may,  by  transposition,  be 
placed  in  anv  relative  order  of  acuteness,  without 
infringing  the  laws  of  harmony.  These  tran^ 
positions  may  be  such  as  to  produce  counter- 
points at  the  octave,  tenth,  twelfth,  or  any  other 
interval,  but  the  most  usual  is  double  counterpoint 
at  the  octave. 

Examples  of  various  double  counterpoints — 


i 


First  melodv. 
fc — <=- 


MOZABT. 


^ 


n^ 


-€9- 


JOT. 


-^ 


1 


Second  melodp. 


^"nn'-''jj|jjjjirrrrirrji'rir,vi 


Second  mdody. 


^I'M'J.'liJJ^irrrfirfJ^rirrri 


First  melodp. 


a»5 


za: 


:s: 


m 


The  above  is  a  specimen  of  double  oounteiN 
point  at  the  octave. 
The  next  species  is  at  the  tenth,  on  a  Canto  fermo. 

Counterpoint,  Fux. 


i 


Canto  femu). 


~ar 


i 


r^^|rrr^|•^^r|'^'-^fHr^-^ 


-JBL 


zz: 


COUNTERPOINT. 


COUPERIN. 


409 


QtaioMmi^, 


-^- 


I 


^farr-fa 


fTprir  rri'Trryrr 


zz 


■3SL 


-^ 


zz 


■^9- 


i 


1-HF 


ffrf|fffr[f-p.|r..  1^1 '^^  u 


The  aboTe  is  double  counterpoint  at  the  ten^h 
below. 

Triple  or  quadruple  counterpoints  consist  of 
three  or  four  melodies  ao  adopted  that  any  of 
them  may  be  a  baes  to  the  other.  This  can  only 
be  done  with  counterpoint  at  the  octave. 

Counterpoints  may  also  be  constructed  by  con- 
trary motion^  or  by  augmentation,  or  diminution, 
or  retrogreasion.  In  compositions  in  more  than 
two  partSi,  the  counterpoint  is  often  confined  to  two 
parts,  while  the  others  are  free  accompaniments 
ill  (vder  to  fill  up  and  complete  the  harmony. 

In  a  fugue  the  subject  and  countersubject  are 
seceaaarily  constructed  in  double  counterpoint. 
[:j»  arti(de  Fugue.] 

For  a  good  example  of  counterpoint  at  the 
twelMi  and  in  diminution,  see  the  fine  chorus  'Let 
all  the  Angels  of  God,*  in  Handel's  '  Messiah.* 

For  an  example  of  five  subjects  in  double  coun- 
terpoint at  the  octave,  see  the  finale  of  Mozart's 
'  Jupiter '  Symphony.  [F.  A.  G.  0.] 

GOIJNTEBSUBJECT.  When  the  subject  of 
a  fugue  has  been  proposed  by  one  voice  it  is 
Bsoal  for  the  answer,  which  is  taken  up  by 
amther  voice,  to  be  accompanied  by  the  former 
with  a  counterpoint  sufficiently  recognisable  as 
s  d^nite  subject  to  take  its  part  in  the  deve< 
lopment  of  the  fugue,  and  this  is  called  the 
countersubject;  as  in  the  chorus  'And  with  his 
stripes,'  in  Handel's  '  Messiah'— 


BfO^teL 


4- 


-  ^^ 


\    ibJ 


St. 


'te '  ^^'^ 


I 


S 


•sisy 


3=:: 


I 


r^-t--' 


titbjed.  ,    J 


Answer, 


h^ 


'W 


m 


etcJ 


r 


r  r 

It  should  be  capable  of  being  treated  with  the 
original  subject  in  double  counterpoint — that  is, 
either  above  or  below  it,  as  in  the  chorus  just 
named,  where  it  first  appears  in  an  upp^  part, 
hut  farther  on  in  the  tenor,  with  the  original 
subject  in  the  treble ;  thus — 


^rj-m 


± 


c.^rj\-T  rrffr^. 


But  it  is  allowable  to  alter  it  slightly  when  thus 
tniated,  so  long  as  its  character  is  distinctly 
marked.     The  principal  subject  of  the  above 


was  a  fibvourite  with  the  composers  of  the  last 
century ;  instances  of  it  with  different  counter- 
subjects  will  be  found  in  Handel's  'Joseph,'  in 
Mozart's  Kequiem,  and  in  a  quartet  of  Haydn's 
in  F  minor ;  also  in  Corelli's  Solos,  op.  i,  No.  3. 

When  a  second  subject  appears  simultaneously 
with  the  first  proposition  of  the  principal  subject 
it  is  common  to  speak  of  it  as  the  countersubject, 
as  in  the  following,  by  Handel  (6  organ  fugues 
no.  3)— 


i 


"ii^J-f 


■^J  JTJ 


^^ 


7,8.  r 

but  muiy  theorists  think  that  this  tends  to  con- 
fusion, and  wish  it  to  be  called  a  second  subject. 
Cherubini  held  that  a  fugue  could  not  have  more 
than  one  principal  subject,  and  that  therefore 
the  terms  first,  second,  or  third  countersubject 
should  be  used  to  designate  any  subjects  which 
follow  after  the  first ;  but  the  question  does  not 
seem  to  be  of  any  very  great  importance. 

For  further  treatment  of  dds  question  see 
FuGUB.  [C.H.H.P.] 

COUNTERTENOR.    See  Alto. 

COUNTRY-DANCE.    See  Contredanse. 

COUP  ART,  Antoinb  Marie,  bom  in  Paris 
1780,  died  there  1854,  originator  and  editor  of 
the'Almanachdes  Spectacles'  (Paris  1822-1836). 
Coupart  was  for  many  years  an  employ^  in  the 
'  Bureau  des  joumaux  et  des  thdAtres '  and  had 
special  opportunities  for  gaining  his  information. 
He  also  vrrote  vaudeviUes  and  comedies,  and 
edited  several  collections  of  songs.         [M.  C.  C] 

COUPERIN;  FRANpois,  called,  like  Louis 
XIV,  'Le  Grand,'  was  bom  at  Paris  1668,  and 
died  there  1733.  In  1696  he  became  organist  of 
St.  Gervais,  in  which  office,  from  about  1650  to 
1700,  he  was  both  preceded  and  succeeded  by 
members  of  the  Couperin  family,  who  were 
all  professional  musicians.  But  though  he  is 
reported  to  have  been  a  first-rate  organist,  his 
reputation  rests  upon  his  various  suites  of  pieces 
for  the  '  clavecin,  his  excellent  M^thode  for  that 
instrument,  and  his  proficiency  as  an  executant 
upon  it.  It  is  of  particular  interest  for  historians 
of  music,  as  well  as  for  professed  pianists,  to  note 
the  unmistakeable  influence  which  Couperin's 
suites  and  M^thode  had  upon  Sebastian  Bach, 
both  in  his  practice  (mode  of  touch,  finger- 
ing, execution  of  '  les  agr^mens ' — shakes,  turns, 
arpeggii,  etc.)  [Agrements]  and  in  the  shape  and 
contents  of  some  of  his  loveliest  contributions 
to  the  literature  of  the  instrument,  such  as  his 
suites  and  partitas.  The  principal  pieces  in 
Bach's  *  Suites  firan9aises,'  'Suites  anglaises,' 
'Partitas,'  and  even  in  some  of  his  solo  works 
for  violin  and  violoncello,  as  well  as  in  his  suites 
for  stringed  or  mixed  stringed  and  wind  instru- 
ments— 'Concerti  Grossi,'— the  allemandes,  cou- 
rantes,  sarabandes,  gavottes,  gigua^  etc.,  are 
firequently  in  close  imitation  of  the  French  types 
of  dance  tunes  then  current,  and  of  which 
Ck)uperin's  suites  furnished  the  best  specimens. 
Bach  here  and  there   goes  to   the   length  of 


1 


410 


C50UPERIN. 


copying  the  corions  rhythmical  odditiei  which 
g^ve  to  Borne  of  Couperin's  pieoea,  particularly  hit 
oourantes,  an  air  of  stiffness  and  angularity  akin 
to  ill-carved  wooden  puppets  .-—compare  Bach's 
second  oourante,  in  the  first  of  the  Suites 
anglaises,  particularly  the  first  Double  thereof, 
or  the  oourante  in  the  fourth  Partita  in  D  major, 
with  Couperin's  courantes  in  6  minor  and  D 
minor,  C  minor,  A  major,  and  B  minor,  from  the 
first,  second,  third,  fifth,  and  eighth  *ordre'  of 
his  'Pieces  de  clavecin.'  A  distinction  should 
be  made  between  Couperin's  type  of  'courante' 
and  the  Italian  'oorrente,'  as  it  is  to  be  found  in 
Corelli's  works — of  which  latter  type  Bnch  also 
gives  many  specimens.  [Courantb.]  Coup^in's 
suites,  in  a  word,  are  a  sort  of  refined  ballet 
music.  He  has  re-set  the  dances  played  by  the 
orchestra  in  Lully's  operas  for  the  clavecin,  and 
the  theatrical  twang  noticeable  in  the  quaint 
titles  of  many  of  the  pieces — for  instance,  *La 
majestueuse,'  *  L'enchanteresse,' '  La  prude,' '  La 
flatteuse/  *La  voluptueuse,'  'Les  enjouments 
bachiques,'  '  Tendreitses  bachiques/  *  Fureurs 
bachiques,'  etc. — has  stood  in  the  way  of  a 
thorough  musical  development. 

Couperin  s  published  works  are  four  sets  of 
'  Pibces  de  clavecin ' ;  his  '  M^thode,  on  Tart  de 
toucher  le  davedn,  y  oompris  huit  Preludes'; 
'Les  gouts  rennis,  ou  nouveauz  concerts,  aug- 
ment^  de  I'apoth^ose  de  Corelli';  *L'apoth^ose 
de  Tinoomparable  Lully';  *  Trios  for  two  violins 
and  bass' ;  and  '  Pi^oes  de  viole.'  A  careful 
reprint  of  his  suites  for  the  davecin,  of  which 
two  volumes  have  hitherto  appeared,  is  being 
edited  by  Brahma.  [£.  D.] 

COUPLER.  All  modem  organs  are  provided 
with  mechanical  appliances  called  'couplers.' 
These  useful  adjuncts  are  of  two  general  kinds— 
'  manual  couplers '  and  '  pedal  couplers.'  (i)  The 
former  operate  in  one  of  three  ways :  either  by 
taking  down  on  one  manual  the  key  corresponding 
to  that  played  on  another,  in  which  case  it  is  a 
'unison  coupler' ;  or  by  taking  down  the  octave 
above  the  note  pressed  down,  when  it  forms  an 
*  octave  coupler,  sometimes  incorrectly  called  a 
'super-octave  coupler' ;  or  by  operating  on  the 
octave  below,  forming  a  'sub-octave  coupler.' 
The  octave  and  sub-^jtave  couplers  sometimes 
act  on  the  manual  on  which  the  note  is  struck. 
The  couplers  are  put  in  action  by  draw-stops  in- 
scribed according  to  circumstances — as  '  SweU  to 
Great,' '  Great  to  itself,' — or  by  pedals.  Manual 
couplers  date  back  at  least  as  fsr  as  1651,  when 
Geissler's  organ  at  Lucerne  was  completed; 
which,  according  to  the  account  formerly  existing 
over  the  keys,  contained  '  several  roisters, 
whereby  one  may  make  use  of  the  three  manuals 
together,  or  of  one  or  two  of  them  separately.' 

^2)  A  pedal  coupler  attaches  a  particular 
manual  to  the  pedal-clavier ;  and  by  bringing  the 
lower  a^  octaves  of  the  compass  of  the  manual 
under  the  control  of  the  feet,  produces  the  effect  of 
a  third  hand  on  any  manual  required.    [E.J.U.] 

OOURANTE  (Ital.  CwrmU).  (i)  A  dance 
of  French  origin,  the  name  of  which  is  derived 


COURANTB. 

'  from  eourir,  to  run.  It  is  in  3-2  tame,  of  ratWj 
rapid  movement^  and  begins  with  a  short  note 
(usually  a  quaver)  at  the  end  of  the  bar.  It  is 
distinguished  by  a  predominance  of  dotted  notei^ 
as  in  this,  fixim  Bach's  'English  Suites,'  No. 4, 


f  ii  f^  I  r ' — M-^^ 


S 


:i^ 


J    ii    J 


i 


I  ^1  i^r^  ^rr^ 


^ 


jbi 


^ 


and  requires  a  staccato  rather  than  a  legato  styls 
of  performance.  4l4ke  most  of  the  otho*  (M\ 
dances,  it  consists  of  two  parts,  each  of  which  is 
repeated.  A  special  peculiarity  of  the  oouraDte 
is  that  the  last  oar  of  each  part,  in  contradiction 
to  the  time-signatuze,  is  in  6-4  time.  This  will 
be  seen  clearly  by  an  extract  from  the  move- 
ment quoted  above  : — 


Ai  a  componeni  of  the  snitey  the  Conrsnte 
follows  the  Allimande,  with  whicJi  in  its  chs- 
raoter  it  is  strongly  contrasted.     In  losing  its 
connection  with  the  danoe^,  it  underwent  a  J^gbt 
modification :  whereas  in  its  earlier  shi^  the  6-4 
rhythm  was  only  to  be  found  in  the  concluding 
bar  of  each  part,  courantes  are  ficequently  to  be 
met  with  in  suites  wherein  the  two  rhythms  are 
mixed  up,  and  sometimes  even  where,  in  ^te  of 
the  time-signature,  the  6-4  riiythm  predominates 
throughout.    This  is  espedally  the  case  in  many 
of  those  by  Couperin.    The  endeavour  to  bring 
out  these  various  features  clearly  and  promi- 
nently, without  injuring  the  flow  of  the  whole* 
led  to  the  adoption  of  the  polyphonic  style,  by 
which  the  Oourante  is  so  strongly  contrMted 
with  the  Allemande.    Its  chief  points  may  be 
briefly  summed  up  thus — triple  time,  {irevaleoce 
of  dotted  rhythms,  alternations  of  3-3  and  '6-4 
times,  and  polyphonic  treatment. 

(a)  The  Italian  courante  {CouravU  Jtali- 
enne),  called  also,  like  the  preceding,  simply 
CorrenU  or  Courante,  is  a  different  ii»m,  quite 
independent  of  that  just  mentioned.  It  answers 
more  nearly  to  the  etymoLogioal  meaniDg  0^  i^ 
name,  consisting  chiefly  of  running  psssages* 
lliis  oourante  is  also  in  triple  time—QBually 
3-8,  but  sometimes  3-4 — and  of  rapid  tempts 
about  allegro^  or  alle^  assai.  It  is  thns,  like 
the  French  oourante,  contrasted  with  the  sUe- 
mande.    As  an  example  of  this  claas  may  ^ 


OOXTRANTB. 

ttken    tlae    following   from    Bach's    'Partita' 
Ko.  5: — 


CX}I7SSEMAK£R. 


411 


i'\M\\^\\j^\]^m 


Other  spedmeDs  of  this  kind  of  oourante  may 
be  fband  in  No.  5  of  Handel's  'First  Set  of 
LeaoDs,^  and  in  Nos.  5  and  6  of  Bach's  '  Suites 
Fran^aiaes,'  these  last  being  in  3-4  time.  They 
are  also  freqaent  in  Corelli's  '  Violin  Sonatas.' 

(5)  One  more  spedea  of  oonrante  remains  to 
be  noticed,  which  is  founded  upon,  and  attempts 
to  oomlune  the  two  preceding  ones,  but  with  the 
peculiarity  that  the  special  features  of  both — viz. 
the  FreiM^  change  of  rhythm,  and  the  Italian 
rans—are  not  introduced.  It  is  in  fact  a  hybrid 
jMJWWiiiTiifc  little  in  common  with  the  other 
Tarietiea,  exo^t  that  it  is  in  triple  time,  and 
eoosita  of  two  parts,  each  reneated.  Most  of 
Baadel^s  conrantes  belong  to'nRus  class.  The 
eommenoement  of  one,  from  his  '  Lessons,'  Bk.  i. 
Xo.  8,  will  show  at  once  the  great  difference  be- 
tween this  and  the  French  or  Italian  courante. 


iUaJ^L 


Bach,  on  the  other  hand,  chiefly  uses  the  first 
kind  of  courante,  his  movements  more  resembling 
thon  of  Couperin.  [E.  P.J 

OOUBTEVILLE,  Bapbasl,  was  one  of  the 
gentlemen  of  the  Chapel  Royal  in  the  reign  of 
Chadfis  I.  He  lived  through  the  interregnum, 
iwamed  his  place  in  the  chapel  cm  its  re- 
wtsWishment  in  1660,  and  died  Deo.  28,  1675. 

His  son  Raphael,  was  brought  up  as  a  cho- 
lisier  in  the  Chapel  RoyaL  As  a  composer  of 
MBgt  his  productions  abound  in  the  collections 
pnblisbed  in  the  latter  part  of  the  1 7th  century 
aod  at  the  commencement  of  the  next.  His  first 
printed  woric  was  '  Six  Sonatas  for  two  Violins,' 
and  he  also  produced,  about  1685,  Sonatas  for 
two  Flutes.  In  1691  he  was  appointed  the  first 
(Kgsoist  of  St.  James's  church,  Piccadilly,  for 
which  he  composed  the  psalm  tune  well  known 
by  the  name  'St.  James's.'  In  1696  he  was 
one  of  the  composers  associated  with  Henrv 
Paroell  in  settinff  the  third  part  of  P'Urfeys 
'Don  Quixote.'  He  is  suppowd  to  have  died 
iboat  the  year  1735. 

His  Bon  Raphakl,  succeeded  his  frither  as 
orgsnist  of  St.  Jameses  church.  He  was  a  poli- 
tiol  writer  of  some  repute  and  believed  to  be 
the  auth<Hr  of  some  articles  in  'The  Gazetteer,' 
s  IM^wr  which  supported  Sir  Robert  Walpole's 
tdministnttion,  whence  he  was  nicknamed  by 
the  opposite  party,  'Court-evii'     He  died  in 

1771. 
John  Couvtivills.  probably  the  brother  of 

B^ihsel  the  elder,  was  the  composer  of  several 


songs  which  appeared  in  '  The  Theater  of  Munc,' 
1685-87.  [W.H.H.] 

COURTOIS,  Jeak,  eminent  composer,  lived  in 
the  first  half  of  the  i6th  century,  chapel-master 
to  the  Archbishop  of  Cambray  in  1539  when 
Charles  V  passed  through  that  city  on  his  way  to 
Ghent,  and  composed  a  motet  in  4  parts, '  Venite 
populi  terrae,'  which  was  performed  in  the  Ca- 
thedral. Eight  of  his  masses  are  in  the  Royal 
Library  at  Munich,  and  one  in  the  library  at 
Cambray.  He  composed  many  motets,  published 
in  the  following  collections,  'Fior  de'  Motetti* 
(Venice  1539);  '  Selectissimae  .  .  .  Cantiones* 
(Auesburg  1540) ;  'Novum  et  insigne  opus  musi- 
cum  (NurembMBig  1537) ;  ' Liber  quartus  :  XXIX 
musicales  quatuor  etc.'  (Paris  1 534);  '  Psalmorum 
selectorum  (Nuremberg  1539);  'Cantiones  sa- 
crae'  (Antwerp  1546) ;  and  in  3  vols  of  motets 
published  at  Lyons  (1532 -1538).  His  French 
songs  include  a  canon  and  two  songs  in  5  and  6 
parts  in '  Chansons  K  4, 5, 6,  et  8  parties,  de  divers 
auteurs'  (Antwerp  1543-1550) ;  'Si  par  souffrir,* 
in  '  Trente  chansons  .  .  .  K  4  parties '  (Paris) ; 
and  two  songs  in  '  Trente-cinq  livres  de  Chansons 
BouveUes'  (Paris  1 533-1 549).  [M.C.C.] 

COUSSEMAKtIR,  Charles  Eiimohd  Henu 
Dl,  a  distinguished  French  writer  on  the  history 
of  music,  bwn  at  BaiUeul  (Nord),  April  19, 1805 
(not  1795).  His  &mily  dates  firom  the  fifteenth 
century,  and  had  for  many  generations  held  im- 
portant magisterial  posts  in  Bailleul ;  his  father, 
a  'juge  de  paix,'  destined  him  for  the  law ;  but 
his  musical  aptituda  was  such  that  at  ten  he 
oould  play  any  piece  upon  the  piano  at  sight* 
He  also  learned  the  violin  and  vitdoncello.  He 
was  educated  at  the  Douai  'Lyc^e,'  and  took 
lessons  in  harmonv  from  Moreau,  organist  of  St* 
Pierre.  In  1825  he  went  to  Paris,  and  studied 
counterpoint  under  Lefebvre.  The  recent  re* 
searches  of  F^tis  had  roused  a  general  interest  in 
the  history  of  music,  and  Coussemaker's  atten- 
tion was  turned  in  that  direction.  Having  com- 
pleted his  studies  he  was  appointed  'juge'  suc- 
cessively at  Douai,  Bergues,  Hazebrouck,  Dun- 
kerque,  and  Lille.  He  died  Jan.  10,  1876.  He 
was  a  member  of  the  '  Institut '  for  twenty  years^ 
and  belonged  to  several  other  learned  societies^ 
besides  being  a  'chevalier'  of  the  Legion  of 
Honour,  and  of  the  order  of  Leopold  of  Belgium. 
His  works  are  'M^moire  sur  Hucbald,*  &o. 
(1841)  ;  '  Notices  sur  les  collections  musicales  de 
la  biblioth^ue  de  Cambrai,'  etc.  (185a) ;  'His- 
toire  de  rharmonie  au  moyen  Age'  (185a); 
'  Trois  chants  historiques '  ( 1 854) ;  '  Chants  popu- 
laires  des  Flamands'  (1856) ;  *  Chants  liturgiquea 
de  Thomas  h  Kempis '  ( 1 856^ ;  '  Notice  sur  un  MS. 
musical  de  . . .  S.Di^'  (1859);  'Drames  litur^ 
giques,'  etc.  (1861) ;  '  Messe  du  XIII*  si^e,'  eta 
(1 861);  'S<niptorum  de  musica  medii  eevi,  nova 
series'^  (1864-76,  4  vol.) ;  'Les  harmonistes  des 
XII*  et  XIII*  sidles'  (1864):  and  'L'art  har^ 
monique  au  XII*  et  XIII*  siboles'  (1865).  He 
has  also  edited  the  works  of  Adam  de  la  Halle 

I  In  coDtlanatfon  of  Owteert'i  *  Scrigtowt  <wBlaiWnH<il ' 


412 


COUSSEMAKER. 


(Paris,  1873).  At  the  time  of  his  death  lie  was 
preparing  a  continuation  of  his  'Art  harmonique' 
to  the  fourteenth  century.  His  legal  writings 
are  good,  especially  one  on  Flemish  law.  I9 
early  life  he  composed  some  masses  and  other 
church  music.  In  spite  of  considerable  errors 
his  works  form  a  most  important  contribution 
to  the  history  of  music.  [F.  G.l 

COTJSSER  or  KUSSER,  Johann  Sioismund, 
son  of  a  musician  at  Presbuig ;  bom  there  1657, 
died  in  Dublin  1727.  He  studied  six  years  in 
Paris  under  Lulli,  and  on  his  return  to  Germany 
was  appointed  chapel -master  at  Wolfenbtlttel, 
and  at  Stuttgart.  He  lived  at  Hamburg  from 
1693  to  1697,  conducting  the  performances  at  the 
opera,  and  is  said  to  have  been  one  of  the  first  to 
introduce  the  Italian  method  of  singing  into 
Germany.  Between  1700  and  1705  he  made 
two  journeys  to  Italy  for  study.  Soon  after,  he 
came  to  London,  and  in  17 10  received  an  appoint- 
ment in  the  Cathedral  of  Dublin,  of  which  he 
called  himself  chapel-master.  He  was  also  con- 
ductor of  the  King's  band  in  Ireland  until  his 
death.  His  published  works  comprise  the  operas 
'Erindo*  (1693)  'Porus,*  'Pyramus  and  Thisbe* 
(1694),  'Sciplo  Africanus'  (1695),  and  'Jason' 
(1697),  all  performed  at  Hamburg;  'Apollon 
enjou^/  six  operatic  overtures  and  airs;  an 
opera  '  Ariadne ' ;  and  '  Helioonische  Musenlust,' 
a  collection  of  airs  from  Ariane  (Nuremberg 
1700) ;  an  Ode  on  the  death  of  Arabella  Hunt ; 
and  a  'Serenade'  for  the  King's  birthday 
(1734).  [M.C.C.] 

COVENT  GARDEN  THEATRE,  opened 
Dec.  7,  1732,  under  the  management  of  Rich, 
who  moved  there  with  all  his  company  from  the 
theatre  he  had  previously  directed  in  Lincoln's 
Inn;  burned  on  the  night  of  Sept.  19,  1808; 
new  theatre  opened  Sept.  18,  1809;  converted 
into  an  opera-house  1847;  burnt  down  1856; 
reconstructed  and  opened  i^in  as  an  opera-house 
1858.  Though  licensed  for  the  performance  of 
the  higher  class  of  dramatic  works,  to  which  the 
name  of  'legitimate'  is  given,  Covent  Garden 
Theatre  has  been  the  scene  of  all  kinds  of  theatrical 
representations  ;  and  two  years  after  the  first 
opening  of  the  theatre,  in  17341  we  find  the  bill 
for  March  1 1  announcing  *  a  comedy  called  The 
Way  of  the  World,  by  the  late  Mr.  Congreve, 
with  entertainments  of  dancing,  particularly  the 
Scottish  dance,  by  Mr.  Glover  and  Mrs.  Laguerre, 
Mr.  Le  Sac  and  Miss  Boston,  Mr.  de  la  Garde  and 
Mrs.  Ogden ;  with  a  new  dance  called  Pigma- 
lion,  performed  by  Mr.  MaJter  and  Mile.  &tll^.' 
'No  servants,'  it  is  stated,  in  a  notification  at 
the  end  of  the  programme,  '  will  be  permitted  to 
keep  places  on  the  stage.'  Mile.  Salle  is  said  on 
this  occasion  to  have  produced  the  first  complete 
ballet  d'action  ever  represented  on  the  stage. 
She  at  the  same  time  introduced  important 
reforms  in  theatrical  costume.  [See  Ballet.] 
The  chief  composer  of  eminence  connected  with 
the  theatre  was  Sir  Henry  Bishop,  who  between 
1 8 10  and  1824  produced  at  Covent  Garden  no 
less  than  fifty  musical  works  of  various  kinds, 
including  'Guy  Mannering,'  'The  Miller  and 


COVENT  GARDEN  THEATRE. 

his  Men,'  <The  Slave,'  and  'dari,'  besides  ada^ 
tations  of  Rossini's  'Barber  of  Seville,'  Mozart  1 
'  Marriage  of  Figaro/  and  other  celebrated  operaa 
'Der  Freischiitz,'  soon  after  its  productioii  io 
Germany,  was  brought  out  in  an  English  vendoa 
both  at  Covent  Garden    and   at  Drury  l^sa 
(1824).     So  great  was  its  success  that  Webei 
was  requested  to  compose  for  Covent  Garden 
an  entirely  new  opera.     '  Oberon,'  the  work  in 
question,  was  brought  oat  in  1826  (April  12)^ 
when,  though  much  admired,  it  failed  to  achievt 
such  popukurity  as '  Der  Freischutz'  had  obtainedi 
It  has  been  said  that  Weber  was  much  affected 
by  the  coolness  with  which  '  Oberon*  was  received^ 
An  excellent  French  critic,  the  late  M.  Scudcv 
writing  on  this  subject  in  the  '  Revue  des  Deux 
Mondes,'  records  the  fact  that  'Oberon'  was  very 
successful  on  its  first  production  at  Covent  Garden, 
and  adds  that  it  was  '  received  with  enthusiasm 
by  those  who  were  able  to  comprehend  it.'    An 
English  musical  journal,  the  '  Harmonicon,'  pub- 
lished a  remarkable  article  on '  Oberon,'  in  which, 
says  M.  Scudo,  '  all  the  beauties  of  the  score  were 
brought  out  with  great  taste.     It  is  impossible,' 
he  continues,  '  to  quote  an  instance  of  a  great 
man  in  literature  or  in  the  arts  whose  merit  was 
entirely  overlooked  by  his  contemporaries.    As 
for  the  death  of  Weber  it  may  be  explained  by 
fatigue,  by  grief  without  doubt,  but»  above  all, 
by  an  organic  disease  firom  which  he  had  suffered 
for  years.'    Nevertheless  the  enthusiasm  exhibited 
by  the  public  at  the  first  performance  of '  Oberon' 
was  not  maintained  at  the  following  representa- 
tions.   The  masterpiece  of  the  German  oompofler 
experienced  much  the  same  fate  as  'Guillaume 
Tell'  in  Paris.     In  a  letter  to  his  wife,  written 
on  the  very  first  night  of  performance,  Weber 
says,  '  My  dear  Lina,  Thanks  to  God  and  to  his 
all  powerful  will  I  obtained  this  evening  the 
greatest  success  of  my  life.     The  emotion  pro- 
duced by  such  a  triumph  is  more  than  I  can 
describe.    To  God  alone  belongs  the  glory.  When 
I  entered  the  orchestra,  the  house,  craimned  to 
the  roof,  burst  into  a  frenzy  of  applause.    Hats 
and  handkerchiefs  were  waved  in  the  air.    The 
overture  had  to  be  executed  twice,  as  had  also 
several  pieces  in  the  opera  itself.     At  the  end  of 
the  representation  I  was  called  on  to  the  stsge 
by  the  enthusiastic  acclamations  of  the  public ; 
an  honour  which  no  composer  had  ever  before 
obtained  in  England.    All  went  excellently,  and 
every  one  around  me  was  happy.' 

Between  1826  and  46  operas  and  musical  dra- 
mas were  from  time  to  time  played  at  Covent 
Garden.  But  it  was  not  until  46  that  the  theatre 
was  turned  permanently  into  an  opera-house; 
when,  with  the  interior  reconstructed  by  Mr. 
Albano,  it  was  opened,  in  the  words  of  the  pro- 
spectus, '  for  a  more  perfect  representation  of  the 
lyric  drama  than  has  yet  been  attained  in  this 
country.'  The  director  was  Mr.  Frederick  Beale 
(of  the  firm  of  Cramer,  Beale,  k  Co.),  ^'^ 
whom  was  associated  Signer  Persiani,  husband 
of  the  enunent  prima  donna  of  that  name,  and 
others.  The  musical  conductor  was  Signor,  nov 
Sir  Michael,  Costa.    In  the  company  were  is- 


COVENT  GABDEN  THEATEB. 

doded  Madame  GriBi  and  Signor  Mario,  who 

viUi  ^gnoir  Costa  and  nearly  all  the  members 

of  fala  ccchestn  had  suddenly  left  Her  Majesty's 

Tbeatre  Ibr  the  new  enterprise,  in  which  they 

were  joined  by  Mme.  Persiani,   Signor  Tam- 

barini,  Signor  Ronooni,  and  Mile.  Alboni,  who, 

oo  the  opening  night — April  6,   47 — sang  (as 

Arsace  in  '  Semiramide')  for  the  first  time  on 

tins  side  of  the  Alps.    The  management  of  the 

Boyal  Italian  Opera,  as  the  new  musical  theatre 

was  called,  pawed  after  a  short  time  into  the 

lands  of  Mr.  Delafield,  who  was  aided  by  Mr. 

Gye ;  and  since  Mr.  Delafield's  bankruptcy  the 

establishment  has  been  carried  on  solely  by  Mr. 

Gye  (185 1 ),  who,  when  the  theatre  was  burned 

down  in  1 86 a,  rebuilt  it  at  his  own  expense  from 

ihe  dengn  of  Mr.  Edward  Barry,  K.A.     The 

celebrated  {orima  donna,  Adelina  Patti,  made 

her  debut  at  the  Boyal  Italian  Opera  in  1862, 

when  ahe  sang  for  the  first  time  on  the  boards 

of  a  European  theatre.    Mile.  Luooa  and  MUe. 

Albani,  Signori  Tamberlik  and  Gra2dani,  may 

be  mentioned  among  other  artists  of  European 

fune  who  have  appeared  at  the  Boyal  Italian 

Opera.     For  some  dosen  years  (between  1840 

and  1855)  M.  JuUien  directed  promenade  oonoeits 

at  this  theatre ;  and  from  time  to  time,  during 

the  winter  months,  performances  of  EngUsh  opera 

hare  been  given  at  Govent  Garden.   Thus  Bidfe's 

'Rose  of  Castille/  *Satanella,'  and  'Armourer 

of  Nantes,'  Wallace's  'Lurline,'  and  Benedict's 

'Lily  of  Killamey/  were  produced  here  under 

the  management  of  Miss  Louisa  P^e  and  Mr. 

William  Harrison*  [H.  S.  E.] 

OOWEN,  Fbedebio  Hticbn,  bom  Jan.  39, 
1853,  at  Kingston,  Jamaica,  esdiibited  early  an 
extraordinary  love  of  music,  was  brought  to 
Kngland  by  his  parents  when  four  years  old,  and 
placed  under  the  tuition  of  Sir  J.  Benedict  and 
Sir  J.  Gross,  whose  pupil  he  remained  until  the 
winter  of  1865.  He  then  studied  at  the  con- 
lervatoires  of  Leipzig  and  Berlin,  returning  to 
London  in  1868.  Amongst  his  early  works  are 
an  operetta  entitled  'Garibaldi,'  a  fantasie- 
sonata,  a  trio,  quartet,  pianoforte  concerto,  and 
a  symphony  in  0  minor.  He  has  also  written 
a  cantata,  'The  Rose  Maiden'  (1870);  the 
incidental  music  to  Schiller's  '  Maid  of  Orleans' 
(1871) ;  a  festival  overture  for  Norwich  (1873) ; 
'The  Corsair,'  a  cantata  composed  for  the  Bir- 
mingham Festival,  1876,  and  a  symphony  in  F 
major.  On  Nov.  33, 1876,  his  opera  of '  Pauline' 
was  brought  out  by  the  Carl  Bosa  oompany  at  the 
Lyceum  Theatre  with  great  success.  Mr.  Cowen 
is  also  the  ocanposer  of  many  popular  songs. 

COX  AND  BOX,  a  triumviretta.  A  musical 
&rce,  altered  from  Madison  Morton's  '  Box  and 
Cox'  by  F.  C.  Bumand,  music  by  A.  Sullivan. 
Produced  at  the  Adelphi,  May  ii,  1867, 

CRAMER,  a  &mily  of  German  musicians,  of 
whom  the  head  was  Jaoob  Cbambb,  bom  at 
Sachau  in  Silesia  x  705,  flutist  in  the  then  cele- 
brated band  at  Mannheim,  where  he  died  in 
1770.  Of  his  sons,  Johank,  bom  at  Mannheim 
1743,  was  drummer  in  the  court  band  at  Munich, 


CRAMER, 


413 


and  WiLHSLK,  bom  at  Mannheim  17451  made 
himself  a  considerable  reputation  as  a  violinist 
and  leader.    He  was  a  pupil  of  Johann  StamitSy 
sen.,   and  of  Cannabich,   and  when  still  very 
young   gave    evidoioe    of   unusually    brilliant 
abilities.    His  oontemporaries  declared  that  his 
playing   united  the  &oility  of  LoUi  with  the 
expression  of  Franz  Benda.      At   16  he  was 
admitted  into  the  band  at  Mannheim,  but  left 
it  after  his  father's  death  for  London,  where 
he  was  well  received  in  1773,   and  soon  ob- 
tained a  creditable  position.    His  first  appear- 
ance was  March  33,  1773.     He  was  appomted 
head  of  the  king's  band,  and  leader  at  the  Opera 
and  Pantheon,  the  Antient  Concerts,  and  the  Pro- 
fessional Concerts.    He  was  fiunous  as  the  leader 
of  the  Handel  Festivals  at  Westminster  Abbey 
in  1784  and  87.    His  last  appearance  was  at 
the  Gloucester  Festival  in  1799,  and  he  died 
in  London  Oct.  5   of  that  or  the  next  year. 
As  a  solo  player  he  was  for  a  time  considered 
to  be  without  a  rival  in  England  till  superseded 
by  Salomon  and  Viotti.    He  published  eight  con- 
certos (for  the  most  part  in  Paris),  several  solos 
and  trios,  but  they  are  of  no  value.   Of  his  sons  are 
known,  Fbanz,  bom  1773,   a  violinist   of  re* 
pute  in  London,  died  1848 ;  Cabl,  bom  1780,  a 
good  pianist  and  valued  teacher;  and  finally, 
Johann  Baptist,  the  best  known  of  the  whole 
family,  an  eminent  pianist,  and  one  of  the  prin- 
cipal founders  of  the  modem  pianoforte  school, 
bom  at  Mannheim  Feb.  34,  1771.    He  was  but 
a  year  old  when  his  father  settled  in  London, 
and  it  was  there  that  he  lived  and  worked  for 
the  greatest  part  of  his  life.    To  his  Other's  in- 
struction  on  the  violin  and  in   the   elements 
of  the  theory  of  music,  pianoforte  playing  was 
added,  and  for  this  the  boy  manifested  the  most 
decided  preference  and  unmistakable  talent.    His 
teachers  were  a  certain  Benser,  Schroeter,  and 
above  all,  Muzio  Clementi,  under  whom  he  studied 
for  two  years  till  dementi's  departure  in  1774. 
His  mind  and  taste  were  formed  on  Handel,  Bach, 
Scarlatti,  Haydn,  and  Mozart,  and  by  this  means 
he  obtained  that  musical  depth  and  solidity  so 
conspicuous  in  his  numerous  works.    Cramer  was 
in  tne  main  self-educated  in  theory  and  compo- 
sition.   He  had,  it  is  true,  a  course  of  lessons  in 
thoroughbass  from  C.  F.  Abel  in  1785,  but  his 
knowledge  was  chiefly  acquired  through  his  own 
study  of  Eimberger  and  Marpurg.    From  1 788 
Cramer  undertook  professional  tours  on  the  con- 
tinent, and  in  the  intervals  lived  in  London, 
enjoying  a  world-wide  reputation  as  pianist  and 
teacher.    In  1 838  he  established  the  firm  of  J.  B. 
Cramer  and  Co.,  music-publishers,  which,  besides 
bringing  out  his  own  compositions,  was  specially 
employed  in  publishing  the  older  classical  works. 
After  a  residence  of  some  years  in  Paris  he  re- 
turned in  1845  to  London,  and  passed  the  rest 
of  his  life  in  retirement.     He  lived  to  play  a 
duet  with  Lisst  in  London,  and  died  April  16, 
1858.     There  are  references  to  him  in  Beetho- 
ven's letters  of  June  i,  1815,  and  March  5,  1818, 
and  firequent  notices  in  Moscheles's  Life.    Bies 
has  left  on  record  (Notizen,  p.  99},  that  John 


1 


414 


CRAMER. 


Cramer  wm  the  only  player  of  his  time  of  whom 
Beethoven  had  any  opinion — '  all  the  rest  went 
for  nothing/  [A.  M.] 

J.  B.  Cramer's  playing  was  distinguished  by  the 
•   astonishingly  even  cultivation  of  the  two  hands, 
which  enabled  him,  while  playing  legatoy  to  give 
an   entirely  distinct  character   to  florid  inner 
parts,  and  thus  attain  a  remarkable  perfection 
of  execution.     He  was  noted  among  his  con- 
temporaries for  his  expressive  touch  m  adagio, 
and  in  this^  and  in  £EMnlity  for  playing  at  sight, 
he  was  able  when  in  Paris  to  hold  his  own 
gainst  the  younger  and  more  advanced  pianists. 
His  improvisations  were  for  the  most  part  in 
a  style  too   artistic  and  involved  for  general 
appreciation.    Cramer's  mechanism  exhibits  the 
development  between  dementi  and   Hummel, 
and  is  distinguished  from  the  period  of  Moscheles 
and  Kalkbrenner  which  followed  it,  by  the  h^i 
that  it  aimed  mors  at  the  cultivation  of  music 
in  general  than  at  the  display  of  the  specific 
qualities  of  the  instrument.    All  his  works  are 
distinguished  by  a  certain  musical  solidity,  which 
would  place  them  in  the  same  rank  with  those 
of  Hummel,   had   his   invention   been  greater 
and  more  fluent ;  but  as  it  is,  the  artistic  style, 
and  the  interesting  harmony,  are  oounterbalanced 
by  a  certain  dryness  and  poverty  of  expression 
in  the  melody.      It   is   true  that   among   his 
many    compositionB    for    pianoforte    there    are 
several  which  undeniably  possess  musical  vital- 
ity, and  in  particular  nis  7  concertos  deserve 
to  be  occasionally  brought  forward ;  hut,  speak- 
ing generally,  his  works  (105  sonatas,  i  quartet 
for   pianoforte^   I    quintet,   and  oountless  vari- 
ations,   rondos,   fiuitasias,    etc.)   are   now    for- 
gotten.     In  one  sphere  of   composition  alone 
Cramer   has    left   a   conspicuous    and   abiding 
memorial  of  his    powers.      His  representative 
work,  *  84  Studies  in  two  parts  of  4a  each,'  is 
of  classical  value  for  its  intimate  combination  of 
significant  musical  ideas,  with  the  most  instructive 
mechanical  passages.    No  similar  work  except 
dementi's  '  Gradus  ad  Pamassum '  has  been  so 
long  or  BO  widely  used,  and  there  are  probably 
few  pianists  who    have    not    studied    it   with 
profit.      It    forms   the    fifth  part  of  Cramer's 
*6rossepractischePianoforte-Schule'  (Schuberth, 
Leip«ic),  and  has  appeared  in  numerous  separate 
editions.     Of  these  the  earliest  is  probably  the 
lithograph  edition  of  Breitkopf  &  Hartel,  of  which 
the  second  part  appeared  in  18 10 ;  next  in  import- 
ance ranks  the  last  that  was  revised  by  Cramer 
himself  viz.  the  original  English  edition  of  Cramer 
&  Co.,  which  contained,  as  op.  81,  '16  nouvellee 
£tudes,'  making  in  all  100;  and  finally  an  edi- 
tion without  ^  additional  Nos.,   revised   by 
Coocius,  and  published  a  few  years  later  than 
that  last  mentioned,  by  Breitkopf  &  Hiirtel.    A 
selection  of  '50  Etudes,'  edited  by  von  Billow 
(Aibl,  Munich),  is  specially  useful  to  teachers 
from  the  excellent  remariu  appended  to  it,  though, 
on  the  other  hand,  it  contains  a  number  of 
peculiarities  which  may  or  may  not  be  justifia- 
ble,  the  editor  having  transposed  one  of  the 
studies  and  modified  the  fingering  of  them  all  to 


CRAMER  ft  CO. 

meet  the  exigencies  of  the  modem  keylxnil 
The  above  edition  in  xoo  numbers  must  h 
distinguished  from  the  'Schole  der  Gelaufigkett 
(op.  100),  also  containing  100  daily  studies, 
which  forms  the  second  part  of  the  'Grosae  7 
forte-Schule,*  and  should  be  oaed  as  a 
for  the  great  '  j^tudes.' 

If  it  is  asked,  Whcni  did  Cramer  flourish, 
what  does  he  represent  to  us  ?  the  answer  osu 
returned  is  that  he  was  bom  after  dementi 
died  after  Hummel,  and  that  he  forms  the  _ 
between  those  two  great  players  and  writers 
their  instrument.     But  no  pianist  with  hia  ej^ 
opcKn  would  commit  himself  to  such  a  statemeafa 
which  rests  sdely  upon  two  dates  of  birth  aa^ 
death,  and  leaves  out  of  sight  every  spiritual  oan* 
nection,  every  indication  of  mental  paternity  uid 
relationship.    The  truth  is  that  Cramer  does  w^ 
surpass  Clementi  as  regards  the  ^^^h^^i^^  trest* 
ment  of  the  pianoforte,  but  stops  consideimfalyi 
short  of  him:    Cramers   best   sonatas  are  as! 
much  more  tame  and  timid  than  dementi's  hoAf 
as  his  most  valuable  etudes  are  technically  esatf, 
and  less  daring  than  the  chefiind'ceuvres  of  Cle^ 
menti's  Gradus.     Spiritually,  though  not  mecha* 
nically,  Cramer  occupies  a  field  of  his  own,  which 
all  pianists  respect.     Many  of  his  etudes  an 
poems,  like  Mendelssohn's  Songs  without  words. 
But  in  his  sonatas,  etc.,  he  moves  in  a  restricted 
groove  of  his  own,  near  the  Ughway  of  Mosart. 
The  name  'J.  B.  dramer'  really  signifies  Cramer  a 
Etudes — ^let  us  say  some  forty  or  fifty  out  of  the 
hundred  he  has  published.    These  certainly  are 
good   music — a    few,   perhaps    a    docen,  eves 
beautiful  music,  and  always  very  good  practKe. 
But  pitted  against  forty  or  fifty  out  of  the  hundred 
numbers  of  dementi's  Gradus,  which  are  equally 
good  music,  and  decidedly  better  practice,  they 
sink  irretrievably. 

The  treatment  of  the  pianoforte  as  distmct 
firom  the  harpsichord,  if  pursued  along  its  plain 
and  broad  high-road  does  not  necessarily  touch 
upon  Cramer.  It  stretches  fiK>m  Clementi  to 
Beethoven  on  the  one  side,  firom  Mozart  to  Hum* 
mel  on  the  other;  from  Mozart  via  Hnmrnel, 
and  Clementi  vid  Held,  to  Chopin;  and  fi^m 
Hummel,  vid  Chopin  and  Beethoven,  to  Liszt. 
Cramer,  like  Moscheles  after  him,  though  not  of 
the  first  authority,  must  be  considered  one  of  the 
fothers  of  the  church  of  pianoforte  playing,  and 
worthy  of  consultation  at  all  times.  [£.  J>.] 

CRAMER  ft  CO.    This  eminent  music  pub- 
lishing ^use  began  business  in  the  year  1824  in 
the  premises  now  occupied  by  them.    Mr.  J.  B. 
Cramer's  popularity  and  ii^uence   soon  drew 
around  him  a  goodly  proportion  of  the  professors 
of  the  day,  who  with  his  own  pupils  crested 
a  large  circulation  for  the  pianoforte  works  of  the 
firm.    The  catalogue  of  publications  oontinaed 
on  the  increase  until,  in  the  year  1830,  the  finn 
bought  the  whole  of  the  music  plates  bek)nging 
to  the  Harmonic  Institution,  which  contained  s 
considerable  portion  of  the  works  of  Pussek, 
dementi,  Haydn,  Herz,  Hummel,  Mosart,  snd 
Steibelt,  besides  a  few  of  Beethoven  and  Mos- 
cheles^   with   Handel's    choruses    aixaoged  •• 


CRAMER  k  CO. 

loloe  and  duete,  many  of  the  popular  songs  of 
C.  Horn,  the  opens  'Oberon*  and  <  Freiachflts,* 
tiie  oratorio  of  '  PalestiDe'  by  Dr.  Crotch,  and 
a  laige    number  of  Italian   songs   and   duets 
bj  Gabnsn,  Meyerbeer,  Mozart,  Pacini,  Paer, 
Baeeini,   Vaccaj,  and  others,   thus  giving  the 
house  a  ^rerj  strong  position  in  the  music  trade. 
Upon  this  followed  the  English  operas  of  Balfe, 
Benedict,  and  Bamett,  the  glees  of  Horsley  and 
Calcott,  the  songs  of  Neukomm,  pianoforte  works 
of  Dohler,   Moscheles,    Thalberg,    Leopold  de 
Meyer,  etc    Between  1830  and  40  Mr.  Cramer 
vas  much  abroad,  and  in  1843  Mr.  Addison  re- 
tired fini»n  the  bumneas  and  was  suooeeded  by 
Mr.  W.  Chappell,  when  the  firm  became  Cramer, 
Beale,  and  Chappell.    In  1845  Vincent  Wallaoe 
returned   finm    Amfirica»    and   Cramer  &  Co. 
secured  his  '  Maritana,'  publishing  also,  as  years 
went  on,  his  other  successful  works.    In  1861 
Mr.   Chappell   retired,   and  was  succeeded   in 
the  firm   by  Mr.  George  Wood.      Mr.  Beale 
dying  in  1863  the  whole  of  the  business  fell 
into  the  lumds  of  Mr.  Wood,  who  still  carries 
it  on  with  great  success,  giving,  however,  more 
attention  to  pianoforte  manufacturing  than  to 
publishing,   having    introduced    and   very   ex- 
ieoaiyely  carried  out  a  novel  mode  of  supplying 
pianofortes  on  a  hiring   system,   which  seems 
to  have  become  very  general  [W.C.] 

CBAN6  ft  HANCOCK,  organ  builders.  John 
Crang,  a  Devonshire  man,  settled  in  London  and 
became  a  partner  with  Hancock,  a  good  voicer 
of  reeds.  The  latter  added  new  reeds  to  many 
of  Father  Smith's  organs.  Crang  altered  the  old 
echoes  into  swells  in  many  organs,  as  at  St.  Paul*s 
Cathedral,  St.  Peter's,  Conihill,  etc.  There 
appear  to  have  been  two  Hancocks,  John  and 
James,  probably  brothers;  both  are  mentioned 
in  ihe  contract  for  an  oi^gan  at  Chelmsford  in 
1773.  John  died  in  1793,  and  James  was  living 
in  1830,  and  probably  later.  Crang  appears  to 
bare  given  his  name  to  Crang  Hancock,  a  piano- 
forte maker.  [V.  de  P.] 

CREATION,  THE.  Haydn's  first  oratorio, 
written  at  the  suggestion  of  Salomon.  The 
book  of  words  was  selected — originally  for  Han- 
del— ^frcm  Grenesis  and  Paradise  Lost  by  Mr. 
lidley  or  LiddeU,  and  translated  into  (jrerman,  as 
*Die  Schopfoi^'  with  modifications  by  Baron 
Tsn  Swieten,  Ihe  music  occupied  Haydn  from 
1 796  to  April  X  798,  and  was  produced  by  a  body 
of  Dilettanti  at  the  Schwartzenbei^  Palace, 
Viemia,  April  29,  1798.  500  ducats  were  sub- 
scribed for  Haydn.  In  1800  it  was  pub- 
lished in  score  at  Vienna  with  German  and 
English  words,  the  latter  re-translated  by  Van 
Swieten;  510  copies  were  subscribed  mr,  of 
which  nearly  half  were  for  England.  It  was 
fint  performed  in  London  at  Covent  Garden, 
March  28,  i^oo,  and  in  Paris  Bee.  24,  1800, 
when  Napoleon  I.  escaped  the  infernal  machine 
in  the  Bne  Nicaise.  A  great  performance  by  the 
same  society  as  before  took  place  at  the  Univer- 
sity  Hall,  Vienna,  on  March  27, 1808,  in  Haydn's 
presence^  a  year  and  two  monUis  before  his  death. 


CREED. 


415 


Its  popularity  in  England  dates  from  March  17, 
181 3,  and  reached  its  dimaz  some  20  years 
ago. 

CREDO  is  the  first  word  of  the  Nicene  Creed 
in  Latin,  and  is  the  name  by  which  it  is  well 
known  to  musicians  by  reason  of  the  magnificent 
music  to  which  it  has  been  set  by  the  greatest 
composers  for  the  use  of  the  Roman  Church  in 
the  Service  of  the  Mass.  The  traditional  figure 
to  which  the  first  sentence  is  given  out  by  the 
priest  is 


tih  T  1  T  T  -1^ 


On  -do     la 


mun     De 


vni 


and  upon  this  Bach  developed  the  stupendous 
contrapuntal  chorus  to  those  words  in  his  B 
minor  Mass.  [C.  H.  H.  P.] 

CREED.  There  are  three  creeds  in  use  in  the 
services  of  the  Kngliah  church — the  Apostles' 
Creed,  the  Nicene,  and  that  known  by  the  name 
of  St.  Athanadus. 

The  first  of  these  is  the  most  ancient,  and  of 
unknown  origin,  and  was  probably  used  in  early 
tunes.  It  is  found  in  the  ancient  breviaries  of  the 
churches  of  England,  such  as  those  of  Sarum  and 
York,  in  much  the  same  position  as  it  now  occu- 
pies. In  the  first  Praver  Book  of  Edward  VI  it 
was  ordered  to  be  said  or  sung  like  the  other 
creeds,  but  in  later  revisions  the  word  '  sung  *  has 
been  removed  and  it  has  become  the  custom  only 
to  intone  it,  and  in  some  churohes  the  intimation 
is  supported  by  harmonies  on  the  organ,  but  it  haa 
not  been  definitely  set  to  music  for  English  use. 

The  Nicene  Creed  is  distinguished  in  the  Eng* 
lish  church  by  an  extensive  musical  treatment. 
It  cannot  be  ascertained  when  it  came  into  use 
in.  the  ancient  English  offices.  It  is  in  the  bre- 
viaries of  Sarum,  York  and  Hereford,  for  use  on 
feasts  and  solemn  occasions.  It  was  looked  upon 
to  some  extent  as  a  hymn,  whence  its  univOTsal 
musical  treatment.  Marbeck's  setting  of  it  in  the 
'  Book  of  Common  Praier  noted  *  of  1552  for  the 
use  of  the  English  reformed  church  foUows  the 
Roman  originals  much  less  closely  than  most  of 
the  other  parts  of  his  setting  of  the  service,  and 
is  consequently  much  more  free  and  melodious. 
Tallis's  setting  of  it  is  said  to  resemble  the 
Gregorian  Descants  of  the  creed  in  the  Missa  de 
Angelis.  Further  settings  of  it  both  ancient  and 
modem  are  extremely  numerous.  Among  the 
ancient  ones  may  be  mentioned  settings  by  Bird 
(in  6  parts),  Farrant^  Gibbons,  ChUd,  Aldrich, 
Blow,  Purcell,  Rogers  and  Bevin.  Attempts  have 
been  made  with  very  fair  success  to  adapt  it  to  a 
kind  of  free  chant  form,  which  renders  it  more 
available  for  musical  performance  by  parish  choirB 
and  general  congregations. 

The  Athanasian  Creed,  as  it  is  now  called, 
was  formerly  known  very  generally  as  the  Psalm 
*Quicunque  vult*— the  first  two  words  of  its 
Latin  form.  It  was  sung  at  Prime  after  certain 
other  psalms,  and  the  custom  of  singing  it  as  a 
psalm  has  continued  in  the  Roman  church  to 
the  present  day,  it  being  pointed  and  divided 
into  paragraphs  after  the  manner  of  psalms^  and 


416 


CBEED. 


answering  in  ita  oonstruction  to  the  principles  of 
ancient  Hebrew  poetry.  The  chant  most  oom- 
monly  used  is  a  very  simple  one  by  Tallis  (see 
P*  337  <")■  There  have  been  many  others  spe- 
cially written  for  it  both  in  ancient  and  modem 
times.  It  has  never  been  costomary  to  adapt  it  to 
more  elaborate  forms  of  composition.  [G.H.H.P.] 

CREMONA,  a  considerable  town  in  Lom- 
bardy,  on  the  river  Po,  was  for  the  space  of  two 
centuries,  from  about  1550  to  1750,  the  seat  of 
the  famous  Cremona  school  of  violin-makers. 
The  shape  and  construction  of  the  violin,  and 
the  other  instruments  belonging  to  the  tribe,  hav* 
ing  been  finally  settled  by  the  great  makers  of 
Brescia,  Caspar  de  Salo  and  Paolo  Maggini  (see 
those  names),  it  was  at  Cremona  that  the  last 
step  in  the  art  of  violin-making  was  made,  which 
led  to  that  point  of  perfection  from  which  no 
further  progress  has  yet  been  possible  or  perhaps 
desirable.  The  numerous  msJcers  of  the  Amati 
fSeunilv  (see  that  name)  chronologically  head  the 
list  of  the  masters  of  Cremona :  Antonio  Stradi- 
vari and  Josef  Guamerius  (see  those  names)  are 
the  greatest  of  all,  and  their  instruments  have 
never  been  rivalled.  The  names  of  Andreas, 
Petrus,  and  Josef  Guamerius  (brother  of  An- 
dreas), Carlo  Bergonzi,  Guadagnini,  Montagnana, 
Buggieri,  Storione,  and  Tester^  (see  all  these 
names)  make  up  the  list  of  the  masters  of  this 
school,  whose  violins  are  still  highly  valued. 

The  term '  a  Cremona,'  or '  a  (^emonese  violin* 
is  often  incorrectly  used  for  an  old  Italian  instru- 
ment of  any  make, 

'Cremona,*  as  applied  to  an  oi^gan  stop,  is  a 
mere  ignorant  corruption  of '  Krumhom.*  [P.  D.] 

CREQUILLON  or  CRECQUILLON,  one  of 
the  most  distinguiKhed  musicians  of  the  Nether- 
land  school  in  the  period  between  that  of  Josquin 
des  Pr^  and  that  of  Lassus  and  Palestrina 
(1 520-1 560).  He  was  attached  to  the  chapel 
of  the  Emperor  Charles  V  at  Madrid.  His  com- 
positions are  even  more  numerous  than  those  of 
ids  contemporaries  Clemens  non  Papa  and  Grom- 
bert.  His  masses,  motets  and  chansons  appear 
in  all  the  great  collections  printed  at  Louvain 
and  Antwerp  in  the  second  half  of  the  i6th 
century,  and  some  of  his  works  were  printed  in 
1544  (i.e.  probably  in  his  life  time)  at  Venice 
by  Gardano.  [J.  R.  S.  B.] 

CRESCENDO— increasing,  i.  e.  in  loudness. 
One  of  the  most  important  effects  in  music.  It  is 
expressed  by  ereao.  and  by  the  sign  -«=:.  Some- 
times the  word  is  expanded — ere8.,,cen.,.do 
•~to  cover  the  whole  space  affected.  As  with  so 
many  other  things  now  fiftmiliar,  Beethoven  was 
practically  the  inventor  of  the  crescendo.  In 
the  works  of  his  predecessors,  even  in  such  sym- 
phonies as  the  G  minor  and  'Jupiter*  of  Mozart, 
it  is  very  rarely  to  be  found.  Among  the  most 
fiunous  instances  in  Beethoven  are  that  in  the 
*  working  out  *  (after  the  double  bar)  of  the  first 
movement  of  the  Symphony  in  Bb  (No.  4).  This 
immortal  passage,  which  so  excited  the  wrath  of 
Weber,  b^;ins  in  the  strings  and  drum  ppp, 
and  continues  so  for  1 3  bars ;  then  a  shade  louder, 


kini    S^       p^^i 


CBESCENTINL 

^,  for  31  bars ;  and  then  a  crescendo  of  8  ban 
with  the  same  instruments,  ending  in  the  repriM 
of  the  subject /ortfMtmo,  and  with  full  orchestra 

Another  instance,  cm  a  still  more  extended 
scale,  is  in  the  ooda  to  the  last  movement  ol 
Schubert*s  Symphony  in  C  (No.  9),  where  th< 
operation  is  divided  into  distinct  steps— fint  % 
bars  "ppp't  then  34  ban  pp ;  then  12  bare  p 
then  16  bar  ere$eendo  to  n^;  t^en  la  bars  rr» 
cendo  to  /;  then  a  crescendo  of  8  bars  to  fjfz 
and  lastly  a  final  advance  of  36  more  tofff. 

A  short  crescendo  of  remarkable  effect  is  foan« 
in  the  Finale  to  Schumann*s  D 
minor  Symphony. 

In  the  overtures  of  Spontini 
and  Rossini  the  crescendo  is 
employed,  with  a  repetition  of  the  same  figure 
in  a  manner  at  once  so  effective,  so  characteristic 
and  so  familiar,  thkt  it  is  only  necessary  to  allude 
to  it  here.  [G.] 

CRESCENTINI,  Gibolavo.  a  veiy  celebrated 
Italian  sopranist,    who   was   bom  in  1766  a1 
Urbania,  near  Urbino.     At  the  age  of  ten,  h( 
began  the  study  of  music,  and  was  aflerwardi 
placed  with  GibeUi,  to  learn  singing.    PoBBeseJ 
of  a  beautiful  mezzo  soprano  Toice,  and  a  perfect 
method  of  vocalisation,  he  made  his  d^ut  at 
Rome  in  1 783.    He  then  obtained  an  engagement 
as  primo  uomo  at  Leghorn,  where  he  app^red  in 
Cherubini*s  *Artaserse.'    In  the  spring  of  il^l 
he  sang  at  Padua  in  the  *  Didone   of  Sarti,  and 
was  engaged  for  Venice.   In  the  following  snimner 
he  was  at  Turin,  where  he  sang  Sarti's  'Bitonio 
diBacoo.'  He  now  came  to  Lonaoa,Uid  remained 
sixteen  months.  He  was  here  thought  so  moderate 
a  performer  that,  before  the  season  was  half  over, 
he  was  superseded  by  Tenduoci,  an  old  singer, 
who  had  never  been  first-rate,  and  had  scarcely 
any  voice  left.     'It  is  but  justice^'  says  Lord 
Mount-Edgcumbe,  '  to  add  that,  when  he  was 
here,  Crescentini  was  very  young,  and  had  not 
attained  that  excellence  which  has  since  gained 
him  the  reputation  of  a  first-rate  singer.    He 
never  returned  to  this  country.*     In  1 787  he  ^as 
engaged  for  the  carnival  at  Milan,  and  sang  for 
two  whole  years  at  the  San  Carlo  in  Naples.    In 
1 791  and  93  he  appeued  at  Uie  Argentina  at 
Rome,  and  in  94  at  Venice  and  Milan.    In  tiu< 
last  city  he  arrived  at  the  highest  degree  of 
excellence  in  Zingarelli*s  *  Romeo  e  Giuhetta/ 
In  1796  Cimarosa  composed  expressly  for  hxm 
*Gli  Orazzi  e  Chuiazzi'  at  Venice.    An  amusing 
story  is  told,  that  on  one  occasion,  fancying  that 
the  dress  of  the  prime  tenore  (Curiazzio)  was 
more  magnificent  than  his  own  (as  Orazzio),  he 
insisted  on  its  being  given  up  to  him.     An 
exchange  was  therefore  made,  in  spite  of  tiie 
remonstrances  of  the  manager ;  and  throughout 
the  evening  a  Curiatius,  six  feet  high,  was  seen 
wearing  a  little  Roman  costume,  which  locked 
as  if  it  would  burst  at  any  moment,  while  a 
diminutive  Horatius  was  attired  in  a  long  Alban 
tunic,  with  its   skirt  trailing  on  the  ground. 
After  singing  at  Vienna,  he  returned  to  Mil»& 
for  the  carnival  of  1797,  for  the  *Meleagro'  of 
Zingarelli.   At  the  end  of  this  season  he  eogaged 


CRESGENTIKL 

kimself  with  the  Open  st  JJabcfa,  where  he  sang 
fijT  the  next  four  yean.    Returning  to  Italy,  he 
ibappeared  at  Milan  in  Mayr^B  '  Alonzo  e  Cora' 
and  Fedetici's  'Ifigenia/  in  1803.    He  sang  at 
Piacenza^   «t  the  opening  of  the  new  theatre, 
and  then  ^rent  to  Vienna  with  the  appointment 
of  profeaBor  of  singing  to  the  Imperial  family. 
X&poleon  having  heard  him  there,  was  so  charmed 
th&t  he  determined  to  engage  hiim  permanently, 
and  secured  to  him  a  handsome  salary.    He  also 
gBTe  him   the  decoration  of  the  Iron  Grown, 
which  proToked  almost  as  much  discussion  as 
Xapoleon*8  distrihution  of  thrones  and  sceptres 
had  done.    It  is  reUted  that,  in  a  salon  at  Paris, 
vhen  a  pompons  orator  was  holding  forth  on  the 
labject  of  the  honour  conferred  on  Grescentini, 
and  inquired  what  right  he  could  have  to  such 
a  distinction, — the  beautiful^  Mme.  Grassini, 
who  was  present,  rose  majestically,  and  with 
theatrical  tone  and  gesture  exclaimed,  *Et  aa 
hiesture^  monneur/*    A  storm  of  laughter  and 
applause    stopped  the   discussion.      Grescentini 
8Ang  at  Paris  nrom  1806  to  i8ia,  when  his  voice 
ihowed  signs  of  suffering  from  an  uncongenial 
climate,  and  he  with  £fficulty  obtained  per- 
xpission  to  retire.     He  went  to  Bdogna,  and 
then  to  Borne,  where  he  remained  t^  1816, 
when  he  settled  at  Naples  as  professor  at  the 
Soyal  College  of  Music.    He  was  the  last  great 
anger  of  his  schooL    'Nothing  could  exceed,' 
■ays  F^tis,  *  the  suavity  of  his  tones,  the  foroe  of 
hia  expresuon,  the  perfect  taste  of  his  ornaments, 
or  the  large  style  of  his  phrasing.*    In  Borneo 
be  affected   Napoleon  and   the  whole  of  the 
aadience  to  tears  by  his  singing  of  the  prayer, 
and  the  air  *Ombra  adorata.'     The  prayer  of 
Borneo  was  of  his  own  oomposition,  for  this 
excellent  singer  was  also  a  composer;  he  pub- 
limbed  at  Vienna  in  1797  several  collections  of 
ArietU,  and  some  admirable  exercises  for  the 
voice,  with  a  treatise  on  vocalisation  in  French 
and  Italian,  at  Paris.     He  died  at  Nmles  in 
1846.  [J.M.] 

CBESPEL,  GniLLAUHB,  a  Belgian  musician 
iJTing  in  the  latter  half  of  the  15th  century,  and 
compoaer  of  a  lament  on  the  death  of  Ockenheim, 
which  is  of  historical  importance  as  giving  what 
may  be  considered  an  authentic  list  <^  the  most 
distinguished  pupils  of  that  master : — 

'Agrioola,  Verbonnet,  Prioris, 
Joaquin  des  Pr^  Gaspard,  Bmmel,  Gompfere, 
Ne  parlez  plus  de  jojreux  diants,  ne  ris, 
Hais  composes  un  ne  recorderis 
Pour  lamenter  nostre  Maistre  et  bon  pte.* 

[J.B.S.B.] 

CREYGHTON,  Biv.  Bobkbt,  DJ).,  bom 
•hoot  1639,  was  the  son  of  the  BeV.  Dr.  Bobert 
Creyghton,  Professor  of  Greek  at  Gambridge, 
aftmrards  Dean  of  Wells,  and  in  1670  Bishop 
of  Bath  and  WeUs.  In  1662  he,  like  his  &ther, 
held  the  Greek  Professorship  at  Gambridge.  In 
1674  he  was  appointed  canon  residentiary  and 
prdcentor  of  Wells  GathedraL  Greyghton  com- 
posed several  services  and  anthems  still  extant 
in  the  library  of  WeUs  GathedraL    Two,  in£b 


CBISTOFOBL 


417 


and  Bb,  are  now  printed.  Tudway*s  MS.  (Brit. 
Mus.,  Add.  MSS.  7,338,  39)  contains  a  third,  in 
G,  brides  an  anthem,  *  Praise  the  Lord.*  He  is 
widely  known  by  his  sweet  little  canon-anthem 
« I  will  arise.'  He  died  at  Weils  in  1736  at  the 
advanced  age  of  97.  [W.  H.  H.] 

GBISTOFOBI,  BABTOLomcEO  Di  Francesco 
— written  Gristofali  by  Maffei — a  harpsichord- 
maker  of  Padua,  and  subsequently  of  Florence,  and 
the  inventor  of  the  pianoforte.  Other  claims  to 
this  discovery  have  great  interest  and  will  be 
noticed  elsewhere  (see  Pianofobte  and  SchrO- 
teb),  but  the  priority  and  importance  of  Gristo- 
fori*s  invention  have  been  so  searchingly  invest- 
igated and  clearly  proved  by  the  late  Gavaliere 
Leto  Puliti,^  that  the  Italian  origin  of  the  instru- 
ment, which  its  name  would  indicate,  can  be  no 
longer  disputed. 

Cnetoiori  was  bom  in  165 1  (F^tis  and  Pietrucci 
in  their  respective  memoirs  erroneously  state 
1683).  It  may  be  surmised  that  he  was  the  best 
harpsichord-maker  in  Florence,  inasmuch  as 
Prince  Ferdinand,  son  of  the  Grand  Duke  Gosmo 
III,  a  skilled  harpsichord  plaver,  who  visited 
Padua  in  1687,  induced  him  then  or  very  soon 
after  to  transfer  himself  from  that  city  to  Flor- 
ence. We  have  evidence  that  in  1693  Gristofbri 
wrote  from  Florence  to  engage  a  singer — the  only 
time  he  appears  in  the  Prince's  voluminous  cor- 
respondence. In  1709  Maffei  visited  Florence 
to  seek  the  patronage  of  Prince  Ferdinand  for  his 
'Giomale  dei  Letterati  d*  Italia*  and  in  vol.  v.  of 
that  work,  published  in  171 1,  Maffei  states  that 
Gristofori  had  made  four  'gravioembali  col  piano 
e  forte,*  three  distinctly  specified  as  of  the  large 
or  usual  harpsichord  form,  the  fourth  differing  in 
construction,  and  most  likely  in  the  clavichord 
or  spinet  form :  there  was  among  the  Prince's 
musical  instruments  a  'cimbalo  in  forma  quadra,' 
an  Italian  spinet  which  when  altered  to  a  piano- 
forte would  oe  termed  a  square.  In  1719,  in  his 
'Bime  e  Prose,'  published  at  Venice,  Mafiei  re- 
produoed  his  description  of  Gristofori's  inventicm 
without  reference  to  the  previous  publication. 
As  these  pianofortes  were  in  existenoe  in  1711, 
it  is  just  possible  that  Handel  may  have  tried 
them,  since  he  was  called  to  Florence  in  1 708  by 
Prince  Ferdinand  to  compose  the  music  for  a 
melodrama,  remained  there  a  year  and  brought 
out  his  first  opera  '  Bodrigo.' 

The  Prince  died  in  171 3,  and  Gristofori  con- 
tinuing in  the  service  of  the  Grand  Duke,  in 
1 716  received  the  charge  of  the  eighty-four  mu- 
sical instruments  left  by  the  Prince.  Of  these 
nearly  half  were  harpsichords  and  froinets — seven 
bearing  the  name  of  Gristofori  himsell  It  is 
curious  however  that  not  one  of  them  is  described 
as  'ool  piano  e  forte'  and  also  interesting  that  in 
the  receipt  to  this  inventory  we  have  Gristofori's 
own  handwriting  as  authwity  for  the  spelling 
now  adopted  of  Ms  name. 

The  search  for  Gristofori's  workshop  proving 
unsuccessfuly  Puliti  infers  that  the  Ihinoe  had 

1  GoDiil  Storld  (MlATlte  del  lereaiMlino  FMdinando  dd  Madkf.  etc 
Itotrmtto  dastt  AtU  daU*  Iwadtinti  ML  B.  IitUato  MosImI*  di  Ilranw 
UTi. 


418 


CRISTOFORL 


given  him  a  room  in  the  Ulfizi,  probably  near  I 
the  old  theatre,  in  the  vicinity  of  the  foundry 
and  workshops  of  the  cabinet-makers.  He 
imagines  the  Prince  suggesting  the  idea  of  the 
pianoforte  and  taking  great  interest  in  the 
gradual  embodiment  of  the  idea  thus  carried  out 
under  his  own  eyes. 

Maffei  gives  an  engraving  of  Gristofori^s  action 
or  hammer  mechanism  of  171 1.  It  shows  the 
key  with  intennediate  lever,  and  the  hopper, 
the  thrust  of  which  against  a  notch  in  the  butt  of 
the  hammer  jerks  the  latter  upwards  to  the 
string.  The  instant  return  of  the  hopper  to  its 
perpendicular  position  is  secured  by  a  spring; 
thus  the  escapement  or  controlled  reboimd  of  the 
hammer  is  without  doubt  the  invention  of  Cristo* 
fori.  The  fall  of  the  intennediate  lever  governs 
an  under-damper,  but  there  is  no  check  to  gradu- 
ate the  fall  of  ^e  hammer  in  relation  to  the 
force  exercised  to  raise  it.  For  this  however  we 
have  only  to  wait  a  very  few  years.  There  is  in 
the  possession  of  the  Signora  Emesta  Mocenni 
Martelli  in  Florence  a  grand  pianoforte  made  by 
Cristofori  in  1720,  the  namepieoe  *BartholomiBUS 
de  Christoforis  Patavinus  Inventor  &ciebat  Flo- 
rentiffi  mdoczz.*  being  the  guarantee  for  its  origin 
and  age.  Puliti  had  two  exact  drawings  made 
of  the  action,  one  with  the  key  at  rest  and  the 
other  when  pressed  down,  and  has  described  each 
detail  with  the  greatest  care.  The  hammer  is 
heavier  than  that  represented  in  1 7 1 1 ,  the  inter- 
mediate lever  is  differently  poised  and  the  damper 
raised  by  the  key  when  in  movement  now  acts 
above  instead  of  under  the  strings.  Finally  there 
is  the  check  completing  the  machine. 

What  doubts  have  not  found  their  solution 
by  the  discovery  of  this  interesting  instrument, 
which  was  exhibited  at  the  Cristofori  Festival  at 
Florence  in  May  1876?  The  story  of  it  begins 
about  sixty  years  since  when  Signer  Fabio  Mo- 
cenni, the  faUier  of  the  present  owner,  obtained  it 
of  a  pianeforte-tuner  at  Siena  in  exchange  for 
wine.  Its  anterior  history  is  not  known^  but 
Puliti  offers  suggestive  information  in  the  fact 
of  Violante  Beatrice  di  Baviera — the  widow  of 
Cristofori's  master  and  protector  Prince  Fer- 
dinand— having  lived  at  Siena  at  different  times, 
particularly  when  her  nephew  was  studying  at 
the  Sienese  University  in  172 1. 

But  if  it  were  only  a  harpsichord  turned  by  the 
addition  of  hammers  to  a  pianoforte  1  The  careful 
examination  of  Puliti  is  the  authority  that  all  its 
parts  were  constructed  at  one  time,  and  the  word 
'  inventor'  appended  to  Cristofori's  name  would 
not  have  been  applied  to  a  simple  harpsichord  or 
spinet.  It  is  a  bichord  instrument^  compass  from 
D  to  F,  exceeding  four  octaves. 

Cristofori  died  in  1731  at  the  advanced  age  of 
eighty.  His  reputation  had  already  extended 
into  Germany,  for  Mattheson  had  published  the 
translation  by  Konig  of  Maffei's  article  in  the 
2nd  volume  of  his  *Critica  Musica'  (Hamburg 
1722-25),  and  Walther,  in  his  '  Musikalisohes 
Lexicon'  (Leipsic  1732),  article  'Pianoforte,* 
treating  of  the  invention,  attributes  it  exclusively 
to  CristofiorL 


GBOCB. 

On  May  7,  1876,  a  stone  was  placed  in  ik 
cloisters  of  Santa  Croce  at  Florence  bearing  ti» 
following  inscription — 

A  Bartolomeo  Cbistofobi 
Cembalaro  da  Padova 

che 
in  Firenze  nel  mdocxi 

INVENT6  H 

IL  Clavtcbmbalo  ool  Piano  k  Fosn    g 
il  Comitativo  Fiorentino  ' 

Coadiuvanti  Italiani^Stranieri 
pose  q uesta  Mentioria. 

CRIVELLI,  GAETAifO,  an  excellent  tenor  d 
the  old  school,  bom  at  Bex]gamo  in  1774.  H: 
made  his  first  appearance  when  very  wm\ 
and  married  at  the  age  of  19.  In  1793  he  tu 
at  Brescia,  where  he  was  admired  for  his  be 
voice  and  large  manner  of  phrasing.  He  m 
engaged  to  sing  at  Naples  in  1795,  where  b 
remained  sevend  years,  profiting  greatly  bj  ^ 
opportunities  of  hearing  the  beat  singera,  and  h 
the  advice  of  good  masters,  especially  of  Apik 
From  thence  he  went  to  Rome,  Venice,  a&d  a 
last  to  Milan,  where  he  sang  at  La  Seala  vii 
Banti,  Marchesi,  and  Binaghi,  in  the  c^tiI 
of  1805.  In  181 1  he  succeeded  Garcia  at  'h 
Italian  Opera  in  Paris,  where  he  prc^iiioe:  i 
great  effect  in  the  'Pirro'  of  Paisiello,  b  v\yl 
he  first  appeared.  His  superb  voice^  exot^Ik.: 
method,  and  nobly  expressive  style  of  actir4'. 
combined  to  make  him  a  most  valuable  acqaiss>fi 
to  the  stage.  He  remained  there  until  Feb.  li:;. 
He  then  came  to  London,  and  helped  to  Eiic 
that  a  brilliant  season  at  the  opera.  Eeh^ 
according  to  Lord  Mount-Edgcumbe,  'a8oo:»t<a 
mellow  voice,  and  a  really  good  method  of  bi^Ies. 
but  he  was  reckoned  dull,  met  with  no  appUi«, 
and  staid  only  one  year.'  In  1819  and  20  b 
sang  with  success  at  La  Scala  in  Milan ;  be:  s 
the  latter  year  signs  of  decay  were  ai^wiesi  a 
his  voice,  which  became  more  evident  wht£  k 
appeared  in  that  town  in  Lent,  1823.  In  25.  n 
Velluti's  suggestion,  Ebers  sent  for  him  to  Uk* 
part  in  '  Teobaldo  ed  Isolina* ;  but  the  open«3i 
not  performed.  For  six  yean  he  preeented'ie 
painful  spectacle  of  a  worn-out  singer  befcae  tre 
public  of  small  provincial  towns.  In  1S29  bf 
sang,  perhaps  for  the  last  time,  at  FlarES> 
and  died  at  Brescia  July  10, 1836.  [J  M.. 

CROCE,  Giovanni  dalla,  a  leaned,  on^ 
cdmposer,  was  bom  about  1560  at  Chioggia.  & 
was  a  pupil  of  Zarlino,  by  whom  he  wa^  pla.v' 
in  the  choir  of  San  Marco.  In  1603  he  succee.'^ 
Donato  as  Maestro  at  that  cathedral,  and  still  \kA 
the  poet  when  he  died  in  1609.  He  was  ab^  - 
priest's  orders,  and  in  this  capacity  was  attfeV* 
to  the  church  of  Santa  Maria  Fonnoia.  Ha 
publications  chiefly  consist  of  a  long  list  of  M»> 
rigals,  Motets,  Psalms,  and  other  pieces  b  ly 
ordinary  musical  forms  of  his  epoch,  and,  ^ - 
the  exception  of  one  curious  volome,  tht-y  k" 
hardly  worth  enumeration.  This  is  intztcir. 
'Triaoca  Musicale,  nella  quale  vi  sodo  <£v^ 
capricci  a  4,  5,  6,  and  7  vod,  nuovamente  »«- 


CBOCE. 

psta  e  data  in  luce'  (Gi.  Vincenti,  Yenice, 
1597).  The  pieces  in  it  are  mostly  comic,  and 
iKcompoeed  upon  wordB  written  in  the  Venetian 
ptois.  A  second  edition  of  this  was  issued  in 
1605,  s  third  in  1607,  and  a  fourth  in  1609.  Two 
Botets  for  eight  vcnces.are  in  Bodenschatz^s  '  Flo- 
rilegium  Portense'  (Part  2,  Kos.  iii  and  150). 
A  coUection  of  church  muidc  by  Croce,  set  to 
Ji^iish  words,  under  the  title  of  '  Musica  Sacra 
t)  Siie  Voyces/  was  published  in  London  in  1 608. 
Several  fine  motets  of  his,  full  of  expression  and 
b^oty,  have  been  published  with  English  words 
hMr.  Hullah  in  his  Part  Music,  and  nine  in  the 
eolkctian  of  the  Motet  Society ;  and  his  madrigal 
'Cjnthia,  thy  song'  is  well  known.       [E.H.P.] 

CROCIATO  IN  EGITTO.  IL,  heroic  opera 
in  tvo  acta ;  words  by  Boesi ;  music  by  Meyer- 
beer; produced  at  the  Fenice,  Venice,  in  1824, 
lad  at  the  King's  Theatre,  London,  June  30, 
1825.  Yelluti  appeared  in  it>  probably  the  last 
toMrato  heard  in  London. 

CROFT  (or,  as  he  sometimes  wrote  his  name, 
Cioftg),  William,  Mus.  Doc.,  bom  in  1677  at 
Keth»  Eatington,  Warwickshire,  was  one  of  the 
childreQ  of  the  Chapel  Boyal  under  Dr.  Blow. 
On  the  erection  of  an  organ  in  the  church  of  St. 
Anne,  Soho,  Croft  was  appointed  organist.  On 
Jul?  7,  1700,  he  was  sworn  in  as  a  gentleman 
extraordinary  of  the  Chapel  Boyal,  with  the  re- 
Tenon,  jointly  with  Jeremiah  Clark,  of  the  first 
T^acant  organist's  place.  On  May  25,  1704,  on 
the  death  of  Francis  Piggott,  Croft  and  Clark 
were  Bwom  in  as  joint  organists,  and  on  Clark's 
<ie&th  in  1707,  Croft  was  sworn  in  to  the  whole 
pl»».  On  the  death  of  Dr.  Blow  in  1 708  Croft 
vae  appointed  his  successor  as  organist  of  West- 
mioBier  Abbey,  and  master  of  the  children  and 
wmpoeer  to  the  Chapel  Boyal.  It  was  in  the 
discharge  of  the  duties  of  -the  latter  office  that 
M  jffoduced,  for  the  frequent  public  thanks- 
givings for  victories,  etc.,  many  of  those  noble 
uthems  which  have  gained  him  so  distinguished 
»  plaoe  among  English  church  composers.  In 
1711  he  resigned  his  appointment  at  St.  Anne's 
in  &Toar  of  John  Isham,  who  had  been  his  de- 
puty for  some  yean.  In  171a  he  edited  for  his 
friend,  Mr.  (afterwards  Sir  John)  Dolben,  sub- 
dean  of  the  Chf^l  Boval,  a  collection  of  the 
vords  of  anthems,  to  which  he  prefixed  a  brief 
^^i^torical  account  of  English  church  music.  On 
July  9,  1713,  he  took  the  degree  of  Doctor  of 
Music  in  the  University  of  Oxford,  his  exercise 
(perfonned  on  July  13)  being  two  odes,  one 
^  English,  the  other  in  Latin,  on  the  Peace 
^  Utrecht ;  these  were  afterwards  engraved  and 
published  under  the  title  of  '  Musicus  Apparatus 
Academicua.'  In  171 5  Croft  received  an  addition 
of  £So  per  annum  to  his  salary  as  master  of  the 
children  of  the  Chapel  Boyal  for  teaching  the 
chfldren  reading,  writing,  aud  arithmetic,  as  well 
u  playing  on  the  organ  and  composition.  In 
^724  Dr.  Croft  published  in  two  folio  volumes, 
^th  a  portrait  of  himself,  finely  engraved  by 
Vertae,  prefixed.  Thirty  Anthems  and  a  Burial 
oerrioe  of  his  composition,  under  the  title  of 


CIIOSDILL. 


41S^ 


'Musica  Sacra.*  In  the  pre&ce  he  states  it  to 
be  the  first  essay  in  printing  church  music  in 
that  way,  i.  e.  engraven  in  score  oq  plates.  Dr, 
Croft  died  Aug.  14,  1727,  and  was  buried  in  the 
north  aisle  01  Westminster  Abbey,  where  a 
monument  is  erected  to  his  memory.  His  bio* 
graphers  commonly  attribute  his  death  to  an  ill- 
ness contracted  at  the  coronation  of  George  II. 
A  glance  at  the  dates  will  at  once  disprove  this  : 
— Croft  died  Aug.  14,  George  II  was  crowned 
Oct.  4,  1727.  Croft  in  the  earlier  part  of  his 
career  composed  for  the  theatre,  and  produced 
overtures  and  act  tunes  for  'Courtship  a  la 
mode,'  1 700 ;  *  The  Funeral,'  ?  702  ;  '  The  Twin 
Bivals,'  1703;  and  'The  Lying  Lover,'  1704. 
He  also  published  sonatas  for  both  violin  and 
flute.  Numerous  songs  by  him  are  to  be  foui^d 
in  the  collections  of  the  period,  and  some  odes 
and  other  pieces  are  still  extant  in  MS.  Two 
psalm  tunes  attributed  to  hun,  St.  Ajm^s  and 
St.  Matthew's,  and  a  single  chant  in  B  minor,  will 
long  live  in  the  Anglican  church,  even  after  his 
fine  anthems  have  become  obsolete.     [W.,H.H^] 

CBOOK  (Ft.  Corp$  de  rechange;  Germ.  Ton; 
Bogen).  A  name  given  to  certain  accessory  pieces 
of  tubing  applied  to  the  mouthpiece  of  brass  in- 
struments for  the  purpose  of  altering  the  length  of 
the  tube,  and  thus  raising  or  lowering  their  pitch. 
Since  these  instruments  can  only  play  one  scale, 
the  sole  method  of  enabling  them  to  play  another 
is  to  transpose  the  fundamental  note,  and  this 
is  done  by  the  crooks.  The  largest  number  of 
crooks  is  required  by  the  French  horn,  which  is 
occasionally  written  for  in  every  key,  from  the 
treble  Bt]  down  to  A  b  in  the  bass  octave. 

The  term  is  also  applied  to  the  S-shaped  metal 
tube  connecting  the  body  of  the  bassoon  with  the 
reed  (Fr.  6000^).  [W.  H.  S.] 

CBOSDILL,  John,  was  bom  in  London  in 
1 75 1.  He  received  his  early  musical  education 
in  the  choir  of  Westminster  Abbey  under  John 
Bobinson  and  Benjamin  Cooke.  Upon  quitting 
the  choir  he  became  a  performer  on  the  violon* 
cello,  and  soon  attained  to  considerable  pro- 
ficiency. In  1768  he  became  a  member  of  the 
Boyal  Society  of  Musicians,  and  in  the  following 
year  appeared  at  Gloucester,  as  principal  violon- 
cello at  the  meeting  of  the  Three  Choirs,  a  pKwi- 
tion  which  he  continued  to  occupy  until  his  re- 
tirement fix>m  his  profession,  with  the  exception 
of  the  year  1778,  when  the  younger  Cervetto 
filled  his  place,  at  Gloucester.  In  ^6,  on  the 
establishment  of  the  Concert  of  Ancient  Music, 
Crosdill  was  appointed  principal  violoncello.  In 
77  he  succeeded  Peter  Gillier  as  violist  of  the 
Chapel  Boyal,  an  appointment  which  soon  became 
a  sinecure,  but  which  he  continued  to  hold  until 
his  death.  He  also  became  a  member  of  the 
King's  band  of  music,  an  o&ce  which  he  likewise 
retained  until  his  death.  In  1782  he  was  ap- 
pointed chamber  musician  to  Queen  Charlotte, 
and  about  the  same  time  taught  the  Prince  of 
Wales,  afterwards  Greorge  IV,  to  play  the  violon- 
cello. In  84  he  filled  the  post  of  principal 
violoncello  at  the  Commemoration  of   Har ' 

£e2 


420 


CROSDILL. 


In  88,  having  married  a  lady  6f  considerable 
fortune,  he  retired  from  the  public  exercise  of 
his  profession.  In  iSai  he  resumed  its  duties 
for  one  day,  to  play,  as  a  member  of  the  King's 
band,  at  the  coronation  of  George  IV.  F^tis 
says  that  about  1772  Crosdill  visited  Paris,  where ' 
he  took  lessons  of  the  elder  Janson;  that  he 
resided  in  Paris  for  some  years,  and  played  in 
the  orchestra  of  the  'Concerts  des  Amateurs*  at 
the  'Loge  Olympique';  and  that  he  returned 
to  London  about  1 780.  But  this  account  cannot 
be  correct  as  respects  the  dates,  as  we  have  seen 
that  Crosdill  was  engaged  in  England  during  the 
greater  part  of  the  time  mentioned  by  Fetis. 
His  visit  was  probably  in  1778-79  and  occupied 
some  months  instead  of  some  years.  Crosdill 
died  in  October  1825  at  Eskrick,  Yorkshire, 
leaving  all  his  property  to  his  only  son,  Lieu- 
tenant Colonel  Crosdill,  of  the  East  India  Com- 
pany's service,  who,  by  his  father's  desire,  pre- 
sented to  the  Royal  Society  of  Musicians  the 
munificent  donation  of  1000/.  [W.H.H.] 

CROSS,  Thomas,  an  engraver  of  music  in  the 
latter  part  of  the  1 7  th  and  early  part  of  the  i8th 
centuries.  He  resided  in  Catherine  Wheel  Court, 
on  the  south  side  of  Snow  Hill,  near  Snow  Hill 
Conduit.  At  a  time  when  printing  by  metal 
types  was  the  almost  universally  adopted  means 
for  placing  music  before  the  public,  he  commenced 
the  issue  of  a  long  succession  of  single  songs 
engraved  on  copper  plates  by  the  graver,  and 
printed  on  one  side  only  of  the  leaf,  and  led  the 
way  to  the  general  adoption  of  that  method  of 
printing  music.  Henry  Hall,  oiganist  of  Here- 
ford Cathedral,  mentions  him  in  some  verses  pre- 
fixed to  Dr.  Blow's  '  Amphion  Anglicus,'  1700; 

'While  at  the  shops  we  daily  dangling  view 
False  concord  by  Tom  Cross  engraven  true.* 

And  again  in  some  lines  prefixed  to  the  second 
book  of  Purcell's  'Orpheus  Britaimicus,*  1702  ; 

'  Then  honest  Cross  might  copper  cut  in  vain.* 

It  is  probable  that  he  engraved  some  of  the 
earlier  publications  of  the  elder  Walsh. 

Thomas  Cross,  junior,  his  son,  was  a  stamper 
of  music,  and  (according  to  Sir  John  Hawkins) 
'stamped  the  plates  of  Geminiani's  Solos  and 
a  few  other  publications,  but  in  a  very  homely 
and  illegible  character,  of  which  he  was  so  little 
eoQscious  that  he  set  his  name  to  everything  he 
did,  even  to  single  songs.'  He  probably  bore 
in  mind  his  faUier's  superscription,  'Exactly- 
engraved  by  T.  Cross.'  [W.H.H.J 

CROSSE,  John,  a  native  of,  and  resident  in, 
Hull,  published  in  1825  a  large  quarto  volume 
entitled  '  An  Account  of  the  Grand  Musical  Festi- 
val held  in  September,  1823,  in  the  Cathedral 
Church  of  York,  ...  to  which  is  prefixed  a 
Sketch  of  the  rise  and  progress  of  Musical  Festi- 
vals in  Great  Britain,  with  biographical  and 
historical  notra* — an  admirably  executed  work, 
•replete  with  valuable  and  useful  information. 
He  died  in  1829.  [W.H.H.] 

CROTCH,  William,  Mus.  Doc.,  was  bom  at 
Norwich,  July  5,  1775.    His  febther,  a  master 


CROTCH. 

carpenter,  who  combined  a  taste  for  moiiciBd 
mechanics,  had  constructed  for  himself  a  eaall 
organ.  When  little  more  than  two  yean  old  oe 
child  evinced  a  strong  desire  to  get  to  thii  in* 
strument,  and  being  placed  before  it,  ooo&iTcd 
shortly  to  play  something  like  the  tune  of  'God, 
save  the  Ejng,'  which  he  soon  was  sUe  to  pbT 
with  its  bass,  and  other  tunes.  His  ear  wu  »• 
markably  sensitive,  and  readily  dirtioguuhed  ta 
note  when  struck,  or  detected  fituhy  mtoiu&i 
The  Hon.  Daines  Barrington,  a  wdlkoc-vi 
amateur,  published  an  interesting  accoust  d 
him,  and  Dr.  Bumey  communicated  to  tbeM 
Society  an  account,  which  was  printed  in  t* 
Philosophical  Transactions  for  1779.  In  tb 
spring  of  1 780  the  child  was  brought  to  Loodit. 
and  performed  in  public  on  the  organ.  Be»i^ 
his  musical  ability  he  displayed  oonaderablt  yd 
in  drawing,  to  which  art  he  remained  trndt'l 
through  life,  and  attained  to  much  emineace  z 
it.  In  1 786  Crotch  went  to  Cambridge,  t^i 
remained  there  about  two  years  as  aaistu*.  i 
Dr.  Randall,  the  Professor  of  Music,  and  arpsx 
of  Trinity  and  King's  Colleges,  and  Great  :^l 
Mary's  Church.  At  fourteen  yean  of  age » 
composed  an  oratorio,  '  The  Captivity  of  h^ 
which  was  performed  at  TrmiW  Hall,  Cs^ 
bridge,  June  4,  1789.  In  1788  he  remoTedv 
Oxf^^rd,  where  he  studied,  under  the  patnia.^ 
of  the  Rev.  A.  C.  Schombeig,  of  Magdal£iii>^' 
lege,  with  a  view  of  entering  the  chnrcL  H« 
patron  dying,  he  resumed  the  profeniooofm^s; 
and  in  September,  1 790,  was  appomted.  <s  ti:: 
death  of  Thomas  Nonia,  oiganist  of  CLv 
Church.  On  June  5,  1794;  he  gradiotaiis 
Bachelor  of  Music.  In  March,  1797,  be  u> 
ceeded  Dr.  Philip  Hayes,  deceased,  as  csp^  '' 
St.  John's  College,  and  Professor  of  MniiciD^ 
University.  On  Nov.  «i,  1799,  he  pnxsaif- 
Doctor  of  Music,  composing  as  his  exerdae  It- 
Joseph  Warton*s  'Ode  to  Fancy,' the  nsR i 
which  he  afterwards  pubUahed.  fVom  iSoc  b 
1804  he  delivered  lectures  in  the  Muiic  Scba 
In  181 2  he  produced  his  oratorio  'Yi^tea, 
which  was  received  with  great  frvonr,  lei  ^ 
published  a  treatise  on  the  'ElementBofMs^ij 
Composition.'  About  1820  he  was  a{ip<^ 
music  lecturer  at  the  Royal  Institution,  I^ii^ 
and  on  the  establishment  of  the  Boyal  Aesi^ 
of  Music  in  1822  was  placed  at  its  headup^ 
cipal.  On  June  10,  1834,  he  produced  it  Ct> 
ford,  on  the  installation  of  the  Doke  of  We&sT 
ton  as  Chancellor,  an  oratorio,  'The  Capdrb* 
Judah,'  wholly  different  from  his  jnv«oik»* 
bearing  the  same  title.^  On  June  28  in  tbe  •*  | 
year  he  made  his  last  public  appeanooe<>* 
performer,  by  acting  as  organist  for  part  <^-|' 
third  day's  performance  at  the  Bo^  U=£» 
Festival  in  Westminster  Abbey.  Dr.  ^^ 
died  at  Taunton  at  the  house  of  his  son,  tbe  &^ 
William  Robert  Crotch,  then  Head  Mart?  ^^^ -^ 
Gnunmar  School  there,  where  he  had  for ««» ^^ 
resided,  while  seated  at  dinner,  Dec. 29,  iH'-^ 
was  interred  in  the  neighbouringchuichof  B%;  J 
Hull,  where  a  monumental  inscription  a  ^ 

1  The  MS.  Ii  now  om>  la  potmaianotUMJbm.arT.iX^  ^ 


CROTCH. 

JD  his  memory.  Besides  the  works  above  specified, 
dr.  Crotch  produced  '  Ten  Anthems/  some  chants, 
a  motet*  *  Methinks  I  hear ' ;  several  glees  ; 
feme  fugues  and  concertos  for  the  oi^gan  ;  several 
piaiioforte  pieces ;  an  ode  on  the  accession  of 
(korge  IV,  performed  at  Oxford,  iSao  ;  Funeral 
Anthem  for  the  Duke  of  York,  1837;  *The  Lord 
a  King/  anthem  for  voices  and  orchestra,  1843 ; 
and  some  works  on  Thorough  Bass  and  Harmony. 
He  also  published  *  Specimens  of  various  styles 
of  Music  referred  to  m  a  course  of  Lectures  on 
Music  read  at  Oxford  and  London,*  and  in  1831 
the  *  Substance  of  several  courses  of  Lectures  on 
Music  read  at  Oxford  and  in  the  Metropolis.*  As 
a  teacher  he  enjoyed  a  high  and  deserved  repu- 
tation. [W.H.H.] 

CROTCHET,  a  note  which  is  half  the  value 
of  a  minim,  and  twice  that  of  a  quaver,  and  is 
Tepresented  thus  f.  The  origin  of  the  name  is 
not  known.  It  is  apparently  derived  firom  the 
French  croche ;  but  croehe  is  a  quaver,  f  ,  and  is 

80  called  on  acooant  of  the  hook  at  the  end  of  its 
tail,  whereas  a  crotchet  has  no  hook.  The  French 
Eune  for  this  note  is  noire,  the  Italian,  aemi- 
miiusia,  and  the  German  Viertel,  '  a  quarter*— 
i.e.  of  a  semi-breve.  The  French  call  a  crochet 
rest, ",  by  the  pretty  name  of  un  toupir,        [G.] 

CROUCH,  F.  KiCHOLLS.  a  composer  of  songs 
and  ballads  during  the  second  quarter  of  the 
present  century,  was  the  author  of  many  pro- 
ductions which  gained  great  popularity,  and  one 
—'Kathleen  Mavoumeen' — which  still  retains 
its  place  in  public  £ftvour.  He  quitted  England 
about  the  year  1845  and  went  to  America,  where, 
it  is  believed,  he  is  still  living.  [W.  H.  H.] 

CROUCH,  Mrs..  Akna  Mabia,  bom  April 
30, 1763,  was  the  daughter  of  Peregrine  Phillips, 
a  solicitor.  Being  gifted  with  a  remarkably 
iweet  voice  Miss  Phillips  was  at  an  early  age 
plAoed  under  the  instruction  of  a  music-master 
tt&med  Wafer,  and  some  time  afterwards  was 
articled  to  Thomas  Linley,  under  whose  auspices 
she  made  her  appearance  in  the  winter  of  i  ;8o, 
at  Drury  Lane  Theatre,  as  Mandane  in  Dr. 
Ame^s  '  Artaxerxes.*  Her  success  was  great, 
and  for  upwards  of  twenty  years  she  held  a  high 
place  in  public  esteem,  both  as  actress  and  singer. 
Early  in  1 785  she  married  Mr.  Crouch,  a  lieutenant 
in  the  navy,  but  after  an  union  of  about  seven 
jesA  the  parties  separated  by  mutual  consent. 
About  1800  Mrs.  Crouch's  health  became  im- 
paired, she  withdrew  from  public  life,  and  died 
at  Brighton,  Oct.  2,  1 805.  [W.  H.  H.] 

CROWN  DIAMONDS,  THE,  the  English 
version  of  Auber*s  opera  'Les  Dian\ans  de  la 
Couronne*;  produced  at  the  Princess  s  Theatre, 
London,  May  2,  1844,  Mme.  Anna  ThiUoQ  as 
Catarina. 

CROZIER,  William.  A  few  words  are  due  to 
the  memory  of  this  oboe  player,  whose  tone  and 
exquisite  taste  will  not  soon  be  forgotten  by  those 
who  heard  him  in  the  Crystal  Palace  orchestra  and 
elsewhere.  He  learned  the  oboe  from  Barret; 
joined  the  C.  P.  orchestra  1855 ;  appeared  at  the 


CRUYELU. 


^2^1 


Philharmonic  Feb.  29, 1864.    He  died  in  harness 
at  Upper  Norwood,  Deo.  20,  1870.  [G.] 

CRUGER,  JoHANN,  bom  April  9,  1598,  at 
Groes-Breese  near  Guben  in  Prussia,  educated 
chiefly  at  the  Jesuit  college  of  Olmiitz,  at  the 
school  of  poetiy  at  R^ensburg,  and  the  uni- 
versity of  Wittenberg;  in  1622  was  appointed 
cantor  at  the  church  of  St.  Nicolaus  at  Berlin, 
a  post  which  he  retained  till  his  death  in  1662. 
His  reputation  in  his  own  day  both  as  an  author 
and  composer  was  great,  but  he  is  now  chiefly 
known  as  the  comiioser  of  some  of  the  mo^t 
&vourite  chorales.  The  best-known  of  them  are 
'Nun  danket  alle  Gott* ;  'Jesu  meine  Zuver- 
dcht*;  'Jesu  meine  Freude* ;  and  *Schmficke 
dich  O  liebe  Seele.*  They  were  published  under 
the  title  '  Praxis  pietatis  melica,  oder  Kirchen- 
melodien  tiber  D.  Luthers  und  Anderer  Gesange,* 
for  four  voices  and  two  instruments  (Leipsic, 
1649).  This  work  has  passed  through  in- 
numerable editions ;  the  30th  bears  date  Berlin 
1703.  He  also  composed  many  concertos  and 
motets  which  no  longer  exist.  Other  works  have 
been  preserved  ;  they  are  '  Meditationum  musica- 
rum  ParadisuB  primus,  oder  Erstes  mubikalisches 
Lust-Gartlein,'  in  three  and  four  parts  (Frank- 
fort, 1622);  and  *Med.  mus.  Parad.  secundus* 
(Berlin,  1626) ;  a  collection  of  new  Magnificats 
I  in  German,  in  two  and  eight  part  harmony, 
arranged  in  all  the  eight  tones.  Also  'Re- 
creationes  musicae,  das  ist.  neue  poetische  Amo- 
rosen*  (Leipsic,  165 1),  containing  33  pieces. 
Among  his  theoretical  works  may  be  mentioned 
(i)  'Synopsis  musices,"  a  method  for  thorough- 
bass (Berlin,  1624) — ^the  third  edition  (Berlin, 
1634)  has  a  different  title ;  (2)  *Preceptae  musi- 
cae practicae  figuralis*  (i62.s\  also  published  in 
a  German  form  as  'Rechter  Weg  zur  Singekunst' 
(Berlin,  1660)  ;  (3)  'Quaestiones  musicae  practi- 
cae' (Berlin,  1650).  [A.  M.] 

CRUVELLI,  Jeakns  Sophie  Charlotte, 
whose  family -name  was  Cruwell,  was  bom  March 
12,  1826,  at  Bielefeld  in  Westphalia.  Her  father 
was  fond  of  music,  and  played  the  trombone 
tolerably.  Her  mother,  had  a  fine  contralto 
voice,  and  sang  with  expression.  She  had  a 
voice  of  admirable  quality,  compass,  and  truth, 
but  did  not  receive  the  instruction  which  should 
have  developed  its  advantages,  and  enabled  her 
to  avoid  those  faults  and  imperfections  which 
are  inevitable  without  it.  She  made  her  d^ut 
at  Venice  in  1847,  and  the  beauty  of  her  voice 
ensured  her  a  brilliant  success,  which  was  con- 
firmed when  she  sang  in  Verdi's  '  AttiUh*  at  the 
theatre  of  Udine  on  July  24,  and  in  'I  Due 
Foccari."  Coming  now  to  London,  in  the  height 
of  her  tame,  she  Italianised  her  name,  and  be- 
came known  as  Cruvelli,  on  her  appearance  in 
*Le  Nozze  di  Figaro,'  and  ever  after.  The  rSle 
of  the  Countess  was  not  suited  to  her  fiery  style, 
nor  was  the  comparison  between  her  and  Jenny 
Lind,  who  played  Susanna,  to  her  advantage. 
After  this  partial  failure,  she  returned  to  Italy, 
and  continued  to  earn  success  by  the  mere  beauty 
of  her  organ,  and  even  by  the  exaggeration  of 


i22 


CRXJVELLX. 


her  dramtttic  effects.  In  185 1  she  went  to  Paris, 
where  she  had  sung  in  concerts  before  her  first 
appearance  in  Italy.  She  appeared  with  immense 
success  in  '£mani*  at  the  Th^&tre  Italien,  for 
Verdi's  music  seemed  made  for  her.  She  sang 
again  in  London  that  year,  and  was  very  suc- 
cessful, in  spite  of  many  fetults.  Beside  her 
splendid  voice,  she  had  a  veiy  fine  face  and 
figure,  ahd  enormous  eneigy  of  accent  and 
dramatic  force :  her  performance  in  'Fidelio*  was 
especially  adminble.  In  Jan.  1854  she  was 
engaged  at  the  Grand  Op^ra  at  Paris,  and 
appeared  as  Valentine  in  '  Les  Huguenots,*  when 
the  enthusiasm  of  the  public  knew  no  bounds. 
But  a  violent  reaction  soon  succeeded,  and  the 
last  opera  in  which  she  preserved  some  of  her 
former  popularity  was  the  'VSpres  Siciliennes' 
of  Verdi.  In  this  work  she  exercised  the 
greatest  control  of  voice  and  action :  it  was  her 
last  rd/e.  I|i  the  following  winter  she  retired, 
and  married  the  Comte  Vigier.  [J.M.] 

CRWTH   (i.e.  Crooth)   or  CROWD,  as  far 

as  we  know  the  oldest  stringed  instrument 
played  with  the  bow;  probably  at  home  in 
India,  but  in  its  European  use  apparently 
limited  to  England,  ahd  especially  to  Wales. 
It  is  first  mentioned  in  some  elegiacs,  written 
about  1609,  by  Venance  Fortunate  Bishop  of 
Poitiers,  running  thus : 

'Romanusque    lyra   plaudat    tibl,    Barbarus 

harpa, 
Graecus  achilliaca,  chrotta  Brittanna  canat.' 


CRYSTAL  PALACE  CONCERTS. 

hear  it  mentioned  again  by  Daines  Bamngton, 
a  Welsh  judge  and  archaeologist,  who  relates  thftt 
he  knew  one  John  Morgan,  bom  1711  in  the 
isle  of  Anglesey,  who  still  played  the  crwth. 
Bingley  also  hesjxl  it  played  at  Carnarvon  as  late 
as  1 801 ;  but  it  is  now  entirely  out  of  use.  In 
its  later  form  it  was  mounted  with  six  strings,  four 
stretched  over  the  finger-board  and  pUy^  with 
the  bow,  and  two,  lying  at  the  side  of  the  finger- 
board,  pinched  with  the  thumb  of  the  left  hand. 
The  strings  were  tuned  either  as  (a)— according 
to  Edwarcl  Jones,  the  celebrated  Welsh  harp- 
player — 

(•)  (6) 


$ 


f 


^    J    ^1     I     ^     J^^ 


Its  oldest  form  was  probably  the  '  crwth  trithant,* 
or  with  three  strings,  pictures  of  which  are  found 
in  manuscripts  of  the  iith  century.     We  first 


flDger^bouiL  ^^ 

or  as  (h) — according  to  Bingley  (' Musical  Bio- 
graphy,* 1 81 4).  The  sound -holes  are  perfectly 
circular,  and  have  a  diameter  of  i^  inch.  The 
bridge  does  not  ttand  straight,  but  inclines  to- 
ward the  right,  and  its  left  foot,  which  is  2^ 
inches  in  length  (while  the  right  foot  measores 
only  ^  of  an  inch),  passes  through  the  sound-hole 
and  rests  on  the  back  of  the  instrument,  thus 
acting  the  part  of  the  sound-post  in  the  violin. 
The  crwth  is  2  2^  inches  in  length ;  its  width  near 
the  tailpiece  is  10^  inches,  near  the  top  9  inchoi  ; 
the  height  of  the  sides  is  2  inches.  [P*^l 

CRYSTAL  PALACE  SATURDAY  CON- 
CERTS,  of  orchestral  and  vocal  music.    These 
concerts   were   begun  on  Sept.  22,    1855,  and 
assumed  their  present  well-known  character  in 
i860,  after  the  construction  of  the  concert-room. 
They  have  been  throughout  under  Ihe  direction 
of  Mr.  Manns,  their  present  conductor.    The 
concerts  begin  with  the  first  Saturday  in  Oc- 
tober, and  last,  with  an  interval  at  Chrtstnuw, 
till  the  end  of  April.      The  orchestra  oonsistji 
of  16  first  and  14  second  violins,  11  violas,  10 
cellos,  and  10  double  basses,  with  single  wind, 
etc.     The  chorus,  who  appear  only  occasionally, 
are  300  strong.  The  solo  players  are  the  greati^t 
who  can  be  obtained.    The  programmes  usually 
contain  2  overtures,  a  symphony,  a  concerto,  or 
some  minor  piece  of  orchestral   music,  and  4 
songs.     The  distinguishing  feature  of  the  con- 
certs  is  their  choice   and   performance  of  or- 
chestral music.     Not  to  mention  the  great  works 
of   Haydn,    Mozart,    Beethoven,    MendeUsohn, 
Spohr,  Weber,  and  other  time-honoured  classics, 
the   audience   were   familiar  with  Schumann's 
symphonies  and  overtures,  and  with  Schubert's 
symphonies  and  Rosamunde  music,  at  s  time 
when  those  works  were  all  but  unknown  in  the 
concert-rooms  of  the  metropolis.    Mendelssohn's 
Reformation  Symphony  whs  first  played  here; 
so  was  his  overture  to  Camacho ;  Braluns's  Sym- 
phony.  Pianoforte    Concerto,   Variations  on  » 
theme  of  Haydn  s,  and  Song  of  Destmy:  'R»^* 
Lenore  and  G  minor  Symphonies;    Warner's 
Faust  Overture ;  Sullivan's  Tempest  Muaic  and 
Symphony  in  E ;    Benedict's  Symphony  in  G 


CRYSTAL  FALACE  CONCERTS. 

mmor,  and  many  other  works  were  obtAined 
[0hen  in  MS.)  and  performed  before  ihey  were 
bsaud  in  any  other  place  in  the  metropolis. 
Bennett  *8  'Pansina'  was  first  played  there  after 
an  interval  of  a  quarter  of  a  century. 

A  dispoation  is  apparent  in  the  managers  of 
tLese  concerts  to  present  the  audience  with 
pieces  of  special  interest ;  such  as  the  MS. 
works  of  Schubert,  and  of  Mendelssohn;  Bee- 
t]M)Ten*8  arrangement  of  his  Violin  Concerto  for 
the  piano,  and  his  Leonora  Overture,  *  No.  a ' ; 
an  alternative  Andante  written  by  Mozart  for 
his  Parisian  Symphony;  the  first  veruion  of 
Mendelssohn's  Hebrides  Overture^  and  other 
rare  treasures  of  the  same  nature. 

The  performances  are  of  tiiat  exceptional 
quality  which  might  be  inferred  from  the  ability, 
energy,  and  devotion  of  the  conductor,  and  from 
the  fact  that  owing  to  the  wind  and  a  portion 
of  ^e  strings  of  the  orchestra  being  the  per- 
manent band  of  the  Crystal  Palace,  Mr.  Manns 
has  opportunities  for  rehearsal  which  are  en- 
jojed  by  no  other  conductor  in  London.  [G.] 

CSAEDAS.  A  national  dance  of  Hungary, 
which  oanaists  of  two  movements,  an  andante  and 
an  allegro,  both  in  common  (4-4  or  a-4)  time 
and  in  the  same  key.  The  andante,  which  is 
wrtUen  in  the  Hungarian  Lied-form,  has  usually 
no  repeats ;  but  the  Allegro  consists  generally  of 
eight-  and  sizteen-bar  phrases  which  are  repeated. 
The  character  of  the  latter  is  wild  and  impetuous, 
and  the  whole  is  sometimes  in  a  major  key, 
sometimes  in  alternating  majors  and  minors. 
The  music  of  the  cs^rdils  is  always  performed 
by  gipsies,  and  it  partakes  strongly  of  the 
]»culiar  character  of  Hungarian  national  music, 
in  its  accents  on  the  weak  beats  of  the  bar,  its 
cadences,  etc.  An  example  of  the  csArdAs, 
which  is  too  long  to  be  quoted  here,  may  be 
eee  at  p.  91  of  F.  L.  Sdiubert*8  'Die  Tanz- 
musik,'  from  which  book  the  above  particulars 
are  derived.  LEP-] 

CUDMOBE,  Richard,  was  bom  at  Chichester 
in  1 787,  and  received  his  first  instruction  in  music 
from  James  Forgett,  an  organist  in  that  city.  At  a 
very  early  age  he  became  a  proficient  on  the  violin, 
and  at  eleven  years  old  was  placed  under  Salomon. 
The  next  year  he  led  the  band  at  the  Chichester 
Theatre,  and  was  engaged  in  the  orchestra  at 
the  Italian  Opera,  London.  He  next  resided  for 
nine  years  in  Chichester,  and  then  removed  to 
London  for  the  purpose  of  studying  the  piano- 
forte under  Woelfi,  and  became  a  member  of  the 
Philharmonic  Society^s  band.  He  afterwards 
settled  in  Manchester  as  leader  of  the  Gentle- 
men^B  Concerts  there.  He  composed  several  con- 
certos for  the  violin  and  others  for  the  pianoforte, 
as  also  an  oratorio,  *The  Martyr  of  Antioch' 
(pnblished)  portions  of  which  were  performed  in 
ilanchester  and  Liverpool.  Cudmore  died  at 
Manchester  in  January  1 841 .  [W.  H.  H.] 

CUE,  i.  e.  queue,  the  tail  of  the  preceding  pas- 
lage.  Where  a  player  ot  singer  is  reading  from 
a  separate  part,  and  not  from  the  score,  some 
help  is  advisable  to  aid  him  in  coming  in  oor- 


CURIONL 


428 


rectly.  after  the  long  pauses.     A  few  notes  of 
some  other  part  immediately  preceding  the  en- 
trance of  his  own  are  therefore  printed  small  in 
the  stave  as  a  guide ;  and  this  is  called  a  cue  :^ 
AUo 


bo  •  •  •  • 


5 


£ 


et& 


I7  Bin^    ye    the  Lord   and 

CUMBERLANDS,  Rotal  SoorETT  op.  This 
is  an  ancient  society  of  change-ringers  long  es- 
tablished in  London,  and  originally  called  the 
Society  of  London  Scholars.  But  in  the  early 
part  of  the  i8th  century  some  members  of  the 
society  rang  the  bells  of  Shoreditch  Church  in 
honour  of  ti^e  pubUc  entrance  into  London  of  the 
Duke  of  Cumberland,  and  to  commemorate  this 
event  a  medal  was  presented  to  the  society  bearing 
a  likeness  of  the  Royal  Duke.  It  was  on  receipt 
of  this  that  its  members  changed  the  name  of 
their  society  to  that  of  *  Cumberland  Youths '  or 
•  Royal  CumberUnds.*  [C.  A.  W.  T.] 

CUMMINGS,  William  Hatman.  native  of 
Sidbury,  Devon,  bom  1835,  phiced  at  an  early 
age  in  the  choir  of  St.  Paul's  Cathedral,  and  after- 
wards in  that  of  the  Temple  Church.  On  leaving 
the  latter  he  was  appointed  organist  of  Waltham 
Abbey,  and  after  a  time  admitted  as  tenor- 
singer  in  the  Temple,  Westminster  Abbey,  and 
the  Chapels  Royal,  appointments  which  he  sub- 
sequently resigned.  Mr.  Cummings  is  much  in 
request  for  the  important  tenor  parts  in  Bach's 
Passion,  Bach's  Mass,  and  other  works  where  an 
accomplished  musician  is  as  necessary  as  a  good 
singer.  His  publications  include  several  prize 
glees,  a  Morning  Service,  an  Anthem,  various 
songs,  a  Cantata, 'The  Fairy  Ring,*  and  a  Primer 
of  the  Rudiments  of  Music  (Novello).  [G.] 

CURIONI,  a  seconda  donna,  engaged  at  the 
King's  Theatre  about  1754.  Among  other  parts, 
she  sang  that  of  Plistene,  a  male  character  in 
the  'Ipermestra*  of  Hasse  and  Lampugnani. 
She  was,  perhaps,  the  mother  of  Alberico 
CURIONI,  a  distinguished  tenor,  bom  about  1790. 
After  singing  at  the  San  Carlo  at  Naples,  and 
other  theatres,  he  went  to  Barcelona,  and  had 
great  success.  Benelli,  catering  for  the  London 
Opera,  found  him  there  and  engaged  him  for  the' 
season  of  i8ai  at  £600.  He  had  a  very  sweet 
and  pleasing  voice,  was  a  very  agreeable,  if  not 
yet  a  great,  singer,  and  was  one  of  the  hand- 
somest men  that  ever  t^peared  on  the  Italian 
stage.  As  time  went  on,  his  talent  developed 
and  he  improved  in  dramatic  force  and  value. 
His  expression  and  taste  were  pure,  and  he  sang 
with  much  intelligence.  In  182 1  he  made  his  first 
appearance  in  London  as  Tito  with  Camporese. 
He  then  seemed  the  best  tenor  that  had  belonged 
to  the  theatre  for  some  time,  but  he  hardly  gave 
the  full  promise  of  his  future  excellence.  Curioni 
was  re-engaged  in  1822,  at  an  increased  salary, 
and  appeared  in  '  Otello '  with  renewed  ^dat ; 
and  again  in  '  La  Clemenza  di  Tito,'  in  '  La 
Donna  del  Lago,'  and  '  Ricciardo  e  Zoraide,'  in 
1823.  In  24  and  2^  he  was  again  engaged.  In 
the  latter  year  he  appeared  as  Orosmane  in 


424 


CfUKIONT. 


CUTLER. 


'PiefTO  rEremita,*  and  in  'Otello/  in  'CoA  fan 
tutte,'  and  '  II  Grodato.*  In  the  latter  opera  he 
reappeared  in  1826,  as  also  in  'Medea,  where 
he  was  very  effective  in  the  part  of  Giasone.  His 
portrait  was  drawn  by  Hayter  in  this  character, 
and  there  is  a  good  lithograph  of  it.  He  was 
re-engaged  in  1827.  at  the  increased  salary  of 
£1450,  and  played  a  principal  part  in  Pacini's 
'Schiava  in  Bagdad.'  In  1828  he  was  again  at 
the  King's  Theatre,  where  he  was  heard  by 
Lord  Mount-Edgcumbe  in  1834,  singing  with 
undiminished  powers.  He  was  an  honorary  memr 
ber  of  the  Boyal  Academy  of  Muslc.  [J. M.] 

CCTRIOSO  INDTSCRETO,  IL.  An  opera  of 
Anfossi'g,  produced  at  Milan  in  1778;  of  little 
interest  for  the  present  day,  except  for  the  &ct 
that  Mozart  added  three  songs  to  it  on  the 
occasion  of  its  performance  at  Vienna  in  1 783. 
Two  of  these,  *Vorrei  spiegarvi'  and  *No,  no, 
no'  (bravura),  were  for  Madame  Lange;  the 
third,  'Per  pieta  non  ricercate,'  was  for  Adam- 
berger,  but  owing  to  a  trick  of  Saliexi's  was  not 
sung  (Kochel,  418,  419,  420). 

CURSCHMANN,  Karl  Fbiedrtch,  bom  at 
Berlin  June  21,  1805.  As  a  child  he  showed 
considerable  talent  for  music,  and  had  a  beau- 
t'ful  soprano  voice,  but  having  been  intended 
for  the  law  it  was  not  till  1824  that  he  decided 
to  adopt  music  as  a  profession.  He  studied 
for  four  years  under  Spohr  and  Hauptmann  at 
Cassel,  and  in  1824  settled  in  Berlin,  making 
occasional  concert  tours  in  Germany,  France,  and 
Italy.  He  died  in  the  prime  of  life  Aug.  24, 
1 841.  Gurschmann's  fame  rests  on  his  'Lieder.' 
He  was  the  favourite  song-wilfcer  before  Schu- 
bert's songs  were  known,  and  when  Schumann 
had  scarcely  attempted  vocal  composition.  His 
songs  are  full  of  real  melody,  and  if  they  do  not 
possess  the  intensity  of  expression  wluch  cha- 
racterise the  creations  of  Schubert,  Schumann, 
and  Brahm«i,  they  are  fax  superior  to  the  shallow 
productions  which  deluged  Germany  at  that  and 
a  later  period.  The  &ct  that  many  of  them 
are  still  sung  speaks  much  for  their  inherent 
merit.  Gurachmanp's  collected  'Lieder'  (3  vols., 
Berlin,  1871)  comprise  83  solos,  and  9  songs  in 
2  and  3  parts.  A  few  of  them  have  Italian 
words.  Among  his  other  works  may  be  men- 
tioned a  one-a?t  opera,  'Abdul  und  Erinnieh,-' 
written  and  performed  at  Cassel,  and  some 
church  music  now  forgotten.  In  England  he  is 
b<»t  known  by  his  song '  In  every  opening  flower' 
and  hie  trios  'Ti  prego*  and  '  Addio,'  the  former 
a  general  favourite  with  amateurs.  [A.M.] 

CUSANINO.    See  Cabbstini. 

CUSHION  DANCE  (i.e.  possibly  'kissing- 
dance').  An  old  English  dance,  dating  from  the 
beginning  of  the  i6th  century — especially  used  at 
weddings.  The  curious  old  melody  is  as  follows : — 


i^-j  i  r  riar-e^J  J  ji.'-J 


?jp'a  jrr  rir-^-rf-.Vr^-i: 


df/  .J  J  jfljJi^ 


T=i: 


$ 


X 


m 


jjir  rr-^r 


zz: 


m 


31:1 


[E.P.] 

CUSINS,  WiLLiAic   Grobgb,    waa  bom  in 
London,  Oct.  14,  1833,  and  in  his  tenth  year 
entered   the  Chapel   Royal,    as    so   many  good 
English  musicians  have  done   before   him.    In 
1844    he    entered    the   Brussels    Conservatoire 
under  F^tis  for  the  study  of  the  piano,  violin, 
and  harmony.     In  47  he  gained   the   King's 
Scholarship  at  the  R.  A.  M.  of  London,  wb^ 
his  Professors  were  Potter,  Stemdale  Bennett, 
Lucas,  and  Sainton.    In  49  his  schohurafaip  was 
prolonged  for  two  years  and  he  made  his  first 
appearance  in  public  as  a  piano  player  in  Men- 
delssohn's D  minor  Concerto,  and  as  composer 
with  a  MS.  overture.     In  49  he  was  appointed 
organist  to  the   Queen's  Pnvate    Chapel,   and 
entered  the  orchestras  of  the  Royal  Italian  Open 
and  the  principal  concerts  of  London,  in  which 
he  played  the  violin  for  about  five  years.     In  51 
he  was  appointed   Assistant  Professor  at  the 
R.  A.  M.  and  afterwards  Professor.     In  67  he 
became  Conductor  of  the  Philharmonic  Society, 
vice  Sir  W.  Stemdale  Bennett  resigned.     In  70 
he  was  appointed  Master  of  the  Music  to  the 
Queen;  in  75  succeeded  Bennett  as  examining 
Professor  at  Queen's  College ;  and  in  76  became 
joint  examiner,  with  Mr.  HuUah  and  Mr.  0. 
Goldachmidt,  of  scholarships  for   the  National 
Training  School  of  Music.     Besides  these  poeU 
Mr.  Cusins  has  been  often  before  the  public  as  a 
player  and  concert  giver,  having  amongst  other 
places  performed  at  the  Gewandhaus  Leipzig, 
and  at  Berlin,  as  well  as  the  Philharmonic  and 
Crystal   Palace  at    home.     His  works,   if  not 
numerous,  are  all  on  an  important  scale : — Boyal 
Wedding  Serenata  (1863) ;  Gideon,  an  oratorio 
(Gloucester,  1871)  ;  two  Concert  overtures,  'Lei 
Travailleurs  de  la  Mer'  (1869^,  'Loves Labours 
Lost'   (1875);    Piano  Concerto    in  A  minor; 
besides  marches,  songs,  etc. 

CUTELL,  Richard,  an  English  musician  of 
the  15th  century,  was  the  author  of  a  treatise  on 
counterpoint^  a  fragment  of  which  is  preserved 
among  the  manuscripts  in  the  Bodlean  Libraiy, 
Oxford.  [W.H.H.] 

CUTLER,  William  Henbt,  Mus.  Bac.,  was 
bom  in  the  city  of  London  in  1792.  Having 
manifested  a  precocious  musical  ability,  he  was 
instructed  in  pianoforte  playing  by  Little  and 
Gritfin,  and  in  singing  by  Dr.  Arnold.  In  1803 
he  became  a  chorister  of  St.  Paul's  Cathedral,  on 
quitting  which  he  studied  under  W^illiam  Bus- 
sell,  Mus.  Bac.  In  181 2  he  took  the  degree  of 
Bachelor  of  Music  at  Oxford,  his  exercise  for 
which  (an  anthem  for  voices  and  orchestra)  he 
afterwards  published.  In  181 8  he  was  ap- 
pointed organist  of  St.  Helen's,  BiBhupsgate, 
and  about  the  same  time  open^  an  academy 
for  teaching  music  on  Logier  s  system,  but  which 
he  gave  up  after  about  three  years'  trial.    In 


CUTLER. 

1S31  be  appeared  as  a  singer  at  the  oratorios  at 
Dnuy  Lsuie  Theatre,  but  failed  from  nervous- 
Des3.  In  1823  he  resigned  the  organistship  of 
Sc.  Helenas  for  that  of  Qaebec  Chapel,  Portman 
Square.  Cotler^s  compositions  comprise  a  ser- 
rioe,  anthomB^  songs,  and  numerous  pianoforte 
pieces.  [W.H.H.] 

CUVrLLON,  Jean  Baftibtb  Philemon  de, 
a  distinguished  violinist,  was  bom  at  Dunkirk  in 
1S09.  As  a  pupil  of  the  Paris  Conservatoire  he 
itudied  the  violin  under  Habeneck  sen.  and 
BaQlot,  and  composition  under  Beicha.  He  is 
ODOsidered  as  one  of  the  best  rmresentativee  of 
the  modem  French  school  of  violin-playing  at 
Paris,  where  he  occupies  the  post  of  professor  of 
the  violin  at  the  Conservatoire.  He  is  mentioned 
in  Killer's  '  Mendelssohn,*  pp.  20, 1 1 .  [P.  D.] 

CnZZOKI,  Fbanoesca.    See  Sandoni. 

CTMBAI^  are  a  pair  of  thin  round  metal 
plates,  with  a  leather  strap  through  the  centre 
of  each,  by  which  the  performer  holds  one  in 
each  hand.  The  metal  is  an  alloy  of  80  parts 
of  copper  to  20  of  tin.  To  produce  a  good 
tone  ^ey  should  not  be  struck  so  as  to  coincide 
tocher,  but  should  rather  be  rubbed  against 
each  other  in  a  single  sliding  motion  (French 
jrmmer).  The  part  for  the  cymbals  is  generally, 
bat  not  always,  the  same  as  that  for  the  bass- 
dram,  and,  from  motives  of  economy,  it  is  gene- 
rally played  bj  the  same  performer.  One  cymbal 
is  then  tied  to  the  drum,  and  the  other  held  in 
his  left  handy  while  his  right  hand  uses  the  drum 
■tick.  [V.deP.] 

CZAKAN,  or  Stock  flOte,  a  Bohemian  or 
Transylvanian  instrument  of  the  flageolet  family, 
Usually  standing  in  the  key  of  A,  though  made 
to  other  pitches.  It  is  said  to  have  l^n  lost 
for  many  years  i^ter  its  original  invention,  and 
to  have  been  rediscovered  in  a  Transylvanian 
monasteiy  in  1825.  However  this  may  be,  it 
rose  to  great  popularity  at  Vienna  about  1830, 
and  received  many  additions  and  improvements. 
It  consisted  of  a  large  flageolet  mouthpiece,  with 
a  long  slender  body,  bored  with  an  inverted 
conical  tube  like  that  of  the  old  flute,  at  right 
angles  to  the  mouthpiece.  It  thus  resembled  an 
ordinnry  handled  walking-stick,  and  indeed  was 
commonly  put  to  that  use.  It  had  the  octave 
scale  of  the  old  concert  flute,  with  fingering 
intermediate  between  that  and  the  oboe.  There 
was  also  a  small  vent-hole  for  the  thumb  at  the 
hack,  as  in  the  flageolet.  It  possessed  about  two 
octaves  compass,  starting  from  the  low  B  of  the 
fiate.  There  exists  a  Method  for  this  almost 
forgotten  instrument  by  Kramer  dated  1830. 
Its  music  appears  to  have  been  written  in  the 
key  of  Q.  [W.H.S.] 

CZAR  XTND  ZIMMERMANN.  Opera  in  3 
acts,  by  Lortzing ;  produced  in  Berlin  1854,  and 
at  the  Gaiety  Theatre,  London,  translated,  as 
'Peter  the  Shipwright,'  April  15, 187 1. 

GZERNY,  Kabl,  excellent  pianoforte  teacher 
and  prolific  composer,  bom  at  Vienna  Feb.  21, 
1791.    His  fiither,  a  cultivated  musician,  taught 


CZERNY. 


425 


him  the  pianoforte  when  quite  a  child,  and  at 
the  age  of  ten  he  could  play  by  heart  the  princi- 
pal compositions  of  all  the  best*  masters.  He 
gained  much  from  his  intercourse  with  Wenzel 
Krumpholz  the  violinist,  a  great  friend  of  his 
parents,  and  a  passionate  adimrer  of  Beethoven. 
Having  inspired  him  with  his  own  sentiments, 
Krumpholz  took  his  small  friend  to  see  Beethoven, 
who  heard  him  play  and  at  once  offered  to  teach 
him.  Czemy  made  rapid  progress,  and  devoted 
himself  especially  to  the  study  of  the  works  of 
his  master,  whose  friendship  for  him  became 
quite  paternal.  Gzemy  also  profited  much  by 
his  acuuaintance  with  Prince  Liichnowsky,  Bee- 
thoven s  patron;  with  Hunmiel,  whose  playing 
opened  a  new  world  to  him ;  and  with  dementi, 
whose  method  of  teaching  he  studied.  He  was 
soon  besieged  by  pupils,  to  whom  he  communicated 
the  instruction  he  himself  eagerly  iinbibed.  In 
the  meantime  he  studied  composition  with  equal 
ardour.  Gzemy  was  always  reluctant  to  perform 
in  public,  and  early  in  life  resolved  never  to 
appear  again,  at  the  same  time  withdrawing 
entirely  from  society.  In  1804  he  made  prepa- 
rations for  a  professional  tour,  for  which  Beetho- 
ven wrote  him  a  flattering  testimonial,  but  the 
state  of  the  continent  obliged  him  to  give  up  the 
idea.  Three  times  only  did  he  allow  himself  to 
travel  for  pleasure,  to  Leipsic  in  1836,  to  Paris 
and  London  in  1837,  '^^  ^  Lombardy  in  1846. 
He  took  no  pupils  but  those  who  ^owed  special 
talent;  the  rest  of  his  time  he  devoted  to  self- 
culture,  and  to  composition  and  the  arrange- 
ment of  classical  works.  His  first  published  work 
'ao  Variations  concertants'  for  pianoforte  and 
violin  on  a  theme  by  Krumpholz,  appeared  in 
1805.  It  was  not  till  after  his  acquaintance  with 
the  publishers  Cappi  and  Diabelli  that  his  second 
work,  a  'Rondo  Brillante*  for  four  hands  fol- 
lowed (1 818).  From  that  time  he  had  difficulty 
in  keeping  pace  with  the  demands  of  the  pub- 
lishers, and  was  often  compelled  to  write  at 
night  after  giving  10  or  12  lessons  in  the  day. 
From  18 16  to  1833  Czemy  had  musical  per- 
formances by  his  best  pupils  at  his  parents'  house 
every  Sunday.  At  tiiese  entertainments  Bee- 
thoven ^a)  often  present,  and  was  so  charmed 
with  the  peaceful  family  life  he  witnessed,  as  to 
propose  living  there  entirely;  the  project  how- 
ever fell  through  owing  to  the  illness  of  the 
parents.  One  of  Czemy*s  most  brilliant  pupils 
was  Ninette  von  Belleville,  then  8  years  old,  who 
in  1816  lived  in  the  house,  and  aftorwards  spread 
the  fame  of  her  master  through  the  many  countries 
in  which  she  performed.  She  married  Oury  the 
violinist,  and  settled  in  London.  She  was  fol- 
lowed by  Franz  Liszt,  then  10  years  old,  whose 
father  placed  him  in  Czemy's  hands.  The  boy's 
extraoniinary  talent  astonished  his  master,  who 
says  of  him  in  his  autobiography  '  it  was  evident 
at  once  that  Nature  had  intended  him  for  a 
pianist.'  Theodor  Dohler  and  a  host  of  other 
disftnguished  pupils  belong  to  a  later  period. 
About  1850  Czemy's  strength  visibly  declined ; 
his  health  gave  way  under  his  never-ceasing 
activity,  and  he  was  compelled  to  lay  aside  Ms 


426 


CZERNY. 


DA  CAPO. 


indefatigable  pen.  His  active  life  closed  on  July 
15,  1857,  shortly  after  he  had,  with  the  help  of 
his  friend  Dr.  Leopold  von  Sonnleithner,  disposed 
of  his  considerable  fortune  in  a  princely  manner. 
Czemy  was  never  married,  and  had  neither 
brothers,  sisters,  nor  other  near  relations.  He 
was  modest  and  simple  in  his  manner  of  life, 
courteous  and  friendly  in  his  behaviour,  just  and 
kindly  in  his  judgment  on  matters  of  art,  and 
helpful  to  all  young  artists  who  came  in  his  way. 
His  disposition  was  so  gentle  that  he  shrank 
from  a  harsh  or  coarse  word  even  spoken  in  jest, 
which  was  partly  the  cause  of  his  living  so  much 
in  retirement.  His  industry  was  truly  astound- 
ing. Besides  his  numerous  printed  works,  which 
embrace  compositions  of  every  species  for  piano- 
forte he  left  an  enormous  mass  of  MS.,  now  in 
the  archives  of  the  '  Gesellschafi  der  Musik- 
freunde*  at  Vienna.  These  compositions  com- 
prise 24  masses,  4  requiems,  ^00  graduales 
and  offertoires,  symphonies,  overtures,  concertos, 
string-trios  and  quartets,  choruses,  songs  for  one 
or  more  voices,  and  even  pieces  for  the  stage. 
His  book  '  Umriss  der  ganzen  Musikgeschichte  * 
was  publishefi  (1H51)  by  Schott  of  Mayence,  and 
in  Italian  by  Ricordi  of  Milan.  His  arrange- 
ments of  operas,  oratorios,  symphonies,  and  over- 
tures for  2  and  4  hands,  and  for  8  hands  on  2 
pianofortes  are  innumerable.  As  a  special  com- 
mission he  arranged  the  overtures  to '  Semiramide ' 
and  '  Guillaume  Tell  *  fur  8  pianofortes  four  hands 
each.  An  arrangement  for  pianoforte  of  Beetho- 
ven*8  'Leonora,*  which  he  made  in  1805,  was  of 


great  service  in  training  Czemy  for  this  kind  of 
work.  He  says  in  his  Autobiography,  *  It  is  to 
Beethoven's  remarks  on  this  work  that  I  owe  the 
facility  in  arranging  which  has  been  so  useful  to 
me  in  later  life.'  His  printed  compositions 
amount  to  nearly  1000 :  of  which  many  consbt 
of  50  numbers  or  even  more.  A  catalogue  con- 
taining op.  1-798,  with  the  arrangements  and  the 
MS.  works,  is  given  in  his  '  School  of  practical 
composition*  (op.  600,  3  vols.  Cocks  and  Co.). 
Czemy's  pianoforte  compositidns  may  be  divided 
into  three  classes,  scholastic,  solid,  and  brilliant 
The  best  of  all,  especially  if  we  include  the  earlier 
works,  are  undoubtedly  the  acholastic,  op.  299, 

3<»,  3^5,  355.  399'  40o»  *»<!  500*  published  under 
the  title  'Complete  Theoretical  and  Practical 
Pianoforte  School'  (3  vols.  Cocks).  Howexer 
worthy  of  admiration  Czemy^B  industiy  nuy 
be,  there  is  no  doubt  that  he  weakened  his 
creative  powers  by  over-production,  and  the  effect 
has  been  that  the  host  of  leaser  works  have 
involved  the  really  good  ones  in  undeserved 
forgetfulnees.  [C.F.P.] 

CZERWENKA,  Joseph,  bom  at  Benadek  in 
Bohemia  1759,  died  at  Vienna  1835,  one  of  the 
finest  oboists  of  his  time.  In  1 789  entered  the 
private  band  of  Count  Schafgotsche  at  Johanniii- 
berg  in  Silesia.  In  the  following  year  played  in 
Prince  £sterhazy*s  band,  under  Haydn,  where 
his  uncle  played  the  bassoon.  In  1 794  he  settled 
in  Vienna  as  solo  oboist  in  the  Imperial  band, 
and  the  Court  Theatre,  and  professor  at  Uie 
Conservatorium.     He  retired  in  i Sao.  [M.C.C.J 


CANTABILE,  i.  e.  singable,  a  direction  placed  against  an  iiutrumental  phrase  when  it  is  to  be 
'sung'  with  feeling.  Beethoven  does  not  often  use  it,  and  when  he  does  it  is  always  with  special 
intention,  as  in  the  2nd  subject  of  the  Larghetto  of  the  Bb  Symphony,  and  in  the  semiquaver  figure 
in  the  working  out  of  the  first  movement  of  the  9th  Symphony : — 


i 


s 


-4-»- 


T 


He  has  before  marked  it  '  expre$isivo* — but  now  it  is  as  if  he  said  'you  may  see  no  special  melody 
in  this  group,  but  /  do,  and  will  have  it  played  accordingly.' 


Cantabile 


■*-*- 


CaiUidbiU 


■■^r  I  r^iJrp  i  f.j^=^ 


^^^^1 

^ 


I 


Fid,  2 


D. 


DThe  second  note  of  the  natural  scale.     In 
solfaing  it  is  called  Ee.     The  scale  of  D 
*  major  contains  F^  and  C%,  and  its  relative 
minor  is  B  ;  that  of  D  minor  contains  Bb,  and  its 
relative  major  is  F.     The  dominant  of  D  is  A. 

Among  the  most  important  compositions  in  D 
major  are  the  Missa  Solennis  and  and  Symphony 
of  Beethoven;    Handel's  Dettiiigen  Te  Deum; 


MozJirt's  Parisian  Symphony.  In  D  minor  there 
are  a  noble  Toccata  and  Fugue  by  Bach;  the 
Choral  Symphony,  Schumann's  Do.  No.  4,  Psdo- 
forte  Concertos  by  Mendelssohn  and  Brahma,  etc. 

DA  CAPO,  or  D.C.— 'firora  the  beginning- 
is  placed  at  the  end  of  the  second  part  of  an  air, 
or  chorus  ('  O  the  pleasure'),  or  scherzo  and  trio, 
or  other  movement  in  two  portions,  to  show  thai 


DA  CAPO. 

ihe  first  poitum  is  to  be  played  over  agun  m 
a  oondiiaion.  In  ain  the  diiectiom  is  often  Dal 
Segno — '&ain  the  sign' — the  sign  being  a  $  at 
the  beginning  of  the  first  portion.  In  acherzoe 
and  minaete,  with  trios,  the  direction  at  the  end 
of  the  trio  is  usually  *  Scherzo,  or  Minuetto,  D.G. 
eeiua  repetizione.'  The  first  known  occurrence 
of  Da  Capo  is  in  Tenaglia*s  opera  of  'Clearco' 
(1661). 

DACHSTEIN,  Wolfqang,  Roman  Catholio 
priest  at  Strassburg,  adopted  the  Reformed  prin- 
ciples in  1 5  24,  married,  and  became  vicar  and 
organist  of  St.  Thomases  Church  there.  He  is 
known  chiefly  as  a  composer  of  chorales,  especi- 
aUy  '  An  Wasserfliissen  Babylon.'  [M.  C.  C] 

DACTYL,  a  metrical  'foot*  (-v^O*  exactly 
expressed  by  the  original  word  fturrvAot,  a  finger 
— one  long  joint  and  two  short  ones.  A  fine 
example  of  dactyls  in  instrumental  music  is  in 
the  slow  movement  of  Beethoven's  7th  Sym* 
phony,  alternately  with  spondees,  or  alone : — 


DALLAM. 


127 


i^^^i\i.i\iA'^^ 


etc. 


DaLAYRAC,  Nicolas,  a  celebrated  French 
eomposer,  was  bom  at  Muret  (Languedoc)  in 
1753.  H.i8  &ther  occupied  a  high  dvil  appoint- 
ment in  his  province,  and  in  spite  of  his  son's 
euiy  passicn  for  music  destined  him  for  the  bar. 
His  studies  of  the  violin  were  put  a  stop  to,  and 
it  is  said  that  the  young  enthusiast,  in  order  to 
play  without  interruption,  used  every  night  to 
uoend  the  roof  of  the  house.  This  however  in- 
terfered with  the  nocturnal  exercises  of  a  neigh- 
bouring nunnery.  But  the  complaints  of  the 
pious  damsels  addressed  to  his  £suier  ultimately 
led  to  the  fulfilment  of  young  Dalayrac's  dearest 
wiflh.  His  aversion  to  the  law  was  considered 
conclusive,  and  he  was  sent  in  1774  to  Paris» 
where  a  cranmission  in  the  guards  of  the  Count 
of  Artois  had  been  obtained  for  him.  But  the 
lore  of  his  art  was  proof  against  the  attraction 
of  a  military  career.  Immediately  on  his  arrival 
in  the  capital  he  took  lessons  in  harmony  from 
Lsngle,  and  soon  made  his  d^but  as  a  dramatic 
oompoeer  with  a  comic  opera  called  'Le  petit 
Sooper/  first  performed  at  the  French  court  in 
1 78 1.  Encouraged  by  this  success,  he  produced 
m  die  following  year  an  opera,  'L*Eclipse  totale,' 
at  the  Op^ra  Comique.  Tnis  also  was  successful, 
ai^  secured  Dalayrac's  position  amongst  the  best 
and  most  fertile  composers  of  his  time.  He  con- 
tinued for  the  remainder  of  his  life  producing 
operas  at  the  rate  of  one  or  two  a  year.  Not 
even  the  Reign  of  Terror  interrupted  or  in  any 
way  influenced  the  inexhaustible  productiveness 
of  his  pen.  Two  of  his  most  charming  operas, 
'L'actrioe  chez  elle*  and  *Ambroise,  ou  Voilk 
ma  joumee,*  bear  the  terrible  da'ie  of  1793.  In 
1790  he  lost  much  of  his  property,  but  in  spite 
of  this  misfortune  he  refused  to  avail  himself  of 
hia  father^s  will,  which  excluded  his  younger 
brother  from  a  share  in  the  family  property. 
At   the    beginning    of    the    century    he    was 

made  a  chevaUer  of  the  Legion  of  Honour  by 


Napoleon,  and  he  died  in  1809  at  Paris.  Of  the 
numerous  works  of  Dalayrac  none  have  survived. 
The  titles  of  the  more  important  ones  may  be 
cited :— 'LeCorsau^'  (1783),  'L'Amant  Statue' 
(1785),  'Nina*  (1786),  'Az^mia'  (one  of  his  best 
works,  first  performed  on  May  3,  1787),  *Raoul 
de  Cr^qui'  (1789),  'Fanchette'  (same  year)^ 
'Ad^le  et  Dorsan'  (1794).  'Adolphe  et  Ckra' 
(1799),  'Maison  i  vendre'  (1800),  'Une  Heure 
de  Marriage'  (1804),*  Le  Po^te  et  le  Musicien' 
(first  performed  in  181 1,  two  yean  after  the 
composer's  death),  and  many  others. 

Amongst  the  earlier  composers  of  the  modem 
French  school  of  dramatic  music  Dalayrac  takes 
a  high  position.  To  us  his  means  of  expression 
appear  primitive,  but  considering  the  date  of  his 
earlier  works,  his  skill  in  orchestral  treatment, 
and  his  keen  perception  of  dramatic  eflects  and  pro- 
prieties, are  by  no  means  of  a  despicable  order. 
The  op6n  comique,  consisting  of  simple  airs  and 
short  ensembles,  was  his  favourite  mode  of  pro- 
duction. Such  a  work  as  the  one-act  operetta 
*Maison  h  vendre'  is  not  deprived  of  a  certain 
archaic  charm  even  at  the  present  day.  lise's 
song  'Fies  vous,*  with  which  it  opens,  a  piece 
of  music  much  affected  by  our  great-gnmd- 
mothers,  is  a  charming  specimen  of  the  French 
romance,  and  the  finale  of  the  same  work  is  re- 
markable for  the  skilful  and  fluent  treatment  of 
the  vocal  parts.  The  same  feature  is  noticeable 
in  his  more  elaborate  compositions,  as  for  instance 
in  the  finale  of  '  Az^mia,'  which  winds  up  with 
a  charming  bit  of  choral  writing.  It  may  briefly 
be  said  that  Dalayrac's  style  contains,  although 
in  a  somewhat  embryonic  stage,  all  the  qualities 
which  have  made  the  French  school  justly  popular 
in  Europe.  He  is  a  unit  amongst  a  galaxy  of 
brilliant  stars.  His  daim  to  remembrance  lies 
perhaps  less  in  his  individual  merits  than  in  the 
net  that  without  him  and  other  composers  of  hia 
type  and  epoch  there  would  have  been  no  Gr^try, 
no  Auber,  and  no  Boieldieu.  -  [P'H.] 

DALLAM  (spelt  also  Dalhax,  Dallum,  and 
Dallans),  the  name  of  a  fiunily  of  Ei^lish 
organ-builders  in  the  17th  century.  The  eldest 
was  employed  in  1605-6  to  build  an  organ  for 
King  8  College,  Cambridge,  for  which  purpose  he 
closed  his  workshop  in  London  and  removed  his 
whole  establishment  to  Cambridge.  He  and  his 
men  were  lodged  in  the  town,  but  boarded  in  the 
College  Hall.  Dr.  Rimbault  ('History  of  the 
Organ')  gives  a  very  curious  account  of  every 
item  paid  for  building  this  organ.  It  was  de- 
stroyed in  the  time  of  the  Long  Parliament,  but 
the  case,  with  some  alterations,  remains  to  this 
day.  This  Dallam's  Christian  name  does  not 
appear  in  the  college  books,  but  he  is  most  pro- 
baoly  identical  with  Thomas  Dall&m.  who  built 
an  organ  for  Worcester  Cathedral  in  1613.  The 
three  following  were  probably  his  sons : — 

Robert,  bom  1603,  died  1665,  and  buried  in 
the  cloisters  of  New  College,  Oxford,  for  which 
ooUege  he  built  the  organ  ;  but  his  principal  work 
was  that  of  York  Minnter,  since  destroyed  by 
fire.  He  also  built  similar  oigans  for  the  cathe- 
drals of  St.  Paul  and  Durham. 


428 


DALLAM. 


Ralph  built  the  organ  for  St.  George's  Chapel, 
Windsor,  at  the  Restoration,  as  well  as  those  at 
Rugby,  Hackney,  and  Lynn  Regis.  The  Windsor 
organ  is  still  preserved  at  St.  Peter's-in-the-East, 
St.  Alban's.  He  died  while  making  the  organ  at 
Greenwich  Church,  begun  by  him  in  Feb.  1672. 
James  White,  his  partner,  finished  it  1673. 

Geobgb  lived  in  Purple  Lane  in  1673,  and  in 
1686  added  a  'chaire  organ'  to  Harris's  instru- 
ment in  Hereford  Cathodal.  [V.deP.] 

DAL  SEGNO,  'from  the  sign,'  or  al  Segno, 
'to  the  sign' ;  the  'sign'  being  a  S-,  probably  a 
capital  S.  '  Da  capo  al  S^fno  -IS'* '  is  the  full 
direction,  as  at  the  end  of  the  second  part  of  , 
'Consider,  fond  shepherd'  in  'Acis,'  the •^- being 
in  bar  2  of  the  first  part. 

DAMASCENE,  Albxandbr,  a  foreigner,  of 
probably  Italian  extraction,  but  French  birth, 
who,  on  June  26,  1682,  obtained  letters  of 
denization  in  England,  was  an  alto  singer.  On 
August  30,  91,  Damascene  was  sworn  in  as  a 
gentleman  extraordinary  of  the  Chapel  Royal, 
and  on  the  death  of  Henry  Purcell  in  95  was 
advanced  to  a  full  place.  He  died  July  14, 
1 719.  Damascene  was  a  prolific  song  writer, 
and  many  of  his  compositions  may  be  found  in 
the  following  collections,  viz.  'Choice  Ayres 
and  Songs,'  1676-84;  •  The  Theatre  of  Musick,' 
1685-87  ;  *  Vinculum  Societatis,'  1687-91  ; 
'The  Banquet  of  Musick,'  1688-92;  'Comes 
Anioris,'  1687-94;  'The  Gentleman's  Journal,' 
1692-94.  [W.H.H.] 

DAME  BLANCHE,  LA.  Op^ra  comique  in 
3  acts,  founded  on  Scott's  '  Monastery ' ;  libretto 
by  Scribe,  music  by  Boieldieu  ;  produced  at  the 
Opera  Comique  Dec.  io,  1825;  played  at  the 
same  theatre  for  the  1 000th  time  on  Dec.  16, 
62.  Produced  in  English  as  'The  White  Maid' 
at  Covent  Garden  Jan.  3, 18:27. 

DAMON,  William,  one  of  the  musicians  to 
Queen  Elizabeth,  harmonised  for  the  use  of  a 
friend  the  psalm  tunes  then  in  conmion  use,  to 
the  number  of  about  forty.  His  friend,  in  1 5  79, 
published  them  under  the  following  title : — 'f  The 
Psalmes  of  David  in  English  Meter  with 
Notes  of  foure  partes  set  unto  them  by  Guilielmo 
Damon,  for  John  Bull  [who  is  called  in  the 
preface,  'Citezen  and  Goldsmith  of  London '],  to 
the  use  of  the  godly  Christians  for  recreatyng 
themselves  in  stede  of  fond  and  unseemly  Bal- 
lades. At  London,  Printed  by  John  Daye. 
Cum  privilegio.'  Tliis  work  seems  to  have  been 
but  ill  received,  and  Damon  set  himself  to  work 
to  reharmonise  the  tunes.    The  new  work  was 

Sublished  in  1591  with  the  title  of  'HThe  foimer 
»ooke  of  the  Musicke  of  M.  William  Damon, 
late  one  of  her  Majesties  Musitions,  containing 
all  the  tunes  of  David's  Psalms,  as  they  are 
ordinarily  soung  in  the  Church :  most  excellently 
by  him  composed  into  4  partes.  In  which  sett 
the  Tenor  singeth  the  Church  tune.  Published 
for  the  recreation  of  such  as  delight  in  M  usicke  by 
W.  Swayne,  Gent.  Printed  by  T.  Esie,  the  assign^ 
of  W.  Byrd,  1591.'  The  work  is  in  two  parts, 
the  second  being  entitled  '  ^  The  second  Booke 


DAMOREATJ. 

of  the  Musicke  of  M.  William  Danum,  contain- 
ing all  the  Tunes  of  David's  Psalms,  differing 
from  the  former  in  respect  that  the  highest 
part  singeth  the  Church  tune.*  [W.H.H.] 

DAMOREATJ,  Laure  Cinthik  Mostalaxt, 
bom  at  Paris  Feb.  6,  i8or,  was  admitted  into 
a  vocal  class  at  the  Conservatoire  Nov.  28, 180S. 
She  made  quick  progress,  and    soon   began  to 
study  the  piano.     In  18 14  she  left  the  piano- 
cl^ss  to  enter  that  of  vocalisation.     She  began 
her  career  by  giving  some  concerts  which  were 
not  successful.     Engaged  at  the  Th^tre  Italien 
in  second  parts  at  the  age  'of  18,  Mile.  Cinti, 
as  she  now  called  herself^  made  her  first  appear- 
ance as  Cherublno  in  'Le  Nozze.'     She  played 
the  part  with  great  charm  and  graoe,  but  ha 
time  was  not  yet  come.    It  was  not  till  1821 
that  she  attempted  principal  parts.     In  22  she 
was  engaged  by  Ebers  for  the  London  opera,  at 
a  salary  of  £500.     She  was  young  and  pretty, 
her  manners  pleasing  and  elegant,  and  her  acting 
correct  and  unaffected,  if  not  forcible ;  but  her 
voice  was  not  strong  enough  for  the  size  of  the 
theatre,  and  she  created  Uttle  sensation.    She 
returned  to  Paris,  where  she  soon  began  to  take 
a  higher  place ;   her  salary  was  raised,  and  the 
arrival  of  Rossini  was  a  fortunate  event  for  her. 
She  made  her  d^but  at  the  Grand  Op^ra  Feb. 
34,  1826,  in  'Femand  Cortez,*  and  her  success 
was  complete.    Rossini  wrote  for  her  the  prin- 
cipal female  parts  in  the  'Siege  de  Corinthe' 
and  'Moise,'  which  contributed  to  her  reputation. 
In  consequence,   however,   of  some    misunder- 
standing with  the  management,  Cinti  quitted  the 
theatre  abruptly  in  27,  and  went  to  Brussels, 
where    she    excited    the    greatest    enthusiasm. 
Concessions  having  been  xnade  she  returned  to 
Paris ;  but,  before  leaving  Brussels,  was  married 
to  Damoreau,  an  unsuccessful  actor.    This  union 
was  not  happy.     Returned  to  Paris  she  resumed 
her  career,  singing  in  'La  Muette  de  Portici/ 
'Le  Comte  Ory,'  'Robert  le  Diable,'  and  'Le 
Serment,'  in  each  more  excellent  than  before. 
In  29  she  took  part,  with  Sontag  and  Malibrsn, 
in  the  '  Matrimonio  Segreto.'     Never  was  there 
a  more  brilliant  combination;    nor  did  Cinti 
suffer  by  comparison.    F^tis  boldly  declares  that 
she  now  became  one  of  the   best  singers  the 
world  has  known.    In  32  she  came  over  with  a 
French  company,  and  sang  at  Covent  Garden  in 
Meyerbeer's  'Robert  le  Diable.'    Her  engage- 
ment was  not  renewed  in  1835,  and  she  waB 
gladly  welcomed  at  the  Op^ra  Comique,  where 
Auber  wrote  for  her  such  works  as  the  '  Domino 
noir,'  'L'Ambassadrice,'  and  'Zanetta.'    Cinti 
retired  from  the  stage  in  1843,  sang  again  in 
London  in  that  year,  then  at  the  Hague,  at 
Ghent  in  1845,  at  St.  Petersburg,  at  Brussels  in 
1846,  and  made  a  tour  in  the  United  States  with 
the  violinist  Artot.     In  1834  she  had  been  ap- 
pointed professor  of  singing  at  the  Conser\'atoire 
m  Paris ;  this  place  she  resigned  in  1856,  and 
retired  to  Chantilly,  and  died  in  1863. 

Mme.  Cinti  published  an  'Album  de  romances, 
and  a  few  separate  pieces.     She  wrote  abo  a 
'M^thode  de  chant/  dedicated  to  her  pupils 


DAMOEEAU. 

Her  son  died  at  an  early  age  after  distisguiflhing 
himself  by  some  vocal  oompositions ;  Mid  her 
daughter,  a  singer,  married  M.  Weckerlin.  [J.  M.] 

DAMPER  (Ft.  rEtouffoir;  Ital.  SaltareUo, 
Sp(ymtoio,  or  Smorzo ;  Ger.  D&mpfer),  that  part 
of  the  action  of  a  pianoforte  contrived  to  stop 
tiie  ribration  of  tiie  strings  belonging  to  a  note 
when  the  finger  la  raised  from  the  key.  It  oom- 
praes  several  folds  or  thicknessea  of  doth  or  soft 
felt,  elevated  upon  a  wire  upright,  which  rest 
ipcm  or  press  upwards  against  the  strings  when 
iie  key  is  not  touched,  but  quit  the  strings  when 
the  key  is  pressed  down.  The  pedal  movement 
OKinected  with  the  dampers  removes  them  col- 
lectively from  the  strings,  and  so  long  as  the 
pedal  is  pressed  down  the  instrument  has  virtually 
no  dsmp^rs,  the  strings  continuing  to  sound  untU 
th^  vibrations  cease.  There  taee  no  dampers  to 
the  treble  notes,  as  the  duration  of  vibration  in 
this  part  of  the  scale  is  too  short  to  need  arresting. 
[See  PiAHOPOBTE.]  [A.  J.  H.] 

DANBY,  John,  bom  1757,  one  of  the  most 
distinguished  glee  composers  Between  1781  and 
94  be  obtained  ten  pnaes  from  the  Catch  Clab 
for  eight  g^ees  and  two  canons.  He  published 
thne  books  of  his  compositions,  and  a  fourth 
vas  issued  after  his  decease.  In  1787  he  pub- 
lished an  elementary  work  entitled  'La  Guida 
ilia  Masica  Vocale.  He  held  the  appointment 
of  organist  at  the  chapel  of  the  Spani^  embassy, 
near  Manchester  Square,  for  the  service  of  whidh 
he  composed  some  masses  and  motets.  He  died 
May  16,  1798,  during  the  performance  of  a  con- 
cert which  his  friendls  had  got  up  for  his  benefit^ 
he  having  lon^  lost  the  use  of  his  limbs  by 
bring  been  placed  in  a  damp  bed  at  an  inn. 
He  was  buried  in  Old  St.  Pancras  churchyard, 
vhere  an  altar  tomb  was  nused  to  his  memoiy. 
His  fine  glee,  'Awake,  ^olian  lyre  I '  will  not  soon 
be  forgotten.  [W.H.H.] 

BANCfi  MUSIC.  Music  designed  as  an 
accompaniment  to  dancing,  national,  social  or 
on  the  stage — the  ballet ;  also  music  written  in 
dance  rhythms  though  not  for  dancing  purposes, 
uch  as  the  Polonaises  of  Beethoven,  Weber, 
sod  Chimin;  Schulhors  'Yalsea  de  Concert,' 
Ii»t'i '  Galop  Chromatique.' 

Themusicof  theindividualdanoetuneshas  been 
oamined  under  the  separate  heads  of  Allemande, 
Bolero,  Courante,  Gigue,  Minuet,  Waltz,  etc. 
The  influeoce  of  the  £uioe  on»  music  in  general, 
ud  the  nuumer  in  which  it  gradually  communi- 
oted  the  rhythm  and  accent  which  are  its  very 
^x^ioe  to  the  unrhythmical  and  unaccented 
■traina  of  church  music,  and  thus  built  up  the 
&bric  of  modem  composition,  will  be  examined 
under  the  head  of  Bhtthm.  The  more  direct 
ud  material  connexion  between  the  Suite — 
a  mere  string  of  dances  in  one  key — and  the 
modem  Sonata  and  Symphony,  which  grew  out 
of  the  Soite^  will  be  most  conveniently  oiscussed 
i°>^r  the  last-named  headings. 

DANCE,  William.  An  English  musician 
whose  name  deserves  preservation  as  one  of  the 
foundeiB  of  the  Philharmonic  Sodety.    He  was 


BAKKEBTS. 


429 


bom  in  I755»  was  in  the  orchestra  of  the  Opera 
from  1775  to  93,  and  led  the  band  at  the  Handel 
Commemoration  of  1 790  in  the  absence  of  Cramer. 
He  died  full  of  years  and  credit  in  1840.  The 
circular  proposing  the  meeting  which  led  to  the 
formation  of  the  Philharmonic,  was  issued  by 
*  Messrs.  Cramer,  Conri,  and  Dance,^  from  Mr. 
Danoe*s  house,  17  Manchester  Street,  on  Sunday, 
Jan.  17,  1 81 3.  He  was  afterwards  one  of  the 
Directors,  and  Treasurer.  His  son  Henry  wm 
secretary  to  the  society  for  the  first  year,  1813. 

DANDO,  JoBEFH  Haydon  Boubnb,  was  bom 
in  Somers  Town  in  1806.  At  an  early  age  he 
conunenced  the  study  of  the  violin  undra*  his 
uncle.  Signer  Brandi.  In  1819  he  became  a 
pupil  of  Mori,  with  whom  he  continued  about 
seven  years.  In  1831  he  was  admitted  a  member 
of  the  Philharmonic  orchestra.  For  many  years 
he  filled  the  post  of  leader  of  the  bands  of  the 
Classical  Harmonists  and  Choral  Harmonists 
Societies  (both  now  extinct),  whose  concerts 
were  given  in  the  City.  Dando  was  the  first 
to  introduce  public  performances  of  instrumental 
quartets.  It  is  true  that  in  the  earlier  days  of 
the  Philharaionic  Society  a  quartet  occasionally 
formed  part  of  the  programme,  but  no  concerts 
consisting  exclusively  of  quartets  had  before 
been  given.  The  occasion  on  which  the  experi- 
ment was  first  tried  was  a  benefit  concert  got  up 
by  Dando  at  the  Horn  Tavern,  Doctors*  Com- 
mons, on  a3rd  Sept.  1835.  The  progranune  was 
entirely  composed  of  quartets,  trios,  etc.  The 
experiment  proved  so  successful  that  two  more 
similar  concerts  were  given  in  October,  each 
proving  more  attractive  than  its  precuiBor. 
Dando  then  formed  a  party  consisting  of  Henry 
Blagrove,  Henry  Gattie,  Charles  Lucas,  and 
himself,  to  give  regular  series  of  Quartet  Con- 
certs,  and  they  commenced  their  enterprise 
on  March  17,  1836,  at  the  Hanover  Square 
Booms.  They  continued  their  performances 
annually  until  43,  when  Blagrove  seceded  from 
the  party,  upon  which  Dando  assumed  the  first 
violin,  the  viola  being  placed  in  the  hands  of 
John  Loder.  Thus  constituted  they  removed  to 
Crosby  Hall,  where  they  continued  until  the 
deaths  of  Gattie  and  Loder  in  53  broke  up 
the  party.  Dando  occupied  a  prominent  position 
in  all  the  best  orohestras  until  75,  when  the 
fingers  of  his  left  hand  becoming  crippled  he  was 
compelled  to  desist  from  performing.  During 
his  long  career  he  has  ever  shown  himself  an  ex- 
cellent violinist  and  amiable  man.       [W.H.H.] 

DANIEL,  Hermann  Adalbert,  a  German 
theologian,  bom  181  a  at  Cothen  near  Dessau, 
professor  in  the  University  of  Halle.  His 
'Thesaurus  Hymnologicus*  (5  vols.  Loschke, 
Leipsio)  is  a  valuable  woric  on  the  history  of 
early  church  music  and  collection  of  hymns. 

[M.C.C.] 

DANKEBTS,  GmBKLAnr,  a  native  of  Tholen 
in  Zeeland,  and  a  singer  in  the  Pi^>al  Chapel  in 
the  middle  of  the  i6tii  oentury.  An  eight-part 
motet  of  his  composition,  '  IrfRtamini  in  Donuno,* 
is   included  in  Uhlaid*8  'Conoentus  octo  .  .  • 


430 


DANKEBTS; 


vocmn'  (Augsburg  1545),  and  a  six-part  motet 
'Toa  est  potentia'  in  the  'Selectissinue  cantiones 
ultra  centum*  (Augsburg  1 540).  Also  two  books 
of  madrigals  for  4, 5,  and  6  voices  were  published 
by  Gardano  (Venice  1559). 

Notwithstanding  the  new  school  of  composers, 
already  well  established  in  Borne,  with  Costanzo 
Festa,  Arcadelt,  etc.  at  its  head,  there  were  still 
many  conserratiye  musidans  in  that  city,  and 
Pankerts  was  one  of  them,  who  adhered  strictly 
to  the  old  Netherland  school,  and  remained  un- 
influenced by  the  new  art  that  had  grown  up 
around  them.  He  gained  great  celebrity  as  judge 
in  the  dispute  between  two  ecclesiastical  musicians, 
Vicentino  and  Lusitano,  upon  the  nature  of  the 
scales  on  which  the  music  of  their  time  was 
constructed.  Dankerts  was  obliged  to  defend  his 
verdict  against  Vicentino,  in  a  learned  and  ex- 
haustive treatise  on  the  matter  in  dispute,  the 
original  MS.  of  which  is  preserved  in  the  Valli- 
oellan  libraxr  at  Bome.  A  full  account  of  this 
controversy  is  given  by  Hawkins.       [J.  B.  S.  B.] 

DANNELEY,  John  Fblthaic,  bom  at  Oak- 
ingham  in  1786,  was  the  second  son  of  a  lay- 
clerk  of  St.  Qeoige^s  Chapel,  Windsor.  At 
fifteen  years  of  age  he  studied  thorough  bass 
under  Samuel  Webbe,  and  the  pianoforte  first 
under  Charles  Knyvett  and  afterwards  imder 
Charles  Neate.  He  resided  with  his  mother  at 
Odiham  until  he  reached  his  twenty-sixth  year, 
when  he  established  himself  at  Ipswich  as  a 
teacher  of  music,  and  in  a  few  years  became 
organist  of  the  church  of  St.  Mary  of  the  Tower 
in  that  town.  In  1816  he  visited  Paris,  and 
studied  under  Antoine  Beicha.  Danneley  pub- 
lished in  1825  'An  Encyclopeedia,  or,  DicUonary 
of  Music/  and  in  i8a6  'A  Musical  Grammar.' 
He  died  in  London  in  1836.  [W.H.H.] 

DAI^NBEUTHEB,  Edward,  bom  Nov.  4, 
1844,  at  Straesburg.  When  five  years  old  was 
taken  to  Cincinnati,  V.  S.,  where  he  learned 
music  fi*om  F.  L.  Bitter.  In  59  entered  the 
Conservatorium  at  Leipzig,  and  remained  there 
till  63,  under  Moscheles,  Hauptmann,  and  Bich- 
ter.  His  career  was  very  briUiant,  and  he  held 
all  the  scholarships  of  the  Conservatorium.  From 
Leipzig  he  removed  to  London,  where  he  has 
since  resided  ^excepting  two  professional  visits 
to  the  United  States),  and  is  one  of  the  most  pro- 
minent musicians  of  the  metropolis,  well  known 
as  a  pianoforte-player  and  teacher,  litterateur  and 
lecturer,  and  a  strong  supporter  of  progress  in 
music.  He  is  especially  known  as  the  firiend  and 
champion  of  Wagner.  He  founded  the  Wagner 
Society  in  1872,  and  conducted  its  two  series  of 
concerts  in  73  and  74.  He  was  also  a  warm 
promoter  of  Uie  'Wagner  Festival'  in  1877, 
translated  his  'Music  of  the  Future*  (Schott 
1872),  and  received  Wagner  in  his  house  during 
his  stay  in  London.  He  was  the  first  to  play  the 
concertos  of  Liszt  and  Tschaikowsky  (Crystal 
Palace,  Jan.  27,  72;  Nov.  21,  74;  March  11,  76). 

But  while  Mr.  Dannreuther  is  an  earnest 
apostle  of  the  new  school,  he  is  no  less  zealous 
for  the  old,  as  the  range  of  the  programmes  of  his 


DABGOMYSKI. 

wen*know&  chamber  concerts,  bis  own  able  in< 
terpretations  of  Bach  and  Beethoven,  bis  lectures 
on  Mozart,  Beethoven,  and  Chopin,  his  article 
on  Beethoven  in  Macmillan^s  Magazine  (July, 
76),  and  other  acts  and  words  abundantly  prove. 
He  has  not  yet  published  any  music. 

DANZI,  Fbangescul.   See  Jjebrxjit,  Madame. 

DANZI,  Franz,  composer  and  violonoellist, 
bom  at  Mannheim  1 763,  studied  chiefly  under  his 
father,  first  violoncellist  to  the  Slector  Palatine, 
and  in  composition   under   the   Abb^   Vogler. 
At  15  he  was  admitted  into  the  Elector's  buid. 
In  1778  the  band  was  transferred  to  Munich, 
and  there  Danzi  produced  his  first  opera  'Aza- 
kiah'  in   1780,  which  was  followed   by  'Der 
Kuss,'   'Iphigenia,*  and   others.       In  1790  he 
married  Marguerite  Marchand,  a  distinguished 
singer,  and  in  the  following  year  started  with 
her  on  a  professional  tour  which  lasted  six  yean. 
At  Prague  and  Leipsic  he  conducted  the  per- 
formances  by   Guaidassoni^s  Italian    company, 
and  his  wife  was  especially  successful   in  the 
parts  of  Susanna  in  'Le  Nozze  di  Figaro,'  and 
Caroline,  and  Nina,  in  '  II  Matrimonio  Segreio/ 
They  were  also  favourably  received  in  Italy, 
especially  at  Venice  and  Florence.     In   1797 
they  returned  to  Munich,  where  Mdme.  Danzi 
died  in  1799.    Her  husband  soon  after  resigned 
his  post  dT  vice -chapel -master  to  the  Elector. 
In  1807  he  was  appointed  chapel-master  to  the 
King  of  Wurtemberg,  but  was  soon  compelled 
to  leave  Stuttgart  on  account  of  the  poiftical 
changes  in  that  part  of  Germany.     He  then 
became  chapel -master  at  Carlsruhe,  where  he 
remained  tiU  his  death  in  1826.     He  composed 
1 1  operas,  besides  a  mass  of  orchestral,  chamber, 
and  church  music.    For  Ust  see  F^tis.    None  of 
it  has  survived.     He  was  a  sound  musician,  but 
strained  too  much  after  orchestral  efiects.    He 
was  an  excellent  teacher  of  singing,  and  his  'Sing- 
ing Exercises'  Were  used  for  long  after  his  deatli 
and  form  his  most  permanent  work.       [M.C.C.] 

DARGOMYSKI,   Alexander   Sergovitch, 
Russian  noble  and  composer,  bom  181 3  near 
Toula,  Smolensk.     He  early  manifested  a  taste 
for  music,  and  at  seven  composed  little  sonatas 
etc.  for  the  pianoforte.    He  afterwards  leamt  the 
violin,  and  studied  harmony  and  counterpoint 
under  Schoberlechner.   In  1830  he  appeared  with 
great  success  in  Petersburg  as  a  pianist,  and 
in  31  received  an  tkppointment  in  the  Emperors 
household,  but  in  35  gave  it  up,  and  devoted 
himself  for  eight  years  to  severe  study,     fiif 
intimate  friendship  with  Glinka  and  with  the 
dramatic  poet  Kukolnik  were  of  great  service  to 
him.    In  1845  he  visited  Germany,  Brussels,  and 
Paris.     In  1847  he  produced  in  Moscow,  with 
brilliant  success,  an  opera  'Esmeralda,'  libretto 
from  Victor  Hugo's  'Notre  Dame  de  Paris,' which 
he  had  composed  in  1838,  and  which  was  re- 
peated  in  Petersburg.      Besides    'Esmeralda,' 
'Rusalka'  (Petersburg   1856),  and  'Kozaoek/ 
which  have  kept  their  plaoo  on  the  stage,  his 
published  works  consist  of  60  songs  with  piano* 
forte  accompaniment ;  variations,  fiintasieE,  etc. 


BAEGOMYSKL 

is  pianoffortey  and  orchestral  dance  miudo.  He 
£ed  JaiL  17,  1868,  wliile  at  work  on  an  opera 
byPtuhkin,  called  'Kamenji  gost'  (Don  Juan), 
aad,  besides  the  operas  named,  left  an  immense 
aomber  of  orchestral  worka  His  melodies  are 
BpUe  uid  poetical,  but  his  composition  is  more 
djstiiiguished  for  grace  than  force.  As  a  pianist 
be  vas  remarkable  for  the  fieuality  with  which  he 
Koompsnied  at  sight.  [M.C.C.] 

DASH.  The  sign  of  staeeato,  written  thus  ( t ), 
and  placed  under  or  over  a  note  to  indicate  ^lat 
ibe  duration  of  the  sound  is  to  be  as  short  as 
possible,  the  value  of  the  note  being  completed 
by  an  interval  of  silence ;  for  example — 
FriUfsi  Performed 


DAUVEBGNEK 


431 


A  ronzid  dot  (•)  is  also  used  for  a  similar  purpose, 
bot  with  this  diffiarenoe,  that  notes  marked  with 
d'Tts  should  be  less  ttaceato  than  those  with 
ddbes,  being  shortened  about  one  half,  thus — 
Written  Perjbrmed 


This  distmctiony  which  is  enforced  by  all  the 
most  celebrated  teachers  of  modem  times,  such 
IS  Clementi,  GsEemy,  and  others,  is,  strange  to 
saj,  often  ignored  by  modern  editors  of  chusical 
eomporitions,  and  it  is  renuu-kable  that  in  such 
TtloaUe  and  conscientious  editions  of  Beethoven^s 
vorks  as  those  of  Von  Bolow  ('Instructive  Aus- 
gabe';  Cotta,  Stuttgart),  Pauer  (Augener  ft  Co. 
I/»dan),  and  others,  only  one  sign  &ould  have 
been  employed  for  the  two  effects.  That  Bee- 
thoven himself  considered  the  distinction  of 
importance  is  proved  by  various  corrections  by 
his  hand  of  the  orchestral  parts  of  the  7th 
ijinphony,  still  extant,  and  also  by  a  letter 
written  in  1825  to  Carl  Holz,  in  wluch  he  ex- 


t  f  t 


pressly  insists  that  >  (•  |*  and  mm»  is  not  a 
nutter  of  indifference.'  See  Nottebohm*s  *  Bee- 
thoveniana,'  No.  xxv,  in  which  extracts  are  given 
from  several  of  Beethoven^s  works,  with  the  signs 
of  staccato  as  originally  marked  by  himscdf.  And 
there  can  be  no  doubt  that  every  effort  ought  to 
be  made,  at  any  rate  in  the  case  of  Beethoven, 
to  ascertain  what  were  the  intentions  of  the 
composer  on  a  point  so  essential  to  correct 
phraang.  [F.X.] 

DATTBLAINE  ET  CALLINET.  Organ 
bmlders  established  in  Paris  in  1838  as  Daublaine 
*  Cie.  In  39  the  firm  was  joined  by  Louis 
^^*ilinet,  member  of  an  old  Alsatian  family  of 
organ  builders.  But  he  brought  bad  fortune  to 
^e  house,  for  in  43  or  44,  in  a  fit  of  rage,  excited 
by  some  dispute,  Callinet  destroyed  all  the  work 
which  he  and  his  partners  had  just  added  to  the 
^Vi  at  St  Solpice.  After  this  feat  he  retired 
to  Cavjull^'g  factory  as  a  mere  journeyman. 
Babkbb  then  took  the  lead  at  Daublaine's  and 
wilder  him  the  S.  Eustache  organ  was  built,  to  be 
<h*troyed  by  fire  in  45.    The  same  year  the  firm 


became  Ducroquet  &  Cie;  they  built  a  new 
organ  at  S.  Eustache,  and  exhibited  at  Hyde 
Park  in  51,  obtaining  a  council  medal  and  the 
decoration  of  the  I^fiion  of  Honour.  In  55 
Ducroquet  was  stioceeded  by  a  Soci^t^  anonyme, 
and  that  again  by  MerkUn,  Schiitze,  et  Cie. 
The  business  is  now  carried  on  by  Merklin  alone, 
whose  principal  fiactory  10  at  Lyons,  with  a 
branch  in  Paris.  [Y.deP.] 

DAUGHTER  OF  ST.  MARK,  THE.  An 
opera  in  3  acts,  founded  on  '  La  reine  de  Chypre,' 
words  by  Bunn,  music  by  Balfe;  produced  at 
Druiy  Lane  Nov.  37, 1844. 

DAUNEY.  William,  son  of  William  Dauney 
of  Falmouth,  Jamaica,  was  bom  at  Aberdeen  in 
the  year  1800.  He  commenced  his  education  at 
Dulwich,  and  completed  it  at  the  University  of 
Edinbuigh.  On  June  13,  1833,  he  was  called 
to  the  Scottish  bar.  He  found  in  the  Advocates* 
Library  at  Edinbuigh  a  MS.  oollection  of  music, 
written  between  1614  and  1630  and  known  as  the 
Skene  Manuscript.  It  consists  of  11 4  English  and 
Scottish  ballad,  song,  and  dance  tunes,  written  in 
tableture.  This  manuscript  Dauney  deciphered 
and  published  in  1838  in  a  4to  vol.  under  the  title 
of  'Ancient  Scottish  Melodies  from  a  manu- 
script of  the  reign  of  James  Vl.'  He  accompanied 
it  with  a  long  and  ably  written  'Dissertation 
illustrative  of  the  history  of  the  music  of  Scot- 
land,* and  some  interesting  documents.  The 
work  is  valuable  as  showing  the  (probably) 
earliest  versions  of  such  tunes  as  *The  flowers 
of  tiie  forest,'  '  John  Anderson  my  jo,* '  Adieu, 
Dundee,*  etc.  Shortly  after  1S38  Dauney  quitted 
Scotland  for  Demerara,  where  he  became  Soli- 
citor General  for  British  Guiana.  He  died  at 
Demerara,  July  28,  1843.  [W.H.H.] 

DAUVERGNE,  Antoike,  violin-player  and 
composer,  bom  at  Clermont-Ferrand  in  17 13. 
He  was  a  pupil  of  his  father,  leader  of  the  band 
at  Clermont.  In  1 739  he  went  to  Paris  to  com- 
plete his  studies,  and  very  soon  played  with 
success  at  the  Concert  spirituel  and  entered  the 
band  of  the  King  and  of  the  Opera.  It  is  how- 
ever more  as  a  composer  of  operas  than  as  a 
violin-player  that  Dauvergne  claims  our  attention. 
Up  to  his  time  an  op^ra  comique  meant  merely 
a  vaudeville,  a  comic  play  interspersed  with 
couplets.  In  his  first  opera,  'Les  Troqueurs,' 
Dauvergne  adopted  the  forms  of  the  Italian 
intermezzi,  retaining  however  spoken  dialogue 
in  place  of  recitative,  and  thereby  introduced 
that  class  of  dramatic  works,  in  which  French 
composers  have  ever  since  been  ho  eminently 
successful.  Dauvergne  wrote  15  operas  in  all. 
F^tis  also  enumerates  15  motets  of  his  cCm- 
position,  trios  for  two  violins  and  bass  (1740), 
sonatas  for  the  violin,  and  two  sets  of  symphonies 
in  four  parts  ( 1 750). 

In  1755  Dauvergne  bought  the  appointment 
of  composer  to  the  king  and  the  next  pre- 
sentation as  master  of  the  band.  From  1751 
he  conducted  the  Opera,  and  from  1763  the 
Concert  spirituel ;  and  finally,  with  some  inter- 
ruptions, became  manager  of  the  Opera.    He 


432 


DAVID,  FfiLICIEN. 


retired  at  the  outbreak  of  the  BeYolation,  and 
died  at  Lyons  in  1 797.  [P.DJ 

DAVID,  F^LiciEN,  one  of  the  most  prominent 
of  French  compoeers,  was  born  Mirch  8,  1810, 
at  Gadenet,  in  the  south  of  France.  His  father 
was  an  accomplished  musical  amateur,  and  it 
is  said  that  F^licien  at  the  mature  age  of  two 
evinced  his  musical  taste  by  shouts  of  applause 
at  his  other's  performances  on  the  fiddle.  At 
the  age  of  four  the  boy  was  able  to  catch  a  tune. 
Two  years  later  Gamier,  first  oboe  at  the  Paris 
Opera,  happened  to  hear  the  child  sing,  and 
strongly  advised  his  mother  to  cultivate  F^licien^s 
talent.  Soon  afterwards  the  family  removed  to 
Aiz,  where  David  attended  the  Maltrise  (school) 
du  Saint  SauTeur,  and  became  a  chorister  at  the 
cathedral.  He  is  said  to  have  composed  hymns, 
motets,  and  other  works  at  this  early  period,  and 
a  quartet  for  strings,  written  at  the  age  of  13,  is 
still  preserved  at  the  Maltrise.  In  1825  he  went 
to  the  Jesuit  college  at  Aix  to  complete  his 
studies.  Here  he  continued  his  music,  and  ac- 
quired some  skill  on  the  violin.  He  also  de- 
veloped an  astonishing  memory  for  music,  which 
enabled  him  to  retain  many  pieces  by  Mozart, 
Haydn,  Gherubini,  and  Lesueur,  by  heart. 
When  he  left  the  college,  at  the  age  of  18,  want 
of  means  compelled  him  to  enter  the  office  of 
his  sister^s  husband,  a  lawyer,  but  he  soon 
afterwards  accepted  the  appointment  of  second 
conductor  at  the  Aiz  theala^,  which  he  occupied 
till  1829,  when  the  position  of  maitre  de  chapelle 
at  St.  Sauveur  was  offered  to  him.  During  the 
one  year  he  occupied  this  place  he  wrote  several 
compositions  for  the  choir  of  the  church ;  one  of 
these,  a  *  Beatus  Vir,*  afterwards  excited  the  ad- 
miration of  Gherubini. 

In  1830  David  went  to  Paris  to  finish  his 
musical  education.  He  had  a  small  allowance 
firom  his  uncle,  bat  his  wants  were  moderate  and 
his  enthusiasm  great.  Gherubini  received  him 
kindly,  and  imder  his  auspices  David  entered  the 
Gonservatoire,  and  studied  harmony  under  Millot. 
He  also  took  private  lessons  firom  R^ber,  and 
thus  accomplished  his  course  of  harmony  within 
six  months.  He  then  entered  the  class  of  F^tis 
for  counterpoint  and  fugue.  An  'Ave  verum' 
composed  at  this  time  proves  his  successful  ad- 
vance. On  the  vnthdrawal  of  his  allowance 
David  had  to  support  himself  by  giving  lessons. 
At  the  same  period  he  nanpwly  escaped  the  con- 
acription. 

In  1 831  we  have  to  date  an  important  event  in 
our  composer's  life,  viz.  his  joining  the  St.  Si- 
moniens.  David  lived  for  some  time  in  the  kind 
of  convent  presided  over  by  the  Pfere  Enfiuitin, 
and  to  his  music  were  simg  the  hymns  which 
preceded  and  accompanied  the  religious  and 
domestic  occupations  of  the  brethren.  When, 
P.  1833,  the  brotherhood  was  dissolved,  David 
joined  a  small  group  of  the  dispersed  members, 
who  travelled  south,  and  were  received  with  en- 
thusiasm by  their  co-religionists  at  Lyons  and 
Marseilles.  The  music  fell  to  our  composer's 
share,  and  several  of  hia  choruses  were  received 
with  great  applause. 


DAVID,  FiLICIKN. 

At  Marseilles  David  embarked  for  the  East, 
where  he  remained  for  several  years,  at  Constan- 
tinople, Smyrna.  Egypt,   and  the  Holy  Land. 
The  impressions  thus  received  were  of  lasting 
influence  on  his  talent.     He  managed  wherever 
he  went  to  take  with  him  a  piano,  tiie  gift  of  an 
admiring  manufacturer  at  Lyons.    Soon  after  bis 
return,   in  1835,   he  published  a  collection  of 
'  M^odies  orientales'  for  piano.     In  spite  of  the 
melodious  charm  and  exquisite  workmaDship  of 
these  pieces  they  met  with  total  neglect,  and  the 
disappointed  composer  left  Paris  for  several  yean, 
and  Hved  in  the  neighbourhood  of  Igny,  nu%ly 
visiting  the  capital.     Two  symphonies,  24  quin- 
tets for  strings,  several  nonets  for  wind,  and 
numerous  songs  (one  of  which  latter, '  Les  Hiron- 
delles,*  was  at  one  time  very  popular  in  England) 
belong  to  this  period.    One  of  his  symphonies, 
in  F,  was  in  1838  performed  at  the  Valentino 
concerts,  but  without  success.     In  1841  David 
again  settled  in  Paris,  and  his  name  began  to 
become  more  familiar  to  the  public,  owing  to  the 
rendering  of  some  of  his  songs  by  M.  Walter,  the 
tenor.    But  his  chief  fiune  is  founded  on  a  work 
of  very  dififiarent  import  and  dimensiona— his 
'  Ode-aymphonie*  'Le  D^sert^*  in  which  he  hu 
embodied  the  impressions  of  his  life  in  the  East, 
and  which  was  produced  Dec.  8,  1844.    The 
form  of  this  composition  is  difficult  to  define. 
Berlioz  might  have  called  it  a  *melologne.'    It 
consists  of  three  parts  subdivided  into  several 
vocal  and  orchestral  movements,  each  introduced 
by  some  lines  of  descriptive  recitation.     The 
subject  is  the  mighty  desert  itself,  with  all  its 
gloom  and  grandeur.     On  this  background  is 
depicted  a  caravan  in  various  situatdoos,  aiuging 
a  hymn  of  fanatic  devotion  to  Ailah,  battling 
with  the  simoom,  and  resting  in  the  evening 
by  the  fountain  of  the  oasis.     Whatever  one's 
abstract  opinion  of  programme  music  may  be, 
one  cannot  help  reoognising  in  the  *  Desert'  a 
highly  remarkable  work  of  its  kind.    The  vast 
monotony  of  the  sandy  plain,  indicated  by  the 
reiterated  G  in  the  introduction,  the  opening 
prayer  to  Allah,  the  *  Danse  des  Alm^'  the 
chant  of  the   Muezzin,  founded  on  a  genuine 
Arabic  melody — ^are  rendered  with  a  vividnefs 
of  descriptive  power  rarely  equalled  by  much 
greater  musicians.    David,  indeed,  is  almost  the 
only  composer  of  his  country  who  can  lay  claim 
to  genuine  local  colour.     Hb  Arabs  aze  ixftbi, 
not  Frenchmen  in  disguise. 

The  'Desert'  was  written  in  three  months. 
It  was  the  product  of  spontaneous  inspiration, 
and  to  this  circumstance  its  enormous  Bucoea  is 
mainly  ascribable.  None  of  David's  subsequent 
works  have  approached  it  in  popularity,  'l^ 
Ddsert*  was  followed,  in  46,  by  'Moiseau  Sinai,* 
an  oratorio  written  in  Grermany,  where  David 
had  gone  on  a  ooncert-tour,  and  where  he  met 
vrith  much  enthusiasm  not  unmixed  with  adyerse 
criticism.  *  Molse,*  originally  destined  for  Vienna, 
was  performed  in  Paris,  its  suocesB  compared 
with  that  of  its  predecessor  being  a  decided  anti- 
climax. The  next  work  is  a  second  descriptive 
symphony,  'Ghristophe  Golomb*  (1847),  9od  it» 


BAVID,  FiLIOTEN. 

neoesB  sgain  was  snythiiig  bixt  brilliant.  '  Eden, 
»  Mvstery/  waa  first  performed  at  the  Op^ra  in 
4S,  Sut  &iled  to  attract  attention  during  that 
itonny  political  epoch.  His  first  genuine  success 
once  1844  David  achieved  with  an^^ra  comique, 
*La  Pezle  du  Brdsil'  (1851).  nia  remaining 
dnmatic  works  are  '  La  Fin  du  Monde'  (in  four 
MtB,  never  performed),  'Herculanum'  (serious 
opera  in  four  acts;  1859  at  the  Op^ra*),  'Lalla 
Bouidi'  (two  acts;  z86a),  and  *ljd  Saphir'  (in 
three  acts;  1865  both  at  the  Op^ra  Ciomique). 
Another  dramatic  work,  'La  Captive/  was  in 
rehesrsal,  bat  was  withdrawn  by  the  composer 
liar  reasons  unknown. 

David's  power  as  an  operatic  writer  seems  to 

lie  more  in  happy  delineation  of  character  than 

in  dnmatic  force.      Hence  his  greater  success 

viih  comedy  than  with  tragedy.    *  Lalla  Roukh' 

particulariy  is  an  excellent  specimen  of  felicitous 

expression,  and  easy  but  never  trivial  melodious- 

n«Ba.  Here  again  hu  power  of  rendering  musically 

the  national  type  and  the  local  surroundings  of 

his  characters  becomes  noticeable.    This  power 

tlone  is  sufficient  to  justify  the  distinguished 

poatbn  he  holds.    As  to  his  final  place  in  the 

histoiy  of  his  art  it  would  be  premature  to  give 

%  definite  opinion.    F^cien  David  died  on  Aug. 

39, 1876.    Since  his  death  several  of  his  works — 

'Le  Desert*   and  'Lalla  Boukh'  amongst  the 

I     number — have  been  revived  with  much  success 

I     in  Paris,  and  his  quartets  are  now  (1877)  being 

played. 

An  essay  on  David's  life  and  works  up  to 
1854  ii  found  in  the  collection  called  Mireoourt's 
'Gointemporains.'  For  the  earlier  part  of  his  life 
a  brochure  (Bioeraphie  de  F.  David,  Marseilles, 
1845,  out  of  print),  by  M.  Saint-£tienne,  is  a 
valoable  source.  [F.  H.] 

DAYH),  FsBDnrAND,  one  of  the  best  and 
most  influential  violin-players  and  teachers  of 
Germany;  bom  at  Hamburg  Jan.  19,  1810. 
His  miisiiad  talent  showed  its^  very  early,  and, 
after  two  years  study  at  Cassel  in  1823  and  1824 
under  Spohr  and  Hauptmann,  he  entered,  when 
■tin  a  mere  boy,  on  that  artistic  career  which 
was  destined  to  be  so  eminently  successful. 

Hia  first  appearance  at  the  Gewandhans  at 
I^pag,  with  which  he  was  afterwards  so  closely 
identified,  was  in  1 835,  in  company  with  his  sister 
Louiae — ultimately  &mous  as  Mme.  Dulcken. 
He  passed  the  years  1837  and  1838  as  a  member 
of  the  band  of  the  Konigstadt  Theatre,  Berlin, 
where  he  first  became  acquainted  with  Men- 
deUBohn.  In  1839  he  accepted  an  engagement 
M  leader  of  a  quartet  in  the  house  of  a  noble  and 
influential  amateur  at  Doipat»  whose  daughter 
Ite  snbseqaently  married.  He  remained  in  Russia 
till  1835,  nuJong  firequent  and  successful  tours 
to  Petersbuig,  Moscow,  Biga^  etc.  In  1836 
Mendelsaohn,  on  becoming  conductor  of  the 
Gewandhaus  concerts,  obtained  for  him  the  post 
of  leader  of  the  band  (CSoncertmeister),  which  he 
^^  with  such  distinction  and  success  until  his 

,}^  VPniB  fliat  In  'BotcuIuwb'  «  gmt  miiy  ptoew  tnm  the 
>»  te  Hoodt-  hav*  bwn  embodied.  Tbe  ptMeat  wrttar  liM  no 
xnoMl  knovltiSlt  of  «UlMffiiorJu 


DAVID,  FEBDINAND. 


4SS 


death.  Of  the  intimate  nature  of  their  connection 
a  good  instance  is  afforded  by  the  history  of  Men- 
delssohn's Violin  Ck>ncerto.  It  is  first  mentioned 
in  a  letter  from  Mendelssohn  to  David,  dated 
July  30,  1838.  Ck>nstant  letters  on  the  subject 
of  the  work  passed  between  them  during  the 
process  of  composition;  hardly  a  passage  in  it 
but  was  referred  to  David's  taste  and  practical 
knowledge,  and  canvassed  and  altered  by  the 
two  fiiendis;  and  he  reaped  his  revvard  by  first 
performing  it  in  [Hiblic  at  the  Grewandhaus 
concert  of  March  13,  1.8^5.^  The  autograph  is 
now  in  the  possession  ot  David's  famuy.  In 
like  manner  'Antigone'  (letter  of  Oct  31, 1841), 
and  probably  many  another  of  Menddssohn's 
worki^  was  referred  to  him;  and  he  was  one 
of  the  three  trustees  to  whom  the  publication 
of  the  MS.  works  of  his  illustrious  firiend  was 
confided  after  his  death. 

As  a  virtuoso  David  combined  the  sterling 
qualities  of  Spohr's  style,  with  the  sreater  fiunlity 
and  piquancy  of  the  modem  school;  as  a  leader 
he  had  a  rare  power  of  holding  together  and 
animating  the  band;  while  as  a  quartet-player 
his  intelligence  and  tact  enabled  him  to  do 
justice  to  tiie  masterpieces  of  the  most  difiSarent 
periods  and  schools.     Among  numerous  com- 

r'tions  of  the  most  various  khids  his  solo-pieces 
the  violin  are  most  pleasing  and  effective, 
and  are  so  founded  on  the  nature  and  character 
of  the  instrument  as  to  be  indispensable  to  the 
student.  As  a  teacher  his  influence  was  probably 
greater  than  that  of  any  preceding  master,  and 
to  him  the  German  orohestras  owe  many  of  their 
most  valuable  members.  He  took  a  warm  per- 
sonal interest  in  his  pupils,  amongst  whom  the 
most  eminent  are  Joachim  and  Wilhelmj.  Within 
the  sphere  of  his  influence  he  was  always  ready 
to  help  a  firiend  or  to  finrther  the  true  interests  o£ 
musical  art  ^d  artists. 

It  is  one  of  David's  special  merits  that  he 
revived  the  works  of  the  eminent  violin-players 
of  the  old  Italian,  Grerman,  and  Frendi  schools, 
which  he  edited  and  published  with  accompani- 
ments, marks  of  expression,  etc.  He  also  edited 
nearly  the  whole  classical  repertoire  of  the  violin 
for  purposes  of  study,  and  took  a  prominent 
part  in  the  critical  editions  of  tiie  works  of 
Beethoven,  Haydn,  and  other  great  masters. 
His  unremitting  activity  was  as  earnest  as  it  was 
quick.  He  was  particularly  fond  of  intellectual 
pursuits,  was  eminently  well  read,  full  of  manifold 
knowledge  and  experience.  His  conversation 
abounded  in  traits  of  wit  and  humour,  he  was 
the  pleasantest  companion,  a  faithful  fiiend,  and 
an  exemplary  husband  and  father. 

In  x8oi  tibe  35th  anniversary  of  his  appoint- 
ment as  leader  was  celebrated  at  Leipeig.  He  died 
very  suddenly  July  18, 1873,  whUe  on  a  mountain 
excursion  with  his  chUdr^  near  Klosters  in  the 
Giisons.  He  was  buried  at  Leipsig,  where  he 
was  highly  honoured,  and  where  a  street  has 
recently  been  named  after  him« 

Among  bis  numerous  compositions  the  five 


1  See  detaUi  la  tbe 
Ooboeit,  Dee.  IS,  1871. 


of  the  Oi7at«l  Feleoe  Bttuidar 

Ff 


484 


DAVID. 


violin  oonoeiiot,  a  number  of  VBiiationi,  and 
oiher  concert  pieces  for  the  violin  hold  the  first 
rank.  He  also  published  for  piano  and  violin 
«Bunte  Beihe/  *  Kannnwrstudte,*  etc.  Beddes 
these,  two  symphonies,  an  opera  '  Hans  Wacht»' 
a  sextet  and  a  quartet  for  strings,  a  number  of 
songs  and  concert  pieces  for  trombone  and  other 
wind  instruments,  deserve  to  be  mentioned.  His 
'  Violin  School'  is  certainly  one  of  the  best  works 
of  the  kind,  and  the  publication  of  the  *  Hohe 
Schule  des  Violinspiels  (a  collection  of  standard 
works  of  old  violinists)  marks  an  epoch  in  the 
development  of  modem  violin-playing.  [H.] 

DAVIDDE  PENITENTE.  A 'cantata' for 
3  solo  voices,  chorus,  and  orchestra,  to  Italian 
words  by  an  unknown  author,  adapted  by  Mozart 
in  1785  finom  his  unfinished  mass  in  0  minor 
(K.  437),  with  the  addition  of  a  fresh  soprano 
and  fresh  tenor  air,  for  the  widows'  fimd  of  the 
Society  of  musicians  (Tonkunstler-Sodetat)  ;  and 

Eirformed  on  March  13  and  15,  1785,  in  the 
ui^gtheatrs  at  Vienna. 

DA  VIDE,  GiAOOMO,  a  verv  great  Italian 
tenor,  better  known  as  '  David  le  p^,*  bom  at 
Presezzo,  near  Bergamo,  in  1750.  Possessing  a 
naturallv  beautiful  voice,  he  made  the  best  use 
of  it  by  long  and  careful  study.  To  a  pure  and 
perfect  intonation  he  joined  good  laste  in  the 
choice  of  style  and  ornament.  Having  studied 
composition  under  Sala,  he  was  able  to  suit  his 
foTttwre  to  the  harmony  of  the  passage  he 
wished  to  embroider;  but  he  was  even  more 
distinguished  in  serious  and  pathetic  music,  and 
that  of  the  church,  than  m  bravura.  Lord 
Mount-Edffcumbe  heard  him  at  Naples  in  1785, 
and  thougnt  him  excellent  in  opera.  In  that 
year  he  went  to  Paris,  sang  at  the  Concert 
Spirituel,  and  made  a  great  sensation  in  the 
'Stabat'  fd  Pergolese.  Betuming  to  Italy,  he 
sang  during  two  seasons  at  the  Scala.  fn  90 
he  was  at  Naples  again,  and  in  91  he  came 
to  London.  Owing,  however,  to  the  Pantheon 
having  been  licensed  as  the  King's  Theatre,  it 
vras  impossible  to  obtain  a  licence  for  the  Hay- 
market  Theatre,  at  which  Davide  was  engaged, 
except  for  concerts  and  ballets.  This,  and  the 
want  of  good  singers  to  support  him,  prevented 
him  from  becoming  as  well  known  here  as  he 
deserved.  '  He  was  undoubtedly  the  first  tenor 
of  his  time,'  says  Lord  Mount^Edgcumbe,  '  pos- 
sessing a  powerful  and  well-toned  voice,  great 
execution  as  well  as  knowledge  of  music,  and 
an  excellent  style  of  singing.  He  learned  to 
pronounce  English  with  tolerable  correctness, 
and  one  of  his  last  performances  was  in  West- 
minster  Abbey,  at  the  last  of  the  Handel 
festivals.  In  1803  he  was  at  Florence;  and, 
although  5a  years  of  age,  had  still  all  his  old 
power,  and  was  able  to  sing  every  morning  in 
some  church,  and  at  the  opera  every  evening. 
He  returned  in  181  a  to  Bergamo,  where  he  was 
appointed  to  sing  at  the  church  of  Santa  Maria 
Maggiore.  It  is  said  that  he  sang  at  Lodi 
In  1830;  but  he  was  then  no  more  than  the 
shadow  of  his  former  self.  He  formed  two 
pupilfli,  one  of  whom  was  his  son,  and  the  otiier 


DAVTDOFF. 

NozzarL    Davide  died  at  Bergamo  December  31, 
1830. 

a.  His  son  Giotakki  was  bom  in  1789,  sad 
long  enjoyed  the  reputation  in  Italy  of  a  great 
singer,  tiiough  his  method  of  producing  his  voice 
was  defective,  and  he  frequently  showed  want 
of  taste,  abusing  his  maenifioent  voice,  with  iti 
prodigious  compass  of  three  octaves  oompri^ 
within  four  B  flats.    He  had,  however,  a  great 
deal  of  energy  and  spirit,   and   his  stvle  wu 
undoubtedly  original.    He  made   his  debvt  at 
Brescia    in   1810,    and   sang    v^th   success  at 
Venice,  Naples,  and  Milan.     He  was  engaged 
at  the  Scala  for  the  whole  of  1814.     In  the 
autumn  of  that  year  he  was  first  employed  by 
Rossini  in  his  'Turoo  in  Italia.'     Hossini  then 
wrote  rdU9  for  him  in  'Otello'  (1814%  'Ricciardo  e 
Zoraide'  (1818),  'Ermione'  smd  'Ia  Donna,  del 
Lago'  (1819).  In  1818  he  sang  at  Borne,  Vienna, 
and  London.    Ebers  had  noade  overtures  to  him 
in  iSaa,  and  his  engagement  was  on  the  point  o( 
completion,  when  he  was  engaged  for  seven  yean 
by  Barbaja»  who  at  that  time  directed  the  operas 
of  Naples,  Milan,  Bdogna,  and  Vienna.   Davide 
appeared  here  in  39,  singing,  among  other  operas, 
with  Mrs.  Wood  in  Pacini's  <L' Ultimo  gionu) 
di  Pompd* ;  but  he  was  paui,  and  his  voice 
so  unst^kdy  that  he  was  obliged  to  conceal  its 
defects  by  superfluity  of  ornament.     He  airived 
in  Paris  in  tiie  same  year.    His  voice  had  now 
become  nasal,  and  his  faults  of  taste  and  judg- 
ment more  apparent.    Yet,  with  all  these  &alU, 
he  was  able  occasionaUy  to  rise  to  a  point  that 
was  almost  sublime.    Edouard  Bertin,  a  Frendi 
critic,  said  of  him,  '  it  is  impossible  for  another 
singer  to  carry  away  an  audience  as  he  does,  and 
when  he  will  only  be  simple,  he  is  admirable ; 
he  is  the  Rossini  of  song.    He  is  a  great  singer ; 
the  n-eatest  I  ever  heud.'     After  his  retuni 
into  Italy,  Davide  sang  at  Milan  and  Beigamo 
in  1831,  at  Genoa  and  Florence  in  33,  at  Naples 
^  Z^t  34»  i^<l  40>  at  Cremona  and  Modena  is 
35*  at  Verona  in  38,  and  at  Vienna  in  39.    He 
retired  in  41  to  Naples,  where  he  founded  a 
school  of  singing,   which  was   not   much  fre- 
quented.   A  few  years  later  he  accepted  the  post 
of  manager  at  the  Opera  of  St.  Petersburg,  and  ii 
said  to  have  died  there  about  1851.  [J.MJ 

DAVIDOFF,  Charles,  eminent  cello-plaja, 
bom  at  Goldingen  in  Courland  March  15, 1^38, 
received  his  first  musical  instruction  from  H. 
Schmitt  at  Moscow.     His  bent  was  to  niathe- 
matics,  which  he  studied  in  the  Moscow  uni- 
versity firom  1854  to  58,  but  at  length  decided  to 
embrace  music  as  his  profession,  and  then  leaned 
the  cello  under  C.  Schuberth  at  St.  Petersburg, 
and  composition  under  Hauptmann  at  Leips^* 
His  first  appearance  in  public  was  at  the  Gewaud- 
haus  Dec.  1 5,  59,  after  which  he  at  once  became 
leading  cello  in  that  orchestra  and  Profenor  si 
the  Conservatoire,  vice  Grutzmacher.     In  iS6a 
he  was  appointed  sdo  cello  to  the  Emperor  of 
Russia,  and  professor  at  the  new  music  Bcbool 
and  Conservatoire  of  St  Petersbui|f.     Davidoff 
made   his  first  appearance  in  London  at  the 
Philharmonio  on  May  19,  1863,  in  a  concerto    | 


DAVIDOFF. 

of  Ub  own.  His  position  among  oeUo-plAjen  Is 
high.  His  tone  is  expreamye,  lus  intcmation 
certain,  especially  in  the  higher  registers,  and 
his  execntion  extraordinaiy,  and  there  is  great 
individuality  in  his  style.  He  has  oompoBed 
madi  both  ibr  the  cello  and  piano. 

DAYIDSBUNDLER.  An  inwglnaiT  asso- 
datian  of  Schumann  and  his  firiends,  banded 
together  against  old-fashioned  pedantty  and 
stupidity  in  muaie,  like  David  and  his  men 
ag^nst  the  Fhili^ines.  The  personages  of  this 
asmciation  rejoiced  in  the  names  of  Florestan, 
Eosebiusy  Rare,  Chiura^  Serpentinns,  Jonathan, 
Jeanquirit,  etc.,  and  their  displays  took  place  in 
the  pages  of  the  Neae  Zeitschrifb  fur  Mnsik, 
Schnmazm's  periodicaL  It  was  Schumann's  half 
humorouB,  half  melancholy  way  of  expressing 
his  ophuons.  He  himself,  in  the  pra&ce  to  his 
GeBADimelte  Schriften  (Lieipzig,  1854),  speaks  of 
it  as  *  an  alliance  which  was  more  than  secret, 
oDOd  it  existed  only  in  the  brain  of  its  founder.* 
The  DsTidsbundler  did  not  confine  themselves  to 
literary  feats;  their  names  are  to  be  found  in 
Schamann's  compositions  also,  florestan  and 
Eoaebius  not  only  figure  in  the  Cameval  (op. 
9),  bot  the  Grande  Sonate,  No.  i  (op.  ii),  was 
eriginally  published  with  their  names,  and  so 
vas  the  set  of  pieces  entitled  'Davidsbtindler' 
(op.  6).  The  most  humorous  of  all  these  utter^ 
aoces  is  the  '  Marche  des  Davidsbtindler  centre 
legPhiliwtins,'  which  winds  up  the  Cameval,  and 
in  which  the  antiquated  *Gro8vatertanz'  is  gra- 
dually sunrounded  and  crushed  by  the  strains  of 
the  new  allies.  [G.] 

I)  AYIES,  the  MissxB  M  ABiAimB  and  CidLU, 
vere  daughters  of  a  relativeof  Benjamin  Franklin. 
Mariaone,  the  elder,  attained  some  distinction 
as  a  perfonner  on  the  harpsichord  and  pianoforte, 
but  about  176  a  achieved  much  more  repute  for 
her  skill  on  the  harmonica,  or  musical  glasses, 
then  recently  much  improved  by  Franklin. 
Cedlia,  bom  1740,  won  considerable  renown  as 
avocaligt.  She  made  her  first  public  appearance 
at  the  Concert  Boom  in  Dean  Street,  Soho„  April 
2S,  1756.  In  68  the  sisters  quitted  England 
and  went  to  Paris,  and  Vienna.  Whilst  Siere, 
Metastano  wrote,  and  Hasse  composed  an  ode, 
whidi  was  sung  by  Cecilia,  accompanied  by 
Hariazme  on  the  harmonica.  Metastasio,  in  a 
letter  dated  Jan.  16, 177a,  describes  the  beautiful 
tone  of  the  instrument,  and  the  admirable  manner 
m  which  Cecilia  assimilated  her  voice  to  it,  so 
IS  to  render  it  difficult  to  distinguish  the  one 
from  the  other.  From  Vienna  the  sisters  went 
to  Milan,  where  Cecilia  appeared  in  1771,  with 
great  fuocesB,  in  the  opera  of  Ruggiero,  written 
by  Metastasio  and  composed  bv  Hasse,  being  the 
first  Englishwoman  accepted  m  Italy  as  prima 
dmna.  The  Italians  bestowed  on  her  the  sobriquet 
of 'Uln^eeina,'  and  confessed  her  to  be  superior 
to  any  Italian  singer  but  Gabrielli.  She  after- 
wards saug  at  Florence.  In  1 773  the  two  ladies 
returned  to  London,  where  Cecilia  appeared  at 
^e  Italian  Opera  with  the  greatest  succeBS. 
ii  described  as  having  no  great  power  or 


DAVY. 


485 


volume  of  voice,  but  a  remarkably  neat  and 
facile  execution.  She  subsequently  revisited 
Florence,  and  performed  there  until  about  1 784, 
when  she  returned  to  England.  Marianne*8 
nerves  had  become  so  seriously  affected  by  her 
performance  on  the  harmonica  (a  so  frequent 
result  of  oontinued  performance  on  the  instrumeut 
as  to  have  occasioned  official  prohibition  of  its 
use  in  many  continental  towns),  that  she  was 
compelled  to  retire  from  her  profession.  She 
died  in  179a,  and  Cecilia  shortly  afterwards  also 
ceased  to  perform.  About  181 7  she  published  a 
collection  of  six  songs  by  Hasse,  Jomelli,  Galuppi, 
etc.  She  survived  untU  July  3, 1836,  having  for 
years  suffered  from  the  accumulateid  miseries  of 
old  age,  disease,  and  poverty.  [W«H.  H.] 

DAVY,  John,  was  bom  in  the  parish  of 
Upton  Helion,  near  Exeter,  in  176^.  From  his 
earliest  in&ncy  he  discovered  a  remarkable 
propensity  for  music.  After  many  other  mani- 
festations of  his  inclination,  he  was,  when  about 
six  years  of  age,  detected  as  the  purloiner  of 
firom  twenty  to  thirty  horse-shoes  fix)m  a  neigh- 
bouring smithy.  From  these  he  had  selected  as 
many  as  formed  a  complete  octave,  and,  having 
suspended  them  in  an  upper  room,  was  amusing 
himself  by  imitating  upon  them  the  chimes  of  the 
neighbouring  churdi  of  Crediton.  By  the  advice 
of  the  Bev.  Mr.  Eastcott,  he  was  articled  to 
Jackson  of  Exeter.  Some  yean  afterwards  Davy 
came  to  London,  and  obtained  employment  in 
the  orchestra  of  one  of  the  theatres  and  as  a 
teacher.  His  ability  for  composition  soon  became 
known,  and  he  was  engaged  to  supply  music  for 
several  dramatic  pieces.  After  upwwds  of  twenty 
years  of  such  employment  his  frame  gave  way 
under  the  pressure  of  infirmities  rather  than  of 
age,  and  he  gradually  sank  until  he  died,  in 
May's  Buildup  St.  Martin's  Lane,  Feb.  a  a, 
1834.  He  was  buried  in  St.  Martin's  church* 
yard  on  Feb.  a8  following.  Davy  composed  the 
music  for  the  following  dramatic  pieces : — 'What 
a  Blunder!'  1800;  'Perouse'  (with  J.  Moore- 
head),  1801;  'The  Brazen  Made'  (with  Moun- 
tain),  1 80a;  'The  Cabinet'  (with  Braham  and 
others), i8oa;  'The  Ca&es'  (with  others\i8oa; 
'Bed  Boy,'  1803;  'The  Miller's  Maid,^  1804; 
'Harlequin  Quicksilver,'  1804;  'Thirty  Thou* 
sand'  (with  Braham  and  Beeve),  1805 ;  'Spanish 
Dollars,'  1805;  'Hariequin's  Magnet,'  1805; 
'The  Blind  Boy,  1808;  <Tho  Farmer's  Wife' 
(with  others),  1814;  *Bob  Boy  Macgregor,' 
1818;  'Woman's  Will,  a  Kiddle,'  1830.  Abo 
an  overture  and  other  music  for  Shakspere's 
'Tempest,'  performed  in  coinunction  with  the 
songs  of  Purcell,  Ame,  and  linley. 

Many  of  Davy's  songs  gained  great  popularity. 
*  Just  Hke  love,'  '  May  we  ne'er  want  a  friend,' 
and  '  The  Death  of  the  Smuggler,'  have  perhaps 
passed  out  of  remembrance,  but  'The  Bav  of 
Biscay'  retains,  and  in  all  probability  will  long 
retain,  its  place  in  the  public  &vour.  [W.H.H.] 

DAVY,  Richard,  an  English  composer  in  the 
early  part  of  the  1 6th  century.  Some  of  his 
compositions  are  preserved  in  the  British  Museum, 


486 


DAVT. 


in  the  Tolume  known  bm  the  FayifSuc  Mannscnpt 
(Add.  MSS.  5465).  [W.  H.  HJ 

DAY,  Alfbkd,  M.D.,  the  author  of  an  im- 
portant theory  of '  harmony,  was  bom  in  London 
in  January  18 10.  In  accordance  with  the  wishes 
of  his  fibther  he  studied  in  London  and  Paris  for 
the  medical  profession,  and,  alter  taking  a  degree 
at  Heidelbeig,  practised  in  London  as  a  homoeo- 
pathist.  His  father's  want  of  sympathy  for  his 
musical  inclinations  in  his  earlier  years  having 
prevented  him  from  attaining  a  sufficient  ^legree 
of  practical  skill  in  the  art,  he  turned  his  attention 
to  the  study  of  its  principles,  and  formed  the 
idea  of  making  a  consistent  and  complete  theory 
of  hannony,  to  replace  the  chaos  of  isolated  rules 
and  exceptions,  founded  chiefly  on  iiregular 
observation  of  the  practice  of  great  composers, 
which  till  comparatively  lately  was  all  that  in 
reality  supplied  the  place  of  system.  He  took 
some  years  in  maturing  his  theory,  and  published 
it  finally  in  1845,  three  years  only  before  his 
death. 

In  this  work  there  was  hardly  any  department 
in  which  he  did  not  propose  reforms.  For  instance, 
in  view  of  the  £b^  that  the  figures  used  in 
thorough  bass  did  not  distinguish  the  nature  of 
the  chord  they  indicated — since  the  same  figures 
stood  for  entirely  different  chords,  and  the  same 
chords  in  different  positions  would  be  indicated 
by  different  figures — he  proposed  that  the  same 
chord  should  always  be  indicated  by  the  same 
figures,  and  that  its  inversions  should  be  indicated 
by  capital  letters  A,  B,  C,  etc.,  placed  under  the 
bassy  so  that  the  chord  of  the  seventh  in  its  various 
positions  would  be  indicated  as  follows :— 

f  }  I 

T      T      T      T  *       *      * 

m 


-^- 


I  instead  of  P 


A  B     0   I) 

as  under  the  old  system.  And  whenever  a  chord 
had  also  a  seoondsry  root,  as  the  chord  of  the  aug- 
mented sixth,  it  would  be  indicated  bv  a  capital 
letter  with  a  line  drawn  through  it,  and  lines  also 
dniwn  through  the  figures  ^^niich  indicated  the 
intervals  derived  from  that  secondary  root. 

With  respect  to  the  differences  of  opinion 
about  the  minor  scale,  he  insisted  with  determined 
consistency  that  the  principles  of  its  construction 
precluded  the  possibility  of  its  containing  a  major 
sixth  or  a  minor  seventh,  and  that  the  only  true 
minor  scale  is  that  with  a  minor  sixth  and  major 
seventh,  the  same  ascending  and  descending ;  and 
his  concluding  remarks  are  worth  quoting  as  char- 
acteristic:— 'This  scale  may  not  be  so  easy  to 
some  instruments  and  to  voices  as  the  old  minor 
scale,  therefore  let  all  those  who  like  it  practise 
that  form  of  passage,  but  let  them  not  call  it  the 
minor  scale.  Even  as  a  point  of  practice  I  deny 
the  old  minor  scale  to  be  the  better ;  as  practice 
is  for  the  purpose  of  overcoming  difficulties,  and 
not  of  evadmg  them.'  The  principle  which 
throughout  characterises  his  system  is  to  get 
behind  the  mere  shallow  statement  of  rules  and 
exceptions  to  the  underlying  basis  from  which 

1  Tnattoe  on  Humoar.  Iv  Attrad  Dty.  Bojal  8to.  MoreUo  *  Co. 


DAY. 

the  exceptions  and  rules  will  alike  follow.  Tfaos, 
in  dealing  with  the  theory  of  false  relations,  he ; 
points  out  that  the  objectionable  nature  of  con* 
tradictoiy  accidentals,  such  as  Cl|  and  C|  oocuiring 
in  the  same  chord,  or  in  snoeeeding  chords  or 
alternate  chords,  arises  from  the  obscurity  of 
tonality  which  thereby  results,  and  which  must , 
always  result  when  accidentals  imply  change 
of  key :  but  since  accidentals  under  pardcuJar 
circumstances  do  not  imply  change  of  key,  con- 
tradictory accidentals  are  not  necessarily  a  fidae 
relation;  and  he  gives  as  an  extreme  instance^ 
among  others,  the  succession  of  the  chords  of  the 
subdominant  and  supertonic  in  the  key  of  C,  in 
which  F  and  F|  follow  one  another  in  different 
parts  in  successive  chords. 


i 


ji/iii  J  I. J 


r'nerrir 


^ 


fe 


JJ: 


^ 


r 

Proceeding  after  the  same  manner  in  his 
discussion  of  forbidden  progressions  of  parts,  he 
points  out  that  as  the  objectionable  effect  of 
consecutive  fifths  is  caused  by  the  two  parts 
seeming  to  move  simultaneously  in  two  different 
keys,  &ere  are  cases  in  whidb  the  progression 
of  the  bass  on  which  they  are  founded  would 
prevent  that  effect  and  render  them  admissible ; 
as,  for  instance,  when  the  bass  moves  from  Tonic 
to  dominant,  afi  in  the  Pastoral  Symphony  of 
Beethoven, 


mHi\ 


6le. 


gfc"  6 1 .  r  ■  I 


f= 


The  most  important  part  of  his  theory,  and 
that  which  most  distinguishes  it»  is  its  diviedon 
of  styles  into  Strict  or  Diatonic,  and  Free  or 
Chromatic,  and  the  discussion  of  the  fundamental 
discords  which  can  be  used  without  preparation. 
His  explanation  of  the  'Chromatic  system'  was 
quite  new,  and  his  prefatory  remarks  so  well 
explain  his  principles  that  they  may  be  fitly 
quoted.  After  pointing  out  that  the  laws  of 
diatonic  harmony  had  beien  so  stretched  to  apply 
them  to  modem  styles  that  they  seemed  '  utterly 
opposed  to  practice,'  he  proceeds  —  'Diatonic 
discards  require  preparation  because  they  are 
unnatural;  chromatic  do  not  because  they  may 
be  said  to  be  abeady  prepared  by  nature'— «nce 
the  harmonics  of  a  root  note  give  the  notes  which 
form  with  it  the  combinations  he  calls  funda- 
mental discords.  'The  harmonics  fixon  any 
given  note  are  a  major  third,  perfect  fifth,  minor 
seventh,  minor  or  major  ninth,  eleventh,  and 
minor  or  major  thirteenth.*  '  And  this  series 
gives  the  complete  category  of  the  fundamental 
chords  of  Day's  chromatic  system.  Moreover,  with 
the  view  of  simplifying  the  tonal  development 


DAY. 


DAY. 


487 


cf  monc,  and  s^Ting  a  laiger  aoope  to  the  bada 
of  a  single  key — and  thereby  avoiding  the  oon- 
adendon  of  mnumo^ble  ahort  traiiBitionB — ^he 
gives  a  number  of  chromatic  chords  as  belonging 
essentially  to  every  key,  though  their  signatures 
may  not  be  sufficient  to  supply  them,  and  with 
the  same  object  builds  his  lundamental  discords 
OD  the  bans  of  the  supertonic  and  tonic  as  well 
as  on  the  dominant.  In  respect  of  this  he  says — 
'The  reason  why  the  tonic,  dominant,  and  supers 
tonic  are  chosen  for  roots,  is  because  the  harmonics 
in  nature  rise  in  the  same  manner;  first  the 
hsimonics  of  any  given  note,  then  those  of  its 
fifth  or  dominant,  then  those  of  the  fifth  of  that 
dominant,  being  the  second  or  supertonic  of  the 
original  note.  The  reason  why  the  harmonics 
of  the  next  fifth  are  not  used,  is  because  that  note 
itself  is  not  a  note  of  the  diatonic  scale,  being 
a  little  too  sharp,  as  the  fifth  of  the  supertonic, 
and  can  only  be  used  as  part  of  a  chromatic 
chord.*  The  advantages  of  this  system  of  taking 
a  nomber  of  chromatic  chords  under  the  head 
of  one  key  will  be  obvious  to  any  one  who  wishes 
for  a  complete  theory  to  analyse  the  progressions 
of  keys  in  modem  music  as  well  as  th^  harmonic 
Btrocture.  For  instance,  even  in  the  early 
'Sonata  Pathetique'  of  Beethoven,  under  a  less 
comprehensive  system,  it  would  be  held  that 
in  the  first  bar  tiiere  was  a  transition  from  the 
original  key  of  C  minor  to  G ;  whereas  under  this 
s}8tem  the  first  modulation  would  be  held  to 
take  place  in  the  4th  bar,  to  £b,  which  is  £ar 
more  logical  and  systematic. 

The  detailed   examination  of  the   series  of 

chords  which  have  been  summarised  above  is 

veiy  elaborate.     In  most  cases  his  views  of  the 

resolutions,  even  of  well-known  chords,  are  more 

varied  and  comprehensive  than  is  usual  with 

works  on  harmony,  and  point  to  the  great  patience 

and  care  bestowed  on  the  elaboration  of  the 

theory.     The  most  salient  points  of  this  part 

of  the  work   are  the  reduction  of  well-known 

chords  and  their  recognised  and  posnble  reso- 

lotions  under  the  author  s  system  of  fundamental 

disoards.    The  chord  of  the  diminished  seventh 

(a)  he  points  out  to  be  the  first  (a)      (b) 

inTeFsioQ  of  that  of  the  minor 

ninth  (b) ;  and  though  thia  in- 

▼endoo,  in  which  the  root  is     _ 

omitted,  is  decidedly  more  common  than  the 

original  chord  (5),  yet  the  latter  is    ^ 

to  be  found  complete— as  is  also  the    |j^ 

major  ninth,  wiUiout  omission  of  the    S^ 

root— in  the  works  of  the  great  masters ;  and  that 

on  tonic  and  supert<mic  as  well  as  dominant  roote. 

Thechordofthedominanteleventh,  ^c) 

when  complete  (as  c),  is  hardly 

likely  to  be  found  unabridged; 

and  it  is  even  doubtful  whether 

any  examples  of  its  first  position  "^^ 

exlst,^  even  with  some  notes  omitted,  which  can 

he  pointed  to  with  certainty  as  an  essential  chord. 

But  in  this  scheme  the  chord  is  #j% 

important  as  giving  in  its  fourth    _n__ 

invemon  the  chord  known  as  the    -^    ^' 

added  sixth  (d),  in  which  case  the 


fifth  of  the  orlgfaial  chord  h  at  the  top  and  the 
root  and  third  are  omitted,  and  the  i^  treatment 
which  has  generally  characterised  this  formerly 
isolated  chord  fully  agrees  with  the  rest  of  the 
principles  of  the  system.  This  chord  of  the 
eleventh,  unlike  the  others  in  the  series,  can 
only  be  used  on  the  dominant,  because  if  used 
on  eiUier  the  tonic  or  supertonic  it  would  resdve 
out  of  the  key.  The  last  chord  of  the  series  ia 
that  of  the  major  or  minor  thirteenth  on  either 
of  the  before-mentioned  roots ;  of  which  the 
whole  chord  on  the  dominant  of  G  (for  example) 

would  stand  as  («).  It  is  not 
suggested  that  sdl  these  notes 
occur  at  once,  but  that  the 
discordant  ones  have  their  own 
proper  resolutions,  which  they 
wUl  follow  in  whatever  positions  they  may  be 
combined ;  their  resolutions  being  liable  to  modi- 
fication by  the  omission  of  any  notes  with  which 
they  form  dissonances.  Tlie  commonest  and 
smootlvest  form  of  the  chord  is 


d^      rs     — hz^ — H- 


which  will  be  readily  recognised ;  and  there  are 
various  resolutions  given  of  the  interval  which 
makes  the  thirteenth  with  the  root  in  this  com- 
bination. One  of  the  resolutions  of  the  minor 
thirteenth  deserves  special  consideration,  namely, 
that  in  which  it  rises  a  semitone  while  the  rest 
of  the  diord  moves  to  tonic  harmony.     This 

makes  the  choi^  appear  to  be 
the  same  as  that  which  was  and 
is  commonly  known  as  that  of 
the  sharp  fifth,  as  (/).  To  the 
whole  doctrine  of  a  sharpened 
fifth  Dr.  Day  strongly  opposed  himself,  and  main- 
tained that  the  two  chords  marked  {g)  and  (A)  in 
the  example  were  identical ;  and  brought  to  bear 


(ff) 


M 


■«- 


■21  ^ 


both  mathematics  and  practical  experiment  to 
prove  it.  The  combinations  and  resolutions 
which  result  from  his  views  of  the  nature  of 
this  chord  are  some  of  them  very  curious  and 
original,  and  would  probably  be  impossible  if 
the  chord  were  not  a  nunor  thirteenth  but  a 
sharp  fifth.  Still,  the  case  against  the  sharp  fifth 
cannot  be  said  to  be  thoroughly  substantiated, 
and  the  singular  results  of  his  views  in  this 
special  case  are  not  to  be  found  in  great  Qumbers 
in  the  works  of  oomposers. 

The  chord  of  the  augmented  sixth  he  derives 
from  the  primary  harmonics  arising  firom  a  pri- 
mary root,  and  the  secondary  harmonics  arising 
frt>m  a  secondary  root.  Thus  in  the  following 
chord  in  the  key  of  G,  the  lower  note  Ab  he 


i  •*' 


IS8 


BAY. 


explaiiiB  to  be  the  minor  ninth  of  the  dominant 
root,  and  the  remaining  three  notes  to  be  the 
seventh,  ninth,  and  third  of  the  supertonic  or 
secondary  root ;  both  these  notes  being  akeady 
recognised  as  capable  of  being  taken  as  roots 
in  any  key.  The  progressions  of  the  component 
notes  of  the  chord  are  the  same  as  they  would 
be  In  their  positions  in  the  respective  fon- 
damented  diseords  of  tonic  and  supertonic  of 
-which  they  form  a  part.  His  views  of  the 
capacity  of  the  interval  of  the  augmented  sixth 
for  being  inverted  as  a  diminished  third  are 
opposed  to  the  braotioe  of  the  greatest  com- 
posers, who  though  they  use  the  inversion  rarely 
use  it  with  great  effect.  He  says:  *This  in- 
terval should  not  be  inverted,  because  the  upper 
note  being  a  secondftry  harmonic  and  capable 
of  belonging  only  to  the  secondary  root,  should 
not  be  beneath  the  lower,  which  can  only  belong 
to  the  primary  root.*  As  in  his  views  with  re- 
spect to  the  sharp  fifth  and  the  minor  thirteenth, 
the  question  cannot  be  said  to  be  defmitoly 
settled.  Thus  tiie  musical  feeling  of  people  of 
cultivated  tasto  may  still  count  for  something, 
and  it  seems  probable  that  if  the  inversion  were 
vicious  Bach  and  Beethoven  would  not  have 
used  it. 

This  is  not  the  place  to  point  out  in  what 
respects  Dr.  Day's  hypothesis  is  -vulnerable; 
theorists  of  vpry  high  standing  rq>udiato  the 
chords  of  the  elevenUi  and  thirteenUi,  and  even 
cast  doubts  on  the  essential  nature  of  the  ninths ; 
but  whatever  may  be  said  of  its  hypothetical 
and  as  yet  incompletely  substantiated  views  it 
must  be  confessed  that  no  other  theoir  yet  pro- 
posed can  rival  it  in  consistency  and  compre- 
hensiveness. The  strong  adhesion  given  to  it  by 
one  of  our  most  distinguished  living  musicians, 
the  Professor  of  Music  at  Cambridge,  should  be 
sufificient  to  recommend  it ;  and  the  study  of  it, 
even  if  it  lead  to  dissent  on  some  points,  can 
hardly  faU  to  be  profitable.  [C. H.  H.P.] 

DAY,  John,  one  of  the  earliest  of  English 
musical  typographers,  began  printing  about 
1549  in  Hol1x>m,  a  little  above  the  Conduit. 
He  afterwards  dwelt  *over  Aldersgate  beneath 
Saint  Martyns,'  and  subsequently  had  a  shop 
in  St.  Paul's  Churchyard.  He  used  the  motto 
'Arise,  for  it  is  Day,'  which  was  probably  in- 
tended as  a  reference  to  the  introduction  of  the 
Beformed  religion,  as  well  as  a  punning  allusion 
to  his  own  name.  On  March  35,  1553,  he 
obtained  a  licence  to  print  'A  Catechism  in 
English  with  an  A  B  0  thereunto  annexed,'  and 
also  the  works  of  John  Poynet,  Bishop  of 
Winchester,  and  Thomas  Beacon,  Professor  of 
Divinity.  He  subsequently  procured  a  patent 
to  be  granted  to  him  and  his  son  for  printing 
the  Psalms,  eto.  He  was  the  printer  of  Fox's 
'Acts  and  Monumento.*  In  1582  he  was  Master 
of  the  Stationers'  Company.  He  died  July  23) 
1584.  The  musical  works  printed. by  Day  were 
*Certaine  Notes  set  forth  in  foure  and  three 
partes  to  be  sung  at  the  Morning,  Conunimion 
and  Evening  Prayer.'  1560;  'The  whole  Booke 
of  Psalmes  in  foure  partes,'  which  may  be  sung 


DEFESCH. 

to  aU  Musicall  Instruments,'  1563,  reprinted  in 
1565;  'Songes  of  three,  fewer  and  five  voyces 
composed  and  made  by  Thomas  Whythorne/ 
1571;  'The  Psaknes  of  David*  by  Williwn 
Damon,  1579.     [Damow.]  [W.  H.  H.] 

DEANE,  Thomas,  Mus.  Doo^  bom  in  the 
latter  half  of  the  17th  century,  was  organist  at 
Warwick  and  Coventry.  He  composed  a  service 
and  other  church  music,  and  in  1 703  the  instra* 
mental  music  for  Oldmixon's  tragedy  'The Gover- 
nor of  Cyprus^*  He  is  said  to  have  been  the  fint 
to  perform  a  sonata  of  Corelli  in  this  oountij  in 
1 709.  Many  compositions  by  him  for  the  violin  j 
are  contained  in  the  collection  called '  The  Division 
Violin.'  He  graduated  as  Doctor  of  Music  at  Ox- 
ford J^uly  9, 1731.  [W.H.H.] 

DEBAIN,  Alsxandbe  FBAK901S,  keyed  in* 
strument  maker,  bom  in  Paris  1809.  Qngioally 
foreman  in  a  pianoforte  factoiy,  but  in  1834 
established  a  factoiy  of  his  own.  Has  distin* 
guished  himself  by  the  invention  of  several 
musical  instruments,  amongst  others  the  Anti* 
phonel — a  kind  of  barrel-oi^gan — the  Hannoni- 
oorde — a  combination  of  reeds  and  strings — and 
the  Harmonium,  or  Orgue  ezpressif.  Died  Nov.  77. 

DEBORAH.  An  oratorio  of  Handel's,  the 
words  by  Humphreys;  completed  Feb.  21, 1733; 
first  performed  at  the  King's  Theatre,  Hay- 
market,  March  17,  1733.  No  less  than  14  of 
the  airs  and  choruses  are  founded  on,  adapted, 
or  transferred,  from  other  works  of  Handers— 
Dixit  Dominus  (1707);  the  Passion  (1716); 
the  ode  on  Queen  Annes  birthday  (17^5)  *  ^® 
Coronation  Anthetos  (1727).  Deborah  was 
revived  by  the  Sacred  Hitrmonic  Society  Nov. 
15.  1843. 

DECANI.  The  words  Decani  and  Cantoris 
are  used  to  distinguish  the  two  sides  of  the  choir 
for  the  purposes  of  antiphonal  singing  in  the 
Anglican  Church.  The  names  are  derived  from 
the  position  of  the  stalls  of  the  Decanus  or  Dean 
and  the  Cantor  or  Precentor,  which  are  the  first 
on  either  side  on  entering  the  dioir  of  a  cathedral, 
the  Dean  always  on  the  south  side.        [C.H.H.P. j 

DECRESCENDO,  decreasing— the  opposite 
of  crescendo— consists  in  graduidly  leasening  the 
tone  from  loud  to  soft.  It  is  also  expressed  by 
dec.,  deerese.,  and  by  the  sign  i:r==^.  Whether 
there  was  originally  any  difference  between 
decrescendo  and  diminuendo  or  not,  at  present 
the  two  terms  appear  to  be  convertible.  There 
is  a  splendid  instance  of  the  thing,  where  both 
words  are  used,  at  the  end  of  the  first  section  of 
the  Finale  of  Schubert's  Symphony  in  C,  No.  9, 
in  a  decrescendo  of  48  bars  from  fff,  the  bass  at 
the  same  time  going  down  and  down  to  the  low  G. 

DEFESCH,- William,  a  Fleming  by  birth, 
was  oiiganist  of  the  church  of  Notre  Dame  at 
Antwerp,  and  in  1725  succeeded  Alfonso  D'Eve 
as  chapel-master  there,  but  was  in  1731  dismissed 
on  account  of  his  ill-treatment  of  some  of  the 
choir-boys  under  his  charge.  He  then  came  to 
England,  and  established  himself  in  London, 
where,  in  33,  he  produced  an  oratorio  entitled 


DEFESCH. 

'Judith/ which  enjoyed  some  degree  of  popularity, 
ud  in  45  another  called  'Joseph.  Whilst 
u  Antwerp  he  composed  a  maaa  for  voices  and 
orcKestra.  His  published  works  comprise  several 
sete  of  sGnatas  and  concertos  for  stringed  and 
other  instruments,  some  solos  for  the  violoncello, 
and  a  collection  of  canzonets  and  airs,  and  some 
single  B(Hig8.  He  was  an  able  violinist.  An 
engraved  portrait  of  him  was  published  in  London 
in  1 75  7.    He  died  about  1 758.  [W.  H.  HJ 

DEGREE.  The  word  'degree*  is  used  to 
express  the  intervals  of  notes  from  one  another 
on  the  stave.  When  they  are  on  the  same  line 
or  space  they  are  in  the  same  degree.  The 
interval  of  a  second  is  one  degree,  the  interval 
of  a  third  two  degrees,  and  so  on,  irrespective  of 
the  steps  being  tones  or  semitones,  so  long  as 
they  represent  a  further  line  or  space  in  the  stave. 
Hence  also  notes  are  in  the  same  degree  when  they 
are  natural,  flat,  or  sharp  of  the  same  note,  as  G  and 
CS,  £  and  £b  ;  and  they  are  in  different  degrees 
Then,  though  the  same  note  on  an  instrument  of 
fixed  intonatioiiy  they  are  called  by  different 
names,  as  F|  and  G  b,  C  and  Dbb.      [,C.H.H.P.] 

DEGREE.  For  the  degrees  in  music  at  the 
English  Universities  see  Bachelob  and  Doctor. 
Since  Bachzlob  was  printed  an  addition  has 
been  made  to  the  Oxford  examination  by  requiring 
candidates  to  pass  previously  either  Responsions 
or  a  local  examination  in  English,  Mathematics, 
lAtin,  and  one  of  four  modem  languages — Greek, 
French,  German,  or  Italian.  Additionsof  a  similar 
natnre  have  also  been  made  by  Cambridge  and 
Dublin,  and  the  London  University  has  adopted  a 
report  to  the  same  effect.  Thus  the  degree  will 
henceforward  be  evidence  of  a  certain  general  edu- 
cation as  well  as  of  musical  attainments.  [C.A.F.] 

DEHN,  SiEOFBiBD  WiLHELV,  musical  writer, 
bom  at  Altona  17^6,  died  at  Berlin  1858.    His 
stadies  at  the  Umversity  of  Leipsic  were  inter- 
Tupted  in  1813  by  having  to  join  tihe  army  against 
the  French.     On  the  restoration  of  peace  he 
went  to  Plon  and  Leipsic,  and  in  1823  to  Berlin, 
^here  he   studied   under   Bemhard  Klein   in 
harmony  and  composition.    He  possessed  strong 
literary  tastes,,  and  being  a  good  linguist,  made 
<iiligent  researches  on  various  subjects  connected 
with  mnaic  both  in  Germany  and  Italy,  which 
he  atilised  in  Marx's  'Berliner  Musikzeitung' 
and  other  periodicals.    In  184 3,  on  the  recom- 
mendation of  Meyerbeer,  he  was  appointed  libra- 
rian of  the  musioal  portion  of  the  royal  library  at 
^lin,  a  choice  he  amply  justified.     He  cata- 
logued the  entire  collection,  and  added  to  it  a 
number  of  valuable  works  scattered  throughout 
Russia,  especially   Poelchau's   collection,   oon- 
^iiuiig,  besides  many  interesting  theoretical  and 
lu<totical  works,  an  invaluable  series  of  original 
MSd.  of  the  Bach  fiimily.    Dehn  scored  no  less 
than  500  motets  of  Orlando  Lasso,  and  copied 
for  the  press  an  enormous  number  of  works  by 
J.  S.  Baoh.   He  it  was  who  first  published  Bach*s 
^  concertos  for  various  instraments  (Peters, 
^^o) ;  the  ooQcertos  for  one,  two,  and  three  piano- 
fortei ;  and  two  oomio  oantatas.    At  his  instiiga* 


DELDEVEZ. 


489 


tion  Griepenkerl  undertook  his  edition  of  Bach's 
complete  works  for  clavier  and  organ  (Peters* 
Leipsic).  Dehn  also  published  a  collection  of 
vocal  compositions  in  4,  5,  6,  8,  and  10  parts, 
called  'Sanmdung  alterer  Musik  aus  dem  XVI 
und  XYII  Jahrh.'  (Crantz,  Berlin).  He  suc- 
ceeded Gkittfiied  Weber  in  Uie  editorship  of  the 
musical  periodical  'Csecilia'  (Schott).  He  re- 
edited  Marpurg's  treatise  on  Fugue  (Leipzig 
1858),  had  translated  Delmotte's  work  on  Or- 
lando Lasso,  under  the  title  'Biographische  Notiz 
iiber  Boland  de  Lattre,'  and  was  preparing  a 
larger  work  on  the  same  subject,  &om  valuable 
materials  collected  with  great  labour,  when  he 
died.  Jn  addition  to  these  and  similar  labours 
he  conducted  a  large  correspondence  on  musical 
subjects  and  formed  many  distinguished  pupils, 
among  whom  may  be  mentioned  Glinka,  KuUak, 
A.  Rubinstein,  and  F.  Kiel.  Among  his  firiends 
were  Kiesewetter  and  F^tis,  for  the  latter  of 
whom  he  collected  materials  equal  to  two  volumes 
of  his  *  Biogrmhie  universelle.'  His  theoretical 
works  were  'Theoretisch-praktische  Harmonie- 
lehre'  (Berlin  1840;  and  edition  Leipsio  1858); 
'Analyse  dreier  Fugen . . .  J.  S.  Bach*s  . . .  und 
Bonondni's  etc.'  (Leipsdg  1858),  and  'Lehre  vom 
Contrapunkt'  (Schneider,  1859).  The  latter,  pub- 
lished after  his  death  by  his  pupil  Scholz,  con- 
tains examples  and  analyses  of  canon  and  fugue 
by  Orlando  Lasso,  Marcello,  Palestrina^  eto. 
Dehn  was  a  good  practical  musician  and  viohm- 
cellist  [M.C.G.] 

DEISS,  MiOEAXL,  musician  to  the  Emperor 
Ferdinand  I  of  Grermany,  for  whose  obsequies  in 
1564  he  composed  a  motet  for  four  voioec^  and 
eight  other  pieces,  published  by  Joannelli  in  his 
'  Thesaurus  Musious.'  Other  motets  of  his  are 
contained  in  Schad's  '  Promptuarium  Musicum.' 
Deiss's  part-writing  was  fluent  and  natural  for 
his  time,  as  is  shown  in  his  motet  'Misit  Herodes 
rex.'  [M.  C.  0.] 

DELDEVEZ,  Ebvest,  bom  in  Paris  May  31, 
181 7,  studied  at  the  Gonservatoire,  where  he  waa 
a  pupil  of  Habeneck,  and  obtained  the  first  violin 
prize  in  1833,  the  second  prize  for  fugue  in  1837, 
and  the  second  'prix  de  Ilome'  in  1838  for  his 
cantata  'La  Vendetta^'  which  he  subsequently 
revised  and  printed  (op.  16).  That  he  is  not 
only  a  talented  violinist  and  leader,  but  also  a 
sound  and  melodious  composer,  is  shown  in  his 
published  works.  These  consist  of  songs,  sacred 
choruses,  2  trios  (op.  9  and  23),  quartets  (op.  10), 
a  quintet  (op.  2a),  concert-overtures  (op.  I  and  3), 
symphonies  (op.  1,  8,  15),  besides  some  still  un- 
pubushed;  a  'Requiem*  (op.  7),  and  dramatic 
works,  besides  oilers  still  in  MS.  Among  his 
ballets  performed  at  the  Opera  we  may  mention 
'Lady  Henriette'  (3rd  act),  'Eucharis'  (1844), 
•Paquita'  (1846),  and  'Vertvert'  (1851),  which 
contain  much  pleasing  and  brilliant  music.  This 
learned  and  oonncientious  musician  has  also  pub- 
lished an  Anthology  of  Violinists,  4  vols.  (op.  19) 
— a  selection  of  pieces  by  various  composers,  from 
Corelli  to  Viotti ;  a  work  *  Des  Prindpes  de  la 
formation  des  intervalles  et  des  accords*;   the 


440 


DELDEVEZ. 


'  Conn  oomplet  d'harmonie  et  de  liante  oomposi- 
tion'  of  Fenaroli;  '  Tranacriptionfl  et  R^aJis^- 
tioxu  d^oeuvres  andennes';  'Curiosity  MusicaleB' 
(Didot,  187$),  on  certain  peculiarities  in  the 
works  of  the  great  masters,  and  '  L'art  du  Chef 
d'Orchestre'  (Didot,  1878).  On  the  death  of 
George  Hainl  (1873)  Delderez  was  appointed  first 
leader  to  the  '  Acad^mie*  and  to  the  '  Soci^  des 
Concerts.'  In  October  1873  he  was  chosen  to 
direct  the  ohuas  for  instrumental  perfonnanoe, 
instituted  at  the  Conservatoire  at  the  instance  of 
Ambroise  Thomas,  and  hitherto  most  successful. 
He  retired  from  the  Opera  July  i,  1877.  Deldevez 
is  a  Chevalier  of  the  Legion  of  Honour.    [G.  C] 

DELICATI,  Mabohbbita,  an  Italian  soprano 
engaged  at  the  King's  Theatre  with  her  husband 
fai  1 789.  They  played  piincipaUy  in  opera  buffik 
She  sang  with  Marchesi  in  Tarchi's  '  l)isertore/ 
and  they  both  took  part  in  *  La  Ooea  rara'  and 
'  La  Yillana  rioonosciuta.'  Delicati  also  played  a 
■mall  part  in  Paisiello*s  'Barbiere  di  Siviglia.' 
Their  subsequent  history  is  unknown.       [J .  M.] 

DELMOTTE,  Henbi  FLOBEirr,  bom  at  Mons 
1799,  died  there  1836,  librarian  of  the  public 
library  at  Mons,  and  author  of  'Notice  bio* 
graphique  sur  Holand  Delattre,  etc.*  (Valen- 
ciennes 1836).  This  work  was  translated  into 
German  by  Dehn.  The  authenticity  of  tiie 
chronicler  Vinchant,  from  whom  Dehnotte  took 
the  chief  part  of  his  facts,  has  been  contested 
since  his  death.  (See  Lasso.)  At  the  time  of 
his  death  Debnotte  was  collecting  materials  for 
the  life  of  Philippe  de  Mons.  [M.  C.  C] 

DEMANTIUS,  Christoph,  composer,  bom 
at  Reichenbeig  1567;  was  cantor  at  Zittau 
about  1596,  and  in  1607  at  Freybeig  in  Saxony 
where  he  died  1643.  His  works  (for  list  see 
Fetis)  comprise  songs  sacred  and  secular,  dances, 
and  threnodies,  or  funeral  laments,  besides  two 
elementary  worics,  *  Isagoge  artis  musicae '  etc. 
(NurembOTg  1605,  12th  edition  Freyberg  1671) 
and  'Forma  musices,  grdndlicher  . . .  Bericht  der 
Singekunst*  (Budiasin  159a).  Four  8-part  mo- 
tets are  printed  in  the  florilegium  Portense,  and 
a  short  *  Domine  ad  adjuvandum,'  k  4,  in  Proske^s 
*  Musica  Divina' — Lib.  Yesperarum.     [M,  C.  C] 

DEMI-SEMLQUAVEB,  the  half  of  a  semi- 
quaver; in  other  words,  a  note  the  value  or 
duration  of  which  is  the  quarter  of  a  quaver  and 
the  eighth  part  of  a  crotchet.  In  French  'triple 
croche';  in  Italian '  semi-bis-croma.'    It  is  shown 

ty  g,  or,  when  joined,  by  U,  and  its  rest  by  ^. 

DEMOPHON,  trag^die  lyrique,  in  3  acts; 
words  by  Marmontel ;  music  by  Cherubini,  his 
first  opera  in  Paris ;  produced  at  the  Academic 
royale  Dec.  5*  1788. 

DENEFVE,  Jules,  violoncellist  and  composer, 
bom  at  Chimay  18 14,  entered  the  Brussels  Con- 
servatoire in  1833.  He  studied  the  violoncello 
under  Platel  and  Demunck ;  became  professor  of 
the  violoncello  at  the  Ecole  de  Musique,  and  first 
violoncello  at  the  theatre,  and  at  the  Soci^te  des 
Concerts  at  Mons.    AVithin  a  few  years  he  be- 


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fU  -  ze.lAli>lwr-M      eQl-<l*  nos  pm;  St  d«  Nord   n  nl< 


di      Ifttrom-pat-toguer-iM  -  IS  aaomft  l*haa-i«da  COB- 


1-^  f\n^tr  ^;'if'  fH] 


Treat  -  blu,   an-iM-iiita  de   la      Rui-ee,    Boa 


&c."r  s^ir— ^-t|g^t,&er7c/i 


l-TTMdsMng  et  d'or-gneUI         Le  peuplsa>aTB-nte  •'* - 


^  J'' J'lr  ^Aj  jjl-^^'" 


avan  -  oe;       It  -  lana,  dsMendei    aa  cer-ooflil!      la  rf-ps' 


r-gr'Mf^  r  ertr-^^-^ 


bll  -  que  nous  ap  -  pel   -   ISb   Sar^hons  falnere  on  M-cfaoctP^ 


_>  _  w*      ^  .....  .a.  l>«aip 


rlr;       UnFraa-fais  doit    t1  -  vre  poor    d    •    K     ^^^ 


r  spr  ^t\^^ 


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elle    unFranoalsdoltmou-rir!     Un Fiao^-ab dott  ri-Tn|»ar 


r  i6|f  E&r  f 


el    -    le.      Four    elle    onFran^aiidoltBiou-rirl 

The  Opening  phrase  is  spirited  and  sonorom; 
the  modulation  in  the  middle  recalls  perhaps 
involuntarily  thiit  in  the  Marseillaise ;  while  the 
end  foreshadows  too  definitely  the  melodies  ci 
the  Empire.  Apart  fivm  its  merit  as  music,  the 
air  is  appropriate  to  Ch^nier's  words,  and  produces 
an  almost  overwhelming  effect  when  sung  hr 
a  multitude.  [^-  ^'J 


d£pabt,  CHAsrr  dtj. 

Qsme  director  of  the  Eoole^  coodaetor  of  th» 
Soci^t^  des  Concerts,  and  founder  and  conductor 
(1841)  of  the  Roland  de  Lattre  choral  society. 
He  composed  three  operas  for  the  Mons  theatre; 
a  number  of  choruses  for  men^s  voices ;  sevenl 
cantatas  (one  for  the  erection  of  a  statue  to  Or- 
lando Lasso  in  1858) ;  ,a  Bequiem,  and  vsrious 
(Orchestral  pieces.  Deoief^e  ia  a  member  of  the 
*Soci^t^  des  beaux  arts  et  de  litt^rature*  of 
Ghent,  and  honorary  member  of  the  most  im- 1 
portant  choral  societies  in  Belgium  and  the  north 
of  France.  [M.C.C.] 

DEPART,  CHA2^  DU.  Tliis  national  air 
was  composed  by  M^ul  to  some  fine  lines  by 
Marie  Joseph  C3i^nier,for  the  concert  oelebrstiiig  , 
the  fourth  anniversazy  of  die  taking  of  the  Bas- 
tille (July  14,  1794).  C^^er  was  in  hiding  st 
the  house  of  Saiiette  when  he  wrote  the  voids, 
and  the  original  edition,  by  order  of  the  National 
Convention,  states  merely  '  Paroles  de  . . . . ; 
musique  de  M^uL*  Of  il  the  French  patriotic 
songs  this  is  the  only  one  actually  written  during 
the  Terror.    The  first  verse  ia  as  follows : — 

Tempo  di  marcia 


BERINd. 

DERING,  BiOHABD,  Mob.  Bac.,  a  mefmber  of 
dte  ancient  Kentish  fiamily  of  that  name,  wai 
educated  in  Italy.     He  returned  to  England 
with  a  great  seputation  as  a  musician,  and  for 
Knae  time  practised  hia  profession  in  London. 
In  1610  he  took  the  d^j;ree  of  Bachelor  of  Music 
»t  Oxford.  Being  strongly  importuned  thereto  he 
became  organist  to  the  convent  of  English  nuns 
a;  fouasels.    Upon  the  marriage  of  Charles  I, 
in  1625,  Dering  was  appointed  organist  to  the 
queen,  Henrietta  Maria,  which  oflS^ce  he  continued 
to  hold  until  she  was  compelled  to  leave  England. 
He  died  in  the  Romish  communion  about  the 
y&T  1658.    Bering's  published  works  are  wholly 
of  a  sacred  kind,    lliey  consist  of  '  Gantiones 
Sacra  quinqne  vocum  cum  basso  continue  ad 
OigBnom,'  Antwerp,  1597  ;  *  Cantica  Sacra  ad 
Mdodium  Madrigalium  elaborata  senisYocibus,* 
Antwerp,  1618 ;  *  Cantica  Sacra  ad  Duos  &  Tres 
Voces,  composita  cum  BaasoKxmtinuo  ad  Orsa- 
num,*  London,  1663.    On  the  title-pags  of  this 
woric,  which  is  dedicated  to  the  Queen  Dowager, 
Henrietta   Mari4^    I>ering    is    styled    'B^[i» 
Majeetatis  quondam  Orgwista.'    In  1674  Play- 
fad  published  a  second  set  of  Cantica  Sacra  by 
Tuioos  composers,  in  which  are  eight  motets 
attribated  to  Dering,  but  which  Pla^ord,  in  his 
ynhcSf  candidly  acmiits  were  'by  some  believed 
not  to  be  his.*      In  the  Ubrary  of  the  Sacred 
Harmonic  Society  are  preserved  in  manuscript 
imperfect  sets  of  parts  of  the  following  com- 
podtiaos  by  Dering:    anthem,  'Unto  Thee,  O 
Lord';  madrigal,    'The  Country  Cry* ;    some 
motets,  and  several  iancies  for  viols.   [W.H.H.] 

BESERTEUR,  LE,  a  mumcal  drama  in  3 
act^  wfirds  by  Sedaine,  music  by  Monsigny — his 
belt;  produced  at  the  Theatre  des  Italiens  March 
6. 1769,  and  revived  at  the  Op^ra  Comique  Oct. 

30>  1843. 

DETTINGEN  TE  DEUM,  THE,  written  by 
Hasdel  to  celebrate  the  victory  of  Dettingen 
(June  j6, 1 743).  •  Begun  July  1 743  * ;  first  per- 
f'jTmed  (not  at  the  thanksgiving  service  July  a8, 
bat)  at  the  Chapel  Royal,  St.  James's,  Nov.  37, 
43*  Many  of  the  themes  and  passages  are  from 

DEU5  MISEREATUR  is  the  psalm  (Ixvu.) 
oMd  in  the  evening  service  of  the  Anglican  church 
>^  the  lessons,  alternatively  with  the  Nunc 
phoittis.  It  is  considered  as  a'responsory  psalm* 
mconfonnity  with  the  17th  canon  of  the  Council 
of  liiodicea,  which  appointed  lessons  and  psalms 
to  be  read  alternately. 

In  the  ancient  church  the  psalm  was  used  at 
^ds,  and  in  the  Sarum  use  it  was  coupled  with 
the  bidding  prayer  on  Sundays.  Nevertheless  it 
"  not  in  Granmer's  Prayer -Book  of  1549,  and 
cooMqnently  has  no  special  chant  given  for  it 
^Marbeck'g  'Book  of  Conamon  Prayer  Noted,' 
ll  ^x^'  ^^  ^^^  appointed  as  an  alternative  to 
toe  None  Bimittis  in  the  revised  edition  of  the 
^yer-Book,  1552.  like  its  feUow,  the  98th 
^ttlm.  It  is  not  so  often  used  as  the  'Nunc  Di- 
^ittu,  partly  because  it  seems  less  appropriate 
wanthatcantide,  and  partly  because  it  is  longer. 


DEVIN  DU  VILLAGE,  LB.        441 

Settings  of  it  are  comparatively  rare.  To  take 
for  example  the  most  fiemious  ancient  collections  of 
services;  there  is  only  one  setting  in  Barnard's 
collection,  viz.  that  by  Strogers ;  there  are  three 
in  Boyoe's,  and  only  two  in  Arnold's.  With  re- 
gard to  the  setting  in  Barnard's  collection,  it  is 
worth  remarking  mat  there  is  a  quaint  note  at 
the  end  of  the  index  suggesting  that  it  should  be 
sometimes  used  as  an  anuiem.  [C.  H.  H.  P.] 

DEUX  JOURNfiES,  LES.  Com^die  lyrique 
in  3  acts,  words  by  Bouilly,  music  by  Cherubini ; 
produced  at  the  lli^atre  jfeydeau  Jan.  16,  1800. 
Translated  into  German  as  *  Der  Wassertrager,' 
and  into  English  as '  The  Escapes ;  or,  the  Water 
Carrier' ;  (Nroduoed,  in  a  very  mutilated  state, 
in  London  1801,  and  at  Covent  Garden  Nov.  i  a, 
1824,  with  the /overture  and  all  the  music* 
In  Italian  produced  at  Drury  Lane  June  ao, 
1872,  as  Le  due  Giomate,  for  one  night  only. 
Beethoven  thought  the  book  of  this  opera  the 
best  in  existence.  [G.] 

DEVEI/OPMENT.  A  word  used  in  two 
somewhat  different  senses :  on  the  one  hand  of  a 
whole  movement,  in  a  sense  analogous  to  its  use 
with  reference  to  an  organism ;  and  on  the  other 
of  a  subject  or  phrase,  with  reference  to  the 
manner  in  which  its  conspicuous  features  of 
rhythm  or  melody  are  employed  by  reiteration, 
variation,  or  any  other  devices  which  the  genius 
or  ingenuity  of  the  composer  suggests,  with  the 
object  of  showing  the  various  elements  of  interest 
it  contains. 

The  term  is  veiy  apt  and  legitimate  when  used 
in  the  above  senses,  which  are  in  reality  no  more 
than  the  converse  of  one  another;  for  the  de- 
velopment of  a  movement  is  rightly  the  develop- 
ment of  the  ideas  contained  in  its  subjects ; 
otherwise  in  instrumental  music  neither  purpose 
nor  unity  of  design  could  be  perceived.  It  must 
however  be  borne  in  mind  that  the  mere  state- 
ment of  a  transformed  version  of  a  subject  is  not 
development.  A  thing  is  not  necessarily  devel- 
oped when  it  is  merely  changed,  but  it  is  so 
generaUy  when  the  progressive  steps  between 
the  original  and  its  final  condition  can  be  cleariy 
followed. 

The  most  perfect  types  of  development  are  to 
be  foimd  in  Beethoven's  works,  with  whom  not 
seldom  the  greater  part  of  a  movement  is  the 
constant  unfolding  and  opening  out  of  all  the 
latent  possibilities  of  some  simple  rhythmic  figure. 
It  is  impossible  to  give  examples,  owing  to  the 
space  they  would  require ;  but  reibrence  may  be 
made  to  the  first  movement  of  the  Symphony  in 
C  minor ;  the  Scherzo  of  the  9th  Symphony ; 
the  Allegro  con  brio  of  the  Sonata  in  C  minor, 
opus  III;  the  last  movement  of  the  Sonata  in  F, 
opus  10,  no.  a ;  and  the  last  movement  of  the 
Sonata  in  A,  opus  loi.  [C.  H.  H.  P.] 

DEVIL'S  OPERA.,  THE.  in  two  acts,  words 
by  G.  Macfarren,  music  by  G.  A.  Mac&rren;  pro- 
duced at  the  English  Opera  House  Aug.  13, 1838. 

DEVIN  DU  VILLAGE,  LE  (the  village 
sorcerer),  an  Interm^de,  in  one  act ;  words  and 
music  by  J.  J,  Rousseau;  played  lor  the  first 


' 


442        DEVIN  DU  VILLAGE,  LE. 

time  at  Fontainebleau  Oct.  i8,  175  a,  and  at  the 
Acad^mie  royale  March  I,  53.  Last  played  in 
1829,  after  more  than  400  representations ;  some 
one  threw  a  pemique  on  the  stage,  which  de- 
cided its  £Gkte.  It  was  translated  and  adapted  as 
*  The  Cunning  Man '  by  Dr.  Bumey  in  1 760.  One 
of  Jullien's  very  first  public  feats  was  a  Quadrille 
on  the  motifs  of  the  I)evin,  1836  or  37.         [G.] 

DEVRIENT,  WiLHZLMiisx  SghbOdsb.  See 
6chb5deb. 

DIABELLI,  Anton,  head  of  the  firm  of  Dia- 
belli  Sc  Co.,  music  publishers  in  Vienna^  and 
composer  of  pianoforte  and  diurch  music,  bom 
Sept.  6,  1 781,  at  Mattsee  in  Salzburg.  His 
piano  pieces  are  well  written,  at  once  graceful 
and  good  practice,  and  both  these  and  his  nume- 
rous arrangements  had  an  immense  popularity. 
His  masses,  especially  the  'Landmessen'  (for 
country  churches),  are  widely  spread  in  Austria^ 
being  for  the  most  part  easy  to  execute,  and 
interesting,  if  not  particularly  solid.  He  also 
composed  songs  for  one  and  more  voices,  and  an 
operetta,  'Adam  in  der  Klemme.'  Being  intended 
for  the  priesthood  he  received  a  good  general  edu- 
cation, and  profited  much  from  association  with 
Michael  Haydn,  who  superintended  his  musical 
studies.  When  the  Bavarian  convents  were  secu- 
larised in  1803,  he  gave  up  the  idea  of  taking 
orders,  went  to  Vienna,  and  was  warmly  received 
by  Joseph  Haydn.  He  soon  became  a  popular 
teacher  of  the  pianoforte  and  guitar,  made  money 
enough  to  become  partner  with  Peter  Cappi  the 
music-publisher  in  181 8,  and  in  24  the  finn  be- 
came Diabelli  &  Co.  The  latter  half  of  his  life 
IS  much  more  interesting  than  the  former,  as  it 
brings  us  into  contact  with  one  of  the  first  music- 
publishing  establishments  in  Vienna,  where 
Czemy  was  for  many  years  a  daily  visitor,  and 
where  all  the  leaders  of  the  musical  world  went 
in  and  out.  In  1852  the  firm  became  C.  A. 
Spina,  and  in  July  72  F.  Schreiber,  under  which 
name  it  still  continues,  though  the  business  was 
purchased  in  May  76  by  A.  Cranz  of  Hamburg. 
Their  publications  at  this  moment  amount  to 
over  25,000.  In  Diabelli's  time  they  acquired 
the  publications  of  the  extinct  firms  of  M. 
Artaria,  L.  Kozeluch,  Th.  Weigl,  Berka^  Leides- 
dorf,  Pennauer,  and  Traeg,  and  in  1855  those  of 
Carlo  Mecchetti.  They  published  specially  for 
Schubert,  Czemy,  Strauss,  and  Lanner;  also 
Marpurg^B  '  Ablumdlung  von  der  Fuge'  revised 
by  Sechter,  and  Beicha*s  '  Lehrbuch* ;  and,  under 
the  title  *  Ecclesiasticon,'  a  collection  of  church 
music.  In  1874  they  issued  a  freuh  catalogue  of 
their  publications,  and  a  thematic  catalogue  of 
Schubert's  published  works,  compiled  with  his 
usual  exhaustive  accuracy  by  Nottebohm.  Dia- 
belli died  April  8,  1858.  His  quiet  and  un- 
assuming life  made  him  many  friends,  some  of 
whom  in  1 87 1  erected  a  tablet  to  his  memory 
on  the  house  at  Mattsee  in  which  he  was  bom. 
Beethoven  wrote  his  33  Variations  (op.  120)  on 
a  waltz  of  Diabelli's,  and  this  alone  wUl  preserve 
his  name  to  posterity  should  it  disappear  in  other 
ways.  [C.F.P.] 


DIBDIN. 


DIADESTE.  A  buffo  Italian  opera,  wor« 
by  Fitzball,  music  by  Balfe ;  produced  at  Dnnj 
Lane  May  17,  1838. 

DIAMANTS  DE  LA  COTJIIONNE.  LI 
Opera  comique  in  3  acts,  words  by  Scribe 
St.  George,  music  by  Auber ;    produced  at  tl 
Op^ra  Comique  March  6, 1841 ;  at  the  Prinoess*! 
Theatre,  London,  May  1, 44,  as  Crovm  Diamond 

DIAPASON  originally  meant  the  interval 
an  octave,   because  it   was    Sect  maw  x"^ 
avfMpcjvta,  the  consonance  arrived  at  by  goii 
'  through  all  the  strings  of  the  lyre  *  from  first 
last.    In  this  sense  it  is  used  by  Dryden  :— 

'  Through  all  the  compass  of  the  notes  it  ran,  ' 
The  diapason  closing  full  in  man.' 

In  French  it  came  to  mean  a  twung-fork,j 
and  hence  also  the  pitch  which  was  as  it  wem 
registered  by  it,  the  'Diapason  normal'  being 
the  standard  of  pitch  supposed  to  be  generally 
accepted  in  France,  which  gave  435  vibratioof 
for  l^e  A  above  middle  C.  In  England  the  name 
is  given  to  the  most  important  foundation  stops 
of  the  organ.     (See  Organ.)  [C.  H.  H.  P.] 

DIAPENTE  was  the  ancient  Greek  name  for 
the  consonance  of  the  5th.  By  the  musicians  of 
the  17  th  and  i8th  centuries  a  canon  in  the  fifth 
was  odled  in  Epidiapente  or  Subdiapente,  as  it 
answered  above  or  below. 

DIATESSARON  was  the  ancient  Greek 
name  for  the  consonance  of  the  4th — 81^  Tioadpeir 
Xo^Sjv  avfjupanfln. 

DIATONIC  is  the  name  given  to  music  which 
is  confined  to  notes  proper  to  the  signature  of 
the  key  in  which  they  occur — ^such  as  the  white 
notes  only,  in  the  key  of  C  major.  The  different 
forms  of  the  minor  scale  are  considered  diatonic. 
Therefore  the  major  7th  and  major  6th,  which 
often  occur  instead  of  the  minor  7th  and  minor 
6th  in  the  signature  of  a  minor  scale,  can  be 
used  without  the  passage  ceasing  to  be  dia- 
tonic. The  theme  of  the  Finale  of  the  Choral 
Symphony  is  a  splendid  example  of  a  diatonic 
melody.  [C.H.H.P.] 

DIBDIN,  Charles,  was  the  son  of  a  silver- 
smith at  Southampton,  where  he  was  bom  March 
15,  1745,  his  mother  being  in  her  fiftieth  year 
and  he  being  her  eighteenth  child.  Hii  grand- 
father was  a  considerable  merchant,  who  founded 
the  village  near  Southampton  which  bears  his 
name.  Dibdin's  eldest  brother,  who  was  twenty- 
nine  years  his  senior,  was  captain  of  an  Indianun 
and  father  of  the  Bev.  Ih*.  Thomas  Yrogiall 
Dibdin,  the  well-known  bibliographer.  Charles 
Dibdin,  being  intended  by  h^  father  for  the 
Churcli^  was  placed  at  Winchester  College,  bat 
a  passion  for  music  took  possession  of  him,  and 
.he  sang  with  the  choristers  both  at  the  cathedral 
and  college.  He  had  a  good  voice  and  a  quick- 
ness in  learning,  which  induced  Kent  to  compose 
anthems  for  him  and  teach  him  to  sing  them, 
and  Fussel,  who  afterwards  succeeded  Kent  as 
organist,  taught  him  the  rudiments  of  music  and 
a  few  common  tunes.  All  musical  knowledge 
beyond  that  he  acquired  for  liimnfllf^  stud)'iBg 


DIBDIN. 


DIBDIN. 


U9 


c&iefly  ibe  concertos  of  CorelU  and  tbe  theoretical 
works'  of  Ramean.      The  place  of  organist  at 
Bishop's  Waltham  becoming  vacant,  Dibdin  of- 
imd  niiDself  for  it,  but  was  rejected  on  account 
of  his  youth.    When  fifteen  years  old  his  eldest 
brother  broaght  him  to  London  and  placed  him 
in  the  music  warehouse  of  Johnson  in  Cheapside, 
There  however  he  did  not  remain  long,  a  mend 
hanng  advised  him  to  try  the  stage.  He  obtained 
in  engaagemeni  at  Covent  Garden  Theatre  as  a 
Einging  actor.    About  the  same  time  he  began 
to  Tiite  venes  as  well  as  music,  in  which  he  was 
aioonraged  by  Beard,  then  become  manager  of 
the  theatre,  who  advised  him  to  try  his  hand  at 
nmethiug  for  the  stage,  promising  to  bring  it  out 
It  Dibdin^B  benefit.    He  accordingly  set  to  work 
ud  wrote  and  composed  'The  Shepherd's  Artifice,* 
ft  pastoral,  which  was  performed  at  his  benefit 
in  the  season  of  1762-63,  and  repeated  in  the 
Allowing  season,  the  author-composer  performing 
the  chancter  of  Strephon.    He  had  performed 
m  the  summer  of  62  at  the  Bichmond  theatre 
<m  the  hill;  and  he  now  obtained  an  engage* 
meat  at  Birmingham,  where  he  not  only  played 
ftt  the  theatre  but  sung  at  Vauxhall.     In  the 
heginninff  of  65    the  opera   of  'The  Maid  of 
the  Mill   was  about  to  be  produced  at  Oovent 
Garden,  and  some  difficulty  arising  with  Dunstall, 
who  was  to  have  played  B*lph,  Dibdin  was 
requested  by  Beard  to  undertake  the  part    He 
mi^e  a  decided  hit,  and  at  once  established 
himself  firmly  in  the  public  favour.    In  1767  he 
ofnnpofled  part  of  the  music  for  'Love  in  the 
GtT,'  and  in  the  next  year  two-thirds  of  that  of 
'Lionel  and  Clariasa.'    In  68  Dibdin  transferred 
hii  serrices  firom  Covent  Garden  to  Drury  Lane, 
▼ha«  he  signalised  himself  by  his  composition 
of  the  music  of '  The  Padlock,'  and  his  admirable 
performance  of  Mungo  in  it.    In  the  following 
year  he  wad  engaged  to  compose  for  Ranelagh, 
where  he  produced  'The  Maid  the  Mistress,' 
vA  'The  Recruiting  Sergeant.'     He  likewise 
composed  some  of  the  music  for  the  Shakspere 
Johilee  at  Stratford-on-Avon  in  that  year.    In 
1773  Thomas  King,  having  become  proprietor 
of  Sftdler^B  Wells,  engaged  Dibdin  to  writo  and 
compose  some  little  musical  pieces  to  be  brought 
wt  there.    In  74  Dibdin  produced  'The  Water- 
man,' and  in  75   'The  Quaker,'  pieces  which 
bare  kept  uninterrupted  possession  of  the  stage 
ever  sinoe,  the  songs  being  still  listened  to  with 
as  much  pleasure   as  when  first   heard.     At 
the  end  of  the  latter  season  he  quitted  Drury 
laae  owing  to  difierences  that  had  arisen  be- 
tween him  and  Gairick,  and  exhibited  at  Ex- 
eter Change  a  piece  called  'The  Comio  Mirror,' 
m  which  well-known  characters   of  the   day 
wae  personated  by  puppets.     In  1776  he  took 
>  jonmey  into  France,  where  he  remained  some 
nionths.     On  his  return  he  was  engaged  as 
«Hnpo8er  to  Covent  Garden  Theatre  at  a  salary 
of  £10  a  week,  but  he  held  the  appointment  for 
two  or  three  seasons  only.    In  1 782  he  projected 
we  erection  of  the  Royal  Circus  (afterwards  the 
Surrey  Theatre),  which  was  opened  Nov.    7, 
17^3,  Dibdin  undertaking  the  general  manage- 


ment,  Hughes  the  equestrian  department,  and 
Grimaldi  (father  of  the  afterwards  famous  clown) 
the  stage  direction.  For  this  theatre  the  ever- 
active  pen  of  Dibdin  was  employed  in  the  pro- 
duction of  numerous  little  musical  pieces  and 
pantomimes.  The  first  season  was  remarkably 
successful.  In  the  second,  dissensions  broke  out 
amongst  the  managers,  in  consequence  of  which 
he  retired  firom  the  theatre.  He  then  made  an 
attempt  to  regain  his  position  at  the  patent 
theatres,  and  succeeded  in  getting  his  opera» 
'  Liberty  Hall*  (containing  the  popular  songs  of 
'  Jack  Ratlin,'  'The  high-mettled  racer,'  and  'The 
Bells  of  Aberdovey'),  brought  out  at  Drury  Lane 
on  Fbb.  8,  1785.  Soon  afterwards  he  listened  to 
a  proposal  to  erect  a  theatre  at  Pentonville, 
where  he  purposed  representing  spectacles  in 
which  hydraulic  effects  should  be  introduced. 
He  proceeded  to  some  extent  with  the  building, 
which  he  intended  to  call  'Helicon,'  but  lus 
application  for  a  licence  was  refused,  and  shortly 
afterwards  a  gale  of  wind  destroyed  the  edifice 
and  put  an  end  to  the  project.  Dibdin  next 
meditated  a  visit  to  India,  and,  to  raise  funds 
for  the  purpose,  in  1787-88  made  a  tour  through 
a  laige  part  of  England  and  gave  entratainmcnts. 
He  published  an  account  of  this  tour  in  1788. 
in  a  quarto  volume,  under  the  title  of  'The 
Musical  Tout  of  Mr.  Dibdin.'  In  the  sununer 
of  88  he  sailed  for  India,  but  the  vessel  being 
driven  to  take  shelter  in  Torbay,  he  finally  aban- 
doned his  intention  and  returned  to  London* 
Dibdin  next  resolved  to  rely  on  his  own  unaided 
exertions,  and  in  1789  produced  at  Hutehins' 
Auction  Room,  King  Street,  Covent  Garden,  the 
first  of  those  '  table  entertainments '  which  he 
originated,  and  of  which  he  was  author,  com- 
poser, narrator,  singer,  and  accompanyist,  under 
the  title  of '  The  Whim  of  the  Moment.'  On  the 
first  evening  there  was  an  attendance  of  only 
sixteen  persons.  Dibdin,  however,  persevered ; 
he  engaged  the  Lyceum  and  brought  out  'The 
Oddities,'  the  success  of  which  was  at  once  de- 
cisive ;  and  no  wonder,  for  it  contained,  amongst 
others,  the  songs,  'To  Bachelors'  Hall,'  ''Twas 
in  the  good  ship  Bover,'  'The  Flowing  Can,' 
'  Saturday  night  at  sea,'  '  Ben  Backstay,'  '  I 
sailed  from  Uie  Downs  in  the  Nancy,'  'The 
Lamplighter,'  and  'Tom  Bowling';  the  last 
written  on  the  death  of  his  eldest  brother.  Cap- 
tain Dibdin.  And  here  it  may  be  observed 
that  nearly  the  whole  of  those  sea  songs  that 
contributed  so  largely  during  the  war  to  cheer 
and  inspire  the  hearts  of  our  seamen,  and  gained 
for  their  author  the  appellation  of  the  Tyrtseus 
of  the  British  Navy,  were  written  by  Dibdin 
for  his  entertainments.  In  1790  'The  Oddities' 
was  revised,  and  ran  79  nights,  when  it  was 
succeeded  by  '  The  Wags,'  wmch  was  performed 
for  108  nights.  The  great  sale  of  'Poor  Jack,* 
the  copyright  of  which  and  eleven  other  songs 
he  had  sold  for  £60,  and  which  in  a  short  timo 
had  brought  its  purchaser  a  profit  of  £500, 
induced  Dibdin  about  this  time  to  become  his 
own  publisher.  In  1791  he  removed  from  the 
Lyceum  to  a  room  in  the  Strand,  opposite  Beau- 


M 


DIBDIN. 


DICTIONARIES  OF  MUSia 


fort  Btuldings,  which  he  opened  under  the  name 
of  Sans  Souci,  and  where  he  remained  for  four 
years.  He  then  built  for  himself  a  small  theatre 
on  the  east  side  of  Leicester  Place,  which  he 
opened  under  the  same  name  in  1 796.  Towards 
the  close  of  the  last  century  Dibdin  published  a 
'  History  of  the  Stage/  in  five  yolumes,  and  in 
1803  his  'Professional  Life/  in  four  volumes. 
In  1805  he  sold  his  theatre  and  retired  from 
public  life.  In  1802  government  granted  him 
a  pension  of  £200  per  annum,  but  this  being 
withdrawn  on  a  change  of  ministry  he  was  led  to 
open  a  music  shop  in  the  Strand  as  a  means  of 
subsistenoe.  The  speculation,  however,  failed, 
and  he  became  bankrupt.  A  subscription  for  his 
relief  was  opened  in  18 10,  with  part  of  which  an 
annuity  of  £50  was  purchased  for  himself  his 
wife  and  daughter  successively.  Subsequently 
his  pension  was  restored  to  him.  Towards  the 
end  of  the  year  18 13  Dibdin  was  attacked  by 
paralysis,  and  on  July  25,  181 4,  he  died  at  his 
residence  in  Arlington  Street,  Camden  Town. 
He  was  buried  in  the  cemetery  belonging  to  the 
parish  of  St.  Martin-in-the-Fields,  in  Pratt  Street, 
Camden  Town,  where  there  is  a  monument  to 
his  memory.  Dibdin^s  two  sons,  Charles  and 
Thomas,  were  well-known  dramatists. 

The  following  is  a  list  of  Dibdin*s  operas  and 
other  dramatic  pieces.  Of  those  marked  thus  * 
he  was  author  as  well  as  composer : — 

* '  Th*  Shepherd'!  Artifice.'  17« ;  Hunter,'  and  • '  All'i  not  GoM  that 


'Lore  in  the  City'  (jwrt  of  the 
mttsio).l'n7  i '  DamoQ  and  rbUUda,' 
'liionel  and  Clarlaaa'  (part  of  the 
masic).  and  "The  Padlock.'  ITSf); 
'The  Maid  the  Mlstreai^'  'The Be- 
orulting  Sergeant.' '  The  Ephealan 
HatroQ.'  'The  Jubilee.'  'Queen 
Wab.*  and  'The  CapUve.'  17110 ; 
'Pigmy  Bento.'  1770;  'The  Wed- 
ding Ring,'  and  '  The  InittitQtiou  of 
•he  Oarter.'lTTl:  •'The  ladle." 
• '  The  Mladuknoe.' '  Ijhe  Briokdtut 
Man.'  • '  The  Widow  of  Abingdon.' 
and  '  The  PaUce  of  Mirth.'  177V ; 
'A  Christmas  Tale.'  'The  Trip  to 
Portsmouth,' '  The  Deserter '  (part- 
ly selected  from  Monsigny  and 
Philidor).  and  -'The  Grenadier,' 
177S :  •  •  The  Waterman.'  and  •*  The 
Coblar.'  1774 :  • '  The  Quaker.'  and 
•The  Two  Miwni,'  1775;  •'The 
Seraglio,' '  The  Blackamoor/  »'  The 
MetamorphoMs,'  *  'The  Bazor 
Grinder.'  •  '  Yo,  Yea,  or.  The 
friendly  Tan,'  *' The  Old  Woman 
of  Eighty,'  ''The  Mad  Doctor.' 
*  'Fht  h  mad  for  a  Uuitband,'  •  Eng- 
laod  against  Italy,'  *  '  The  Fortune 


CiUttera.'  1776:  •'Poor  Vulcan.' 
• '  Base  and  CoUn.'  • '  The  Wives 
Bevenged,'  * '  Annette  and  Lubiu,' 
and  •' The  Milkmaid.'  ITTB;  'Ply- 
mouth in  an  Uproar,'  *  The  Chel- 
sea Pensioner.'  * '  The  Mirivr.'  and 
•'The  Touchstone.' 1779;  •'Tlie 
ShepherdeM  of  the  Alps.'  •'Har- 
lequin Freemason.'  and  *'The 
Islanders,'  17%;  *' Jupiter  and 
Alcmeua,' 17BI ;  •' None  so  blind 
as  those  who  won't  see,'  17H2: 
*'  The  Barrier  of  Parnassus,'  * '  The 
Graoes,'  • '  The  Saloon.'  • '  Manda- 
rina.  or.  The  Befuial  of  Harlequin.' 

•  •  The  Land  of  Simplicity,'  • '  The 
Passions,'  * '  The  Statue,'  * '  Clump 
and  Cudden.'  *'The  Benevolent 
Tar.*  *'  The  Begions  of  Acoomplish- 
ment.'  *  *  The  lAncaahire  Witches,' 

•  •  The  Cestus.'  • '  Pandora,'  • '  The 
Long  Odds,'  and  'Harlequin  the 
Phantom  of  a  Day'  (all  for  the 
Boyal  Cirtsus).  178S  and  1784  ;• '  Li- 
berty Hall.'  17W :  '  Harrest  Home,' 
17RT;  ''A  Loyal  KflVislon.'  11V7: 
Md  • '  Hannah  Hewett,'  17U. 


His  table  entertainments 


'Tlie  Whim  of  the  Moment,'  and 
'The  Oddities.'  17S9 ;  '  The  Wags. 
1790;  'Private  Theatricals.'  ITOl ; 
*  The  Quisles.'  17Ei2 ; '  Castles  in  the 
Air,'  1798;  -Great  Xews,'  ITM: 
'  Wm  of  the  WLtp,'  and  '  ('hristma.i 
Gambols,'    17X>;     'The    General 


were — 

Und's  End.' and  'Tom  wnkina.* 
1799:  'The  Cake  House,' 1800; 'A 
I'rlak.'  IWl;  Most  Votes,'  1802; 
'  Now  Year's  Gifts."  Britons,  strike 
home.'  '  Heads  and  TalU,'  '  The 
Frflic.' '  Datchet  Mead.' '  The  Pro- 
f«!«sional  Volunteeni.'  'Bent  Day.' 


Election,' 1796; 'The  Fphlnx,' and 'and  'Commodore   Pentuuit,' b»- 
'  Valfntine's  Day.'  17B7 ;  '  Klt«  and ,  twean  IMS  and  IftK. 
Queen,'  17W;   'A    Tour    to   the' 

Besides  these  Dibdin  was  author  of  'The 
Gipsies,'  a  comic  opera  for  which  Dr.  Arnold 
composed  the  music,  '  The  Harmonic  Preceptor,' 
a  didactic  poem,  1804,  'The  Musical  Mentor,' 
'Music  Epitomised,'  and  a  few  novels  and 
miscellaneous  works.  [W.  H.  H.] 

DIBDIN,  Henry  Edward,  the  youngest  son 
f3i  Charles  Dibdin  the  younger^  was  born  in  the 


'Dibdins'  house,'  Sadler's  Wells,  BepL  8,  iSij. 
He  acquired  his  first  knowledge  of  mnsic  &ai 
his  eldest  sister,  Mary  Anne,  affcerwardi  Mm 
Tonna,  an  excellent  harpist,  pupil  of  Chslkwr 
and  Bochsa.  He  subsequently  studied  the  hup 
under  Bochsa,  and  also  became  proficient  on  tbe  i 
organ  and  violin.  Early  in  1835  Dibdin  w€at 
to  Edinburgh,  where  he  established  himaelf  u 
a  teacher.  He  died  May  6,  1866.  Dibdin  cia- 
posed  a  few  psalm  tunes  and  aome  pieces  for  tlv 
organ  and  pianoforte,  but  he  ia  beet  known  ai 
the  compiler  of '  The  Standard  Psalm  Tune  Book,* 
the  largest  and  most  authentic  coUeciicHi  of  psala 
tunes  ever  published,  the  contents  being  miisly 
derived  from  ancient  psalters.  Beaides  hu  sttnt- 
ments  as  a  musician  Dibdin  pooocasod  conadenible 
skill  as  a  painter  and  illuminator.         QW.H.H.] 


DICKONS,  Mrs.,  daughter  of  a  gentle 
named  Poole,  was  bom  in  London  abont  1 77a  H^r 
musical  talent  was  early  dev^(^ed.   She  becuae* 
pupil  of  Bauzzini,  and  in  1 787  appeared  at  Vaa- 
hail  Gardens  as  a  singer.  Her  progzeBB  was  ra^ 
and  she  became  engsged  at  the  Conoert  of  Am- 
cient  Music  and  other  oonoerts.    On  Oct.  9,  I79> 
she  made   her   appearance   at   Covent  Garda 
Theatre  as  Ophelia  in  '  Hamlet.*     She  next  au; 
in  several  of  the  principal  towns  of  Km*^^.^ 
Scotland,  and  Ireland  with  great  suoeeas.    She 
was  subsequently  engaged  at  the  King^s  Tbeai^ 
where  she  performed  the  Countess  in  Mocvti 
'Nozze  di  Figaro'   to  the  Snsanna    of  line. 
Catalani.     She  afterwards  sang  at  I>raiy  Liae 
Theatre.     In   1816   she  was    engaged  at  vs* 
Italian  Opera  at  Paris.    From  thence  she  vco; 
to  Italy.     On  her  return  to  Kngland  abo  wm 
again  engaged  at  Covent  Garden,  where  she  ap> 
pearedOct.  13, 1818  as  Bosina  in  Bishop's  adsfci' 
tion  of  Rossini's  '  Barber  of  Seville.'     In  22  «^ 
was  compelled  by  ill  health  to  reliiiqidsh  bur 
profession.    She  <&ed  May  4,  1833.      U^'  ^  ^l 

DICTIONARIES  OF  MUSIC.  The  oikc 
known  work  of  the  kind  is  that  of  the  lesnai 
Flemish  musician  Jean  Tinctor,  entitled  'Tcsa- 
norum  musicae  Diffinitorium,'  15  aheete.  4:^ 
undated,  but  in  all  probability  printed  with  t* 
type  of  Gerard  de  Flandre,  and  pafaliahed  a 
1474.  ^^  original  is  extremely  rare,  but  ToAl. 
has  reprinted  it  in  his '  Allgemeine  litterator  dff 
Musik,*  and  thus  placed  it  within  the  reach  d 
students.  The  'Glossarium'  of  Da  Cai^  a^ 
includes  many  musical  terms  and  expIanaticHi>  cs- 
ful  to  historians  of  music.  Musical  arcfaseoloe:ea 
will  further  do  well  to  consult  Manage — -wcttti 
'Dictionnaire  ^tymologique  de  la  langne  fnx. 
9oise'  appeared  in  1650 — and  the  'Dicsaoocjj^ 
Universel'  (Rotterdam,  1690)  of  Fuietiere,  after- 
wards remodelled  by  Basnage  (the  Hague,  1 7CI 
These  works  are  often  overlooked,  and  the  crec: 
of  having  written  the  two  oldest  dictionariei  • ' 
music  is  generally  assigned  to  Janovka  &£• 
the  Abb^  S^bastien  de  Broesard.  The  Buhcoue 
oiganist  wrote  in  Latin,  and  hia  'C3avu  »: 
thesaurum  magnae  artis musicae'  (Pragae,  17c: 
was  unknown  to  Brossard  when  he  published  i^ 
'  Dictionnaire  de  Musique'  (^Bailard,  Paris  27c;  . 


DICnOK'AEIES  OP  MTTSIO. 

l^iksig  into  aooount  the  enormous  difficulties 
wader  which  they  laboured,  both  authors  are 
doening  of  great  praise  for  works  so  eminently 
radcl  to  students  of  musical  terminology. 
Affii^DgBt  their  imitators  may  be  named  WcJ- 
Uieni,  Grassineau,  and  J.  J.  Rousseau.  Wal- 
them's  work,  'Alte  und  neue  mnsikalische 
Bibliothek,  oder  musikalisches  Lexicon,'  was 
oiigiiudly  published  at  Weimar,  but  the  second 
edition  (Leipsic,  1 73  3)  is  the  important  one. 
la  it  he  so  far  adopted  the  plan  suggested  by 
Bronard  at  the  end  of  his  dictionary,  that  his 
irorlc  forms  a  kind  of  complement  to  that. 
Id  hia  'Mnsical  Dictionary'  (London,  1740, 
I  Tol  8vo. ;  2nd  ed.  1 769)  James  Grassineau 
hu  made  ample  use  of  Brossard's  definitions  and 
examples ;  but  his  work  is  much  more  complete, 
lod  loB  lemarks  on  the  mudo  of  the  ancients  and 
on  moslcal  instruments  evinOfS  much  reading, 
sad  may  still  be  consulted  with  advantage. 
J.  J.  lUrasseaa  in  his  '  Dictionaaire  de  Musique' 
(GensTa,  1767)  also  utilised  the  labours  of  Bros- 
ttrd,  especnally  with  regard  to  ancient  music; 
but  it  IB  to  his  literary  ability  rather  than  to  his 
elerated  views  on  erathetios  that  the  enormous 
noceas  of  his  dietionazy  is  due.  Not  only  was  it 
tnodated  into  several  languages,  but  it  was 
imitated  by  Meude-Monpas  (Paris,  1788)  and  by 
Bernmn  (Amsterdam,  1 795),  only  half  of  whose 
'Mmikaal  Kunst  Woorden-book*  was  ever  pub- 
Mid,  Bousseau's  influence  may  be  traced  also 
in  the  'DiotionnaiTe  de  Musique'  contained  in 
the '  Encydop^dio  M^hodique.'  That  enormous 
mias  of  undigested  material  forms  two  huge  4to. 
Toltunes,  of  which  the  first  (1791)  was  compiled 
vsAet  the  superintendence  of  Framery  and  6in> 
goen^,  with  the  assistance  of  the  Abb^  Feytou 
aad  of  Soiremain  de  Miaseiy,  and  is  £ar  superior 
to  the  second  (1818)  edited  by  Momigny,  whose 
theories  were  not  only  erroneous  but  at  varianoe 
vith  those  of  the  first  volume.  In  spite  however 
of  its  contracUctions  and  errors,  both  scientific 
and  chronolo^cal,  a  judicious  historian  may  still 
find  luefol  materials  in  this  dictionary. 

Whilst  Bousseau's  writings  were  exciting  end- 

lew  discussions  among  French  musicians,  the 

^vn  of  Grerber  and  Forkel  in  Gfermany  were 

markiiig  a  new  era  in  the  literature  of  music. 

By  lus  History  (Allg.  (Seschichte  der  Musik, 

I^ipsic  1788-1801)  Forkel  did  as  much  for  the 

miisiciam  of  Europe  as  Bumey  and  Hawkins 

iud  in  all  probability  done  for  Imn.    His  influ- 

eaoe  mav  be  recognised  in  Koch's  'Musikalisches 

Lexicon  (Frankfort  1802),  a  work  in  all  respects 

jperior  to  that  of  G.  F.  Wolf  (Halle  1787). 

Koch  also  published  his  'Kur^fe&sstes  Hand- 

worterbuch  der  Musik'  (Leipsic  1807),  a  work 

distmct  from  his  Lexicon,  but  quite  as  useful  and 

meritorioos.    But  the  happy  influence  of  Forkel 

tt  inore  especiaUy  evident  in  the  biographical 

^orkof  Cierber,  'Neues  historisch-biographisches 

L<aicon  der  Tonktinstler '  (Leipzig,  1812-14,  4 

^u-)  a  work  in  every  way  a  great  improvement 

w  his  fint  edition  (Leipzig,  1790-92,  2  vols.), 

«l^ough  incomplete  witbcrot  it,  owing  to  his 

^it  of  referring  baok.    (Serber  was  the  modal 


BICnONABIES  OF  MUSIC.       4ii 

for  the  'Dictionnaire  historique  des  musiciens' 
of  ()horon  and  Fayolle  (Paris,  1810-1 1),  the  first  . 
book  of  the  kind  published  in  France,  and  pre- 
ceded by  an  excellent  Introduction,  by  Choron, 
of  which  F^tis  in  his  turn  has  miade  good 
use. 

In  Italy  the  Abb^  Gianelli  was  the  author  of  the 
first  dictionary  of  music  printed  in  Italian  (Venice 
1 801,  ?nd  ed.  1820) ;  but  his  book  has  been  en- 
tirely superseded  by  the  *I>izionario  e  Biblio- 
grafia  della  Musica'  of  Dr.  Lichtenthal,  the  first 
two  volumes  of  which  are  devoted  to  music 
proper,  while  the  last  two  contain  an  historical 
and  critical  catalogue,  which  has  been  largely 
utilised  by  F^tis.  Lichtenthal  doubtless  took 
many  of  his  materials  firom  Forkel  and  Gerber, 
but  his  work  shows  A  marked  advance  upon 
those  of  Koch  and  Rousseau  in  the  definitions 
of  words,  the  descriptions  of  instruments,  and 
the  historical  articles.  It  was  translated  into 
French  by  Mondo  (Paris  1821,  2  vols.  8vo.)« 
The  '  Dictionnaire  de  Musique  modeme'  of  Castil 
Blaze  (Paris  1821  2nd  ed.  1825,  2  vols.),  in  part 
copied  from  that  of  Bousseau,  attained  a  certain 
amount  of  suooess  firom  the  position  of  its  author 
and  its  animated  style;  but  it  is  by  no  means 
equal  either  in  extent  or  accuracy  to  IJchtenthal*8 
work.  Partly  founded  on  a  similar  model  is  the 
*  Dictionnaire  de  Musique  d'aprte  les  th^ridens, 
historiens,  et  critiques  les  plus  c^hbres'  (1844; 
5th  ed.  72)  by  MM.  Marie  et  L^n  Escudi^, 
a  compilation,  as  its  title  indicates,  but  contain- 
ing much  useful  information  in  a  small  space, 
especially  on  ancient  musical  instruments  and  on 
contemporaneous  matters.  Jos.  d'Ortigue,  on  the 
other  hand,  opened  up  a  new  Une  in  his  'Dic- 
tionnaire liturgiquei,  historique,  et  th^orique  de 
Plain-chant  et  de  Musique  d'^glise  .  .  . '  (Parte 
1854  and  60),  an  interesting  and  valuable  work 
written  firom  the  point  of  view  of  an  orthodox 
Boman  Catholic.  It  has  the  merit  of  quoting 
distinctly  all  the  sources  firom  which  the  author 
derived  his  information,  and  of  mentioning  by 
name  all  those  who  assisted  him;  and  for  the 
special  branch  of  which  it  treats  this  dictionary 
is  hitherto  without  a  rival. 

The  'Biographie  universelle  des  Musidens,' 
by  the  late  F.  J.  F6tis,  is  hitherto  equally 
unrivalled.  The  first  edition  (Paris  and  Brussels, 
1835-44),  in  8  vols.  8vo.,  double  columns,  contains 
a  long  and  admirable  introduction,  not  republished 
in  the  second  edition.  That  edition  (Paris, 
1860-65),  also  in  8  vols.  8vo.,  though  a  great 
advance  on  the  former  one,  is  still  very  imperieot. 
It  swarms  with  inaccurate  dates ;  its  blunders, 
espedally  in  regard  to  English  musicians,  are 
often  ludicrous;  it  contains  many  biographies 
evidently  written  to  order ;  and  its  author,  while 
severely  criticising  his  victims,  has  an  ugly  knack 
of  borrowing  firom  them  at  the  same  time :  but 
his  labour  and  spirit  were  prodigious,  he  is 
always  readable  and  often  impartial,  and  while 
he  developes  a  shrewd  and  even  philosophic 
critical  faculty,  he  has  the  art  of  expressing  his 
judgment  with  great  clearness.  The  mkfortune 
of  biographical  di«tionaries  is  that  they  are  never 


446       PianONARIES  OF  MUSIO. 

oomplete,  and  a  Bupplement  to  F^tls  ib  on  ilie 
point  of  publication. 

Whilst  the  French  authon  were  writing  their 
dictionarioB,  either  on  Kousseau's  plan  or  were 
following    the    lead    of    Ghoron,     F^tia,    and 
d'Ortigue,    by  enlarging  their   sphere  beyond 
that  of  musical   terminology,  the  tendency  in 
Germany  was  to  include  in  dictionaries  not  only 
all  that  concerns  the  technical  part  of  music,  but 
the  biography  of  musicians,  and  the  philosophy, 
literature,  and  bibliography  of  the  art.    Gustay 
Schilling  therefore  justly  entitles  his  dictionary 
'  Encydopadie    der    gesammten    musikalischen 
Wlssenschaften,  oder  universal  Lexicon  der  Ton- 
kunst'  (Stuttgajrt  1835-38,  7  vols.  8to.).    In  this 
work  biography  holds  an  important  place,  but 
the  other  departments  are  treated  with  equal 
skill  and  research,  so  that  the  whole  forms  a  pre- 
cious depository  of  information,  and  is  a  notable 
advance  on  all  previous  works  of  the  kind  in 
other  countries.    Gassner,  in  his  '  Universal  Lex- 
icon der  Tonkunst'  (Stuttgart  1849,  i  vol.),  and 
Bemsdorf,  in  his  'Neues  universiJ  Lexicon  der 
Tonkunst,'  in  continuation  of  Schladebach  (Dres- 
den   and    Offenbach   1856-61,    3   vob.),    have 
obviously  made  considerable  use  of  Schilling,  and 
both   works    have    a   well*merited   reputation. 
Koch*8  '  Lexicon'  has  been  re-edited  by  Dommer 
(Heidelberg  1865),  and  Oscar  Paul  has  published 
a  useful  'Handlexicon  der  Tonkunst'  (Leipsic 
1873),  in  which  condensation  is  carried  to  its 
utmost  limit.    But  of  all  the  Crerman  works 
which  have  followed  Schilling  the  most  important 
and  deserving  of  mention  is  the  Musikalisches 
Conversations- Lexioon,  edited  by  Mendel,  and 
since    his    unfortunate    death    by    Beissmann 
(Berlin,  1870  etc.),  of  which  7  vols,  have  already 
appeared,  carrying  the  work  down  to  *  Paisiello.' 
lliere  is  a  want  of  proportion  in  some  of  the 
articles,   a  cumbrousness  of  style  and  "va   oc- 
casional appearance  of   bias,  but  the  staff  of 
writers  is  unequalled  for  eminence  and  number, 
and  there  is  much  in  their  essays  which  has 
never  been  collected  before  and  which  is  highly 
valuable.    In  dictionaries  however  one  work  can 
never  supersede  another,  and  perfect  information 
is  only  to  be  got  by  consulting  all. 

Space  compels  us  to  confine  ourselves  to  a 
mere  mention  of  such  works  as  the  Swedish 
dictionary  of  Envalson  (Stockholm  180 a);  the 
illustrated  dictionary  of  Soullier  (Paris  1855) ; 
and  the  Spanish  dictionaries  of  MeUaor  (Lwida 
1850)  and  Parada  (Madrid  1868).  Besides  mu- 
siou  lexicons  properly  so  called  Uiere  are  a  cer- 
tain number  of  £ncydopedias  and  Dictionaries  of 
the  fine  Arts,  which  contain  important  articles 
on  music  and  musical  terms.  Amongst  these 
may  be  cited  the  'Fncyclop^die'  of  Diderot  and 
D*Alembert  (Paris  1751-80,  35  vols.) ;  the  'All- 
gemeine  Theorie  der  schonen  Kfinste'  (Leipsic 
1773),  by  Sulzer,  of  which  Millin  has  made  great 
use  in  his  '  Dictionnaire  des  Beaux  Arts '  (Paris 
1806);  the  'Allg^eine  Encydopadie  der  Wis- 
senachaften  und  Kunste'  (Leipsic  1818-47),  by 
Ersch  and  Gruber,  an  enormous  collection,  con- 
taining many  remarkable  articles  on  music;  and 


DIEUPABT- 

the  '  Dictionnaire  de  TAcad^nie  dee  Beaux  Arts,' 
begun  in  1858,  of  which  the  3rd  voL  (1865^-75! 
concludes  with  the  words  'Choeur/  '  Choral,'  and 
*  Chor^que.'  It  contains  nevr  and  striking  arti- 
cles by  Hal^vy,  Henri  B^ber,  and  other  eminent 
musidans. 

In  England,  among  oydopflediaay  the  earliest 
place  is  held  by  that  of  Bees  (1819)9  the  musical 
artides  in  which  were  written  by  the  eminent 
Dr.  Bumey.    In  the  new  issue  of  the  Encyclo- 
peedia   Britannica    (begun   1875)    the    musical 
artides — restricted  in  number---ara  written  by 
Dr.   Franz    Hueffer.      Chambera'a    Cyclopsdia 
(1741-53  or  1778-91)  on  a  smaller,  and  Brande's 
Dictionary  (184a ;  3rd  ed.  1853)  on  a  still  smaller 
scalei,  contain  good  artides  on  musical  topics,  the 
former  including  the  l^^iiig  bic^pnaphies.    The 
Dictionaries  are  few  and  unimportant : — Grasd- 
neau  (1740),  Busby  (1786),  Jouaae  (1829),  Wil- 
son, or  Hamilton's  and  Hiles^s   Dictionaries  of 
Musical  Terms — each  a  small  8vo.  volume— are 
specimens  of  the  manner  in  whidi  this  department 
hu  been  too  long  filled  in  England.     A  great 
advance  has  been  recently  made  in  the  'Dic- 
tionary of  Musical  Terms'  edited  by  Dr.  Stainer 
and  Mr.  W.  A.  Barrett  (i  vol.   8vo.,  Novello 
1876),  though  even  that  leaves  something  to  be 
desired.    As  regards  biography,  the  '  Dictionary 
of  Musidans'  (2  vols.  8vo.,  1822  and  27),  though 
good  in  intention,  is  imperfectiy  carried  out 

An  excellent  work  for  its  date  and  its  intention 
is  the  *  Complete  Enc^dopeedia  of  Music '  by  John 
W.  Moore  (Boston,  U.S.  A.,  1852),  a  huge  8vo, 
volume  of  looo  pages,  constiructed  on  a  popular 
basis,  and  which  would  be  more  valuable  if  it 
were  oonected  and  modified  to  date.  [G.  C] 

DIESIS,  from  the  Greek  Utau  which  mesna 
division,  and  was  the  name  given  to  quarter  tones 
in  their  system.    Aristotie  takes  it  as  the  tmft 
of  musical  tones,  the  last  subdivision  of  intervals. 
In  modem  acoustics  it  means  the  interval  which 
results  from  the  two  sounds  whidi  are  airived  at 
by  tuning  up  3  perfect  thirds  and  an  octave, 
which  is  the  same  as  the  difference  between  a 
major  or  diatonic  semitone,  and  a  minor  or  duo- 
matic  semitone,   the  ratio  of  their  vibrationa 
being   125  :  128.     It   is  conunonly  called  the 
Enharmonic  Diesis,  enharmonic  being  the  word 
which  is  applied  to  intervals  less  than  a  semitone. 

Didie  has  been  adopted  by  the  French  as  their 
term  for  sharp,  [C.  H.  H.  P.] 

DIEUFABT,  Chablss,  a  native  of  France, 
who  came  to  England  in  the  latter  part  of  the 
17th  century,  was  a  fine  performer  on  the  rioJin 
and  harpsichord.  In  1707  he  was  asBonstfd 
with  Clayton  and  Haym  in  introduoing  tnu^ 
latiqns  of  Italian  operas  at  Drury  Lane  Theatre. 
[Clatton.I  After  the  discontinuance  of  thoie 
operas  and  the  frulure  of  their  subsequent  oon- 
oert  speculation,  IMeupart  devoted  himself  en* 
tirdy  to  teaching  the  harpsichord,  and  for  some 
time  with  considerable  success,  but  towards  the 
latter  part  of  his  life  he  acquired  low  habits, 
and  frequented  alehouses,  where  he  entertained 
the  company  by  his  fine  performance  of  Corelli's 
violin  solos.     He  died  in  necessitous  circum- 


.  DIEUPAET. 

itmoei!,  and  «t  an  advanced  age,  about  the  year 
1740.  He  publiflhed  '  Six  Suittea  de  CUveBsin, 
£yu^  en  Oavertuiea,  Allemandea,  Courantea, 
^nbandea.  Gavottes,  Minuets,  Bondeaox,  et 
Gigaei,  oompoe^es  et  nuaea  en  Conoert  pour  on 
Tiolin  et  Flute;,  ftvec  nne  Basse  de  Yiole  et  un 
Aithilut.'  [W.H.H.] 

DI  GIOVANNI,  a  very  useful  Italian  second 
taior  engaged  at  Uie  King's  Theatre  in  1818 
tnd  gabsequent  years.  In  i8ai  he  received  a 
nkzy  of  £1 2  7  frcxm  Ebers,  which  was  increased  in 
1822  and  23  to  £  180.  In  the  latter  year  he  played 
Sennoin  'La  Donna  del  Lago*;  and  continued 
to  play  similar  parts  as  late  as  1837.         [J.  M.] 

DIGrrORIUM.  An  apparatus  fi>r  ezerdsing 
ud  Btrengthening  the  fingers,  intended  especialiy 
£)r  the  use  of  pianists,  but  claimed  by  its  inventor, 
Myer  Marks,  to  be  of  great  service  to  all  who 
nqgire  flexible  and  well-trained  fingers. 

h  cansists  of  a  small  box  about  six  inches 
iquve,  provided  with  five  keysS  fitted  with 
itioogly  resisting  springs,  upon  which  keys  such 
exerdaes  as  the  five-finger  exercises  to  be  found 
in  erery  Pianoforte  School  are  to  be  practised. 
In  sdditioD,  there  are  attached  to  the  sides  of 
the  box  certain  appliances  for  stretching  the 
fingen,  and  a  support  for  the  wrist. 

The  idea  of  sparing  the  ears  of  pianoforte 
jtodeats^  and  those  who  mav  be  in  their  neigh- 
Vnuhood,  by  the  use  of  dumb  keyboards  is  Ir^  no 
ineaiiB  new,  either  here  or  abroad.  Great  com- 
posers in  boyhood,  practising  under  difficulties, 
kve  been  reduced  to  muffling  the  wires  that 
they  might  practise  unheard.  It  is  difficult  how- 
ever to  aay  when  the  first  'dumb-piano'  was 
mann&ctured.  In  1847  a  long  article  appeared 
in  the  'Allgemeine  Musikalische  Zeitung*  cen- 
lazing  the  employment  of  the  dumb  piano^  and 
Sdramann  in  hia  'Musikalische  Haus-  und  Le- 
iKosregehi'  says,  'There  have  been  invented 
KHsdled  dumb  keyboards;  try  them  for  a 
vliile,  that  yon  may  discover  them  to  be  of 
00  TBlae.  One  cannot  learn  to  speak  from  the 
damb.'  Though  this  may  be  incontrovertible 
tbe  question  is  worth  consideration,  whether  the 
mudfls  of  the  fingers  may  not  be  increased  in 
speed  sad  endurance  (two  essential  qualities 
in  pianoforte  playing),  by  a  suitable  course  of 
Properly  regulated  gymnastic  exercises,  just  as 
(he  other  musdea  of  the  body  are  trained  for 
'Qonmg,  rowing,  etc. 

That  considerable  muscular  power  is  required 
in  pianoforte  playing  at  the  present  day,  will 
^  aeea  from  the  foUowing  table  of  resistances, 
the  one  let  bdng  taken  mnn  one  of  the  most 
i^oaitoonoert  gruid  pianos,  and  the  other  from  a 

giuid  made  in  181 7,  both  by  Messra.  Bioadwood 
iodSoM*. 

LoiPMt  C.       MIddls  C.      Hlghcit  O. 

1S17        afoB.  3|oi.  Ifoi. 

1S77       4<»*  3io>-  afoz. 


'  I^rtortaai  an  eeeul<mall7  made  or  giwtar  eooiiMa.  wtth  bli^ 
ifti  whlto  kai%  tbe  ordinary  dlgitoilvm  hAvlng  only  whit*  ktys. 

It  "10  b*  MO  that  the  amoant  of  redsuuioe  ta  not  oqittl  throngb- 
^  the  luT-boud.  ud  that  tbe  kfk  huad.  altboasb  tlw 


DIMINISHED  INTERVAIS.       447 

The  resistance  offered  by  the  Digitorium  b 
&r  in  excess  of  the  above  numbers ;  it  is  manu- 
£ftctured  in  three  different  degrees  of  strength, 
the  resistance  of  the  medium  touch  being  no 
lees  than  la  ounces.  On  this  account,  and  also 
because  the  resistance  is  obtained  by  metal 
springs,  instelul  of  by  weights  at  the  fieurther 
end  of  the  lever  (as  in  the  old  dumb  pianos), 
the  touch  of  the  digitorium  does  not  in  tiie  least 
resemble  that  of  tiie  pianoforte,  but  rather  a 
heavily  weighted  oigan-touch,  and  it  should 
therefore  be  looked  upon  as  a  gymnastic  ap- 
paratus, and  bv  no  means  as  a  iuSstittUe  for  the 
pianoforte  in  the  practice  of  exercises. 

The  question  of  finger  gymnastics  has  received 
very  fall  consideration  from  Mr.  E.  Ward 
Jackson,  in  a  work  entitied  '  Gymnastics  for  the 
Fingers  and  Wrist'  (London,  Metzler  and  Co, 
1874),  in  which  he  quotea  opinions  in  fiivour  of 
his  system  of  exercises,  not  only  frxnn  musicians, 
but  from  very  eminent  surgeons,  [F.T.] 

DIGNUM,  Ghablbs,  son  of  a  master  tailor, 
was  bom  at  Botherhithe  in  1765.  Hia  frkther, 
being  a  ^oman  Catholic,  placed  him  when  a  boy 
in  the  choir  of  the  Sardinian  ambassador's  chapel 
in  Duke  Street,  Lincoln's  Inn  Fields,  where  his 
fine  voioe  attracted  the  attention  of  Samuel 
Webbe,  the  glee  composer,  then  organist  there, 
who  undertook  to  instruct  him.  On  leaving  the 
choir  he  had  no  idea  of  pursuing  music  as  a  pro- 
fession, but  was  rather  solicitous  of  being  sent  to 
Douay  to  be  educated  for  the  priesthood.  His 
father's  pecuniary  embarrassments  however  and 
other  droumstances  prevented  it.  He  decided  on 
adopting  the  profession  of  music,  and  articled  him* 
self  to  Thomaa  Linley  for  seven  years.  Linley 
bestowed  the  utmost  attention  on  his  pupil,  and 
would  not  allow  him  to  sing  in  public  until  hia 
powers  were  sufficientiy  matured.  In  1 784  Dig- 
num  made  his  first  appearance  at  Drury  Lane 
Theatre  as  Toung  Meaidows  in  '  Love  in  a  Vil- 
lage,' and,  although  his  figure  was  somewhat 
unsuited  to  the  part,  the  beauty  of  his  voice  and 
his  judicious  singing  secured  him  a  &vourable 
reception.  He  next  appeared  as  the  hero  in 
Michael  Ame's  'Cymon/  and  fuUy  established 
himself  in  public  mvour.  In  1787,  on  the  re- 
moval of  Charles  Bannister  to  the  Royalty  Theatre, 
Dignum  suoceeded  to  a  cast  of  characters  better 
suited  to  his  person  and  voice.  In  96  he  gained 
much  credit  by  his  performance  of  Crop  the 
miller,  in  Q^race's  'No  song  no  supper,'  of 
which  he  was  the  original  representative.  After 
singing  at  the  theatrea,  at  Yauxhall  Gardens, 
and  at  oonoerts  for  several  years,  he  retired  in 
easy  droumstances.  He  died  March  39,  1827. 
Dignum  composed  several  ballads.  He  published 
a  volume  of  songs,  duets,  and  glees,  composed 
and  adapted  by  himself,  to  which  an  engraved 
portrait  of  him  is  prefixed.  [W.  H.  H.] 

DIMINISHED  INTERVALS  are  such  as 
are  either  less  than  perfect  or  less  than  minor  by 
one  semitone.  Thus  (a)  being  a  perfect  fifth, 
(b)  is  a  diminished  fifth ;  and  (c)  being  a  perfect 
fourth,  {d)  is  a  diminished  fourtii : — 


448       DIMINISHED  INTERVAL. 


DISCORD. 


(^) 


(0 


(<0 


-^ 


^ 


These  are  both  of  diacordant  nature,  the  dimin- 
ished fourth  always  so ;  but  if  a  major  sixth  be 
added  below  the  bass  note  of  the  diminished  fifth 
it  is  considered  to  modify  the  discordance  so  far 
as  to  admit  of  its  being  used  as  a  concord.  This 
rule  is  of  old  standing,  especially  in  regard  to 
the  occurrence  of  the  chord  diatonically,  as  (e)  in 
the  key  of  C,  which  was  admitted  in  the  strict 
old  style  where  discords  were  excluded.  Of  in- 
tervals  which  are  changeable  into  major  or  minor 
the  diminished  seventh  is  the  commonest,  (/), 
which  is  a  semitone  less  than  the  ordinary  minor 
seventh  (g),  according  to  the  rule  above  given. 
The  complete  chord,  which  is  commonly  known 
as  that  of  the  *  diminished  seventh,  (A),  is 
properly  speaking  an  inversion  of  a  chord  of  the 
minor  ninth,  (f).  It  occurs  with  remarkable 
g  (.')  (■</)  (h)  (0 


i 


}^- 


W 


frequency  in  modem  music,  part  of  its  popularity 
mo  doubt  arising  from  the  singular  facilities  for 
modulation  which  it  affords.  For  the  notes  of 
which  it  is  composed  being  at  equal  distances 
frt)m  one  another,  any  one  of  them  can  be  chosen 
at  will  to  stand  as  minor  ninth  to  the  root  which 
is  understood.  Thus  the  above  chord  might  be 
written  in  either  of  the  following  ways-^ 


^ 


W'    *S: 


S7- 

in  which  Db,  Fb,  and  G  are  respectively  the 
minor  ninths  to  G,  Eb,  and  F|,  the  absent  root 
notes,  and  could  pass  into  as  many  different  keys 
as  those  root  notes  could  serve,  either  as  domi- 
nant, tonic,  or  supertonio.  [See  Chakgb,  Mo- 
dulation.] 

The  chord  of  the  diminished  third,  as  (h),  oo- 
ours  in  music  as  the  inversion  of  the  chord  of  the 
augmented  sixth,  as  (2).    It  has  such  a  strongly 

(»)  (0 


X   b^^g — ^ 


3^ 


marked  character  of  its  own  that  great  composers 
seem  agreed  to  reserve  it  for  special  occasions. 
Bach  uses  it  with  powerful  effect  at  the  end  of 
the  '  Crucifixus'  in  his  B  minor  Mass,  and  Bee- 
thoven in  the  chorus  to  the  same  words  in  his 
<  Missa  Solennis.'  [C.  H.  H.  P.] 

DIMINUENDO.  Lessening  the  tone  from 
loud  to  soft;  employed  indiscriminatelv  with 
decrescendo.  Expressed  by  dim.  or  dimtn,,  and 
by  the  sign  3i_=s— . 

DIMINUTION,  in  Counterpoint,  is  the  re- 
petition of  a  subject  or  figure  in  notes  of  less 
value  than  in  its  original  statement,  tm— 


P 


j=2 


fcz=i 


=t=dt 


rf  ^'^'f  rr 


I 


It  IS  a  device  almost  confined  to  mnsio  of  a  con- 
trapuntal character,  such  as  fugues  and  canons, 
and  is  not  of  as  frequent  occurrence  as  augmenta- 
tion, which  is  its  converse.  There  ia  an  exam[  le 
in  Handel's  chorus  'Let  all  the  angels  of  God' 
in  the  Messiah;  in  Bach's  well-knowB  fugue 
in  £,  No.  33  in  the  '  Wohltemperirte  Clavier'; 
and  in  the  Overtnre  to  the  Meiatendnger  by 
Wagner.  [C.H.H.P.] 

DINORAH.  The  original  and  Italian  title 
of  Meyerbeer's  opera  which  was  brought  out  in 
Paris  (Op^ra  Comique^  April  4,  1859)  as  'Le 
Pardon  de  Ploermel' — Cabel  as  Dinorah.  Di- 
norah  was  produced,  with  recitatives  by  Meyer- 
beer, and  under  his  own  direction,  at  Covent 
Garden  July  26,  1859,  in  3  acta,  with  Midan 
Carvalho  as  the  heroine ;  and  in  English  in  the 
autumn  of  the  same  year  at  Drury  L«ie  by  Pjne 
and  Harrison. 

DIRECT.  A  mark  {w)  to  be  found  in  miudc 
up  to  the  present  century  at  the  end  of  a  page, 
and  even  of  a  line,  to  warn  the  performer  of  the 
note  at  the  beginning  of  the  next  page  or  line, 
like  the  catchword  at  the  foot  of  a  page, 
formerly  universal,  and   still   retaiBod   in  the 

— ^      M«    mdicates  that  the  fint 


i 


Thus  3n^"~rt 


note  of  the 
will  be  6. 


next  line 


DIRECT  MOTION  Is  the  progression  of  parti 
or  voices  in  a  similar  direction. 


i 


zz 


-«►- 


d?=k 


i 


f 


is: 


i 


As  a  matter  of  contrapuntal  effect  it  a  weakssr 
and  less  effective  than  CoNTaABT  MonoK,  which 
see.  [C.fl.H.P.] 

DIS.  The  German  term  for  Df ,  and  also, 
according  to  a  curious  former  Viennese  custom, 
for  Eb.  The  Eroica  Symphony  was  announced 
at  Clement's  concert  April  7,  1805  (its  fint 
performance),  and  at  Meier^s  concert^  x8o8,  as 
'inDia.'    Ds8  is  the  term  for  Db. 

DISCANT,  diB-cantu»,  a  double  song;  ori- 
ginally the  melody  or  'counterpoint*  sung  with  a 
plain-song;  thence  the  upper  voice  or  leading 
melody  in  a  piece  of  part-music ;  and  thence  the 
canto,  cantus,  or  soprano  voice,  which  was  for- 
merly— as  late  as  Mendelssohn,  who  used  to  sty 
^=z  he  had  learnt  it  firom  Zelter — written  in 
1g{=  the  C  clef.  Thus  in  earlier  English  the 
HI       word  'discant'  or  'descant'  means  an  air; 

'And  sprightly  voice  sweet  descant  sing.' 
And  the  violin,  because  it  took  the  upper  part 
in  the  quartet,  was  called  the  'diskant-VioIin.' 

DISCORD  is  a  combination  of  notes  which 
pro(](uces  a  certain  restless  craving  in  the  mind 
for  some  further  combination  upon  which  it  can 
rest  with  satisfiustion. 

Discords  comprise  such  chords  as  contain  notes 
which  are  next  to  each  other  in  alphabetical 
order,  and  such  as  have  augmented  or  diminiBhed 
intervals,  with  the  exception  in  the  latter  case  o* 


DISCOBD. 

&e  chord  of  the  6th  and  3xd  on  the  seoond  note 
gf  any  keyt  The  changed  combination  which 
mast  follow  them  in  order  to  relieye  the  sense  of 
pam  they  produoe  is  called  the  resolution.  For 
tk  TariooB  kinds  of  discords  and  their  reso- 
htioDB  see  Hasmont.  [G.H.H.P.] 

DISSOLUTO  PUNITO,  IL,  Obsia  il  don 
GiovAinrx.  The  full  title  of  Mozart's  opera,  so 
veil  known  by  the  Utter  half  of  its  nama  [See 
Dos  GiovAirwi.] 

DISSONANCE  is  any  combination  of  notes 
vhich  on  bong  Bounded  together  produces  bbats  ; 
that  is,  an  alt^nate  strengthening  and  weakening 
of  the  sound,  arising  from  the  opposition  of  the 
vibrations  of  either  their  prime  tones,  or  their  har- 
iu>mc8  or  their  combination  tones,  which  causes 
a  painful  sensation  to  the  ear.  [C.H.H.P.] 

DITAL  HARP,  or  chromatic  harp-lute,  one 
of  the  numeroos  attempts  made  about  the  be- 
gimuDg  fji  this  oentuiy  to  improye  or  replace 


pittebsdobf; 


449 


*egait«r.    Edward  Light  appears  to  have  in- 
^ted  Ous  Soaa  of  stdnged  instrument  about  j 


the  year  1798.    The  hazp-lnte  had  originally 
twelve  catgut  strings — 


<f>  ^  J  J  J  J  J  ^m 


^ 


but  this  notation  was  a  major  sixth  high^  in 
pitch  than  the  actual  sounds.  In  18 16  the  same 
Edward  Light  took  out  a  patent  for  an  improve- 
ment in  tUs  instrument,  which  he  now  denomi- 
nated 'the  British  harp-lute/  The  patent  was 
for  the  application  of  certain  pieces  of  mechanism 
called  'ditals'  or  'thumb-keys,'  in  distinction 
from  *  pedals '  or  *  foot-keys  * ;  eictt  dital  producing 
by  pressure  the  depression  of  a  stop-ring  or 
eve  to  draw  the  string  down  upon  a  fret  and 
thus  shorten  its  effective  length,  and  render  the 
pitch  more  acute.  The  most  complete  instrument 
of  this  construction  he  named  tne  '  Dital  harp.' 
In  this  each  string  has  a  'dital'  to  raise  it  a 
semitone  at  pleasure.  [A.  J.  H.] 

DITTERSDORF,  Kabl  Ditters  von— whose 
original  name  was  Ditters— distinguished  vio- 
linist, and  prolific  composer  in  all  branches  of 
music,  but  specially  esteemed  for  his  German 
national  operas;  bom  at  Vienna,  Nov.  3,  1739. 
He  soon  outstripped  his  early  teachers  on  the 
violin,  Kdnig  and  Ziegler  (not  Ziigler,  as  he 
calls  him  in  Ms  biography).     Ziegler  worked  his 
pupil  in  the  orchestra  at  St.  Stephen's,  and  also 
in  that  of  the  Schottenkirche.    Here  Ditters  was 
noticed  by  his  chiefs,  and  on  their  recommenda- 
tion was  received  into  the  private  band  of  the 
Prince  von  Hildbuighausen,  who,  being  himself 
a  man  of  high  cultivation,  looked  after  the  gen- 
eral education  of  his  young  page  (a  lad  of  11), 
and  had  him  instructed  in  composition  by  Bonno, 
the  courtHxunposer,  in  the  viohn  by  Trani,  and  in 
foreign  languages,  fencing,  dancing,  and  riding. 
The  formation  of  his  taste  was  mudi  assisted  by 
hearing  Yittoria  Tesi,  who  sang  regularly  at  the 
Prince's  concerts,  and  he  soon  formed  an  intimacy 
with  Gluck  and  Haydn.    When  the  Prince  dis- 
missed his  band  in  1759  he  procured  a  place  for 
Ditters  in  the  Empress  s  opera,  but  wishing  to  see 
the  world  he  started  in  1761  with  Gluc£  on  a 
professional  tour  in  Italy,  where  his  playing  was 
much  admired.    Meantime  the  famous  Ix>lli  had 
been  performing  in  Vienna  with  great  success, 
but  Dittersdorf  on  his  return  vanquished  him ; 
the  general  verdict  was  'Each  has  marvellous 
execution,  but  Ditters  also  speaks  to  the  heart.' 
His  intimacy  with  Haydn  was  of  service  to  them 
both.     'Whenever  we  heard,'  says  he,  'a  new 
piece,   we  went  through  it  carefully  together, 
doing  justice  to  all  that  was  good,  and  criticis- 
ing what  was  bad  in  it' — an  impartial  course 
seldom  pursued  W  young  composers.     In  the 
early  part  of  17(^4.  he  went  with  Gluck  and 
Guadagnl  to  Frankfort  for  the  Section  and  coro- 
nation (April  3)  of  the  Archduke  Joseph  as  King 
of  the  Bomans.    He  played  twice  at  court  with 
brilliant  success,  but  his  expectations  were  not 
otherwise  fulfilled,  and  on  his  return  to  Vienna 
the  rudeness  of  Count  Wenzel  Spork,  the  then 
manager  of  the  theatre^  made  huu  gladly  accept 

6g 


4»a 


DITTEBSBOBF.: 


the  post  of  oapellmeiHter  to  the  Bishop  of  OroBih 
.wardein,  vice  Michael  Haydn  departed  to  Salz- 
burg;. For  his  new  master  he  compoBod  sympho- 
nies, yiolin-concertoa,  string  quartets,  and  his 
first  oratorio,  '  Isacco  iigura  del  Bedentore,*  to  a 
Latin  adaptation  of  Metastasio  by  the  Bishop 
himself.  He  also  started  a  small  theatre  in  the 
oastle,  for  which  he  wrote  several  pieces,  includ- 
ing his  first  comic  opera,  'Amore  in  Musica.' 
But  in  69  the  Bishop  received  a  rebuke  from 
the  Empress  on  the  laxity  of  his  life,  and  dis- 
missed his  whole  band.  At  Troppau  Dittersdorf 
made  the  acquaintance  of  Count  Schafgotach, 
Prince  Bishop  of  Breslau,  who  invited  him  to 
his  estate  at  Johannisberg,  where  he  was  living 
ill  retirement  and  disgrace.  The  versatile  mu- 
sician found  means  to  cheer  his  master^s  solitude. 
He  got  together  a  band,  engaged  singers  and 
musicians,  set  up  a  theatre,  wrote  operas  and 
oratorios,  and  went  out  hunting,  all  with  equal 
zest.  In  return  for  his  services  he  was  made, 
through  the  Bishop's  influence  (in  1770),  Knight 
of  the  Golden  Spur  (a  distinction  enjoyed  byGluck 
and  Mozart),  and  Amtshauptmann  of  fVeiwaldau 
(1773),  and  received  a  title  of  nobility — 'Ditters 
von  Dittersdorf'  The  oratorio  '  Davide'  and  the 
comic  opera  '  II  viaggiatore  Americano*  belong  to 
this  period,  and  it  was  while  rehearsing  them  that 
he  fell  in  love  with  Fraulein  Nicolini,  whom  he 
had  engaged  from  Vienna,  and  married  her.  Dur- 
ing a  visit  to  Vienna  he  composed  *  Ester,'  words 
by  the  Abb^  Pintus,  for  the  concerts  (Dec.  19  and 
3i»  1773)  ^  ^d  of  the  widows*  fund  of  the 
Tonktinstler  Societat.  Between  the  parts  he 
played  a  concerto  of  his  own,  and  so  pleased  the 
Kmperor,  that  on  Gassmann's  death  (Jan.  22, 
1774),  he  wished  to  appoint  him  oourt-capell- 
meister,  but  Dittersdorf  was  too  proud  to  apply 
for  the  post,  and  the  Emperor  was  not  inclined 
to  offer  it  unsolicited.  ' Ester'  was  repeated  be- 
fore the  court  in  1785  ;  'Isacoo'  was  performed 
in  Vienna  (i  776) ;  and  'Giobbe,*  also  written  for 
the  Tonkunstler  Societ&t,  on  April  8  and  9, 
1786,  one  part  each  night,  Dittersdorf  himself 
conducting.  In  1789  it  was  produced  in  Berlin 
with  marked  success.  On  anoUier  visit  to  Vienna, 
in  1786,  he  produced  a  symphony  on  Ovid's 
Metamorphoses  at  the  morning  concerts  in  the 
Augarten,  and  it  was  on  this  occasion  that  the 
often-quoted  conversation  with  the  Emperor  Jo- 
seph II  took  place.  'Der  Apotheker  und  der 
Doctor'  (July  11),  a  lively,  sound,  though  some- 
what rough  0|»eretta,  whidi  has  kept  the  stage 
to  the  present  day;  '  Betrug  durch  Aberglauben' 
(Oct.  3,  1786)  ;  'Democrito  corretto'  (Jan.  24, 
1787) ;  'Die  Liebe  im  Narrenhause'  (April  12), 
all  at  Vienna ;  and  '  Hieronymus  Knicker'  (Leo- 
poldstadt,  July  1789),  were  brilliant  successes, 
with  the  exception  of '  Deioocrito.'  In  the  mean- 
time things  had  changed  at  Johannisberg.  The 
Bishop's  band,  dismissed  during  the  war,  had 
reassembled  after  the  Peace  of  Teschen,  1779. 
About  1 790  Dittersdorf  was  obliged  to  attend  to 
his  duties  at  Freiwaldau,  and  during  his  absence 
his  enemies  slandered  him  to  the  Bishop.  Dit- 
terbdorf  nursed  him  devotedly  during  his  long 


DIVEHTIMBNTO. 

innera;  but  on  his  death  (1795)  was  dismisBed 
with    500   gulden,  a   sum   soon  exhausted  in 
visiting  the  baths  with  a  view  to  restore  his 
health,  shattered  by  his  irregularities.     His  next 
asylum  was  at  the  house  of  Count  vcm  StUlfrkd 
at  Rothlhotta  in  Bohemia,  and  here,  in  spite  of 
constant   suffering,   he  composed   operasy   sym- 
phonies, and  innumerable  pianoforte  pieces,  for 
which   he   in   vain   sought    a   purchaser.      On 
his  death-bed  he  dictated  his  autobi(^raphy  to 
his  son,  and  died  two  days  after  it  was  com- 
pleted, Oct.  31,1 799.  Dittersidorf  was  a  thoroughly 
popular  composer.    He  possessed  a  real  vein  of 
comedy,  vivacity,  and  quick  invention,  bright 
spontaneous  melody,  original  instrumentation,  and 
breadth  in  the  'ensembles*  and  *  finales,*  qualities 
which,  exercised  on  pleasing  librettos,  made  him 
the  darling  of  his  contemporaries.    He  held  the 
same  position  in  Germany  that  Gr^tiy  did  in 
France,  though  inferior  to  Gr^try  in  delicacy, 
spirituality,  and  depth  of  sentiment.     His  ora* 
torioe,  much  valued  in  their  time ;  his  symphonies, 
in  the  style  of  H  aydn,  though  inferior  to  Haydn 
in  grace  and  liveliness ;  his  violin-concertos,  stnng- 
quartets  (of  which  12  were  published  in  1866), 
duos,  '  diyertimenti,*  a  concerto  with  11  instru- 
ments obbli^to,  masses,  motets,  and  songs — ail 
contributed  to  his  fiune,  and  if  they  did  not  sur- 
vive  him,  were  of  moment  in  their  day.    Besides 
the  operas  already  named  he  composed  '  Lo  sposo 
burlato*  (i 775)  ;  '  La  Contadina  fedele '  (i 785) ; 
'  Orpheus  der  zweite'  (i  787) ;  •  Das  rothe  Kapp- 
chen*(i788);  '  Der  Schiffspatron*  (1789);  'Ho- 
cus Pocus '  (i  790) ;  *  Das  Gespenst  mit  der  Trom- 
mel' (1794) ;  'Gott  Mars  oder  der  eiseme  Mann'; 
*Don  Quixotte* ;   'Der  Schach  von  Schiras'  (all 
*  795)  J  *  Ugolino,'  grand  *  opera  seria ';  '  Die  lus* 
tigen  Weiber  von  Windsor  ;  *  Der  schone  Herb- 
stag' (all  1796);   *Der  Temengewinnst';   'Der 
Miidchen-markt  * ;  *  Die  Opera  bu£Ra ' ;  *  Don  Cori- 
baldi'  (1798)  ;  'II  Tribunale  di  Giove,'  serenata 
(1 788)  ;  and  '  Das  Miidchen  von  Cola,*  a  song  of 
Ossian's,   for  pianoforte   (1795).      Of  his  sym- 
phonies, 'Six  Simphonies  i  8  parties*;   'TroiB 
Simphonies  k  4  parties  obi.,  etc.';  and  'Sim- 
phonie  dans  le  genre  de  cinq  nations,  etc.,'  were 
published  in  Paris  in  1 770.    On  the  title-page  of 
the  first  set  he  is  called  'first  violin  and  maltre 
de  musique  to  Prince  Esterhazy.'     His  autobio- 
graphy (Leipsio  1801)  forms  the  foundation  of 
Arnold's  'Karl  von  Dittersdorf,  etc.  Bildungsbuch 
fiir  junge  Tonktinstler'  (Erfurt  1810).   [C.F.P.] 

DIVERTIMENTO,  a  term  employed  for  va- 
rious pieces  of  music. 

I.  In  Mozart  it  designates  a  piece  closely  akin 
to  a  Sebenade  or  Cassation,  usually  in  6  or  7 
movements-'-though  sometimes  only  4,  and  once 
as  many  as  10 ;  indifferently  for  trio  or  quartet 
of  strings,  wind  alone,  or  wind  and  strings  mixed. 
Kochel's  Catalogue  contains  no  less  than  2:  of 
such  Divertimenti.  The  following  is  the  order 
of  the  movements  in  one  of  them  (no.  287):— 
(T)  Allegro;  (2)  Andante grazioeo  (6 variation-^) ; 
(3)  Minuet ;  (4)  Adagio ;  {$)  Minuet ;  (6)  An- 
daxite  and  Allegro  molto.  The  changes  of  key 
are  slight ;  in  some  there  is  no  change  at  aUL 


BITERTIMENTO. 

s.  A  Poi-poanri  or  azrangement  of  the  ain  of 
m  opera  or  other  piece  far  orcheetn  or  piano. 

DIVERllSSEMENT.  Akindof  ahortbaUet. 
such  as  Ta^lioni's  'DivertisflemeDt  Silesien/  some- 
times mixed  with  songs.  Also  a  pot-pourri  or 
pif»»  on  given  moitfi,  such  as  Schul>ert's  '  Diver- 
tiasement  k  I'hongroise.'  Also  the  French  term 
fur  an  entr'acte.    The  term  is  no  longer  used. 

DIVISION  VIOLIN,  THE,  the  title  of  a 
vork  which,  during  the  latter  part  of  the  17th 
century  and  for  some  time  afterwards,  was  the 
fiiTourite  vade-mecum  of  amateur  violinists.    It 
WAB  the  soocessor  of  'The  Division  Violist'  of 
Christopher   Simpson,  first  published  in  1659. 
Bath  works  oonsiBt  of  divisions,  or  variations, 
upon  a  given  theme  or  subject,  denominated  the 
'  ground.*    Hie  earlier  work  contains  instructions 
fcr  performing  such  divisions  extempore,  but  the 
hter  one  is  confined  to  divisions  already  com- 
posed.   These  are  often  upon  popular  song-tunes 
or  other  well-known  subjects.    The  first  edition ' 
vf'The  Division  Violin'  i^peared  in  1684,  en- 
gnved  on  copper  plates,  and  a  second  part  a 
few  yean  later.    Both  parts  went  through  several 
editiomai,  the  contents  of  which  varied,  but  were 
ilw&yi  derived  from  the  best  composers  of  the 
day,  amongst  whom  were  Henry  and  Daniel 
Pureell,  Davis  Mell,  John  Banister,  Solomon, 
John,  and  Heniy  Ecdes,  Q.  B.  Draghi,  Jeremiah 
CUrk,  etc.     Some  pieces  by  Gorelli  are  included 
i&  some  of  the  later  editions.  [W.  H.  H.] 

DIVISIONS,  in  the  musical  nomenclature  of 
the  17th  and  i8th  centuries,  were  rapid  pas- 
ages — slow  notes  divided  into  quick  ones— as 
natQially  takes  place  in  variations  on  a  theme  or 
gToond.  Hence  the  word  can  be  applied  to  quick 
consecutive  passages  like  the  long  semiquaver 
rmis  in  Handel's  bravura  songs,  as : — 


DOCTOB  OF  MUSIC. 


451 


DiviTlS,  AKTOinus,  or  Ahtoine  le  Riche, 
a  French  composer,  and  colleague  of  Mouton  as 
Bnger  in  the  chapel  of  Louis  XII,  who  reigned 
frm  149S  to  1 515.  The  following  is  a  list  of 
bia  works  at  present  known : — (i)  A  4-part  mass, 
'Gaude  Barbara'  (MS.),  in  the  library  at  Cam- 
bny.  (3)  A  6-paTt  Credo  (MS.)  in  the  Royal 
Library  at  Munich.  (3)  A  mass.  '  Quern  dicunt 
homines'  (of  which  Ambros  gives  a  description 
in  his  history  of  music),  in  the  15th  book  of 
the  collection  by  Pierre  Attaignant  of  Paris. 
(4)  A  motet>  '  (jloria  laus,'  in  the  loth  book 
of  the  collection  of  ancient  motets  by  Pierre 
Attaignant  (Paris  1530)  who  has  also,  in  his 
collection  of  Mi^nificats  (Paris,  1534),  included 
one  by  Divitis.  (5)  A  motet,  *  Desotatorum  conso- 
lator,*  in  4  parts,  in  the  ist  book  of  the  '  Motetti 
della  corona '  (Petruoci,  Venice  1 5 14).  (6)  Many 
iQotets  for  3  voices  in   the  cuUection  'Trium 


voeum  cantiones  centum  D'  published  by  Petreius 
(Nurembeig  1540).  <7)  A  setting  of  the  words 
'  Ista  est  spedosa,'  in  the  collection  '  Bidnia 
Gallica^  Latina,  Germanica,  etc.,'  published  by 
Rhaw  (Wittenberg).  (8)  Two  chansons,  under 
the  name  Le  Riche,  in  the  collection  'des  plus 
excellentes  chansons*  published  by  Nicolas  Duche- 
minini55i.  [J.R.S.B.} 

DLABACZ,  GOTTFBIED  JoHANir,  librarian  and 
choir-master  of  the  Premonstratensian  convent 
of  Strahov,  Prague;  bom  July  17,  1758,  died 
Feb.  4,  1820.  Author  of  'Allgem.  historisches 
KttnsUerlexikon  fUr  Bohmen,'  etc  (Prague  1815- 
18,  3  vols.);  'Versuch  eines  Verzeichniss  der 
vorzuglichsten  Tonktinstler,'  etc.  (in  Rigger's 
Statistik  von  Bohmen) — ^two  ezAct  and  valuable 
worics. 

DO.  The  syllable  used  in  Italy  and  England 
in  sol&ing  instead  of  Ut.  It  is  said  by  F^tis  to 
have  been  the  invention  of  G.  B.  Doni,  a  learned 
Delia  Cruscan  and  writer  on  the  music  of  the 
ancients,  who  died  1669.  It  is  mentioned  in  the 
'  Musico  pratioo'  of  Bonondni  (1673),  where  it  is 
said  to  be  employed  '  per  eaaere  piii  resonante.* 

DOCTOR  OF  MUSIC.  The  superior  degree 
in  music  conferred  by  the  English  Universities, 
the  inferior  one  being  that  of  Bachelor.  These 
degrees  can  be  traced  as  far  back  as  the  15th 
oentury :  an  outline  of  their  history  and  of  the 
history  of  musical  study  at  the  Universities  has 
been  given  under  the  title  Baohblob.  In  the 
ordinary  course  the  degree  of  Bachelor  of  Music 
must  at  Oxford  and  Cambridge  precede  that  of 
Doctor  by  a  period  of  five  years ;  but  by  special 
leave  of  we  University  the  degrees  may  be  taken 
together,  and  the  honorary  degree  of  Doctor 
of  Music  has  occasionally  been  conferred  on 
musicians  of  distinction  who  had  not  graduated 
Bachelors.  At  Dublin  no  interval  of  time  is 
necessary,  and  the  degrees  may  in  all  cases  be 
taken  on  the  same  day,  other  conditions  being 
fulfilled.  Among  Oxford  Doctors  of  Music  the 
following  are  the  best  known'  names  :  —  John 
Marbeck,  1550;  John  Bull,  1586;  W.  Heather 
(founder  of  the  Professorship),  1622  ;  Ame,  1 759 ; 
Bumey,  1769;  Callcott,  1785;  Crotch,  1799;  8. 
Wesley,  1839;  Bishop,  1854.  Haydn  received 
an  honorary  degree  on  his  visit  to  Oxford  in 
1 791,  when  his  Symphony  in  G,  thence  called 
the  Oxford  Symphony,  was  performed.  The  same 
distinction  is  said  to  have  been  offered  to  Handel 
in  1733,  when  his  'Esther'  was  performed  at 
O)mmemoration,  and  to  have  been  refused  by 
him  with  characteristic  humour.  Cambridge 
owns  the  following  names : — Greene,  1 730 ;  Boyoe, 
1749;  Randall,  17«,6;  Nares,  1757;  Cooke,  ^ 775; 
Walmisley,  1848 ;  Stemdale  Beomett,  1856 ;  M^^y 
fanen,  1875  ;  Sullivan,  1876;  Joachim,  1877. 

During  the  last  century  there  was  no  examini^ 
tion  for  either  degree;  it  wi^  sufficient  for  the 
candidate  to  present  an  '  exercise,'  or  composition, 
to  be  performed  in  the  Music  School.  Stricter 
regulations  have  been  now  establitihed,  with  the 
view  of  giving  a  more  genuine  character  to  these 
degrees;  and  the  following  rules  are  in  force. 

Gga 


452 


DOCTOB  OF  MUSia 


At  Oxford  the  candidate  for  »  degree  of  Mua. 
Doc.  must  compose  and  send  in  to  the  Professor 
»  vocal  composition  aecolar  or  sacred,  containing 
real  eight-part  harmony  and  good  eight-part  fugal 
counterpoint,  with  accompaniments  for  a  full 
orchestra,  of  such  a  length  as  to  occupy  from 
forty  to  sixty  minutes  in  performance.  The 
exercise  having  been  approved  by  the  Professor, 
an  examination  foUows,  embracing  the  following 
subjects: — Harmony;  Eight-part  counterpoint; 
Canon,  Imitation,  etc.  in  eight  parts;  Fugue; 
Form  in  composition ;  Instrumentation ;  Musical 
History;  A  critical  knowledge  of  the  scores  of 
the  standard  works  of  the  great  composers ;  and 
so  much  of  the  science  of  Acoustics  as  relates  to 
the  theory  of  Harmony.  After  duly  passing  this 
examination  (which  is  entirely  in  writing)  the 
candidate  must  have  his  exercise  publicly  per- 
formed in  Oxford,  with  complete  band  and  chorus 
at  his  own  expense ;  and  must  deposit  the  MS. 
full-score  in  the  Library  of  the  Music  School. 
The  fees  on  takingthis  degree  amount  to  about  £  ao. 
The  regulations  at  Camlnidge  and  Dublin  are  al- 
most  identical  with  those  of  Oxford,  and  the  amount 
of  the  fees  much  the  same.  Degrees  in  music  are 
not  conferred  by  the  University  of  London. 

An  anomalous  poWer  of  creating  a  Doctor  of 
Music  by  diploma  still  vests  in  the  Archbishop 
of  Canterbury.  The  only  regulation  existing  in 
oonnectioB  with  this  strange  prerogative  is  that 
the  person  for  whose  benefit  it  is  exercised  shall 
pay  £63  in  fees.  [C.  A.  F.] 

DOHLER,  Theodob,  of  »  Jewish  family, 
bom  April  ao,  1814,  at  Naples;  died  Feb.  ai, 
1856,  at  Florence ;  an  accomplished  pianist,  and 
composer  of '  salon  *  music — a  vendor  of  the  sort 
of  ware  for  which  the  epithet  'elegant'  seems  to 
have  been  invented.  His  Fantasias,  i.e.  operatic 
tunes  embroidered  with  arpeggios;  his  'Varia- 
tions de  concert,'  or  'de  salon' — similar  tunes 
not  necessarily  operatic,  but  bedizened  with  the 
same  cheap  embroidery;  his  'Transcriptions'— 
nondescript  tunes  bespangled  after  the  sel&ame 
&shion;  his  'Nocturnes' — sentimental  eausucr^, 
made  up  of  a  tearful  tune  for  the  right  hand  prop- 
ped upon  undulating  platitudes  for  the  left,  in 
D  flat ;  his  'Etudes,'  alro  'de  salon*  or  'de  concert* 
— some  small  piece  of  digital  gymnastics  with 
little  sound  and  less  sense, — are  one  and  all  of  the 
same  calibre,  reprehensible  firom  an  artistic  point 
of  view,  and  lacking  even  that  quaintness  or 
eccentricity  which  might  ultimately  claim  a  nook 
in  some  collection  of  musical  brie-d-hrae,  Dohler 
was  an  infant  phenomenon,  and  as  such  the  pupil 
of  Benedict,  then  resident  at  Nicies.  In  I  Sao 
he  was  sent  to  Vienna,  and  became  Carl  Casemy  s 
pupil.  From  Vienna,  where  he  remained  till  34, 
ne  went  to  Naples,  Paris,  and  London — then 
travelled  in  HoUand,  Denmark,  Poland,  and 
Bussia — as  a  successful  fietshionable  virtuoso.  He 
died  of  a  disease  of  the  spinal  marrow  which 
troubled  him  for  the  last  nine  years  of  his  life. 
His  works,  if  works  they  can  be  called,  reach  as 
£shr  as  opus  75.  [E.  D.] 

DOLBY,   Chablotti.     See   Sainton,  Ma- 
DAm.  I 


DON  QUIXOTE. 

DOLCE,  i.e.  sweetly;  a  sign  nsuaDysenm- 
panied  by  piano,  softly — p  dot,,  and  imjdying  dut 
a  sweet  melodious  feeling  is  to  be  pat  into  the 
phrase.  Beethoven  (op.  59,  no.  i)  has  m/  e  dul*^; 
and  Schumann  begins  the  Finale  of  his  Eb  Sym- 
phony with  /  doUe,  which  is  difficult  to  realiie. 

DOMINANT  is  the  name  now  given  to  the  -iih 
note  of  the  scale  of  any  key  oonnting  upwards. 
Thus  G  is  the  dominant  in  the  key  of  C,  F  in 
that  of  Bb,  and  F|  in  that  of  B.  It  is  so  called 
because  the  key  of  a  passa^  cannot  be  d»- 
tinguished  for  certain  unless  some  chord  in  it 
has  this  note  for  root ;  for  which  reason  also  it  ii 
called  in  German  'Der  herrscfaende  Ton.*  The 
dominant  plays  a  most  important  part  in  cs- 
dences,  in  which  it  is  indispensable  tiiat  the  key 
should  be  strongly  marked ;  and  it  is  thenrfcm 
the  point  of  rest  in  the  imperfect  cade&oe  or 
half  dose,  and  the  point  of  departure  to  the  tonic 
in  the  perfect  cadence  or  full  dose.  [Modes.] 

It  also  marks  the  division  of  the  scale  into  two 
parts;  as  in  fugues,  in  which  if  a  subject 
commences  with  Ihe  tonic  its  answer  commences 
with  the  dominant,  and  vice  verA.  In  the 
sonata  form  it  used  to  be  almost  invariable  {<€ 
the  second  subject  to  be  in  the  key  of  the 
dominant,  except  when  the  movement  wm  in 
a  minor  key,  in  which  case  it  was  optional  for 
that  part  of  the  movement  to  be  in  the  relative 
major.  In  lighter  and  simpler  kinds  of  com- 
position the  harmonic  basis  of  the  music  often 
alternates  chiefly  between  tonic  and  dominant, 
and  even  in  the  most  elaborate  and  deeply  thought 
works  the  same  tendency  is  apparent,  though  the 
ideas  may  be  on  so  extended  a  scale  as  to  make  ihe 

alternation  less  obvious.  [C.H.H.P.] 

DOMINO  NOIR,  LF.  Opdra  oomiqne  in  3 
acts,  words  by  Scribe,  music  by  Auber ;  produced 
Dec.  3,  1837.  Translated  by  Chorley  and  pro- 
duced in  English  (an  earlier  attempt  had  failtd) 
Feb.  ao,  1861,  at  Covent  Garden. 

DON  CARLOS,  (i)  Anoperaseiiainaads, 
words  by  Tarantini,  music  by  Costa ;  produced  &t 
Her  Majesty*s  Theatre,  London,  June  ao,  1S44. 
(a)  Grand  opera  in  5  acts,  words  by  Defflt-iy 
and  Du  Locle,  music  hj  Verdi ;  produced  at  the 
Grand  Op^ra,  Paris,  March  ii,  1867,  and  in 
London,  at  Her  Majesty's  Theatre^  «fune  4  of 
the  same  year. 

DON  GIOVANNI— or,  full  title,  B  diisolato 
punito,  ossia  il  Don  Giovanni — opera  bufia  in  i 
acts ;  words  by  Da  Ponte ;  music  by  Mozsrt. 
Produced  at  l4ague  Oct.  39,  1787  (the  overture 
written  the  night  before) ;  at  Vienna  May  7> 
1788,  with  3  extra  pieces,  'In  quali,*  'Mi  tradi,' 
'Dalla  sua  pace';  in  London,  King's  Theatr^ 
April  13,  1 81 7.  Autograph  in  possessian  of 
Mme.  Viardot  Garcia. 

DON  PASQUALE,  qpera  buffa  in  3  »^' 
music  by  Donizetti.  Produced  Jan.  4,  i843i  ^ 
the  Italiens,  Paris;  in  London,  Her  Maj&tya 
Theatre,  June  30,  1843. 

DON  QUIXOTE,  a  comic  opera  in  «  «*«; 
words  by  G.  Macfacren,  music  hj  G.  A.  Mac- 
fiarren ;  produced  at  Drury  Lane,  Feb.  3,  iS-f^* 


DONIZETTI. 

DONIZETTI,  Gaetako,  was  born  at  Beigamo, 
m  1798,  six  years  after  Roasfni ;  and  though  he 
begtn  his  career  at  a  very  early  age,  he  never 
adieved  any  important  suoceBs  until  after  Boesini 
hod  ceased  to  compoBe.    Having  completed  his 
studies  at  the  Conseryatorio  of  Naples,  under 
Mftjer,  he  produced  at  Vienna,  in  1818,  his  first 
opera  *  Enrico  di  Borgogna,'  which  was  rapidly 
filllowed  by  '  H  Falegname  di  Livonia  *  (Mantua, 
1819).    'Hia  'Zoralde  di  Granata,'  brought  out 
inunediately  after  '  II  Falegname '  at  Rome,  pro* 
cured  for  the  young  imitator  of  Rossini  exemption 
from  the  conscription,  and  the  honour  of  being 
carried  in  triumph  and  crowned  at  the  Capitol. 
The   first   work    however  by  Donizetti  which 
crossed  the  moontainB  and  the  seas  and  gained 
tbe  ear  of  all  Europe,  was  '  Anna  Bdena,'  given 
ix  the  first  time  at  Milan  in  1830.    This  opera, 
which  was  long  regarded  as  its  oomposer*s  master- 
piece, was  written  for  Pasta  and  Rubini.   It  was 
in  '  Anna  Bolena '  too,  as  the  impersonator  of 
Heniy  YIII,  that  Lablache  made  his  first  great 
ittocesB  at  our '  King^s  Theatre,'  as  the  Haymarket 
opera  house  was  cabled  imtil  the  dose  of  the  past 
rdgn.  The  graceful  andmelodious'Elisird'Amore' 
Via  oompoied  for  'Milan  in  183a/    'Lucia  di 
Lunmermoor/  perhi^  the  most  popular  of  all 
Donizetti's  works,  was  written  for  Naples  in  1 835, 
liie  part  of  Edgardo  having  been  composed  ex- 
pressly for  Duprez,  that  of  Lucia  for  Persiani. 
Tbe  lively  little  operetta  called  *  II  Campanello 
di  Notte'  waff  produced  under  very  intoresting 
cDDcumstanoes,  to  save  a  Neapolitan  manager  and 
his  company  from  ruin.    '  If  you  would  only  give 
us  something  new  our  fortunes  would  be  made,' 
Bud  one  of  the  singers.     Donizetti  declared  they 
shoold  have  an  operetta  from  his  pen  within  a 
week.    But  where  was  he  to  get  a  libretto  ?  He 
determined  himself  to  supply  that  first  necessity 
^  the  operatie  composer ;   and,  recollecting  a 
vaaderille  which  he  had  seen  some  years  before 
«t  Paris,  called  '  La  Sonnette  de  Nuit,'  took  that 
for  hia  subject,  rearranged  the  little  piece  in 
operatic  form,  and  forthwith  set  it  to  music.     It 
ia  aaid  that  in  nine  days  *  the  libretto  was  written, 
the  music  composed,  the  parts  learned,  the  opera 
performed  and  the  theatre  saved.'     Donizetti 
Kema  to  have  possessed  considerable  literary  fa- 
cility.   He  designed  and  wrote  the  last  acts  both 
of  Uie  'Lucia'  and  of  'La  Favorita' ;  and  he 
Inmaelf  translated  into  Italian  the  libretto  of 
'  Betly '  and  '  La  Fille  du  Regiment.'     Donizetti 
^  Tisited  Pans  in  1835,  when  he  produced,  at 
^e  Thatre  des  Italiens,  his  '  Marino  Faliero.' 
^ve  years  later  another  of  his  works  was  brought 
oat  at  the  same  establishment.    This  was  '  Lu- 
crena  Borgia'  (composed  for  Milan  in  1834) ;  of 
which  the  'run '  was  cut  short  by  Victor  Hugo, 
who,  as  author  of  the  tragedy  on  which  the 
^Wetto  is  founded,  forbad  the  representations. 
'  Locreda  Borgia '  became,  at  the  Italian  Opera 
ofParis,  'La  Rinegata'  — the  Italians  of  Alex- 
»&deT  the  Sixth's  Court  being  changed  into  Turks. 
'Lncrena'  may  be  ranked  with  *  Lucia'  and  *  La 
Favoriuh'  among  the  most 'successful  of  Doni- 
>c»titr  s  operas.  '  Lucia '  contains  some  of  the  most 


DONIZETTI. 


458 


beautiful  melodies  in  the  sentimental  style  that 
its  composer  has  ever  produced ;  it  contains  too 
a  concerted  finale  which  is  well  designed  and 
admirably  dramatic.  The  &vour  with  which 
'Lucrezia  Boigia'  is  everywhere  received  may 
be  explained  partly  by  the  merit  ef  the  music, 
which,  if  not  of  a  very  high  order,  is  always 
singable  and  tuneful— partly  by  the  interest  of 
the  story,  partly  also  by  the  manner  in  which 
the  interest  is  divided  between  four  principal 
characters,  so  that  the  cast  must  always  include 
four  leading  singers,  each  of  whom  is  well  provided 
for  by  the  composer.  But  of  the  great  dramatic 
situation, in  widch  a  voluptuous dirinkingsong  is 
contrasted  with  a  funeral  chant,  not  so  much  has 
been  made  as  might  have  been  expected.  The 
musical  effect,  however,  would  naturally  be  more 
striking  in  the  drama  than  in  the  opera ;  since 
in  the  former  singing  is  heard  only  in  this  one 
scene,  whereas  in  we  latter  it  is  heazd  throughout 
the  opera.  'Lucrezia  Borgia'  may  be  said  to 
mark  the  distance  half  way  between  the  style 
of  Rossini,  imitated  by  Donizetti  for  so  many 
years,  and  that  of  Y ercU  which  he  in  some  mea- 
sure anticipated:  thus  portions  of  'Maria  di 
Rohan'  (1843)  might  almost  have  been  written 
by  the  composer  <J  'Rigoletto.'  In  1840  Doni- 
zetti revisited  Paris,  where  he  produced  sucoea- 
sively  '  I  Martiri '  (which  as  '  Poliuto '  had  been 
forbidden  at  Naples  by  the  censorship) ;  'La  Fille 
du  Regiment,'  composed  for  the  Opiifra  Ck>mique^ 
and  forwards  brought  out  in  the  form  of  an 
Italian  opera,  with  added  recitatives ;  and  '  La 
Favorite,  represented  at  the  Acad^mio.  Jenny 
land,  Sontag,  ]^atti>  Albani,  have  all  appeared 
with  great  success  in  '  La  Figlia  del  Reggimenta' 
But  when  *  La  Fille  du  Regiment'  wasfirst  brought 
out,  with  Madame  ThiUon  in  the  chief  part,  it 
produced  comparatively  but  little  effect.  'La 
Favorite,'  on  the  other  hand,  met  from  the  first 
with  the  most  decided  success.  It  is  bafsd  on  a 
very  dramatic  subject  (borrowed  finom  a  French 
drama,  *Le  Comte  de  Gommingues'),  and  many 
of  the  scenes  have  been  treated  by  the  composer 
in  a  highly  dramatic  spirit.  For  a  long  time, 
however,  it  failed  to  please  Italian  audiences.  In 
London  its  success  dates  from  the  time  at  which 
Grisi  and  Mario  undertook  the  two  principal 
parts.  The  fourth  and  concluding  act  of  tius 
operik  is  worth  all  the  rest,  and  is  probably  the 
mofit  dramatic  act  Donizetti  ever  wrote.  With 
the  exception  of  the  cavatina '  Ange  si  pur,*  taken 
from  an  unproduced  work,  *  Le  Due  d  Albe,'  and 
the  slow  movement  of  the  duet,  which  was  added 
at  the  rehearsals,  the  whole  of  this  fine  act  was 
composed  in  from  three  to  four  hours.  Leaving 
Paris,  Donizetti  visited  Rome,  Milan,  and  Yiennis 
at  which  last  city  he  brought  out  *•  linda  di  Cha- 
mouni,'  and  contributed  a  Miserere  and  Ave 
Maria  to  the  Hofkapelle,  written  in  strict  styles 
and  much  relished  by  the  Genoan  critics.  Then, 
coming  back  to  Paris,  he  wrote  (1843)  'Don 
Pasquale'  for  the  Th^tre  Itfdien,  and  'Dom 
SebMtien*  for  the  Academic.  'Dbm  Sebastien' 
has  been  described  as  'a  funeral  in  five  acts,' 
and  the  mournful  drama  to  which  the  musio 


451 


DONIZETTI. 


DOKIAK. 


of  this  Work  is  wedded  rendered  its  buocobb  all 
but  impossible.  As  a  matter  of  fact  it  did  not 
succeed.  The  brilliant  gaiety,  on  the  other  hand, 
of  *  Don  Pasquale '  charmed  all  who  heard  it,  as 
did  also  the  delightful  acting  and  singing  of  Grisi, 
Mario,  Tamburini  and  Lablache,  for  whom  the 
four  leading  parts  were  composed.  For  many 
years  after  its  first  production  *Don  Pasquale* 
was  always  played  as  a  piece  of  the  present  day ; 
but  the  singers  perceived  at  last  that  there  was 
a  little  absurdity  in  prima  donna,  baritone,  and 
basso  wearing  the  dress  of  everyKlay  life ;  and  it 
is  usual  now,  for  the  sake  of  picturesqueness  in 
costume,  to  put  back  the  time  of  the  incidents  to 
the  last  century.  'Don  Pasquale*  and  *  Maria 
di  Bohan*  (Vienna)  belong  to  the  same  year; 
and  in  this  last  opera  the  composer  shows  much 
of  that  earnestness  and  vigour  for  which  Verdi 
has  often  been  praised.  Donizetti*s  last  opera, 
*  Oatarina  Comaro>*  was  produced  at  Naples  in 
1844,  and  appeu*ently  made  no  mark.  This  was 
Ids  sixty-third  work,  without  counting  two  operas 
which  have  never  been  played.  One  of  theae  is 
the '  Due  d'Albe,*  composed  to  a  libretto  originally 
meant  by  Scribe,  its  author,  for  Rossini,  but  which 
Rossini  returned  when,  after  *  William  Tell,'  he 
resolved  to  write  no  more  for  the  operatic  stage ; 
Hhe  other  a  piece  in  one  act  composed  for  the 
Op^ra  Comique,  and  which,  some  years  ago, 
used  erery  now  and  then  to  be  announced  for 
performance.  Of  Donizetti's  sixty-three  operas, 
counting  those  only  which  have  been  represented, 
at  least  two-thirds  are  quite  unknown  in  England. 
Donizetti,  during  the  last  three. years  of  his  life, 
was  subject  to  fits  of  melancholy  and  abstraction 
which  became  more  and  more  intense,  until  in 
1848  he  was  attacked  with  paralysis  at  Beigamo, 
where  he  expired.  Buried  some  little  distance 
outside  the  town,  he  was  disinterred  in  1876  and 
reburied  in  Bergamo  itself. 

The  ^following  list  of  Donizetti^s  operas  is 
probably  not  far  from  complete;  the  dates  are 
not  quite  certain  :— 


(Operu  adaiited^ 
BaondelmoolA-lUri*  Stiurte. 


IBkoaondt 
d'Inghntem. 
Las  Hvtjn.  IMO— Poliato. 


Enrico  dl  BonrogiiA.  IftlS. 

II  Fal6giuun«  dt  LWonia.  1819. 

Le  N0Z88  In  VU1&.  UQO. 

Zom  de  dl  anuuiu,  lifi22. 
B  La  Zingara. 

La  lettera  aoonlma. 

Ohlara  e  Serafloa. 

U  fortanato  Ingaono,  182S. 

Alfredo  n  Qimnde. 
10  Una  FoUia. 

L'ajo  nair  imbarazto.  IflSSl 

SmUia  dl  Liverpool. 

Alabor  In  Graoata.  IH28. 

n  CaateUo  dagll  InvaLdL 
IB  n  Giovedl  gnuso.  1837. 

OIIto  a  Pasquale. 

n  Borgomestro  dl  Faardam. 

Le  C!onrenlenz(  teat  rail. 

Otto  nwM  In  due  ore,  1828. 
SO  Elliabetta  a  Kenllworth. 

La  Beglna  dl  Golconda. 

Gianni  di  Ca1ala« 

L'esule  de  Boma.  I8&B1 

L'Slialre  d'amovau 
tf  nParia. 

U  Oastello  de  Kentlifortb. 

n  Dnurio  unirermie,  U80l 

I  pazxi  per  prugetto. 

FranoeKa  dl  V  oix. 
SO  Imalda  dl  LambertauL 

La  Bomanziera. 

Aiin*BoleDa,18Sl. 


6B  Il|iab«tli.  ]£0B. 


Aiusta. 

Cgo  Conte  di  FW.  ICT. 
36  Sancla  dl  Cartelta. 

n  nuoTo  Pourreaugnac 

11  FurfcMO.  1838. 

Farislna. 

Torqoato  Teskk 
40  L'Assedlo  di  Calais. 

Locrexla  Borgia.  1834.    ' 

Bosamonda  d'  Ingbilterra. 

Uaria  Stoarda. 

Gemma  dl  Vergr,  I8S6» 
4B  Marino  Faliero. 

I^ela  di  Lamniernuior.  . 

Bellaario.  1838. 

II  Campanello  dl  Kotte. 

BetlT. 
BO  Boberto  Derereuz. 

Plo  dl  Tolomei.  1837. 

Maria  dl  Budenz.  1F88. 

Follnto. 

Gianni  dl  Parigl,  16SB. 
BB  Gabriella  dl  Veniy. 

La  Fllle  du  Begiment,  IMa 

La  Favorite. 

Adelaala.  IM. 

Maria  PadiUa. 
60  Linda  di  (hamouniz.  IBOi 

Maria  di  B«han. 

Don  Pasquale,  IMS. 

Dom  Febastlen. 

Catarlna  Cornaro.  UH 


[H.S.E.] 

"DONNA  DEL  LAQO,  LA,  opera  in  2  acts, 
founded  on  'The  Lady  of  the  I^ke';  libretto 
by  Tottola,  music  by  Boesini.  Produced  at  San 
Carlo,  Naples,  Oct.  4,  1819;  in  London,  King's 
Theatre,  Feb.  18.  1823. 

DONZELLI,  DoxBNicx),  was  bom  at  Bergamo 
about  1790,  and  studied  in  his  natire  place. 
In  1816  he  was  singing  at  the  Valle  Theatre 
in  Rome.     Bossini  wrote  for  him  the   part  of 
Torvaldo,   in  which   he    distinguished  himself. 
At  the  carnival  of  the  next  year  he  sang  at 
the  Scala  in  Milan,  and  was  engaged  for  two 
seasons.    From  thence  he  went  to  Venice  and 
Naples,   returning   to    Milan,  where    'Elisa  e 
Claudio'  was  written  for  him  by  Mezxsadante. 
He   was   very    successful  in   1832   at  Vienna, 
and  obtained  an  engagement  at  Paris  for  1S24. 
There  he  remained,  at  the  Th^&tre  Italien,  until 
the  spring  of  31.    As  early  as  1822  efforts  had 
been  made,  unsuccessfully,  to  get  him  engaged 
at  the  King's  Theatre  in  London.    At  len^h, 
in  28,  he  was  announced ;  but  did  not  actually 
come  until  29 — making  his  first  visit  to  England 
at  the  same  time  with  Mendelssohn.     When  he 
did  appear.  Lord  Mount-Edgcumbe  thought  him 
'a  tenor,  with  a  powerful  voice,  which  he  did 
not  modulate  weU.'    Another  critic,  in  1830, 
says  of  him,  'He  had  one  of  the  most  melli- 
fluous, robust,  low  tenor  voices  ever  heard,  a 
voice  which  had  never  by  practice  been  made 
sufficiently  flexible  to  execute  Rossini's  operas 
as  they  are  written,  but  even  in  this  respect  he 
was  accomplished  and  finished,  if  compared  with 
the  violent  persons  who  have  succeeded  him  in 
Italy.    The  volume  of  his  rich  and  sonoroui 
voice  was  real,  not  forced.     He  had  an  open 
countenance  and  a  manly  bearing  on  the  stage, 
but  no   great   dramatic   power.     He  was  re- 
engaged in  183a  and  33.     In  34  his  place  was 
taken  by  Rubmi.     Returning  to  Italy,  he  sang 
at  various  theatres;  and  in  41  at  Verona  and 
Vienna.     About  the  end  of  that  year  he  retired 
to  Bologna.     He  was  an  associate  member  of 
the  Accademia  Filannonica  at  Bologna,  and  oi 
that  of  Santa  Cecilia  at  Rome.     He  published  a 
set  of  '  Esercizi  giomalieri,  basati  sull'esperienza 
di  molti  anni'  (Ricordi,  Milan).     He  die<i  at 
Bologna»  March  31,  1873.  [J.M.] 

DOPPIO,  Italian  for  double.  « Canone  doppio,' 
double  canon,  4  in  2.  'Doppio  movimento/ 
double  the  speed  of  the  preceding.  'Pedale 
doppio,'  two  parts  in  the  pedals  (organ  music),  etc 

DOBIAN,  OR  DORIC,  the  first  of  the  'au- 
thentic' church  modes  or  tones,  from  D  to  D, 
with  its  dominant  A — 


P 


fU         ^         ^=^ 


-jSI 


-^r 


i 


It  resembles  D  minor,  but  with  B||  and  no 
C|.  Many  of  the  old  German  chorales  were 
written  in  this  mode,  such  as  'Vater  unser'; 


DORIAN. 


DOT. 


m 


'Wir  giauben  dl';  'Ghiut  oiuer  Herr  znm  Jar- 
dan  kiun';  'ChiJBt  Ug  in  Todesbanden.'  For 
longer  oompontioDs  see  Orl&ndo  Laaio's  5-part 
motet  'AnimAin  meftiu/  in  Commer's  'Miuica 
tacn,'  yiii.  No.  20,  and  the  fugue  in  Baches 
wtOl  known  Toccata  (Dorffel,  No.  818),  marked 
'Dorisch.' 

DORN,  HxiKBTCH  LuDWio  Edvuvd,  a  very 
coDfliderable  musician  of  modem  Qermany,  bom 
at  Kdnigsberg,  Prussia,  Nov.  14,  1804.      His 
turn  for  music  showed  itself  early,  and  was  duly 
eoocHiraged  and  assisted,  but  not  so  as  to  interfere 
with  his  general  education.     He  went  tiirough 
the  curriculum  of  the  Konigsberg  University,  and 
after  visiting  Dresden  (where  he  made  Weber^s 
acquaintance)  and  other  towns  of  Grermany,  fixed 
himself  at  Berlin  in  1834  or  35,  and  set  seriously 
to  work  at  music  under  Zelter,  Klein,  and  L. 
Befger,  mixing  in  the  abundant  intellectual  and 
musical  life  which  at  that  time  distinguished 
Btflin,  when  Bahel,  Heine,  Mendelssohn,  Iciinge- 
mann,  Marx,  Spontini, -Devrient,  Moscheles,  Reis- 
fiiger,  and  many  more,  were  among  the  elements 
of  Kodety.    With  Spontini  and  Marx  he  was  very 
intimate,  and  lost  no  opportunity  of  defending 
the  fonner  with  his  pen.    At  Berlin  he  brought 
out  an  opera^  *  Die  Rolandsknappen,*  with  success. 
In  181 7  be  left  Berlin,  and  after  travelling  for 
some  time  returned  to  his  native  place  as  con- 
ductor of  the  theatre.      In   1829  he  went  to 
Leipzig  in  the  same  capacity,  and  remained  there 
till  3a.     During  this  time  he  had  the  honour  of 
fjiving  instruction  in  counteipoint  to  Schumann. 
After  leaving  Leipzig,  his  next  engagements  were 
at  the  theatres  of  Hamburg  and  Riga,  in  the 
latter  place  succeeding  Wagner.      During  the 
wbde  of  this  time  he  added  much  teaching  to 
his  r^ruJar  duties,  and  exercised  an  exceuent 
influence  on  the  musical  life  of  the  places  in 
irhich  he  lived.    At  Riga  he  remained  till  1843, 
when  he  was  called  to  succeed  C^  Kreutzer  at 
Cologne.    During  the  five  years  of  his  residence 
there  he  was  fully  occupied,  directing  the  Festivals 
of  44  and  47,  rounding  the  Rheinische  Musik- 
Khule  (1845),  and  busying  himself  much  about 
music,  in  addition  to  the  duties  of  his  post  and 
much  teaching.     In  47  he  succeeded  O.  Nioolai 
88  conductor  of  the  Royal  Opera  in  Berlin,  in 
conjunction  with  Taubert.    This  post  he  retained 
till  the  end  of  68,  when  he  was  pensioned  off  in 
&vour  of  Eckert,  and  became  a  *Kdniglicher 
Profinsor.*    Since  then  he  has  occupied  himself 
in  teaching  and  writing,  in  both  which  capacities 
he  has  a  great  reputation  in  Berlin.     Dom  is 
of  the  conservative  party,  and  a  bitter  opponent 
of  Wagner.    He  is  musical  editor  of  the  Post, 
tnd  writes  also  in  the   Qartenlaube  and  the 
Hausfireund.     His  account  of  his  career,  'Aus 
meinem    Leben*    (Berlin,   1870,    2    vols.)   and 
'OstracismuB*  (lb.  74),  are  both  valuable  books. 
A  paper  of  his  on  MendeLssohn  appeared  in 
'Temple  Bar'  for  February  1872.     His  compo- 
sitions embrace  xo  operas,  of  which  'Die  Nibe- 
langen*  (1854)  is  the  most  remarkable ;  a  requiem 
(iScyi);  many  cantatas;  symphonies  and  other 
orchestral  works ;  many  pianoforte  pieces,  songs, 


«to.  As  a  conductor  he  was  one  of  the  first  of  his 
d^,  with  every  quality  ot  intelligence,  eneigy.  tact, 
and  industry,  to  fill  that  difficult  position.  [F.G.] 

DORUS-GRAS,  Julie  Aih^s.    See  Gbas. 

DOT  (Fr.  Pomt;  Ger.  Punki;  ItaL  Punta). 
A  point  placed  after  a  note  to  indicate  that  its 
length  is  to  be  increased  one  half;  a  semibreve 
with  the  addition  of  a  dot  being  thus  equal 
to  three  minims,  a  minim  with  a  4ot  to  three 
crotchets,  and  so  on. 

So  far  as  regards  rhythm,  this  is  at  the  present 
time  the  only  use  of  the  dot,  and  it  is  necessitated 
by  the  fnat  that  modem  notation  has  no  form  of 
note  equal  to  three  of  the  next  lower  denomina- 
tion, so  that  without  the  dot  the  only  way  of 
expressing  notes  of  three-fold  value  would  be  by 

means  of  the  bind,  thus   ^  f  instead  ot  p'y 

f    P    instead    of    f,    which    method    would 

greatly  add  to  the  difficulty  of  reading.  The 
sign  itself  is  however  derived  from  the  ancient 
system  of  'measured  music'  (mtmea  menturaiis, 
about  ▲.  D.  1 300),  in  which  it  exercised  various 
functions,  and  where  it  is  met  with  in  four  forms, 
called  respectively  '  point  of  perfection,*  '  point  of 
alteration,'  *  point  of  division,'  and '  point  of  addi- 
tion.' The  different  uses  of  these  points  or  dots 
was  as  follows. 

The  rhythm  of  the  measured  musio  was  at 
first  always  triple ;  that  is  to  say,  the  accent  fell 
upon  the  first  beat  of  every  three  (the  division 
of  music  into  bars  is  of  later  date,  see  Bar),  and 
each  note  was  of  the  value  of  three  of  the  next 
lower  denomination,  the  long  ^  being  equal  to 
three  breves  ■,  and  the  breve  to  three  semibreves 
4,  and  so  on.  But  whenever  a  long  note  was 
followed  or  preceded  by  one  of  the  next  shorter 
kind,  and  the  latter  sung  to  an  unaccented 
syllable,  it  became  necessary  to  shorten  the  long 
note  by  one  third,  in  ordev  to  preserve  the  triple 
character  of  the  rhythm,  llius  Ex.  i  would 
be  sung  as  Ex.  2,  and  not  as  Ex.  3,  notwith^ 
standing  the  breve  under  other  drcumstancei 
would  be  worth  three  semibreves : — 


I.  WHttm       3.  Paformed 


Z'  ^otthm 


The  note  thus  shortened  was  termed  imperfect. 

Cases  often  arose,  however,  in  which  the  long 
note  was  required  to  be  perfect,  i.  e.  worth  three 
beats,  in  spite  of  its  being  followed  by  a  shorter 
note;  in  tnese  cases  a  dot  called  the  'point  of 
perfection,'  and  written  either  as  a  simple  dot  or 
a  dot  with  a  tail  ^  (pundtu  eaudaiut),  was  intro- 
duced after  the  note,  the  function  of  which  was 
to  preserve  the  long  note  firom  being  made 
imperfect  by  the  next  following  short  note^  thus — 


4.  Wriltm 


Per/brmed 


■Yrr 


^ 


:s: 


zc 


Another  kind  of  dot*  the  'point  of  alteration,' 
written  hlfid  the  foNgdog,  but  placed  either 


'ifS9 


DOT. 


before  tbe  fint  or  above  the  geoond  of  two  rimilar 
notes,  indicated  that  the  second  of  the  two  was 
to  be  '  altered,*  i.  e.  doubled  in  length,  again  for 
the  sake  of  preserving  the  triple  rhytbn;  for 
example — 


5*  WriUm 


Or 


Per/biitud 


*B|w**»|y  ■»■•  I  f^-J  INI  1 1»^ 


In  the  absence  of  the  dot  in  the  above  example, 
there  would  be  a  doubt  as  to  whether  the  two 
breves  ou^ht  not  to  be  rendered  imperfect  by 
means  of  weir  respective  semibreves,  as  in  Ex.  i . 
lake  the  point  of  perfection  therefore  this  dot 
presanres  the  first  note  from  imperfection;  but 
owing  to  the  foot  that  it  is  followed  by  two  short 
notes  (instead  of  three  as  in  Ex.  4),  it  also 
indicates  the  'alteration*  or  doubling  of  the 
second  of  the  two. 

The  third  kind  of  dot,  the  '  point  of  division,* 
answers  to  the  modem  bar,  but  instead  of  being 
used  at  regular  intervals  throughout  the  com- 
position, it  WM  only  en^lqyed  in  cases  of  doubt ; 
for  example,  it  would  be  properly  introduced 
after  the  second  note  of  Ex.  1,  to  divide  the 
passage  into  two  measures  of  three  beats  each, 
and  to  show  that  the  two  ^ves  were  to  be  made 
imperfect  by  means  of  the  iwo  semibreves,  which 
latter  would  become  joined  to  them  as  third  and 
first  beats  respectively,  thus— 


6.  WriUen 


PgKfovncA 


za: 


is: 


-HS>H 


I 


Without  the  point  of  divirioo  the  example  might 
be  mistaken  lor  the  '  alteration '  shown  in  Ex.  5. 

The  last  of  the  four  kinds  of  dots  mentioned 
above,  the  '  point  of  addition,*  was  identical  with 
our  modem  dot^  inasmuch  as  it  added  one  half  to 
the  value  of  the  note  after  which  it  was  placed. 
It  is  of  somewhat  later  date  than  the  others 
(about  ▲.  D.  1400),  and  belongs  to  the  intro- 
duction of  the  so-called  tempu8  imperfectum,  in 
which  the  rhythm  was  duple  inst<»td  of  triple. 
It  wa^  applied  to  a  note  which  by  its  position 
would  be  imperfect,  and  by  adding  one  half  to  its 
value  rendered  it  perfect,  thus  exercising  a  power 
similar  to  that  of  the  'point  of  perfection.* 

in  modem  music  the  dot  is  frequently  met 
with  doubled ;  the  effect  of  a  double  dot  is  to 
lengthen  the  note  by  three-fourths,  a  minim 
¥rith  double  dot  (p" )  being  equ<J  to  seven 
quavers,  a  doubly  dotted  crotchet  (^"  )  ^  seven 
semiquavers,  and  so  on.  The  double  dot  was  the 
invention  of  Leopold  Mozart,  who  introduced  it 
with  the  view  of  regulating  the  rhythm  of  certain 
adagio  movements,  in  which  it  was  at  that  time 
customary  to  prolong  a  dotted  note  slightly,  for 
the  sake  of  e&ct.  Leopold  Mozart  disapproved 
of  the  vagueness  of  this  method,  and  therefore 
wrote  in  his  'Violinschule*  (and  edition,  Augs- 
burg, 1769),  'It  would  be  well  if  this  pro- 
longation of  the  dot  were  to  be  made  very 
detinite  and  exact;  I  for  my  part  have  often 
made  it  so,  and  have  expressed  my  intention  by 


DOT. 

means  of  two  dots,  with  a  proportional  shortemng 
of  the  next  followinff  note.'  His  son,  Wol^guig 
Mozart^  not  only  made  fireqaent  use  of  the*doabie 
dot  invented  by  his  fi^ther,  bat  in  at  lesst  ooa ' 
instance,  namely  at  the  beginning  of  the  symphony 
in  D  written  fbr  Hafiier,  employed  a  triple  dot, 
adding  seven  eighths  to  the  vidue  of  the  noia 
which  preceded  it.  The  triple  dot  has  however 
never  come  into  general  use ;  indeed,  the  above 
is  the  only  instance  of  its  employment  with  vrhich 
the  writer  is  acquainted. 

Dots  following  rests  lengthen  them  to  the  sams 
extent  as  when  applied  to  notes. 

In  old  music  a  dot  was  sometimes  placed  at 
the  beginning  of  a  bar,  having  reference  to  the 
last  note  of  the  preceding  luir  (Ex.  7);  thii 
method  of  writing  was  not  convenient,  as  the  dot 
might  easily  escape  notice,  and  it  is  now  sape^ 
seded  by  the  use  of  the  bind  in  similar  casei 
(Ex.  8). 


IT  J  r^  I '  r  r  n '  LL^^-  II 


8. 


=H-j  f^  177^  ■  irrfr-Mf 


When  a  passage  consists  of  alternate  dotted 
notes  and  short  notes,  and  is  marked  daoeatii, 
the  dot  is  treated  as  a  rest,  and  the  longer  notes 
are  thus  made  less  staccato  than  the  shorter  ones. 
Thus  Ex.  9  (from  the  third  movement  of  Bee- 
thoven's Sonata,  Op.  a  a)  should  be  played  u  in 
Ex.  xo,  and  not  as  in  Ex.  11. 


II. 


In  an  other  cases  the  value  of  the  dotted  note 
should  be  scrupulously  observed,  except— in  the 
opinion  of  some  teachers — ^in  the  case  of  a  dotted 
note  followed  by  a  group  of  short  notes  in 
moderate  tempo ;  here  it  is  sometimes  considered 
allowable  to  increase  the  length  of  the  dotted 
note  and  to  shorten  the  others  in  proportion,  for 
the  sake  of  effect.  (See  Koch,  '  Murikaliwhei 
Lexicon.*  art.  Pwnkt;  Lichtenthal,  'Dizionario 
della  Musica/  art.  Punto,)  Thus  Ex.  la  woald 
be  rendered  as  in  Ex.  13. 


13. 


Andante 


DOT, 


DOUBLE  BASS. 


457 


Id  view  bowever  of  the  hct  that  there  ftre  a 
Tariety  of  means  such  as  double  dots,  binds,  etc. 
hj  which  a  composer  can  express  with  perfect 
accuracy  the  rhythmic  proportions  which  he 
requires,  it  certainly  seems  advisable  to  employ 
the  utmost  caution  in  making  use  of  such  licences 
as  the  foregoing,  and  in  particular  never  to 
introduce  them  into  movements  the  rhythmical 
character  of  which  is  dependent  on  such  pro- 
gr»Bions  of  dotted  notes  as  the  above  example, 
such  for  instance  as  the  14th  of  Beethoven^s 
33  Variations,  Op.  lao,  or  the  coda  of  the 
Fantasisi,  Op.  77. 

J.  Besides  ihe  employment  of  the  dot  as  a 
sign  of  augmentation  of  value^  it  is  used  to 
imiicate  tkucato,  being  placed  above  or  below 
the  note,  and  written  as  a  round  dot  if  the 
fitaccato  is  not  intended  to  be  very  marked,  and 
as  a  pointed  dash  if  the  notes  are  to  be  extremely 
ihort.  [Dash.]  As  an  extension  of  this  practice 
dota  are  used  to  denote  the  repetition  of  a  single 
note ;  and  they  are  also  placed  before  or  after  a 
doable  bar  as  a  sign  of  the  repetition  of  a  passage 
or  section.  In  old  music  for  the  clavecm  they 
are  used  as  an  indication  of  the  Bebung.  [As- 
BREVIATIOHS  ;  BlBUWO.]  [F.  T.] 

DOm,  Anna,  a  distinguished  seoonda  donna 
who  formed  part  of  Handers  company  at  the 
King's  Theatre  in  London  for  some  years.  She 
app^ffed  first  as  Irene  in  'Tamerlane'  with 
Cu2xoni  in  1724,  and  as  Agamira  in  the  '  Arta- 
iene'  of  Ariosti.  In  25  she  sang  in  'Bodelinda  * 
and  'Giulio  Oesare,'  as  well  as  in  the  anony- 
mous'  Elisa,*  the  'Dario'  of  AttiUo,  and  Vind^ 
'Elpidia.'  During  the  next  season  she  played 
in  the  'Ottone'  and  'Alessandro*  of  Handel; 
and  in  27  was  again  in  London,  and  took  the 
part  of  Orindo  in  the  first  representations  of 
'Admeto,'  and  that  of  Pilade  in  'Astianatte.' 
After  1737  her  name  does  not  occur  again  in  the 
libretti.  [J.  M.] 

DOTZAUER,  JupTUS  JOHANN  Friedrioh,  one 
of  the  greatest  composers,  players,  and  teachers  of 
the  violoncello;  bom  at  HUdburghausen,  Jan.  30, 
1 785.  His  teachers  were  Henschkel,  Gleichmann, 
and  Riittinger — a  pupil  of  Kittl's,  and  therefore 
only  two  removes  from  J.  S.  Bach.  For  the  cello 
he  had  Kriegk  of  Meiningen,  a  famous  virtuoso 
and  teacher.  He  began  his  career  in  the  Mein- 
ingen court  band,  in  1801,  and  remained  there 
till  1805.  He  then  went  by  way  of  Leipzig  to 
BerUn,  where  he  found  and  profited  by  B.  Kom- 
berg.  In  181 1  he  entered  the  King's  band  at 
I)re;3den,  and  remained  there  till  his  death,  March 
9,  i860,  playing,  composing,  editing,  and,  above 
all,  teaching.  His  principal  pupils  were  Kum- 
mer.  Drechsler,  C.  Schuberth,  and  his  own  son, 
C.  Ludwig.  His  works  comprise  an  opera  ('  Gra- 
ziosa,'  1 841),  a  masR,  a  symphony,  several  ove]> 
tores,  9  quartets,  la  concertos  for  cello  and  or- 


chestra, sonatas,  variations,  and  exercises  for  the 
cello.  He  edited  Bach's  6  sonatas  for  cello  solo, 
and  left  an  excellent  Method  for  his  instrument. 

DOUBLE  BAB  divides  a  piece  or  a  movement 
into  main  sections,  and  when  accompanied  by 
dots  indicates  that  the  section  on  the  same  sida 
with  the  dots  is  to  be  repeated. 

0)  (2)  («) 


-11  1^^^ 

The  double  bar  is  a  principal  feature  in  the 
symphony  or  sonata.  In  the  first  movement  it 
occurs  at  the  end  of  the  first  section,  which  is 
then  repeated,  and  is  followed  by  the  working 
out,  or  JhtrchfUkmng.  In  the  symphonies  before 
Beethoven,  and  in  Beethoven's  own  earlier 
sonatas,  the  second  section  was  often  repeated 
as  well  as  the  first.  In  the  minuet,  or  scherzo, 
with  trio,  both  sections  of  each  are  repeated,  and 
then  after  the  trio  the  minuq^  is  given  again 
without  the  repetitions. 

DOUBLE  BASS  (Ital.  Con^roftoMO  or  FioZoiMj) 
is  the  largest  of  the  stringed  instruments  played 
with  a  bow.  Whether  it  was  invented  before  or 
after  the  violin  is  still  an  unsettled  question. 
In  its  fonns  it  has  some  of  the  characteristics 
of  the  older  gamba  tribe,  viz.  the  flat  instead  of 
the  arched  back,  and  the  slanting  shoulder ; 
while,  on  the  other  hand,  it  has  the  four  comers, 
the /-holes,  and  in  every  respect  the  belly  of  the 
violin,  thus  appearing  to  be  a  combination  of  the 
gamba  and  tne  violin,  and  therefore  probably  of 
a  date  posterior  to  both. 

The  double  bass  was  originally  mounted  with 
three  strings  only,  tuned  thus  (a).  At  the 
present  time,  however,  basses  with  four  strings, 
tuned  thus  (6),  are  used  by  all,  except  the  ItalUin 


Italian,     (a)  EngUsh. 


(&) 


^  J  r  ^  M  J  f  n  J  J  Si 


and  some  English  players,  who  still  prefer  the 
three -stringed  instrument  on  account  of  its 
greater  sonority.  For  orchestral  playing,  how- 
ever, the  fourth  string  has  become  an  absolute 
necessity,  since  modem  composers  very  frequently 
use  the  contra  E  and  F  in  obligate  passages.  In 
England,  up  to  a  very  recent  period,  a  phrase  like 
that  which  opens  Mendelssohn's  '  Meeresstille' 
(c),  owing  to  the  absence  of  the  fourth  string 
and  the  consequent  impossibility  of  producing 
the  low  ^F,  had'  to  be  altered  to  the  octave  (d). 


^^m 


i 


^^ 


E 


-^ 


sr 

This  and  other  similar  musical  barbarities  were 
committed,  until  at  the  Ciystal  Palace  the  sensible 
plan  was  adopted  of  havmg  iialf  the  number  of 
the  basses  witli  four,  and  the  other  half  with  three 
strings,  thus  avoiding  the  mutilation  of  phrases 
like  the  above,  without  sacrificing  the  greater 

>  In  th«  Btonn  in  tiie  FMtonl  Bjnphony.  Beothoven  takM  hit  doaU* 
IwiNt  down  to  tlie  0  ^elow  tlidi. 


458 


DOUBLE  BASS. 


t  daimed  for  tlie  tlvMi- 


riohnoM  of  tone  vrhlch 
■Ciing:ed  instrumeDt. 

If  the  violin  ie  the  leader  of  the  orchegtn,  the 
double  bMB  is  iu  foundatjon.  To  it  ie  given  the 
lowest  p&rt,  on  which  both  hannany  uul  melody 
rest.  The  Eiigliah  term 'double  bau' has  probftbl; 
been  applied  to  the  initrumeDt  because  it  often 
doubles  in  the  lower  octavo  the  blsa  of  the 
hannony,  given  to  the  ba«i  voice,  the  violonoello, 
the  bauoon,  ix  some  other  inatrumenV  In  a 
tiniilar  way  (he  Jl'feet  stop  of  the  o^an  is 
tenned  double  diapasoB  becaase  it  doubles  »  16- 
feet  diapason  in  tJie  lower  octave. 

This  doubling  of  the  bass  part  vras  for  a  long 
time,  with  rare  eiceptdonB,  the  aole  function  ol 
the  double  bass,  and  it  ia  only  since  the  banning 
of  the  19th  century  that  we  meet,  in  the  soorea 
of  Haydn,  and  mote  fi-equentlj  in  those  of  Bee- , 
thovan,  with  independent  double-baas  passages. 
The  double  base  from  ita  very  nature — its  tone, 
when  heard  alone,  being  somewhat  rough,  and 
its  treatment,  owing  to  its  large  dimensionn,  very 
difficult — is  essentially  an  oroheelral  rather  thsn 
a  Bolo  instrument,  and  as  such  it  is  with  the 
dolin  the  most  important  and  iniiiupei 


of  considerably 


As  double  bass-players  Dragonetti,  MQlIer, 
and  Bottesini,  have  the  greatest  reputation.  Most 
of  the  great  Italian  violin  makers,  from  Caspar 
da  Salo  downwards,  have  m«de  double  bassea 
of  various  sizes,  a  lair  number  of  which  are  still 
eiUnt.  [P.  D.] 

DOUBLE  BASSOON  (It.  Contrafagoito  ;  Fr. 
ConlrebnsMm  ;  Qer.  CoiUrufagoli,  DoppetfagoU). 
The  oontrafitgotto  or  double  bassoon,  in  pitch  an 
octave  below  the  ordinary  bassoon,  is  not  by  any 
means  a  new  instrument ;  but  the  older  inst 
tnents  were  of  feeble  rattling  tone,  rendered  ' 
wieldy  by  unsuccessful  attempts  to  obtain  the 
of  the  3l'foot  octave.     It  has  been  oonsiderably 
improved  by  Herr  Haaeneier  of  Coblena,   and 
subsequently  by  the  writer,  who  has  introduced 
it  into  English  orchestras. 

The  double  bassoon  aa  made  on  the  wr 
design  by  Uaseneier  consists  of  a  tube  16  (est 
4  inches  long,  truly  conical  in  its  bore,  enlax^ng 
&am  \  inch  diameter  at  the  reed  to  4  inches  at 
the  bell.  It  is  curved  four  times  on  itself  for 
convenience  of  manipulation,  so  that  the  length 
of  the  instrument  is  about  equal  to  that  of  the 
ordinary  liassoon.  Ita  extreme  compass  is  three 
octavee,  from  CCC  upwards  to  middle  C — see  ex- 
ample {a).  lis  ordinary  range,  however,  should 
be  limited  to  the  tenor  G,  the  notes  above  this 
being  rather  difficult  to  produce. 

It  poasases  every  semitone  of  the  diatonic 
scale  throughout  its  compass,  and  is  therefore 
able  to  play  in  any  key  with  moderate  fitcility. 
The  scale  is  founded  on  the  octave  harmonic, 
and  continued  by  means  of  the  tw^^     From 


uovmji  BissooN. 

CCC  to  FF  {b),  only  a  single  sound  u  obtained  by 
each  key.  Betwesn  the  latter  note  and  its  double 
't  (c),  the  same  fingering  produces  two  sounds 
I  octavo,  simply  by  change  of  tmboarhuit 
and  greater  pressure  of  wind.  With  the  four- 
foot  Fj  a  new  harmonic  sound  begins  using  ihe 
fingering  of  the  eight-foot  Bti  and  again  incnasing 
the  wind-pressure.  Seven  semitones  thus  procured 
carry  the  tone  up  to  the  C  above  (_d),  which  is  the 
fourth  C  inclusive  from  the  foundation  note.  It 
most  be  remembered,  however,  that  the  cnvhe9trai 
part  for  this  instruinant,  like  that  of  the  double 
bass,  is  always  written  an  octave  higgler  than 
the  real  sound,  to  avoid  ledger  lines. 


Hie  boles  fresn  which  the  sonnd  isanea  an  of 

graduated  siie,  increasing  downwards  with  ths 
siie  of  the  bom.  They 
are  placed  as  a  rule  in 
their  correct  positions,  so 
aa  to  cut  off  the  proper 
p«iion  of  tube  corre- 
aponding  to  the  elevation 
dTthe  note.  Mechanism 
ia  adapted  to  than,  to 
bring  them  within  reach 
of  the  fingers.  To  enable 
the  player  to  distinguish 
what  are  called  'open' 
from  closed  holea,  a  dif- 
ferent shi^  is  given  10 
(he  terminatJooB  of  ibe 
lever*.  The  lirat  three 
fingers  of  each  hand, 
which  have  to  keep  cloied 

;  the  nil  open  not»  of  the 
ordinary  bassoon,  faD  inlo 
saddle  -  shaped  rece^HS 
worked  in  the  brasi  of 
the     key ;    whereas   the 

'    two  little  iingen  and  tbe 

f  thumbs  touch  the  cu>-h- 
ion  -ahaped  sur&cs  of  kcyi 
similar  to  those  used  on 
othtr  wind  inatramenu. 
It  is,  in  consequence,  very 
easy  fbr  any  peraon  sc- 
cuatomed  to  the  orditury 
bassoon  to  adMt  bin  pl>j- 
ing  to  this.  The  saddle- 
shape  of  the  key  do 
servea  to  support  ihe 
upper  joints  of  the  finger^ 
and  to  throw  the  labour  irf^cloaing  the  hole  mure 
on  the  powerful  muscles  of  the  forearm  than  on 
the  weaker  fabric  of  the  hand  itself. 

Although  this  instrument  was  fonnerly  obhI 
in  military  bands,  and  was  played  at  the  Rnt 
Handel  commamoration  in  Westminster  Abliey, 
it  had  gone  completely  out  of  use  nntil  the 
.Handel  ii'estival  <^  1871.    It  ia  however  abim- 


DOUBLE  BASSOON. 

duitly  written  for  by  the  great  masten.  Haydn  [ 
gives  it  an  important  part  in  the  '  Creation/  the 
Passion  music,  and  other  of  his  works.  Mozart 
nses  it  in  a  nonet  for  wind  instruments  (already 
sumtioned  under  Clabinet),  as  also  does  Spolur 
in  s  fdmilar  combination.  Beethoven  employs  it 
largely  in  his  greatest  works.  It  reinforces  the 
March  in  the  finale  of  the  G  minor  symphony, 
takes  a  leading  part  in  the  choral  symphony,  and 
in  the  Grand  Mass  in  D.  It  also  appears  in  the 
orertare  to  '  King  Stephen,'  and  has  obbligato 
pawages  in  the  grave-digging  scene  of '  Fidelio ' — 
apropos  to  which  see  a  characteristic  anecdote  in 
Thayer's  Be&hoven,  ii.  288.  Mendelssohn  intro- 
duces it  in  his  overture  '  The  Hebrides,'  in  his 
re-orchestration  of  Handel's  Dettingen  Te  Deum, 
in  the  B«fonnation  symphony,  and  elsewhere. 
In  all  cases  it  forms  a  grand  bass  to  the  reed 
band,  completing  the  16-foot  octave  with  the  six 
lowest  notes  wanting  on  three -stringed  double 
hsflses.  L  "  •  ■"•  ^'J 

DOUBLE  CHANT,  a  chant  equal  in  length 
to  two  single  chants,  and  covering  two  verses; 
peculiar  to  the  English  church,  and  not  intro- 
duced till  after  the  Keatoration.  [Chant,  p.  338.] 

DOUBLE  CONCERTO,  a  concerto  for  two 
eok)  instruments  and  orchestra,  as  Bach's  for 
two  Pianos,  Mozart's  for  Violin  and  Viola 
(Kochel,  304);  or  Mendelssohn's  (MS.)  for 
Piano  and  Violin. 

DOUBLE  COUNTERPOINT  is  the  aocom- 
psniment  of  a  subject  or  melody  by  another 
melody,  so  contrived  as  to  be  capable  of  use 
either  below  or  above  the  original  subject.  See 
examples  given  under  Counterpoint  (p.  408). 

DOUBLE  FLAT.  If  the  flat  lowers  a  note 
by  a  semitone,  the  double  flat  lowers  it  by  two. 
13ie  sign  for  the  double  sharp  is  abbreviated,  but 
ih&t  for  the  double  flat  remains  simply  bb,  the 
corrective  to  which  is  either  tjb  or  b  at  pleasure. 
On  keyed  instruments  the  double  flat  of  a  note 
U  a  whole  tone  lower : — thus  Abb  —  Gt|,  Cbb  =»  Bb. 
The  French  term  is  double  bSmol ;  the  German 
one  doppd-B.  The  German  nomenclature  for 
the  notes  is  Eses,  Asas,  Deses,  etc. 

DOUBLE  FUGUE,  a  common  term  for  a 
fogue  on  two  subjects,  in  which  the  two  start 
t'/^ether,  as  in  the  following,  by  Sebastian 
Bach:— 


JzJ^ 


DOUBLES. 


459 


2z: 


^(a-'^mfg^^ 


m 


aw 


or  in  D.  Scarlatti's  harpsichord   fugue   in  D 
minor:  or  Handel's  organ  fugue,  quoted  under 

COUKTEBSUBJSCT,  p.  4O9  b,  [G  J 


DOUBLE  SHARP  raises  a  note  by  two  semi« 
tones,  and  is  denoted  by  a  k  ,  probably  an  abbre- 
viation of  1$.  It  is  singular  that  the  sign  should 
be  a  less  complicated  one  than  that  for  the 
single  sharpL. .  On  instruments  of  fixed  intona- 
tion C  X  <=  Dq,  E  x.==  ¥%,  etc.  The  French  cal! 
it  douMe  diise,  and  the  Germans  doppd  kreus. 
The  Germans  <»11  the  notes  eitiSt  Jigie,  gitie,  etc. 

DOUBLE  STOPPING  is  sounding  on  the 
violin  or  other  instrument  of  that  tribe  two  notes 
rimultaneously.  Such  notes  are  tormed  '  double 
stops.'  An  'open  note'  is  produced  by  merely 
striking  the  strmg  with  the  bow  without  touching 
it  with  the  fingers  of  the  left  hand — so  that  the 
Btting  vibrates  in  its  whole  length.  A  *  stopped 
note  is  a  note  produced  by  putting  a  finger  of 
the  left  hand  on  the  string,  so  that  the  vibration 
of  the  string  is  'stopped'  at  a  certain  point. 

Strictly  speaking,  the  term  *  double-stopping* 
ought  only  to  be  applied  to  the  simultaneous 
sounding  of  two  *  stopped'  notes ;  it  is,  however, 
indiscriminately  used  for  any  double  sounds, 
whether  produced  with  or  without  the  aid  of  the 
open  strings.  The  playing  of  double  stops  is  one 
of  the  most  difi&cult  parts  of  the  technique  of  the 
vioUn.  [P.  D.] 

DOUBLE  TONGUEING,  a  method  of  articu- 
lation applicable  to  the  flute,  the  comet  k  pistons, 
and  some  other  brass  instruments.  The  oboe, 
bassoon,  and  clarinet,  are  susceptible  only  of 
single  tongueing,  which  signifies  the  starting  of 
the  reed- vibrations  by  a  sharp  touch  from  the  tip 
of  the  tongue  similar  to  the  percussion  action  in 
harmoniums.  Jt  requires  long  practice  to  give 
the  necessary  rapidity  to  the  tongue  muscles 
co-operating  for  this  end.  Single  tongueing  is 
phonetically  represented  by  a  succession  of  the 
lingual  letter  T,  as  in  the  word  'rat-tat-tat.' 
Double  tongueing  aims  at  alternating  the  linguo- 
dental  explosive  T  with  another  explosive  conso- 
nant produced  differently,  such  as  the  linguo- 
palatals  D  or  K,  thus  relieving  the  muscles  by 
alternate  instead  of  repeated  action.  The  intro- 
duction of  the  mouthpiece  into  the  cavity  of 
the  mouth  itself  prevents  such  an  alternation  in 
the  three  instruments  above  named,  but  it  is 
possible  in  the  flute  and  comet.*  Any  inter- 
mediate vowel  sound  may  be  employed.  The 
words  commonly  reconmiended  for  double-tongue- 
ing  are  *  tucker'  or  'ticker.'  Triple  tongueing 
is  also  possible;  and  even  four  blows  of  the 
tongue  against  the  teeth  and  palate  have  been 
achieved  and  termed  quadruple  tongueing.  In- 
deed the  syatem  may  be  farthw  extended  by 
employing  words  such  as  'Tikatakataka',  in 
which  dental  and  palatal  explosives  are  judi« 
ciously  alternated. 

The  obstruction  to  the  wind-current  is  not  so 
complete  in  double  as  in  single  tongueing,  nor  is 
the  mechanical  starting  of  the  reed  present  in  the 
latter.  But  it  is  notwithstanding  capable  of  pro- 
ducing a  good  staccato  effect.  [W.  H.  S.] 

DOUBLES  (Fr.),  The  old  name  fcr  'Varia- 
tions,' especially  in  harpsichord  music.  The 
doubles  oonsisted  of  mere  embellishments  of  the 


460 


DOTJBUES. 


original  melody,  and-  were  never  aooompamed 
by  any  change  in  the  harmonies.  Examples  are 
numerous  in  the  works  of  the  older  masters. 
Handel's  variations  on  the  so-called  'Harmo- 
nious Blacksmith  *  are  called  '  Doubles '  in  the 
old  editions.  In  Couperin's  'Pikses  de  Clavecin/ 
Book  I,  No.  2,  may  be  seen  a  dance  'Les  Ca- 
naries '  followed  by  a  variation  entitled  '  Double 
des  Canaries/  and  two  instances  will  also  be 
found  in  Bach's  English  Suites,  the  first  of  which 
contains  a  'Courante  aveo  deux  Doubles.'  and 
the  sixth  a  sarabande  with  a  double.  The  term 
is  now  entirely  obsolete.  ( 2)  In  combination  the 
word  'double  is  used  to  indicate  the  octave  be- 
low; thus  the  'double-bass'  plays  an  octave 
below  the  ordinary  bass,  or  violoncello;  a 
'double'  stop  on  the  organ  is  a  stop  of  the 
pitch  known  as  i6-feet  pitch  (see  Obgan),  an 
octave  below  the  '  unison '  stops.  (5)  The  notes 
in  the  baas  octave  firom 


f 


to 


^ 


are  often  spoken  of  by  ^^-builders  as  double 
G,  double  F,  etc.  (4)  The  word  is  applied  to 
singers  who  under-study  a  part  in  a  vocal  work, 
BO  as  to  replace  the  r^ular  performer  in  case 
of  need.  [£-P-] 

DOUBLES.  The  name  given  by  change 
ringers  to  changes  on  five  bells,  from  the  fact 
that  two  pairs  of  bells  change  places  ia  each 
Buooessi  ve  change.  [C.  A.  W.  T.] 

DOWLAND,  John,  Mus.  Bac.,  was  bom  in 
Westminster  in  1 562.  In  1 584  he  visited  France 
and  Germany,  and,  after  remaining  some  months 
in  the  latter  country,  crossed  the  Alps  into  Italy. 
Having  returned  to  England  he,  in  1588,  took 
the  d^pree  of  Bachelor  of  Music  at  Oxford,  and 
was  subsequently  admitted  to  the  same  degree  at 
Cambridge.  In  1592  he  was  one  of  the  musi- 
cians engaged  in  harmonising  the  Psalm  Tunes 
in  four  parts,  which  were  published  by  Thomas 
Este  in  that  year.  In  1 597  he  published  '  The 
First  Booke  of  Songes  or  Ayres  of  foure  parts 
with  Tableture  for  the  Lute.  So  made  that  all 
the  partes  together,  or  either  of  them  severally 
may  be  song  to  the  Lute,  Orpherian,  or  Viol  de 
gambo.'  This  work  became  so  popular  that  four 
subsequent  editions  appeared  in  1600,  1603, 
1608,  and  1613.  It  was  printed  in  score  for  the 
Musical  Antiquarian  Society,  in  1 844.  Dowland, 
soon  after  its  publication,  entered  the  service  of 
Christian  IV,  King  of  Denmark,  as  lutenist, 
and  whilst  resident  in  that  country  he  publiBhed 
(in  London),  in  1600,  'The  Second  Booke  of 
Songes  or  Ayres  of  2,  4,  and  5  parts,  with 
Tableture  for  the  Lute  or  Orpherion,  with  the 
VioU  de  Gamba  .  .  .  Also  an  Exoelent  lesson 
for  the  Lute  and  Base  Viol,  called  Dowland's 
adew'  [for  Master  OH uer  Cromwell].  In  1602, 
being  still  in  Denmark,  he  published  (also  in 
London)  '  The  Third  and  last  Booke  of  Songes 
or  Ayres.  Newly  composed  to  sing  to  the  Lute, 
Oipharion,  or  Viols,  and  a  dialogue  for  a  base 


DRAESER] 

and  meane  Lute,  with  fiae  voj 
In  1605  he  came  to  Englai 
'Lachrymae,  or.  Seven  Tc 
passionate  Pavans,  etc.,  set 
Viols,  or  Violins,  in  five 
of  these  seven  is  that  so  frequ< 
contemporary  dramatists  as  'T 
land  afterwards  returned  to  ' 
finally  quitted  in  1609  to 
remain  in  England.     In  1609* 
translation  of  Andreas  Omil 

*  Micrologus.'    In  1610,  at  the  u 
of  lute  lessons  edited  by  his  son, 
some  Observations  on  Lute  pla* 
In    161 2    Dowland   published 
Solace,  wherein  is  contained  M 

of  3>  4»  fti^  5  pu^)  to  be  8un| 
Lute  and  Viols.'  He  describe 
title-page  as  'Lutenist  to  tht 
In  1025  he  was  one  of  the  six 
service  of  the  king.  Dowlao 
1626.  His  skill  as  a  lutenist 
one  of  the  sonnets  of  Shaksp* 
Pilgrim/  printed  in  1599,  but  \ 
previously  been  printed  in  a  v 
Barnfield. 

'  If  music  and  sweet  poetry 
As  they  must  needs,  Uu 

brother, 

•         >        •        • 
Dowland  to  thee  is  dear, 

touch 
Upon  the  lute  doth  ravish 
Spenser  to  me/  etc. 

DOWLAND,  BoBEBT,  son  < 
was  also  a  lutenist.     In  1611 
Musicall    Banqvet.      Fumishet 
of  Delicious  Ayres,  Collected 
Authors    in    English,    French 
Italian,    by  Robert    Dowland.' 
referred  to  are  Daniel  Batohe 
land,    Robert   Hales,  Anthony 
Riohard  Martin,     la  the  san 
edited   '  Varietie   of  Lessons : 
Pavins,    Galliards,    Almaines, 
Volts.     Selected  out  of  the  bei 
thors,  as  well  beyond  the  Seae 
Country.    By  Robert  Dowland 
annexed  certaine  Observations  b 
playing  by  John  Baptisto  Bes: 
Also  a  short  Treatise  thereui 
by  John  Dowland,  Batchelor  c^   ^xusicKe.      la 
April,  1626,  on  the  death  of  his  father,  Robert 
Dowland  was  appointed  his  successor  as  one  of 
the  musicians  to  the  king.     The  time  of  his 
death  has  not  been  discovered,  but  he  was  living 
in  1 64 1,  when  his  name  occurs  as  one  of  the 

*  Musicians  for  the  Waytes.'  [W.H.H.] 

DRAESEEE,  Felix,  a  gifted  and  highly  cul- 
tivated, though  somewhat  eccentric,  composer  and 
writer  upon  musical  subjects,  disciple  of  Liszt's  at 
Weimar,  and  one  of  that  small  but  formidable 
circle  of  young  musicians,  who  are  known  as  '  die 
neudeutsche  Schule,'  and  amongst  whom  are 
such  names  as  Hans  von  Billow,  Peter  Cornelius^ 


DBAESEKS. 

and  Carl  Taiuig,  was  bom  in 
On  leaving  Weimar,  Draaeke 
IJDreaden,  and  subsequently  at  Lau- 
ler  of  the  pianoforte  and  harmony. 
Biiiow  called  him  to  Munich  as  a 
ihe  new  Conservatoire,  but  he  re- 
Switserland  soon  after  Yon  Bulow^s 
Munich  early  in  1869,  and  is  at 
at  Dresden.    Draseke  has  pub- 
of  pianoforte  pieces,  remarkable 
and  rhythmic  subtleties ;   *  Fan- 
in  Walzerform/  op.  3  ;  '  Deux  valses 
/  op.  4 ;  a  fine  Sonata  in  E  major,  op. 
pieces  for  piano  and  violoncello ;  eome 
dtions  and  a  symphony.    An  opera, 
>  himself  wrote  the  poem,  is  still  in 
Of  his  literary  labours,  the  elabor< 
of  Liszt's  Poemes  symphoniques  in 
'Anregungen,'  and  the  recent  essay 
lelius,  in  '  Die  neue  Zeitschrift  f\ir 
'iB  well  as  a  treatise  <m  'Modulation,' 
Vjle.  [E.D.] 

HI,   Antonio,   oapellmeister   to   the 

/lenna,  bom  at  Ferrara  1635  (not  164a, 

ilhr  stated).    In  74  he  was  invited  to 

a  Hoftheater  Intendant  to  the  £Imperor 

I,  and  chapel -master  to  the  Empress 

aiid  in  83  took  up  his  abode  there  for 

e  was  a  gifted  dramatic  composer,  and 

jJifio,  as  may  be  seen  l^  the  list  of  his 

erformed  at  the  court  during  38  years, 

ng  to  no  leas  than  87  operas,  87  feste 

and  serenades,  and  3  a  oratorios.     (See 

^  life  of  Fuz.)  Some  of  his  carnival  operas 

en  several  times  revived.     The  scores 

of  his  works  are  in  the  imperial  library, 

e  in  the  archives  of  the  '  Gesellschaft  der 

eonde.*    His  librettos,  some  of  them  il- 

1,  were  printed  in  the  imperial  press  by 

•w,  and  have  nearly  all  been  preserved. 

lally  he  wrote  librettos,  which  were  set 

?  composers,  Ziani,  Bertali,  and  even  the 

<r  Le^wld,  who  composed  the  complete 

Apollo  deluso'  (1669),  and  airs  for  others. 

a  mistakes  have  been  made  about  the  year 

death.    Walther*s  Lexicon  speaks  of  him 

/e  in  1703,  and  F^tis,  followed  by  most 

n  biographers,  says  he  went  back  to  Ferrara 

.led  there  in  1707 ;  but  all  doubts  are  set 

t  by  the  r^fister  of  deaths  in  Vienna,  from 

1  it  appears  he  died  there  Jan.  18,  1700, 

.^     65.    A  son  of  his,  Cablo,  was  court-scholar 

in  1688,  oourtK)rganist  in  1698,  and  died  May 

2,1711.  [C.F.P.] 

DRAGHI,  GiOYANNi  Bafttsta,  was  an  Italian 
musician  who  settled  in  London  in  the  middle 
of  the  1 7th  century,  and  who,  during  his  long 
residence  in  this  country,  so  completely  adopted 
the  English  style  of  composition  that  he  must 
lie  reguded  as  in  effect  an  English  composer. 
It  has  been  conjectured  that  he  was  a  brother  of 
Antonio  Draghi.  The  earliest  notice  of  him  is 
fbond  in  Pepys*s  Diary,  under  date  of  Feb.  12, 
1667.  1%^  diarist  there  mentions  having  heard 
lam  (at  Lord  Brouncker*s  house)  sing  through  an 


DBAGONETn. 


461 


act  of  an  Italian  opera  which  he  had  written  and 
composed  at  the  instance  of  Thomas  Killigrew, 
who  had  an  intention  of  occasionally  introducing 
such  entertainments  at  his  theatre.  Pepys  ex- 
presses in  strong  terms  his  admiration  of  the 
composition.  It  is  extremely  doubtful  whether 
this  opera  was  ever  produced.  Draghi  however 
lived  to  witness  the  introduction  into  this  country 
of  the  Italian  opera  at  the  commencement  of  the 
following  century.  He  excelled  as  a  player  on 
the  harpsichord,  for  which  instrument  he  com- 
posed  and  published  in  England  many  lessons. 
He  was  music-master  to  Queen  Anne,  and  prob- 
ably also  to  her  elder  sister.  Queen  Mary.  In 
1675  he  composed  the  act-tunes  and  some  othei: 
instrumental  music  for  Shadwell's  opera  *  Psyche  *; 
the  remainder,  including  the  whole  of  the  vocal 
part,  being  composed  by  Matthew  Lock.  On 
the  death  of  Lock  in  1677  Draghi  succeeded  him 
as  organist  to  Catherine  of  £raganza>  wife  of 
Charles  II.  In  1687,  for  the  celebration  of  St. 
Cecilia*s  day,  he  composed  music  for  Dryden's 
fine  ode  commencing  'From  Harmony,  from 
heavenly  Harmony.*  In  1706  he  contributed 
part  of  the  music  to  D'TJrfey^s  comic  opera, 
'  Wonders  in  the  Sun ;  or,  the  Eongdcnn  of  the 
Birds,'  produced  at  the  QJueen's  Theatre  in  the 
Haymarket.  Many  songs  by  him  are  found  in 
the  collections  of  the  period.  [W.  H.  H.] 

DBA60NETTI,  Douenico,  one  of  the  great- 
est known  players  on  the  double-bass,  bom  at 
Venice  1755.  -^  ^  ^7  ^^  showed  remarkable 
tslent  for  music,  teaching  himself  the  guitar  and 
violin,  which  however  he  soon  exchanged  for  his 
own  special  instrument.  On  this  he  quickly 
outstripped  his  master  Berini,  and  was  admitted 
to  the  orchestra  of  the  'Opera  buffa*  at  13,  and 
a  year  later  to  the  'Opera  seria*  at  San  Bene- 
detto, and  to  all  performances  of  importance. 
In  his  1 8th  year  he  was  appointed  to  the  post  in 
the  choir  of  St.  Mark*s,  hitherto  occupied  by  his 
master,  who  himself  persuaded  him  to  accept  it. 
He  had  now  attained  to  such  perfection  that 
nothing  was  too  hard  for  bim;  he  composed 
sonatas,  conoertos  and  capriocios  for  his  instru- 
ment, and  frequently  played  upon  it  the  violon- 
cello part  in  string-quartets.  At  Vloenza  he 
played  in  the  opera  orchestra,  and  while  there 
was  fortunate  enough  to  discover  the  marvellous 
double-bass,  with  which  he  never  again  parted, 
although  often  tempted  by  large  offers  of  money. 
This  instrument  belonged  to  the  convent  of  S.  Pie- 
tro,  and  was  made  by  Gaspare  di  Sal6,  master  of  the 
Amati.  He  tested  its  powers  on  the  monks  of  S. 
Giustina  at  Padua,  by  imitating  a  thunderstorm 
and  bringing  them  out  of  their  ceUs  in  the  dead  of 
the  night.  Meantime  his  fame  had  spread  beyond 
Italy,  and  he  was  offered  an  engagement  at  the  Im- 
perial Opera  in  St.  Petersburg,  upon  which  the  Pro- 
curatorsofSt.Mark's  immediatelyraised  his  salary. 
Shortly  after,  however,  he  obtained  a  yearns  leave 
of  absence,  having  becni  persuaded  by  Banti  and 
Pacchierotti  to  accept  an  invitation  to  London, 
where  he  arrived  in  I794«  &nd  was  immediately 
engaged  for  the  opera,  and  for  the  concerts  at  the 
King's  Theatre.    He  made  his  first  appearance 


482 


DRAGONETTI. 


on  the  20th  of  Dec.,  and  gave  a  benefit-concert 
on  the  8th  of  May,  x  795,  when  he  was  assisted 
by  Banti,  Viotti,  the  harpist  Le  Foumeur,  Hajv 
rington,  Monzani,  Holmes,  and  the  brothers  Le- 
ander,  French-horn  players.  The  force  and  ex- 
pression of  his  playing  and  his  power  of  reading 
at  sight  excited  universal  astonishment,  and  he 
was  At  once  inyited  to  take  part  in  all  the  great 
provincial  performances.  Henoefbrth  he  became 
the  inseparable  companion  of  the  violoncellist 
Lindley;  for  52  years  they  played  at  the  same 
desk  at  the  opera,  the  Antient  Concerts,  the 
Pliilharmonic,  the  Provincial  Festivals,  etc.,  and 
their  execution  of  Corelli's  sonatas  in  particular 
was  an  unfailing  attraction.  Great  as  was  Drago* 
netti's  power  of  overcoming  difficulties,  it  was  his 
extraordinary  tone,  and  the  taste,  judgment,  and 
steadiness  of  his  performance,  that  characterised 
him,  and  made  him  so  indispensable  to  the  or- 
chestra. 

Soon  after  I>ragonetti*s  arrival  in  London  he 
met  Haydn,  with  whom  he  became  intimate. 
On  his  way  to  Italy  in  1 798  Dragonetti  visited 
the  great  master  in  Vienna,  and  was  much 
delighted  with  the  score  of  the  'Creation,' just 
completed.  In  1808  and  9  he  was  again  in 
Vienna,  but  from  caprice  would  play  before  no 
one  but  the  family  of  Prince  Starhembei^,  in 
whose  palace  he  lived,  and  whose  wife  often 
accompanied  him  on  the  piano.  Here  he  made 
the  acquaintance  of  Beethoven,  and  also  that  of 
Sechter,  afterwards  court-organist,  a  sound  musi- 
cian, who  was  teaching  the  porter*s  children,  and 
whom  Dragonetti  requested  to  put  a  pianoforte 
accompaniment  to  his  concertos.  To  him  he 
played  imasked,  though  he  locked  up  his  instru- 
ment because  the  Starhembergs  invited  some  of 
the  nobility  to  their  soirees.  His  silence  was 
perhaps  partly  caused  by  his  fear  of  Napoleon, 
who  was  then  in  occupation  of  Vienna,  and  who 
wished  to  take  him  by  force  to  Paris.  With 
Sechter  he  corresponded  all  his  life,  and  remem- 
bered him  in  his  wilL  In  August  1845,  when 
90,  he  headed  the  double-basses  (13  in  number) 
at  the  Beethoven  Festival  at  Bonn ;  and  Berlioz, 
in  his  'Soirees  de  Torchestre,*  writes  that  he 
had  seldom  heard  the  scherzo  in  the  C  minor 
Symphony  played  with  so  much  vigour  and  finish. 
Thus,  in  his  old  age.  he  rendered  homi^e  to  the 
great  roaster,  of  whose  friendship  he  was  reminded 
on  his  death-bed.  Shortly  before  his  end,  when 
surrounded  by  Count  Pepoli,  Pigott,  Tolbecque, 
and  V.  Novello,  he  received  a  visit  from  Stumpfi^ 
the  well-known  harp  maker,  who,  as  Dragonetti 
held  out  his  great  hand  covered  with  callosities  and 
unnatundly  spread  from  constant  playing,  said 
with  emotion,  'This  is^he  hand  which  Beethoven 
.  our  great  friend,  whose  spirit  now  dwells  in  purer 
regions,  bade  me  press.  He  died  in  his  own 
house  in  Leicester  Square,  April  16,  1846,  and 
was  buried  on  the  24th  in  the  Catholic  chapel  at 
Moorfields.  His  works  were  few.  It  is  not  ge- 
nerally known  that  he  wrote  for  the  voice,  but 
three  canzonets  with  Italian  words,  written  dur- 
ing his  stay  in  Vienna,  still  exist  in  a  collection 
of  '  XXXIV  Canzonette  e  Bomauzi,'  by  various 


DEECHSLEH, 

composers,  and  dedicated  to  the  ArcSiduke 
Bodolph,  Beethoven's  friend  and  pupiL  He 
was  a  great  collector  of  pictures^  engravings, 
musical  instruments,  and  tniisic;  and  left  to 
the  British  Museom  alone  182  volumes  of 
scores  of  classical  operas,  fiui  ecoentridties  were 
many  and  curious.  He  was  an  inveterate  snuff- 
taker,  and  had  a  perfect  gallery  of  snuff-boxes. 
Among  his  treasures  were  foand  a  quantity  of 
curiously-dressed  dolls,  with  which  he  used  to 
play  like  a  child,  taking  a  selection  of  them  with 
him  to  the  musical  festivalfly  especially  a  bhu^ 
one  which  he  called  his  wife.  His  dog  Carlo 
always  accompanied  him  in  the  orchestra.  The 
most  curious  thing  about  him  was  his  speech,  a 
mixture  of  his  native  Bergam^ie  dialect  with  hsd 
French,  and  worse  English.  He  was  a  man  d 
kindly  temper  and  a  warm  friend,  though  iu 
money  matters  very  close.  His  picture  as  *11 
Patriarca  dei  Contrabassi'  was  published  by 
Thierry,  after  a  half  length  taken  in  crayons  by 
Saiabert,  of  London.  His  precious  instrument, 
his  companion  for  nearly  sixty  yean,  he  he- 
queathed  to  the  'Vestiy  of  the  Patriarchal 
Church  of  S.  Mark  at  Venice.'  [C.  F.  P.] 

DRECHSLEB,  Josef,  a  remarkable  composer 
and  teacher,  bom  May  26,  178a,  at  Vlachovo 
Brezf  in  Bohemia ;  received  his  first  instruction 
from  his  &ther,  schoolmaster  in  his  native  place. 
After  various  alternations  of  place  and  pursuit, 
he  studied  music  and  law  at  Prague;  m  1807 
found  himself  at  Vienna,  but  it  was  not  till  1810 
that  he  obtained  employment  as  chorus-master  at 
the  Court  Theatre.  This  was  followed  in  181 3  by 
a  place  as  '  Capellmeister  adjunct,'  then  by  an 
organist's  poet ;  in  1 8 1 5  he  opened  a  music  school, 
and  gradually  won  his  way  upwards,  till  in  a  a  he 
was  chief  Capdlmeister  at  the  theatre  in  the  Leo- 
poldstadt.     On  Gansbacher^s  death  in  44  he  be- 
came Capellmeister  at  S.  Stephen's,  a  post  which 
he  retained  till  his  death,  Feb.  27,  1852.  His  in- 
dustry during  this  chequered  life  was  tnily  ex- 
traordinary.    He  left  behind  him  books  of  in- 
struction for  the  Organ,   Harmony,   Thorough 
Bass,  and  the  art  of  Preluding,  with  a  new  edi- 
tion of  Pleyel's  Clavier-school ;  16  Masses,  and  a 
Requiem;    24  smaller  pieces  of  choral  moaic; 
6  Operas;    25  shorter  dramatic  pieces  (Sing- 
spiele)  and  pantomimes  ;  3  Cantatas,  and  a  host 
of  Airs,  Sonatas,  Fugues,  Quartets,  etc.    To  say 
that  none  of  these  have  survived  is  to  detract 
nothing  from  the  activity  and  devotion  of  Josef 
Drechsler,  [GJ 

DRECHSLER,  Kabl,  a  great  vidoncello 
player,  bom  May  27,  1800,  at  Kamenz,  in  Sax- 
ony. Entered  the  Court  band  at  Dessau,  in  1820, 
and  in  24  put  himself  under  Dotzauer  at  Dres- 
den. In  26  he  received  a  permanent  appointment 
as  leader  of  the  band  at  Dessau.  Before  then  he 
had  visited  England,  and  played  with  much 
success.  He  shone  equally  in  quartets,  soloe, 
and  the  orchestra,  with  a  full  tone,  good  in- 
tonation, and  excellent  taste.  Drechsler  waa 
the  master  of  Coesmann,  Griitsonacher,  and  A. 
Lindner.  l^'J 


DREHER. 

DREHEft.  A  name  giyen  in  Austria  and 
fiaTftria  to  a  dance  very  similar  to  the  Landlbb. 
Tlie  name,  which  is  deacriptiTe  of  the  danoe,  is 
deriTcd  firom  the  verb  dTchmf  to  twirL  Suites  of 
Drehers  are  said  to  be  in  existence,  but  dance^ 
music,  and  name  are  now  alike  obsolete.    [£.  P.] 

DREYSCHOCK,  Alkxandbr,  bom  Oct.  15, 
1818,  at  Zack  in  Bohemia,  died  April  i,  1869, 
at  Venice ;  a  pianist  of  great  executive  attain- 
ment, and  a  well -trained  musician  to  boot. 
J.  B.  Ciamer,  who  in  his  old  days  heard  him  at 
Paris,  exclaimed :  *  The  man  has  no  left  hand ! 
here  are  two  right  hands ! '  Dreyschock  was  the 
hero  of  octaves,  sixths,  and  thirds,  his  execution 
the  non  plus  ultra  of  mechanical  training.  He 
played  his  own  pieces  principally,  though  his 
repertoire  included  many  classical  works,  which 
iatto'  he  gave  with  faultless  preciaioii,  but  .in  a 
manner  cold  and  essentially  prosaic.  In  very 
early  youth,  already  a  brilliant  performer,  he 
became  the  pupil  of  Tomaschek  at  Prague. 
He  b^an  his  travels  in  1838,  and  continued 
them  with  little  interruption  for  twenty  years. 
Up  to  1848,  from  which  year  the  golden  time 
{(it  itinerant  virtuosi  b^;an  to  decline,  Dreyschock 
gathered  applause,  reputation,  orders,  decora- 
tions, and  money  in  plenty,  from  one  end  of 
Europe  to  the  other.  In  1062  he  was  called  to 
the  professorship  of  the  pianoforte  at  the  Gon- 
eervatoire  of  St.  Petersburg,  and  was  at  the 
same  time  chosen  director  of  the  Imperial 
school  for  theatrical  music,  and  appointed  court 
pianist;  but  his  he^th  lailed,  and  he  was  sent 
to  Italy  in  68,  where  in  69  he  died.  The  l)ody 
was  buried  at  Prague  in  accordance  with  the 
dsires  of  his  family.  Dreyschock^s  publications 
for  his  instrument  have  not  met  with  much 
success.  They  are  'salon  music*  of  a  correct* 
but  cold  and  sterile  sort.  He  also  brought  forth 
a  sonata,  a  rondo  with  orchestra,  a  string- 
quartet  and  an  overture  for  orchestra,  all  still 
bom,  spite  of  their  solid  and  respectable  musical 
parentage.  [£.  D.] 

BROGHIERINA.    SeeCmMZKTi. 

DRONE.  A  name  given  to  the  three  lower 
pipes  of  the  bagpipe,  which  each  emit  only  a 
single  tone ;  usually  two  octaves  of  the  key-note 
1),  and  the  fifth  A.  They  are  distinguished  from 
the  Chaunter,  which  has  the  poww  of  producing 
s  melodioos  succession  of  notes.     [See  Bagpipe.] 

The  term  has  hence  been  transferred  to  con- 
tinuous bass  in  a  composition,  usually  of  a  pastoral 
kind,  as  in  the  '  Hirten-melodie'  in  Schubert's 
'Kosamunde^' 


MtUM. 


m 


Clar. 


:=P* 


pp 


^ 


Homt 


etc. 


g  ■  f^ 


-tSf- 


T 


the  'Leyeimann'  in  Schubert's  '  Winterreise,' 


or  the  Danse  des  Juives  in  the  ballet  of  Gonnod^s 
'  Beine  de  Saba ' : — 


•  •       «  • 


-^ 


See  also  the  '  Hirtengesang*  at  the  beginning  of 
the  Finale  to  Beethoven's  Pastoral  Symphony,  and 
many  other  places.  [W.  H.  S.] 

DROUET,  LO018  FRAN90T8  Philippe,  one  of 
the  most  oninent  of  flute-players,  bom  at  Am- 
sterdam 1792.  At  seven  years  old  he  played  at 
the  Conservatoire  and  the  Opera-house,  Paris. 
From  1807-10  he  was  teacher  to  King  Louis  of 
Holland,  and  claims  to  have  put  'Partant  pour 
la  Syrie'  into  shape  for  Queen  Hortense.  His 
serious  study  of  the  flute  began  in  1807,  after  an 
extraordinary  success  which  he  achieved  at  a 
concert  of  Rode's  in  Amsterdam.  In  1 8 11  he  was 
appointed  solo  flute  to  Napoleon  I,  a  poet  which 
he  retained  after  the  Restoration.  He  appeared 
in  London  at  the  Philharmonic  March  25,  18 16, 
and  this  was  probably  the  commencement  of  a 
lengthened  tour,  during  which  he  resided  for 
some  time  at  Naples  and  the  Hague.  He  played 
again  at  the  Philharmonic  May  17,  1830.  From 
X  836  to  54  he  was  Oourt-CapeUmeister  at  Coburg, 
after  which  he  visited  America.  Since  his  return 
thence  he  has  lived  at  Gotha  and  Frankfort. 
Drouet  was  eminently  a  flute  player,  not  remark- 
able for  tone,  but  with  extraordinary  skill  in 
rapid  passages  and  in  double  tongueing.  He  left 
some  150  works  of  all  kinds,  admirably  written 
for  the  flute,  and  greatly  esteemed  by  players, 
but  of  little  account  as  music.     He  died  1873. 

DRUM.'^  Some  instrument  of  this  kind  has 
been  known  in  almost  every  age  and  country, 
except  perhaps  in  Europe,  where  it  appears  to 
have  been  introduced  at  a  comparatively  lat^ 
period  from  the  East. 

A  drum  may  be  defined  to  be  a  skin  or  skins 
stretched  on  a  frame  or  vessel  of  wood,  metal,  or 
earthenware,  and  may  be  of  three  different 
kinds : — 

1.  A  single  skin  on  a  frame  or  vessel  open  at 
bottom,  as  the  Tambourine,  Egyptian  Drum,  etc. 

2.  A  single  skin  on  a  closed  vessel,  as  the 
Kettledrum. 

3.  Two  skins,  one  at  each  end  of  a  cylinder, 
as  the  Side-drum,  etc. 

1.  The  first  sort  is  represented  by  the  modem 
tambourine,  and  its  varieties  will  be  described 
under  that  head.     [Tamboubinb.] 

2.  The  second  kind  is  represented  by  the 
modem  Kettledbum — the  only  really  artistically 
musical  instrumftit  of  this  class.  It  consists  of 
a  metallic  kettle  or  shell,  more  or  less  hemispheri- 
cal, and  a  head  of  vellum  which,  being  first 
wetted,  is  lapped  over  an  iron  ring  fitting  closely 
outside  the  kettle.  Screws  working  on  this  ring 
serve  to  tighten  or  slacken  the  head,  and  thus 


^„  .„ t  to  any  noio  within  ita    Sympliony "  three  druma  ue  requited  all  Bt  m 

llie  shell  ia  generally  made  of  biaas    in  the  followl 


And  in  'Robert  1e  Diable'  (No.  17  of  the  icore) 
Meyerbeer  usee  three  drunu,  C,  G,  and  O. 
Another    innoTation    is    due    to   Beethi 

Damely,  atiilung  both  drunu  at  

cun  in  hi*  9th  Symphany,  where,  in  the  ibnr 

movemeDt,  the  kettlednum  have 

Gonnod  has  a  wiTnilf  chord 
of  '  L»  Beine  de  Saba.'  But  BerlioE,  in  hn 
'  Requiem,'  bemdea  fifty  braai  inirtnimente,  ha  | 
in  France  and  of  copper  in  England.  In  the  efght  pain  of  ketUedruna,  plajcdby  ten  -• — 
avalry  two  drums  ore  used,  one  on  each  side  of  me™.  '""  ™  the  I*""  liaving  two  drm 
he  horae's  nock.  Two  are  hkewise  required  in  e»oh.  The  drum  parta  have  theae  chordt- 
orchestras.  The  larger  of  the  two  drums  should 
be  able  tu  go  down  to  F,  and  the  smaller  to  tlie 
F  above  (o),  giving  a  range  of  an  octave  to  the 
two.  Each  drum  should  have  a  compasB  of  a 
fifth,  viz.  F  to  C  for  the  larger  (b),  and  Bt>  to  F 
for  the  amaller  (c). 

In  the  key  of  F,  the  tonic  and  dominant  may 
be  obtained  in  two  ways  {d),  and  likewise  in  Bb 
(e),  but  in  all  other  keya  in  only  one  way. 


Thus  in  F(,  G,  A  t>,  and  A.  the  dominaii 
oiow  the  tonic 

t  must  be 

while  in  B|i,C,C|,D 

must  be  befow  the  torn 

E[. 

andK 

the 

^;  J  1 II J  1  |[ffi^--jH  J  B^r  vJ  H  r  J 1 — 

Brums  are  generally  tuned  to  tonic  and  domi- 
nant ;  but  modern  composers  have  found  out  that 
they  may  advantageously  stand  in  a  different 
relation  to  each  other.  Thus  BeeUiDven,  in  liiB 
Bth  and  9th  Symphonies,  has  them  occasionally 
In  octaves  (/),  and  Mendelssohn,  in  his  Rondo 
Brillanle,  most  ingeniously  puts  them  in  D  and 
£  (?)  i  thereby  making  tbam  available  In  the 


keys  of  B  minor  and  D  major,  as  notes  of  the 
oomroon  ahord,  and  of  the  dominant  seventh,  in 
both  keys.  By  this  oontrivancB  the  paribmier 
lias  not  to  chai^  the  key  of  his  instruments  all 
through  the  rondo— an  operation  requiring  as 
we  shall  see,  considerable  time.  Berlioz  says 
that  it  took  seventy  years  1a  discover  that  it 
was  possible  to  have  three  kettledrums  in  an 
orchestra.  But  Auber's  overture  to  '  Masaniello' 
cannot  be  played  properly  with  less,  as  it  requires 
the  notes  G,  D,  and  A  ;  and  there  is  not  time  to 
change  the  6  drum  into  A.    In  Spohr's  'Historical 


moat  of  the  notes  brang  doabled. 

Beddes  th^  obvious  use  in  fnie  panages,  the 
dnmu  are  capable  of  beautiful  [usoo  effects. 
Observe  a  passage  several  times  repeated  id 
Mosart's  overture  to  '  Die  Zauberfliite,'  bej^nning 
at  the  41st  bar  from  the  end  ;  also  Uiomysteriooi 
effect  of  the  13th  bar  in  the  introductiut  In 
Beethoven's  'Mount  of  Olives';  that  of  the  A|| 
against  a  tremolo  of  the  strings  in  the  fint  mo>'{?- 
'  of  Weber's  overture  to  '  Der  FrdschuU,' 


I  uid  of  a  ringle  feg  *  ^  n  "^  ^ 
rp 
return  of  the  subject  in  the  middle  morement. 

tVtien  musicians  talk  of  •drums'  they  mean 
kettledrums,  in  contradistinction  to  the  side  drum 
or  bass  drum,  of  wiiich  hereafter.  The  two  liHer 
can  only  mull  the  rhythm,  not  being  muticsl 
notes ;  but  kettledrums  give  musical  soundt  u 
definitely  as  the  double  bass,  and  can  only  be 
used  when  £»ming  part  of  the  harmony  played  Iv 
the  other  iostruuients.  Composere  have  usuU!; 
treated  them  thus ;  but  Beethoven  was  piobsbly 
the  fint  to  see  that  they  might  also  be  treued 
as  lolo  instruments.  Thus  in  the  Andante  of 
his  Symphony  No.  i  the  drum  repeats  this  bar 

melody  in  the  violins  and  flutes.  In  SymphimT 
No.  4  it  takes  its  turn  with  other  JnstruineDU 
in  playii^  this  passage — 

In  the  wonderful  transition  &om  the  scheno  to 
the  finale  ot  the  5th  Symphony,  the  sofl  pulalion! 

„f  Ik-  A ~jyg  (jjg  i^ij  gig]jj  of  ]ifB  in  lbs 

;  gloom.  Of  the  drums  in  octsves 
8tb  and  gth  Symphonies,  we  hs^-e 
already  spoken.  And  in  reviewing  his  VtrJia 
Cfflicerto,  which  b^[iDs  with  four  I>eats  of  the 


tan,  ntenHy  9ch,  ut  Eng^iBh  orkae  obseirves  f 
that  'QntQ  Beethoven's  time  the  dram  had^  with 
iBT^  exoeptioii^  been  uwd  as  a  mere  means  of 
prodadng  noise — of  increaBiDg  the  din  of  the 
forU»;  but  Beethoven,  with  th^  feeling  of  affeo- 
tioa  which  he  had  for  the  hmnblest  member  of 
the  orchestra^  has  here  raised  ft  to  the  rank  oi 
a  sob  instrument.' 

The  late  Mr.  Hogarth  sayB  that  'to  play  it 
ii«fl  i»  no  easy  matter.  A  single  strdLe  of  the 
drum  may  determine  the  character  of  a  whole 
movement;  and  the  slightast  anbairassment^ 
hedtationy  or  misapprehensi<m  of  the  requisite 
degree  of  fooree,  may  ruin  the  design  of  the 
eomposer.* 

There  are  many  sorts  of  sticks.  The  best  are 
of  whalebone  with  a  small  wooden  button  at  the 
end,  covered  with  a  thin  piece  of  very  fine  sponge. 
With  these  every  effect,  loud  or  soft»  can  be 
prodaoed.  A  small  knob^  not  exceeding  i^  inch 
m  diameter,  entirely  made  of  felt  on  a  flexible 
atick,  answers  vety  well.  India-rubber  discs  are 
not  lo  good.  Worst  of  all  are  large  dumay  knobs 
of  cork,  covered  with  leather,  as  they  obscure  the 
dear  ring  of  the  kettledrum^  so  difBersnt  from 
the  tone  of  a  baas  drum. 

Veiy  large  drums,  going'below  F,  have  not  a 
good  musical  tone,  but  mere  thunder.  Thin 
transparent  skins  have  a  better  tone  than  the 
opaque  white  ones.  The  right  place  to  strike  a 
kettle-drum  is  at  i^ut  one-fourth  of  its  diameter. 
A  fott  is  written  in  either  of  the  following  wayi^ 


imuMtf 


Vvl{^ 


0 


za: 


■  M  ■  ,.  y 


and  is  perfonned  by  alternate  single  strokes  of 
the  sticka.  We  sluJl  see  presently  that  the  side- 
drum  roll  is  produced  in  quite  a  different  manner. 

Drum  parts  were  formerly  always  written,  like 
horn  and  trumpet  parts,  in  the  key  of  C,  with  an 
Indicatioii  at  the  beginning  as  to  how  they  were 
to  be  tuned,  as  'Timp.  in  £b,  Bb,'  or  'Timp. 
in  G,  D/  etc. ;  but  it  is  now  usual  to  write  the 
lealnotea. 

To  tune  drums  of  the  ordinaiy  construction,  a 
key  has  to  be  applied  suocessivel;]^  to  each  of  the 
several  screws  that  serve  to  tighten  or  loosen  the 
head.  In  French-made  drums  there  is  a  fixed 
T-8hi^>ed  key-head  to  each  screw.  But  even  then 
it  takes  some  time  to  effect  a  change,  whence 
Beveral  attempts  have  been  made  to  enable  the 
performer  to  tune  each  drum  by  a  single  motion 
ioBtead  of  turning  seven  or  eight  screws.  In 
Patter's  system,  tiie  head  is  acted  on  by  several 
Bca  bars  foUowing  the  external  curvature  of  the 
diell,  and  converging  under  it ;  and  they  are  aJl 
drawn  simultaneously  by  a  screw  turned  by  the 
foot  of  the  performer,  or  by  turning  the  whole 
drum  bodaly  round. 

Gomdius  Ward  took  out  a  patent  in  1 83 7  for  the 
nme  object.  The  head  is  drawn  by  an  endleaa 
eord  psssii^  over  pulleys  from  the  outside  to  the 
imdde  of  the  drum,  where  it  goes  over  two  nuts, 
having  each  two  puUejs.    Thsm  nuts  i^proadi 


ahd  rdoede'  frtm  dabh  other  b^  meitna  of  a  hori- 
sontal  screw,  nearly  as  long  as. the  diameter  of 
the  drum,  tiie  handle  of  which  comes  just  outside 
the  sheU,  and  is  turned  by  the  performer  whenever 
he  requires  to  tune  the  drum.  A  spring  indicator 
shows  the  degree  of  tension  of  the  card,  and  con- 
sequently the  note  which  the  drum  wUL  give,  so 
that  the  performer  may  tune  hh  xnatrument  by 
the  eye  instead  of  the  ear.  Gautrot,  of  Paris,  has 
another  plan,  viz.  a  brass  hoop  fitthig  closely  in- 
side the  shell,  and  pressing  against  the  head.  A 
handle,  working  a  rack  a^  pinion  mqtion,  raises 
or  lowers  this  hoop,  and  so  tunes  the  drum  by 
altering  the  pressure  against  the  head.  Einbigler, 
of  Frankfort-on-the-Main,  makes  drums  with  a 
similar  internal  hoop,  but  worked  by  a  different 
mechanism ;  they  are  used  in  the  theatre  of  that 
tewn. 

There  wHl  always  be  some  objection  to  these 
schemes  frt>m  the  ihct  of  the  head  being  an  ani- 
mal membrane,  and  consequently  not  perfectly 
homogeneous,  but  requiring  a  litUe  more  or  less 
tension  in  some  part  of  its  droumibrenoe,  unless, 
as  in  Einbigler's  drums,  there  are  snuJl  screws 
with  fly-nuts  all  round  the  upper  hoop,  for  the 
purpose  of  correcting  any  lcx»l  inequality  of 
tension.  Writers  on  acoustics  seem  to  have 
been  disheartened  by  this  inequality  from  ex- 
tending their  experiments  on  the  vibration  of 
membranes.  Even  Chladni  does  not  pursue 
the  subject  very  far.  We  must  therefore  be 
content  with  some  empirical  formula  for  deter- 
mining the  proportion  which  two  drums  diould 
bear  to  each  other,  so  that  the  compass  of  the 
laiger  should  be  a  fourth  above  that  of  the 
smaller.  We  have  already  said  that  the  lowest 
notes  of  the  two  drums  should  be  respectively 


^ 


Now  the  numbera  of  the  vibia* 


ttons  due  to  these  two  notes  are  in  the  pro- 
portion of  three  to  four.  Assuming  that  the 
Burfiaces,  or  the  squares  of  the  diameters,  of  the 
membranes  are  in  the  inverse  ratio  of  the  num- 
ber of  vibrations  they  give,  the  tension  being 
equal  (which  is  true  of  metal  plates  of  equid 
thickness),  and  calling  the  larger  diameter  D  and 
the  smaller  d,  we  should  have  this  proportion 

D*  :  d*  : :  4  :  3,  whenoe  I>  :  d  : :  2  :  V^  or  as 
a  :  i'73^r  o^  ^^1^  iieariy  as  50  :  a6.  Practically 
this  is  found  to  be  a  very  suitable  proportion, 
the  drums  at  the  Frendb  Opera  being  39  and  25! 
inches  diameter,  and  those  lately  at  thd  Crystal 
Palace  28  and  24^.  No  drum  diould  etxceed  29 
inches  or  thereabouts. 

Kettle-drums  in  German  are  called  Pauken ;  in 
Italian,  tivipani ;  in  Spanish,  aiabdUt ;  in  French, 
Umbakt :  th»  two  latter  evidently  from  the  Arabic 
tM  and  the  Persian  tambal.  There  are  two 
very  complete  Methods  for  the  kettledrums,  viz. 
'Metodo  teorico  pratico  per  Timpam,'  by  P.  Pie- 
zanzovint  publisned  at  Milan  by  Rtoordi ;  and  a 
*-  M^thode  ocMnpI^te  etraisonn^  de  Timbales/  by 
Geo.  Kastner,  published  in  Paris  by  Brandus 
(late  Schlesinger). 

0.  The  thkdldnd  of  drum  consists  of  a  wooden 

Hh 


4» 


CBTTIC. 


or  biW  cyliDdar  wHh  »  akin  or  head  at  owh  «&d. 
llie  aU>i  are  Uf^ed  romid  a  imall  boop,  a  (argor 
hoop  pnMJDg  aiM  down.  Hie  two  Ivge  hoops 
are  ocHmected  b;  an  endleia  cord,  paMlng  tJEzag 
from  hoop  to  hoop.  Tbia  oonl  ii  tjgfitened  t^ 
meana  of  leather  bracoa  a,  b,  b.  It  ia  alackest 
when  tb^  are  all  aa  at  a,  and  tigbt«it  when  ai 
M  i,  b,   Thla  ia  oiled  a  Side-drum,  and  ia  (truck 


In  the  centre  of  the  upper  head  by  two  itlcka  of 
bard  wood,  ending  In  a  imall  elongated  knob. 
Acroai  the  lower  head  aevenl  crada  of  cal^t, 
called  trtartt,  are  atretched,  which  rattle  ag^inat 
It  at  every  itroke.  The  roll  (nick-named  '  dadd;- 
nuunmy')  ia  made  by  altentatel;  atriklog  two 
blawa  with  the  left  huid  and  two  with  the  right, 
Tsiy  regularly  and  rapidly,  ao  aa  to  produce  one 
Gontinuoua  tretaoU).  It  ia  not  aaiy  to  do,  and 
mm',  be  learned  at  an  early  age. 

Some  aide-dnima  are  made  much  flatter,  and 
are  tightened  by  roda  and  acrewa  inataad  of  corda. 

In  orcheetrae  the  nde-drum  i>  frequently  uaed 
(and  abuaed)  by  mcxlem  compoBeia.  But  in  the 
overturea  to  '  Ia  Gaiaa  I^dra  and  'Fra  Diavolo,' 
the  Hubjecta  of  both  being  of  a  aenii-milita^ 
nature,  the  effect  ia  cbatactenitio  and  good, 

Side-druma  are  uaed  in  the  army  for  keeping 
time  in  marching  and  for  vanoua  calla,  both  in 
barrackB  and  in  action-  In  action,  however, 
bugle-calla  are  now  uaually  aubatituted ; — 

The  Drummera"  CaU. 


DBUBT  LAKE. 

The  abore  are  examplea  of  drum  ealli  umA 
in  tbe  Britiah  army ;  tbe  next  ia  '  La  Retnite,' 
beaten  ever;  evening  in  French  gairiam  towia. 


The  effect  of  this  ia  very  good  when,  aa  may 
be  heard  in  Paria.  it  ia  beaten  by  twen^-ei^ 
drununen.  For  Berlioz  haa  well  obaerred  that  a 
sound,  inaignilicant  when  heard  aingly,  auch  la 
the  dink  of  one  or  two  muaketa  at  'ahoulckr 
anna'  or  the  tbud  aa  the  butt-end  coni«  to  th; 
ground  at  'ground  arma,'  becomes  brilliant  awt 
attractive  if  perfbimed  by  a  thouand  mat 
almultaneoualy. 

The  Tenor-drum  la  limilar  to  the  nde-dnnn, 
only  larger,  and  haa  no  anarea.  It  a^xee  {or 
tvllH  in  military  baJida  inatead  of  kettle-dnmu. 

The  French  Tambouiin  ia  aimilar  to  the  bit, 
but  very  narrow  and  long.  It  ia  uaed  in  Provtnc* 
for  dance  mnaia.  The  performer  holds  it  in  the 
aame  hand  aa  his  flageolet  (which  hae  only  three 
holes)  and  beata  it  tmh  a  etick  held  in  the  other 
hand.  Auber  haa  uaed  the  tambouiin  in  the 
overture  to  '  Le  Philtre.' 

The  Baas'drum  (Fr.  Oram  CaUtt,  Ital.  Grsa 
C^iaMi  or  Oran  Tamburo)  has  alsa  two  heada,  and 
ia  played  with  one  stick  ending  in  a  soft  roimd 
knoh  It  muat  be  atruck  in  the  ceatre  of  oae  of 
the  heada.  It  uaed  to  be  csJlod  Uw  long-drnm,  and 
was  fcrmerly  (in  England  at  leaat)  made  loi^  in 
proportion  to  ita  diameter.  But  now  the  diameter 
is  lncs«ased  and  the  length  of  the  cylinder  Icaaened. 
The  heada  are  tightened  by  cotda  and  brscea  lika 
the  Bide  -drum  firat  deaoibed, «  by  roda  and  aoewi, 
or  on  OHneliua  Ward'i  principle  aa  describ«i  for 
kettle  drums.  It  ia  uaod  in  military  band)  and 
orchestras,  lliere  ia  another  aort  of  baaa-dnua 
called  a  Gong-drunk,  from  ita  form,  which  ia  limilaT 
to  a  gong  or  to  a  gigantic  tambourine.  It  i>  v«y 
oonvenient  in  OTcheetraa  where  apace  ia  acam; 
but  it  is  inferiia'  to  the  ordinary  basa-dmm  in 
quality  of  tone.  These  inatrumenta  do  not  r«|uire 
tuning,  aa  their  sound  is  aufficiently  indefiniM  to 
auit  any  key  or  any  chord. 

Cymbala  gener^y  play  the  same  part  H  the 
base  drum;  though  oocaaionally,  aa  in  the  fint 
X\iegn  of  the  overture  to  'Guillaume  Tell,' 
the  baae-drum  put  is  leiaa  piatti  (without  Ibe 
cymbals).  [V.deP.] 

DBURY  LANE,  opened  in  i6g6  under  the 
name  of  the  Theatre  Royal  in  Dniry  Lsoei 
nutteriaJly  altered  uid  enlarged  in  1761  uA 
1763:  pulled  down  in  the  summer  of  1791; 
the  new  theatre  opened  {{at  plays)  April  iii 
1794:  bumedFeb.  »4,  iSog;  tebuUt  and  i^Rnal 
Oct,  10,  'iSii.  Among  the  eminent  oanpoaets 
who  have  been  connected  with  thia  theatre  man, 
in  tbe  Brst  plaoe,  be  mentioned  Dr.  Ame,  "bo. 


DBUBYLAinS. 

• 

from  the  year  1738,  when  he  wrote  the  mnmc  fo 
Milton's  '  Gomufl/  until  shortly  before  hb  death 
in  1778,  produced  a  large  number  of  operaa  and 
operettas.     In  1806  one  of  Sir  Henry  Bishop's 
first  warlcB,  a  pantomime-ballet  called  'Garao- 
tacus,'  was  brought  out  at  Brury  Lane.    But 
Bishop,  after  the  buming  of  the  theatre  in  1809, 
accepted  an  engagement  at  Covent  Garden,  where 
most  of  his  operas  and  musical  dramas  were  per- 
£xrmed.    Meanwhile  f(»eign  operas  as  arranged 
or  disarranged  for  the  English  stage  by  Mr.  Bo- 
phino  Lacy,  Mr.  Tom  Cooke,  and  others,  were 
from  time  to  time  performed  at  Drury  Lane; 
sod  in  1833,  under  the  direction  of  Mr.  Alfred 
Bonn,  some  Knglish  versions  of  Italian  operas 
were  produced  with  the  world-renowned  prima 
donna,  Marietta  Malibran,  in  the  principal  parts. 
Brmy  Lane  was  the  last  theatre  at  whidi  she 
Buag.   [Malibban.I    A  few  years  later  Mr.  Bunn 
made  a  praisewortny  but  not  permanently  suc- 
eessful  attempt  to  establish  English  opera  at  this 
theatre.     During  this  period  Balfe's  'Bohemian 
Girl,'  'Daughter  of  St.  Mark,'  'Enchantress,' 
'Bondman,'  etc. ;  Wallaoe's 'Maritana'  and  'Ma- 
tilda of  Hungary,'  Benedict's  'Crusaders'  and 
'Brides  of  Venice,'  were  brought  out  at  Druzy 
Lane,  for  which  theatre  they  had  all  been  spe- 
dally  written.   When  Her  Majesty's  Theatre  was 
bamt  down  (Dec.  6,  1867),  Mr.Mapleson  took 
Drury  Lane  for  a  series  of  summer  seasons.    In 
1869   the  performances  took  place  under   the 
management  of  Mr.  George  Wood  (of  the  firm 
of  Cnuner,  Wood,  and  Co.),  who  among  other  new 
works  produced  Wagner's  'Hying  Dutchman' 
—the  &r8t  of  Herr  Wagner's  operas  performed 
in  England.    Until  1877  '  Her  Majesty's  Opera,' 
as  the  establishment  transferred  from  Her  Ma- 
jesty's Theatre  was  called,  remained  at  Drury 
Lme.    Li  1877,  however,'  Mr.   Mapleson   re- 
tomed  to  the  Haymarket ;  and  his  company  now 
perfbnns  at  the  theatre  rebuilt  on  the  site  of 
'  Her  Majesty's.'  [H.  S.  E.] 

DXTBOURG,  GsoBOi,  a  grandson  of  Matthew 
Dobooi^g,  bom  1 799,  is  author  of  a  history  of  the 
violin  and  the  most  celebrated  performers  on  it, 
originally  published  in  1856,  anid  which  in  1878 
reached  a  fifth  edition.  [W.H.H.] 

DUBOURG,  Matthbw,  an  eminent  English 
violinist,  pupil  of  Geminiani,  bom  in  London 
1703.  It  is  reported  that  he  first  appeared  as 
a  boy  at  one  of  the  concerts  of  Britton  the 
snall-coal  man,  when  he  performed  a  solo  of 
Carelli  with  great  success,  standing  on  a  high 
itooL  In  1738  he  was  appointed  to  succeed 
Coosser  as  conductor  of  the  Viceroy's  band  at 
Dublin,  in  which  capacity  he  set  many  odes  for 
the  celebration  of  roval  birthdays.  During  his 
residence  there  he  led  the  band  at  the  perform- 
ances given  by  Handel  during  his  visit  to  Ireland 
in  1 74 1,  and  uien  had  the  distinction  of  assisting 
St  the  first  performance  of  the '  Messiah.'  Later 
lie  returned  to  London,  and  in  175a  succeeded 
Festing  as  master  of  the  King's  band,  which  post 
he  retained  up  to  his  death  in  1767.  He  lies  in 
PaddingUm  diurchyard.     Dubouig  iqppears  to 


DUCI8. 


167 


have  lyeen  a  brilliant  performer  and  fond  of 
showing  off  his  skill.  Bumey  relates  that  on 
one  occasion  he  introduced  a  cadenza  of  extra- 
ordinary length  into  the  ritomelle  of  an  air. 
When  at  last  he  finished  up,  Handel,  who  was 
conducting,  exclaimed:  'Welcome  home,  Mr. 
Dubourg.'  [P.  D.] 

DUCIS,  orHEBTOGHS,  >  Binediotub,  aFlem- 
ish  musician  in  the  early  part  of  the  i6th  century, 
organist  of  the  Lady  C^pel  in  the  cathedral  at 
Antwerp,  and  'Prince  de  la  Gilde'  in  the  brother* 
hood  of  St.  Luke  in  that  city.  He  laft  Antwerp 
in  1515,  and  is  supposed  to  have  come  to  Eng- 
land, perhaps  to  the  court  of  Henry  YIII,  but  as 
his  name  does  not  appear  in  the  lists  of  court 
musicians  at  that  time,  and  no  manuscript  com- 
positions of  his  have  been  found  in  this  country,  it 
appears  that  his  residence  here  must  have  been 
very  short,  if  not  altogether  mythical.  His  el^sy 
on  the  death  of  Josquin  (1591),  and  another  on 
the  death  of  Erasmus  (1536)  fix  two  more  dates 
in  his  life.  After  that  no  more  is  known  of  him. 
Some  German  iiistorians  have  claimed  him  as  a 
countryman  on  the  strength  of  the  publication 
and  dedication  of  a  setting  of  the  Odes  of  Horace 
(published  at  Ulm  in  1539,  and  dedicated  to  the 
vouths  of  that  city),  maintaining  that  this  proves 
his  residence  in  that  city,  but  the  dedication  was 
more  probably  the  work  of  the  publisher  than  of 
the  composer.  His  connection  with  Antwerp, 
mentioned  abov^  was  discovered  not  many  years 
ago,  by  M.  Leon  de  Burbure,  and  certainly  out* 
weighs  anything  said  in  favour  of  his  being  » 
German ;  while  the  internal  evidence  of  his  com- 
positions, which  bear  the  decided  Flemish  char 
racter,  and  very  doeely  approach  the  style  of 
Josquin,  sets  the  matter  entirely  at  rest. 

We  have  the  following  compositions  of  his  :-— 
(i)  A  4-part  'monody'  on  the  death  of  Josquin, 
in  the  7th  set  of  French  dumsons  in  5  and  6  parts 
printed  by  Tylmaa  Susato  in  1545.  A  copy  of 
the  book  is  in  the  British  Museum.  The  com** 
position  itself  is  printed  in  Bumey's  History 
(ii.  513),  with  critical  remarks.  There  are  also 
sevtfal  songs  by  Ducis  in  farmer  volumes  of  the 
same  work.  (  2)  Another  elegy  in  5  parts, '  Plangite 
Pierides,'  on  the  death  of  ifasmus,  and  an  8-part 
'Agnus  Dei,'  both  from  the  ' SeleotissimaB  nee 
non  familiarissimse  cantiones  ultra  centum'  (Augs- 
burg 1 540).  (3)  Songs  in  the  collection  of  German 
songs  made  by  Ftirster  and  printed  by  Petreius 
(Nuremberg  1539-1540).  (4)  A  motet,  'Peccan- 
tem  me  quotidie,*  from  the  'Cantiones  octo  .  .  • 
vocum'  printed  by  Uhlard  (Augsburg  1545), 
'No  wonder,'  says  Ambros,  speaking  of  this 
motet,  'that  historians  have  striven  to  prove  such 
a  composer  their  countryman.'  (5)  A  motet, 
'Dum  labricator  mundi  supplicium,'  from  Bhau's 
'Selectie  Harmonise  .  •  .  de  Passions  Domini' 
(Wittenberg  1538).  (6)  Two  5part  motets, 
'Benedic  Domine,'  and  /Corde  et  animo,'  from 
Kriesstein's  'Cantiones  sex  et  quinque  vocum 
etc.'  (Augsburg  1 545).  [J.  R.  S.-B.] 

1  BenedlotiuDwds.  who  Is  often  calladlqrliteflnt  name  slona.  mnit 
not  be  confounded  itlth  Beoedlctun  AppenseMen.  a  Bute  moddaa 
irtw  Ured  iB  BelgittiD,  Imt  of  later  date  and  leu  lenlQB. 

Hha 


BUBDYNGTON,  Aimoirr,  dtizen  of  Lon- 
don, aontnoted  in  151910  baild  an  orgui  for  All- 
Hallowi,  Barking,  for  the  som  of  ^^50.  [Y.  de  P.} 

DUET  (It.  Duetto;  Fr.  Duo).  A  compoaition 
for  two  voices  or  inBtrument^  either  with  or 
without  aooompanimenta.  Some  writers  use  the 
form  'Duet*  for  vocal,  and  'Dao'  for  instni* 
mental  oompontxans ;  tliis  distinction,  however, 
is  by  no  means  universally  adopted.  Strictly 
apealdng,  a  duet  differa  from  a  two-part  song  in 
toe  fiMst  that  while  in  the  latter  the  second  voioe 
IB  mostly  a  mare  aooompaniment  to  the  iirst» 
in  the  duet  both  parts  are  of  equal  impoiianoe. 
In  oases  where  it  is  accompanied,  the  accom- 
paniment should  always  be  subordinate  to  the 
principal  parts.  The  most  important  form  of 
the  duet  is  the  'Chamber  Duet,'  of  which  the 
dd  Grennan  and  Italian  masters  have  left  manv 
•zoelleDt  examples  (see  espeoiaUy  Handel  s 
'Chamber  Duets ')»  These  duets  were  often  la 
several  movements,  sometimes  connected  by  reci- 
tatives^ and  almost  invariably  in  the  poJyphonia 
style.  The  dramatic  duet^  as  we  find  it  in  the 
modem  opera^is  entirely  unrestrioted  as  to  form, 
which  depends  upon  the  eadgenoes  of  the  situa- 
tion. Among  the  finest  examples  of  operatic 
duets  may  be  named  those  in  the  first  act  of 
'Ouillanme  Tell,'  la  the  fourth  act  of  'Les 
Huffuenots,*  and  in  the  second  act  of  'Masa- 
nieUo,'  in  thie  more  modem  school;  while  the 
duets  in  'Udelio'  and  in  the  operas  of  Moiart 
aiod  Weber  are  models  of  the  older  ftlaaaical  forms 
«f  the  movement.  Many  of  the  sOngs  in  Bach*s 
eantfttas  in  whidh  the  voice  and  uie  obligate 
instrument  are  equally  prominent  are  really  duets 
in  chasaoter,  but  the  term  is  not  applied  to  the 
combination  of  a  voioe  and  an  instrument.  The 
word  is  now  often  employed  tor  a  pianoforte  piece 
it  qualre  malnBp  of  which  Schubert^s  'Grand  duo' 
(op.  140)  is  a  splendid  example.  [£.  P.] 

DUETTINO  (Ital.  dimin.).  A  duet  of  short 
extent  and  concise  form. 

DUGAZON,  Mhb.  Kosalib,  daughter  of  an 
obscure  actor  named  Lefbvre,  bom  at  Berlin  1 755, 
died  in  Paris  Sept.  22,  1821.  She  and  her  siiter 
began  their  career  as  ballet-dancers  at  the  Commie 
It&enne,  and  Rosalie  made  her  first  appear- 
ance as  a  singer  at  the  same  theatre  in  1774. 
She  had  an  agreeable  voice,  much  feeling  and 
'finesse^*  and  played  to  perfection  '  soubrettes,' 
'  paysannes,'  and  *  coquettes.'  Her  most  remark- 
able creation  was  the  part  of  Nina  in  Dalayrac's 
Opera  of  that  name.  After  an  absenoe  of  three 
yeara  during  the  Revolution,  she  reappeared  in 
1795,  and  played  with  unvarying  success  till 
1806,  when  she  retired.  To  this  day  the  classes 
of  parts  in  which  she  excelled  are  known  as 
'jeunes  Dugazon'  and  'm^res  Dugazon.' — Her 
son  GusTA*^  (fParis  1 782-1826),  a  pianist  and 
pupil  of  Berton%  obtained  the  seoond  '  Prix  de 
Itome*  at  the  Conservatoire  in  1806.  His  operas 
and  ballets,  with  the  exception  of  'Aline '  (1833), 
did  not  succeed.  [G.C.] 

DULCIMER  (Fr.  Tympanon;  lt$l.  Cembalo, 
T&mpanon,  SaUerio  tedeaeo;  Germ.  HackbreU). 


The  prototype  of  the  pianoforte,  aa  the  pssltery 
was  of  the  harpsichord.  These  instruments  were 
so  nearly  alike  that  one  descripcion  might  serve 
for  both,  were  it  not  for  the  different  manner  of 
plsying  them,  the  strings  of  the  dolcimer  being 
set  in  vibration  by  small  hammers  held  in  the 
hands,  while  in  isbe  psaltarjr  the  sounds  were 
produced  by  plectra  of  ivory,  metal,  or  qdU,  or 
even  the  fingers  of  the  performer.  It  is  also  do 
less  desirable  to  separate  in  deacriptioa  imtni- 
ments  so  neaily  resembling  each  other,  on  aoooont 
of  their  ultimate  development  into  the  hsrpsi- 
chord  and  pianoforte  by  the  addition  of  keys. 
[See  Habpsichobd,  and  Piakofobtb.] 

Dr.  Rimbault  (Pianoforte,  p.  33)  derives  dol- 
eimer  from  *  duloe  meloa.'  Periu^  the  'dolee,' 
^also  used  in  the  old  English  'dulsate'  and 
'dulsacordis,'  unknown  instraments  unless  dnld* 
mers — arose  ih>m  the  ability  Iho  player  had  to 
produce  sweet  sounds  with  the  aofter  ooTered 
ends  of  the  hammers,  just  as  'pirno*  in  piaiM^ 
forte  suggests  a  rimilar  attribute.  Hie  Italian 
'.^hJterio  tedesoo'  impb'es  a  German  derivation 
for  this  haminflryealtery.  [See  also  Cbmbalo.] 
Hie  roughness  of  description  used  by  medieval 
Italians  in  naming  one  fonn  of  pealtery  'atra- 
mento  di  poroo,'  pig's  hea^  was  adopted  by  the 
Gemians  in  their  faithful  translntion  '  SchweiDs- 
kopf,'  and  in  naming  a  dulcimer '  Hadcbrett'— a 
butcher^s  board  for  dioppixig  sansage-meat. 

The  dulcimer  is  a  trapeas-shaped  instrument  of 
not  more  than  three  fiset  in  gzeateat  width,  com- 
posed of  a  wooden  framing  enclnaing  a  wrest* 
plank  for  the  tuning-pins,  round  which  the  strings 
are  wound  at  one  ena ;  a  soundboard  omamentMl 
with  two  or  more  sound-holes  and  canying  tiro 
bridges  between  which  are  the  lengths  of  wire 
intended  to  vibrate ;  and  a  hitchpin-block  for  the 
attachment  of  the  other  ends  of  the  striogsL 
Two,  three,  four,  and  sometimes  five  strnigs  of 
fine  brass  or  ison  wire  are  grouped  for  each  note: 
The  dulcimer,  laid  upon  a  table   or  finme  ia 
struck  with  hammers,  the  heads  of  which  are 
clothed  on  either  side  with  hard  and  soft  leather 
to  produce  the  forte  and  piano  effects.  The  ton^ 
hanh  in  the  loud  playing,  is  always  oonfiued,  as 
there  is  no  damping  contrivance  to  stop  the 
continuance  of  the  sounds  when  not  required. 
This  effect  is  well  imitated  in  various  jAaces  in 
Schubert*s  '  Divertissement    Hongroise.'     The 
compass  of  two  or  three  ootaves,  firom  C  or  Pis 
the  bass  def,  has  always  been  diatonic  in  Eng** 
land,  but  became  chromatic  in  Qeaaaaay  before  the 
end  of  the  i8th  century.    As  in  most  mediaerai 
musical  instruments  ornamentation  was  freeljused 

on  the  soundboard,  and  on  the  outer  case  when 
one  existed.    The  dulcimer  and  psaltery  appear  to 
have  come  to  us  fiK>m  the  East,  it  may  be  through   1 
the  Crusades,  for  the  dulcimer  has  been  known 
for  ages  in  Persia  and  Arabia,  and  also  in  the  | 
Caucasus,  under  the  name  of '  santir.*    Its  Euro-  ^ 
pean  use  is  now  limited  to  the  semi-orieutal  | 
gypsy   bands   in   Hungary   and    TransylvaniA 
The  Magyar  name  is '  cimbelom.*    Mr. Cari  Engel 
(*  Descriptive  Catalogue,'  1874)  points  out  the 
remarkable   resemblanoe    between    an   ItaUafl 


DTILCIHEB. 

jdebDcr  la  South  Eenmngtoa  Huwiaii  of  tbe 
1 7th  oaDtuiy  and  a  modam  Geoigiau  aautir ;  tud 
nFoitotfae  lue  by  the  tnuulaCon  of  the  En^Ush 
BilJe  of  the  w<vd  'dulcimar'  h  well  m  of  tb* 
simeB  of  otiiar  matmmeDtB  oramiioD  in  the  Eliza- 
bethan epoch,  to  reprasent  Hebrew  miuical 
UBbumeata  about  whiolt  wo  have  no  butq  kaoW' 
ledge.  Pantaleon  Hebeiub^t  of  Ewlaben,  a  dia- 
tingoiabed  violin  -  plajer,  became  about  1&97  a 
Tirnuieo  upon  the  dulcimer,  whieh  be  qoadrui^ed 
in  dimeanona  and  had  oonctnioted  ai  a  double 
hicklvett  with  two  aoaadbwda,  each  with  id 
■ciJe  of  Btringa— 00  tbe  oneiide  orenpnii  eatgut, 
m  the  other,  wire.    Than  weia  iSj  nringi  in 


ZmODBAMA.  M> 

■11.  eoating  100  thakn  a  year  to  keep  ia  otdcr. 
WitJi  thia  power&l  cbrmuatic  iii>triiDi«Dl,  dfr- 
manding  berculem  force  to  plaj,  Hebenatreit 
traTolled  to  Palii  In  1705.  where  Louii  XIV 
it  with  hii  a^Ba,  Pab* lUOlr.  EllbiHil 
Critiea  Mnnoa,' Deo.  8,  1717) 
Braiwa  the  uuOTment  and  its  pnnigative  ever 
harpdehordB  and  ala*ioborda  in  the  propartSea 
it  pcaiiMtd  of  piano  and  fbrte.  It  was  tfaii, 
aooording  to  Solurdter'i  aaoount,  that  led  hun  to 
pocdec  orer  a  keyed  inrtrament  to  d»  the  like, 
and  to  hit  sotisa  of  a  pianoforte,     ^ee  CtU- 

.]  [A.J.HJ 


TfUUCKES,  MaBAiu  Lovm,  a  great  piano- 
farte^ilayer.  jmmger  iJeter  of  Ferdinand  David, 
born  at  HwBbyrg,  Maroh  10, 1811.  Bhewu  the 
popil  of  Gmnd,  and  made  ber  appearanoe  inpnblio 
It  Eambdtj;  as  eail;  aa  her  loui  year.  In  1813 
dw  played  at  Beriin,  and  in  15  with  ber  bnitJier 
K  LMpdg,  always  witli  the  greateet  sncce».  In 
iSlg  (he  mairiad,  and  left  0«nnany  for  London, 
wboe  die  naided  for  the  r«t  of  her  life.  Her 
fint  public  aNisaTance  here  was  at  one  of  Mr. 
Ella's  Bailees  m  1639.  At  the  Pbilhannonic  Aa 
played  a  oounrto  of  Hen's  on  March  i.  1830, 
ud  Utenoeforward  was  one  of  the  most  prominent 
faauma  in  Hie  miuic  of  London.  She  was  an 
i  dscotiTs  piamat  oT  the  fint  order,  with  ramark- 
■ble  brilliancy  of  flnger.  Her  intelligence  and 
nnen]  capability  were  very  great.    9hs  spoke 

Sntr  laaguages,  and  waa  au /ait '     -'     '- -— 

Italy, 


Pumbw  of  pupils,  at  tJie  head  of  whom 
<jDeeo  Victoria.  In  fact  she  overtasked  her 
slnngth,  and  died  aftei  a  abort  and  eavere  illnea 
April  i»,iB50.  [G.] 

Dtmi.SounoBfWoaiiM,  the  bonder  of  op^ra 
eanique  in  France  ;  bom  at  Mstetm,  Naples,  Feb. 
^  1709  ;  brought  op  from  his  TOtb  year  under 
Ddnnte  at  the  Conservatorio  dsi  poveri  di  Q«su 
Criito  at  NapleL  Hie  life  was  a  raned  one.  At 
Kane  he  competed  with  Pergulsai,  and  Us  opsa 
of  '  Nertne '  was  successful,  while  Pergoleai's 
'  Olimpiade '  was  damned.  liii  shows  bow  early 
ind  lunr  stTDDg  w«a  Doni's  gift  of  melody ;  foe 
'Olimpiade'  is  Peigolsd's  capo  if  opera.  A  poli- 
tical misrion  to  Vienna  gave  him  the  obanoe  of 
jsnducing  his  music  there.  Betumiug  to  Naples 
he  wrote  -Artaseise'  for  San  Culo,  with  great 
^iplause.    He  then  visiCed  Venioe,  Paris,  and 


London.    In  London  bla  health  fuled,  and  be 

was  driven  to  Holland  to  consalt  the  great  Boer- 
baav^  Boerhaave  oured  him,  but  in  returning 
to  Naples  he  was  attacked  by  brigands,  and  the 
fngbt  undid  all  that  tbe  physidan  bad  dnne.  and 
maile  him  a  permanent  invalid.  In  1755  be  was 
called  to  Farma,  as  music-mtuler  to  the  Duke's 
daughter.  The  court  was  li^tmoh,  and  here  at 
last  Duni  found  bis  place  in  life.  His  first  at- 
tempt was  on  Favart's  '  Ninette  b  la  Cour,'  and 
it  was  thoroughly  sucoessfuL  France  was  evi- 
dently bis  Geld.  To  Paris  In  1 757  be  went,  and 
made  bis  dSiut  In  *  Le  Peintre  amoureux ' ;  and 
there  he  renuuned  till  bis  death,  which  took  place 
June  II,  1775,  after  be  bad  delighted  the  publio 
with  1 S  '  pieces,  full  of  gaiety  and  tune.  Those 
In  fact  are  his  charactsriftias.  His  archestration 
is  poor,  he  is  often  weak  in  dramatic  eipressioo, 
but  be  is  always  charming  and  always  melodious. 
I  His  pen  was  taken  tip  by  Hons^y,  and  the 
(  Op^  Comlijue  was  established.  [G.] 

I  DUODRAMA.  A  kind  of  melodrama,  of 
which  Mozart  speaks  with  eotliumamu  and  at 
I  some  len^  in  letters  to  bis  fittber  &om  Mann- 
j  beim  and  Kaissrsbeim  in  the  aid  of  1 776.  The 
name  would  indicate  a  jHece  for  two  performers ; 
I  and  those  which  be  beard — Beodas  'Medea' 
I  and  'Ariadne  auf  Naxoa' — and  that  which  be 
I  oontemplated  writing  himself — 'Semiramis' — 
appear  to  have  been  pieoes  in  which  spoken 
dialogue  was  accompanied  by  the  orchestra,  as  in 
Mendelssohn's  'Midsummer  Night's  Dream'  and 
other  pieoes.  and  those  caUed  '  Malodram.'  '  Not 
a  note  Is  sung,'  says  he.  '  only  spoken ;  In  titct 
It  is  a  recitative  with  instruments,  otily  the  actor 
speaks  instead  of  singing'  (Letter  no).    There 


47(> 


DUODRAMA. 


which   contains   two  long  monologaes  treated 
en  mdodrame,  [G.] 

DUPARC.    See  Fbancesina* 

DUPOBT.    Two  eminent  cellists,  brothers. 

I.  Jban  Piebbe — *Duport  Tatn^'^bom  at 
Paris,  Not.  37,  1741.  Considered  the  best 
pupil  of  Berthaut.  Soon  achieved  a  great  repu- 
tation in  Paris,  but  after  10  years  of  success 
started  on  a  lengthened  tour  through  England 
and  Spain,  and  filially  in  1773,  on  the  invitation 
of  Frederick  the  Great,  settled  at  Berlin  as  first 
cello  in  the  kings  band,  and  after  Frederick's 
death  director  of  Court  concerts.  After  the 
battle  of  Jena,  his  post  was  abolished,  but  he 
continued  to  live  at  Berlin  till  his  death  in 
1 8 1 8.    His  publications  are  few  and  unimportant. 

a.  He  was  eclipsed  by  his  brother^  Jean  LouiS| 
also  bom  at  Paris,  Oct.  4,  1 749.  His  £une,  like 
his  brother's,  came  early,  but  it  was  the  arrival 
of  Yiotti  in  Paris  (1782)  that  inspired  him  to 
imitate  the  breadth  and  brilliancy  of  style  of 
that  great  violinist,  and  thus  to  become  the 
extraordinazy  player  he  was.  About  this  time 
he  made  the  acquaintance  of  Crosdill,  and 
at  his  invitation  visited  London  for  six  months. 
On  the  breaking  out  of  the  Revolution  he  joined 
his  brother  in  Berlin,  and  entered  the  king's 
band.  At  that  time  he  had  the  reputation 
of  being  one  of  the  first  cello  players  of  the  day, 
and  was  much  visited  and  sought  after.  He 
had  not  the  force  and  execution  of  Romberg, 
but  in  tone  and  style  was  unrivalled.  It  was 
either  with  him  or  his  brother — probably  with 
him — that  Beethoven  played  his  two  sonatas  for 
piano  and  cello  (op.  5)  at  the  Prussian  Court  in 
1796.  Duport  returned  to  Paris  in  1806  ruined 
by  the  war.  Though  his  playing  was  as  fine 
as  it  had  ever  been,  he  had  great  difficulty  in 
obtaining  employment.  He  entered  the  service 
of  the  ex-King  of  Spain  at  Marseilles,  but  re- 
turned to  Paris  in  1812.  At  length  fortune 
smiled  on  him,  he  was  admitted  into  the  private 
band  of  Marie  Louise,  then  into  that  of  the 
£mperor,  and  at  length  as  professor  into  the 
Conservatoire.  In  the  evening  of  his  life  he 
composed  a  great  deal,  but  the  work  by  which 
he  will  survive  is  his  *  Essai  sur  le  doigter  du 
violoncelle  et  la  oonduite  de  Tarchet,  avec  une 
suite  d'exercises.*  A  sentence  from  this  work 
exhibits  the  modesty  of  a  great  artist.  *  Tout 
le  monde  connoit  le  coup  aarchet  martel^  ou 
staccato ;  c'est  tme  affaire  de  tacte  et  d'addresse. 
II  y  a  des  personnes  qui  le  saisissent  tout  de 
suite,  d*autreB  ne  parviennent  jamais  k  le  faire 
parfaitement.  Je  suia  du  nomWe*  (p.  171).  His 
cello  became  the  property  of  Franchomme,  who 
purchased  it  for  the  enormous  sum  of  25,000 
francs  (£1,000).    He  died  at  Paris  1819.      [G.] 

DUPREZ,  GiLBEBT,  the  1 3th  of  the  22  children 
of  a  Paris  perfumer,  was  bom  Dec.  6,  1806. 
Having  completed  his  studies  under  Choron  at 
the  Conservatoire,  he  made  his  d^ut  (Dec.  1825) 
as  tenor  at  the  Od^on,  where  Castil- Blaze  was 
producing  his  translations  of  the  fisivourite  operas 
of  Rossini  and  Weber.     His  kuooess  was  not 


BUBAND. 

great,  and  when  the  theatre  closed  in  182S  he 
went    to    Italy.      At  first   he   attracted  little 
attention ;   but  having   altered    his  style  and 
adopted  the  'voix  sombr^*  he  became  speedily 
popular,  and  by  his  creation  of  the  part  of  Edganlo 
in  '  Lucia  di  I^unmermoor*  (Naples,  1835)  placed 
himself  at  the  head  of  the   French  dramatic 
singers  of  his  time.     He  was  engaged  for  the 
Grand  Op^ra  in  Paris,  and  made  his  first  ap- 
pearance (April  17,  1837)  in  'GuiUaome  Tell,' 
when  his  novel  and  striking  reading  of  his  part 
contributed  greatly  to  the  revival  of  the  opera. 
Diu4ng  the  1 2  years  he  remained  at  this  theatre 
he  created  the  principal  tenor  part  in  '  Guido  et 
Ginevra,*  '  Benvenuto  Cellini,'  '  Le  Iiac  des  f^es," 
'Les  Martyrs,*   'La  Favorite,'  'La  Reine  de 
Chypre,'  'Charles  VII,'  'Dom  Sebastien,'  'OteUo,' 
'Lucie,'  and  'Jerusalem*  (a  translation  of  'I 
Lombard!'),  as  well  as  playing  the  parts  created 
by  Nouirit  in  'La  Muette,'  * l5)bert>' '  La  Juive,' 
'Les  Huguenots,'  and  'Stradella.'     His  physical 
appearance   was   against   him,   and   he  had  a 
propensity  to  over  gesticulation  ;  but  in  spite  of 
these  defects  he  made  his  way  as  a  tragedian, 
and  was  frantically  applauded  for  his  excellent 
declamation  and  the  smoothness  of  his  'canto 
spianato.*    His  two  most  serious  faults,  the  abase 
of  the  notes  '  sombr^,*  so  prematurely  wearing 
to  the  voice,  and  a  habit  of  dragging  the  time, 
which  is  as  fatal  to  the  interests  of  the  composer 
as  it  is  to  all  artistic  interpretation,  have  materially 
affected  French  singing  to  the  present  day.    Du- 
prez  was  professor  of  singing  at  the  Conservatoire 
from  184a   to  1850,  and  in  1853   founded  aa 
'  Ecole  sp^ciale  de  chant,'  which  still  exists,  and 
has  turned  out  many  dramatic  singers.    He  has 
composed  romances,  chamber  music,  two  maBses, 
and  eight  operas,  of  which  the  best  are  '  Joanita' 
1848;    'La  lettre  au  bon   Dieu'    (1851);  and 
'Jeanne  d'Arc'  (1857)  though  none  of  the  eight 
have  any  originality.     He  has  also  published 
•L'Art   du    chant'   (1845)   and  'La  M^odie' 
(1873),  two  Methods  which  deserve  to  be  better 
known.  [G.  C] 

DUPUIS,  Thomas  Sanders,  Mus.  Doc,  wafl 
bom  in  England  of  French  parents  in  1733.  He 
received  his  early  musical  education  as  a  chorister 
of  the  Chapel  Royal  under  Bernard  Gates,  and 
subsequently  became  a  pupil  of  John  Traven, 
then  one  of  the  oiganiste  of  the  Chapel  BoyaL 
On  the  death  of  iSr.  Boyce,  in  79,  Dupuis  was 
appointed  his  successor  as  organist  of  the  Chapel 
Royal.  On  June  26, 1 790,  he  accumulated  the 
degrees  of  Bachelor  and  Doctor  of  Music  %£ 
Oxford.  He  died  in  96.  He  published  during 
his  lifetime  several  sonatas  and  concertos  for  the 
pianoforte,  some  organ  pieces,  chants,  anthems, 
and  glees.  In  the.  year  after  his  death  a  sdection 
from  his  cathedral  music  was  published  under  the 
editorship  of  John  Spencer,  one  of  his  pupils,  to 
which  his  portrait  is  prefixed.  Dupuis  was  one 
of  the  best  organists  of  his  time.  [W.flH.] 

DURAND,  alias  DURANOWSKY,  AcgustE 
Fbedebio,  violin-player,  bom  at  Warsaw  about 
1 770.    After  having  received  his  first  iilBtructioii 


DURAND. 

0D  the  yiolin  from  liU  fibther,  %  muirfciAii  at  tlie 
court  of  the  king  of  Poland,  he  waa  sent  in  1 787 
to  Paris  by  a  nobleman.  Here  he  ftudied  ander 
Xioui,  bat  appean  not  so  much  to  have  adopted 
the  style  of  his  master,  as  to  have  followed  the 
bent  of  his  own  talent  for  the  execution  of 
technical  tours  de  force.  In  1794  and  95  he 
tntrelleti  in  Gr^many  and  Italy,  meeting  every- 
where with  great  success.  Suddenly  however, 
diiscardxng  the  violin,  he  entered  the  French 
snnj,  and  became  adjutant  to  one  of  the  generals. 
Owing  to  some  misconduct  he  was  imprisoned  at 
Hilan,  and  had  to  quit  the  service.  He  then 
retained  to  the  violin,  and  till  18 14  led  an 
unsettled  life  in  Germany,  continually  changing 
his  abode.  He  finally  settled  at  Strassbuig  as 
leader  of  the  band,  and  waa  living  there  in  1834. 
The  date  of  his  death  is  not  known. 

Aooordiiig  to  Fetis,  Paganini  confessed  that 
his  peculiar  style  and  many  of  his  most  brilliant 
snd  popular  effects  were  to  a  considerable  d^pree 
derived  firom  Durand,  whom  he  had  heard  when 
yoang.  There  can  be  no  doubt  that  Durand's 
technical  skill  vnis  extraordinary  and  his  treat* 
meat  of  the  violin  full  of  originality.  The 
full  development  of  his  talent  appears  however 
to  have  been  impeded  by  his  irregular  habits 
of  life.  It  is  amongst  other. things  related 
that  he  otften  had  no  violin  of  his  own,  and 
would  play  in  public  on  any  instrument  he 
oould  get  hold  of,  however  bad.  His  compoei- 
tioos — concertos,  airs  vari^  and  a  number  of 
smaller  pieces  for  the  violin — show  him  to  have 
been  but  an  indifferent  musician.  [P.  D.] 

DURANTE,  Francbsoo,  bom  at  Fratta- 
iDag'^ore,  Naples.  March  15,  1684,  a  year  before 
HaJodel  and  fiach.  As  a  boy  he  entered  the 
'Conservatorio  dei  poveri  di  Geeu  Gristo,*  passed 
to  that  of  S.  Onofrio  under  A.  Scarlatti,  then 
perhaps  (though  this  is  doubtful)  to  Bome  for 
five  years*  study  under  Pitoni  and  Pasquini.  In 
1 718  became  head  of  S.  Onofirio,  and  in  174a 
relinquished  that  post  to  succeed  Porpora  at  the 
Conservatorio  Santa  Maria  di  Loreto  at  Naples, 
in  which  position  he  died  Aug.  13,  1755.  I>u< 
rante  waa  a  man  of  singularly  reserved  and 
uncouth  manners,  yet  he  was  three  times  married, 
and  his  pupils  were  not  only  numerous  and 
reiy  distinguished,  but  appear  to  have  been 
much  attached  to  him.  His  salary  at  S.  Maria 
was  but  10  ducats  a  month — ^not  £  ao  per  annum— 
hat  out  of  it  he  contrived  to  add  a  chapel  to  the 
church  of  St.  Antonio  in  his  native  town,  with 
a  statue  of  the  archangel  Gabriel,  bearing  his 
own  name.  He  himself  composed  only  for  the 
church,  but  his  scholars,  Traetta,  Vinci,  Jomelli, 
Piccinni,  Sacchinl,  Guglielmi,  and  Paisiello,  were 
iU  great  opera  writers,  and  may  be  said  to  have 
occupied  the  stage  of  Europe  during  the  last  half 
of  the  1 8th  century  to  the  exclusion  of  every  one 
hut  Gluck  and  Mozart.  The  library  of  the 
Conservatoire  at  Paris  contains  a  large  collection 
of  his  works.  The  list,  as  given  by  F^tis,  com- 
prises 13  masses  and  credos ;  16  psalms  ;  hymns, 
motets,  litanies,  etc.,  to  the  number  of  a8.  These 
are  written  for  various  numbers  of  voices  from 


BURAOTANTl. 


471 


3'  to  '9,  oobaslonally  with  orchestra,  but  usually 
without.  The  Vienna  library  has  in  addition  his 
Lamentations  of  Jeremiah,  a  so-called  'Pastoral- 
Mass  '  and  other  compositions. 

His  works  have  not  been  much  published. 
The  collections  of  Schlesinger,  Bochlitz,  and 
Gommer,  contain  a  few  pieces — amongst  them 
a  Miserioordias  Domini  for  8  voices,  of  which 
Hauptmann  (Briefe  an  Hauser,  ii.  11  a)  speaks 
in  hijrh  terms ;  and  our  own  Fitzwilliam  music 
has  a  Trio  and  a  Ghorus — but  the  bulk  of  them  are 
still  in  MS.  Durante  and  Leo  are  often  spoken 
of  as  founders  of  the  Neapolitan  school,  but  it 
is  difficult  to  understand  this  when  they  were  pre- 
ceded there  by  A.  Scarlatti  and  Porpora.       [G.] 

DUBASTANTI,  Mabohebtta,  a  prima  donna 
at  the  King's  Theatre  in  the  Haymarket,  during 
HandeVs  management.  She  wa^  bom  about 
1695,  and,  like  Senesino,  was  engaged  from  the 
Dresden  Theatre.  She  was  a  married  woman 
when  she  came  here,  and  the  following  quotation 
from  the  'Evening  Post*  of  March  7,  I7ai, 
shows  that  she  soon  acquired  flavour  at  court : — 
'Last  Thursday,  his  Majesty  was  pleased  to 
stand  godfather,  and  the  Princess  and  Lady 
Bruce  godmothers  to  a  daughter  of  Mrs.  Dura- 
stanti,  chief  singer  in  the  Opera-house.  The 
Marquis  Visconti  for  the  King,  and  the  Lady 
Litchfield  for  the  Princess.*  This  was  so  unusual 
a  favour,  that  it  seems  likely  that  either  she  or 
her  husband  was  of  a  noble  family.  She  had 
already  appeared  in  1 7aa  in  company  with  Sene- 
sino. Her  popularity  continued:  in  1731  she 
played  the  principal  female  parts  in  'Muzio 
Scevola' ;  in  '  Arsace* ;  and  in  '  Odio  e  Tamore,* 
probably  a  pasticcio.  On  Jan.  la,  1733.  the 
'Otho,'  or  'Ottone,'  of  Handel  was  produced, 
and  Durastanti  played  Gismonda,  but  a  formid- 
able rival  had  appeared  in  Ouzzoni,  who  san^ 
the  principal  part  of  Theophane.  Durastanti, 
however,  continued  to  sing  through  this  and  the 
next  season,  in  spite  of  Ouzzoni,  and  performed 
in  *  Flavio,' '  Ooriolano,* '  Erminia,'  and  'Famace.* 
In  34  she  played  Sesto  in  'Giulio  Oesare,'  and 
appeared  also  in  *Galfumia*  and  'Vespasiano.* 
She  took  her  leave  of  the  public  at  her  farewell 
performance  in  ^Galfumia,'  in  a  song  written 
by  Pope  for  her — some  say  at  the  desire  of  her 
patron  the  Earl  of  Peterborough —  which  ended 
with  this  couplet, 

'  But  let  old  charmers  yield  to  new ; 
Happy  soil,  adieu,  adieu  1' 

If  she  understood  the  meaning  of  the  words,  her 
modesty  was  astonishing,  and  sets  a  brilliant 
example  to  all  singers.  Durastanti  returned  to 
London  in  1733,  in  company  with  Garestini, 
Scalzi,  and  the  two  sisters  Negri,  to  help  Handel 
to  withstand  the  opposition  of  Ouzzoni  and  Fari- 
nelli  at  the  other  house.  Against  old  Porpora, 
their  composer  in  ordinary,  Handel  was  strong 
enough  to  put  on  a  bold  front ;  not  so  his  singers 
against  the  company  commanded  by  Porpora. 
On  Jan.  36,1734,  Handel  produced  his  'Ariadne,* 
on  March  1 1 '  Pamasso  in  Festa,*  and  subsequently 
a  revival  of  *  Ottone* ;  in  all  which  Durastanti 


m 


IKJRASTAinX 


took  tier  pitfi.  She  never  appeared  mgsin  ia 
£xigland|  nor  is  the  mentioned  as  having  appeared 
Bubaequently  on  any  other  stage.  She  seems  to 
have  been  an  estimable  and  nithful  artist,  and 
her  populuitv  in  London  only  yielded,  as  it 
might  well  do,  to  the  exceptional  powers  of 
Guzzom.  [J.  M.] 

DURCHP^HRUNG— leading  through,  or 
taking  through.  DurchfUhrung-aatz  ia  the  Ger- 
man term  for  that  porticm  of  the  first  moYement 
of  a  sonata  or  symphony — or  other  movement  in 
similar  form — ^whi<»i  oecurs  between  the  double- 
bar  and  the  reprise  of  the  first  subject ;  and  in 
which  the  materiids  of  the  previous  portion — 
with  or  without  episodes,  <«  ofiier  fneb.  matter — 
are  led  through  such  changes  and  varieties  of 
treatment  and  contrivance  as  the  ^;eniu8  and 
knowledge  of  the  composer  may  dictate.  In 
England  this  portion  is  often  called  the  'firee 
fantasia* — surely  an  unfortunate  name^  as  'fan- 
tasia' suggests  rather  an  entire  movement  than 
a  part  of  one.  Perhaps  '  development '  or  '  work- 
ing out'  would  be  a  better  tenn.    [Fobm.] 

D*URFEY,  Thomas,  the  son  of  a  French 
Huguenot  father,  who  fled  from  Bochelle  before 
the  siege  in  1628  and  settled  at  Exeter,  was 
born  (as  is  supposed,  of  an  English  mother)  in 
Exeter  about  1649.  He  was  Mlucated  for  the 
law,  but  abandoned  that  parofession  for  poeti^ 
and  the  dranuk  Between  1676  and  his  death 
he  produced  upwards  of  thirty  plays,  which 
were  at  first  very  popular,  but  were  in  the  course 
of  a  few  years  afterwards  banished  from  the  stage 
pn  aooount  of  their  licentiousness  and  indecency. 
The  songs  in  a  few  of  them  still  survive,  being 
preserved  through  having  had  the  good  fortune 
to  be  allied  to  the  music  of  Henry  Puroell. 
!rhese  are  in  'A  Foors  Preferment,'  1688; 
.•Bussy  d'Ambois,'  1691 ;  *The  Kichmond  Heir- 
tts,'  1603 ;  and  the  three  parts  of '  Don  Quixote,' 
2694-90!^  His  comic  opera^  'Wouders  in  the 
Sun,'  1 706,  was  set  by  Giovanni  Baptista  Draghi. 
Much  of  his  fame  was  owing  to  hie  songs  and 
to  the  lively  manner  in  which  he  himself  sang 
them,  which  procured  him  the  favour  of  Charles 
n,  William  III,  and  Queen  Anne.  In  this  he 
resembled  Tom  Moore,  and  like  him  he  was  par- 
ticularly apt  at  adapting  his  verses  to  existing 
music.  He  published,  between  1683  and  1685, 
three  collections  of  songs  written  by  himself,  azu} 
set  to  music  by  the  best  composers  of  the  period. 
About  1706  he  ooUected  and  published,  m  four 
small  volumes,  a  large  number  of  songs  by 
himself  and  others,  many  of  them  with  the  tunes 
prefixed,  under  the  title  of  '  Wit  and  Mirth ;  or. 
Pills  to  purge  Melancholy.'  This  he  republished 
with  variations  and  the  addition  of  two  more 
volumes  in  1719-20.  D'Urfey  wrote  several  of 
the  birth-day  and  New  Year's  odes  which  were 
set  to  music  by  Purcell  and  Blow,  and  supplied 
the  former  with  the  words  for  his  fine  ode  known 
as  'The  Yorkshire  Feast  Song.'  In  the  latter 
part  of  his  life  he  was  reduced  to  great  distress, 
from  which  he  was  relieved  by  the  profits  of 
a  performance  of  his  own  comedy  *  The  Fond 
Husband;  oii;  The  Plott^ig  Sisters/  which  the 


DUBCHEK. 

manigen  c^  the  Hieatn  geD^muily  g»fe  hr  hi 
benefit  on  June  1 5, 1 71 3.  D'Urfey  died  Feb.  26, 
1733,  and  was  buried  at  St.  James's,  FiocadiDy, 
where,  against  the  outer  south  wall  of  the  tower 
of  the  church,  may  be  seen  a  tsiblet  with  tiie 
simple  inscription,  *Tom  D'Uifey,  Dyed  Feb^ 
y  a6th,  1723.'  [W.H.H.] 

BUSGHEK  (Ddssbk),  Fbavz,  iraloed  piano- 
forte  teacher,   performer,  and   composer,   bom 
Dec.  8,  1736,  at  Chotiborz  in  Bohemia.     Count 
von  Spork  had  him  educated  in   the  Jesuit's 
seminary  at  KSniffgrats,  but  after  a  &11  which 
crippled  him  for  u2e  he  gave  up  otiier  studio 
and  devoted  himself  to  music.    His  patron  sent 
him  first  to  Pracfue  and  then  to  Vienna,  where^ 
under  Wagenseil's   instruction,  he    became  an 
excellent  pianist.     On  his  return  to  Pra^e,  he 
soon    had    numerous   pupils,   and    exercised   a 
powerful  influence  on  the  taste  of    his   time. 
Roichardt,  in  his  'Briefe'  (i.  116),  speaks  of  him 
as  one  of  the  best  pianists  of  that  time  (1773), 
'who,  besides  his  excellent  reading  ot  Badi, 
possesses  a  peculiarly  pleasing  and  brilliant  style 
of  his  own.*     Among  his  best  pupila  may  be 
numbered  L.  Koseluch,  Maschek,  Wittaasek,  von 
Nostiz,  and  his  own  wife  Josephine.      He  was 
also   esteemed   as  a  composer  of   symphoniei^ 
quartets,    trios,    pianoforte    ooncertoa,    sonatas, 
Lieder,  etc.,  of  which  only  a  small  part  were 
published.    In  his  compositions  is  reflected  the 
gentleness  of  diaracter  which  made   him  uni- 
versallv  beloved.    He  was  a  kind-hearted  man, 
and  all  artists,  whether  his  own  oountiymen  cr 
foreigners,  were  sure  of  a  kind  reception  at  ids 
house.      His  friendship   with   Mozart    is   well 
known,  and  it  was  in  his  villa  and  garden  nesr 
Prague  that  the  great  composer  put  the  finishing 
toudies  to  the  score  of  '  Don  Giovanni.'     In  this 
very  villa  Bertramka,  at  Koschirs  near  Prague, 
the  present  proprietor  erected  a  bust  of  Mozart, 
whicn  was  sdlomnly  unveiled  on  June  3,  1876. 
For  further  particulars  of  both  husband  and  wife 
see  Jahn*s  'Mosart';  'Jahrbuch  der  Tonkmut 
von  Wien  und  Piag,'  1796 ;  Cramer's  'Magaiin 
fUr  Musik';  and  Mosart's  Letters,  edited  by 
NohL 

His  wife  JosiFHiNi,  a  celebrated  singer,  wImm 
maiden  name  was  Hambacheb,  was  bom  al 
Pragno  1 756*  And  died  there  at  an  advanced  sge. 
Her  husbuid  taught  her  music,  and  she  became 
a  good  pianist  and  composer,  but  above  all  a 
fine  singer.    Her  voice  was  full  and  round,  and 
according  to  Beichardt  she  sang  with  great  ex- 
pression, especially  in  recitative.    She  executed 
the  most  difficult  bravura  passages  with  esse, 
had  a  good  poricanento,  and  united  grace  snd 
expression  with  force  and  fire.     Mosart's  &tber, 
however,  was  of  a  different  opinion,  as  appnn 
firom  a  letter  to  his  daughter  (April  1786),  whilst 
Schiller  and  Komer  have  recorded  their  lUh 
favourable  impression  of  her^the  latter  specially 
denying;  that  she  had  expression  (Schiller,  *  Biie^ 
wedhsel  mit  Komer,'  i.   pp.  280,  294).     Mo* 
zart,  from  his  first  acquaintance  with  her  in 
Salzburg  in  1777,  looked  upon  her  as  a  true  uwl 
sympatbisiiig  friend,  and  wrote  for  lier  (Nov.  ^ 


i)#K  «;in' 


1787)  ai  Frugiie  the  eonoerl-avift  'Btfla  m!a 
fiAmma'(K6Ghfll,No.  538).  She Mmg  at  ViennA, 
Beriiny  Weinuur.  LeifMiic,  and  Dresden,  where  the 
Elector  had  her  por^ait  painted  life^nze  (1787). 
On  her  fint  ¥1811  with  her  hniiband  to  Vienna 
(March  and  April  1786),  they  gave  no  pnblic 
patfurmanofl,  bnt  were  often  invited  to  the 
hooaes  of  the  aristoorMgr,  eepeoially  to  Prince 
Paar*B,  where  Joeephine  sang  with  great  euooesi. 
Thej  witneMed  the  down&U  of  tiie  intrigues 
against  the  first  representatioii  of  Moxsrt^B  Figaro 
in  Vienna,  and  it  was  their  partisanship  and 
ntthuaiastio  admiration  of  the  work  which  pre- 
pared the  way  fat  its  brilliant  reception  in 
Ptagae  on  Oct.  14,  and  that  of  ^  Don  Giovanni' 
on  Oct.  aa  1787.  Beethoven  was  at  Prague 
eariy  in  96,  aiul  wwte  his  '  Ah  perfido  I '  there ; 
and  as  it  was  fint  snog  by  Madune  Dnschek  on 
Nov.  ai  of  that  year,  we  nuiy  infer  that  he  com- 
posed it  for  her.  On  her  seoond  visit  to  Vienna, 
Afadame  Dusdiek  gave  a  eonoert  at  the  Jahn'sche 
Saal  (Kaich  29, 1798),  at  which  she  herself  sang 
an  azia  by  Danzi  and  a  rondo  by  Mosart^  accom- 
panied by  Mozart's  qnestioaaUe  Mend  Stadler, 
with  cono  di  bassetto  obligate.  Sdiuppaasigh 
played  a  violin  coooerto,  and  Beethoven  a  piano* 
forte  sonata  with  accompaniment.  Fetis's  state- 
ment that  she  came  to  London  in  1800  fnd  died 
there,  arises  fimn  a  confusion  with  the  wife  of 
Dnwek  the  pianist.  [G.F.P.] 

DUSSSKt  JoHAinr  Lcimre,  or  Ladiblaw, 
one  of  the  most  renowned  pianists  and  composers 
for  the  piano&rte  of  the  latter  part  of  the  i8th 
and  bo^miing  of  the  19th  oenturieSy  was  bom 
St  Gzaslan    in    Bohemia/ Feb.   9,   1761.    His 
fiither,  John   Joseph    DoaMk,  a   musician    of 
considerable  repute   in  his  day,  was  oiganist 
ind  leading  professor  in  that  town,  where  he 
msrried  the  daughter  of  Judge  Johann  Stebets^ 
by  whom  he  had  three  childzen,  the  eldest  being 
Ji^iann  Ladwig.    Although  the  brother,  Franz 
Benediktk  and  the  sister,  Veronika  Rosalia,  were 
more  or  less  distinguished,  the  subject  of  this 
brief  memoir  is  the  only  one  of  t|ie  three  whose 
memory  and  works  have  come  down  to  as.    Ac- 
oordiag  to  Dlabacs,  there  were  various  modes  of 
^Klling  our  composer's  patronyme*     It  will  be 
0Doug^  however,  to  cite  three,  Dossik,  Duschek, 
DosMk,  the  last  of  which  has  long  been  recog- 
nised, and  is  nnlikely  henceforth  to  be  disturbed 
in  its  prerogative,  notwithstanding  that  the  father 
of  our  TZitgliA  Dussek  signed  '  Johann  Joseph 
Diusik.*    When  the  son  established  himself  in 
London,  he  altered  the  penultimate  letter  (ram  i 
to  e,  and  pronounced  his  name  'Dnschek,*  for 
which  we  have  the  authority  of  Pio  Cianchettini, 
whose  sire  wedded  Veronica  Rosalia,  already  men- 
tioned. Franz  Duschek,  not  the  least  noted  mem- 
ber of  the  group  of  artists  bearing  the  cognomen 
in  one  or  another  fonn,  was  the  intimate  fnend 
of  Mozart.    [See  Ddschbk.] 

According  to  Dlabacz,  on  the  whole  a  &r 
better  anthority  than  either  the  retioent  Gerber, 
or  F^tisy  who,  tike  Bayle,  took  anything  he  could 
find,  no  matter  from  what  source,  Johann  Lud- 
wig  Dussek  began  to  study  the  pianoforte  in  his 


DUSSEK. 


478 


fifth  year,  and  Che  oigan  in  his  ninth,  and  in  the 
capacity  of  organist  soon  gave  valuable  assistance 
to  his  Iftther.  From  GzMlau  he  went  to  Iglau, 
where  he  was  engaged  as  treble  singer  in  the 
Minorite  church,  pursuing  his  musical  studies 
with  Father  Ladiuaw  Spinar,  and  fianiliarising 
himself  with  the  *  humanities  *  at  the  College  of 
Jesuits,  subsequently  for  two  years  continuing 
the  same  course  of  instruction  at  Kuttenberg, 
where  he  was  appointed  oiganist  of  the  Jesuit 
church.  Tlience  he  removed  to  Prague,  where, 
if  we  may  credit  the  naturally  partial  testimony 
of  his  &ther,  he  went  through  a  course  of  *  philo- 
sophy,' and  took  the  degree  of  '  Master.*  Here 
Dussek  cherished  an  earnest  desire  to  join  the 
Cistercian  ^friars;  but,  happily,  his  youth  was 
an  obstacle  to  his  admission  as  member  of  that 
respectable  fraternity.  In  his  straits  he  met 
witii  a  patron  —  Count  Manner,  an  artillery 
officer  in  the  Austrian  service,  who  took  him  to 
Mechlin  (Mal]nes>,  where  he  remained  for  some 
time  as  organist  at  the  church  of  St.  Rombaut^ 
and  teacher  of  th^  |nanoforte.  Tired  of  Mechlin, 
he  left  for  Berg-op-Zoom,  again  acoeptiiig  the 
post  of  organist  at  one  of  the  principal  churches. 
8uoh  a  draary  spot,  however,  was  not  likely  to 
suit  one  of  Dussek's  temperament,  and  he  spe^ly 
went  to  Amsterdam,  where  he  may  be  said  to 
have  laid  the  foundation  of  his  after  brilliant 
reputation  as  pianist  and  composer.  It  is  worth 
reouurk  that  Dussek's  last  engagement  as  church 
organist  was  at  Berr-op>Zoom ;  and  at  the  same 
tiflne — which  more  wan  one  German  critic  (Pro- 
fessor Marx  among  others)  has  observed — that  his 
eariy  acquaintance  with  the  oigan  had  mui^  to  do 
with  the  peouHar  style  of  not  a  few  of  the  slow 
movements  to  be  met  with  in  his  finest  sonatas 
— among  which  may  especially  be  cited  the  adagio 
of  the  *  Invocation  (op.  77),  his  last  great  com- 
position for  the  pianoforte.  Dussek  s  brilliant 
success  at  Amsterdam  soon  obtained  for  him  an 
invitation  to  tiie  Hague,  where  he  passed  nearly 
a  twelvemonth,  giving  lessons  on  the  pianoforte 
to  the  children  of  the  Stadtholder.  Here  he  also 
devoted  much  time  to  oompositian,  producing 
3  concertos,  and  12  sonatas  mr  pianoforte,  with 
accompaniments  of  stringed  instruments,  about 
which  Cramer's  'Magazin  der  Musik'  (HMnburg) 
speaks  in  very  fsvourable  terms.  From  the 
Hague,  Dussek,  now  twenty-two  years  of  age,, 
mindless  of  the  praise  that  had  be^  awarded  to 
his  early  compositions,  proceeded  to  Hamburg,  ob- 
taining further  instruction  fix>m  Emmanuel  Bach, 
seoond  son  of  the  immortal  John  Sebastian.  The 
advice  and  encouragement  of  this  eminent  master 
would  seem  to  have  exercised  a  salutary  influence 
on  our  young  musician.  A  year  later,  never- 
theless, we  f^d  him  at  Berlin,  astonishing  the 
diUttanii  of  the  Prussian  capital  with  his  piano- 
forte-playing, and  also  with  his  performances  on 
an  instrument  called  the  *  Harmonica.'  the  quali- 
ties of  which,  in  agreement  with  one  Hessel,  the 
8oi  ditani  inventor,  he  travelled  through  various 
parts  of  Germany  to  exhibit,  exciting  the  admi- 
ration of  Gerber  (at  Hesse-Cassel,  1785)  both  for 

'   »  yaucyt  thoHqgwarto  boon  oompMlon  of  Prince  LoiihrenUMiid  I 


474 


DUSSEE. 


the  instrnment  and  the  pexformer.  From  Berlin 
it  was  the  intention  of  DuBsek  to  go  to  St. 
Petersburg;  but  here  there  is  no  credible  ac- 
count of  his  doings,  except  that  he  is  believed 
to  have  accepted  an  advantageous  ofifer  from  a 
certain  Polish  prince,  ^Radziwill,  at  whose  es* 
tate  in  Lithuania  he  remained  more  than  a  year, 
unheard  of.  We  next  meet  with  him  at  Paris 
(towiurds  tibe  end  of  1786)  playing  before,  and 
enchanting  with  his  play,  the  lovely  and  unfor- 
tunate Marie  Antoinette,  whose  seductive  offers, 
however,  could  not  dissuade  Dussek  from  carry- 
ing out  a  long-considered  project  of  visiting  his 
brother,  Franz  Benedikt,  in  Italy.  At  Milan 
he  earned  new  laurels  as  a  performer,  both  on 
the  pianoforte  and  harmonica;  but  the  volatile 
Italians  showed  a  preference  for  the  inferior  in- 
strument, which  was  by  no  means  flattering  to 
the  gifted  Bohemian.  Returning  to  Paris  in 
1788,  the  threatening  circumstances  of  the  time 
caused  him  to  quit  the  French  capital  almost 
immediately.  His  next  residence  was  London, 
where  he  remained  for  a  longer  period. (nearly 
twelve  years)  than  at  any  other  city  he  had 
temporarily  chosen  as  a  residence.  In  London 
his  genius  was  rapidly  appreciated ;  he  became 
a  fashionable  teacher,  the  centre  of  a  circle  of 
eminent  musicians,  and  looked  up  to  by  them 
all.  One  of  the  greatest  compliments  ever  paid 
to  Dussek,  who  could  boast  of  so  many,  was  con- 
tained in  a  letter  addressed  from  London  to  the 
elder  Dussek  (Dussik)  at  Czaslau,  by  the  cele- 
brated Joseph  Haydn,  then  composing  his  im- 
perishable symphonies  for  Salomon. 

'  Most  worthy  friend, — I  thank  you  from  my 
heart  that,  in  your  last  letter  to  your  dear  son, 
you  have  also  remembered  me.  I  therefore 
double  my  compliments  in  return,  and  consider 
myself  fortunate  in  being  able  to  assure  you, 
that  you  have  one  of  the  most  upright,  moral, 
and,  in  music,  most  eminent  of  men,  for  a  son. 
I  love  him  just  as  you'  do,  for  he  fully  deserves 
it.  Give  him,  then,  daily,  a  &ther  s  blessing, 
and  thus  will  he  be  ever  fortunate,  which  I 
heartily  wish  him  to  be,  for  his  remarkable 
talents.  I  am,  with  all  respect,  your  most  sin- 
cere friend,    Joseph  Haton. 

*  London,  Feb.  a6,  179a.' 

This  from  a  man  like  Haydn  meant  something 
out  of  the  common  way.  In  1792  Dussek  mar- 
ried the  daughter  of  Domenico  Corri.  'This 
lady,*  says  Gerber,  *  was  principal  singer  at  the 
London  professional  concerts,  he  [Dussek]  being 
concerto-player  to  the  same,  and  pktying  in'  a 
style  of  incredible  perfection.*  [See  Dussek, 
Sophia.]  The  marriage  brought  about  a  joint 
speculation  between  Dussek  and  Corri,  and  the 
establishment  of  a  music  shop,  which,  in  con- 
sequence of  DusBek*s  habitufJ  negligence  and 
utter  unacquaintance  with  business  habits,  ended 
in  failure,  the  upshot  being  that,  in  1800,  in 
order  to  elude  his  uncompromising  creditors,  he 
was  obliged  to  leave  the  country  surreptitiously, 
and   once    more  seek  shelter  in  his  favourite 

>  Not  Choplnl  euljr  patron,  but  prolMlj  hU  tether. 


1 


BUSSES. 

Hambturig.  Hie  story  of  the  Northem  Prinoesi 
who,  at  this  juncture,  became  enamoured  of  our 
pianist,  carrying  him  off  to  a  retreat  near  the 
Denmark  frontier,  where  they  lived  tc^ether  in 
seclusion  for  nearly  two  years,  may  be  discarded 
as  a  myth.  At  all  events  we  find  in  a  corre* 
spondence  to  the  'Leipziger  Musik-Zeitung'  ac- 
counts of  various  concerts  given  by  Dussek  at 
Hamburg,  in  1800  and  1801,  with  referenoes 
to  Steibelt,  Himmel,  Woelfl,  and  our  own  great 
singer,  John  Braham,  who,  with  Miidjime  Storace, 
sang  at  Ottensen.  on  the  Elbe,  in  a  concert  at 
which  Giamowichi  was  violinist,  and  Dussek 
pianist.  In  180  a,  after  appearing  at  the  Concert 
Hall  in  Prague,  where  he  played  his  concerto 
in  G  minor,  Dussek,  accompanied  by  his  sister, 
Madame  Cianchettini,  paid  a  visit  at  Czaslau  to  | 
his  father,  whom  he  had  not  seen  for  more  than 
a  quarter  of  a  century,  and,  after  passing  soma 
months  under  the  paternal  domicile,  resumed  hit  I 
professional  wanderings,  until  in  1803,  at  Mag< 
debuig,  he  became  acquainted  with  Prince  Louis  , 
Ferdinand  of  Prussia,  with  wham  he  lived  for 
three  years  on  terms  of  affectionate  intimacy,  to 
whom  he  gave  advice  both  in  pianoforte  plaj'ing 
and  composition,  and  whose  premature  death,  on 
the  field  of  Saalfeld,  was  the  origin  of  the  '£16gie 
Harmonique*  (op.  61),  not  only  one  of  the  RnoA 
works  of  Dussek,  bnt  one  of  the  most  pathetic 
and  beautiful  in  the  repertory  of  the  piano. 
This  was  another  turning-point  in  the  somewhat 
tortuous  life  of  our  composer,  and,  for  better  or 
for  worse,  materially  influenced  his  character. 
Much  that  is  interesting  with  regard  to  the  in- 
tercourse between  Dussek  and  (^e  Prince  may 
be  read  in  the '  Leipziger  Musik-Zeitung'(i8o7); 
in  Ludwig  Bellstab*s  'Reminiscences  of  Berlin 
Music,*  in  the  'Berlin  Musik-Zeitung*  (1850); 
and,  most  characteristio  of  all,  in  Spohr's '  Selbst- 
Biographie.* 

In  a  review  of  the  Elegy  the  'Leiprig  Musik* 
Zeitung*  ( 180  7,  p.  741)  says,  among  other  tilings  i^ 

*  During  the  last  few  yean  of  his  (the  Prinoe't)  life, 
vhen  he  turned  again  to  musio  with  all  the  ardour  ot 
enthusiasm  ....  Dussek  arrived  at  Berlin.  The  Prince 
had  studied  music  in  his  youth,  and  never  wholly  oeg- 
lected  it,  hut  his  soul  was  now  for  the  first  time  open  to 
its  hidden  worth,  to  its  higher  and  more  spiritual  raliuv 
He  had  need  of  a  man  who  could  aid  him  to  ezpren  fally 
and  correctly  what  he  wished  to  coovey  throng  mnaiciu 
toneii,  who  could  enter  into  the  spirit  of  what  he  created, 
afford  him  intellectual  nourishment  in  productions  saited 
to  his  taste  and  feelings,  and  lastly,  away  from  their 
common  art-stud;^  prove  an  amiable  and  congenial  c(Nn- 
panion.  This  he  found  in  Dussek.  who  to  the  Prince  wu 
all  in  all.  Just  as  the  Prince,  in  return,  was  to  Dussek.' 

Rellstab,   in  his   'Beminiscences'  gives  an 

interesting  account  of  the  pianoforte  'virtuosos* 

who  flourished  at  that  period  in  Berlin,  accord- 

\pg  the  highest  place  among  them  to  Himmel, 

Prince  Louis   Ferdinand,  and   Dussek,  placing 

Dussek,  however,  in  the  first  rank : — 

*The  favourite  player  at  Berlin,  and  decidedly  first  in 
purity,  elegance,  and  delicacy  of  style,  was  Himmel,  a  man 
trail 


formed  by  nature  to  be  the  central  point  in  musical  $ahnt 
. . . :   but  far  greater,  and  emphatically  so.  was  Duswk, 

both  as  "virtuoso"  and  composer wnose  eminmt 

technical  resources  afforded  a  much  wider  basis  for  Taried 
development,  and  who,  having  accomplished  a  vsst  deal 
more  for  the  elevation  of  the  pianoforte  than  most  of  his 
contemporarioa,  occupied  a  position  in  the  musical  art  of 
Berlin,  which  is  vividly  felt  even  now  [18801  sad  obtained 


DUSSEX 

•  eOTTCBpcBiding  European  luna,  Jcwtly  claims  a  plafoa  In 
tb»  histaty  of  &h«  moat  uniranal  of  instrumenta,  to  which 
HimmeL  despite  hia  ezceptioaal  ability  and  weU-earned 
local  emifwmce,  had  no  legitimate  pretenriona.* 

A  liTely  picture  of  how  the  three  boon  oom- 
puiions  dnlKted  together  follows  the  above  :—» 

•Louia  Ferdinand  played  a  great  deal  with  Dnaaek 
Be««ral  compoaitione  for  two  pianofortea,  and  others  for 
fofor  hands  on  one  pianoforte,  deriving  their  origin  tram 
the  ivUtionB  between  the  diBtinguiahed  "virtuoso"  and 
his  sifted  patron.  Himmel  was  often  their  companion, 
and  he  and  Dussek  were  the  Prince's  ftiTOurite  associates 
at  the  wine  cap.  What  inflnenoe  Bussek  may  have 
eierted  npon  the  character  of  the  Prince  at  these  con- 
Ttvialitiefl  it  is  hard  to  say:  but  Himmel  posBCssed  that 
lively,  ioyoaa,  good-naturea»  amiable  view  of  life  which 
M  a  rale  is  most  welcome  when  intellectual  brothers  in 
art  make  the  full  glasses  ring.  Thus  die  Prince,  Himmel, 
and  Dnsaek,  fbrmed  a  masical  triad,  each  exciting,  en- 
livening and  fortifying  the  others,  DuMek,  in  hia  artiatic 
capacity,  taking  the  foremost  place.' 

Spohr  (Selbetbiog.  i.  85),  describing  a  toirfe 

at  the  Prince's,  in  Uie  oouzse  of  a  visit  to  Berlin 

early  in  1805,  remarks : — 

■Here  I  also  met  an  old  Hambniig  acqoainiance,  tine 
celebrated  pianoforte  virtuoso  and  composer  Bussek,  now 
the  Prince's  teacher  and  residing  with  him.  The  music 
began  with  a  pianoforte  1  quartet,  which  was  played  by 
Dossek  in  veal  artistic  perfection.' 

In  the  fttitmnn  of  the  same  year,  when  Prince 
Lonia  Ferdinand  was  at  Magdeburg,  superin- 
tending the  military  manoeuvres,  Spohr  received, 
through  Dussek,  an  invitation  to  l]«  a  guest  and 
take  part  in  the  projected  musical  entertainments. 
His  description  of  the  early  morning  rehearsals 
is  highly  diverting — the  end  being  raciest  of  all 
(Selbstb.  i.  94).  When  l^e  Prince  was  about  to 
leave,  Spohr  was  dismissed  with  hearty  thanks, 
Dossek  informing  the  young  violinist  that  '  Son 
Altesse  Boyale*  had  intended  to  make  him  a 
present,  but  his  finances  were  at  so  low  an  ebb 
that  he  was  compelled  to  defer  it  to  some  fu- 
ture occasion.  *  Such  occasion,  however,'  observes 
Spohr,  *  never  arrived,  the  Prince  next  year 
meeting  his  fate  at  the  battle  of  Saalfeld.*  [See 
Louis  Fkrdinand,  Pbincb.] 

The  death  of  Prince  Louis  Ferdinand  threw 
Dossek  once  more  upon  his  own  unaided  resources. 
It  says  no  little  for  him  that  before  thinking 
about  future  prospects  he  should  have  devoted 
time  to  composing  the  '  Hanuonio  £legy '  already 
mentioned,  a  fitting  tribute  to  the  memory  of 
that  royal  friend  whose  dose  relations  with  him 
folly  justified  his  giving  expression  to  sentiments 
of  deepest  regret  through  the  medium  of  the 
art  they  both  so  dearly  loved.  Nor  could  any- 
thing be  more  touching  and  appropriate  than 
the  few  words  which  Dussek  inscribed  on  the 
tiUe-psge  of  his  sonata,  'L'auteur,  qui  a  eu  le 
bonheor  de  jouir  du  commerce  tr^s  intime  de 
S.A.R.,  ne  Ta  quitt^  qu*au  moment  oti  il  a  vers^ 
Km  precieux  sang  pour  sa  patrie.*  At  the  same 
time  the  fact  of  the  inscription  being  coached  in 
the  language  of  the  enemy  to  whom  the  Prince 
owed  his  death,  appears  a  little  strange. 

About  the  Prince  von  Ysenburg  (or  Isenburg\ 
into  whose  service,  after  the  death  of  his  illustrious 
patron,  Dussek  entered,  as  court  and  chamber 
musician,  little  is  on  record.     A  paragraph  in 

I  Spohr.  In  hb  oMMny  mnatMyiiif  nanner.  do«  not  mj  whloh 
qMrMtOrbrwhasBOoBiposad.  rrobablj  nuMsk'i  ownHn  8  lat. 


DUSSEK. 


475 


the  'Leipzig  Musik-Zeitung,*  however  (Sept.  2, 
1807),  states  that  *Herr  Dussek  having  resigned 
his  situation  with  the  Prince  von  Isenburg,  has 
entered  the  service  of  the  Prince  of  Benevento 
(Talleyrand),  and  wiU  remain  henceforth  in 
Paris.'  More  than  two  ynn  later  (Jan.  3, 1 810) 
the  same  periodical  publishes  a  letter  from  Paris 
in  which  we  read:  'Herr  Dussek  is  in  the 
service  of  M.  Talleyrand,  Prince  of  Benevento. 
He  appears  to  be  treated  in  a  very  distinguished 
manner,  and  enjoys  a  respectable  salary.*  With 
this  renowned  diplomatist  and  highly  accomplished 
gentleman  Dussek  resided  till  the  last.  His  lei* 
sure  was  entirely  at  his  own  disposaL  He  would 
vouchsafe  occasional  instructions  to  favoured 
amateurs,  such  as  MUe.  C!harlotte  (Talleyrand^s 
adopted  daughter),  the  Duchesse  de  Gourland, 
Mile.  Betsy  Ouvnurd  (to  whom  the  grand  sonata 
called  'L'Livocation*  is  dedicated),  etc.;  also 
now  and  then  give  a  concert,  at  which  he  pro* 
duoed  his  latest  works,  the  rest  of  his  time  being 
exclusively  devoted  to  composition.  The  late 
M.  F^tis,  who  remembered  well  Dussek's  pert 
formances  at  the  Od^n  (1808),  writes : — 
'The  extraordinary  eenaation  he  prodaced  is  not  for* 


gotten.  Until  tiien  the  pianoforte  had  only  been  heard 
lo  disadvantage  aa  a  coDcert-instrument,^  but  under  the 
bands  of  Dnasek  it  eclipsed  all  that  surrounded  it.  The 
broad  and  noble  style  or  this  artist,  his  method  of  singing 
on  an  instnunent  which  possessed  no  sustained  sounds, 
the  neatness,  delicacy,  and  brilliancy  of  his  play,  in  shorti 
procured  him  a  triumph  of  which  there  nad  been  no 
previoos  example.' 

With   the   Prince  of   Benevento,  his   latest 

patron,  Dussek  continued  to  reside  until  his  last 

illness  compelled  him  to  seek  another  retreat,  at 

St.  Germain  en  Laye,  where  (not  in  Paris,  fis 

F^tis  and  others  have  stated)  he  died  on  March 

20,  181 2.    A  letter  from  Paris,  dated  March  ai, 

18 1  a,  and  printed  in  the  'Leipzig  Muzik-Zeitung* 

(xiv.  358),  thus  refers  to  the  event : — 

<I  have  Just  heard  news  which  must  grieve  every  friend 
of  music ....  Tonr  worthy  and  celebrated  countxyman, 
J.  L.  Dussek,  is  no  more  I  Yesterday  morning,  at  six 
o'clock,  in  the  fUl  vigour  of  manhood  [in  his  &2nd  year  J, 
he  closed  a  career  which,  despite  the  ever-increasing 
culture,  development,  and  strength  of  his  great  talenta, 
and  his  aatonishingindustxy,  had  not  yet  reached  its 
culminating  point  He  had  been  unwell  for  eome  months, 
but  was  confined  to  bed  only  two  days.  His  disease  was 
gout,  which  suddenly  attacked  his  brain,  and  in  an  hour 
or  two  carried  him  off ...  It  was  a  blessing  to  his  energetic 


spirit,  his  warmly  sensitive  and  afTectionate  nature,  that 
he  could  breathe  his  last  in  the  arms  of  a  faithful  niend 
and  oonntiyman  like  your  noble  Neukomm.' 

In  a  very  interesting  series  of  papers  about 

the  Dusseks    generally,  which  Mr.  Alexander 

W.  Thayer,  to  whom  the  lovers  of  Beethoven 

are  so   deeply  indebted  for   his    indefatigable 

researches  into  the  actual   life  of   that  great 

composer,   published  simultaneously  (1861)  in 

Dwight*8  'Journal  of  Music'  (Boston,  U.S.)  and 

the  *  Musical  World*  (London),  we  find  quoted 

a  general  estimate,  of  which  a  mere  condemed 

abstract  may  su£Bce  to  convey  some  notion  of 

what  Dussek*s  contemporaries  Uioughtof  him : — • 

*  Dnseek.  the  man  of  grnina.  the  richly  endowed  and 
solidly  tmned  artist  was  known,  honoured,  and  loved  bv 
the  pntire  musical  world  ...  He  has  done  nearly  as  much 
as  Haydn,  and  probably  not  lees  than  Moisart,  to  make 
German  muaio  jmown  and  respected  in  other  'landf. 

1  Fetls  most  lurely  mean  t«  Pari»  ? 

s  This.  Itnratt  be  bonis  Ui  mind,  ww  vrittealn  18U; 


m 


PU^SSSL 


His  easiier  mldenoe  in  Jjoadmi,  taoA  Ids  later  in  Full, ' 
have  in  this  respect  exercised  great  influence.  As  a 
**  Yirtooso  "  he  is  ananimonsly  placed  in  th^  rnry  feopemost 
xank.  In  rapidity  and  Bareness  of  execution,  in  a  mastery 
of  the  greatest  difficulties,  it  would  be  hard  to  And  a  pianist 
who  surpassed  him ;  in  neatness  and  precision  jxwsibly 
0ne  (John  Cramer  of  London) ;  in  soul,  expression,  and 
delicacy,  certainly  none.  As  a  man  he  was  good  and 
noble,  just,  impartial,  and  kindly,  a  re^  fHend,  sym- 
Mitfaising  with  all  that  was  true  and  beautiftil  in  those  he 
imew ....  His  failings,  insepenble  from  an  imagination 
BO  powerful  and  a  sensitiveneaB  so  extreme,  may  readily 
be  TorgiTen Moreover,  through  native  strength  m 

Sind  and  fluent  intimate  relations  with  the  most 
Btinguished  persons,  he  had  gained  a  vast  amount  of 
general  information,  thoroughly  polished  manners,  and 
such  tact,  combined  with  knowledge  of  the  world,  ae  fitted 
}dxn  for  the  highest  circles  of  society;  while  his  joyous 
disposition,  lib^al  sentiments,  and  freedom  from  prejudice 
«f  any  kind,  endeared  him  especially  to  musidaas.' 

TbiB  aIbo  come  from  Park,  and  was  printed  in 
the  same  Leipzig  periodical. 

With  regard  to   Duaaek's  style  of  playing, 

about  whidi  we  of  coarse  can  only  gather  a 

taction  from  the  works  he  has  left,  many  con- 

t6mp<nraneous  opinions  coold  be  cited,  but  perhaps 

not  one  more  suggestive  than  that  which  J.  W. 

Tomaschek,  himself  a  pianist  axkd  composer  of 

eminence,    gives   in    his   'Autobiogn^y   and 

Bemimsoences ' — 

*In  the  year  1801^  my  ooontxymanf  Dussek,  came  to 
Prague,  and  I  very  soon  became  acquainted  with  him. 
fie  gave  a  concert  to  a  very  large  audienoe.  at  which  he 
•Inttoduoed  his  own  Military  Conoerto.  After  the  few 
opening  bars  of  his  first  solo,  the  public  uttered  one 
general  Ah  I  There  waa,  in  faet,  something  magical 
about  tfae  wiiy  in  which  Dussek  with  all  his  (dmrmine 
Mace  of  manner,  thxTHMdi  his  wonderftil  touch,  extorted 
from  the  instrument  oelicious  and  at  the  same  time 
amphatic  tones.  His  fingers  were  like  a  company  of  ten 
■Ingerei  endowed  with  equal  executive  powers,  and  able  * 
4o  proauoe  with  the  utmost  pexfectiMi  whatever  their 
4ireetor  ooold  require.  I  never  saw  the  Pra^e  public 
BO  enchanted  as  they  were  on  this  occasion  by  Dussek's 
splendid  vQaying.  His  fine  deolamatorv  style,  especially 
in  eantubue  phrases,  stands  as  tfae  ideal  for  every  artistic 
performanee— something  which  no  other  pianist  since  has 
Xeached  . . .  Dussek  was  ttie  first  who  placed  his  instrument 
aideways  upon  the  platform,  in  whidh  our  pianoforte 
heroes  now  all  follow  him,  though  they  mi^  have  no  veiy 
Interesting  profile  to  exhibit.* 

That  more  than  any  contemporary  special 
wnter  for  tfae  pianoforte,  Dussek,  througn  his 
strong  and  attractive  individuality,  impressed  the 
age  in  which  he  lived,  is  unquestionable.  Here, 
be  it  understood,  no  reference  is  intended  to 
many-sided  geniuses  like  Mozart  and  Beethoven, 
but  simply  to  those  who,  makixig  the  pianoforte 
their  particular  study,  have  effected  so  nmch 
towards  the  influence,  so  materially  aided  the 
progress,  and  played  so  important  a  part  in  the 
nistory  of  the  most  universal  of  instruments — 
the  musician's  orchestra  when  in  the  solitude  of 
tkis  chamber.  In  the  front  rank  of  these  de- 
servedly stands  Dussek.  It  has  been  urged  that 
to  dementi,  Dussek's  predecessor  and  Burviv(»r, 
who  has  held  the  title  of  *  Father  of  the  Piano* 
forte,'  just  as  Haydn  holds  that  of  *  Father  of 
the  Symphony,'  belongs  the  legitimate  right  of 
stamping  with  his  name  the  epoch  during  which 
he  flourished.  To  this  it  may  be  answereid  that, 
-grontiag  dementi  to  have  been  a  musician  <k 
more  solid  acquirement  than  Dussek,  as  the 
^Gradus  ad  ^Famassum'  is  enough  to  prove,  he 
was  inferior  in  inv^ition  and  ideality,  to  say 
nothing  about  fascination  of  style.     Unhappily 

)  Toe  top  of  whkb  IMtMc  hUl  Uanenu  nerer  reacbwi 


for  himself  stid  las  art,  Dnsek,  wlioae  imqfies- 
tionable  genius  should  have  raised  hixn  to  the 
highest  eminenoe,  was  of  a  aomewhst  lax  and 
cureless  tenmeramant.  His  &cility  was  ao  great 
that  he  could  dispease  with  more  ^laa  half  thae 
application  requisite  to  form  a  thoroughly  skilled 
musician ;  wlole  dementi,  a  model  student  and 
systematic  ecomomiser  of  time,  though  lees  bosm- 
tifiilly  gifted  than  his  renowned  oontempGniy, 
possessed  habits  of  industiy  which  served  him  in 
excellent  stead. 

In  a  conversation  with  the  writer  of  this  artide^ 
Mendelssohn  once  said,  *  Duseek  was  a  prodigal.* 
The  meaning  of  this  ^igrammatic  criUciam  is 
not  fiur  to  seek.  Dussek,  who  fiuled  fijr  want 
of  striving  to  make  the  most  of  tiie  endowments 
of  nature,  might  have  become  a  musician  of  the 
highest  acquirements  had  the  case  been  otherwise. 
He  squandered  away  melody  as  a  spendthrift 
would  squander  away  money,  not  pausing  for  an 
instant  to  conislder  its  value  if  put  out  to  interest. 
It  is  sad  to  reflect  upon  the  number  of  gennina 
melodies  that,  coming  so  readily  from  his  pen, 
were  left,  as  Sancho  Panza  would  say,  '  bare  as 
they  were  bom,'  though  almost  every  cme  of 
them  might  have  been  developed  into  somethiBg 
beautiful  and  lasting.  When,  however,  he  applied 
himself  to  his  ta^  with  esmest  devotion,  as 
happened  not  unfrequently  from  the  earliest  to  the 
latest  period  of  his  career,  Dussek  was  welcomed 
like  the  Prodigal  Son.  A  legitimate  diild  of  Aiv 
his  mission  was  that  of  a  true  disciple — ^for  whidi 
capacity  he  was  eminently  fitted,  as  the  many 
compositions  he  has  left  si^ce  to  prova 

Dussek  came  into  the  world  five  years  later  tfasa 
Mozart,  and  nine  years  earlier  dan  Beethoven, 
quitting  it  while  the  greatest  of  poet-musiciaas 
was  at  the  zenith  of  his  glory,  just  ai  the  time 
when  the  fifth  and  last  pianoforte  concerto^  the 
incomparable  '  K  flat*  (written  a  year  .previously), 
was  first  introduced  to  the  public.  Between  170 1 
and  181  a,  the  intervsl  which  spanned  the  ezistenoe 
of  Dussek,  a  galaxy  of  fiunous  pianists  shone 
with  varied  lustre.  To  take  them  in  chrondogicsl 
ordor,  there  were  di»ienti,  Moeart,  Hiinmel, 
Steibelt, '  Woelfl,  Beethoven,  Cramer,  T<Knaschek, 
Hummel*  Weber,  J.  Field  C  Russian  Field,'  ss 
he  was  called),  and  last,  not  least,  Mosehelws 
who,  though  scarcely  twenty  years  of  age  whea 
Dussek  died,  had  already  made  fi>r  himself  a 
name.  To  these  might  be  added  Meyerbeer, 
who,  as  a  youth,  before  he  devoted  himself 
exclusively  to  the  composition  of  operss,  wis 
a  rival  even  to  Hummel  in  his  'prime,  and  oar 
own  'G.  F.  Pinto  (the  Stemdale  Bennett  of  his 
day),  who  died  at  the  early  age  of  21.  Among 
these  it  is  no  small  thing  to  say  that  Dussek 
shone  conspicuous.  He  never  enjoyed  the  <^ 
portunify  of  encountering  Mosart,  as  dementi 
did,  nor  the  equally  impwtant  one  of  messaring 
his  powers  with  those  of  Beethoven,  ss  fell  to 
Steibelt  and  W  oelfl — to  the  absolute  satis&ctioD  of 
neither ;  but  before  the  rest  he  was,  as  Schumsim 

1  Who  diad  two  yean  IstartiWklhMMk. 

>  But  Dope  of  ifhoM  oomposttioDf  for  ths  Flanolbrts  have  unfor- 
tutukteljr,  beea  publishsd,  thoufb  nmtxf  exln  tn  MS. 
*  About  wbon  ivhu  Craoar  ued  to  wpetk  with  cnthmlaMa. 


r 


iiyi  o/Schub€rt»  'a  num' — ^irfio  badt  caociBe  to  hast 
noriral. 

Tbere  is  much  oonfoikm  in  the  Oj>ai*]iumben 
•f  Domek's  worlu^  owing  to  the  cofferent  lys- 
teoM  adopted  by  Frenoh,  RTigliah,  and  German 
poUssbers.  The  foEowIng  is  an  imperfect-attampi 
•t  A  eomplete  fist  :— 


BTKia 


OpiL  S  CoDoertM  for  P.  f.  and 


a.S  TrkM,7.F.«Dd 

CBb.  Sndik 
aODaoacto  Xow  !»  P. K.  nd 

Orth.    Kb. 
4  S  SonaU^  P.P.  nd  TloUn. 

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4. S  Do.  p.p.  Md  VlaBa  or 
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lb&Doh.P.P.   A«0 
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BL  S  BoiwtaikP.P.  ud  yiolla. 

p.Bb.a 

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m.  BoQa>  mitttalm  P.  P. 
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a 

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Orek   Bk 
f7.  Cooaerto  Now  9,  P.  P.  aod 

Oreh.   P.   (see  op.  14) 
&  6  Eaif  Bonataa.  P.  P.  and 

YioDa.    0.  P,  Bb.  D.  O 

■do.,  Kb. 
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a 

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64  Oonoorto.  No.  11,   P.  P.  and 

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m  Sonata.  P.P.   Ak  (LoB^ 

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min.   (IilnTocation.) 

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tnra. 
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rrt 

toUaflatiat- 


Yarkttoiis  en ' 
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Do.  on  Fallal  la. 
Do.  on  God  sare  the  King; 
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VL' 
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Un  or  Plate. 


a  KngUsh  airs  and  2  Waltns. 
Do.,  OB  Coutaasof  Bmlnaaisl'*  8  Ptalodesr  Bh.  1,  P.  F. 

reeL   F.  6  (3anons,  for  8  and  4  roloaa. 

Do.,  MllUairak  Bk  Bong  on  8  notaa  (Bk  0,  1»  t» 

Do,.Migaott.   0.  I      VolaaandP.F. 

Do.,  on  the  hronrito  Bbmplpow  6  Songs  for  Voice  and  P.  F. 


Do.,  on  Lord  Howe's  Hornplpa. 
Do.,  u  'Mj  lodgli«  Is  on.' 
Do.,  on  'The  Ploughboy.' 
Dei,  onthoBoyalQnIekstoa 
Do.,  u  *To  to  OanbOb* 
Do.,  on  Viottl's  Polaoaa. 
Do..  L'KMgutok 
Da.  I*  Hatlbde. 
Tarlations  on 'Anna.*  do.   0. 
Do.  OS  'H  ItatoBa  Alidilai 

do.  OL 
Do.  on  'ArCut  pour  la  tjttB^ 

do.  Xk 
Do.  onSBcoldialis 


f 


*Tlio  (^apUvo  of  Bpllburg,'  a  mml- 
oal  drama,  produoed  at  Dnnf 
Lane,  Nor.  1794 

Ike  naval  battle  and  total  defnk 
of  the  Dotdi  fleet  br  Admliil 
Duncan,  Oct.  n,  1797.  P.  F.  nolo. 
naMeto . . .  delineation  of  tia 
oeramonjr  tnm  8L  James's  to 

St.  Paul's Dee.  1»,  ITBl 

P.P.   D. 

jThe  Paris  eoireqwodent  of  tha 
A.H.  Z.  C181I.  Nor.  6)  menUoils 
a  Grand  Ihsa  sent  to  Prinds 

"«*«y-  [J.W.D.] 
DtJSSEK,  Softtia,  daughter  o€  Domesioo 
Coni,  bom  la  Bdinbuigh  in  I775'  Lutroeted 
by  her  fathep,  she  at  a  very  early  age  perfbnned 
in  pablie  on  the  pianofbrtew  In  1 788  tiie  fiunily 
remored  to  London,  when,  Miia  Com  lypoered 
with  great  stioeeM  as  a  singer.  In  179a  afae 
Buurried  J.  L^  Dussek,  under  whose  instmotiefl 
ihe  became  as  able  a  pianist  and  harpia*  ae  she 
was  a  singer.  She  oomtinued  to  sing  in  public^ 
at  her  husband's  ooncerts  and  elsewhere.  After 
Ma  death,  in  1810,  she  oontraoted  in  i8ia  a 
second  marriage  with  John  Alvia  Moraltk  Sha 
oomposed  and  published  many  pieces  for  the 
pianoforte  and  harp.  Her  daughter,  Ouyia^ 
was  bom  in  London  in  1799^  and  undor  the 
instruction  of  her  mother  beoame  aai  ezceUani 
performer  on  the  pianoforte  and  harp.  She  com* 
posed  some  songs  and  several  pieces  for  both 
instruments.  [W.  H.  H.] 

DUX  (leader),  an  early  term  for  the  first  sub- 
ject in  a  fugue — that  which  leads;  the  answer 
being  the  comes  or  companion.  The  dux  is  in 
Qenuan  Oklled  FUhrer. 

DYKES,  Ber.  JoHir  Baoo&us,  Mob.  Doc., 
was  bom  in  Hull,  where  his  grandfather  was 
incumbent  of  St  John*8  Church,  in  March  1823. 
He  received  his  first  musical  tuition  firom  Sk^toi^ 
organist  of  St.  John*s.  In  October  1 843  he  went 
to  St.  Catherine  Hall,  Cambri(ige,  where  he  veiy 
soon  obtained  a  scholarship.  He  graduated  as 
B.A.  in  1847,  and  in  the  same  jear,  having 
taken  Holy  Orders,  obtained  the  curacy  of  Mal- 
ton,  Yorkshire.  t)uring  his  stay  in  Ounbridge 
he  pursued  his  musical  studies  under  Professor 
Walmisley,  and  became  conductor  of  the  Uni- 
versity Musical  Society.  In  July  1849  he  was 
appointed  Minor  Canon  and  Precentor  of  Durham 
Cathedral.  In  the  next  year  he  prooeeded  M.  A. 
In  1 861  the  University  of  Durham  conferred  on 
him  the  degree  of  Doctor  of  Music,  and  in  186 a 
he  was  presented  by  the  Dean  and  Chapter  to 
the  vicarage  of  St.  Oswald,  Durham,  on  which  he 
resigned  the  preeentonhip.  He  died  January 
32,  1876.     Dr.  Dykes  composed  many  serviees 


4rs 


PYKES. 


and  anilienui,  and  a  large  number  of  liTmB  tunes, 
many  of  which  have  met  with  veiy  general 
aooeptanoe.  Among  these  may  be  noted  'Nearer 
my  God  to  Thee,'  'The  day  is  past  and  over/ 
and  '  Jeeu,  lover  of  my  soul.'  He  was  joint 
editor  of '  Hymns,  Ancient  and  Modem.'  Beyond 
his  musical  repute  he  was  much  esteemed  as  a 
theologian.  [W.  H.  H.] 

DYNE,  JoHK,  a  distinguished  alto  singer  and 
glee  composer.  One  of  his  glees,  '  Fill  the  bowl/ 
obtained  a  prize  from  the  Catch  Club  in  1768. 
In  7a  he  was  appointed  a  Gentleman  of  the  Chapel 
Boyal,  and  in  79  a  lay  vicar  of  Westminster 
Abbey.  He  was  one  of  the  principal  singers  at 
the  commemoration  of  Handel  in  1 784.  A  pistol- 
flhot,  by  his  own  hand,  tenninated  his  existence 
Oct.  30, 1788.  [W.H.H.] 

DWIGHTS  JOURNAL  OF  MUSIC,  Boston, 
U.  S.  A.,  4to.  fortnightly,  wa«  founded  in  185  a 
by  John  S.  Dwight,  whose  name  it-  bears,  and 
is  still  edited  by  him.  Mr.  Dwight  was  one  of 
the  since  somewhat  fiunous  little  community  at 
Brook  Farm  who  did  much  in  many  ways  to 
advance  the  interests  of  literature  and  philan- 
thropy. Hawthorne,  for  a  time,  was  one  of 
them,  and  the  names  of  others  have  since  become 
famous.  Mr.  Dwight,  though  not  an  educated 
musician,  was  musical  editor  of  the  '  Harbinger,* 
a  periodical  published  at  Brook  Farm,  and  a 
frequent  contributor  of  musical  critiques  to  the 
daily  papers  of  Boston,  where  he  did  good  service 
in  directing  attention  to  what  was  noblest  and 
best  in  music. 

For  six  years  he  was  editor,  publisher,  and 
proprietor  of  the  Journal,  the  publication  of 
which  was  then  assumed  by  Oliver  Ditson  Sl  Co. 
During  the  war  it  was  changed  from  a  weekly 


EAGER. 

to  a  fortnightly  paper.  Its  object  was  to  advocate 
music  and  musical  culture  in  the  highest  sense, 
and  to  give  honest  and  impartial  criticifliiu, 
a  purpose  to  which  it  has  been  always  steadQy 
devoted.  As  its  title  indicates,  it  is  '  BwigWi 
Journal,'  expressing  the  convictions  of  its  editor 
without  fear  or  favour ;  and  this  eoorae  has  gained 
for  it  the  respect  of  many  who  differ  widely  from 
the  opinions  which  it  advocates.  Mr.  Dwight 
has  been  sole  editor  up  to  this  day,  although  the 
volumes  contain  valuable  contributions  from  other 
pens.  Among  the  most  noticeable  are  those  from 
A.  W.  Thayer,  the  biographer  of  Beethoven,  who 
has  written  for  it  many  valuable  biographical 
and  historical  articles,  as  well  as  musical  talei 
Especially  noteworthy  are  his  articles  on  some 
of  the  contemporaries  of  Beethoven-rSalieri, 
Gyrowets,  Gelinek,  Hummel,  and  others.  Fh)£ 
Ritter  and  his  wife  (now  of  the  Vassar  Female 
College),  W.  S.  B.  Mathews  of  Chicago,  and 
C.  C.  Perkins  of  Boston,  have  also  contributed 
frequent  and  valuable  articles  to  its  columns.  lu 
republications  of  the  best  articles  in  European 
musical  journals,  and  translations  from  valuable 
works,  with  its  excellent  foreign  correspondence 
and  well  selected  pages  of  classical  music,  make 
these  volumes  a  valuable  book  of  reference  during 
the  whole  period  of  its  existence,  during  which 
over  100  musical  papers  have  arisen — and  in 
great  part  disappeared — in  the  United  States. 
Whatever  is  good  and  noble  and  earnest  in  art 
has  never  fr^iled  to  find  in  'Dwight*s  Journal 
of  Music'  an  enthusiastic  advocate  and  staunch 
defender.  And  hence,  while  other  journals  have 
disappeared  with  the  fashions  of  the  day,  it  still 
ptuvues  its  course,  in  form  and  spirit  the  same 
that  it  was  a  quarter  of  a  century  ago.     [H.W.] 


E. 


EThe  third  note  of  the  scale  of  0.  In 
French  and  in  solfaing,  Mi,  The  first 
*  string,  or  chanterelUt  of  the  violin,  and 
the  4th  of  the  double  bass,  are  tuned  to  E  in 
their  respective  octaves.  The  scale  of  £  major 
has  4  sharps  in  the  signature ;  that  of  E  minor 
I  sharp  ;  and  C|  and  G  are  their  relatives,  minor 
and  major.  E  is  the  key  note  of  the  '  Phrygian* 
mode  in  Gr^orian  music,  and  0  (not  B)  its 
Dominant  there 

£  is  not  a  frequent  key  in  orchestral  com- 
positions— probably  from  difficulties  connected 
with  the  Clarinets,  Horns,  and  Trumpets.  At 
any  rate  neither  Haydn,  Mozart,  Beethoven, 
Mendelssohn,  Spohr,  Sdhubert,  or  Schumann,  have 
written  a  symphony  in  E  major.  The  overtures 
to  Fidelio  and  Midsummer  Night's  Dream,  Deux 
Joum^  and  Tannhauser,  are  excepti6ns  among 
overtures.  In  chamber  music  it  is  more  often 
employed.  Mozart  has  a  fine  pianoforte  trio 
in  it;  Beethoven  uses  it  in  3  sonatas  (op.  14, 
No.  I ;   109).     BacVs  fugue  in  £  (Bk«  2)  is 


perhaps  the  most  widely  known  of  all  the  im- 
mortal 48. 

E  flat  (Fr.  mi  hemcl ;  Germ.  E$)  on  the  other 
hand  has  a  splendid  progeny,  of  which  we  need 
only  mention  the  Eroica  Symphony,  the  Septet, 
the  5th  Pianoforte  Concerto,  2  solo  sonatal^  op. 
31,  No.  3,  and  'Les  Adieux,*  2  string  ouarteti, 
a  pianoforte  trio,  and  the  'liederkrms,  among 
Beethoven's  works  alone ;  the  St.  Ann's  fugue  by 
Bach,  with  the  noble  Prelude  which  may  or  may 
not  belong  to  it :  Mozart's  weU-lmown  Symphony; 
2  of  Haydn's  '  Salomon  Set,'  etc.,  etc.  [G.] 

EAGER,  John,  bom  1782  at  Norwich,  where 
his  fiither  was  a  musical  instrument  maker  and 
organ  builder.  Having  learned  frx>m  his  father 
the  rudiments  of  music,  he  was  at  twelve  yean 
old  taken  under  the  care  of  the  Duke  of  Dorset, 
an  amateur  violinist,  who  carried  him  to  his 
seat  at  Knole,  where  free  access  to  the  libraiy 
enabled  him  to  repair  the  defects  of  his  early 
education.  His  pitron  dying  he  established 
himself  at  Yarmouth  as  a  violinist  and  teacher 


BAGEB. 

of  music.  On  the  appearance  of  Logier's  system 
of  iostmction  Eager  became  one  of  its  warmest 
advocatea.  He  was  appointed  organist  to  the 
carpuration  of  TarmouUi.  He  passed  the  le- 
maindfy  of  his  life  in  teaching.  He  is  said  to 
hare  poBsessed  a  knowledge  o^  and  to  have 
Uoght,  nearly  eyerj  instrument  then  in  use. 
His  compositioiis  consist  of  a  pianoforte  sonata 
sod  a  collection  of  songs.  [W.  H.  H] 

EASTCOTT,  Riv.  Richard,  a  resident  in 
Exeter,  was  author  of  'Sketches  of  the  Origin, 
Progress  and  Effects  of  Music,  with  an  Account 
of  the  Ancient  Bards  and  Minstrels,'  a  well- 
executed  compilation  published  at  Bath  in  1 793, 
and  which  was  so  &vourably  received  as  to  oUl 
fijfth  a  second  edition  in  the  same  year.  He 
also  published  some  pianoforte  sonatas.  He  died 
towards  the  end  of  1838,  being  then  chaplain 
of  liTery  Bale,  Devonshire,  He  was  the  early 
patron  of  John  Davy.  [W.  H.  H.J 

EBDON,  Thomas,  bom  at  Durham  in  1738. 
It  is  presumed  from  the  circumstance  of  ^e 
name  and  date  'T.  Ebdon,  1755,*  still  remaining, 
carved   on  the  oak  screen  which  divides  the 
choir  of    Durham  cathedral  from  one  of  the 
aisles,  that  he  received  his  early  musical  edu- 
cation in  that  churoh  as  a  chorister,  and  pro- 
bably, after  the  breaking  of  his  voice,  as  an 
artided  pupil  of  the  organist.    In  1 763  he  was 
appointed  organist  of  Durham  Cathedral,  which 
office  he  held  until  his  death,  48  years  afterwards, 
on  Sept.  35,  181 1.    Ebdon's  published  compo- 
litioDS  comprise  two  harpsichord  sonatas  (about 
1780),  a  colleotion  of  glees;  and  two  volumes 
of  cathedral  music,  the  first  of  which  appeared 
in  1790,  and  the  second  in  1810.    Besides  these 
he  left  many  anthems  etc.,  in  MS.,  the  last  of 
thembearingdate  June  181 1«  [W.H.H.] 

EBERABDI,  Tbrxba,  a  singer  of  mezto-caral- 
tere  parts  in  London,  1761.  Among  other  r6le8 
she  sang  that  of  L^  in  Galuppfs  opera  'H 
HloBofo  di  Campagna,*  adapted  for  the  King's 
Theatre  by  Cocchi.  [J.M.] 

EBEBIi,  Antok,  distinguished  pianist  and 
compoeer,  bom  June  13,  1766,  at  Vienna.    He 
was  intended  by  his  fia&er,  a  well-to-do  govern- 
ment employ^,  for  the  law,  but  his  love  for 
music  broke  through  all  obstadee,  and  started 
him  as  a  pianist.    His  theoretical  studies  were 
il'ght,  but  his  first  opera,  'La  Marchande  de 
Modes'   (Leopoldstadt   1787),  is  said  to  have 
{leased  Gluck  so  much,  that  he  advised  the 
young  oompoeer  to  devote  himself  seriously  to 
mosic.    His  friendship  with  Mozart  was  also  of 
great  service  to  him.    His  melodrama  *  Pyramus 
and  Thisbe*  was  produced  at  the  court  theatre 
in  1794,  on  his  rotum  from  his  first  professional 
toor ;  but  he  soon  undertook  another  in  Germany, 
in  company  with  Mozart*s  widow  and  Lange  the 
singer.    In  1796  he  was  appointed  Gapellmeister 
at  St.  Petersburg,  whero  he  remained  for  5  years 
greitly  esteemed.     On  his  rotum  to  Vienna  he 
produced  at  the  court  theatre  (May  1801)  a 
Mmantic   opera   'Die   Konigin  der  schwarzen 
Inseln^'  whwh  was  however  only  a  partial  suo> 


EBERLIN. 


479 


In  1803  he  went  again  to  Russia,  and  in 
1806  travelled  to  all  the  principal  towns  of 
Germany,  where  the  brilliancy  and  fire  of  his 
playing  were  universally  acknowledged.  He  re- 
turned to  Vienna  and  died  suddenly  Maroh  11, 
1807.  His  compositions  were  long  £avouritee. 
The  following  are  among  the  most  remarkable : — 
'Grand  Sonata,'  op.  27,  dedicated  to  Chembini; 
'Gr.  Sonata  caract^ristique*  in  F  minor,  op.  la, 
dedicated  to  Haydn  (Peters) ;  *  Variations  sur 
un  th^me  Busse/  for  Cello  obbL,  op.  1 7 ;  3  Piano- 
forte Trios,  op.  8,  dedicated  to  Grand-Duke  Pawlo- 
witsch ;  T^o  for  Pianoforte,  Clarinet,  and  Cello, 
op.  36  (Kfihnel) ;  Pianoforte  Quartet  in  C  major, 
op.  18,  dedicated  to  Maria  Theresa ;  ditto  in  G 
minor,  op.  25  (Vienna) ;  (clavier  Quintet,  op.  78 
(Vienna) ;  Pianoforte  Concertos  in  C  major,  op, 
3a,  and  Eb  major,  op.  40  (Ktthnel);  and  3 
String  Quartets,  op.  13,  dedicated  to  Emperor 
Alexander  I  (Vienna,  MoUo).  H6  also  pub- 
lished many  smaller  pianoforte  pieces  for  a  and 
4  hands,  and  6  Lieder,  op  4  (Hamburg)  ;  a  Can- 
tata with  orohestral  accompaniment,  'La  gloria 
d'lmen^,*  op.  11,  also  airuiged  for  pianoforte; 
and  a  Symphony  in  D  minor  (Breitkopf  & 
Hartel).  He  left  in  MS.  symphonies,  sere- 
nades, concertos  for  i  and  a  pianofortes,  several 
pieces  of  chamber-music,  and  unpublished  operas, 
besides  the  three  already  mentioned.  Though  he 
has  now  entirely  vanished  from  the  concert-room, 
Eberl  must  in  his  day  have  been  a  very  con- 
siderable person.  It  is  well  known  that  several 
of  his  pianoforte  works  were  long  published,  and 
popuUur,  as  Mozart's, — viz.  the  fine  Sonata  in  C 
minor  (finally  published  with  his  own  name  as 
op.  I  by  Artaria)  ;  Variations  on  the  theme  '  Zu 
Steffen  sprach;  Variations  on  'Freundin  sanfter 
Heraenstriebe  ;*  and  on  '  Andantino  von  Ditters- 
dorf '  (see  Kochel*s  Mozart,  anh.  a87,  8).  His 
Symphony  in  Eb  would  actually  appear  to  have 
been  played  in  the  same  programme  with  Bee- 
thoven's 'Eroica'  (A.  M.  Zeitung,  vii.  3a i);  and 
the  two  are  contrasted  by  the  reviewer  to  the 
distinct  disadvantage  of  the  latter  t        [C.  F.  P.] 

EBERLIN,  JoHANK  Ebkbt,  court -organist 
and  '  Truchsess '  (or  carver)  to  tiie  Prince- Arch- 
bishop of  Salzburg,  and  an  eminent  German 
composer  of  sacred  music.  His  name,  place  and 
date  of  birth  and  death  are  here  for  the  first  time 
correctly  given  from  official  records.  His  ori- 
ginal name  was  Eberle,  which  was  turned,  ac- 
cording to  a  custom  then  conmion  with  women, 
into  Eberlin,  and  as  such  he  retained  it.  He 
was  the  son  of  the  land-steward  to  Baron  von 
Stain,  and  was  bom  March  27,  170a  (not  1716) 
at  Jettingen  (not  Jettenbach),  a  market- village 
near  Giinzburg,  in  the  Upper-Danube  district  of 
Bavaria.  He  died  at  Salzburg,  June  ai,  176a 
(not  1776).  He  was  court-organist  to  Arch- 
bishop Franz  Anton,  Graf  von  Harraoh,  as  early 
as  the  time  of  his  marriage,  which  took  place 
in  1737  at  Seekirchen  on  Uie  WaUersee,  near 
Salzburg.  Of  his  early  life  or  musical  education 
nothing  is  known,  and  the  number  even  of  his 
many  valuable  contrapuntal  worlu  can  only  be 
imperfectly  ascertained.    Among  the  best  known 


480 


BB£BLIH« 


are  'IX  Toooftte  e  foglie  per  Torguio*  (Lotter, 
Aagsbuig  1747),  dedicated  to  Anihbiahop  Jacob 
Ermit.  TlieT  passed  through  many  editioniy  and 
>nnted  in  Commer's  *  Munoa  sacra,* 


are  alflo  pnnted 
voL  i.  NageLi*8  edition  contains  only  the  nine 
ftigues.  The  last  fugue,  in  E  minor,  was  published 
(in  £b  minor)  as  &ch*s  in  Griepenkerl  s  edition 
of  Bach's  works  (Book  iz.  No.  t^\  an  error 
which  has  sinoe  been  ooRected.  Haffiier  pub- 
lished sonatas  in  G  and  A,  and  Sohott  2  motets^ 
'Qui  oonfidunt*  and  'Sicut  mater  consolatur/  for 
3  voioes,  with  clavier  accompaniment.  To  Leo* 
pdd  Mozart^s  collection  for  tha  Horawerk  at 
Hohen'^Salzbnrg,  '  Der  Moigea  und  der  Abend* 
CLoiier  1759),  EberUn  also  contributed  5  pieces. 
F^tis,  in  his  '  Biographic  univerBelle,*  gives  a  list 
of  his  church  compositions  in  MS.  in  the  libraries 
of  BerHn  and  Vienna^  and  of  the  Latin  dramas  he 
composed  for  the  pupils  of  the  Benedictine  mon- 
astery  at  Salsbuig  (1745-^))  of  which,  however, 
the  words  only  are  extant.  Plraske*B  library  con- 
tains the  autographs  of  15  oratorios,  including 
the  '  Componimento  sacro^'  performed  with  great 
success  at  Saliburg  in  1747.  The  Gesellschaft 
der  Musikfreunde  at  Vienna  possesses  a  copy  of 
a  mass  and  a  fugue  for  two  choirs  with  double 
orchestra.  EberUn's  strict  writing  was  so  much 
prised  by  Mozart,  that  about  1777  he  copied  13 
of  his  pieces  (mofitly  church-music  in  4  parts) 
together  with  some  by  M.  Haydn,  into  a  MS. 
b(Mk  which  he  kept  for  his  own  instraction,  and 
which  still  exists.  He  afterwards  (178a)  how- 
ever wrote  to  his  sister  that  Sberlin's  fugues 
eould  not  be  ranked  with  those  of  Bach  and 
Handel — '  All  honour  to  his  4rpart  pieces ;  but 
his  clavier  fugues  are  merely  extended  VersettL* 
Marpurg  was  the  first  to  proclaim  his  merit 
('Kritische  Beitrage,*  Berlin  1757,  voLiii.  Stilck 
3,  p.  183),  and  says  that  he  wrote  as  much  and 
as  rapidly  as  Scarlatti  and  Telemann.    [C.F.P.] 

EBEBS,  Cabl  Feocdkioh,  son  of  a  teacher  of 
English  at  Gassel,  bom  March  ao,  1770,  a  man 
evidently  of  great  ability,  bat  as  evidently  of 
little  morale,  taking  any  post  that  ofiered,  and 
keeping  none ;  doing  any  work  thai  tuned  up 
to  Keep  body  and  soul  together,  and  at  length 
dying  in  great  poverty  at  Beriin,  Sept.  9,  1836. 
Some  of  his  arftmgements  have  survived,  but  his 
compositions — hslf-a-doaen  operas,  symphonies, 
overtures,  dance  music,  wind-instrument  ditto^ 
and,  in  short,  pieces  of  every  size  and  form— 
have  all  disappeared,  with  the  exception  of  a 
little  drinking  son?,  'Wir  sind  die  Konige  der 
Welt,*  which  has  hit  the  true  popular  vein. 

One  occurrence,  in  which  he  succeeded  in  an* 
XU>ying  a  better  man  than  himself,  is  worth  per- 
petuating as  a  specimen  of  the  man.  In  the 
number  of  the  Allgemeine  Mnsikalische  Zeitung 
for  1 1  Dec.  1816  appears  a  notice  from  G.  M.  von 
Weber  to  the  following  effect:— 'Herr  Hof- 
xneister  of  Leipzig  has  publifihed  a  quintet  of 
mine  (op.  34)  for  clarinet  and  strings,  airanged 
as  a  solo  sonata  for  piano,  with  the  following 
miwleading  title,  "Sonata  for  the  P.  F.,  arranged 
by  G.  F.  Ebers  from  a  Quintuor  for  Glarinet  by 
G.M.  deWeber,op.34.'*   I  requested  Heir  Hof- 


EBBBWESEN. 

meister  to  withdraw  the   pul^eatfon  dn  the 
ground  that  it  was  inaccurate  and  unfiur,  and 
most  damaging  to  the  orilginal  work ;  bat  he 
has  vouchsiied  me  only  a  curt  statement  that 
if  the  arranger  is  to  blaiiie  I  may  criticise  him  as 
severely  as  I  like,  but  that  to  him  as  publisher 
it  is  a  matter  of  no  moment.     I  have  therefore 
no  other  course  than  to  proteat  with  all  my 
might  against  the  arrangement,  absteming  front 
all  comment,  except  to  mention  that  without 
counting  engravers  blunders,  my  melodies  have 
been   unnecessarily  altered   41    timee^  that  in 
3  places  one  bar  has  been  omitted,  in  another 
place  4  bars,  in  another  8,  and  in  atiother  1 1. — 
G.  M.  von  Weber,  Berlin,  Nov.  2  a,  1816.'    This 
drew  forth  a  reply  from  Ebers  addressed  to  *  the 
lovers  of  music,  and  appearing  in  the  next  No.  of 
the  '  Zeitung  * : — '  Herr  Schlesinger  of  Berlin  has 
published  as  op.  34  of  G.  M.  von  Weber  a  Quintet 
lor  Glarinet  and  Strinffs — where  five  people  play 
together  I  believe  it  is  called  a  quintet — which 
is  so  absolutely  incorrectly  engraved  that  no 
clarinet  player  not  previously  acquainted  with 
the  work   can   possibly  detcict   and  avoid  the 
mistakes  in  oertein  places — such  as  bar  60  of 
the  second  part  of  the  first  allegro.    I  took  the 
trouble  to  put  the  thing  into  score,  and  found 
the  melodies  pretty  and  not  bad  fbr  the  piano; 
and,  as  every  man  is  tree  to  arrange  as  he  likes, 
I  turned  it  into  a  solo  sonata,  which  I  can  con- 
scientioosly  recommend  to  the  lovers  of  mudc 
without  any  forther  remarkir.    Aa  clarinet  pas- 
sages however  are  not  always  suitable  for  the 
piano,  I  have  taken  tiie  liberty  to  alter  and  omit 
where  I  found  mere  repetitioaB  without  effect 
This  has  been  done  wiui  intelligence,  and  it  is 
absurd  to  talk  of  disfigurement.     Mozart  and 
Haydn  were  great  men,  who  sought  their  effects 
by  oAer  means  than  noise  and  display,  oddity 
or  absurdity ;  thej  gladly  welcomed  airangementB 
of  their  works,  as  Beethoven  hiwaelf  does  every 
day.    But  should  it  stall  annoy  Herr  Weber  to 
see  his  child  in  a  new  dsess,  and  should  he  there- 
fore withdraw  his  paternity  from  it,  I  shall  then 
have  to  ask  the  public  to  acknowledge  me  as  its 
foster  father.     But  the  publio  has  a  r^;ht  to 
insist  that  Herr  Schlesinger  shall  free  his  pub- 
lications from  mistakes,  fbr  as  long  as  one  work 
remains  uncorrected  he  is  open  to  the  remaik 
of  ne  iutor  nUra  crepufam.— Leipog,  6  Dec. 

EBERS,  JoH2r,  bom  in  England  of  Gennas 
parents  about  1 785,  originally  a  bookseller ;  under- 
took the  management  of  the  opera  at  the  Kings 
Theatre  in  1821,  with  Ayrton  as  musical  directs. 
He  engaged  Garcia^  Galli,  Mme.  Gamporesi, 
Pasta,  and  other  celebrated  singers,  besides  Bos- 
siiii  (1824),  but  the  expenses  were  so  enarxBooB, 
that  in  seven  years  he  was  conqUetely  rained. 
He  published  *  Seven  Years  at  the  Kiqg> 
Theatre*  (London,  H.  Ainsworth,  1828),  u 
interesting  record  of  Italian  opeca  at  that  time 
in  London.  [M.CC.J 

EBEBWEIK,  Tbauoott  MAxmniAH,  violin- 
istand  composer,  of  great  note  in  his  day,  though 
now  9Jiite  mrgotten,  bom  at  Weimar  1775*   ^ 


E3EBWEIN. 


BCCLESIASTICON'. 


181 


Kren  lie  played  in  the  oonrt  band  of  Weimar. 
In  1 797  he  entered  the  aervioe  of  the  Prinoe  of 
Schwanbiurg-RudolBtadt,  but  it  was  not  till  1817 
that  he  became  his  chapel-master.  In  the  inter- 
T&l  he  travelled  mnch,  making  the  aoquaintanoe 
of  Adam  Killer  and  Zelter  at  Berlin,  and  of 
Beethoven  and  Salierl  at  Vienna.  He  was  a 
nan  of  some  influence  and  position,  uid  one  of 
the  original  foundeiB  of  the  musical  festivals  in 
Germany.  Goethe  frequently  mentions  him  in 
hk  correspondence.  He  died  at  Badolstadt, 
Dec.  7,  1 83 1.  His  works,  more  numerous  than 
original,  include  1 1  operas ;  3  cantatas ;  a  mass 
in  A  by  his  best  work ;  a  symphonie-concertante 
for  oboe,  horn,  and  bassoon ;  concertos,  quartets, 
etc  [M.C.O.] 

ECGABD,  JoHAKHZS,  bom  at  Mtihlhausen  in 
Thmingia  in  1553,  was  probably  at  first  a 
icholar  of  Joachim  Burgk,  and  afterwards  of 
Orlando  di  Lasso  at  Munich,  with  whom  he 
went  to  Paris  in  1571.  He  was  for  some  time 
in  the  employ  of  the  Fuggers  at  Augsburg ;  in 
1583  was  made  vice-cap^hneister,  and  in  1599 
full  capellmeister,  at  Konigsbeig  to  the  Margrave 
of  Brandenburg.  In  1608  he  obtained  the  same 
post  under  the  KuHurat  at  Berlin,  in  which  post 
he  died  in  161 1.  He  composed  30  *C!antiones 
acne/  etc.  (Mnhlhausen,  157^);  'Grepundia 
sura*  (Miihlhausen,  1577  ana  96;  2nd  ed. 
Eifbrt,  1680) ;  34  Deutsche  Lieder  (Miihlhausen, 
1578) ;  Newe  Deutsche  Lieder  (Konigsberg, 
'5^) :  'I^  erste  Theil  5-Stiinmiger  geistlicher 
lieder'  (4 vols.,  Kdnigsbwg,  1597);  and  'Preuss- 
iache  FesUieder,  5, 6,  7, 8  Stimmen'  (Ibid.  1598). 
Eocaxd  wrote  bo&  Hymns  and  Chorals,  some  of 
which  are  still  in  use  (Doring's  'Choralkunde,' 
p.  47).  There  is  a  portrait  of  him,  with  a  Latin 
in«cription  by  G.  Frohlich.  A  short  motet  by 
Eccard,  on  the  Chorale  'O  Lamm  Grottes,*  for 
5  voices,  and  an  'O  Freude'  for  2  Choirs,  are 
included  in  the  Berlin  Domchor  Collection, 
'Musica  Sacra.'  The  whole  of  the  'Geistliche 
Lieder'  and  of  the  'Preussische  Festlieder' 
(with  Stobaus'  additions)  have  been  recently 
repnblished  by  Breitkopf  ft  HarteL     [M.C.C.J 

ECXHLES,  Solomon,  bom  in  the  first  half  of 
the  17th  century,  whose  ancestors  for  three 
generations  had  been  musicians,  was  from  about 
1643  a  teacher  of  the  viiginals  and  viols,  a 
punait  from  which  he  for  some  years  derived 
a  ooDsiderable  income,  but  embracing  the  tenets 
of  quakerism,  he  abandoned  his  profession,  broke 
all  his  instruments,  and  burned  them,  together 
with  his  music  books  (the  value  of  the  whole 
hdng  more  than  £34),  on  Tower  Hill,  and 
ftdopted  the  trade  of  a  tailor.  In  1667  he  pub- 
lished a  curious  tract  entitled  'A  Musidc-Lector, 
or,  The  Art  of  Musick  .  .  .  discoursed  of,  by 
way  of  dialogue  between  three  men  of  several 
judgments ;  the  one  a  Musician  ....  zealous  for 
the  Church  of  England,  who  calls  Musick  the 
gift  of  God :  the  other  a  Baptist  who  did  afiirm 
it  to  be  a  decent  and  harmless  practice:  the 
other  a  Quaker  (so  called)  being  formerly  of  that 
art  doth  give  his  judgment  and  sentence  against 


it,  but  yet  approves  of  the  Musick  that  pleaseth 
Gk)d' — from  which  the  foregoing  particulars  are 
gathered.  He  subsequently  resumed  his  pro- 
fession and  contributed  several  gpround  basses 
with  divisions  thereon  to  '  The  Division  Violin.* 
The  date  of  his  death  is  unknown. 

His  eldest  son,  John,  was  bom  in  London 
about  the  middle  of  the  17th  century.  He 
learned  music  frxnn  his  father,  and  about  1685 
became  engaged  as  a  composer  for  the  theatre, 
in  which  occupation  he  continued  for  upwards 
of  a  quarter  of  a  century.  Of  the  pieces  to  which 
he  contributed,  the  most  important  (musically 
considered)  were  *  Don  Quixote '  (with  Puroell), 
1694;  '£urope*s  Bevels  for  the  Peace,'  1697: 
'  The  Sham  Doctor,'  1697 ;  *  Rinaldo  and  Annida,* 
1699;  and  'Semele,'  1707.  The  composition  of 
the  music  in  '  Macbeth,'  generally  attributed  to 
Matthew  Lock,  has  sometimes  been  ascribed  to 
Ecdes.  In  1698,  upon  the  death  of  Dr.  Nicholas 
Staggins,  Ecdes  was  appointed  Master  of  the 
King's  Band  of  Music,  in  fulfilment  of  the  duties 
of  which  office  he  composed  numerous  birth-day 
and  new-year's  odes.  In  1700  he  gained  the 
second  of  the  four  prizes  given  for  the  best  com- 
positions of  Congreve's  masque,  '  ^e  Judgment 
of  Paris ' ;  the  firrt  being  awarded  to  John  Weldon, 
and  the  third  and  fourth  to  Daniel  Puroell  and 
Godfrey  Finger.  The  score  of  Ecdes'  music  for 
this  piece  was  printed.  In  1701  he  set  the  ode 
written  by  Congreve  for  the  odebration  of  St. 
Cecilia's  day  in  that  year.  About  17 10  he 
published  a  collection  of  nearly  one  hundred  of 
his  songs,  comprising  many  of  those. which  he 
had  written  for  no  fewer  than  forty-six  dramatic . 
pieces.  The  freshness  and  flow  of  Ecdes'  mdo- 
dies  rendered  his  songs  universal  favourites.  In 
the  latter  part  of  his  life  he  gave  up  all  pro* 
fessional  pursuits,  except  the  annual  production 
of  the  birth-day  and  new-year's  odes,  and  re- 
tired to  Kingston-upon-Thames  for  the  diversion 
of  angling,  to  which  he  was  much  attached.  H^ 
died  in  January  1735. 

Henbt,  second  son  of  Solomon,  was  a  yiolinist 
of  considerable  ability,  who  conceiving  himself 
neglected  in  England,  betook  himself  to  Paris, 
where  he  was  admitted  a  member  of  the  French 
King's  band.  In  1730  he  published  at  Paris,  in 
two  books,  Twdve  Solos  for  the  Yidin  written 
in  the  style  of  Corelli. 

Thomas,  youngest  of  the  three  sons  of  Solo- 
mon, studied  the  violin  under  his  brother  Henry, 
and  became  an  excellent  performer.  Bdng  idle 
and  dissipated,  he  gained  a  scanty  and  precarious 
subsistence  by  wandering  from  tavern  to  tavern 
in  t^e  dty  and  playing  to  such  of  the  company 
as  desired  to  hear  hun.  [W. H. H] 

ECCLESIASTICON.  A  cdlection  of  classical 
church  music  in  score,  published  by  Diabdli  &  Co. 
(now  Schreiber)  of  Vienna.  Its  contents  are  as 
follows : — 


No.l-ao.  Ondialei    Iv  WehMl 

M  SL  Boratlkm.   MaM    Sotonais. 

Op.  87. 
«  S2.  Stsdtor,  telTum  tee. 
.as.     Do.     Macoa «( miimbfllfti 
.  9L  ]lonrt»B«iliiaoi»U. 


N0.SBM.  Oflbrtorlnm    ud   Qttf 

dualas  bar  CherublnL 
.  as.  Sttulln-,  Delecttra. 

n  Mh      Do.      Bl  DCQB. 

.  87.  J.  8.  BMh.Gfaonia,DapMeiik 
M  SR.  Winter.  Domlnns  lsim«L 
«  m,  Saobtor.MM^  Gradiak.ets. 

li 


48S 


ECCTLESIASnOON. 


Vo.40.  A11n«elilibwi>r, 

riuin. 

M  41-<B.  ( >  nulvftlei,  Michael  Hkjdn. 
M  es.  Cserny,  6  GndiMJea. 
M  64.  B«iMigrr.  Rrand  Haas  tai  Eb. 
^  K^.  Mozsrt,  Tremendum. 
M  68.  Feehter.  8b1t«  Bcvtnft  ud 

At«  Haria. 
p  67.  Worziachek.  OATtorlimL 


KoUV.  a«lg«r, 

«  6B-71.  AMmarr,  OftftorlniM. 
„  73.  M  oiait,  Ofrertorium  In  F. 
M  73.  Be«fner,  Man  In  F. 
.  74.  Seohter.  Mtwa  biennis  In  0. 
„  7\  Mocart.  BanctI  et  JnsCl. 
„  76.  Baegner,  Grand  Maas  In  lb* 
„  77.     Do.       Mam  In  D. 
M  7S.  Baransdc.  Ofhrtorinn. 

ECHO.  The  organs  built  immediately  after 
the  Restoration  generally  contained  what  was 
then  a  novelty  in  England,  called  the  Echo. 
This  consisted  of  a  repetition  of  the  treble  portion 
of  a  few  of  the  leading  stops  of  the  organ,  voiced 
softly,  shat  up  in  a  wooden  box,  placed  in  some 
remote  part  of  the  organ  case — usually  behind 
the  desk-board— and  played  upon  by  a  separate 
half  row  of  keys.  The  'echo  effect*  enjoyed 
great  popularity  for  many  years,  and  exercised 
an  influence  on  much  of  the  cotemporary  music 
both  for  voices  and  instruments.  Purcell  in  some 
of  his  anthems  exhibited  a  predilection  for  the 
loud  and  soft  contrast ;  while  most  of  the  pieces 
written  for  keyed  instruments  abounded  with 
recognitions  of  it  up  to  the  time  of  Handel,  whose 
Concertos,  Suites,  etc.,  gave  fresh  impetus  to  the 
popular  taste.    [Cornet.]  [E.J.H.] 

ECHOS  DU  TEMPS  PASSI6.  One  of  those 
popular  collections  of  which  the  French  have  so 
many.  It  embraces  Airs,  Brunettes,  Chansons 
k  boire,  Chansons  k  danser,  Noels,  Rondeaux, 
Gavottes,  Musettes,  Minuets,  from  the  12th  to 
the  1 8th  centuries,  by  Adam  de  la  Hale,  Lasso, 
Marot,  Arcadelt,  Konsard,  Churles  IX,  Louis 
XIII,  Lulli,  Rameau,  Oouperin,  Rebel,  etc., 
edited  and  accompanied  by  J.  B.  Wekerlin,  in 

3  vols.  8vo.  (Blaxland,  Paris). 

ECK,  JoHANN  Fbibdbioh,  an  eminent  violin- 
player,  bom  1 766  at  Mannheim,  where  his  father 
was  a  member  of  the  band.  He  was  a  pupil  of 
Dannw,  and  soon  rose  to  be  one  of  tne  best 
violin-plavers  in  Germany.  Reichardt  of  Berlin 
speaks  01  him  as  having  all  the  qualities  of  a 
really  great  player — large  tone,  perfect  intonation, 
taste  and  feeling,  and  adds  that,  with  the  single 
exception  of  SaJomon,  he  never  heard  a  better 
violinist.  From  1778  to  88  Eck  was  a  member 
of  the  band  at  Munich,  and  afterwards  conducted 
the  opera  of  that  town.  In  1801  however, 
having  married  a  lady  of  rank  and  wealth,  he 
quitted  Germany  and  spent  the  rest  of  his  life  in 
Paris,  and  in  the  neighbourhood  of  Nancy.  The 
date  of  his  death  is  unknown.     Eck  published 

4  Concertos  for  the  violin,  and  a  Conoertante  for 
a  Violins. 

His  must  distinguished  pupil  was  his  brother 
Franz,  also  an  eminent  violin-player,  bom 
at  Mannheim  1774*  He  enteriMl  the  band 
at  Munioh  while  very  young;  but»  driven  from 
that  city  by,  a  love-affair,  he  travelled  in  180 a 
through  Germany,  and  gained  a  great  reputaticm 
as  violinist.  The  Duke  of  Brunswick  was  at 
that  time  looking  out  for  a  master  on  the  violin 
for  Spohr,  then  18,  in  whose  rising  talent  he 
took  a  lively  interest.  He  invitad  Eck  to 
Brunswick  and  confided  to  him  the  technical 
education  of  the  future  great  musician.  They  at 
once  set  out  on  a  tour  to  Russia^  Spohr  getting 


iniftraction  at  tiie  placet  where  the  jooney  was 
brdcen,  but  otherwise  profiting  chiefly  by  hearing 
bis  master.    In  his  autobiography  he  speaks  very 
highly  of  Eck  as  a  violin-player.     He  describes 
his  style  as  powerful  without  harshness,  exhibit- 
ing a  great  variety  of  subtle  and  tasteful  nvanca, 
irreproachable    in   his    execatiou     of  difficult 
passages,  and  altogether  possessing  a  great  and 
peculiar  charm  in  performance.     On  the  other 
hand,  Eck  was  evidently  an  indifferent  musicisn. 
unable  to  enter  into  the  compositions  of  the  great 
masters,  and  showing  great   incapacity  in  his 
own  attempts  at  composition.     That  he  was  not 
ashamed  to  pass  off  unpublished  compositions  of 
his  brother  and  other  compoeera  under  his  own 
name  oonRrms  the  low  estimate  of  his  general 
character  to  be  gathered  frt>m  Spobr's  narrauve. 
On  arriving  at  St.  Petersburg  in  1803  he  met 
with  great  success,   and  was   appointed  Solo- 
Violinist  .to  the  Court,  but  becoming  involved 
in  a  scandalous  affair,  he  fell  into  disgrace  and 
was  transported  by  the  police  over  the  Russian 
frontier.     His  health  broke  down  and  he  became 
insane.    After  living  for  some  time  near  Nancj 
he  appears  to  have  died  in  a  lunatic  asyliun  a; 
Bamberg  in  1809  or  10.     £ck*s  importance  in 
musical  history  rests  mainly  on  the  fact  of  bis 
having  been  the  master   of  Spohr,   and  thus 
having  handed  over  to   that    great  artist  the 
traditions  and  principles  of  the  celebrated  Mann- 
heim school  of  violin-playing.  [Pl^] 
ECKERT,  Cabl  Anton  Floriak.  violini^o, 
pianist,  composer,  and  conductor,  bom  at  Potsdam 
Dec.  7,  I  Sao.     Left  an  orphan  at  an  early  »^ 
he  was  brought  np  in  barracks  by  his  fatheri 
comrades,  but  owed  his  education  to  Hofrath 
Forster  of  Berlin.     His  early  ability  was  remark- 
able, not  only  as  a  player,  but  as  a  composer. 
By  the  age  of  10  he  had  completed  an  opera, 
by  13  an  oratorio,  and  by  ao  another,  and  both 
these  were  performed,  and  are  warmly  praised  in 
the  A.  M.  Z.  of  the  time.   He  studied  under  various 
musicians,  and  in  1839  had  the  good  fortone  to 
become  a  pupil  of  Mendelssohn  s  at  Leipzig.  With 
characteristic  sympathy  for  talent  MendelsBohn 
gave  him  great  encouragement,  attached  himself 
warmly  to  him,  spoke  of  him  as  'a  sound,  pnctical 
musician,*   and  corresponded  with  him.'    His 
oratorio  'Judith'  was  performed  by  the  'Sing- 
Akademie*  in  Berlin  in  1 841,  and  in  the  follow- 
ing year  the  King  of  Prussia  sent  him  to  Italy 
for  two  years.     On  his  return  he  composed  an 
opera,  'Wilhelm  von  Oranien,*  which  was  suc- 
cessfully performed  in  B  rlin  (1846)  and  at  the 
Hague  (1848).     In  51  he  became  aooompanyist 
to  the  Italian  theatre  in  Paris,  then  accompanied 
Sontag  on  her  tour  in  the  United  Stotes,  return- 
ing to  Paris  in  5a  as  conductor  of  the  Italian 
Opera.     In  54  he  was  called  to  Vienna  to  take 
the  direction  of  the  Court  Opera,  a  post  which 
he  filled  with  great  ability  and  distinction.    But 
none  of  these  things  could  satisfy  him,  and  -n 
61   he  went  to   Stuttgart  as  Capellmeister  in 
Kiicken  s  place.     This  too  he  threw  op  in  07 ; 

1  See  an  excellent  leUer  (Jan.  26.  IMS)  fbll  of  Uad  Miinf  um  tte 
most  jndidoas  adTtoe  and  enooarainwDt. 


^CKJERT. 

but  in  68  he  was  soddenly  appinnted  to  the  hetA 
directorship  at  Berlin  in  place  of  Dom,  who  was 
peiuioned  to  make  way  for  him.  This  post  he 
stUl  retains.  Eckert  is  one  of  the  first  condnctors 
of  the  daj,  but  as  a  oompoBer  he  is  hardly  destined 
to  live.  He  has  composed  three  operas,  much 
church  music,  a  symphony,  a  trio,  and  many 
pieces  of  smaller  dimensions  ;  but  none  has 
made  anything  that  can  be  called  an  impression, 
unless  it  be  a  few  songs  and  a  fine  TiolonoeUo 
enncerto.  llieiie  mnst  be  something  yacillating 
and  wanting  in  earnestness  in  the  nature  of  the 
man,  to  have  so  sadly  disappointed  the  fair  hopes 
entertained  of  him  by  Mendelssohn  in  the  outset 
of  his  career.  [M.C.C.] 

ECOSSAISE.  A  danoe,  as  its  name  implies, 
of  Scotch  origin.  It  was  at  first  accompanied  by 
the  bagpipes,  and  in  its  original  form  was  in  3-2 
or  2-4  time.  The  modem  Ecossaise,  however,  is  a 
Epedee  of  oontredanse  in  quick  3-4  time,  oonsist- 
iog  of  two  four-bar  or  eight-bar  sections,  with 
repeats.  Franz  Schubert  has  written  a  number 
of  Ecoesaisee  for  the  piano,  which  will  be  found 
in  his  ope.  18,  33,  49,  and  67.  The  following 
example  of  the  first  part  of  an  Eoossaise  dates 
from  the  commencement  of  the  last  century. 


tSLERT. 


4S3 


43!  f  -fir  f\t  iji-rrni 


^ 


m 


± 


i 


[E.P.] 

EDINBURGH  PROFESSORSHIP  OF 
MUSIC.  Founded  by  G^eral  John  Reid,  who 
died  in  1807,  leaving  funds  in  the  hands  of 
trustees  for  various  purposes,  amongst  others 
lor  endowing  a  chair  of  music  in  the  University, 
sod  founding  a  concert  to  be  given  annually  on 
his  birthday,  Feb.  13,  in  wUob  a  march  and 
minuet  of  his  composition  should  be  included 
'to  show  the  taste  for  music  about  the  middle 
c^  the  last  century,  and  to  keep  his  name  in 
remembrance.'  The  Profe^orship  was  fbunded 
in  Dec.  1839,  and  Mr.  John  Thomson  was  the 
first  professor.  He  was  succeeded  in  1841  by 
Sir  H.  R.  Bishop;  in  1844  by  Henry  Hugo 
Pieraon ;  in  1845  by  'John  Donaldson :  and  in 
1865  by  Herbert  (now  Sir  Herbert)  S.  Odceley. 
The  portion  of  the  Reid  bequest  set  apart  for 
monad  purposes  is  j8  28,500,  the  annual  revenue 
from  which  is  divided  as  follows: — professor, 
£420;  assistant,  £200;  class  expenses,  £100; 
expoises  of  the  Concert,*  £ 300.  A  sum  of  £ 3,000 
was  bequeathed  in  1871  by  Signor  Theophile 
Bacher  to  be  applied  to  bursaries  or  scholar- 
ships ;  but  this  will  not  come  into  operation  till 
the  death  of  an  annuitant.  The  class  fee  for  the 
session  is  3  guineas.  The  duties  of  the  professor 
ocmast  in  lectures  and  oigan  performances  on  an 
<srgan  built  by  Hill  of 'London  at  the  instance  of 
Professor  Donaldson,  and  placed  in  the  Class 

1  Thcra  mu  a  aavere  contest  for  tiM  Chair  on  Uiis  occasion ;  and 
Rendale  Bennett  wa«  among  the  candidates.  Besides  the  organ 
mrotioDed  in  the  text  Professor  DonaldMn  fumUhad  thetoetora-room 
vith  toMM  enodlent  aoonsUcal  qpiNuratua. 


Rooms  at  Park  Place,  which  were  oonstructed 
at  a  cost  of  £10,000.  including  the  organ.  The 
Concert  takes  place  at  the  Music  HaU.  [O.] 

EDWARDS,  RicHABD,  a  native  of  Somersets 
shirs,  bom  in  1523.  He  was  educated  under 
Geoige  Etheridge,  'one  of  the  most  excellent 
vocal  and  instrumental  musicians  in  England* — 
of  whom  however  nothing  more  is  known.  On 
May  II,  1540,  he  was  admitted  a  scholar  of 
Corpus  Christi  Colleee,  Oxford.  In  1547,  on 
the  foundation  of  Christ  Church  College,  he 
became  a  student  there,  and  in  the  same  year 
graduated  as  M.  A.  Antony  Wood  says  he  was 
also  a  member  of  linooln's  Inn.  In  1563  he 
wasappointed  Master  of  the  Children  of  the  Chapel 
Royal  in  succession  to  Richard  Bower.  Edwardii 
was  the  compiler  of  and  chief  contributor  to  the 
collection  of  poems  called '  The  Paradise  of  Dainty 
Devices,'  which  was  not  however  published 
until  1576,  ten  years  after  his  death.  He  was 
the  author  of  two  dramatic  pieces,  viz.  '  Damon 
and  Pythias,*  ahd  '  Palamon  and  Arcite  * ;-  the 
first  was  acted  at  Court,  and  the  second  before 
Queen  Elizabeth  in  the  Hall  of  Christ  Church, 
Oxford,  Sept.  3,  1566.  This  performance  so 
pleased  Elizabeth  that  she  sent  for  the  author 
and  'gave  him  promise  of  reward.*  Unless 
however  this  promise  was  very  promptly  ful*; 
filled  it  must  have  been  profitless  to  Edwards, 
as  he  died  on  October  31  following.  But  few 
examples  of  his  skill  in  composition  ronain. 
The  beautiful  part-song,  '  In  going  to  my  naked 
bed,'  has  been  oonjecturally  assigned  to  him  by 
Sir  John  Hawkins,  and,  as  it  is  certain  that  he 
wrote  the  verses,  it  is  highly  probable  that  he 
also  composed  the  music,  but  there  is  no  proof 
of  it.  His  charming  little  poem  'The  SouVs 
Knell,*  said  to  have  been  written  on  his  death 
bed,  is  still  admired.  [W.  H.  H.] 

EGAN,  EuoSNB  NioBOLAS,  an  Irishman, 
built  an  organ  for  Lisbon  Cathedral  about  1 740. 
He  was  scarcely  four  feet  high ;  but  by  dint  of 
skill  obtained  the  preference  over  seven  rival 
competitoiB.  [Y.deP.] 

EGMONT.  Beethoven's  music  to  Goethe*a 
tragedy  of  Esmont — an  Overture,  a  Soprano 
songs,  4  Entractes,  Clara's  death,  a  melodram, 
and  a  Finale,  10  numbers  in  all — is  op.  84,  and 
was  written  in  1809  and  10,  the  overture  ap* 
parently  last  of  all.  The  conclusion  of  the 
overture  is  identical  with  the  finale  to  the 
whole.  The  pieces  which,  according  to  his 
custom,  Beethoven  was  elaborating  at  the  same 
time,  are  the  Quartet  in  F  minor  (op.  9O,  the 

I.    It 


Goethe  songs,  and  the  Bb  Trio  (op.  97). 
first  performed  on  May  24,  1810,.  probably  in 
private.  To  enable  the  music  to  be  performed 
clear  of  the  play,  verses  have  been  written  with 
the  view  of  connecting  the  movements,  in  Ger- 
many by  Mosengeil  and  Bemays,  and  in  England 
by  Mr.  Bartholomew.  [G.J 

EHLERT,  LuDWio,  bom  at  Kouigsberg  1825, 
pianist  and  composer,  but  chiefly  known  as  a 
cultivated  critic  and  litterateur.  His  'Briefe 
iiber  Musik'  (Berlin,  1859)  contain  notices  of 

Ii2 


m 


jRTTTiEiRxd 


EITNEB. 


Beethoven,  Mendelssohii,  Schtimaim,  Wagner, 
Weber,  Schubert,  Chopin,  Berlioz,  and  Meyer- 
beer, which,  without  being  technical,  are  often 
happily  characteristic.  These  have  been  trans- 
lated into  English  by  F.  B.  Bitter  (Boston,  U.  S., 
1870).  Still  more  vaJuable  is  his  last  publication, 
'  Aus  den  Tonwelt*  (1877),  containing  his  latest 
contributions  to  the  '  Deutsche  Bundschau/  etc. 
His  compositions  are  ambitious,  and  embrace 
overtures  to  'Hafiz*  and  *The  Winter*s  Tale,'  a 
*  Spring  syniphony* — performed  with  success  at 
Berlin  and  Leipzig — a  Sonate  romantique.  Lieder, 
etc.  [M.C.C.] 

BIN*  FES'TE  BXJBG,  Luther's  version  of 
Psalm  xlvi.  The  hymn  was  probably  written  at 
Cobuig  1530;  the  tune  seems  to  have  appeared 
first  in  '  Psalmen  und  geistliche  Lieder,'  Strass- 
buig,  Wol^ang  Kophl,  probably  1538.  The 
form  of  the  tune  now  in  use  is  that  given  by 
Sebastian  Bach  in  various  cantatas,  especially  in 
that  for  the  'Festo  Beformationis'  (Bachgesell- 
schaft,  xviii.  No.  80),  and  differs  somewhat  from 
Luther's  original.  The  words  have  also  been 
modernised.  We  give  both  words  and  melody  in 
their  first  shape  from  von  Winterfeld'*  'Luther's 
deutsche  geistliche  Lieder«* 

B 


n 


et 


Tzuszzzsz: 


± 


5s: 


zzi 


± 


S 


3a: 


Xia    tat  -  tb    buiv 
Ir     bllilt  una  tngf 


ist 


er 


Oott. 
nott 


32: 


± 


I  i^p 


:a: 


g 


Ein 


gn   - 


to     wehr     and 
Itit  hat       )M    - 


22: 


i 


fen. 
fan. 


dar 


•It 


M   •    n  fsind.  mlt  enMfc  ert  Itst  melnt. 


-fi»- 


2a: 


-<s»- 


^^     ^-> 


-^  ■  ■  ^    ^ 


-a^ 


Grot  macht  and   rlel    lUt,    Mln  emus  -  am    rOstang     bt ; 


AulT  erd      1st    nieht   seins 


glelch 


•   *   en. 


The  tune  has  been  used  as  the  foundation  of 
various  pieces  of  music,  such  as  Bach's  cantata 
just  referred  to;   the  Finale  of  Mendelssohn's 


Meyerbeer  in  the  Huguenots.  [G.] 

EISTEDDFOD  (Welsh,  'a  sitting  of  learned 
men').  These  musical  and  literary  festivals  and 
comnetitions  originated  in  the  triennial  assembly 
of  the  Welsh  bards  usually  held  at  Aberfiraw, 
the  royal  seat  of  the  Princes  of  North  Wales 
and  Anglesey,  at  Dynevor  in  South  Wales,  and 
at  Mathravael,  Merionethshire,  for  the  regulation 
of  poetry  and  music,  for  the  conferring  of  de- 
grees, and  electing  to  the  chair  of  the  Eistedd- 
iod.  The  antiquity  of  this  ceremony  is  very 
high,  mention  b^ing  made  of  an  Eisteddfod  in 
the  7th  century  at  which  King  Cadwaladr  pre- 
sided. Those  bards  only  who  acquired  the  degree 
of  'Pencerdd'  (chief  minstrel)  were  authorised 
to  teachy  and  the  presiding  bard  was  called 


Bardd  Oadeiriawg — the  bard  of  the  chair — ^be 
cause  after  election  he  was  installed  in  a  magni 
fioent  chair,  and  was  decorated  with  a  silver  o* 
gold  chain,  which  he  wore  on  hia  fareiiat  as  a 
badge  of  office.    His  emoluments  from  fees  were 
considerable.     Persons  desiring  to  take  degreei 
in  music  were  presented  to  the  Eisteddfod  by 
a  Pencerdd,  who  vouched  for  their  fitness,  the 
candidates  being  required  to  pass    through  s 
noviciate  of  three  years,  uid  to  study  for  furthex 
several  periods  of  three  years  before  advancement 
to  each  of  the  three  higher  degrees.     It  ia  now 
difficult  to  define  the  status  of  the  titles  oonferrt'd, 
but  they  cannot  be  considered  more  than  historical 
names  or  complimentary  distinctions,  often  be- 
stowed by  the  Eisteddfodau  upon  posons  vrho  had 
but  little  knowledge  of  music.    After  bein^  dis- 
continued for  some  time  the  Eisteddfodau  appear 
to  have  been  revived  in  the  reigns  of  Edward  I V, 
Henry  VII,  Henry  VIII,   and  Elisabeth.      In 
1450  what  has  been  called  'The  great  Eistedd- 
fod of  Carmarthen,'  was  held  in  that  town,  with 
the  king's  sanction;   and  another  meeting  was 
held  in  South  Wales  in  Henry  VH's  reign,  of 
which  no  records  are  preserved.     In  15^3,  at 
Caerwys,  Flintshire,  an  Eisteddfod  was  held,  at 
which  many  eminent  men  were  present ;   and  on 
May  36,  1567,  there  was  another  at  the  same 
place,  under  a  oonmiission  granted   by  Queen 
Elizabeth.      Still    more    memorable    was    the 
congress  at  Bewpyr  Castle  in  1681,  under  the 
auspices  of  Sir  Kichard  Bassett     In  1771  the 
Gwyneddigion^  a  society  established  in  London 
for  the  cultivation  of  the  Welsh  language,  pro- 
moted several  of  these  meetings  in  North  Wales ; 
and  in  1 819  the  Cambrian  Society  held  a  great 
Eisteddfod  at  Carmarthen,  at  which  the  Bishop 
of  St.  David's  presided.    Mr.  John  Parry,  who 
was  a  chief  promoter  of  this  society,  and  its' 
registrar,  edited  the  Welsh  melodies  for  it,  and , 
in  recognition  of  his  efforts  a  concert  was  givoi 
to  him  at  Freemasons'  Hall  on  May  24,  1826,  at  1 
which  Miss  Stephens,  Braham,  Mori,  Lindleyf, 
and  others  assisted,  followed  by  a  dinner,  at 
which  Lord  Clive  presided.    In  later  years  the  | 
revival  of  these  meetings  was  promoted  by  Sirj 
Benjamin  Hall  (aftonvards  LordLlanover)  •  and 
at  one  of  them,  held  in  i8aS  at  Denbigh,  the 
Duke  of  Sussex  was  present,  and  Sir  Edward 
Moetyn  president.     The  Eisteddfodau  are  now 
annually  held  at  several  places  in  the  Principality,  { 
the  leadiqg  Welsh  musicians,  including  Mme, 
Edith  Wynne  and  Mr.  Brinley  Richards,  taking 
part  in  the  concerts,  which  usually  follow  the 
competitions  for  the  prizes.    There  is  no  special 
day  for  holding  the  Eisteddfod,  but  according 
to  an   ancient  regulation  the  meeting  is  not 
considered   Megal     unless  it    be  proclaimed  a 
twelvemonth  and  a  day.    Strictly  speaking,  the  1 
Eisteddfodau  are  no  longer   'national,'  except 
that  they  are  held  in  Wales,  and  retain  some 
of  the   quaint  formalities  which   marked  the 
ancient  meetings.  [CM.] 

EITNER,  Robert,  bom  at  Breslau,  Oct.  «, 
1832,  now  living  in  Berlin;  founder  in  1S6S  of  the 
'Gesellsohaft  tva  Musikforschung/  and  contri- 


EITNER, 

brtor  to  the  yalaable  historical  periodical  'Mo- 
utbhefte  ft&r  Musikgeechichte.*  He  edited  a 
*  Vefxeichniss  neaer  Ausgaben  alter  Musikwerke 
...bis  zum  Jahre  1800*  (Berlin  1 871),  which 
tboogfa  singularly  defective  as  regards  the  Eng- 
lish *  School,  is  a  useful  catalogue.  More  re* 
cently  he  edited,  in  conjunction  with  Haberl, 
LaDgerberg,  and  C.  F.  Pohl,  a  valuable  'Biblio- 
gnphie  der  Musik-Sammel-werke  des  16  und 
17  J&hrhunderts'  (Berlin  1877).  His  papers 
on  Peter  Sweelinok  (Berlin  1870)  and  Arnold 
ScUick  are  of  importance.  [F.  G.] 

ELECTTRIC  ACTION.  Under  the  head  KeT- 
yoTEMEKT  a  description  is  given  of  the  usual 
fonns  in  which  communication  is  established 
between  the  claviers  of  an  organ  and  the  sound- 
b:iard  pallets  which  admit  wind  for  the  service 
of  the  pipes. 

There  are  some  situations,  however,  in  which 
it  is  difficult  or  even  impossible  to  establish  a 
ntisfactory  connection  by  means  of  the  ordinary 
mechanism ;  or  if  possible  is  scarcely  desirable 
on  account  of  drawbacks  which  may  easily  be 
foreseen.  Apart  fix>m  the  tendency  to  derange- 
ment inevitable  in  the  numerous  parts  of  an 
extended  movement  of  the  kind  under  con- 
^deration,  the  trackers  whoi  so  very  long  are 
apt  to  expand  with  the  damp  and  shrink  with 
the  drought ;  and  if  in  tracker-work,  traversing 
ft  distance  of  30  feet  or  more,  the  total  alteration 
amounts  to  no  more  than  one  eighth  of  an  inch, 
that  is  quite  sufficient  to  cause  a  thorough  dis- 
urangement.  The  normal  depth  for  the  touch 
of  an  organ  is  three  eighths  of  an  inch.  If 
ledaoed  by  one  eighth — to  a  quarter  of  an  inch — 
the  pallets  are  opened  imperfectly,  the  wind  ad- 
mitted is  insufficient,  and  the  organ  sounds  out 
of  tune :  if  increased  by  that  much — ^to  half  an 
inch— some  of  the  pallets  are  drawn  slightly  open, 
and  hummings  or  '  cypherings'  are  the  result. 

Some  other  means  of  communication,  which 
slioald  if  possible  be  less  under  the  influence 
of  atmospheric  variation,  and  therefore  better 
adapted  to  withstand  the  frequent  sudden  dianges 
of  oar  climate,  as  well  as  for  other  reasons,  thus 
l)e<^une  a  great  desideratum,  and  two  were 
devised — first  the  '  electric  action/  and  then  the 
'pneumatic  tubular  transmission  system.' 

The  earliest  patent  for  anything  like  electric 
action  was  taken  out  by  the  late  Dr.  Grauntlett 
in  1 85 1,  who  proposed  erecting  in  the  Great 
Exhibition  of  that  year  &csimiles  of  the  eight 
most  cdebrated  organs  in  Europe,  and  playing 
them  all  together  or  separately  from  the  centre 
of  the  building  by  electric  agency ;  but  the 
enggestion  was  not  favourably  received.  In  1 863 
Kr.  (joundry  patented  an  elaborate  electric 
system;  and  in  68  Mr.  Barker  protected  his 
'electro-pneumatic  system*  for  opening  pallets, 
drawing  stops,  etc. ;  since  then  Messrs.  Bryceson' 

>  B»  onito  aU  mention  of  the  eolleetlom  of  Barnard  asfl),  Boyoa 
Q  H>:7.  and  Arnold  GTMX  as  weB  as  Horley's  Triumphs  of  Oriana  aooi). 
Th«  tuMtie  of  BrToeson— now  Mains.  Brroeson  Brotiters  k  Morten— 
•u  foamiad  In  119S  bj  Baary  Brroeson.  Amongst  their  instruments 
lurbe  meotioned  those  at  the  Gmt  Conoeri  Hall.  Brighton;  the 
rn>^«thcdral.  Kensington ;  St.  Michael's^  GomhUl :  St.  Peter  and 
K.FM1I.  Ottk;  and  thatfor  Mr.Uoinei,  Primraa  Ulll  Bead. 


ELFORD« 


185 


have  slmpliiied  the  system  by  devising  a  new 
form  of  pallet  which  offers  no  resistance  in 
opening,  and  thus  does  away  with  the  necessity 
for  the  pneumatic  bellows.  The  action  may  be 
thus  briefly  described.  Each  key  is  furnished 
with  a  rocking  lever  provided  with  a  copper 
point,  which  latter,  on  being  depressed,  is  plunged 
into  a  mercury  cell,  and  so  establishes  the  electric 
current.  The  other  end  of  the  wire  is  furnished 
with  an  electro-magnet,  acting  directly  on  the 
pallet.  The  insulated  wires  of  the  several  keys 
can  be  gathered  up  into  a  cable  not  more  than 
an  inch  in  diameter  and  carried  in  any  desired 
direction,  and  to  any  distance,  without  there  being 
any  appreciable  interval  between  the  touch  upon 
the  keys  and  the  response  at  the  pipes.  [E.  J.H.] 

ELEGY  (f\tyo$).  In  its  original  sense  a 
poem,  always  of  a  sad  and  touching  character, 
and  generally  commemorative  of  some  lamented 
decease  (e.g.  Gray's  Elegy) ;  subsequently  such 
a  poem  with  music;  and  still  more  recently  a 
piece  of  music  inspired  by  the  same  feeling  and 
suggested  by  a  like  occasion,  but  without  poem, 
or  any  words  whatever.  The  elegy  has  taken 
many  musical  forms;  that  of  the  vocal  solo, 
duet,  trio,  quartet,  etc.,  with  or  without  ac- 
companiment ;  of  the  instrumental  solo  for  the 
viohn,  pianoforte,  or  other  instrument,  and  of 
the  concerted  piece  for  stringed  or  other  instru- 
ments. One  of  the  most  beautiful  specimens  of 
the  first  class  extant  is  Beethoven's  quartet  in 
memory  of  the  deceased  wife  of  his  friend  Baron 
Pasqualati  ('Elegischer  Gresang/  op.  118).  In 
the  score  of  Handel's  '  Saul'  tiie  lament  of  the 
Israelites  over  the  king  and  Jonathan  is  entitled 
'Elegy.'  Of  the  second  we  have  Dussek's 
'El^gie  harmonique*  on  the  death  of  Prince 
Louis  Ferdinand  of  Prussia,  for  piano  solo. 
Better  known  than  either  of  these  to  the  modem 
concert-goer  is  Ernst's  'El^e'  for  violin  solo  • 
with  piano  accompaniment.  Of  the  third  class 
a  better  instance  can  hardly  be  cited  than  Mr. 
Arthur  Sullivan's  overture  '  In  Memoriam,' 
which  is  in  truth  an  elegy  on  the  composer's 
father.  LJ-H.] 

ELFOBD,  BiCHARD,  was  educated  as  a  chor- 
ister in  Lincoln  Cathedral.  His  voice  changing 
to  a  fine  counter-tenor  he  became  a  member  of 
the  choir  of  Durham  Cathedral.  About  the 
commencement  of  the  i8th  century  he  came  to 
London,  and  was  engaged  as  a  singer  at  the 
theatre.  On  August  a,  1702,  he  was  swom-in 
as  a  gentleman  of  the  Chapel  Boyal,  a  place  being 
created  expressly  for  him.  He  also  obtained 
the  appointments  of  vicar-choral  of  St.  Paul's 
Cathedral  and  lay  vicar  of  Westminster  Abbey. 
After  a  few  years  he  withdrew  from  the  stage, 
on  which  he  had  never  been  successful,  owing  to 
his  ungainly  figure  and  awkward  action.  Wel- 
don,  in  the  preface  to  the  first  book  of  his 
'Divine  Harmony'  (six  solo  anthems  composed 
expressly  for  £lford\  and  Dr.  Croft,  in  the  pre- 
face to  his  *  Musica  Sacra,'  speak  in  high  terms 
of  Elford's  voice  and  singing.  He  died  Oct. 
39.1714.  [W.H.H.] 


489 


ISLUAH. 


ELIJAH  (Eliat  in  German) — ^'an  oratoi4o  on 
words  from  the  Old  Testament'  (op.  70) — warn 
MendelBBofan*s  2nd  oratorio.  The  idea  appeaiB 
to  have  occurred  to  him  when  reading  the  pas- 
sage '  and  the  Lord  paoed  by*  (i  Kings  xix.  11). 
'  Would  not  that  be  splendid  for  an  oratorio  f ' 
said  he  to  Hiller.  This,  if  the  case,  must  have 
been  before  Nov.  a,  1838,  when,  from  his  letter  to 
Bchubring,  he  had  evidently  gone  far  into  the 
subject.  The  score  has  no  dates.  On  Aug.  5, 
1846,  the  orchestral  parts  were  rehearsed  by 
Mendelssohn  at  Leipzk^ ;  Aug.  10  he  had  a  vocal 
rehearsal  at  Moscheles  house,  London ;  then  two 
full  ones  at  Hanover  Square ;  Aug.  24  a  full  re- 
hearsal at  Birmingham ;  and  on  Wednesday  the 
26th  it  was  first  performed.  Various  alterations 
and  additions  were  made  afterwards,  including 
the  trio  *Lift  thine  eyes'  and  the  last  chorus. 
He  was  helped  by  Schubring  in  the  selection  of 
the  words.  The  English  words  by  Mr.  Bar- 
tholomew were  sent  to  him  as  he  worked,  and 
were  the  subject  of  a  long  oorrespondence. 

The  first  performance  in  Germany  was  at  Ham- 
burg in  October  1847,  conducted  by  Elrebg. 

ELISA.  OU  LE  VOYAGE  AU  MONT  BERr 
KABD.  Opera  in  two  acts;  words  by  Saint- 
Cyr,  music  by  Cherubini ;  produced  at  the  Theatre 
Feydeau,  Dec  15,  1794. 

ELISI,  FiLTPPO,  a  tenor  singer  in  Italian  opera 
in  London,  1765.  Among  other  parts,  he  sang 
that  of  Enmene  in  the  pasticcio  of  the  same  name 
at  the  King's  Ilieatre  that  season.  [J.M.] 

<^£LISIB  D'AMOBE,  L',  opera  bufiG^  in  a 
acts;  libretto  by  Bomani,  music  by  Donizetti. 
Produced  at  Milan  in  1829  (?) ;  at  Lyceum, 
London,  Dec.  10,  18^.  Also,  as  The  Love 
Spell,  at  Drurj  Lane^  June  24,  1839. 

ELLA,  John,  violinist,  son  of  Richard  Ella 
of  Thirsk,  was  bom  Dec.  19,  1802.  At  the  age 
of  ip  he  quitted  the  profession  of  the  law  for 
music.  In  18  a  a  he  became  a  member  of  the 
orchestra  of  the  King's  Theatre,  and  sub- 
sequently  of  the  orchestras  of  the  Concerts 
of  Antient  Music,  Philharmonic,  etc.,  retiring 
finally  in  1848.  In  1819  he  received  lessons 
in  violin-playing  from  M.  F^y,  in  1826  he  was 
a  pupil  of  Attwood  in  harmony,  and  finally 
completed  his  education  in  counterpoint,  in- 
strumentation,  and  compositioii,  under  F^tis  at 
Paris,  1845.  In  1845  he  established,  under  the 
name  of  *The  Musical  Union,'  a  series  of 
morning  concerts  of  instrumental  diamber  music 
at  which  the  best  classical  works  have  been 
rendered  by  the  best  artiiits  native  and  foreign. 
He  has  directed  the  Musical  Union  uniuterrup- 
tedly  for  thirty-two  years.  In  1850  he  estab- 
lished a  similar  series  of  concerts  under  the 
name  of '  Musical  Winter  Evenings/  which  were 
given  annually,  under  his  direction,  until  1859, 
after  which  uey  were  discontinued.  At  botli 
these  concerts  he  introduced,  and  has  ccmtinued, 
the  I  analytical  programmes*  (wholly  written 
by  himself),  which  have  sinoa  been  frequently 
adopted  elsewhere.    He  has  contributed  many 


£L3NE& 

notices  of  mnaSc  and  musicians  to  tlie  Morning 
Post,  Musical  World,  and  Athenseum.  la 
1855  he  waa  appointed  lecturer  on  music  at 
the  London  Institution,  where  he  has  delivered 
aeveral  lectures,  some  of  which  have  been  pab* 
lished.  He  also  published  a  Personal  Memoir 
of  Meyerbeer,  with  an  analysis  of  Les  Huguenots, 
and  under  the  tide  of '  Musical  Sketches  abroad 
and  at  home,*  a  volume  of  interesting  musical 
chit-chat,  &c.    [Musical  Uniov.]      [W.H.H.] 

ELLERTON,  John  Lodge,  an  amateur  com 
poser,  bom  in  Cheshire,  Jan.  11,  1807,  wa»  a 
descendant  from  an  ancient  Irish  fiusiily.  In  hh 
childhood  he  showed  a  remarkable  fondness  ica 
music,  and  notwithstanding  bis  father's  stroni 
discouragement,  soon  attained  by  his  own  eflbni 
to  as  much  knowledge  as  enabled  him  to  pkj 
the  piano.  Being  sent  to  Oxford  (where  hi 
graduated  as  M.A.  in  1826),  he  lost  no  oppo^ 
tunity  of  pursuing  music ;  devoting  his  attentioo 
chiefly  to  composition.  Wliile  at  Oxford  b« 
composed  an  English  operetta  and  an  Italian 
opera.  On  quitting  the  university  he  went  to 
Borne,  studied  counterpoint  for  two  years  under 
a  chiyelmaster  named  Terriani,  mjad  composed 
several  operas.  Kllerton  essayed  nearly  every 
species  of  composition.  His  works  comprise  6 
anthems;  dmasses;  17  motets;  ' Paradise  Lost.' 
oratorio;  'Issipile,'  'Berenice  in  Armenia,' 
'Annibale  in  Ca^vM,'  *I1  Sacrifizitf  di  Kpito/ 
'  Andromaoca,'  '  II  Camovale  di  Venezia>'  and 
'  II  Marito  a  Vista,'  Italian  opera* ;  Carlo  Roe^ 
German  opera ;  *  Lucinda,'  *  Dominica,  *  and  '  The 
Bridal  of  Triermain,'  English  operas;  61  gleei; 
83  vocal  duets;  5  symphonies ;  4  ooncert  overture*; 
3  quintets,  44  quartets  and  3  trios  for  stringed 
instruments ;  and  8  trios  and  13  scmatas  for 
various  combinations  of  instruments.  In  1855 
and  1838  the  Catch  Club  awarded  him  prises  for 
glees.    He  died  Jan.  3,  1873.  [W.H.  H.] 

ELLIOT,  Thovab.  organ-builder,  one  of  the 
early  members  of  the  firm  of  Hill  ft  Sov. 

EI^NEB,  JosEFH,  composer,  bom  June  i, 
1769,  at  Grodgrau,  in  Silesia,  son  of  a  carpenter 
who  made  harpsichords,  harps,  and  other  musical 
instruments.  Being  intended  for  the  profesbioQ 
of  medicine,  he  had  no  r^^ular  instruction  i9 
music  beyond  a  few  lessons  in  harmony  from 
Forster,  director  of  the  theatre  at  Breslau,  but 
early  began  to  compose.  A  visit  to  Vienna 
enabled  him  greatly  to  improve  himself  by  Btud/' 
ing  classical  scores,  and  by  intercourse  with  the 
brat  musicians  of  his  time.  In  1791  he  ^'W 
appointed  first  violin  in  the  theatre  at  Brium, 
and  in  the  following  year  Capellmeister  at  Lem* 
berg,  where  he  wrote  5  operas,  4  symphonies, 
quartets,  sonatas,  eta  In  1 799  he  was  appointed 
conductor  of  the  theatre  at  Warsaw,  and  here  he 
established  himself  for  life,  composing  32  oferas 
in  the  Polish  language  within  the  space  of  20 
years.  During  a  viait  to  Paris  scxne  of  his 
compositions  were  performed  at  the  Tuilerirs. 
With  the  assistance  of  Countess  Zamoisica  he 
started  in  1815  a  society  at  Warsaw  for  the 
encouragement  of  muflic,  which  resulted  in  the 


Conieivatoire,  of  whicli  lie  became  the  first 
director  and  profeesor  of  oomposition.  This 
iiiititatioii  did  good  seryice  before  it  was  closed 
by  the  political  troubles  of  1 8.^0.  In  1834  it 
WAS  reviTed,  with  Soliva  as  director,  klsner 
CMQtinued  to  compose,  chiefly  sacred  music,  till 
i!^44,  when  he  wrote  his  'Stabat  Mater/  his 
f'i^ht  hand  being  paralysed.  He  died  in  1854. 
He  is  an  interesting  example  of  a  successful 
composer  who  learnt  oomposition  by  composing. 
His  works  are  legion  —  Operas,  ballets,  melo- 
dramasy  cantatas,  church  music,  symphonies,  and 
iDstrumental  pieces  of  all  sizes  and  kinds.  His 
operas,  immensely  popular  in  Poland,  are  light, 
and  in  the  now  old-&8hioned  style  of  Paer  and 
Mayer.  His  part-writing  is  easy  and  natural, 
but  without  any  great  originality  or  variety, 
while  his  fugues  betray  the  want  of  sound  in- 
struction. His  church  -music  in  general  is  perhaps 
too  dramatic.  He  wrote  two  little  treatises 
on  the  adaptability  of  the  Polish  language  to 
music.  LM.C.C] 

ELYEY,    Sib  Gborgk  Job,  Knight,  Mus. 
Doc.  was  bom  at  Canterbury,  March  27,  1816. 
He  oonunenoed    his    musical    education    as    a 
chorister  of  Canterbury  Cathedral  under  High- 
mate  Skeats,  the  organist.    Afier  quitting  the 
choir  he   pursued  his  studies  under  his    elder 
brother,  Stephen.     In  1834  he  gained  the  Ores- 
ham  prize  medal  for  his  anthem,  <Bow  down 
Thine  ear.*    In  1 835  he  was  appointed  to  succeed 
Skeats  as  organist  of  St.  George's  Chapel,  Wind- 
tor.    In  1838  he  graduated  as  Bachelor  of  Music 
at  Oxford,  his  exercise  being  a  short  oratorio, 
'The  Resnrrection  and  Ascoision,*  which  was 
afterwards  produced  in  London  by  the  Sacred 
Harmonic  Society  on  Dec.  a,  1840,  and  has  also 
been  given  at  Boston,  U.  S.  A.,  and  at  Glasgow. 
In  1840  he  proceeded  Doctor  of  Music,  his  exercise 
being  an  anthem,  '  The  ways  of  Zion  do  mourn.* 
He  composed  an  anthem  lor  voices  and  orchestra 
'The  Lord  is  King*  for  the  Glouoester  Musical 
Festival  of  1853,  and  a  similar  one,  *Sing,  O 
heavens,'  for  tiie  Worcester  Festival  of  1857. 
Elvey's  compositions  are  entirely  for  the  church ; 
many  of  his  anthems  are  published.    He  com- 
posed a  Festival  March  for  the  wedding  of  the 
Princess  Louise  in  1 871,  which  was  afterwards  per- 
formed in  public.    In  the  same  year  he  received 
the  honour  of  km'ghthood.      His  tune  for  the 
harvest  hvnm,  *  Come,  ye  thankful  people,*  is 
generaUy  idmired.  [W.  H.  H.] 

ELVEY,  Stepheb,  Mus.  Doo.,  the  elder 
brother  of  the  preceding,  was  bom  in  Canterbury, 
June  97, 1805.  He  was  entered  as  a  chorister  of 
the  cathedral  under  Skeats,  whose  pupil  he 
continued  after  the  breaking  of  his  voice.  On 
the  death  of  Alfred  Bennett  in  1830,  Elvey  was 
appointed  his  successor  as  organist  of  New 
College,  Oxford.  In  the  following  year  he  took 
the  (kgree  of  Bachelor  of  Music  at  Oxford,  his 
exerciiie  being  the  hymn  from  Thomson's  *Sea- 
lona,'  *  These  as  they  change.'  In  1 838  he  pro- 
ceeded Doctor  of  Music,  his  exercise  being  an 
•nthem,  '  Great  is  the  Lord  V    He  was  Choragus 


ELY  CATHEDRAL. 


487 


of  the  University  from  18^0  till  his  death, 
Oct.  6,  i860.  Stephen  Elvey  s  compositions  are 
not  numerous ;  they  consist  chiefly  of  chants  and 
services.  His  Evening  Service,  composed  in  con- 
tinuation of  Dr.  Crofi's  Morning  Service  in  A, 
and  his  *  Psalter  and  Canticles  pointed*  (Oxford, 
Parker),  are  well  known.  Some  years  before 
his  death  he  had  to  submit  to  the  amputa- 
tion  of  a  leg,  through  a  gun  accident  whilst 
shooting.  [W.H.H.] 

ELWART,  Aktotks  Aihabue  Elie,  learned 
musician,  composer,  and  author,  of  Polish  origin, 
bom  in  Paris  Nov.  18,  1808.  He  was  originally 
a  chorister  in  the  church  of  St.  Eustache,  but  at 
13  his  father  apprenticed  him  to  a  packing-case 
maker,  fix>m  whom  he  ran  away  and  supported 
himself  by  playing  in  the  orchestra  of  a  small 
theatre  on  the  Boulevards.  He  became  a  pupil 
of  the  Conservatoire,  learning  oomposition  under 
F^tis.  In  1838,  when  in  Leeueur*s  class,  he 
founded  'concerts  d*^mulation*  among  the  pupils, 
which  continued  for  six  years,  and  proved  most 
useful  to  the  students  in  composition  as  well  as 
to  the  soloists.  In  1831  he  obtained  the  secpnl 
prise  for  composition,  and  in  1834  the  'Grand 
Prix  de  Borne.*  While  at  Rome  he  composed, 
amongst  other  things,  an  'Omaggio  alia  memoria 
di  Bellini,*  performed  at  the  Teatro  Valle  in 
1835.  In  1836  he  resumed  his  post  of  assistant 
professor  to  Iteicha  at  the  Conservatoire.  He 
conducted  the  concerts  in  the  Rue  Vivienne, 
and  those  of  the  Soci^t^  de  Ste.  C^cile.  Elwart 
was  for  long  professor  of  harmonv  at  the  Con- 
servatoire ;  after  the  war  of  1870  ne  retired  into 
private  life,  and  died  Oct.  14,  77.  Among  his 
compositions  may  be  specified — the  oratorios 
'No^*  (Paris  1845)  '^  '^  Naissance  d*Eve* 
(1846) ;  an  opera  'Les  Catalans*  (Rouen) ;  and 
choruses  and  instrumental  music  for  the  Alcestis 
of  Euripides^  performed  at  the  Od^on;  besides 
other  operas  not  produced,  symphonies,  overtures, 
string  quintets,  quartets,  and  trios,  masses,  and 
other  church  music.  He  has  written  a  life  of 
Duprea  (Paris,  1838);  a  'Petit  Manuel  d*harmo- 
nie  (Paris,  1839),  translated  into  Spanish,  and 
in  use  at  the  Madrid  Conservatoire ;  *  Le  Chanteur 
aooompi^nateur*  (Paris  1844);  'Traits  du  oon- 
trepoint  et  de  la  fugue'  (Paris),  and  other 
theoretical  works.  He  completed  the  'Etudes 
^^nientaires  de  musique*  of  Burnett  and  Damour 
(Paris  1845),  and  contributed  articles  on  musical 
subjects  to  the  '  Encydop^die  du  dix-neuvi^me 
si^e*  and  to  the  'Revue  et  Gazette  musicale 
de  Paris.*  His  '  Histoiie  de  la  Society  des  Con- 
certs'  and  'Histoire  des  Concerts  populaires*  are 
two  oompendiums  of  useful  and  interesting  matter. 
Though  independent  and  eccentric,  Elwart  was 
both  esteemed  and  liked.  [M.C.C.] 

ELY  CATHEDRAL.  The  music  library  of 
this  church  contains  a  very  valuable  and  interest- 
ing collection  of  MSS.,  principally  of  English 
church  music,  due  chiefly  to  the  pious  care  and 
industry  of  James  Hawkins,  its  organist  for  47 
years  from  i68a.  It  consists  of  36  volumes — 21 
of  anthems,  services,  and  chants,  in  score,  11  of 


488 


ELY  CATHEDRAL. 


voice  parts,  and  4  of  organ  partg.  The  number 
of  compositions  is  over  580,  and  includes  some  of 
large  dimensions,  as  Handel's  Utrecht  Te  Deum 
and  Jubilate  for  voices  and  orchestra,  Croft's 
ditto,  ditto.  A  catalogue  of  these  works  was 
prepared  by  the  Rev.  W.  E.  Dickson,  Precentor 
of  the  cathedral,  and  published  for  the  Dean  and 
Chapter  by  Deighton,  Bell,  &  Co.,  i86i. 

EMBOUCHURE.  The  part  of  a  musical  in- 
strument applied  to  the  mouth ;  and  hence  used 
to  denote  the  disposition  of  the  lips,  tongue,  and 
other  organs  necessary  for  producing  a  musical 
tone. 

To  the  embouchure  are  due,  not  only  the  correct 
quality  of  the  sound  produced,  but  also  certain 
slight  variations  in  pitch,  which  enable  the 
player  to  preserve  accurate  intonation.  In  many 
instruments,  such  especially  as  the  French  horn 
and  the  Bassoon,  almost  everything  depends 
upon  the  embouchure.  [W.H.S.] 

EMPEROR  CONCERTO.  THE.  a  title,  Uke 
'Jupiter  Symphony*  and  'Moonlight  Sonata,' 
gratuitously  bestowed  on  Beethoven's  P.  F.  Con- 
certo in  £b  (op.  75).  Such  titles  are  unneces- 
sary, and  the  only  excuse  for  them  is  that  they 
enable  non-professional  persons  to  refer  to  musical 
works  without  using  musical  nomenclature. 

EMPEROR'S  HYMN,  THE.  A  hymn 
written  in  1796  by  Lorenz  Leopold  Haschka 
during  the  patriotic  excitement  caused  by  the 
movements  of  the  French  revolutionary  army, 
set  to  music  for  4  voices  by  Haydn,  and  first 
sung  on  Feb.  1 2, 1 797,  at  the  Emperor's  birthday. 
He  afterwards  employed  it  as  the  theme  for  4 
variations  in  his  weU- known  quartet  (op.  76, 
No.  3).  (See  A.  Schmid,  'J.  Haydn  und  N. 
Zingarelli/  Venice  1847.) 

ENCORE— the  French  for  'again'— the  cry 
in  English  theatres  and  concert-rooms  when  a 
piece  is  desired  to  be  repeated.  It  has  taken 
the  place  of  the  'altra  volta'  of  last  oentuiy. 
The  French  and  Germans  use  the  Italian  term 
'  Bis,'  and  the  French  have  even  a  verb, '  bisser.* 
*Le  public  anglais  est  grand  redemuideur,  et 
exprime  son  vceu  par  un  mot  fran^ais,  comme 
nous  par  un  mot  latin'  (A.  Adtaa,  Souvenirs, 
xxvii.). 

ENFANT  PRODIGUE,  L\  opera  in  5  acts; 
words  by  Scribe,  music  by  Auber ;  produced  at 
the  Acad^mie  Deo.  6.  1 850 ;  in  Italian,  as  '  U 
Prodigo/  at  her  Majesty's  June  12,  1851. 

ENGEDI.    See  Mouwt  of  Olives. 

ENGLAND,  Geobgb,  and  Geobge  pike  (his 
son),  oigan-bullders.  The  former  flourished  be- 
tween 1740  and  1788,  and  married  the  daughter 
of  Richard  Bridge ;  the  latter  between  1 788  and 
1 8 14.  The  elder  England  built  many  noble 
organs.  Of  Bridge  little  is  known ;  he  is  believed 
to  have  been  trained  by  Harris  the  younger,  and 
to  have  lived  in  Hand  Court,  Holbom.  in  1748. 
His  best  organ  was  at  Christ  Church,  Spitalfields, 
1730-  [V.deP.]  j 


ENGLISH  OPERA. 

ENGLISH  HORN.  The  tenor  oboe  in  F, 
intermediate  between  the  ordinary  oboe  and  the 
bassoon.  It  seems  in  great  measure  to  have 
superseded  an  older  instrument,  the  Como  di  cac- 
cla,  which  occurs  in  the  scores  of  Bach,  and  which 
was  curved  back  on  itself  Uke  a  bassoon,  or  at 
an  obtuse  angle.   [See  Cob  Anglais.]   [W.H.S.] 

ENGLISH  OPERA.  An  English  opera  may 
be  defined  as  a  regular  drama,  the  moat  important 
parts  of  which  are  set  to  music  and  sung,  the 
subordinate  parts  being  spoken  as  ordinary 
dialogue,  as  in  Grerman  and  French  operas.  It 
difiers  fh)m  a  musical  play  in  the  fact  that  in 
most  cases  the  musical  pieces  may  be  omitted 
firom  the  play  without  interrupting  the  progrras 
of  ther  action,  whilst  in  an  opera  they  form  inte- 
gral and  essential  portions  of  it.  The  exceptions 
from  this  rule  will  be  noticed  presently. 

The  earliest  instances  of  the  alliance  of  music 
with  the  English  drama  are  probably  to  be  found 
in  the  mysteries,  or  miracle-plays,  anciently  per- 
formed at  Coventry,  Chester,  and  other  places. 
As  the  drama  became  developed,  the  association 
of  music  with  it  became  closer  and  more  frequent. 
In  several  of  Shakspere's  comedies  the  songs, 
etc.,  are  absolutely  essential  to  the  piece,  and 
cannot  be  omitted.     Witness  particularly  'The 
Tempest,'  *  As  You  like  It/  'Twelfth  Night,' and 
'A  Midsummer  Night's  Dream.*   In  the  masques 
performed  at  court,  temp.  James  I  and  Charles  I, 
a  nearer  approach  was  made  to  the  opera — ^poetry, 
music,   scenery,   machinery,   and    characteristic 
dresses  and  decorations  being  combined  in  them. 
Alfonso  Ferrabosco  junior,   Laniere,  Coperano, 
Robert  Johnson,  Campion,  Simon  Ives,  and  Wil- 
liam and  Henry  Lawes,  were  the  principal  com- 
posers employed.    The  first  approaches  towards 
the  revival  of  dramatic  entertainments,  which 
had  been  suspended  by  the  closing  of  the  theatres 
during  the  Civil  War,  were  made  during  the 
interregnum  through  the  medium  of  musical  pieces. 
On  March  26,  1653,  Shirley's  masque,  *  Cupid 
and  Death,'  with  music  by  Matthew  Locke,  was 
performed  before  the    Portuguese   ambassador. 
Three  years  later  Sir  William  Davenant  gave, 
in    a    semi-public  manner,    'The    First   Day's 
Entertainment  at  Rutland  House  byDedamationa 
and  Musick,'  with  music  by  Colman,  Cook,  H. 
Lawes,  and  Hudson.    In  the  prologue  it  is  desig- 
nated an  opera,  though  not  one  in  any  respect. 
In  the  following  vear  Davenant  produced  'The 
Siege  of  Rhodes,    the  dialogue  of  which  was 
given  in  recitative,  which  Davenant  describes  as 
'unpractised  here,  though  of  great  reputation 
amongst  other  nations.'     This  piece,  to  which 
a  second  part  was  subsequently  added,  maintaiiied 
its  position  for  soriie  years,  but  the  music  hss 
not,  so  far  as  is  known,  been,  preserved.    'The 
Siege  of  Rhodes'  was  followed  by  the  production 
by  Davenant  in  1658  of  'The  Cruelty  of  tbe 
Spaniards  in   Peru,  exprrased  by  instrumental 
and  vocal  music,  and  the  art  of  perspective  in 
scenes,'  a  performance  said  to  have  been  not  only 
connived  at,  but  secretly  encouraged  by  Cromwelli 
who  was  then  supposed  to  be  meditating  some 
designs  against  the  Spaniards.    During  Sie  four 


ENGLISH  OPERA. 

or  five  yean  which  followed  the  re-opening  of  the 
pablic  theatres  in  1660,  little,  beyond  occasional 
repetitions  of  *  The  Siege  of  RhodeSy'  appears  to 
have  been  done  to  forward  operatic  performances 
on  the  English  stage.  The  Plague  in  1665  and 
the  Great  Fire  of  London  in  66  caused  a  tempo- 
laiy  suspension  of  all  theatrical  performances, 
but  a  step  onwards  was  made  in  67  by  the 
production  of  an  adaptation  by  Davenant  and 
Dryden  of  Shakspere's  '  Tempest  *  with  large  ad- 
ditions to  the  lyric  portions.  The  vocal  music 
of  this  version  was  supplied  by  Pelham  Humphrey 
and  John  Banister,  aaad  the  instrumental  by 
Matthew  Locke.  Soon  after  the  opening  of  the 
theatre  in  Dorset  Gardens  (1671),  the  proprietors 
resorted  to  opera  as  the  principal  attraction.  In 
1673  they  lorought  out  Shadwell's  'Psyche,*  of 
wludk  the  author  said  '  the  great  desire  was  to 
entertain  the  town  with  variety  of  musick, 
carious  dancing,  splendid  scenes  and  machines.' 
Matthew  Locke  composed  the  vocal,  and  Gio- 
vanni Baptista  Draghi  the  instrumental  music 
for  'Psydie,'  the  dances  being  arranged  by 
St  Andx^  and  the  scenery  painted  by  Stephen- 
son. In  1675  was  'performed  at  Mr.  Josias 
Priest's  Boarding  School  at  Chelsey  by  voung 
Gentlewomen '  the  youthful  Henry  PurceU  s  first 
opera  'Dido  and  JCneas,'  the  dialogue  in  red- 
tative. 

In  1677  Charles  Davenant's  'Ciroe*  was  pro- 
duced, with  the  music  of  John  Banister.  The 
Frenchman  Grabut's  setting  of  Dryden*s  'Albion 
and  Albanins*  appeared  in  1685  and  failed.  A 
few  years  later  the  form  of  English  opera  had 
become  definitively  settled,  and  in  1690  Puroell 
reset  'The  Tempest,'  revised  for  that  purpose  by 
Biyden,  and  composed  the  music  for  '  Dioclesian' 
—an  adaptation  by  Betterton  of  Beaumont  and 
Fletcher's  'Prophetess,'  'with  alterations  and 
additions  after  tiie  manner  of  an  opera,'  and  for 
Diyden's '  King  Arthur.'  Two  years  later  he  set 
Ihyden's  alteration  of  Sir  B.  Howard's  *  Indian 
Queen,'  and  'The  Fairy  Queen,'  an  adaptation  of 
Shakspere's  '  Midsummer  Night's  Dream.'  Pur- 
oell s  contemporaries  and  immediate  suocessors 
adhered  to  the  form  adopted  by  him,  firom  which 
no  deviation  took  place  (with  the  exception  of 
Clayton's  setting  of  Addison's  'Rosamond'  in 
1707,  Boyce's  'Chaplet'  1749,  and  'Shepherd's 
Lottery,'  1751,  and  Ame's  'Thomas  and  Sally,' 
1760,  in  all  which,  and  possibly  in  a  few  minor 
pieces,  the  dialogue  was  set  as  recitative)  until 
1763,  when  Ame  produced  his  '  Artazerxes,'  set 
after  the  Italian  manner,  with  the  dialogue 
wholly  in  recitative.  This  departure  firom  the 
estabUshed  form  produced  however  no  immediate 
imitators,  and  Ame's  contemporaries  and  sue- 
oessorB,  Dibdin,  Arnold,  Jackson,  Linley,  Hook, 
Shield,  Storace,  Attwood,  Braham,  Bishop,  Bar- 
nett,  Booke,  etc.,  adhered  for  nearly  a  century  to 
the  established  model,  which,  as  already  re- 
marked, was  also  that  of  Grerman  opera  and  of 
French  Op^ra  Gomique. 

Efforts  have  been  made  at  different  times  and 
with  very  chequered  results  to  establish  theatres 
especially  devoted  to  the  production  of  Knglish 


ENGLISH  OPERA4 


489 


opera.  In  1809  Samuel  James  Arnold,  son  of 
Dr.  Arnold,  obtained  a  licence  for  opening  the 
Lyceum  Theatre  (which  he  named  the  English 
Opera  House)  for  their  performance,  and  for 
several  years  afterwards  produced,  besides  the 
standard  operas,  new  works  by  Bn^am,  Horn, 
M.  P.  King,  Davy,  and  other  native  composers. 
The  great  success  of  Weber's  '  Der  Freischiitz,' 
produced  in  English  in  1824,  induced  Arnold  to 
change  his  plan,  and  for  some  years  afterwards 
he  brought  forward  principally  English  versions 
of  German  operas,  until  tiiie  success  in  1834  ^^ 
Bamett's  '  Mountain  Sylph'  led  him  to  revert  to 
his  original  design,  and  to  produce  works  by  Loder, 
Thomson,  and  Macfarren.  From  about  1835  to 
1 850  successive  managers  of  Drury  Lane  Theatre 
devoted  much  attention  to  the  production  of 
English  opera,  and  many  new  works  by  Bamett, 
Balfe,  WfUlace,  Macfarren,  Benedict,  and  others, 
were  brought  out  there.  In  1856  Miss  Louisa 
Pyne  and  Mr.  W.  Harrison  embarked  in  an 
undertaking  for  the  performance  of  English 
operas;  and  under  their  management,  which 
lasted  about  seven  yeiurs,  several  new  operas  by 
Balfe,  Benedict,  WaUaoe,  and  others,  were  pro- 
duced. An  '  English  Opera  Company,  Limited,' 
was  formed  in  1865,  '^d  8^^^  performances  at 
Covent  Garden  Theatre,  but  proved  unsuccessful. 
Macfarren*B  'Helvellyn'  was  its  sole  English 
production.  It  should  be  noted  that  in  this  and 
some  other  of  the  later  English  operas  the 
dialogue  is  set  as  recitative,  and  the  general 
form  of  the  works  is  that  of  the  modem  grand 
opera.  A  class  of  short  musical  pieces,  mostly 
on  subjects  of  a  comic  and  even  farcical  cha- 
racter, has  sprung  into  existence  of  late  years, 
of  which  Sullivan's  'Cox  and  Box,'  'Trial  by 
Jury,'  and  'Sorcerer,'  and  Clay's  'Court  and 
Cottage'  may  be  dted  as  specimens. 

There  remains  to  be  noticed  a  class  of  English 
operas,  the  songs  of  which  are  not  set  to  music 
composed  expr^slv  for  them,  but  are  written  to 
existing  tunes,  prmcipally  those  of  old  ballads 
and  popular  songs,  whence  the  works  derived  the 
name  of  Ballad  Operas.  The  famous  *  Beggar's 
Opera'  was  the  first  of  these,  and  to  its  won- 
derful popularity  its  suocessors  owed  their  ex- 
istence. [Beooab's  Opeba.]  The  dialogue  of 
these  pieces  is  wholly  spoken.  The  following 
is  believed  to  be  a  complete  list  of  them : — 
1728.  The  Quakers  Opera;  The  Devil  to  Pay; 
Penelope ;  Love  in  a  Riddle. — 1 729.  The  Village 
Opera;  Momus  tum'd  Fabulist;  Flora,  or.  Hob 
in  the  Well ;  Damon  and  PhiUida  (an  alteration 
of  Love  in  a  Riddle);  The  Beggar's  Wedding, 
The  Wedding;  Polly.— 1730.  The  Fashionable 
Lady,  or.  Harlequin's  Opera;  The  Chamber- 
maid ;  The  Lover's  Opera  ;  The  Female  Parson ; 
Robin  Hood. — 1731.  Silvia,  or,  the  Country 
Burial;  The  Jovial  Crew;  Orestes;  The  Gen- 
erous Freemason;  The  Highland  Fair  (Scotch 
Tunes);  The  Lottery.— 1732.  The  Devil  of  a 
Duke ;  The  Humours  of  the  Court ;  The  Mock 
Doctor;  Sequal  to  Flora. — 1733.  Achilles;  The 
Boarding  Schod ;  The  Cobler's  Opera;  The 
Livery  Rake  and  Country  Lass. — 1734.   The 


490 


ENGLISH  OPERA. 


Whim.— 1735.  Tho  ^^'*  Trick  for  Trick;  The 
]^Ierry  Cobler. — 1 7.^6.  The  Lover  hu  own  EivaL— 
1737.  The  Coffee  HouBe.— 1739.  The  Taxmer  of 
York;  The  Hospital  for  Fools;  Britons,  strike 
home. — 1750.  The  Litriguing  Giuunberm&id. — 
1758.  Galligantua.  [W.H.H.] 

ENTFUHRUNG  AUS  DEM  SERAIL, 
DIE,  a  comic  operetta  {Singspid)  in  3  acta,  by 
Mozart ;  words  altered  by  Stephanie  from  Bretz- 
ner's  *  Belmont  und  Constanze.'  Begun  July  30, 
Z781;  produced  July  12,  83,  at  Vienna.  Its 
French  and  Italian  titles  are,  L'Enl^vement  au 
S^rail '  and  '  II  Seraglio.*  It  was  produced  in 
English  'with  additional  airs  by  Mr.  Kramer* 
as  'The  Seraglio/  at  Covent  Garden,  Nov.  24, 
1827.     [Andbb,  660."] 

ENTREE.  (l)  A  name  formerly  given  to  a 
small  piece  of  music  in  slow  4-4  time,  with  the 
rhythm  of  a  march,  and  usually  oontainiiig  two 
paiiis,  each,  repeated.  It  received  its  name  from 
the  fact  of  its  being  largely  used  in  theatrical 
and  ballet  music  to  accompany  the  entry  of 
processions,  etc.  An  example  of  this  kind  of 
Entree  may  be  found  in  J.  S.  Bach*s  *  Suite  in  A 
for  piano  and  violin.'  (2)  The  word  Entree  (or 
its  Italian  equivalent  Jvitrada)  is  also  used  as 
synonymous  with  'introduction,*  and  is  applied 
to  the  opening  piece  (after  the  overture)  of  an 
opera  or  ballet.  [E.  P.] 

EPINE,  Fbancbsca  Mabghebita  db  l*,  in 
spite  of  her  French^sounding  surname,  appears 
to  have  been  an  Italian  singer.  From  ItiJy  she 
oame  to  Ekigland  with  a  German  musician  named 
Greber,  and  was  often,  therefore,  called  *Greber*s 
Peg'  by  the  wits  of  the  day.  An  advertisement 
in  the  *  London  Gazette '  (No.  2834),  1692,  an- 
nounces that  the  *  Jtalian  lady  (that  is  lately 
come  over  that  is  so  fomous  for  her  singing) 
though  it  has  been  reported  that  she  will  sing  no 
more  in  the  consort  at  York-buildings ;  yet  this 
is  to  give  notice,  that  next  Tuesday,  January 
10th,  she  will  sing  there,  and  so  continue  during 
the  season.*  A  fortnight  later,  this  'lady*  is 
more  familiarly  called  the  'Italian  woman*  in 
the  notice  given  in  the  Gazette,  that  she  would 
not  only  sing  at  York'buildings  every  Tuesday, 
but  on  Thursday  in  FreemanVyard,  ComhiU. 
She  was  the  first  Italian  who  sang  in  Ens^land. 
In  the  theatrical  advertisement  for  Lincoln  s  Inn 
Fields,  June  1,  1703,  it  is  said  that  'Signora 
Francesca  Margarita  de  TEpine  will  sing,  being 
positively  the  last  time  of  her  singing  on  the 
stage  during  her  stay  in  England.*  She  con- 
tinued, notwithstanding  this,  to  sing  during  the 
Dvhole  of  that  month ;  nor  did  she  ever  quit 
England,  but  remained  here  till  the  time  of  her 
deatli,  about  the  middle  of  the  last  century. 

On  Jan.  29,  1704,  Maigherita  sang,  for  the 
first  time,  at  Druiy  Lane.  On  her  second  ap- 
pearance there  was  a  disturbance  in  the  theatre, 
while  she  was  singing,  the  instigation  of  which 
was  attributed  to  her  rival,  Mrs.  Tofts,  whose  ser- 
vant was,  indeed,  one  of  the  principal  agents  in  it. 
Mrs.  Tofts,  however,  indignantly  denied  this  in 
a  letter  to  Ridi,  printed  in  the  '  Daily  Coi^ant*  | 


ERARD. 

Feb.  8, 1 704.    In  1 705  ' Arsinoe *  was  panodueed,  as 
announced  in  the  '  Daily  Gouzant,*  *  a  new  opera, 
after  the  Italian  manner,  all  sung,  being  set  by 
Master  Clayton,  with  danoee  and  singing  before 
and  after  the  opera,  by  Signora  F.  Maigarita 
del'  Epine.*  This  singing  was  probably  in  Italian. 
She  sang  in  Greber*s  'Temple  of  Love,*  the 
year  after ;  and  in  1 707  in  '  Thomyria»*  the  mii»ic 
taken  from  Scarlatti  and  Buononcini,  the  recita- 
tives and  aocompanimenti  being  added  by  Mr. 
(afterwards  Dr.)  Pepusch.   She  sang  also  in  '  (^ 
milla,'  performing  her  part  in  Italian,  while  the 
English  singers  sang  their  own  language.    Thet»e 
T6le«  she  repeated  in  1708,  and  in  1709  added 
that  of  Marius  in  Scarlatti*s  '  P3rrrhu8  and  De- 
metrius,* arranged   for  the    English    stage   by 
Swinv  and  Haym.    In  17 10  she  sang  in  'Alma- 
hide,  that  opera,  the  first  ever  perfonned  wholly 
in  Italian  on  our  stage,  the  names  of  neither 
poet  nor  composer  of  which  are  known ;  and 
again  in  '  Hydaspes.*    In  addition  to  these,  she 
took  part  in  '  Antiochus  *  and  '  Ambleto^'  and  io 
Handel*s  '  Pastor  Fido '  and  '  Binaldo '  in  1 7 1  a ; 
and  in  the  pasticcio  'Emelinda'  and  Haodel'i 
'Teseo'  in  17 13.     She  continued  to  sing  untii 
1 7 18,  when  she  married  Dr.  Peposdi,  and  re- 
tired   from   the   stage.     She  is  said   to  have 
brought  him  a  fortune  pf  £  10,000.    '  Her  execn- 
tion  was  of  a  very  different  order*  from  that  of  the 
gnglia^  singerB  of  that  time, '  and  involved  real 
difficulties.     Indeed,  her   musical  merit  must 
have  been  very  considerable  to  have  kept  "bet  so 
long  in  favour  on  the  English  stage,  where,  till 
employed  at  the  opera,  she  sang  either  in  musi- 
oal  entertainments,  or  between  the  acts,  ahnort 
every  night.    Besides  being  oui'landink,  she  wm 
so  swarthy  and  ill-fovoureid,  that  her  husband 
used  to  call  her  Hecate,  a  name  to  which  she 
answered  with  as  much  good  humour  as  if  he 
had  called  her  Helen*  (Bumey).  It  was,  perhaps, 
owing  to  this  ugliness,  that  no  portrait  of  her 
was  ever  made.     She  was  a  woman  of  perfectly 
good  oharaoter;  but  Dean  Swift,  who  was  no 
respecter  of  persons,  particularly  musical,  in  his 
<  Journal  to  Stella,'  Aug.  6, 171 1,  being  at  Wind- 
sor says,  *  We  have  a  music-meeting  in  our  tos'O 
to-night.    I  went  to  the  rehearsal  of  it,  and  there 
was  Margarita,  and  her  sister  [G.  Maria  Gallia], 
and  another  drab,  and  a  parcel  of  fiddlers ;  I  waa 
weary  and  would  not  go  to  the  meeting,  which  I 
am  sorry  for,  because  I  heard  it  was  a  great 
assembly.*     She  appears  to  have  been  an  ex- 
cellent musician,  not  only  as  a  singer,  but  ak) 
as  an  extraordinary  performer  on  the  harpa- 
chord,  and  marks  sa  era  in  the  history  of  music 
in  England.  [J.H.] 

ERARD,  is  the  name  of  the  singer  who  per- 
formed the  principal  bass  part  in  'Alexanaer's 
Feast  *  on  its  first  production  at  Covent  Garden, 
Feb.  19,  1736.  He  was  probably  a  Frenchman; 
but  nothing  more  is  kniown  of  him  than  the 
above  fact.  [J.  M.] 

ERARD.  The  name  borne  by  this  firm  of 
harp  and  pianoforte  makers  has  been  known 
almost  as  long  in  England  as  in  Fiance,  iti 


EBABD. 

workfhops  hftving  been  estftblished  in  London  | 
sear  the  dose  of  the  last  century,  not  long  alter 
thoi«  in  Parifl.  The  reputation  of  Erard's  house  , 
if  as  moch  doe  to  euooenrful  improvements  in 
the  harp  as  in  the  pianoforte,  those  of  the  harp 
being  of  like  importance  to  the  perfecting  of  the 
▼iolin  aooonapliahed  by  the  famous  Cremona 
makers. 

Skbasti£n  Ebabd  was  bom  at  Straasburg  in 
1752,  and  was  early  put  to  hisfiither's  handicraft 
of  cabinet-maker.  HiM  &ther  dying  when  he 
was  sixteen  be  went  to  Paris  and  placed  himself 
with  a  harpsichord -maker.  He  had  soon  the 
opportunity  to  display  his  practical  ingenuity  by 
the  coBistraction  of  a  mechanical  harpsichord, 
whidi  was  described  by  the  Abb^  Roussier  in 
1776.  The  Duchess  0^  ViUeroi  took  notice  of 
him,  and  idlotted  to  him  a  woj^shc^  in  her  own 
ch&tean,  where,  in  1777,  he  made  the  first  piano- 
forte constructed  in  France.  According  to  Fi^tiii 
this  was  a  square  with  two  unisons  and  five 
octaves,  similar  to  the  English  and  German 
instraments  that  had  been  imported.  He  now 
eitablished  himself,  with  his  brother  Jean  Bap- 
tists, in  the  Rue  de  Bourbon.  Their  success 
exciting  the  jealousy  of  the  Parisian  musical 
iiutrument  -  mieJcersi  known  as  Luthiers,  and 
heinnging  to  the  Fan-makers'  Guild,  they  used 
the  power  they  possessed  to  seize  Erard*s  work- 
shops ;  Loois  XVI,  however,  came  to  the  aid  of 
the  brothers,  and  conferred  upon  Sebastien  (a.d. 
1785)  a  brevet  permitting  him  to  make  'forte- 
piaaos'  independent  of  the  guild,  but  obliging 
kim  to  employ  workmen  who  had  satisfied 
its  regulations.  (Rimbault,  'The  Pianoforte,' 
i860,  p.  124.) 

The  French  Revolution  compelled  Sebastien 
Erard  to  leave  Paris,  and  we  find  him  in  London 
in  1794  taking  out  a  patent  for  improvements  ia 
harpfl  and  pianofortes.  He  returned  to  Paris, 
after  the  Terror,  in  17$^,  in  which  year  he  made 
his  first  grand  piano,  using  the  English  action, 
which,  Fitis  informs  us,  he  continued  with  until 
1808.  In  1809  he  patented  a  repetition  grand 
piano  action,  the  first,  and  improvements  in  the 
oonstmotion  of  the  harp,  nearly  completing  that 
ingenious  double  action  which  was  begun  alxmt 
1786  and  was  perfected  in  1810.  A  feature  in 
the  1809  patent  was  the  inverted  bridge  or  up- 
ward besring  at  the  wrestplank  bridge  of  the 
piano,  since  universally  adopted.  Advanced  age 
made  Bebastien  leave  to  his  nephew  Pisbhe 
Ebard  (bom  1796)  the  introduction  of  his  per- 
fected repetition  action,  the  patent  for  which 
was  taken  out  in  London  in  i8ai.  Sebastien 
disd  in  18.^1.  In  1835  the  patent  was  extended 
to  Pierre  Erard  for  seven  years  on  the  plea  of 
ita  great  value  and  of  the  losses  sustained  in 
working  it.  The  invention  in  1838  of  the  Har- 
monic Bar  is  claimed  for  him  (Dr.  Oscar  Paul, 
'Geechichte  des  Claviers,' Leipzig,  1868).     [See 

PlANOFOKTB.] 

Pierre  Erard  died  at  the  Ch&teau  de  la 
Muette,  Passy,  near  Paris,  in  1855.  His  widow, 
Mme.  Erard,  succeeded  him,  and  has  maintained 
the  high  reputation  of  the  house.  [A.  J.  H.] 


EBBACH. 


401 


ERBA,  Doir  Dionioi,  a  much  esteemed  com- 
poser of  Milan  at  the  end  of  the  r7th  century. 
Like  Marcello  and  Astorga  he  was  of  noble  birth, 
and  appears  never  to  have  filled  any  office.  The 
title  of  Don  given  him  by  Quadrio,  and  that  of 
<R<i*  mentioned  below,  show  that  he  was  in 
holy  orders.  In  1694  he  took  part  with  Yaltel- 
lina  in  the  composition  of  the  opera  of  Arion, 
and  in  1695  with  Besoszi  and  Battestini  in 
that  of  Artemio.  But  Erba's  interest  to  us 
lies  in  the  &ct  that  he  is  not  improbably  the 
composer  of  a  Magnificat  for  a  choirs,  firom  which 
Handel  borrowed  more  or  less  closely  for  several 
pieces  in  the  second  part  of  Israel  in  Egypt.  A 
complete  copy  of  this  work,  entitled  '  Magnificat. 
Del  RO  Sgr.  Erba,'  is  in  the  library  of  the  Sacred 
Harmonic  Society,  and  a  partial  one  (ending  ia 
the  middle  of  a  sheet),  in  Handel's  writing,  with- 
out title  or  date,  in  Buckingham  Palace.  Opinions 
are  divided  as  to  whether  it  is  an  original  com- 
position of  Handel's  Italian  time  (i  707-10),  or  of 
Erba.  In  &vour  of  the  former  are  Mr.  Schoelcher 
and  Professor  Macfarren  (Preface  to  Israel  in 
Egypt  for  the  S.  H.  S.).  It  is  obvious  that  but 
for  the  existence  of  the  MS.  by  Handel  the  qaes- 
tion  would  never  have  been  raised.  The  whole 
evidence  is  examined  at  great  length  and  pains  by 
Dr.  Chrvsander  (Hiindel,  i.  168- 1 78),  whose  con- 
dnsion  is  strongly  in  favour  of  its  being  Erba's. 
He  shows  that  the  date  of  Handel's  MS.  is  prob- 
ably 1 735-40  (Israel  was  1 738) ;  that  it  has  marks 
of  being  a  copy  and  not  an  original  composition ; 
that  the  paper  is  not  Italian,  but  the  same  with 
that  used  for  his  English  works;  and  that  the 
style  of  the  music  differs  materially  from  Handel's 
style  whether  early  or  late.  In  addition  it  might 
be  urged  that  it  is  extremely  improbable  that  ia 
a  copy  of  a  work  of  Handel's  his  powerful  name 
would  be  displaced  on  the  title  in  &vour  of  the 
insignificant  one  of  Erba. 

The  pieces  in  which  the  Magnificat  is  am* 
ployed  are,  according  to  Mr.  Mao&rren,  as 
follows : — 

The  Lord  Is  my  strength. 

He  is  my  God. 

The  Lord  is  a  man  of  war. 

The  depths  have  covered  them. 

Thy  right  hand,  0  Lord. 

Thou  sentest  forth  thy  wrath« 

And  with  the  blast. 

The  earth  swallowed  them. 

Thou  in  Thy  mercy.  fq  -i 

ERBACH,  Chbistiav,  bom  about  1560  at 
Algesheim  in  the  Palatinate.  About  1600  he 
beu^me  organist  to  the  Fuggers  at  Augsburg, 
and  in  1628  was  appointed  'fiathsherr'  of  the 
same  city.  Bis  *Modi  saori  seu  cantus  musici 
vooibus  4,  5,  6,  7,  8  et  pluribus,  ad  omne  genus 
instrumenti  musici  aocomodatis'  was  published 
in  his  lifetime  at  Augsburg.  Bodenschatx's 
'Florilegium  Portense'  and  Skhad's  *Promptu- 
arium  musices '  (Strasburg)  contain  motets  of  his 
in  4,  6,  and  8  parts.  MS.  compositions  of  his  are 
in  the  cathedral  library  at  Augsburg  and  in  the 
Royal  library  at  Berlin.  [F.  G.] 


192 


£RK« 


EKK,  LuDWio  Ghbistian,  bom  Jan.  6,  1S07. 
ftt  Wetzlar,  where  his  faUier  was  cathedral 
organist;  has  rendered  very  important  services 
to  Grerman  popular  music.  He  studied  music 
under  his  father  and  Andr^  of  Offenbach,  re- 
ceiving his  general  education  from  Spiess,  a 
well-known  teacher  at  Frankfort.  Here  he  re- 
mained for  some  years  enjoying  the  society  of 
the  best  Darmstadt  musicians.  In  i8a6  he  was 
appointed  professor  at  the  teachers'  seminary 
at  Moers  on  the  Lower  Bhine,  and  it  was  here 
that  his  connection  with  popular  music  began. 
He  started  musical  festivals  at  Kemscheidt, 
Buhrort,  Duisbuig,  and  other  small  towns, 
which  largely  contributed  to  the  taste  for  sacred 
and  secular  part-music.  In  1836  he  was  ap- 
pointed musical  professor  of  the  royal  seminary 
at  Berlin,  and  in  the  following  year  conductor  of 
the  newly-formed  cathedral  choir,  which  post, 
for  want  of  proper  support,  he  relinquished  in 
1840  in  favour  of  Neithardt.  In  1843  he 
founded  a  Mannergesangverein,  which  still  exists 
in  Berlin,  for  the  express  purpose  of  singing 
Yolkslieder.  He  himself  states  that,  apart 
from  the  members  of  this  choral  society,  he  has 
given  musical  education  to  no  less  than  400 
Prussian  schoolmasters.  While  still  at  Moers  he 
published  some  collections  of  Lieder  harmonised 
by  himself,  and  these  now  amount  to  forty,  large 
and  small — comprising  chorals  and  other  sacred 
and  liturgical  music — of  which  a  list  is  g^ven 
by  Mendel.  Among  them  the  most  important 
is  his  *Deut8cher  Liederhort,'  of  which  vol.  i. 
contains  modem  'Yolkslieder,*  and  vol.  ii.,  now 
in  the  press,  those  of  the  I3fch-i8th  centuries. 
Jacob  Grimm  says  of  vol.  i.,  '  Of  all  collections 
of  our  German  Yolkslieder  this  is  the  fullest  and 
most  trustworthy.'  £rk  still  continues  his  use- 
ful and  indefatigable  researches  on  this  subject. 
In  1857  he  was  appointed  director  of  music.  In 
the  beginning  of  1877  he  resigned  his  post  in 
the  seminary  at  Berlin,  and  was  succeeded  by 
Dienel.  [F.G.J 

EBNANI.  Italian  opera  in  4  acts,  by  Yerdi, 
founded  on  the  Hemani  of  Yictor  Hugo;  pro- 
duced at  Yenice  in  March  1844.  ^^  ^^  produc- 
tion at  the  Th^treltalien,  Paris— Jan.  6, 1846 — 
the  libretto  was  altered  in  obedience  to  the  wish 
of  Yictor  Hugo.  The  personages  were  changed 
from  Spaniards  to  Italians,  and  the  name  of  the 
piece  was  altered  to  *  II  Proscritto.'  In  England 
Emani  was  first  played  at  Her  Majesty's  Theatre, 
March  8,  1845. 

EBNST,  Heinbich  Wilhblv,  celebrated 
violin-player,  was  bom  at  Brunn  in  Moravia  in 
1 814.  Ab  A  pupil  of  the  Yienna  Conservatorium 
he  had  Bohm  for  his  master  on  the  violin,  and 
studied  counterpoint  and  composition  under 
Seyfried.  He  afterwards  received  instruction 
from  Mayseder,  and  soon  achieved  great  pro- 
iiciency  on  his  instrument.  When  sixteen  he 
made  his  first  tour  and  played  with  much  success 
at  Munich,  Stuttgart  and  Frankfort.  At  that 
time  Paganini  was  travelling  in  Germany,  and 
Ernst,  greatly  fat^^cinated  by  this  extraordinary 
artisty  followed  him  from  town  to  town  in  order 


EENST. 

to  become  familiar  with  the  peculiarities  of  lut 
style  and  technique.  Towards  the  end  of  3a  he 
went  to  Paris,  and  lived  there  for  six  yean, 
studying  and  repeatedly  playing  in  public.  Be- 
tween 1 838  and  44  he  travelled  over  a  great  part 
of  Europe,  meeting  everywhere  with  enoimous 
success.  On  his  appearing  in  Leipzig  Schumann 
greeted  him  with  one  of  those  genial  criticisms 
which  are  so  characteristic  of  him  ('  Gresammelte 
Schriften,'  Jan.  14, 1840.)  On  April  15, 1844  he 
made  his  first  appearance  at  the  PhilhannoDic, 
after  which  he  regularly  came  to  London  for  the 
season  and  soon  settled  there  entirely.  After  smne 
years  however  his  health  began  to  iaSL,  and  he  had 
to  give  up  playing  in  public.  He  died  at  Nice 
October  8, 1865,  after  a  painful  and  protracted  ill- 
ness. Ernst*s  playing  was  distinguished  by  great 
boldness  in  the  execution  of  technical  difficultief 
of  the  most  haiardous  character.  At  the  same 
time  his  cantil^ne  was  full  of  deep  feeling,  and 
his  tone  had  a  peculiar  charm.  The  wann 
impulsive  nature  of  the  man  was  reflected  in  his 
fiery  passionate  style.  But  it  must  not  be  sup- 
posed that  he  was  a  mere  virtuoso.  Ernst  was  a 
thorough  musician,  and  although  critics  have 
found  fault  with  his  reading  of  classical  music, 
on  the  other  hand  very  competent  judges  have 
pronounced  him  to  have  been  an  excellent 
quartet-player. 

As  a  composer  he  started  with  salon-pieces 
and  brilliant  fimtasias,  which  have  not  much 
intrinsic  merit,  but  are  extremely  effective  and 
well  written  for  the  instrument,  and  mostly  veiy 
difficult.    The   'El^gie,'  which  has  had  a  long 
run  of  popularity,  is  perhaps  the  best  specimen 
of  the  first,  the  fimtasias  on  airs  from  Bossini  s 
Otello,  and  on  Hungarian  airs,  of  the  second 
kind.    The  Concerto  in  F  sharp  minor  (op.  33) 
deserves  special  notice.     It  is  a  oomposition  of 
no  mean  order,  equally  distinguished  by  the 
nobility  of  its  ideas  and  its  skilful  treatment 
of  the  orchestra.      That  it  is  seldom  heard  is 
due  to  its  enormous  technical  difficulties,  which 
even  Ernst  himself  did  not  always  succeed  in 
mastering.     This  work  may  weU   justify  the 
assumption  that   Ernst,   had   he  lived,  might 
have    made   some    valuable   additions   to  the 
literature  of  the  violin.    The  best- known  ttmca^ 
his    compositions    for   the    violin   are :    Beuz 
nocturnes,  op.  i ;   El^gie,  op.  10 ;   Fantasia  on 
airs  from  Boesini's  CHello,  op.  11;   Concertino 
in  D,  op.  la ;    Polonaise  de  Concert,  op.  17: 
Yariations   on  Dutch  airs,  op.   18;    Introduc- 
tion, caprice,  and  finale,  on  airs  frx)m  H  Pirsts^ 
op.  19;  Bondo  Papageno,  op.  30;  Fantasia  on 
Le  Plvph^te,  op.  24;  Hungarian  airs,  op.  23; 
Concerto  path^tique  in  Ft  minor,  op.  33.    In 
conjunction  with  Ferd.  Hiller  he  wrote  a  number 
of  very  pretty  duets  for  piano  and  violin,  which 
were  published  under  the  title  of '  Pens^  fugi- 
tives.     He  also  published  an  imitation  of  Paga- 
nini's  once  famous  *Camaval  de  Yenise.'    He 
wrote  two  string  quartets,  in  Bb  and  A.    The 
latter  of  these  was  his  last  work,  and  was  plftyed 
under  Joachim's  lead  at  the  Monday  Popular 
Concerts,  June  6,  64.  \f-^'l 


.EBOICA* 

EROICA.  The  Sinfonia  Eboioa  is  the  third  ' 
of  Beethoven*8  Symphonies,  the  greatest  piece  of 
Programme  music  yet  composed.  The  title  is  his 
own — 'Smfbnia  eroica  composta  per  festeggiare 
il  eovrenire  di  un  grand*  uomo  dedicata  a  Sua 
Altesza  Serenissima  11  Principe  di  Lobkowitz 
da  Lnigi  van  Beethoven.  Op.  55.  No.  III. 
Partizione.  Bonna  e  Golonia  presso  K.  Simrock.' 
(y.  B.  the  Italian :  the  titles  of  Symphonies  i 
and  a  are  in  French.)  But  its  origmal  title  was 
simply '  Bonaparte.  Louis  van  Beethoven.'  The 
subject  was  suggested  to  him — perhaps  as  early 
as  1798,  two  yean  before  the  known  completion 
of  the  ist  Symphony — ^by  Bemadotte,  the  French 
ambassador  at  Vienna ;  but  there  is  no  trace  of 
his  having  set  seriou^y  to  work  at  it  till  the 
tommer  of  1803.  On  his  return  to  town  in  the 
aafcumn  of  that  year  he  played  the  Finale  to 
Mahler  and  Breuning  (Tlutyer,  ii.  236).  Early 
in  1804  the  work  was  finished,  and  the  MS.  lay 
on  Beethoven*s  table  with  the  title-page  as  just 
given,  waiting  for  transmission  to  the  First 
Consul  at  Paris.  But  the  news  of  Napoleon's 
assumption  of  the  title  of  Emperor  reached  Bee- 
thoven; his  &ith  in  his  hero  was  at  once  de- 
stroyed, and  he  tore  off  the  title  in  a  rage.  The 
cover  of  the  MS.  now  in  the  Library  of  the 
'GeseTlachaft  der  Musikfreunde*  at  Vienna — a 
curious  medley  of  ink  and  pencil — stands  as  given 
on  page  183  of  this  work,  and  thus  appears  to 
have  been  an  intermediate  form  between  the 
anginal  and  the  present  title.  But  this  point 
has  not  yet  been  investigated. 

If  we  might  venture  to  assume  that  Beethoven 
weighed  hu  words  as  carefully  as  he  did  his 
notes,  we  might  infer  from  the  word  '  sowenire* 
in  the  &ial  title  that  to  him  Napoleon,  by  be- 
coming Emperor,  had  ceased  to  be  a  'hero*  or  a 
'  great  man   as  much  as  if  he  were  actually  dead. 

The  work  is  in  4  movements: — (i)  Allegro 
con  brio,  Eb.  (a)  Marda  funebre.  Adagio  assai, 
C  min(v.  (3)  Scherzo  and  Trio.  Allegro  vivace, 
£b.  (4)  Finale.  Allegro  molto ;  interrupted  by 
a  Pooo  Andante,  and  ending  in  a  Presto.  Eb. 

Under  Bastien  the  curious  ooincidence  between 
the  subject  of  the  ist  movement  and  that  of  an 
early  overture  of  Mozart's  has  been  pointed  out. 
This  movement  may  be  a  portrait  of  Bonaparte  ; 
it  is  certainly  one  of  Beethoven  himself.  The 
Coda  forms  an  epoch  in  composition. 

The  subject  of  the  Scherzo  is  said  by  Marx 
(L.  V.  B.  Leben  &  Schaffen  i.  273)  to  be  a  Yolks- 
Ued,  beginning  as  follows : — 


ERTMANN. 


493 


i 


J I  r.  r  r  I  r  f  r 


:F=S3 


^^ 


khdesTagiiBltdar  L*t-( 


dien 


But  this  requires  confirmation.    There  is  reason^ 
to  believe  that  Beethoven  used  the  Austrian 
Volkslieder  as  themes  oftener  than  is  ordinarily 
suspected ;  but  this  one  at  least  has  not  yet  been 
identified  with  certainty. 

The  Finale  is  a  set  of  variations,  the  theme  of 
which,  whether  a  Volkslied  or  not,  was  a  singtilar 
favourite  with  Beethoven.  He  has  used  it  4 
times,  in  the  following  order  :^i)  in  the  finale 


of  Prometheus  (i  800) ;  (a)  in  a  Contretanz  (i  803 ); 
(3)  as  theme  of  a  set  of  variations  and  a  fugue, 
for  Piano  solo  (op.  35,  1802):  and  (4)  in  the 
Symphony.  The  intention  of  this  Finale  has 
been  oft^  challenged,  and  will  probably  never 
be  definitely  ascertained ;  but  the  Pooo  andante, 
which  interrupts  the  Allegro  molto,  and  to  which 
all  the  latter  might  well  be  a  mere  introduction, 
is  at  once  solemn  enough  and  celestial  enough  to 
stand  for  the  apotheosis  of  a  hero  even  as  great 
as  the  one  poHarayed  in  the  first  movement. 

The  Symphony  was  purchased  by  Prince  Lob- 
kowitz. There  is  an  interesting  story  of  its  having 
been  played  three  times  in  one  evening  by  the 
Prince's  band,  to  satisfy  the  enthusiasm  of  Prince 
Louis  Ferdinand  of  Prussia,  passing  through 
Vienna  in  strict  incognito;  but  the  first  luiown  per- 
formance (semi-private)  was  in  Dec.  1804,  when  it 
was  preceded  by  the  previous  a  Symphonies  and 
the  Pianoforte  Concerto  in  C  minor.  The  first 
public  performance  was  at  the  Theatre  'an  der 
wien*  on  Sunday  evening,  April  7,  1805,  at  a 
concert  of  Clement*s,  where  it  was  announced  as 
in  D|,  and  was  conducted  by  Beethoven.  Gzemy 
remembered  that  at  this  TOiformance  some  one 
in  the  gallery  called  out  'I'd  give  a  kreutzer,  if 
it  were  over.*  In  England  it  was  played  by  the 
Philharmonic  Society  at  the  and  concert  of  the 
and  year — Feb.  a  8,  18 14 — and  is  aimounoed  as 
'containing  the  Funeral  March.'  In  France  it 
was  the  opening  work  of  the  first  concert  of  the 
Soci^t^  dee  Ckmcerts  (Conservatoire),  March  9, 
1828.  It  was  published  by  Simrock  of  Bonn,  the 
publisher  of  the  first  4  Symphonies,  Oct.  2g, 
1806. 

The  unusual  length  of  the  Eroica  is  admitted 
by  Beethoven  himself  in  a  memorandum  prefixed 
to  the  original  edition,  in  which  he  requests  that 
it  may  be  placed  nearer  the  beginning  than  the 
end  of  the  Programme — say  after  an  Overture, 
an  Air,  and  a  Concerto — so  that  it  may  produce 
its  proper  and  intended  effect  on  the  audience 
before  they  become  wearied.  He  has  also  given 
a  notice  as  to  the  3rd  horn  part^  a  very  unusual 
condescension  on  his  part.  [G.] 

ERTM ANN,  thb  Baroness.  This  lady,  whose 
maiden  name  was  Dorothea  Cacilia  Graumann,  of 
Offenbach  near  Frankfort,  will  go  down  to  posterity 
as  an  intimate  friend  of  Beethoven's,  and  one  of 
the  most  competent  interpreters  of  his  pianoforte 
music  during  his  lifetime.  She  passed  many 
years  in  Vienna.  We  hear  of  her  there  firom 
Reichardt^  in  Feb.  1809,  when  her  husband  was 
major  of  the  '  Hoch-und-deutschmeister'  infantry 
regiment.  Beichardt  met  her  at  her  sister's,  Mnie. 
Franke*s,  and  at  Zmeskall's,  and  heard  her  play 
the  Fantasia  in  C$  minor  (op.  a 7,  no.  a)  and  a 
Quartet  (perhaps  an  arrangement  of  the  Quintet, 
op.  16) ;  and  his  description  implies  that  ^e  had 
both  great  power  and  great  delicacy  of  expres- 
sion,  and  a  beautiful  singing  tone.  On  the 
second  occasion  dementi  was  present,  and  was 
so  far  surprised  out  of  lus  usual  taciturnity  as  to 
exclaim  more  than  once  'Elle  joue  en  grand 


1  NohU  'Bcettaoreo  mdb  dea  Sdindarungon 
um,  P.ML 


Zd 


I9« 


ERTMAITK. 


flSLAVA. 


mikitre.'  The  Trio  in  D  (op.  70)  and  the  Sonata 
in  £  (op.  90)  were  also  pieces  of  hen ;  and  her 
playing  of  the  Lai^  in  the  fonner  and  the  and 
movement  in  the  hitter  are  spoken  of  by  Schind- 
ler  as  marvels  of  expression  in  different  directions 
(i.  341).  In  1820  she  was  still  in  Vienna,  and 
we  have  another  report  of  her  from  W.  £.  Mttller, 
of  Bremen,^  who  met  her  at  the  house  of  Gay- 
mfiller,  with  four  other  ladies,  all  good  players, 
but  whom,  in  his  opinion,  she' far  surpctfsed,  not 
so  much  in  execution  as  in  her  rendering  of  the 
intention  and  character  of  the  music,  and  in 
iiikncy  and  expression.  Between  these  two  dates 
she  had  had  lessons  from  Beethoven,  and  had 
become  very  intimate  with  him.  He  visited  the 
Ertmanns  in  the  evenings,  and  she  would  play  to 
him,  while  he  made  himself  thoroughly  at  home.* 
'Meine  liebe  werthe  Dorothea  CacUia*  is  the 
beginning  of  the  only  letter  from  him  to  her  yet 
published,  in  which  he  conveys  to  her  the  dedi- 
cation of  the  noble  and  imaginative  Sonata  in  A, 
op.  101,  which  bears  her  name.  During  the 
Ertmanns'  stay  in  Vienna  she  lost  a  child.  Bee- 
thoven at  first  discontinued  his  visits,  but  at 
length  asked  her  to  call  ^n,  him,  and  saying  *  we 
will  talk  in  music/  played  to  her  for  more  than 
an  hour,  *in  which  he  said  everything;  and  at 
length  even  gave  me  comfort.' ' 

It  was  the  happy  lot  of  Mme.  von  Ertmann, 
af^r  having  been  thus  intimate  with  one  great 
composer,  to  make  the  acquaintance  of  another. 
Rather  more  than  four  years  after  Beethoven's 
death  the  regiment  moved  from  Vienna  to 
Milan,  and  Geueral  Ertmann  became  command- 
ant ;  and  there,  in  July  1831,  she  received  a 
visit  from  Mendelssohn,  then  on  his  return  from 
Rome.  The  account  may  be  read  in  Mendels- 
sohn's own  delightful  language  in  his  'Beise- 
briefe.*  *  She  played  him  the  C|  minor  Fantasia 
and  the  Sonata  in  D  minor  (op.  31,  no.  2),  and 
his  verdict  is  quite  in  accordance  with  those  we 
have  already  heard.  '  She  plays  the  Beethoven 
things  very  beautifully,  although  it  is  so  long 
since  she  studied  them :  true,  she  often  forces 
the  expression  a  little,  now  retarding,  and  then 
again  hurrying;  but  certain  pieces  she  plays 
splendidlv,  and  I  think  I  have  learnt  something 
from  her. 

In  1844  Mme.  Ertmann  was  again  living  in 
Vienna,  where  Moscheles  met  her,  and  induced 
her  to  play  him  the  C|  minor  Fantasia  (ii.  123). 
She  died  there  in  1848,  about  70  years  old.      [6.] 

ESCUDIER,  Maris,  ham  June  29,  181 9, 
and  L^n;  bom  Sept.  17. 182 1,  at  Castelnaudary, 
two  brothers  fiunous  as  lUUrattars  on  music. 
They  were  the  founders  of  '  La  France  musicale' 
(1838),  a  weekly  musical  periodical*  and  joint 
authors  of '  l^tudea  biographiques  sur  les  chanteurs 
contemporains*  (Paris,  Tessier,  1840);  *  Rossini 
sa  vie  et  see  ceuvree'  (, Paris  1854) »  *^^  '  ^^^ 
....  dee  cantatrioes  cdl^bres,'  etc.  (Paris  1856), 
which  contains  a  life  of  Paganini.  Their 
'Dictionnaire  de  musique'  (5th  ed.,  1872)  is  a 
compact  but  very  unequal  work,  many  articles  in 

>  huiil.  'Iketbovea  u«ch  deu  bcbildcrungeD  saluer  ZaiiceoosMa,' 
1*77,  p.  l.*©. 

>  llendelaiohn'a  Letten,  July  14  im.         •  IbUL         •  lUd. 


which  are  adnurabla^  while  otben  ean  be  of  no 
interest  to  any  one.  [M.C.C.] 

ESLAVA,  MiouKL  Hilabiov,  distingmshed 
Spanish  musician,  bom  Oct.  21,  1807,  near  Pam- 
peluna,  where  he  was  cathedral  chorister.  In 
1824  he  was  appointed  violinist  in  the  cathedral 
at  Pampeluna*  and  in  1828  chapel-master  of  that 
at  Ossuna.  Here  he  was  ordained  deacon,  and 
took  priest's  orders  when  chapel -masAer  at  the 
metropolitan  church  of  Seville  (1832).  In  1841 
he  produced  at  Cadiz  his  first  opera. '  11  Solitario/ 
speedily  followed  by  '  La  TreguA  di  Ptolemalde' 
and  *  Pedro  el  Cru^,'  which  were  Buccessfnlly 
performed  in  several  Spanish  towns.  In  1844  he 
was  appointed  chapel-master  to  Queen  Isabella. 
He  has  composed  over  140  pieces  of  church 
music,  induaing  masses,  motets,  psalms,  etc 
The  work  by  which  he  will  live  is  his  '  Lira 
sacrohispafta'  (Madrid,  Salaiar,  1869,  10  vob.), 
a  collection  of  Spanish  church  music  of  the  1 6th- 
19th  centuries,  with  biographical  sketches  of  the 
composers.  Some  of  his  organ  music  appears  in 
anower  collection,  his  *  Museo  wganico  e^Mflol ' 
(Madrid).  His  '  Metodo  de  Solfeo'  (1846)  has 
been  adopted  throughout  Spain.  His  'Escuela 
de  armonia  y  oomposicion,*  in  3  parts,  hatmony, 
composition,  and  melody,  the  fruits  of  many 
years*  labour,  appeared  at  Madrid  in  1861  (ind 
ed.).  ^  He  also  edited  the  'Gaoeta  musical  de 
Madrid,'  a  periodical  of  considerable  interest. 
Eslava  died  July  33,  1878. 

The  following  are  the  contents  of  the  'Lira 
sacro-hispana' :  — 


VOL.  I  (IMt  oanU 
BuBO\  Are  BeclaA.    4  4 

Do.  Magnificat.   4. 
AnoQ.  Domine  Jesu.   ^ 
Vevin,  A.  Fanetua.   4. 

Do.  Benedletua.   t. 

Do.  Agnus.    4. 

Do.     Do.      fi. 

Do.  AioendensOhrbtiu.   8. 
FetiftJo<«,  F.  NuicM  Mater.   4. 

Do.  Tiibularer  li  neadrem.   4. 

Do.  In  patsione  poaitiu.    4. 

Do.  Memorara.  pllsslna.   4. 

Do.  Veraa  est  la  luetum.    4. 

Do.  l*recor  te.  Domine.   4. 
Bibera,  B.  Ma«niflcat.   4. 

Do.  VlrKopnoidentiaslma.   6. 

Do.  Bex  aatem  David.    6. 
Torrentm.  A.  De,  Macnifloat.    4. 

Do.  Hortus  ounclusiM,    4. 

Do.  Inter  restibulum.   4. 

Do.  Ezaudiat  Doaunus.   4. 
Morales,  Ch.  Emendearaa.   B. 

Do.  O  voa  omnes.    4. 

Do.  Verbum  iniquam.   S, 

Do.  O  crux  are.   0. 

Do.  Lanientabatur  Jacob.   8L 

Do.  Kyrie:  Chrlate:  Gloria.    4. 
Sscobe-io,  R  Immutemur.   4. 

Do.  Exurge.    4. 

Do.  Errarl  dcut  ovta.   4. 
Fentandez,  P.  Disperslt,  dedlt.   4. 

Do.  Heu  mihi  Domine.    4. 
Beinal,  A.  Ave  mnctiasimum. 
Bubledo,  M.  Domine  Jeau.   4. 

Do.  Begem  cui  omnia.    4. 

Du.  Magna  opera.   4  A  fi. 

Do.  Bameos  Iliad  ave.   4. 
VOL.  I,  Ft.  2  Ofitb  cent.). 
Victoria,  J.  L.  de.  Maw,  *  Are  marls 
Stella.*   4  solo. 

Do.  Vere  languora. 

Do.  0  Domine. 

Do.  Jew  dulcb  raemerlik 

Do.  O  quam  glorlosum. 

Do.  Laudate. 

Du.   Requiem  mam,   'd  canto 


Gnerrero.  F.  Tkialo  hc.  Kaltbaam. 
8.4AS. 

Do. Do. sec JoauwB.  4A&. 

Do.  Are  TIrgo.    8. 

Do.  Trahe  me  post.   & 

Do.  Mass,  'Simile est  regnum.'  4. 
KaTarro,  J.  M.  Lauda  JemsaJem.  i. 

Do.  In  ezitu  IsraeL   4. 

Do.  Magniflcat  Imi  tonL   4 

Do.       Do.        SdltooL   4. 

Do.       Do.        SvitonL   4. 
Castetlo,  D.  del,  QoJs  enim  car 
norit.   ft. 

Do.  Oaltitodo.   BL 
Las  Inbnta*,  F.  da.  VloUmae  Tv- 

claJL   fi. 
Oamargo.  M.  O.  DefuMor  wkotM 

Hfopaue.   5. 
Ortiz.  D.  Peroat  dlea.   & 
1  eriaSaz.  P.  Maria  Tligow  fi. 

VOL.  II  QTth  cwU. 
Tomes,  J.  B.  Hodle  noUa.   UL 
Lobo,  A.  Vena  est.   e. 

Do.  Credo  qood  Bedaanplor.  i. 

Do.  Vivo  ego.    4. 

Do.  Ave  Maria,   fl 
Heredia.A.  de.  MegnM<f ■  (rtpwl 

touos).    4. 
TtlUla.  p.  Qui  Lammm.  5a(L 
Komero,  M.  Libera  me.  8. 
Veana.  M.  Villaneieo  Aiteilian.  i 
Vivenco.  8.  O  Domine.    i. 
Vargas,  U.  de,  Magniflcat.  & 
Baban.  G.  Voce  me4.   a 
Juarez.  A.  Vulurrastl  cor  mediD. 

Do.  Dum  sacrum  pignoa. 
D.Mask    a 


VOL.n.Pt.9a7tlicflDU 
Pontac.  D.  Mass, '  In  exits  larad.'  4. 
rattno,  C.  Ma.<«, '  In  derotloae.'  1^ 
^alazar,G.  HeimlbL   4(aoUX 
Do.  O  Bex  gluriae.  9,  col  otguxk 
Do.  Quae  est  ista.     6  Dow 
Da  Vidi  spedosam. «  Do. 
Do.  i>ancta  Maria.  6   Do. 
Do.  Katlvitaa  tusL   6    Dow 
DaMaterDeL        6  Do. 


B55LAVA. 


^TE. 


<95 


MbIK  lUMAIatlo.   11 

X.«teoMjor.F.  d8.BeqnleiB 


DaroB.  8. 0  VOB  oomci.   4 

YOL.  m  cnth  omtX 
Snvo.  J.  de  T.  K.  P&rce  mfliL   8. 
Dadwo.D4ii,dan.doii.don.   Bl 
Eafaula.  P.  AttJIte,  onlvenL   12. 
TaZK  F.  Tote  pulchiiL    6. 
Cabm*.  r.  Y.  Krrle  and  Gknia.  «. 
CoUma.  J.  p.  Repalto  Domim.    4. 
fimjoao.  m.  eplrhus  meiu.   8. 
V&tt,  J.  Jou  Redemptor.   4. 
loeiM.  D.  O  Tos  onuiM.    8. 

Do.  Dvtfijs  esrt  Jcsoi.   i, 

!>•.  DIcHm*  Jesot.   4b 

Do.  Erttnt  iSga^    A. 

I>o.  Cam  aodinet  Joaaua.   4 

Dow  Yob  duaaatla.   8. 
CAfseda*  J.  de,  Kyiie  and  Oloiia.  4. 
USHBv.%.YM«aBenloniinJadleei.4. 

Dol  Bant  qtMM  fiuue.    4. 
Mtk  Bw  DOexi  qnoniam.   *, 
F!Mates.P.  BeatosTlr.    la 
Botar.  F.  A.  Intoolto  aod  oAiiorla 

dedlfonton.    & 
Anon.  Kcoe  mc  gjiliw.   Bk 

YOL.  m.  Ft.  S  asth  cent.). 
Seiwa^  J.  A^  Jtoquicn  muB.    8 

lBpa«  A.  MMi.      8  CBtrfogs  and 

trampetaX 
Bu.  8a*hu  Mater  (6  fanc^    8 

fofsan). 
Udoa,  J.Ave  marla  rteDa.  4  and  & 

YOLu  lY  astta  cent.). 

6«reia.  P.  J.  lAinentfttion.  8  (onh.). 

I>tt-l>o.    TCorcIv). 

AtuHK.  P.  Ad  te  leravL   4(m>1os). 

Do-  Uadate.    6  (rloL  and  truai- 
petaj. 

I>(>riYae>  M.  XlaeraTeu   4  (wind), 
teaaii^  F.  Defensor  alaoa  Hl». 

At.  FkoiB  ikwoa.  I 


PMetof  J.  ffU^  i^tlMk  4  Ortr<« 
trumi>.,  organ). 

Cnellar.  B.  Laoda  Sion.   0L 

MontOKiDos  A.  Saneta  et  ImniMa- 
lataVlrctnltat.   8. 

Pdni.  J.  liBtrlda. '  O  Vadre.'  9. 

Oabo.  F.  J.  Memanio  Donfne.  T. 

YOL.  nr.  Ft  S  OMhoeiitJi 
Ealara.  H.  Te  Dram.   4. 
Do.  O  taemm  convlTtiim.   4. 
Do.  Bone  Pastor.    4. 
Do.  O  HUatarte  boiUa.   %. 
Do.  Beqai<rin  maaa.   8  (orah.X 
Do.  Fanse  mlhl.   & 
Do.  Tedet  animaai.   9. 
Do.  Libera  nte.   8. 

YOL.  Y  (19th  oentX 
r.ed<«ma,   N.    Stabet  mater   (IS 

TcrscB).   8. 
Andrevi,  Fr.  Nune  dlmitttk   4. 
Do.  Falve  Beglna.    6  (orclu). 
Ledeama.  II.  R.  Prindpes  p^.neeQU. 

4  (orch.). 
Broa«  J.  Bcnedktaa.   4(orclU. 

YOL.  Y,  Ft.  2  aMh  cent.). 
Ptorez  7  AlTarex,  J.  fialre  Befioa.  8. 

Do.  O  Palutaria.   Bar.  wilo. 
Nuqalde,  0.  J.  Booa  paator.   Bam 
•olo. 

Do.  O  mhitaria.   8. 
Meton.  V.  O  quoDiam  nairla.  ^ 

Do.  Ecce  pania.   ft. 

Do  Omlutarls.   6i. 
Olleta.  D.  Salre  Beglna.   6. 
Garcia,  M.  Ave  marli  ntella.   4. 
PrAdanoK,  B.  O  quam  suavla.   4. 
Caballero,  M .  F.  Ave  maris  ttella.  ^ 
Calonora,  B.  O.  Laoda  Bion.   L 

Do.  Vera  languorea.   4. 

AFPKNDIX. 
Seeanma.  F.  Hymn,  Seripta  cant 

8^8.8.4.8. 
Doyafffle.lf.MaKn1flflat  flL 
Duron,  8.  Fragmenta. 

lm.  C.  C] 

ESSEBy  Hbinbich,  bom  at  Mannheim  i8i8, 
appointed  concert-meiater  1838,  and  then  mu«ical 
director  in  the  oourt-theatre  at  Mannheim  ;  was 
for  some  yean  conductor  of  the  '  Liedertalel  *  at 
Maje&oe,  and  in  1847  succeeded  O.  NicoUu  aa 
CapellmeiBter  of  the  Imperial  Opera,  Vienna, 
where  he  was  honoured  aa  an  artist  and  beloYed 
as  a  man.  In  NoYember  1869,  shortly  after 
becoming  art-member  of  the  board  of  direction 
of  the  Opera,  he  was  compelled  by  ill-health  to 
rengn,  and  retired  on  a  considerable  pension 
to  Salsboii?,  where  he  died  June  3,  1872.  The 
Emperor  honoured  his  memory  by  granting 
aa  annuity  to  his  widow  and  two  young  chil- 
dren. Esser's  character  was  eloYated,  refined, 
and  singularly  free  from  pretension,  and  his 
eompodtions  bear  the  same  stamp,  especially 
Ms  metodioiu  and  thoughtful  4-part  songs  for 
men's  roioee.  As  a  conductor  he  was  admirable 
— conscientious,  inde&tigable,  and  in  thorough 
sympathy  with  his  orchestra,  by  whom  he  was 
adored.  Wagner  showed  his  appreciation  by 
entrusting  him  with  the  arrangement  of  his 
'Meistersinger*  for  the  piano.  Esser  was  the 
first  to  discern  the  merit  of  Hans  Richter,  whom, 
while  a  member  of  his  band,  he  recommended  to 
Wagn<:r  'UB  a  copyist  and  arranger,  and  who 
ultimately  justified  the  choice  by  succeeding 
EsBer  at  the  Opera  in  May  1875. 

As  a  composer  Esser  was  industrious  and  suc- 
cessful. His  works  contain  scarcely  a  common- 
place thought,  and  much  earnest  feeling,  well 
and  natnnJly  expressed.  The  stage  was  not  his 
forte,  and  l^ough  three  of  his  operas  were  pro- 


duced—'Silas'  (Mannheim,  1839).  'Hiquiqui* 
(Aix-la-Chapelle,  43),  and  'Die  be' den  Prinzen' 
(Munich,  44) — they  have  not  kept  the  boards.' 
His  compositions  for  the  Yoice  are  numerous 
and  beautiful— some  40  books  of  Lieder,  2  of 
duets,  4  of  choruses  for  men's  Yoices,  and  2  for 
mixed  ditto,  etc.  —  and  these  are  still  great 
fayourites.  His  symphonies  (Op.  44,  79*)  and 
Suites  (Op.  70,  75),  and  orchestral  arrangements 
of  Bach's  organ  works  (PasBacaglia,  Toccata  in 
F),  perform^  by  the  Philhamiouic  Society  in  . 
Vienna,  are  pubnshed  by  Schott^  and  a  string* 
quartet  (Op.  5)  by  Simrock.  [C.  F.P.] 

ESTE,  EAST,  or  EASTE  (as  he  yarioualy 
spelled  his  name),  Michael,  Mus.  Bac.,  is  conjec- 
tured to  haye  been  a  son  of  Thomas  £sTB,  the 
noted  music  printer.  He  first  appeared  in  print  as 
a  composer,  in  'The  Triumphes of  Oriana,'  1601, 
to  which  he  contributed  the  madrigal,  'Hence, 
stars,  too  dim  of  Ught.'  In  1604  he  published  a 
set  of  Madrigals,  which  was  followed  in  1606  by 
a  second  wet,  the  pre&ce  to  which  is  dated  'From 
Ely  House  in  Holbome,'  whence  it  may  be  in- 
ferred that  he  was  then  a  retainer  of  Lady 
Hatton,  the  widow  of  Sir  Christopher  Hatton. 
In  1 610  he  published  a  third  set  of  Madrigals. 
Between  that  date  and  161 8,  when  he  published 
a  set  of  Madrigals,  Anthems  &c.,  and  a  set  of 
three-part  songs,  he  had  obtained  his  bachelor's 
degree  and  become  Master  of  the  Choristers  of 
Lichfield  Cathedral.  In  1624  he  published  a 
set  of  Anthems,  from  the  dedication  of  which  to 
'  John  Williams,  Bishop  of  Lincoln  and  Keeper 
of  the  Great  Seal,'  we  learn  that  that  prelate  some 
time  before,  on  hearing  one  of  Este's  motets,  had 
Yoktntarily  settled  an  annuity  on  its  composer, 
personally  a  stranger  to  him.  Este's  last  publi- 
cation was  a  set  of  Puos  and  Fancies  for  viols, 
which  appeu^d  in  1638,  and  was  many  years 
afterwards  re-issued  by  John  Playford  with  a 
new  undated  title-page.  One  of  the  3-part  mad- 
rigals in  Este's  second  set, '  How  mernly  we  liye,' 
retained  its  popularity  down  to  our  days.  [W.H.H.] 

ESTE,  EST,  or  EAST  (as  the  name  was 
yariously  spelled),  Thomas,  was  (having  r^ard 
to  the  number  of  works  printed  by  him)  one  of  the 
most  important  of  our  early  music  typographers 
and  puUishers.  He  was  probably  born  in  the 
earlier  part  of  the  latter  half  of  the  i6th  century. 
The  firttt  work  printed  by  him  with  which  we  are 
acquainted  was  Byrd's  '  Psalmes,  Sonets  and 
Songs  of  sadnes  and  pieMe,'  which  appeared  in 
1588,  he  then  'dwelling  by  Paules  Wharf,'  and 
describing  himself  as '  the  Assigne  of  W.  Byrd ' ; 
i.  e.  assignee  of  the  patent  granted  to  the  latter 
for  the  sole  printing  of  music  and  ruled  music 
paper.  In  the  following  year  Este  removed  to 
Aldersgate  Street,  where  he  published  at  the  sign 
of  the  Black  Horse.  In  1592  he  edited  *The 
Whole  Book  of  Psalms,  with  their  wonted  tunes, 
in  four  parts.'  The  composers  employed  by  him 
to  harmonise  the  tunes  were  some  of  the  most 
eminent  men  of  the  day,  being  ten  in  nwnber, 
yiz:  Richard  Alison,  E.  Bhmcks,  Michael  Ca- 
yendish,  William  Cobbold,  John  Dowland,  John 


496 


ESTE. 


ArUDES* 


Farmer,  GileB  Famaby,  Edmund  Hooper,  Edmund 

Johnson  and  George  Kirbye.    Two  other  editions 

of  the  work  appeared  in  1594  and  1604.    This 

collection  was  the  first  in  which  some  of  the  tunes 

were  called  by  distinctive  names — 'Glassenburie/ 

*  Kentish/  and  '  Cheshire.*     Este  was  a  member 

of  the  Company  of  Stationers,  to  which  in  1604 

he  gave  a  piece  of  plate  of  31  oz.  weight  to  be 

excused  from  serving  soiAe  office  of  the  Company. 

In  the  early  part  of  1609  he  described  himself  on 

the  title- pages  of  his  proauctions  as  '  Thomas  Este 

alias  Snodham,'  and  before  the  end  of  the  year 

and  ever  after  used  the  latter  name  only.     In 

1600  he  described  himself  as  'Tlie  Assigne  of 

Thomas  Morley,*  and  in  1609  as  'The  Assigne  of 

William  Barley,*  having  acquired  the  interest  in 

the  patent  granted  to  Morley  in  1 598  and  by  him 

assigned,  or  perhaps  only  licensed,  to  Barley.  The 

latest  work  known  to  have  been  printed  by  Este 

appeared  in  1624,  and  it  is  probable  that  he  died 

shortly  afterwards.    His  widow,  Lucretia  Este, 

died  in  1 63 1,  having  bequeathed  £ao  to  purchase 

a  piece  of  plate  to  he  presented  to  the  Stationers' 

Company.     Tlie  most  important  works  printed 

and  published  by  Este  were^ 

Adaoo's  Courtly  Huqulng  Ayres, 
1021:  Attey't  Ayrea.  1622;  £&t«- 
lon's  Madiivals.  1604  and  1618; 
Bynl's  rsalmes,  Sonets  and  Songs, 
15m,  Hongcs  of  suudry  natures. 
LWD,  Canttones  8a«nB,  ISW  and 
IfiOl.  nnulualia.  1607  and  1610.  and 
FaalnMs,  Bongs  and  Sonnets,  1611 ; 
Oaropiou's  Ayres.  1610  and  1612; 
Groce'ft  Musica  Bacra,  Newly  Sng- 
lished.lGOK:  Danyel's  Songs,  1606 ; 
DoKland't  Second  Book  of  Ayres, 
IflOO;  Michael  Kste's  1st.  3rd.<(th. 
6th.  and  6th  Sets  of  Madrigals. 
Anthems,  etc.,  1604-1624;  Ferra- 
boseo's  Ayren.  1609;  Orlando  6ib- 

bnns's  Madrigals,  1612 ;  Jones's  F1r»t  \  Wilby  e's  Madrigals.  IB»  and  160B ; 
Book  of  Ayres.  1(X)1 ;  KlrbyeVMad-iTonge's  Musica  Transalplna.  IfiM 
rigals.  U»7:  Maynard's  XII  Won-  and  11)87:  and  Toull'i  Canzonets, 
ders  of  the  World.  1611 ;  Morley's  1008. 

The  Whole  Book  of  Psalms  was  published  in  score 
by  the  Musical  Antiquarian  Society  in  1 844,  edited 
with  a  Preface,  by  Dr.  Rimbault.         [W.  H.  H.] 

ESTE,  in  N.  E.  Italy,  between  Padua  and  Bo- 
vigo.  Two  musical  academies — *  Deffli  Eccitati* 
and  'Degli  Atestini* — were  established  in  Este 
in  1575.  The  family  of  the  Este,  always  liberal 
patrons  of  the  fine  arts,  encouraged  especially  the 
revival  of  music.  Francesco  Patrizzi,  a  professor 
in  the  latter  of  these  two  academies  (bom  1530 — 
died  1590),  in  dedicating  one  of  his  works  to  Lu- 
crezia  d'Este,  daughter  of  Ercole  II,  the  reigning 
Duke,  ascribes  the  revival  of  music  in  Italy  to 
the  House  of  Este,  because  Guide  d*Arezzo  was  a 
native  of  Pomposa  in  their  dominions,  and  because 
such  famous  musicians  as  Fogliano,  Giusquino 
(Josquin),  Adriano,  and  Cipriano,  first  found  ftk- 
your  and  support  from  the  dukes  of  Este.  [C.M.P.] 

ESTHER.  Handel*s  first  English  oratorio ; 
words  by  S.  Humphreys,  founded  on  Racine's 
Esther.  Written  for  the  Duke  of  Chandos,  who 
paid  Handel  £1000  for  it>  and  first  performed  at 
Cannons  Aug.  29,  1720.  Performed  again,  in 
action,  under  Bernard  Gates — in  private  Feb.  23, 
1732,  and  in  public  at  the  King's  Theatre,  Hay- 
market,  May  2,  32,  with  'additions*  not  specified. 
It  was  occasionally  performed  up  to  1757  (when 


Canzonets,  IBBS,  Kaddgatai  16Bi, 
Ba]leto,lfiB6.  Canzonets.  IflH.  Mad- 
rigals, ine.  Triumphes  of  Oriana, 
1801,  and  Consort  Lessons.  1611; 
John  Mundy's  Songs  and  Psalms, 
KM:  Martin  Plerson's  PriTate 
Mnslcke,ieaO:  FUklngton's  Ayres, 
1606,  and  Madrigals  CZnd  set),  1624 ; 
Bobinion's  Sehoole  of  Muslcke. 
1603;  BoiMtor's  Lessons  for  Con- 
sort, 160B ;  Bobert  TaUoor's  Sacred 
Hymnes.  1616 ;  Thomas  Tomklns's 
Bongs,  1622;  Vautor's  Madrigals. 
1619;  Ward's  Madrigals.  161S; 
Watson's  Madrigals.  ISOO ;  Weelkes' 
Madrigals.  1007.  1606.  and  1600; 


'M^hoart  is  inditing'  and  'Zadok  the  Priest' 
were  interpolated  into  the  performaiioe),  and  then 
lay  on  the  shelf  till  Nov.  6,  1875,  when  it  was 
revived  at  the  Alexandra  Palace.  The  overture 
was  for  long  played  annually  at  the  'Festival 
of  the  Sons  of  the  Clergy'  at  St.  Paul*8. 

ESTWXCK,  Rev.  Sampsow,  B.D.,  bom  1657, 
was  one  of  the  children  of  the  Chapel  Royal 
under  Captain  Henry  Cooke.  Upon  quitting  the 
chapel  on  the  breaking  of  his  voice  he  went  to 
Oxford,  took  holy  orders  and  became  one  of  the 
chaplains  of  Christ  Church.  In  169a  he  was 
appointed  a  minor  canon  of  St.  Paul's.  On  Nov. 
27,  1696,  he  preached  at  Christ  Church,  Oxford. 
'  upon  occasion  of  the  Anniversary  Meeting  of  the 
Lovers  of  Musick  on  St.C8ecilia'8  day.'  a  sermon 
upon  '  The  Usefulness  of  Church  Mnmck,'  which 
was  printed  in  the  following  year.  In  1 70 1  he  wa^ 
appointed  vicar  of  St.  Helen's,  Bishopegate.  which 
he  resigned  in  1 712  for  the  rectory  of  St.  Michael, 
Queenhithe.  Estwick  composed  several  odes  for 
performance  at  the  Acts  at  Oxford,  and  other 
pieces  still  in  MS.  He  died  Feb.  1 739.  [W.HH.] 

ETOILE  DU  NORD,  L',  opera  in  3  acts,  prin- 
cipal characters  Peter  the  Great  and  Catherine ; 
words  by  Scribe,  music  by  Meyerbeer,  compiaing 
many  numbesi  from  his  '  Feldlager  in  Schlesien.' 
Produced  at  the  Op^ra  Comique  Feb.  16,  1854 ; 
and  in  England,  as  La  Stella  del  Kordy  at  Coveat 
Garden,  July  19, 1855. 

Etudes,  studies,  exercises,  sonatas,  caprices, 
lessons.  The  large  number  of  works  extant  under 
these  heads  for  pianoforte,  violin,  violonoello,  and 
in  sundry  instances  for  other  orchestral  instrn- 
mmts,  are  in  a  large  measure  mere  supplements 
to  the  respective  instruction-books.  They  may 
be  divided  into  two  kinds — pieces  contrived  with 
a  view  to  aid  the  student  in  mastering  special 
mechanical  difficulties  pertaining  to  the  technical 
treatment  of  his  instrument,  like  the  exceUent 
pianoforte  Etudes  of  Clementi  and  Cramer;  and 
pieces  wherein,  over  and  above  such  an  executiTe 
purpose,  which  is  never  lost  sight  oi^  some 
characteristic  musical  sentiment,  poetical  scene, 
or  dramatic  situation  susceptible  of  musical  in- 
terpretation or  comment  is  depicted,  as  in  certain 
of  Moscheles'  *Characteristische  Studien,'  or  the 
Etudes  of  Chopin,  Liszt,  or  Alkan. 

The  distinction  between  these  two  dasses  of 
etudes  closely  resembles  the  difference  recognised 
by  painters  between  a  tentative  sketch  for  a 
figure,  a  group,  or  a  landscape,  which  aims  at 
rendering  some  poetical  idea  whilst  attending 
particularly  to  the  mechanical  difficulties  teem- 
ing from  the  task  in  hand,  and  a  mere  drawing 
after  casts  or  from  life  with  a  view  to  practice 
and  the  attainment  of  manipulative  fiMslity. 

An  dtude  proper,  be  it  only  a  mechanical  ex* 
ercise  or  a  characteristic  piece,  is  dintingnisbed 
from  all  other  musical  forms  by  the  fact  that  it  is 
invariably  evolved  frvm  a  single  phrase  or  motift 
be  it  of  a  harmonic  or  melodious  character,  upon 
which  the  changes  are  rung.  Thus  many  of  Bach  s 
Preludes  in  the  *  wohltemperirte  Clavier,' and  the 
like,  could  be  called  etudes  without  a  misnomer. 


KTUDBS. 

1%e  most  Tahmble  ^tndet  for  the  puuofoiie 
m  the  foUoiriiig :— • 

I.    Classioal  School. 


EUEYANTHB, 


497 


B4CB. 

—A 


•t  A 


tnJ: 


M  enreiaM  dans  tow  iM  toiMJ       lMiM8tafMHkO|ii.0B. 
TbeeatelnBb.  1 

H.    Modern  School. 

OHOPDr. 
Bsnada Btodea.    OpilOL 
Bllodci.    0».& 
TroiiKtadBK. 
HPivhidVL 


tC| 


de 


Ol>.& 


U8ZT. 


Etndeid'ezaeatloo 

Ab-Irmto.  Stade  de  peifcetlunne- 

mcnt. 
Trols  fnivta  Itodes  de  ooDoert 
ZmA    tiidep  —  Weldewiaehen; 

ay.AUCAii. 

Ultndai. 

UOnndeiltadai. 

Xtade  poor  la  melB  immIm. 

M       •     n     ■     drolte. 

•       ■    he  dem  taakat, 

BUBDIBTIEV. 
6Btadee. 
Zwetltadon. 

Besides  these  there  exists  an  enormous  namher 
of  etudes  with  oomparatiTely  little  educational 
and  less  Artistic  value,  which  are  for  the  most  part 
written  to  the  order  of  publishers,  from  whose 
shops  they  find  their  way  to  the  Khoolrooms  and 
nloos  of  amateurs;  such  are  those  1^  Csemy, 
Steibelt^  Hummel,  Kessler,  Bertini,  Mayer, 
Dohler,  Schulhof.  Eavina,  etc.  [E.D.] 

Of  Etudes  for  the  Violin,  the  following  four 
works  are  considered  as  indispensable  for  the 
formation  of  a  good  technique  and  correct  style, 
^y  the  masters  of  all  schools  of  violin-playing : — 

R.  Kreateer,  40  Etudes  or  Caprices. 

Horillo,  Etude  de  Violon,  formant  36  capnoes. 

P.  Rode,  Yingt-quatre  Gaprices. 

N.Paganini,  24  Caprioes,  op.  i. 

to  which  may  be  added  Gavini^*  'YiagtqaaAre 
nstin^es.' 

Of  more  modem  Etudes,  those  of  Dont,  Perd. 
David,  Alard,  and  Wieniawsky,  are  amoi^jst  the 
nvat  valuable.  The  violin- schools  of  Spohr, 
£iw,  and. others,  also  contain  a  great  many  nse- 
M  ^dfis.  Some  movements  from  Bach's  Sdo 
SoDstas,  soch  as  the  well-knowB  Prelude  in  £ 
Bftjor,  fall  under  the  same  oat^goiy.  [P.B.] 

EULENSTEIN,  Chablh,  was  bom  In  i8oa 
stHeObroDn,  in  Wurfecmbeig.  His  father  was  a 
nspsetabla  tradesman;  but  nothing  could  deter 
tbe  am  from  following  his  strong  predilection 
iiariDiisic  After  enduring  all  sorts  of  privations 
•nd  Jll-sueoeeB,  he  iqipeared  in  London  in  1827, 
and  produoed  extremely  beautiful  effects  by  per- 
fomiipg  on  sixteen  Jew's-harps,  having  far  many 
yean  cultivated  tiiis  instrument  in  an  extra- 
ordinary manner.  [JswVhabp.1  Hie  patronage 
of  the  Duke  of  Gkvdon  induced  nim  to  return  in 
1838;  but  he  soon  found  that  the  iron  Jew's-harp 
W  so  injured  his  teeth  that  he  could  not  plajr 
withost  pain,  and  he  thsrefote  i^lied  himself 
nofe  and  more  to  the  guitar.  At  length  a 
dentist  contrived  a  glutinous  covering  fx  the 
teeth,  which  enabled  him  to  play  his  Jew's-harp 
again.  He  was  very  aoecessfrd  in  Seotiaad,  and 
thenoe  went  to  Bath,  to  establish  himself  as 
teacher  of  the  guitar,  conoertina,  and  the  Q^Boaaik 


language.  After  remaining  there  a  considerable 
time  he  returned  to  Germany,  and  is  now  (1878) 
living  at  Gttnxbing,  near  Uhn.  [V.deP.j 


EUPHONIUM.  A  name  given  to  the  baas 
instrument  of  the  Saxhorn  £unily,  usually  tuned 
in  Bb  or  0.  It  only  differs  friun  the  barytone 
Saxhorn  in  the  larger  diameter  of  its  bore,  which 
thus  produces  a  louder  and  somewhat  deeper 
quality  of  tone.  It  is  usually  furnished  with 
four  valves,  sometimes  even  with  five,  the  first 
three  worked  by  the  fingers  of  the  right  hjmd, 
and  severally  depressing  the  pitch  by  a  semitone, 
a  tone,  and  a  minor  third;  the  fourth  by  the 
left  hand  applied  to  a  different  part  of  the 
instrument,  and  lowering  the  pitch  by  two  tones 
and  a  semitone. 

From  the  gradual  disuse  of  the  Serpent  and 
Ophicleide,  tho  Euphonium  is  becoming  the  chief 
representative  of  the  eight-foot  octave  among 
the  brass  instruments;  with  the  exception  of 
the  few  notes  attainable  on  the  French  horn  in 
that  raster.  In  quality  it  is  however  less 
sympathetic  than  its  forerunners,  and  less  able  to 
blend  with  the  stringed  instruments.  It  thera- 
fore  serves  chiefly  as  a  solo  instrument,  in 
which  capacity  it  affords  considerable  support 
to  the  brass  or  military  band.  It  possesses  the 
usual  harmonic  series  of  open  notes.  Its  com- 
pass is  to  a  considerable  degree  dependent  on 
the  lip  of  the  individual  player.  The  funda- 
mental note  is  obviously  G  or  Bb  according  to 
the  pitch  of  the  instrument,  and  the  gap  between 
this  ami  the  next  harmonic  above  is  more  or  less 
bridged  over  according  to  the  number  of  the 
valves.  The  valves  mso  admit  of  beix^  used, 
together  or  separately,  as  integral  parts  of  the 
tube,  thus  lowering  ihe  fundamental  tone  ob- 
tained, even  to  the  extent  of  an  octave. 

The  npper  limit  mav  be  generally  described  ae 
three  octaves  above  the  f^- 
damental  before  named,  al- 
though aooomplished  players 
obtam  sounds  very  mudi  more 
aoute.  It  is  usnaUy  written 
for  in  the  bass  61e(  and  in  orchestral  usage  the 
real  notes  are  given.  If  the  instrument  be  in  0, 
which  it  oommoBlj  is,  no  change  is  necessary ;  if 
however  it  be  a  Bb  instrument,  the  whole  scale 
has  to  be  reaUy  and  systematically  raised  through 
the  interval  of  a  tone.  [See  TuAHaPOBiNO.] 
Some  French  writers,  however,  transpose  the  part 
exactly  as  is  done  for  the  clarinets  and  comet. 

The  Euphonium  being  a  modem  invention,  ia 
not  written  for  by  the  older  composers.  It  is 
however  freely  employed  in  more  recent  in* 
strumsntation.  [W.  H.  S.] 

SUBYANTHE.  Hie  6di  of  Weber^s  7  operas. 
TextbyHelminevonGhespf.  Overture  completed 
Oct.  19,  18S3;  produced  Oct.  35,  33,  at  the 
SLamthnerthor  theatre,  Yienna;  in  London,  at 
Ooveut  Garden,  June  39,  33 ;  at  Paris,  Grand 
Op^ra,  April  6,  1 831,  with  interpolations  from 
Oberon ;  at  Th^tre  Lyrique,  with  new  libretto, 
S^.  I,  57.  The  opera  is  damaged  by  its  li- 
bretto^ and  is  too  little  known.  £G.] 


W^ 


^98 


EVANS. 


EVANS,  Chablsb  Smart,  bom  1778,  waa  a 
chorister  of  the  Chapel  Royal  under  Dr.  Ayrton. 
On  arriving  at  manhood  he  became  the  posBeeaor 
of  an  unuBuaUy  fine  alto  voice.  On  June  14, 
1808,  he  was  admitted  a  gentleman  of  the 
Chapel  Royal.  He  was  the  compoaer  of  aome 
anfchemg  (two  of  them  printed),  and  of  many 
excellent  glees  and  other  piecee  of  vocal  har- 
mony, moflt  of  which  have  been  published.  In 
1 81 1  the  Glee  Club  awarded  him  a  prise  for 
his  Cheerful  Glee,  '  Beauties,  have  you  seen  a 
toy,*  and  in  the  following  year  a  second  for  his 
<Fill  all  the  glasses.*  In  181 7  he  carried  off 
the  prise  offered  l^  the  Catch  Club  for  the  beet 
setting  of  William  Linle/s  Ode  to  the  Memory 
of  Stmiuel  WebbO)  the  eminent  glee  composer. 
In  182 1  he  obtained  another  prise  for  his  glee, 
'Great  Bacchus.'  He  also  produced  several 
motets  for  the  use  of  the  choir  of  the  Portuguese 
Ambassador's  chapel  in  South  Street,  Groevenor 
Square  (of  which  he  was  a  member),  some  of 
which  are  printed  in  Vincent  Novello*s  Collection 
of  Motets.  Evansdied  Jan.4. 1849.    [W.H.H.] 

EVERS,  Carl,  pianist  and  composer,  bom  at 
Hamburg  April  8, 1 8 1 9,  made  his  first  appearance 
when  1 3,  and  shortly  after  went  on  long  proies* 
sional  tours.  Betuming  to  Hamburg  in  1837  he 
studied  composition  under  Carl  Krebs.  On  a 
visit  to  Leipsic  in  1838  he  made  the  acquaintance 
of  Mendelssohn,  whose  influence  affected  him 
greatly,  and  started  him  in  instrumental  com- 
positions on  an  extended  scale.  In  the  following 
year  he  went  to  Paris,  and  was  kindly  received 
by  Chopin  and  Auber,  where  he  remained  for 
some  time  working  hard.  In  1841  he  was  ap- 
pointed chapel-master  at  Grats,  where  he  started 
a  music  business,  taught,  and  otherwise  exercised 
his  profession.  Since  187a  he  has  resided  in 
Vienna.  His  compositions  comprise  4  piano- 
forte sonatas,  of  which  those  in  B  minor,  Bp,  and 
D  minor  were  much  esteemed ; '  Chansons  d'amou' 
for  Piano;  fugues;  fuitasias;  solo  and  part-songs, 
etc.,  etc.  HEMlinger  of  Vienna  and  Schott  of 
Mayence  are  his  publishers.  His  sister  Katinka, 
bom  1822,  was  fiivourably  known  as  an  opera- 
singer  in  Germany  and  Italy.  [M.u.C] 

EXIMENO,  ANTONIO,  Spanish  Jesuit,  bom 
1732  at  Balbastro  in  Arragon.  Having  studied 
mathematics  and  music  at  Salamanca  he  became 
professor  of  both  sciences  at  Segovia.  On  the 
ojcpulsion  of  the  Jesuits  from  ^pain  he  settled  in 
Rome,  and  died  there  in  1 798.  His  work  '  Dell' 
origine  della  musica,  coUa  storia  del  suo  pro- 
greeso,  decadenza,  e  rinovazione'  contains  the 
germ  of  the  theories  afterwards  daborated  by 
Wagner,  and  at  the  time  raised  a  host  of  pole- 
mical writings,  to  which  even  Padre  Martini 
contributed  his  share.  He  proposed  to  abolish 
the  strict  laws  of  counterpoint  and  harmony,  and 
apply  the  rules  of  prosody  to  musical  composi- 
tion. He  was  the  first  scientific  exponent  of 
the  doctrine  that  the  aim  of  music  is  to  express 
emotion,  and  thus  exercised  considerable  influ- 
ence on  musical  Aesthetics.  His  contemporaries 
stigmatised  his  book  as  an  'extraordinary  romance, 
in  which  he  seeks  to  destroy  music  without  being 


EXTEMPORE  PLAYING. 

able  to  reoonstmct  it' — a  verdict  which  oorioasly 
anticipates  that  often  passed  upon  Wagner  in 
our  own  day.  [P*^-] 

EXTEMPORE  PLAYING.  The  art  of 
playing 'without  'premeditation,  the  coaoeptian 
of  tiie  music  and  its  rendering  being  simultaneoui. 
Hie  power  of  playing  extempore  evinces  a  verj 
high  degree  of  musical  cultivation,  as  well  ss 
the  possession  of  great  natural  gifts.  Not  only 
must  the  fiusulty  of  musical  invention  be  present, 
but  there  must  also  be  a  perfect  mastery  over  all 
mechanical  difficulties,  that  the  fingers  may  be 
able  to  render  instantaneously  what  the  mind 
conceives,  as  well  as  a  thorough  knowledge  ol 
the  rules  of  harmony,  counterpoint,  and  moricsi 
form,  that  the  result  may  be  symmetrical  and 
complete. 

Tliis  being  the  case  it  is  not  surprisini^  Hoi 
the  greatest  extempore  players  have  usually  been 
at  the  same  time  the  greatest  composers,  and  we 
find  in  fact  that  all  the  great  masters,  indudis; 
Bach,  Mozart,  and  Beethoven,  have  shown  mach 
fondness  for  this  form  of  art,  and  have  even 
exercised  it  in  public.  Mosart  improvised  in 
public  at  the  age  of  14,  as  is  shown  by  the 
programme  of  a  concert  cfiven  as  an  exhibition 
of , his  powers  by  the  Philharmonic  Society  of 
Mantua  on  Jan.  16,  1770,  which  included  an 
extempore  sonata  and  fugue  for  the  harpsichord, 
and  a  song  with  harpsichord  accompaniment,  to 
be  sung  to  words  given  by  the  audience. 

These  extemporaneous  performances  were  some- 
times  entirely  original,  but  more  frequently  con- 
sisted of  the  development  (often  in  the  form 
of  a  fugue)  of  a  theme  given  by  the  listener!, 
and  they  not  unfirequenUy  took  the  form  of  s 
competition  between  two  players,  each  giving 
the  other  subjects  on  which  to  extemporise. 
Thus  when  Louis  Marchand,  banished  torn 
France,  came  to  reside  in  Dresden  in  17171  *^ 
was  about  to  receive  the  appointment  of  oi]gsniit 
to  the  King  of  Poland,  Yolumier,  the  ooart 
conductor,  fearing  Marchand  as  a  rival,  invited 
Bach  to  appear  at  a  court  concert  in  oompetition 
with  him.  Accordingly,  after  Marchand  iud 
played  with  great  applause  a  French  air  with 
variations.  Bach  took  his  place,  and  extemporiMd 
a  number  of  new  variations  on  the  same  theme, 
in  such  a  manner  as  incontestably  to  prove  hif 
superiority. 

Sometimes  two  players  would  extemporise  to- 
gether, either  on  one  or  two  pianofortes.  Thu 
appears  to  have  been  done  by  Mozart  and  Clementi 
at  Vienna  in  178 1,  and  also  by  Beethoven  tod 
Wolffl,  who  used  to  meet  in  1 798  at  the  hoose  of 
Freiherr  von  Wetzlar,  and,  seated  at  two  pisno' 
fortes,  give  each  other  themes  upon  which  to 
extemporise,  and,  according  to  Se^Hed  (Tfasyer, 
U.  27), '  created  many  a  capriocio  for  four  hand^ 
which,  if  it  could  have  been  written  dovm  at  ti» . 
moment  of  its  birth,  would  doubtless  have  6^ 
tained  a  long  existence.* 

It  is  probable  that  in  most  of  these  competitioiii 
the  oompetitors  were  but  Hi-matched,  at  leu^ 

I  The  Gennaa  tMm  k  estloiu— mh  itm  SUgnift-'fn^  ^ 


EXTEMPOBE  PLAYTNG. 

Then  one  of  them  happened  to  be  a  Bach  or 
Beethoven ;   and  the  wander  is  that  men  were 
foand  willing  to  measure  their  strength  against 
sodi   giants.      Oocasionidly  their  presumption 
WM  rebuked,   as  when  Himmel  extemporised 
before  BeethoTen  in  1796,  and  Beethoven  having 
hstened  for  a  considerable  time,  turned  to  Himmd 
and  asked  'Will  it  be  long  before  you  begin  1' 
Beethoven   himself  excelled  all  others  in  ex- 
tempore, and  according  to  the  accounts  of  his 
contemporaries  his  playing  was  hr  finer  when 
improvising  than  when  playing  a  regular  com- 
position, even  if  written  by  himself.    Czemy  has 
left  a  moet  interesting  account  of  Beethoven*B 
extempore  playing,  wMch  is  quoted  by  Thayer 
(ii.  347),  and  is  worth  reproducing  here,  since 
it  helpB  na  to  realise  to  some  extent  the  effect 
of  his    improvising.      Czemy  says  —  'Beetho- 
ven's improvisation,  which  created  the  greatest 
sensation  during  the. first  few  yeurs  after  his 
anival  at  Vienna,  was  of  various  kinds,  whether 
be  extemporised  upon  an  original  or  a  given 
theme,     i.  In  the  form  of  the  first  movement  or 
the  final  rondo  of  a  sonata,  the  first  part  being 
Tegularly  formed  and  including  a  second  subject 
in  a  related  key,  etc.,  while  the  second  part  gave 
freer  scope  to  the  inspiration  of  the  moment, 
though  with  every  possible  application  and  em- 
ployment of  the  principal  themes.     In  allegro 
moTemente   the  whole  would  be  enlivened  by 
bravura  passages,  for  the  moet  part  more  difficult 
tbsn  any  in  his  published  works,     a.   In  the 
form  of  variations,  somewhat  as  in  his  Choral 
Fantasia,  op.  80,  or  the  last  movement  of  the  9th 
Symphony,  both  of  which  are  accurate  images 
of  this  kind  of  improvisation.    3.  In  mixed  form, 
after  the  fikshion  of  a  potpawrri,  one  melody 
following  another,  as  in  the  Fantasia  op.  77. 
Sometimes  two  or  three  insignificant  notes  would 
Krre  as  the  material  firom  which  to  improvise 
a  complete  composition,  just  as  the  Finale  of  the 
Sonata  in  D,  op.  10,  No.  3,  is  formed  firom  its 
three  opening  notes.' '    Such  a  theme,  on  which 
he  had  *gotUioh  phantasirt'  at  Count  Browne's 
bonae,  hu  been  preserved  (Nohl's  'Beethoven's 
Leben.'  iiL  644)  :— 


EXTBAVAGANZA. 


499 


Another  given  him  by  Vogler  was  the  scale  of 
C  major,  3  bars,  cUla  hreve  ^Thayer,  ii.  236). 

Since  Beethoven  many  great  musicians  have 
extemporised  in  public — Mendelssohn,  Hummel, 
Moacheles,  and,  on  the  organ,  our  own  Wesley, 
We  all  been  celebrated  for  their  improvisations; 
bot  the  practice  of  publicly  extemporising,  it'  not 
extinct,  is  now  very  rare.  Mendelssohn  himself, 
n^'twithstanding  his  uniform  success,  disliked 
doing  it,  and  in  a  letter  to  his  father,  written  in 
^<  1 831  (Reisebriefe,  p.  283),  even  declares  his 
detemiination  never  to  extemporise  in  public 
again;  while  Hummel  on  the  other  hand  says 

'  Aloi dcSnlte. bat ttm higbly  tnteiwllnff,  ■ecoont  of  hb  iminvTl- 
*^V.-)m  ii  lifM  by  Bterke  tn  Kohl'i  'BMthof«&  naeh  dan  SolUIdu- 
<u«3>  NiiMr  ZoUcBiMMMn' (Urnji 


('Art  of  playing  the  Pianoforte')  that  he '  always 
felt  less  embairassment  in  extemporising  before 
an  audience  of  2000  or  3000  persons  than  in  ex- 
ecuting any  written  composition  to  which  he  was 
slavishly  tied  down. '  Even  the  Cadxitoi  of  a  con- 
certo, which  was  once  the  Intimate  opportunity 
for  the  player  to  exhibit  his  powers  of  improvisa- 
tion, is  now  usually  prepared  beforehand.    [F.T.] 

EXTEMPORISING  MACHINE.  An  in- 
vention for  printing  the  notes  of  an  extempo- 
raneous performance,  by  means  of  mechanism 
connected  with  the  keyboard  of  a  pianoforte  or 
organ.  The  idea  of  being  able  to  preserve  the 
improvisations  of  great  musicians  is  certainly 
an  attractive  one,  and  has  often  engaged  the 
attention  of  mechanicians,  but  without  any 
very  practical  result.  The  earliest  endeavour  in 
this  direction  appears  to  have  been  made  by  an 
English  deigyman  named  Creed,  who  wrote  a 
'Demonstration  of  the  Possibility  of  making  a 
machine  that  shall  write  Extempore  Voluntaries 
or  other  Pieces  of  Music  as  fast  as  any  master 
shall  be  able  to  play  them  upon  an  Organ,  Harp- 
sichord, etc.'  This  was  conmiunicated  l^  John 
Freke  to  the  Boyal  Society,  after  Creed's  death, 
and  was  published  in  the  Philosophical  Trans- 
actions for  1747,  vol.  xliv.  part  ii.  p.  445.  A 
similar  invention,  called  the  Melograph,  was 
conceived  by  Euler  the  mathematician,  and  was 
constructed  according  to  his  directions  by  Hohl- 
feld  of  Berlin,  about  1752.  It  consisted  of  two 
revolving  cylinders  with  a  band  of  paper  passing 
over  them,  on  which  the  notes  were  marked  by 
means  of  pencils  attached  to  the  action  of  a 
pianoforte,  their  duration  being  shown  by  the 
relative  length  of  the  lines  formed.  The  machine 
was  placed  in  the  Academy  of  Arts  and  Sciences 
at  Berlin,  but  was  subsequently  destroyed  in  a 
fire.  The  priori^  of  invention  of  the  Melograph 
was  disputed  by  iJnger,  of  Einbeck,  who,  in  a  long 
correspondence  with  Euler  (afterwards  published), 
states  that  the  idea  occurred  to  him  as  early  as 
1 745.  There  have  also  been  several  more  modem 
inventions  for  the  same  end,  notably  one  by  Pape 
of  Paris  in  1824,  which  attracted  much  notice  at 
the  time;  but  the  difficulty  of  expressing  the 
varying  rhythms  of  an  elaborate  piece  of  music 
by  mechanical  means  has  hitherto  proved  insur- 
mountable. [F.T.] 

EXTRAVAGANZA.  Any  work  of  art  in 
which  accepted  forms  are  caricatured,  and  re- 
cognised laws  violated,  with  a  purpose.  A  musical 
extravaganza  must  be  the  work  of  a  musician 
fiuniliar  with  the  forms  he  caricatures  and 
generally  amenable  to  the  laws  he  violates. 
Mozart's  '  Musikalisoher  Spass'  (Kochel,  ^No. 
522)  is  an   instance  on  a  small  scale.      The 

{>antomime  overture  would  seem  to  be  the  most 
egitimate  field  for  the  exercise  or  gratification 
of  musical  extravagance.  In  this,  ludicrous 
effects  might  be  produced  by  assigning  passa^ 
to  instruments  inapt  though  not  altogether  m- 
competent  to  theirexecution;  by  treating  firagments 
of  familiar  tunes  oontrapuntally,  and  the  like. 
Perhaps  no  field  for  musical  invention  has  been 
less  worked  than  that  of  extravaganza.     Ot  no 

£k2 


1^00 


JSXTBJLYAGtANZlL. 


daw  of  muno  does  there  exist  so  little  as  of  that 
which  is  ludicrous  in  itself,  and  not  dependent 
for  its  power  of  exciting  risihility  on  the  words 
connected  with  it,  or  the  circimistanoes  under 
which  it  is  heard.  Haydn's  Toy  symphonies  are 
in  a  certain  sense  extravaganzas.  His  '  Farewell 
Symphony/ though  open  to  a  ludicrous  interpreta- 
tion, is,  as  Mendelssohn  truly  said  of  it»  a  '  mel- 
ancholy little  piece.'  Indeed,  as  orchestras  now 
are,  it  cannot  be  performed  as  intended.  Men- 
delssohn's own  Puneral  March  for  Pyramus  is 
an  exquisite  piece  of  humour.  [J.  H.] 

EYBLER,  JosxEH  Edlsb  voir,  GapeUmeister 
to  the  Emperor  of  Austria^  bom  at  Sohwechat, 
near  Vienna,  Feb.  8, 1 765.  His  father,  a  school- 
teacher and  choir-master,  taught  him  singing 
and  the  principal  instruments,  and  a  plaoe  was 
srocured  for  him  in  the  boys'  seminary  at  Vienna. 
While  there  he  took  lessons  (1777-79)  from 
Albrebhtsberger.  On  the  dissolution  of  the 
•eminary  in  1782,  Eybler  turned  his  attention 
to  the  law,  but  was  driven  by  the  sudden  im- 
poverishment of  his  parents  to  earn  his  bread  by 
music.  Haydn  now  proved  a  true  Mend,  not  only 
encouraging  him  in  his  studies  but  recommending 
him  to  Artaria  the  publisher.  In  the  meantime 
some  of  his  symphonies  were  performed,  and 
both  Havdn  (1787)  and  Mozart  (1790)  testified 
to  his  ability  as  a  composer  and  his  fitness  for 
the  post  of  Gapellmeister.  Eybler  nursed  Mozart 
during  his  last  illness,  and  after  his  death  it  was 
to  hiiii  that  the  widow  at  once  committed  the 
task  of  completing  the  Requiem.  He  accepted 
the  ohaige  in  a  letter  dated  Deo.  ai,  1 791,  and 
bsgaa  the  work,  but  soon  gave  it  up.  He  was 
appointed  choir^naster  to  a  church  in  the  suburbs 
in  179a,  and  in  1794  to  the  'Schotten'  monastery 
in  Vienna  itself.  About  this  time  his  first  work, 
5  String  Quartets  dedicated  in  Italian  to  Haydn, 
was  published  by  Traeg.  In  1810  he  was  ap- 
pointed muiio-master  to  the  imperial  children,  m 
Z804  TOoe*capenmefatqr,  and,  on  Salieri's  retire- 


FABKI. 

ment  in  1834,  chief  capellmeister.  In  18^  he 
was  ennobled  by  the  Emperor,  whose  meelangs 
for  quartet  practice  he  had  regolariy  attended. 
A  year  before  he  had  been  obliged  to  give  up 
the  exercise  of  his  profession  owing  to  a  pezmlykic 
stroke  while  conducting  Mozart's  Bequiem.  He 
died  July  94,  1846. 

As  a  composer  Eybler  restricted  himself  en- 
tirely to  sacred  music,  Mozart  having  oonfinned 
his  own  conviction  that  his  disposition  was  too 
simple  and  quiet  for  the  intrigues  and  conflidti 
of  the  stage.  For  the  *Tonktinatler  Societat,'  of 
which  he  was  many  yean  president,  he  wrote 
the  cantata  'Die  Hirten  bei  der  Krippe'  (1794) ; 
and  for  the  Emperor  'Die  vier  let^en  IHiige,' 
an  oratorio  first  performed  at  court  (1810)  and 
afterwards  by  the  Tonkimstler-  Sodetat.  His 
printed  works-^chamber-music,  pieces  for  piano- 
forte and  other  instruments,  vocal  music,  and 
several  symphonies — were  favourites  in  their 
day,  but  his  church'«nusic  is  of  greater  value. 
Here,  the  devotional  spirit  with  which  the  whole 
is  penetrated,  the  flow  of  the  voice-parts,  and 
the  appropriate  if  at  times  too  powerful  instru- 
mentation— all  remind  us  <^  Miohaal  ELaydn  at 
his  best.  His  best  work,  the  Bequiem  in  C 
minor,  which  is  fine  as  a  whole  and  even  sublime 
in  parts,  has  been  brought  into  notioe  by  Bodi- 
Jitz  (Allg.  mus.  Zeitnng  i8a6,  Ko.  19).  Hss- 
linger  published  the  Requiem,  7  Masses,  a  Te 
Deums,  13  Offertoriums,  Oraduales,  and  Vespen, 
the  greater  part  of  which  are  still  in  use. 
Eybler's  quiet  life,  undisturbed  by  jealousy  cr 
envy,  made  him  respected  by  high  and  low. 
For  many  years  he  held  an  honourable  post,  and 
saw  the  great  heroes  of  his  vri,  Gluck,  Mozart, 
Haydn,  &ethoven,  and  Schubert,  oanied  to  the 
grave.  —  In  England  Eybler  is  hardly  even  a 
name ;  and  it  is  probable  that  in  the  numerous  and 
extensive  collections  of  pieoes  and  ammgemoits  of 
Hullah,  Novello,  Best,  Co<^)er,  etc.,  not  a  single 
oompositioii  of  his  is  to  be  fooxid.  [G.  F.  P.] 


P. 


FThe  4th  note  of  the  natural  scale,  with 
Bb  for  its  signature.  In  Frendi  and  in 
'     solfaing.  Fa,    D  is  its  relative  minor. 

The  F  clef  is  the  bass  def,  the  sign  of  which 
is  a  corruption  of  that  letter. 

F  minor  has  a  signature  of  4  flats,  and  Ab  is 
Its  relative  major. 

F  is  the  tonic  of  the  Aeolian  church  mode, 
with  G  for  its  dominant. 

F|  is  in  German  Fit,  in  French  Fa  dUte. 

Beethoven  has  Yery  much  favoured  these  keys, 
having  left  a  Symphonies  (Pastoral  and  No.  8), 
3  String  Quartets  (the  istand  last,  and  Basso- 
mofibky.  No.  1),  4  P.  F.  Sonatas,  etc.,  in  F  major, 
'Overture  to  Egmont,  Sonata  appassionata,  Quar- 
tet, op.  95,  in  F  ndnor.  Haydn,  on  the  other 
hand,  very  seldom  composed  for  the  orchestra  in 
this  key,  major  or  minor. 


Ff  is  more  rarely  used ;  bat  we  may  mentian 
Haydn's  Farewell  Symphony ;.  a  P.  F.  SoData 
(op.  78)  by  Beethoven,  for  which  he  had  a  pecu- 
liar affection;  and  a  charming  Homanoe  of 
Schumann's  (op.  28). 

ft  for,,  or  forte,  is  the  well-known  sign  ks 
loudness. 

The  holes  in  the  belly  of  the  violin  are  called 
the  /  holes  from  their  shape.  [G.] 

FABBI,  AiTNiBALE  Pio,  Djstto  Balino,  one 
of  the  most  excellent  tenors  fA  the  i8th  oentui]r> 
was  bom  at  Bologna  in  1697.  Educated  musi- 
cally by  the  famous  Pistoocht,  he  became  the 
favourite  of  the  Emperor  Gharles  VI,  and  other 
Princes  sought  to  engage  him  in  their  senrioe. 
He  was  also  a  composer,  and  member  of  the 
Accademia  Filarmonioa  of  Bologna ;  received 
into  that  society  in  1 719,  he  was  named  its  Prir^ 


JFASKL 

ape,  at  preadent,  in  1735,  ap,  45,  47,  and  50, 
in  1729  ho  came  to  England  and  aang,  with 
Benaochi,  his  feUow-pupil  under  PiBtoochi,  in 
Handel's  '  Tolomeo/  taking  the  part  of  Araspe, 
formedy  rang  by  Bo«b1u.  j^  the  latter  was  a 
Basiy  th«  part  was  probably  transposed  for 
Fabn  for  want  of  a  Baas  to  sing  it.  In  the 
rune  year  he  performed  the  tenor  part  in  '  Lo- 
tario,*'  as-  also  m  'Fartenepe*  (1730),  and  iir 
'Poro*  and  a  reprite  of  'Biaaldo^  (i73i)>  »U  by 
the  same  master.  Hamg  been  appointed  to 
the  Boyal  Chapel  at  Lisbon  a  few  yean  later, 
be  died  there  Aog.  12,  1760.  [J.M.] 

FABRIZZI,  0SA2IA,  an  Italian  prima  donna, 
described  by  Lord  Mount-Edgoumbe  as  '  very  far 
firam  a  bad  mnger,  bat  neither  young  nor  pretty, 
therefore  not  liked';  she  i^pearsd  in  London 
about  1 796  and  sang  that  year  the  principal  r^Jes 
in  Martini's  'ConsigUo  Imprudente'  and  Cima- 
vDsa's  'Traci  Amanti,'  as  also  in  Martini's  'Ar^ 
bore  di  I>iana.' .  She  was  not  re-engaged.   [J.M.] 

FACKELTANZ,  or  Mardu  aux  jlanibeaux, 
a  torchlight  prooeasion — a  sunival  from  the 
mediaeval  tournaments — which  takes  place  at 
wme  of  the  Gennan  Courts  on  occasion  of  the 
msiriage  of  membere  of  the  royal  fiunily.  The 
procession  has  to  march  round  the  court  or 
ludl,  with  various  intricate  ceremonies  (Times, 
Feb.  19,  1878).  The  music — ^for  military  band — 
is  a  Polonaise  in  march-time  (3-4),  usually  a  loud 
fint  and  last  part,  and  a  soft  trio.  Meyerbeer 
has  written  four — one  for  the  marriage  of  the 
Princees  Boyal  (Jan.  25,  1858).  Spontini,  Flo- 
tow,  and  others,  have  also  written  them.       [G.] 

FAGOTTO.  The  Italian  name  for  the  Bassoon, 
obvioualy  arising  from  its  resemblance  to  a  faggot 
or  bundle  of  sticks.  The  (jrermans  have  adopted 
liMFagoU.    [See  Bassoon.]  [W.H.S.] 

FAIR  BOSAMOND.  A  grand  opera  in  4 
actg;  words  by  C.  Z.  Bamett,  mueic  by  John 
Bamett ;  produced  at  Drury  Lime  Feb.  ao,  1837. 

FA-LA.  A  piece  of  vocal  music  for  three 
or  more  voioes,  originally  set  wholly  or  in  part 
to  these  two  tol-fa  qrllables.  Fa- las  belong 
oaentially  to  the  madrigalian  era,  most  of  the 
composers  of  which  have  kit  specimens  of  them. 
They  are  said  to  be  the  invention  of  Gastddi  di 
Csravaggio — ^if  the  uttenmce  of  musical  sounds  on 
uiuneaning  syllables  can  be  called  an  invention. 
Many  of  his  'balletti,*  like  many  of  tiie  Ballets 
ef  Moriey^— such  as  *  Noir  is  the-  month  of  May- 
ing'— end  witil  a  lengthened  Fa-la.  A  4*pi^ 
eong  known  as  *  The  Waitte,'  by  an  Fiiglinh 
compoaer  Jeremiah  S«riBei.  set  wholly  on  those 
syllables,  i»  probaldy  the  most  populiur  Fa-la  in 
existence.  [J.  H.} 

FALLING  A  BELL.  Tha  operation  of  grad> 
nally  swinging  a  beD  from  the  position  shown  in 
P!g.  2,  p.  219,  to  that  in  Fig.  3,  p.  aao.fSee 
BellsJ  [C.A.W:t.] 

FALSB  BELATION  Ss  the  eoomrronce  of 
chromatic  contradiction  in  different  parts  or 
voices,  either  simultaneously,  as  at  (a),  or  in 
chords  which  are  so  near  together  that  the  effect 


FAIilETTO^ 


501 


of  one  has  not  passed  from  the  mind  before  the 
other  comes  to  contradict  it  with  a  new  accidental, 
as  at  (6). 


I 


The  diBagreeable  effect  la  produced  by  the  oon- 
tradictory  accidentals  belonging  to  different  keys, 
or  unequivocally  to  major  or  minor  of  the  eame 
key ;  and  it  follows  that  when  the  contradiction 
is  between  notes  which  can  coexist  in  the  same 
key  the  effect  is  not  disagreeable.  Thus  chromatic 
passing  notes  and  appoggiaturas  do  not  affect 
the  key,  and  are  used  without  oonsideration  of 
their  apparent  contradictions.  Schumann  uses 
the  riuirp  and  natural  of  the  same  note  in  the 
same  chord  in  his  'Andante  und  Variationen' 
for  two  pianofortes^  op.  46  (a),  and  Haydn  the 
same  in  his  Quartet  in.  D,  op.  71  (6). 


(«) 


gag 


^ 


Again,  notes  which  are  variable  in  the  minor  key 
do  not  produce  any  objectionable  effect  by  their 
juxtaposition,  as  ihe  minor  7th  descending  and 
the  major  7th  ascending  or  stationary ;  thus 
Mendelssohn  in  the  Overture  to  'Buy  Blaa'  has 
Bb  and  B  I)  in  alternate  chords. 


^^  ^  I  ^j^i 


/IN- 


zc 


^ 


And  the  treatment  of  notes  which,  are  intoB- 
changeable  in  chromatio  and  diatonic  chords  in 
the  same  key  is  equally  free,  as  between  a 
chromatic  note  of  the  chord  of  the  augmented 
sirth  ani  a  sooosed&ig  diatonic  (fiaoocd. 


The  rule  is  further  modified  by  so  many  exceptions 
that  it  ft  abnoat  doubtful  if  the  cases  in  which 
the  effeot  is  objectionable  are  not  fewer  than 
those  in  which  it  ia  not  [C.H.H.P.] 

FAI^ETTO.  The  voices  of  both  men  and 
women  contain  two— or,  as  defined  in  the  '  M^- 
thode  du  Chant  du  Conservatoire  de  Musique,* 
three— registers,  vi&  chest  voice  (voce  di  pdio) ; 
head  voiee  (r.  di  ttda);  end  a  third  which,  as 
being  forced  or  nonrni^ural,  is  called  by  Italians 
and  French  falsetto  or  ftMmet,  or  *fol9e*  voice. 
The  limits  of  these  are  by  no  means  fixed.  In 
every  voice  identical  notes  can  be  produced  in 
more  ways  than  one,  and  tihus  each  register  can 
be  eaEtended  many  degrees-  beyend  its  nonnal 


502- 


FAMETTO. 


FANFARE. 


limits.  Bui  it  is  all  but  impossible  for  a  singer 
to  keep  both  first  and  third  registers  in  working 
order  at  the  same  time.  The  male  counter-tenor, 
or  alto  voice,  is  almost  entirely  falsetto,  and  is 
generally  accompanied  by  an  imperfect  pronun- 
ciation, the  yawels  usually  partaking  more  or 
less  of  the  quality  of  the  Italian  u  or  English  oo, 
on  which  the  fsdsetto  seems  to  be  most  easily 
producible. 

The  earliisst  mention  of  the  falsetto  in  musical 
Europe  is  in  reference  to  the  Sistine  Chapel, 
where  Spaniards  exceptionally  gifted  with  this 
voice  preceded  that  artificial  class  to  whom  since 
the  1 6th  century  alto  and  even  soprano  parts 
have  been  kssigned.  [J.  H.] 

FAISTAFF.  A  comic  Italian  opera  in  2 
acts ;  words  by  Maggioni,  music  by  Bidfe.  Pro- 
duced at  Her  Majesty*s  Theatre  July  19,  1838. 

FANDANGO.  An  Andalusian  dance,  a 
variety  of  the  Seouidilla,  accompanied  by  the 
giutar  and  castanets.  In  its  original  form  the 
fandango  was  in  6-8  time,  of  slow  tempo,  mostly 
in  the  minor,  with  a  trio  in  the  major;  some- 
times, however,  the  whole  was  in  a  major  key. 
Later  it  took  the  3-4  tempo,  and  the  characteristic 

Spanish  rhythm     J  J7^     J  J  J  J  ..  In  this 

s 
shape  it  closely  resembles  the  seguidilla  and 
bolero.  One  Fandango  tune  is  given  by  Hawkins 
(Appendix,  No.  3%).  Another  has  been  rendered 
famous  through  its  partial  adoption  by  both 
Gluck  and  Mozart — tne  former  in  his  Ballet  of 
Don  Juan,  the  latter  in  Figaro  (end  of  Act  3). 
It  is  given  in  its  Spanish  form  by  Dohm  in  die 
Neue  Zeitschrift  f.  Musik  (xi.  163,  7)  as  follows : — 

AndmU/t. 
tr 


i^g^iUifjf 


S 


f 


%ii'^'ttri^T^ 


H^  i^  -Mr 


ad  W>,         f 


The  rhythm  of  the  castanets  was 


r  ttu 


ti 


r  tzzi t: 


Mozart's  version  is  known  and  accessible; 
61uck*i  will  be  found  in  the  Appendix  to  Jahn's 
Mozart. 

There  is  a  curious  pieoe  of  history  said  to  be 
connected  with  this  dance.  Soon  after  its  first 
introduction,  in  the  17th  century,  it  was  con- 
demned by  the  ecclesiastical  authorities  in  Spain 
as  a  'godless  dance.'  Just  as  the  Consistory 
were  about  to  prohibit  it,  one  of  the  judges 
remarked  that  it  was  not  fair  to  condemn  any  one 
unheard.  Two  celebrated  dancers  were  accord- 
ingly introduced  to  perfcnnn  the  fandango  before 
the  Consistory.  This  they  did  with  such  effect, 
that,  according  to  the  old  chronicler,  'every  one 
joined  in,  and  the  hall  of  the  oonaistorium  was 
turned  into  a  dancing  saloon.*  No  more  waa 
heard  of  the  condemnation  of  the  fandango. 

Similar  dances  to  the  fandango  are  the  Tirana, 
the  Polo,  and  the  Jota  Abbagonesa.      [E.P.] 

FANFARE.  A  French  term  of  unknown 
origin — ^perhaps  Moorish,  perhaps  onomatopoeic — 
denotes  m  strictness  a  short  passage  for  trumpets, 
such  as  is  performed  at  coronations  and  other 
state  ceremonies.  In  England  they  are  known 
as  '  Flourishes,'  and  are  played  by  the  Trumpeters 
of  Her  Majestv's  Household  Cavalry  to  the 
number  of  eignt,  all  playing  in  unison  on 
£b  trumpets  without  valves.  The  following, 
believed  to  date  firom  the  reign  of  Charies  II, 
is  the  Flourish  regularly  used  at  the  opening 
of  Parliament,  and  was  also  performed  at  the 
announcement  of  the  dose  of  the  Crimean  War, 
the  visit  of  the  Queen  and  Prince  of  Wales  to 
St.  Paulas  after  the  Princess  recovery,  and  so  on  :" 


^y^^^/  fkt: 


^ 


J^  J  i  p  It- 


a.  So  picturesque  and  effective  a  feature  as  the 
Fanfare  has  not  been  neglected  by  Opera  com- 
posers.   No  one  who  has  heard  it  can  foiget  the 


PANFAEB. 


FARCE. 


508 


effect  of  the  two  flourishee  announcing  the  arrival 
of  the  GrOTemor  in  Fidelio,  both  in  the  opera  and 
in  the  two  earlier  overtnree.  Tvm  to  the  fibct, 
Beethoven  has  written  it  in  uniion  (in  the  opera 
and  the  later  overture  in  Bb,  in  the  earlier 
oTerture  in  £b,  with  triplets).  Other  Gomposers, 
not  so  conacientious  as  he,  have  given  them  in 
hannony,  sometimes  with  the  addition  of  horns 
and  trombones.  See  Olympie ;  Struensee,  Act  2  ; 
Hamlet,  TabL  a,  80.  i,  and  many  more.  A 
good  example  is  that  in  Tannhauser,  which 
fonns  the  basis  of  the  march.  It  is  for  3  Trum- 
pets in  B: — 


A  fine  Fanfioe  for  fbnr  trumpets,  composed 
by  Mr.  Waterson,*  Bandmaster  of  the  ist  Life 
Guards,  is  played  as  a  dii^  at  the  funerals  of 
that  Begiment.  Weber  has  left  a  short  one — 
'kldner  Tu8eh'—toT  ao  trumpets  in  O  (Jahns^s 
Thematic  Cat.  No.  47  a).    [Tusch.] 

3.  The  word  is  also  employed  In  a  general 
Bense  for  any  short  prominent  passage  of  the 
brass,  sach  as  that  of  the  Trumpets  and  Trom- 
bones (with  the  wood  wind  also)  near  the  end  of 
the  4th  movement  in  Schumann's  Eb  Symphony; 
oe  af  the  whole  wind  band  in  the  opening  Ai^ 
demie  of  the  Beformation  Symphony. 

4.  A  Fan&re  differs  essentially  60m  a  Call  or 
SignaL     [Signal.]  [Q.] 

FANISKA.  Cherubini*s  aist  opera;  in  3  acts; 
words  by  Sonnleithner  from  the  French.  Pro- 
duced at  the  Kamthnerthor  Theatre,  Vienna^ 
Feb.  35,  1806. 

FANTASIA  is  a  term  of  veiy  respectable 
intiquity  as  applied  to  music,  for  it  seems  to  be 
sufficiently  established  by  both  Bumey  and 
Hawkins  in  their  Histories  that  it  was  we  im- 
mediate predecessor  of  the  term  Sonata,  and 
shares  with  the  term  Bioxroab  the  honour  of 
having  been  the  first  title  given  to  compositions 
expressly  for  instruments  tJone.  It  seems  itself 
to  have  been  a  descendant  of  the  madrigal ;  for 
when  madrigals,  accompanied  as  they  commonlv 
were  by  instruments  playing  the  same  parts  with 
the  voioes,  had  to  a  certain  extent  run  their 
coarse  as  the  most  popular  form  of  chamber 
oompositions,  the  possibility  of  the  instruments 
playing  the  same  kind  of  music  without  the 
voioes  was  not  far  to  seek.  Hawkins  remarks 
that  the  early  Fantasias  'abounded  in  fugues 
snd  little  responsive  passages  and  all  those  other 
elfigsnoes  observable  in  the  structure  and  con- 
trivance of  the  madrigaL*  They  were  written 
for  combinations  of  various  instruments,  such  as 
a  'Chest  of  Viols,'  and  even  for  five  'Comets' 
of  an  ancient  kind,  seemingly  something  like  a 
fiunily  of  modem  serpents.    There  are  examples 

>  SOwboBlMBlndablodftirBiiahlainiMtloQ. 


of  tlus  kind  by  veiy  ancient  English  composers, 
and  some  also  for  the  '  Virginal '  by  Bird  and 
Gibbons  in  'Parthenia.*  They  seem  to  have 
been  a  very  dry  species  of  composition,  and  Dr. 
Bumey  quotes  Simpson's  'Compendium'  to  the 
intent  that  in  the  year  1667  'tlus  style  of  music 
was  much  neglected  because  of  the  scarcity  of 
auditors  that  understand  it,  their  ears  being  more 
delighted  with  light  and  airy  music' 

In  the  woriu  of  Bach  there  are  a  great  number 
of  Fantasias  both  as  separate  works  and  as  the 
first  movement  to  a  Suite,  or  conjoined  with  a 
Fugue.  In  the  latter  capacity  are  two  of  the 
finest  Fantasias  in  existence,  namely  that  in 
A  minor  called  'Groese  Fantasie  und  Fuga' 
(Dorffel,  158),  and  that  in  D  minor,  commonly 
known  as  Uie  '  Fantasia  oromatica.'  Among  his 
oi^gan  works  also  there  are  some  splendid  speci- 
mens, such  as  Fantasia  et  Fuga  in  G  minor 
(Dorffel,  798),  and  a  Fantasia  of  considerable 
length  in  G  major,  constituting  a  complete  work 
in  itself  (Dorffel,  855).  Among  the  works  of 
his  sons  and  other  contemporaneous  German 
masters  are  also  many  specimens  of  Fantasias. 
Some  of  them  are  very  curious,  as  the  last  move- 
ment of  a  Sonata  in  F  minor  by  Philip  Enmumuel 
Bach,  published  in  Roitzsch's  'Alte  Elavier 
Music,  in  the  greater  part  of  which  the  division 
by  bars  is  enfciiely  dispensed  with ;  and  the  same 
peculiarity  distinguishes  a  Fantasia  by  Johann 
krast  Bach  which  is  published  in  the  same 
collection.  Two  of  those  by  Friedemann  Bach 
(in  A  and  C)  have  been  revived  at  the  Monday 
Popular  Concerts.  Mosart  produced  some  fine 
examples  of  Fantasias,  Beethoven  apparently 
only  two  distinctly  so  called,  namely  Opus  77 
and  the  Choral  Fantasia ;  and  two  of  the  Sonatas 
(op.  97)  are  entitled  '  quasi  una  Fantasia^'  which 
implies  some  irregularity  of  form.  In  more 
modem  times,  apart  from  Schumann's  fine  ex- 
ample dedicated  to  Idszt  (op.  1 7),  the  name  has 
gone  somewhat  into  disrepute,  having  been  com- 
monly employed  to  label  vulgar  effUsions  which 
oonsistof  brilliant  passages  connected  with  popular 
airs  strung  together  into  a  pieoe  for  the  mere 
display  of  finger  cleverness.  But  in  these  days  of 
revivals  there  seems  to  be  no  reason  why  the  name 
should  not  be  given  to  more  honourably  conceived 
compositions,  and  yet  play  a  r6le  of  some  dignity 
in  modem  instrumental  music ;  and  the  very  fa^ 
that  there  are  no  rules  for  its  formal  construction 
would  seem  to  be  an  inducement  to  oomposers  of 
an  ind^>endait  turn  of  mind.  [C.H.H.P.] 

FANTASIESTOCK.  a  name  adopted  by 
Schumann  from  Hoffinann  to  characterise  various 
fancy  pieces  for  pianoforte,  alone  and  with  other 
instruments  (P.  F.  solo,  op.  i  a,  1 1 1 ;  with  Clarinet, 
op.  73 ;  with  Yiolm  and  Cello,  op.  88).  They 
are  on  a  small  scale^  but  several  of  them  of  con- 
siderable beauty. 

FABCE  (Ital.  Fartia,  probablv  from  the 
Latin  fareio  to  stuff — Plautus  has  eerUonea 
faYdrtf  to  insert  fidsehoods  or  tricks).  A  farria 
was  a  canticle  in  the  vulgar  tongue  intennixed 
wiUi  Latin,  originating  in  the  French  ohurdh 


m)4 


FABCSL 


at  the  time  wliea  Latin  begaa  to  be  a  toDgfae 
'not  nndentatided  of  the  people.*  The  fartia 
was  sung  in  many  churohes  at  the  principal 
iestiyalBy  almost  univenally  at  Christmas.  It 
became  a  vehicle  for  satire  and  fun,  and  thus 
led  to  the  modem  Farsa  or  Faroe,  an  opera  in 
one  act»  of  which  the  subject  is  extravagant  and 
the  action  ludicrous.  [J.  H.] 

FABINELLI.  A  serio-comic  opera  in  2  acts ; 
words  by  G.  Z.  Bamett,  music  by  John  Bamett ; 
produced  at  Druiy  Lane  Feb.  8,  1859,  Balfe 
acting  Farinelli,  and  being  forced  by  hoarseneas 
to  leave  off  at  end  of  ist  act. 

FARINELLI,  a  violin-player  and  oomposer, 
was  either  a  brother  or  an  uncle  of  the  cele- 
brated singer  Farinelli  (Qarlo  Brosohi).  Date 
and  place  of  his  birth  and  death  are  unknown. 
After  living  for  some  time  in  France  we  find 
him  in  1680  at  Hanover,  side  by  side  with 
Handel,  as  leader  of  the  band.  He  appears  to 
have  enjoved  a  great  reputation  as  a  performer, 
and  considerable  popularity  as  a  composer  of  in- 
strumental music  in  a  light  and  pleasing  style. 
He  excelled  especially  in  the  performance  ci 
Lulli's  airs  and  his  own  so-called  'Folia»*  which 
was  known  in  England  during  the  last  century  as 
'Farinell*s 'ground.*  [See  Folia.]  Farinelli  was 
knighted  by  the  King  of  Denmark,  and,  accord- 
ing to  Hawkins,  was  appointed  by  George  L  his 
resident  at  Venice.  [P*!)*] 

FABINELLI,  Carlo  BROsain,  detto,  was 
bora  January  24,  1705,  at  Naples,  according  to 
his  own  statement  made  to  Dr.  Burney,  who  saw 
him  at  Bologna  in  x  770,  though  Padre  G.  Sacchi, 
his  biographer,  fixes  his  birthplace  at  Andria. 
Some  say  that  he  derived  his  tobriqtiet  from  the 
occupation  of  his  &thar,  who  was  either  a  miller 
or  a  seUer  of  flour  {farina)  ;  others  contend  that 
he  was  so  named  after  three  brothers  Farina, 
very  distinguished  amateurs  at  Naples,  and  his 
patrons.  It  is,  however,  quite  probable  that  be 
simply  took  the  name  of  lus  uncle  Farinelli,  the 
composer.  Saochi  declares  that  he  saw  in  Fari- 
nelli's  posseeaicm  the  letters  of  nobility  which  he 
was  required  to  produce  when  admitted,  by  the 
fikvour  of  the  King  of  Spain,  into  the  orders  of 
Calatrava  and  St.  lago.  It  seems  scarcely 
credible  that  noble  parents  should  have  destined 
their  son  for  the  musical  stage,  or  consented  te 
the  peculiar  preparation  necessary  to  make  him 
a  goprano;  but  this,  as  usual,  is  explained  by 
the  story  of  an  accident  having  happened  to  the 
boy  while  riding,  which  rendered  necessary  the 
operation  by  which  he  retained  his  treble.  The 
voice,  thus  manufactured,  became  the  most 
beautiful  ever  heard.  He  soon  left  the  care  of 
his  father,  who  taught  him  the  rudiments,  to 
enter  the  school  of  Poipora.  of  whom  he  was  the 
first  and  most  distinguished  pupil.  In  spite  of 
his  now  explicit  statement  to  Dr.  Burney, 'it  is  not 
possible  that  Farinelli  could  have  made  his  dibut 
at  Naples  in  1720,  at  the  age  of  15,  in  Metasta- 


1  D*Vr%  wrote  his  wng  *  Joy  to  great  Catar '  In  bonoar  of  Charlas 
n.  to  *  dlTlBiont '  ou  ttili  iMH  i  It  mnit,  therefora,  luMre  bean  coDpowd 
bofuralSSDw 


FABINEUX 

sle's  *  Angelina  eMedoro*;  for  the  latter  did  not 
leave  Borne  till  1721,  and  'Angelica  e  Medoro* 
was  not  written  before  1722.  (F^tis.)    In  that 
year  Farinelli,  already  famous  in  eoalJiiera  Italy 
under  the  name  of  U  ragaxzo  (the  boy),  aecom- 
panied  Porpora  to  Borne,  and  made  his  fint 
appearance  there  in  '  Eomene,*  oompoeed  by  hia 
master  for  the  Teatro  AUberti.      There  was  a 
German  trumpet-player  at  thai  time  in  the 
capital,  who  excited  the  admiration  of  the  Bo- 
mans  by  his  marvellous  powers.     For  this  artist 
Porpora  wrote  an  Mligato  part  to  a  Bong,  in 
which  his  pupil  vied  with  the   instrument  in 
holding  and  swelling  a  note   of  extraordinary 
length,  purity,  and  vcAxsma,    Although  tiie  rir* 
tuoso  perfbnned  this  Ia  a-  wonderful  manBer* 
Faring  excelled  him  in  the  duration,  brilliance, 
and  gradual  crescendo  and .  diminuendo  of  ^e 
note,  whBe  he  carried  the  entbuaiaaa  of  t&e 
audience  to  the  highest  pitdi  by  the  novelty  and 
spontaneity  of  the  shakes  and  difllcult  variatioiu 
which  he  introduced  into- the  air.     It- is  nrehable 
that  these  were  previously  airanged  by  Porpora, 
and  not  due  to  the  impromptu  inspiration  of  the 
singer.    Haying  remained  under  the  instructioa 
of  his  master  until  1724,  Farinelli  made  his  first 
journey  to  Vienna  in  that  y^'     ^  ^^'^  ^^^ 
he  sang  for  the  first  time  at  v  enioe  in  Albinom"* 
'  Didone  abbandonata,*  the  libretto  by  Metaita- 
sio ;  and  subsequently  returned  to  Naples,  where 
he  achieved  a  triumph  in  a  Dramatic  Serenade 
by  Hasse,  in  which  he  sang  with  the  celebrated 
canJtaJtriu,  Tesi.     In  1726  he  appeared  in  Fr. 
Ciampi's  'Giro'  at  Milan;  and  then  made  Ms 
second  visit  to  Bome,  where  he  was  anxiously 
expected.     In  1727  he  went  to  Bologna^  where 
he  was  to  meet  the  famous  Bernaochi,  the  'King 
of  Singers,'  for  the  first  time.      Meeting  this 
rival  in  a  Grand  Duo,  Farinelli  poured  forth  all 
the  beauties  of  his   voice   and    style   witboot 
reserve,  and  executed  a  number  of  most  difficult 
passages,  which  were  rewarded  with  tumultuous 
applause.    Nothing  daunted,  Branaochi  replied 
in  the  same  air,  repeating  every  trill,  roulade,  or 
cadenza^  which  had  been  sung  by  FarindU.   Hm 
latter,  owning  his  defeat,  entreated  his  conqueror 
to  give  him  some  instruction,  which  Bernaedii, 
with  equal   generosity,    willingly  consented  to 
bestow ;   and  thus  was  perfect^  the  talent  of 
the  most  remarkable  singer,  perhaps,  wiio  has 
ever  lived. 

After  a  second  visit  to  Vienna  in  1728,  Fari- 
nelli went  several  times  to  Venice,  Rome;  Naples, 
Piacenza,  and  Parma»  meeting  and  vanqmdiinjf 
such  fbmiidable  rivals  as  Gizzi,  Nicolini,  Faus^ 
tina,  and  Cuzzoni,  and  everywhere  loaded  with 
riches  and  honours.  In  1731  he  visited  Vienna 
for  the  third  time.  It  was  at  this  point  that  be 
modified  his  style,  from  one  of  mere  brillianoe 
and  bravura^  which,  like  a  true  pupil  of  PoEpor% 
he  had  hitherto  practised,  to  one  of  pathos  aad 
mmplicity.  This  change  is  said  to  have  been 
suggested  by  the  Emperor  Charles  VI.  'You 
have,*  he  said,  'hitherto  excited  only  astonish- 
ment and  admiration,  but  you  have  never  touched 
I  the  heart;    it  would  be  easy  to  you  to  create 


FABINBLU. 


FABINELLZ. 


605 


•aotioD,  if  ydo  wonld  but  be  mon  timple  and 
sore  expiCHiver  Farinelli  adopted  thia  ad- 
mirable oounael,  and  became  the  most  pathetio> 
aa  he  was  atill  the  moat  briUiant,  of  sisgen. 

Betemixig  onoe  more  to  Italy,  he  reyiaited 
with  erer-iiicreaeiiig  renown  Venice,  Rome,  Fer- 
Tas%f  Lnoca»  and  Turin.  In  1734  he  made  hia 
fint  joumej  to  England.  H^  he  arrived  at 
the  moment  when  the  opposition  to  Handeli  snp- 
ported  by  the  noblesy  had  eatabUahed  a  rival 
Opera,  with  Porpora  finr  oompoaer,  and  Seneidno, 
who  had  qnazTelled  with  the  great  German,  for 
principal  ainger.  The  enteipziae^  however,  did 
not  sQOoeed,  but  made  debts  to  the  amount  of 
£19,000.  At  thia  juncture  Porpora  naturally 
thought  of  hia  illustrious  pupil,  who  obeyed 
the  sonuDona,  and  saved  the  house.  He  nuide 
his  Arst  appeacanoe  at  the  Theatre,  Idnooln'a 
Inn,  in  'Artaserse,'  the  musie  of  which  was 
chiefly  by  Riccardo  Brosohi,  hia  own  brother,  and 
Hasse.  The  most  &vourite  airs  were  *Pallido 
il  sole,*  set  by  Hasse  and  sung  by  Senesino; 
'Per  qnesto  doloe  amplesso,'  by  the  same,  and 
'Son  qual  nave,'  by  Brosdii,  both  the  latter 
being  smig  l^  FarineUi.  In  the  last,  composed 
apeeiaUy  for  him,  the  first  note  (as  in  the  song 
in  'Eomene')  was  taken  with  such  delloacy, 
swelled  by  minute  degrees  to  such  an  amaaing 
vokme^  and  afterwards  diminished  in  the  same 
mamier  to  a  mece  point,  that  it  was  applauded 
ibr  full  five  mmutea.  After  this^  he  set  off  with, 
sodi  brilHaaice  and  rapidity  of  execution  that 
it  waa  difficult  for  the  violins  of  those  days  to 
aooompany  kim.  He  sang  also  in  'Onorio,* 
'Polifemo/  and  other  operas  by  Porpora;  and 
excited  an  enthnsiastie  admiration  among  the 
dilettanti  which  finally  culminated  in  the  fiunous 
ejaculation  of  a  lady  in  one  of  the  boxes  (per- 
petuated by  Hogarth  in  the  Bakers  Progress) — 
'  One  God  and  one  FarineUi  t '  In  his  first  per- 
fonnanoe  at  Courts  he  was  accompanied  by  the 
Prinoeea  Boyal,  who  insisted  on  his  singing  two 
of  Handel's  songs  at  sight,  printed  in  a  different 
dfit  and  composed  in  a  di^arent  style  i^m  any 
to  which  he  had  ever  been  accustomed.  He  also 
ooofirmed  the  truth  of  the  story,  that  Senesino 
and  himself,  meeting  for  tbe  first  time  on  the 
aame  stage, '  Senesino  had  the  part  of  a  fiirious 
tyrant  to  r^resent,  and  FarineUi  that  of  an 
imfortunaite  hero  in  chains;  but,  in  the  course 
of  the  first  song,  he  so  softened  the  obdurate 
heart  of  the  enraged  tyrant  that  Senesino,  for- 
getting his  stage  character,  ran  to  FarineUi  and 
embnMBed  him  in  his  arms.'  The  Prince  of  Wales 
gave  FarineUi  a  'fine  wrought -gold  snuff- box, 
tichly  set  with  diamonds  and  rubies,  in  which 
waa  enclosed  a  pair  of  diamond  knee -buckles, 
as  also  a  purse  oi  one  hundred  guineas.'  This 
example  was  foUowed  by  most  of  the  oourtiers, 
and  the  presents  were  duly  advertised  in  the 
Court  Journal.  His  salary  was  only  £1500,  yet 
during  the  three  years  1734,  5,  and  6,  which  he 
spent  in  London,  his  income  was  not  less  than 
£3000  per  annum.  On  his  return  to  Italy,  he 
bttilt^  out  of  a  smaU  part  of  the  sums  acquired 
here,  'a  very  superb  nuuiaiony  in  which  he  dwelt. 


dieosing  to  dignify  it  with  the  rignificant  ap- 
pellation of  the  EnglUk  Folly.* 

Towards  the  end  of  1736,  FarineUi  set  out  for 
Spain,  staying  a  few  months  in  France  by  the. 
way ;  where,  in  spite  of  the  ignoranoe  and 
prejudice  asainst  foreign  singers  which  then 
distinguiahed  the  French,  he  achieved  a  great ' 
success.  Louis  XV  heard  him  in  the  Queen*a 
apartments,  and  applauded  him  to  an  extent 
which  astonished  the  Court  (Riccoboni).  The 
King  gave  him  his  portrait  set  in  diamonds,  and 
500  louis  d'or.  Though  the  singer,  who  had! 
made  engagements  in  London,  intended  only  a. 
flying  visit  to  Spain,  his  fortune  kept  him  there 
nearly  25  years.  He  arrived  in  Madrid,  as  he 
had  done  in  London,  at  a  oritioal  moment. 
Philip  V,  a  prey  to  melancholy  depression,  neg^ 
lected  the  affairs  of  the  state,  and  refused  even, 
to  preside  at  the  GouncsL  l^e  Queen,  hearixig' 
of  the  arrival  of  FarineUi,  determined  to  try  the 
effect  of  his  voice  upon  the  King.  She  ammged 
a  conoert  in  the  next  room  to  that  which  the 
King  occupied,  and  invited  the  singer  to  perform 
there  a  few  tender  and  pathetic  airs.  The 
success  of  the  plan  was  instantaneous  and  com- 
plete ;  PhiUp  was  first  struck,  then  moved,  and 
finally  overcome  with  pleasure.  He  sent  for  the 
artist^  thanked  him  with  effusion,  and  bade  him 
name  his  reward.      FarineUi,   duly   prepared, 

be  to 


answered  that  his  best  reward  would 
the  monarch  return  to  the  society  of  hia  Court 
and  to  the  cares  of  the  state.  Pmlip  consented, 
allowed  himself  to  be  shaved  for  the  first  time 
for  many  weeks,  and  owed  his  cure  to  the  powers 
of  the  great  singer.  The  Queen,  aUve  to  this, 
succeeded  in  persuading  the  latter  to  remain  at 
a  salary  of  50^000  francs,  and  FarineUi  thua 
separated  himself  fbom  the  world  of  art  for  ever. 
He  related  to  Bumey  that  during  10  yeaza,  untU 
the  death  of  PhiUp  V,  he  sang  four  songs  to  the 
King  every  ni^t  without  change  of  any  kind. 
Two  of  these  were  the  '  PaUido  U  sole*  and  '  Per 
questo  ddoe  amplesso*  of  Hasse ;  and  the  third, 
a  minuet  on  which  he  improvised  variations. 
He  thus  repeated  about  3,000  times  ike  same 
things,  and  never  anything  else :  he  acquired, 
indeed,  enormous  power,  but  the  price  paid  for 
it  was  too  high.  It  is  not  true  that  FarinelU 
was  appointed  prime  minister  by  PhiUp ;  thia 
post  he  never  had :  but  under  Irerdinand  VI, 
the  successor  of  Philip>  he  enjoyed  the  position 
of  first  fikvourite,  siq)erior  to  that  of  any  minister. 
This  king  was  subject  to  the  same  infirmity  as 
his  £ftther,  and  was  mmilari^  cured  by  FarineUi, 
as  Saul  was  by  David.  His  reward  this  time 
was  the  cross  of  Calatrava  (1750),  one  of  the 
highest  orders  in  Spain.  From  tiiis  moment  hia 
power  was  unbounded,  and  exceeded  that  ever 
obtained  by  any  singer.  Seeing  the  effect  pro> 
duced  on  the  King  l^  music,  he  easily  persuaded 
him  to  establish  an  Italian  opera  at  Buen-retiro, 
to  which  he  invited  some  of  the  first  artists  of 
Italy.  He  himself  was  appointed  the  chief 
manager.  He  vras  also  employed  frequently  in 
poUtioal  a&irs,  was  consulted  constantly  by  the 
minister  La  Ensenada,  and  was  espedaUy  con- 


500 


FARINELLI. 


sidered  as  the  agent  of  the  ministen  of  those 
European  Courts  which  were  opposed  to  the 
family  treaty  proposed  by  France.  (Bocous.) 
In  all  his  proBperity,  Farinelli  ever  showed  the 
greatest  prudence,  modesty,  and  moderation :  he 
made  no  enemies,  strange  as  it  may  seem,  but 
conciliated  those  who  would  naturally  have 
envied  him  his  favour  with  the  Eling.  Hearing 
one  day  an  officer  in  the  anti-chamber  complain 
of  the  King's  neglect  of  his  30  years'  service, 
while  riches  were  heaped  on  'a  miserable  actor/ 
Farinelli  begged  a  commission  for  the  grumbler, 
and  gave  it  to  him,  to  his  great  surprise,  obs^ving 
mildly  that  he  was  wrong  to  tax  the  King  with 
ingratitude.  According  to  another  anecdote,  he 
once  requested  an  embassy  for  a  courtier,  when 
the  King  asked  him  if  he  was  not  aware  that 
this  grandee  was  a  particular  enemy  of  his: 
'True,*  replied  Farinelli;  'but  this  is  how  I 
desire  to  take  my  revenge  upon  him.*  He  was 
as  generous  also  as  he  was  prudent.  A  story 
is  told  of  a  tailor  who  brought  him  a  handsome 
gala-costimie,  and  refused  any  payment,  but 
humbly  begged  to  hear  one  song  from  the 
incomparable  artist.  After  trying  in  vain  to 
change  his  resolution,  Farinelli  good-humouredly 
complied,  and  sang  to  the  deliyghted  tailor,  not 
one,  but  several  songs.  Having  concluded,  he 
said :  '  I  too  am  rather  proud ;  and  that  is  the 
reason,  perhaps,  of  my  having  some  advantage 
over  other  singers.  I  have  yidded  to  you ;  it  is 
but  just  that  you  should  yield  in  turn  to  me.' 
He  then  insisted  on  paying  the  man  nearly 
double  the  value  of  the  clothes. 

While  still  at  Madrid,  he  heard  of  the  death 
of  his  former  rival,  teacher,  and  friend,  Bemaochi. 
In  a  letter  (in  the  possession  of  the  present 
writer),  dated  April  13,  1756,  he  speaks  with 
deep  regret  of  the  loss  of  one  '  for  whom  he  had 
always  felt  esteem  and  affection,'  and  condoles 
with  his  correspondent^  the  Padre  Martini. 

Shortly  after  the  ascent  of  Charles  III  to  the 
throne  (1759),  Farinelli  received  orders  to  leave 
the  kingdom,  owing  probably  to  Charles's  in- 
tention to  sign  the  family  pact  with  France 
and  Naples,  to  which  the  singer  had  ever  been 
opposed.  He  preserved  his  salary,  but  on  con- 
dition that  he  should  live  at  Bologna  and  not  at 
Naples.  Once  more  in  Italy,  after  25  years  of 
exile,  Farinelli  found  none  of  his  friends  remain- 
ing. Some  were  dead ;  others  had  quitted  the 
country.  New  friends  are  not  easily  made  after 
middle  age;  and  Farinelli  was  now  57  years 
old.  He  had  wealth,  but  his  grandeur  was  gone. 
Yet  he  was  more  addicted  to  talking  of  his 
political  career  than  of  his  triumphs  as  a  singer. 
He  passed  the  20  remaining  years  of  his  life  in 
a  splendid  pakuzo,  a  mile  from  Bologna,  con- 
templating  for  hours  the  portraits  of  Philip  Y, 
Elisabeth,  and  Ferdinand,  in  silence,  interrupted 
only  by  tears  of  regret.  He  received  the  visits 
of  strangers  courteously,  and  showed  pleasure  in 
conversing  with  them  about  the  Spanish  Court. 
He  made  only  one  journey  during  this  period,  to 
Rome,  where  he  expatiated  to  the  Pope  on  the 
riches  and  honours  he  had  enjoyed  at  Madrid. 


FARINELLI. 

The  Holy  Father  answered,  'Avete  fatta  t&pfa 
fortuna  costk,  perche  vi  avete  trovato  le  gioie, 
che  avete  perdute  in  qu&.* 

When  Bumey  saw  him  at  Bologna  in  1771, 
though  he  no  longer  sang,  he  played  on  the 
viol  d  amour  and  harpsichord,  and  composed  for 
those  instruments:  he  had  also  a  collection  of 
keyed  instruments  in  which  he  took  great  delight, 
especially  a  piano  made  at  Florence  in  1730, 
which  he  called  Bafael  cCUrbino,  Next  to  that 
he  preferred  a  harpsichord  which  had  been  given 
to  idm  by  the  Queen  of  Spain;  this  he  called 
Correggio,  while  he  named  others  TtCtan,  (r«t/fo, 
etc.  He  had  a  fine  gallery  of  pictures  by  Murillo 
and  Ximenes,  among  which  were  portraits  of  hi« 
royal  patrons,  and  several  of  himself  one  by  his 
friend  Amiconi,  representing  him  with  Fanstioa 
and  Metastasio.  The  latter  was  engraved  by 
I.  Wagner  at  London  (fol.),  and  is  unconunon ; 
the  hettd  of  Farinelli  was  copied  from  it  again 
by  the  same  engraver,  but  reversed,  in  an  oval 
(4to),  and  the  first  state  of  this  is  rare:  it 
supplied  Sir  J.  Hawkins  with  the  portrait  for 
his  History  of  Music.  C.  Lucy  also  painted 
Farinelli ;  the  picture  was  engraved  (foL)  in 
mezzotint,  1735,  by  Alex.  Yan  Haecken,  and 
this  print  is  also  scarce. 

Fetis  falls  into  an  error  in  contradicting  the 
story  of  Farinelli*s  suggesting  to  the  Padre  Mar- 
tini to  write  his  History  of  Music,  cm  the  groond 
that  he  only  returned  to  Italy  in  1761,  £)ar 
years  after  Uie  appearance  of  the  first  volume, 
and  had  no  previous  relations  with  the  learned 
author.  The  letter  quoted  above  shows  that  he 
was  in  correspondence  with  him  certainly  as 
early  as  April  1756,  when  he  writes  in  answer 
to  a  letter  of  Martini,  and,  after  adverting  to  the 
death  of  Bemaochi,  orders  twenty-four  oopiea 
of  his  work,  bound  in  red  moroooo,  for  presenu 
to  the  Queen  and  other  notabilities  of  the  Court. 
It  is,  therefore,  quite  possible  that  their  corre- 
spondence originated  even  long  before  this.  They 
remained  in  the  closest  intimacy  until  death 
separated  them  by  the  decease  of  Farinelli,  July 
15,  178a,  in  the  78th  year  of  his  age. 

MartrnelU  speaks  in  glowing  terms  of  this 
great  artist,  saying  that  he  had  7  or  8  notes 
more  than  ordinary  singers,  and  these  perfectly 
sonorous,  equal,  and  clear;  that  he  had  also 
much  knowledge  of  music,  and  was  a  worthy 
pupil  of  Porpora.  Mancini,  a  great  master  of 
singing  and  a  fellow-pupil  of  Bemaochi  with 
Farinelli,  speaks  of  him  with  yet  more  en- 
thusiasm. 'His  voice,"  he  says,  'was  thought 
a  marvel,  because  it  was  so  perfect,  so  powerful, 
so  sonorous,  and  so  rich  in  ito  extent,  both  in  the 
high  and  the  low  parts  of  the  register,  that  its 
equal  has  never  been  heard  in  our  times.  He 
was,  moreover,  endowed  with  a  creative  genius 
which  inspired  him  with  embellishments  so  new 
and  so  astonishing  that  no  one  was  able  to 
imitate  tliem.  The  art  of  taking  and  keeping 
the  breath,  so  softly  and  easily  that  no  one  could 
perceive  it,  began  and  died  with  him.  The 
qualities  in  which  he  excelled  were  the  evenness 
of  his  voice,  the  art  of  swelling  its  sound,  the 


7ARINELLI. 

fuiamento^ihe  union  of  the  reguten,  a  BinpriBfaig 
agii:ty,  a  graoefnl  and  pathetic  style,  and  a  shake 
as  admirable  as  it  was  rare.  There  was  no 
bnmch  of  the  art  which  he  did  not  cany  to  the 
highest  pitch  of  perfection  ....  The  successes 
which  he  obtained  in  his  youth  did  not  prevent 
him  finom  continuing  to  study;  and  this  great 
irtist  applied  himself  with  so  much  perseverance 
Uiat  he  contrived  to  change  in  some  measure  his 
ityle  and  to  acquire  another  and  superior  method, 
when  his  name  was  already  famous  and  his 
fortune  brilliant.'  Such  was  Farinelli,  as  superior 
to  the  great  singers  of  his  own  period  as  they 
were  to  thoae  of  more  recent  times.  [J.M.J 

FABINETjTiT,  Giusifpb,  composer,  bom  at 
Este,  May  7,  1 769 ;  in  1 785  entered  the  con- 
•erratorio  'Be'  Turchini*  at  Naples,  where  he 
studied  accompaniment  under  Fago,  and  com- 
position under  Sala  and  Tritto.  In  1808  he 
was  in  Venice,  and  1810-17  at  Turin.  In  1819 
he  was  imjpointed  chapel-master  at  Trieste,  where 
he  died  L>ec.  13,  1836.  He  composed  an  im- 
mense number  of  operas  in  avowed  imitation  of 
Ciuiarosa,  which  however  were  more  successful 
than  the  majority  of  imitations.  A  duet  he 
introduced  into  the  'Matrimonio  Segreto'  has 
been  mistaken  for  Gimaroea's  own  composition. 
He  also  wrote  masses,  a  'Stabat'  in  two  parts, 
snd  other  church  music  [M.  G.  G.] 

FARMER,  JoHir,  '  practitioner  in  the  art  of 
Musique*  in  the  latter  part  of  the  i6th  century, 
pabliflhed  in  1591  a  little  tract  entitled  'Divers 
and  sundrie  waies  of  two  Parts  in  one^,  to  the 
number  of  fortie  upon  one  playn  Song ;  some- 
times placing  the  Ground  above  and  the  parts 
beoethe,  and  otherwise  the  Ground  benethe  and 
ihe  parta  above,'  etc.  He  was  one  of  the  ten 
composers  employed  by  T.  Este  to  harmonise  the 
tunes  for  his  <  Whob  Book  of  Psalms'  published 
in  159a.  In  1599  he  published  his  *  First  Set 
of  Kngliah  Madrigals  to  Foure  Voyces,*  in  the 
address  'To  tibe  Reader'  prefixed  to  which  he 
says  he  has  fitly  *  linkt '  his  '  Musicke  to  number,' 
sod  given  to  each  '  their  true  efiect.'  Both  this 
work  and  his  tract  are  dedicated  to  the  Earl  of 
Qzenford,  whom  the  author  describes  as  'my 
very  good  Lord  and  Master.*  Farmer  contributed 
to  "Die  Triumphes  of  Oriana^'  x  601,  the  madrigal 
'Fiire  nimphes  I  heard  one  telling.'  Nothing  is 
known  of  his  biography.  [W.  H.  H.] 

FARMER,  Thoicas,  Mub.  Bac,  was  originally 
one  of  the  Waits  of  London,  and  graduated  at 
Cambridge  in  1684.  He  composed  instrumental 
mosic  for  the  theatre  and  contributed  some  songs 
to  'The  Theater  of  Music,'  1685-87,  and  to 
DlJrfey's  Third  GoUection  of  Songs,  1685.  In 
1686  he  published  '  A  Gonsort  of  Musick  in  four 
parts,  containing  thirty-three  Lessons  beginning 
with  an  Overture,'  and  in  1690  'A  Second  Gon* 
Bort  of  Musick  in  four  parts,  containing  eleven 
LesBons,  beginning  with  a  Ground.'  Purcell 
composed  an  Elegy,  written  by  Nahum  Tate, 
upon  his  death  (printed  in  Orpheus  Britannicus, 
ii.  35)  firom  which  it  may  be  inferred  that  he 
died  young.  [W.H.H.] 


FARRENC, 


507 


FAENABY,  Gnju,  Mus.  Bac.,  was  of  the 
family  of  Famaby  of  Truro,  and  nearly  related 
to  Thomas  Famabie,  the  famous  Eentiaii  school- 
master. He  commenced  the  study  of  musio 
about  1580,  and  on  July  9,  159  a,  graduated  at 
Oxford  as  Bachelor  of  Music  He  was  one  of 
the  ten  composers  employed  by  Thomas  Este 
to  harmonise  the  tunes  for  his  '  Whole  Book  of 
Psalms,'  published  in  1593.  In  1598  he  pub* 
lished  '  Ganaonets  to  foure  voyces,  with  a  song  of 
eight  parts,'  with  commendatory  verses  prefixed 
by  Antony  Hdboine,  John  Dowland,  Richard 
Alison,  and  Hugh  Holland.  A  madrigal  by 
Famaby,  'Gome^  Gharon,  come,'  is  extant  in 
MS.  [W.H.H.] 

FARNESE,  Mabianka,  a  seoonda  donna  who 
appeared  in  London  about  the  years  1776  and  7. 
She  took  part  in  Traetta's  '  G^«rmondo,'  and  also 
played  Guipso  in  his  '  Telemaco.'  [J.  M.] 

FARRANT,  Jomr.  There  were  two  musi- 
cians of  this  name,  who  both  flourished  about 
the  year  1600.  The  elder  was  organist  of 
Salisbury  Gathedral,  and  the  other  organist  of 
Ghrist's  Hospital,  London.  Nothing  more  is 
known  of  their  Uves.  [^*  H.  H.] 

FARRANT,  Richard,  was  one  of  the  Gen- 
tlemen of  the  Ghapel  Royal  in  the  sixteenth 
century.  The  date  of  his  first  appointment  is 
not  known,  but  he  resigned  in  April,  1564,  on 
becomingMaster  of  the  Ghildren  of  St.  George's 
Ghapel,  VTindsor,  of  which  he  is  said  to  have 
been  also  a  lay  vicar  and  organist.  During  his 
tenure  of  office  at  Windsor  he  occupied  'a 
dwelling  house  within  the  Gastle,  called  the 
Old  G<mmkons.'  On  Nov.  5,  1569,  he  was  re- 
appointed a  Gentleman  of  the  Ghapel  Royal,  and 
remiuned  such  until  his  death,  which  occurred 
on  Nov.  30, 1580.  Farrant's  churoh  music  merits 
all  the  eulogy  which  has  been  bestowed  upon  it 
for  solemnity  and  pathos.  His  service  printed 
by  Boyce  in  G  minor  is  given  by  Tudway  (B. 
Museum,  HarL  MSS.  7337  and  8)  in  A  minor, 
and  calleid  his  '  High  Service.'  His  two  anthems, 
'Gall  to  remembrance'  and  'Hide  not  Thou  thy 
face'  were  for  many  years  performed  on  Maundy 
Thursday  during  the  distribution  of  the  royid 
bounty.  The  beautiful  anthem,  'Lord,  for  Thy 
tender  mercies'  sake'  (the  words  from  Lydley*s 
Prayers),  has  long  been  assigned  to  Farrant, 
although  attribute  by  earlier  writers  to  John 
Hilton.  Tudway  (Add.  MSS.  7340)  gives  another 
antliem — 'O  Lord,  Almighty,'  full,  4  voices— as 
his,  but  this  is  questionable. 

His  son,  Daniel,  was  one  of  the  first  authors 
who  set  lessons  'lyra  way'  for  the  viol,  after  the 
manner  of  the  old  English  lute  or  bandora,  in 
the  time  of  Gharles  I.  [W.  H.  H.] 

FARRENG,  Abisttob,  bom  at  Marseilles 
April  9,  1794,  died  in  Paris  Feb.  12,  1869,  com- 
posed some  pieces  for  the  flute,  but  is  best  known 
as  a  writer  on  music.  He  took  an  important 
part  in  the  2nd  edition  of  F^tis's  'Bipgraphie 
universelle,'  and  wrote  the  biographical  notices 
in  Madame  Farrenc's  'Tr^r  des  Pianistes.' 
He  also  contributed  critiques  to  'La  Franoe 


If  08. 


FASRENC. 


muflicale,'  and  '  La  Bevne  de  Musiqne  aadeniie 
et  moderne '  (Bennea  1 858).  Some  of  his  valuable 
notes  and  unpublished  articles  are  among  the 
MSS.  in  the  library  of  the  Paris  GonservaUnrs. 

His  wife  Louias — ^born  in  Paris  May  31, 1 804 ; 
died  there  Sept.  15  1875 — ^was  a  sister  of  the 
seulptor  Augusts  Dumont,  and  aunt  of  Ernest 
Beyer.  She  studied  under  Rsioha,  and  at  an 
early  age  oould  compose  both  for  the  orchestra 
and  piano.  She  married  in  i8ai,  and  made 
several  professional  tours  in  France  with  her 
husband,  both  performing  in  public  with  great 
success.  Madame  farrenc  was  not  oidy  a 
clever  woman,  but  an  able  and  conscientious 
teacher,  as  is  shown  by  the  many  excellent 
female  pupils  she  trained  during  the  thirty  years 
she  was  professor  of  the  piano  at  the  Conserva- 
toire (Nov.  i842^an.  1873).  Besides  some 
remarkable  Etudes,  sonatasj  and  pieces  for  the 
pianoforte,  she  composed  sonatas  for  piano  and 
violin  or  cello,  trios,  two  quintets,  a  sestet^  and 
a  nonet,  for  which  works  she  obtained  in  1869 
the  prize  of  the  Academic  des  Beaux  Arts  for 
chambeivmusic.  She  also  wrote  two  symphonies 
and  three  overtures  for  full  orchestra,  and  several 
of  her  more  important  compositions  have  been 
performed  at  the  Conservatoire  concerts.  More 
than  by  all  these  however  her  name  will  be 
perpetuated  by  the  '  Tr^sor  des  Pianistes,*  a  real 
anthology  of  music,  containing  cheft-d*oeuvre  of 
bXL  the  classical  masters  of  the  daveoin  and 
pianoforte  from  the  i6th  century  down  to 
Weber  and  Chopin,  as  well  as  more  modem 
works  of  the  highest  value.  [TfijisoB  des 
P1ANI8TB8.]  [G.C.] 

FASCH,  Carl  Fbtkdbich  Chbistiak,  founder 
of  the  'Singakademie'  at  Berlin,  bom  Nov,  18, 
I73^>  At  Zerbet,  where  his  &ther  was  Capell- 
meister.  As  a  child  he  was  delicate,  and 
much  indulged.  He  made  rapid  progress  on  the 
violin  and  clavier,  and  in  the  rudiments  of 
harmony.  After  a  short  stay  at  Coethen,  where 
he  made  his  first  attempts  at  composition  in 
church-music,  he  was  sent  to  Strelitz.  Here  he 
continued  his  studies  under  Hertel,  in  aU  branches 
of  music,  but  especially  in  accompaniment,  at 
that  time  a  difficult  art,  as  the  aooompanyist  had 
so  little  to  ^ide  him.  In  17^1  Linid^e,  the 
court  clavienst,  having  declinea  to  accompany 
Franz  Benda,  Fasch  offered  to  supply  his  place 
at  the  harpsichord,  and  Benda's  praises  incited 
him  to  stiU  greater  efforts.  After  his  return  to 
Zerbst  he  was  sent  to  complete  his  education 
at  Kloeterbeigen  near  Magdebuig.  Benda  had 
not  forgotten  their  meeting,  and  in  1 756,  when 
just  20,  Fasch  was  appointed  on  his  recommenda- 
tion accompanyist  to  Frederic  the  Great.  His 
coadjutor  was  no  less  a  person  than  Emmanuel 
Bach ;  they  took  it  in  turns  toaocompanv  the  King's 
flute-concertos,  and  as  soon  as  Fasch  had  become 
accustomed  to  the  royal  amateurs  impetuous 
style  ot  execution  his  accompaniments  gave  every 
satisfaction.  The  Seven  Years  War  put  an  end 
to  Frederic's  flute-playing,  and  as  Fasch  received 
his  salary  in  paper,  worth  only  a  fifth  part  of 
its  nominal  value, — a  misfortune  in  which  he 


FAUST. 

anticipated   Beethoven — he  was  compelled  to 
maintain  himself  by  giving  lessons.     For  his 
lessons  in  composition  he  made  a  ooDection  c^ 
several  thousand  examples.      About  the  same 
time  he  wrote  several  most  ingenions  canons, 
particularly  one  for   25  voices  containing  fire 
canons  put  together,  one  being  in  sevefs  parts, 
one  in  six  and  three  in  four  parts.    Afto'  the 
b<*ttle  of  Toigau   the   King  granted  him  an 
addition  of   loo  thalers  to  his  salaiy,  but  the 
increase  covered  the  direction  of  the  opera,  which 
was  put  into  his  hands  from  1774  to  76.    After 
the  war  of  the  Bavarian  suooeasion  Frederic  gave 
up  his  practice,  and  Faeeh  was  free  to  follow  his 
natural  inclination  for  church  music    In  1 783, 
incited  by  a  i6-part  Mass  of  Benevoli*s,  which 
Beichardt  had  brought  from  Italy,  he  wrote  one 
for  the  same  number  of  voices,  which  however 
proved  too  difficult  for  the  ooiut-aingers.     He 
retained  hia  post   after   Frederic's   death,  but 
occupied  himself  chiefly  with  composition  and 
taaching.    In  the  summer  of  1790,  as  he  himself 
tells  us,  he  began  choral>  meetings  in  the  summer- 
house  of  Geheimrath  Milow,  which  resulted  in 
the  'Singakademie,'  an  institution  which  under 
his   pupU   and   successor   Zelter    became  very 
popular  and  exercised  an  important  influence  on 
musical  taste  in  Berlin  for  many  years.    Before 
his  death  Fasch  was  twice  visited  by  Beethoven, 
who  spent  some  time  in  Berlin  in  the  summer  of 
1796.    On  the  first  occasion,  June  21,  he  heard 
a  chorale,  the  three  first  numbers  of  Faach's 
mass,   and  several  movements  frx>m  his  119th 
Psalm,  and  he  Imnself  extemporised  on  one  d 
the  subjects  of  the  latter.    On  the  28^1  he  re- 
appeared and  again  extemporised,  to  the  delight 
of  Fasch's  scholars,  who,  as  Beethoven  used  to 
say,  pressed  round  him  and  could  not  applaud 
for  tears  (Thayer's  'Beethoven,'  ii.  13).     The 
Academy  at  that  date  was  about  90  strong,  hot 
at  the  time  of  Fasch's  death,  Aug.  3,  1800,  it 
had  increased  to  147.    In  accordance  with  a  wish 
expressed  in  his  wifl,  the  Academy  perfonned 
Mozart's  Requiem  to  his  memory — for  the  fint 
time  in  Berlin.    The  receipts  amounted  to  1200 
thalers,  an  extraordinary  sum  in  those  days,  and 
were  applied  to  fonndmg  a  Fund  for  the  per- 
petual maintenance  of  a  poor  £unily.    In  iSoij 
Zelter  published  his   Life — a  brochure  of  62 
pages  4to.,  with  a  portrait.  In  1 839  the  Academy 
published  Fasch's  best  sacred  works  in  6  volumes. 
A  7th,  issued  by  the  representatives  of  Zelter, 
contains  the  mass  and  the  canon  above  alluded 
to.    Of  his  oratorio  '  Giuseppe  riconosciuto,'  pe^ 
formed  in  17741  one  terzetto  alone  remains,  Fasch 
having  destroyed  the  rest,  together  with  several 
other  works  composed  before  the  i6-part  maw. 
As  a  master  of  composition  i^jMMiparts,  Fasch 
is  the  Utft  representative  of  l^piKat  sdiod  of 
sacred  composers  which  lasted  so  long  in  Italy, 
I  and  his  works  are  worth  studying.   They  oombiiie 
I  the  severityofancient  forms  with  modem  hsnnony 
and  a  fine  vein  of  melody,  and  constitute  a  mine 
which  would  well  repay  investigation.       [F.G.] 

FAUST.  Opera  in  5  acts;  words  after  Goethe, 
,  by  Barbier  and  Carr^ ;  music  by  Gounod.    Fto- 


FAUST. 


JPAnXSOUBDOK. 


S09 


inotd  at  ibe  Theatre  Lyrique  Mar.  19, 1859.;  at 
Her  Majest7*8  Theatre,  as  '  Faiut '  June  1 1,  63 ; 
at  ftbe  Bojral  Italian  Opar%  Goyent  Garden,  as 
'Fkost  e  Jiaigherita* ;  in  ISngliBh  (bj  CShorley), 
ai  'Faoat,'  at  Her  Majesty's  Jan.  83,  64.  In 
Germany  as  '  Maisarethe.' 

Mufic  to  Goethe  ■  Fluist  was  oompoeed  by  Lind«- 
peintcr,  and  i^pears  to  have  been  produced  at 
Stuttgart  in  June  183a ;  abo  by  Prince  BadaiwiU, 
the  loore  of  which  was  published  in  1836.  Spohr*a 
Faust  (words  by  Bemhard),  a  romantic  opera  in 
s  act%  is  in  no  rei^>ect  oonneoted  with  Goethe's 
play.  It  was  composed  at  Vienna  in  1813  for 
the  Theatre  an  der  Wien,  but  was  first  performed 
at  Frankfort  in  March  1818,  and  was  for  many 
years  a  great  favourite.  It  was  produced  in 
London  by  a  Grerman  company  at  the  Prince's 
Theatre  May  ai,  1840 ;  and  in  Italian  si  Ck>vent 
Garden  under  Spchr^s  baton  July  15,  5a.      [G.] 

FAUSTINA  BORDONL    Sm  Bjum,  81G- 

FAUX-BOITRDON,  or  Falsdbordone,  a  simple 
\and  of  Counterpoint  to  the  Church  Plain  Song ; 
in  other  words,  a  harmony  to  the  ancient  chant. 
Hie  first  kind  of  variation  from  strictly  unisonous 
viffing  in  the  Middle  Ages  was  the  '  Organum,' 
or  simple  aggnndisament  of  multitudinous  choral 
effect  by  the  additions  of  octaves  above  and  below 
the  Plain  Song  or  melody,  answering  to  the  ac- 
oompaniment  of  the  diapasons  by  principal  and 
bourdon  stops  in  the  modem  oigan.    Otner  par- 
allel concords  were  also  (as  in  the '  mixture'  organ 
stops)  blended  with  the  octaves — as  the  fifth,  and 
even  the  fourth.     These  appear  to  have  been 
used  as  early  as  the  8th  century.     After  the 
Organum  the  next  Improvement  was  the  'Dia- 
phonum^  and  '  Descant,'  and  by  t(he  1 4th  century 
there  are  historical  intimations  that  these  had 
led,  by  a  natural  development,  to  the  use  of 
'Faux  bonrdon'  at  Avignon,  whence  it  was 
taken  to  Kome  on  the  return  of  the  Papal  Court 
after -its  seventy  years  absence  from  that  dty. 
Hawldns  (History,  ch.  56)  mentions  an  Englidi 
MS.  tract,  by  one  Chilston,  preserved  in  the 
'Manuscript  of  Waltham  Holy  Gross,'  most  likely 
ef  the  14th  century,  giving  rules  and  direotioBB 
'for  the  sight  of  descant ....  and  of  Faburdtm^ 
OaforiuB  <i45i'i5aa),  who  is  justly  ooDsidered 
the  &tber  of  the  artistic  annsic  of  the  great 
school  'vdiich  culminated  in  Oounteixxiint  h  la 
Paleetrina^  as  also  Adam  da  Fulda,  about  the 
same  period,  are  among  the  earliest  writers  who 
iptak  of  this  kind  of  harmony.    M.  Danjou  has 
disoovered  in  th«  libra^  of  S.  Mark,  Venice, 
truatissB  by  Guliehnus  MToaaohns,  frcm  which  it 
is  iJain  that  in  the  15th  osntuy  the  fiaiix-bour- 
don  was  held  in  equal  honour  in  England  and 
in  France. 

The  TiWigliah  term  Fa-burden  is  evidently  a 
oanuption  from  the  French  and  Italian.  Burden, 
or  Burthen,  is  used  both  for  the  refrain  of  a  part 
song  or  chorus^  and  for  a  vocal  accompaniment 
to  dancing — 

'  Foot  it  featly  here  and  there. 
And  let  the  Bsat  the  hwrdm  bew.' 


The  word  Bordtwe,  and  Bourdon,  m  its  pri- 
mary sense,  is  (in  both  languages)  a  pilgrim's 
staff;  henoe,  from  similarity  in  form,  the  bass- 
pipe,  or  drone,  of  the  bag-pipe ;  and  Urance  Again 
simply  a  deep  bass  note.  As  the  earliest  Paid 
bordoni  of  which  we  have  specimens  are  prin- 
cipally formed,  except  at  their  cadences,  by  suc- 
cessions of  fourths  and  sixths  below  the  Plain 
Song  melody,  such  an  accompanying  bass,  to 
those  who  had  hitherto  been  accustomed  to  use 
the  low  octaves  of  the  oiganum,  and  to  consider 
thirds  and  sixths  inadmissible  in  tiie  harmonised 
accompaniment  of  tfie  Gregorian  Chanty  would 
sound  false ;  and  this  application  of  the  meaning 
of  the  faUo  and  faux  seems  a  more  rational 
derivation  than  that  sometimes  given  from  fal' 
tetto  and  falteUe,  as  isimlying  the  combination 
of  tile  high  voices  with  the  low  in  False  Bordona 
harmony* 

The  following  exan^ple,  from  a  ^MS.  copied 
from  authentic  sources  at  'Rome,  will  give  a 
better  idea  of  the  nature  of  this  kind  of  Counter- 
point than  any  verbal  description.  It  is  a  Fanx- 
bonrdon,  of  the  15th  ceotuiy,  on  the  and  tone 
(tran^>osed  from  D  to  G) ;  originally  written  for 
3  voices  with  the  canto  f ermo  in  the  alto  part ; 
and  with  a  soprano  part^  ad  UbUuai^  added  by 
Buni: — 


P 


T» BT 


rj    fij  Ug  -^ 


fsr 


i 


c.r. 


XT- 


^^ 


zz 


^^ 


5 


iS: 


2z: 


•t 


sm 


rl    -    ta 


eto. 


The  same  harmony  ^in  4  parts)  is  given  by 
Alfieri  (1840)  a  5tii  nigher.  A  Faux-bourdon 
on  the  same  tone  (tran^MJsed  into  F|)  is  given 
by  M.  C.  Frank,  Paris  1857  :— 


J.  .'^J 


f=f=f=j=f=f-5=f» 


In      De 


w  -  la 


ma  -  o. 


J     ■!     A    .]     A     r]     J     A    J^ 


V  V  i'  r  r  r  '  i'  p 

Falsi  bordcmi  by  Yittoiia,  Becnabei.  da  Zacha- 

1  *Oeto  MekdlM  ofllo  ModomiB  tamDonloe  flMrtM  nt  modnUbantur 
weenlo  V1L.  ad  prMMTlpliim  AdMBl  d«  rulda,  «t  Fnaehlnl  GaforlL* 

>  Vvt  this  and  ilinllar  ipadaena  of  haiaoanlas  to  other  tonaa,  laa 
•  Aeoompaoyliv  Hunonlaa  of  Plain  Song,'  by  Bar.  T.Baloioii»  Briaf 
Pliaetety.  p.  t. 


510 


FAUXBOXTEDON. 


riisy  and  Vi«dftiia  will  be  found  in  Proike*!  MoBica 
Sacra,  torn,  iii.,  liber  Veiperanini.  [^^H.] 

FAVORITE,  LA.  Op^  in  4  acts ;  woida  by 
Royer  and  Waetz,  music  by  Donizetti.  Produced 
at  the  Acaddmie  royale  Dec.  7, 1840;  in  London, 
as  La  Favorita,  at  Her  Majesty's,  Feb.  16,  47. 

FAWGETT,  John,  bom  at  Bolton-le-moors. 
Lancashire,  in  1 789,  was  originally  a  shoemaker, 
but  abandoned  that  calling  to  follow  the  profes- 
sion of  music  in  his  native  town.  He  composed 
three  sets  of  Psalm  and  Hymn  Tunes,  published 
at  various  periods  under  the  titles  of  'The  Voice 
of  Harmony,*  'The  Harp  of  Zion,*  and  'Miriam's 
Timbrel,'  which  are  still  very  popular  in  Lanca- 
shire. In  1840  he  edited  ana  arranged  the 
accompaniments  to  a  oollection  of  psalm  and 
hymn  tunes  and  other  pieces  selected  by  Joseph 
Hart,  the  music  publisher,  entitled  *Melodia 
divina.'  An  oratorio  of  his  composition,  called 
'  Paradise,'  was  published  in  1853.  ^^  ^^  "'^ 
Bolton,  Oct.  26, 1867.    His  third  son, 

John  Fawcktt,  jun.,  Mus.  Bac.,  was  bom 
about  1824,  and  when  only  eleven  yean  old 
obtained  tike  appointment  of  organist  at  St. 
John's  Church,  Famworth.  Seven  years  later 
he  succeeded  an  elder  brother  as  organist  of  the 
parish  church,  Bolton.  In  1845,  leaving  a  sister 
to  discharge  his  duties  at  Bolton,  he  came  to 
London  and  entered  as  a  pupil  at  the  Royal 
Academy  of  Music,  where  he  studied  under 
Stemdale  Bennett.  During  his  stay  in  London 
(about  twelve  months)  he  offidatea  as  organist 
of  Curzon  Chapel.  On  Nov.  4,  1852,  he  was 
admitted  to  the  degree  of  Bachelor  of  Music  at 
Oxford,  his  exercise,  a  cantata,  entitled  'Sup- 
plication and  Thanksgiving,'  performed  on  the 
previous  day,  being  highly  commended  by  the 
Professor  of  Music,  Sir  H.  R.  Bishop.  Fawcett 
died,  after  a  short  illness,  at  his  residence  in 
Manchester,  July  i,  1857.  [W.H.H.] 

FAYOLLE,  FRAN901B  Joseph  Mabib,  bom 
In  Paris  Aug.  15,  1774;  after  a  brilliant  career 
at  the  CoU^  de  Juilly,  entered  the  corps  des 

Sonts  et  chauss^es  in  1792,  and  became  'chef 
e  brigade '  of  the  ]6oole  polytechnique  on  its 
foundation  in  1794.  Here,  under  the  instruction 
of  Prony,  Lagrange,  and  Monge,  he  studied  the 
higher  mathematics,  but  without  neglecting  litera- 
ture, and  with  Fontanes'  assiHtance  translated  a 
great  part  of  the  .^Ineid.  Of  his  verses  the  fol- 
lowing line  has  alone  survived : — 

'  Le  temps  n'^pargne  pas  oe  qu'on  a  fiut  sans 
lui.' 

Though  foigotten  as  a  mathematician  and  a 
poet,  Fayolle  has  acquired  a  solid  reputation  for 
his  services  to  musical  literature.  He  studied 
harmony  under  Peme,  and  the  violoncello  under 
Bami,  but  abstained  finom  printing  his  composi- 
tions ;  and  contented  himself  with  publishing 
'Les  quatre  Saisons  du  Pamasse'  (Pans  1805-9), 
a  literary  collection  in  16  vols.  i2mo.  for  whidi 
he  wrote  many  articles  on  music  and  musicians. 
He  also  furnished  the  greater  part  of  the  bio- 
graphical notices  in  the  'Dictionnaire  historique 
des  Musidens,'  published  under  the  names  of 


FEUX  MERTTIS. 

Choron  and  himself  (Paris  1810-11),  a  work  to 
which  F^tis  is  much  indebted.  He  collected 
materials  fat  a  History  of  the  Violin,  of  which 
however  only  fragments  appeared,  under  the  title 
'  Notices  sur  Corelli,  Tartini,  Gravini^  Pngmuoi, 
et  Viotti,  extraites  d'une  histoire  du  violoii* 
(Paris  1810).  After  the  fall  of  Napoleon,  FsyoUe 
came  to  England,  where  he  taught  French,  and 
wrote  for  the  '  Hannonicon.'  On  the  eve  <rf  the 
Revolution  of  1830  he  returned  to  Paris,  and 
resumed  his  old  occupation  as  a  musical  critic. 
Among  his  later  works  may  be  mentioned  s 
pamphlet  called  'Paganini  et  B^ot'  (Paris 
1 830),  and  the  articles  on  musicians  in  the  supple- 
ment to  Michaud's  '  Biogn^hie  UniveiBelle.*  fie 
died  Dec.  2,  1852,  at  Ste.  Perrine^  a  house  of 
refuge  in  Paris.  [G.  C] 

FATRFAX,  ROBIBT,  Mus.  Doc,  of  an  an- 
cient Yxirkshire  £unily,  was  bom  in  the  latter 
part  of  the  15th  century.  He  was  of  Bayfisrd, 
Hertfordshire,  and  is  supposed  to  have  held  the 
appointment  of  organist  or  chanter  of  St.  Alban'i 
Abbey  early  in  the  i6th  century.  It  appean 
from  the  Pirivy  Purse  Expenoes  of  Elizabeth  of 
York  that  on  March  28,  1502  (the  Prinoeea  be- 
ing then  at  St.  Alban's),  Fayr&z  was  paid  201. 
'for  setting  an  Anthem  of  cure  lady  and  Saint 
Elizabeth.'  In  1504  he  took  the  degree  of 
Doctor  of  Music  at  Ciambridge,  and  in  15 11  was 
admitted  to  the  same  degree  at  ()zford.  He  waa 
buried  in  St.  Alban's  Abbey,  under  a  stone  after- 
wards covered  by  the  mayor's  seat.  Several  of 
his  compositions  are  extant  in  MS.  in  the  Music 
School,  Oxford,  and  the  British  Museum.  In 
the  latter  library,  Add.  MSS.  5465,  is  a  vdmne 
of  MS.  old  English  songs  for  2,  3,  and  4  voices 
by  composers  of  the  15th  and  16th  centuries 
formerly  belonging  to  him,  and  afterwards  in 
the  possession  of  (jieneral  Fair&x,  at  whose  death 
it  passed  into  the  hands  of  Ralph  Thoresby  of 
Leeds.  Four  three-part  songs  oy  Fayrfia  are 
printed  by  John  Stafford  Smith  in  his  Old 
English  Songs,  and  others  by  Hawkins  and 
Bumey.  [W.H.H.] 

FELDLAGER  IN  80HLESIEK,  EIN,open 
in  3  acts,  words  by  Rellstab,  music  by  Meyer- 
beer; written  and  composed  in  memory  of  Fred- 
erick the  Great  for  the  opening  of  the  Berlin 
Opera  house — burnt  Aug.  18,  1843;  reH>pened 
Dec.  7, 44.  It  was  performed  with  extraordinaiy 
applause  at  Vieima  Feb.  1 7, 47,  with  Jenny  Lind 
as  Vielka ;  80  florins  were  given  £[v  plaoes,  and 
Meyerbeer  was  called  on  ten  times.  The  Peld- 
lager  appears  never  to  have  been  played  either 
in  France  or  England,  but  some  of  the  music  was 
afterwards  used  up  in  the  Etoile  du  Nord.    [G.] 

FELIX  MERITIS,  an  institution  in  Amst^ 
dam  that  includes  with  the  performance  of  music 
the  cultivation  of  letters,  art,  and  science.  It 
occupies  a  building  arclutecturally  important, 
with  a  large  concttt-room,  library,  and  ohser- 
vatory,  situated  on  the  Keizersgraoht,  one  of  the 
larger  canals.  Orchestral  concerts  take  place  in 
the  winter,  similar  to  those  of  the  London 
Philharmonic  and  the  CIrystal  Palace:  they  an 


FKTiTX  MERinS. 


FERIAL  AND  FESTAL. 


511 


ftt  the  preBent  time  oondiioted  bj  the  emineiit 
Dutch  musiciaii,  Heer  Joh.  J.   H.  Verhalit. 
The  usual  number  is  lo,  and  the  subscription  is 
equiTftleDt  to  £5.     The  early  histoiy  of  Felix 
Meritis  has  been  narrated  by  Professor  Jorisson 
aa  the  oocasion  of  the  Oentenary,  Nov.  a,  1877. 
It  was  founded  in  1777,  beginnmg  its  existence 
on  the  Leliegracht  (Lily  Canal)  of  Amsterdam. 
The  founders  intended  it  to  be  *  for  the  further- 
ance of  laudable  and  useful  arts  and  sciences ;  the 
augmentation  of  reason  and  virtue ;  the  increase 
and  prosperity  of  trade,  navigation,  agriculture, 
and  nsheiy/  etc.,  etc.     But  Felix  began  at  once 
with  music  and  fine  art,  adding  literature  to  the 
scheme  two  years  later.    The  original  locale  soon 
proved  to  be  too  small,  and  in  May  1782  the 
members  removed  to  the  Vorburgwal.    In  1 785 
continued  increase  determined  the  erection  of 
the  present  building  on  the  Keizersgracht,  com- 
pleted three  years  after,  and  with  400  members, 
instead  o^  as  at  first,  40.     (On  May  i,  1876, 
the  nmnber  of  membera  of  aU  dasses  was  324.) 
The  wave  of  disturbance  caused  by  the  French 
Revolntioin  washed  over  Felix  Meritis,  and  in 
179  a,  through  want  of  funds,  the  concerts  ceased. 
However,  &e  leaders  of  the  institution  would 
not  allow  it  to  sink  in  the  vortex  of  political 
speenlation;   and,  in  the  abolition  of  societies 
tiiroughout   Holland   this .  one  was   exempted. 
During  the  clatter  of  weapons  the  Muses  were 
*  Blent,  but  in  1800  the  complement  of  members 
was  again  fall,  and  in  1806  the  reading-room, 
long  closed  during  the  prohibition  of  newspapers, 
opened  again.     In  that  year  Louis  Bonaparte, 
made  King  of  Holland,  offered  his  protection, 
which  was  declined,  as  was  also  the  proposal 
that  the  public  business  of  the  country  should 
be  carried  on  in  the  building.    Napoleon  I.  and 
Marie  Louise^  were  however  later  received  in 
it.    In  these  troubled  times  the  music  of  Felix 
Meritis  tended  to  soften  the  feelings  of  distress 
and  almost  despair  of  the  Amsterdam  patriots ; 
jbi  that  solace  ceased  once  more  toimds  the 
dose  of  1813,  the  country  being  in  a  state  of 
insuiTection  against  the  French.     After  181 5 
came  peace  and  the  gentle  arts  again,  and  within 
the  last  thirty  years  great  has  been  the  spiritual 
harvest  of  the  '  happy  through  their  deserts ' ! 

The  name  Felix  Meritis  was  more  than  once 
applied  by  Robert  Schumann  to  Felix  MendeU- 
lohn ;  see  *  Glesamm^te  Schriften  *  (Leiprig,  1 854), 
1.  219;  also  i.  X91,  92,  and  93.  [A.  J.H.] 

FELTON,  Rev.  William,  bom  171 3,  vicar- 
choral  of  Hereford  Cathedral  in  the  middle  of 
the  1 8th  century,  was  distinguished  in  his  day  as 
a  composer  for,  and  performer  on,  the  organ  and 
harpsichord.     He  published  three  sets  of  con- 
certos for  those  instruments  in  imitation  of  those 
of  TTan«^^1,     Bumey,  in  the  life  of  Handel  pre- 
fixed to  his  account  of  the  Gonmiemoration, 
relates,  on  the  authority  of  Abraham  Brown, 
the  riolinist,  a  droll  anecdote  of  Felton's  un- 
fuooessful  attempt,  through  Brown,  to  procure 
the  name  of  Handel  as  a  subscriber  to  the  second 
set  of  these  concertos.     Felton  also  published 
two  or  three  seta  of  lessons  for  the  same  instru- 


ments. He  was  one  of  the  stewards  of  the  Meet- 
ing of  the  Three  Choirs  at  Hereford  1744.  and 
at  Gloucester  1745.  'Felton*s  Gavot*  was  long 
highly  popular.  He  died  Dec.  6, 1 769.  |  W.H.H.  j 

FfiNTON,  liAyniiA,  whose  real  name  waa 
Beswick,  was  an  actress  and  singer  who  first 
appeared  in  1 726  at  the  Haymarket  Theatre  as 
^e  Parish  Girl,  m  Gay's  burlesque,  'The  What 
d*ye  call  it,*  and  afteorwards  at  Lincoln's  Inn 
Fields  Theatre,  July  15,  i7a6,  as  Lucilla.  in  Sir 
W.  Davenant*s  comedy,  '  The  Man's  the  Master.* 
8he  attracted  no  particular  attention  until  she 
appeared  as  Polly  Peacfaem  in  'The  Beggar's 
Oper%'  on  the  first  night  of  its  performance, 
Jan.  ao,  I7a8,  when  she  'became  all  at  once 
the  idol  of  the  town ;  her  pictures  were  engraven 
and  sold  in  great  ni^bers ;  her  life  written ; 
books  of  letters  and  verses  to  her  published ;  and 
pamphlets  made  of  even  her  very  sayings  and 
jests.'  This  suooess  led  to  her  being  entrusted 
with  more  important  parts  than  had  before  been 
assigned  to  her.  At  the  end  of  the  season,  after 
die  had  played  Polly  upwards  of  60  times,  she 
withdrew  from  the  stMre  and  went  to  live  with 
Charles,  third  Duke  of  Solton.  On  Oct.  31,1751, 
his  wife,  from  whom  he  had  been  separated 
many  years,  having  died,  the  Duke  married 
Lavinia  Beswick  at  Aix,  in  Provence.  She 
became  a  widow  in  1754,  died  in  January,  1760, 
at  West  Combe  Park,  Greenwich,  and  was  buried 
in  Greenwich  Church,  Feb.  3, 1760.    [W.H.H.] 

FEO,  Fbanobsoo,  one  of  the  masters  of  the 
Neapolitan  school,  was  bom  at  Naples  in  1699. 
The  traditions  of  Greco  and  Scarlatti  were  still 
fresh  there,  and  it  was  at  the  suggestion  of  the 
last  named  that  Domenioo  Gizsi  had  opened  the 
private  school  at  whidi  Feo  leamt  the  art  of 
singing  and  the  principles  of  composition.  His 
bent  was  essentially  dramatic,  as  indeed  was  that 
of  nearly  all  the  Neapolitans  of  his  epoch,  with 
the  exception  of  Durante,  whose  colder  and 
gloomier  temperament  predin)osed  him  towards 
the  eodesiaBtical  severities  of  the  Roman  style. 
Feo,  like  Durante  and  Leo,  passed  some  time  at 
the  Vatican  as  the  pupil  of  Pitoni,  but  the  in- 
fluence of  his  master  was  not  sufficient  to  divert 
him  fi:om  Opera.  His  '  Ipermestra,*  'Arianay' 
and  '  Andromache'  were  aU  published  at  Roma 
itself,  and  apparently  during  his  residence  there. 
In  1740  he  succeeded  his  old  master  Gizzi  at 
Naples,  and  did  much  to  establish  the  school  as 
a  nursery  of  great  singers.  Though  addicted  to 
the  stage,  Feo  did  not  altogether  neglect  (church 
Music,  and  his  work  is  distinguished  by  eleva- 
tion d  style  and  profound  scientific  knowledge. 
But  a  certain  sensuousnees.  even  in  his  sacred 
pieces,  is  suggested  by  the  fact  that  Gluck  bor^ 
rowed  the  subject  of  a  Kyrie  by  him  for  a  chorus 
in  one  of  his  operas.  [E.  H.  P.] 

FERIAL  AND  FESTAL.  In  the  C^iristian 
Church  from  very  early  times  the  term  Feria 
seeunda  was  used  to  denote  Monday,  Feria  tertia 
Tuesday,  and  so  on.  Hence  the  word  Feria,  ot 
Ferial  day,  came  to  denote  a  day  marked  by  no 
special  observance,  either  of  a  fostal  or  a  peni- 
tential character.    So  lar  as  music  is  ooncemedy 


5t2 


FEBIAL  MXD  FESTAL. 


the  chief  differenoe  ia  thai  an  the  ferial  days  the 
mode  is  leu  elaborate  and  ornate  than  on  feetal 
days,  when  it  la  more  florid,  for  more  voioea, 
aooompanied  by  the  organ,  etc.  The  two  kinds 
are  known  respectively  as  the  ferial  nse  and 
festal  use.  [O.] 

FEBLENBIS,  Siokoba,  daughter  of  an  archi- 
tect named  Barberi,  bom  at  Bome  abont  1 778. 
Her  voice  was  a  strong  contralto,  but  somewhat 
■hard  and  inflexible.  Having  studied  with  a 
teacher  called  Moscheri,  she  made  her  difnd 
at  Lisbon.  Here  she  had  the  advantage  of  some 
lessons  from  Gresoentini,  and  here  abo  (1802) 
•he  manied  iJessandro  Ferlendis,  the  oboist, 
siember  of  a  very  distrnguished  Italian  fSunily 
of  players  on  the  oboe  and  Kngliwh  horn.  She 
a{^>eared  at  Madrid  in  the  next  year,  at  Milan 
in  1804,  and  m  1805  at  Paris  (Th^fttre  Lou- 
▼ois)  in  fioravanti's  'Oapricoiosa  pentita.*  She 
achieved  there,  however,  no  snooess  in  any  other 
rOle  but  that  one.  Soon  after  this,  she  made 
lier  fixBt  appearance  in  London  with  Catalani  in 
•Cimarosa's *Orasa e Ouriazri.'  Shewas'apretty 
igood  aotress,  and  at  that  time  first  buffa;  she 
waa  leaa  liked  than  ahe  deserved,  for  she  had  a 
very  good  contralto  voice,  and  was  far  from  a 
had  l^a.  She  would  have  been  thought,  too, 
to  have  acted  the  part  of  Oraaiia  well,  had  it 
•not  been  for  the  comparison  vrith  Qraasini,  and 
for  Catalani  a  then  eduwing  everybodv.'  (Lord 
Mount-Edgoumbe.)  ^e  accampanied  her  hus- 
band to  Italy  in  iSio;  her  later  career  is  not 
known.  [J.M.] 

FEBMATA  is  the  Italian  name  for  the  sign 
^,  which  in  Kngliah  is  commonly  called  a 
Pauae,  and  signifies  that  the  note  over  which  it 
la  i^aoed  ahoiUd  be  held  oft  beyond  its 
natural  duration.  It  Is  sometimea 
put  over  a  bar  or  double  bar,  in 
whidi  case  it  intimates  a  short  faiterval  Of 
vilenoe.  Schumann,  in  the  firat  movement  of 
hia  '  Faachingsschwamk  in  Wien*  for  the  piano- 
forte, has  the  sign  over  the  double  bar  in  this 
manner,  where  ue  key  chsngea  from  two  flats 
to  rix  shai^  and  has  alao  written  'Kurze 
Tmvm:  [O.H.HJ>.] 

FEBNANB  C0BTE2,  OULAOONQUfiTE 
DU  MEXIQUE.  Opera  in  3  acta;  words  by 
Esmdnard  and  De  Jouy,  after  Piron ;  music  by 
Spontini.  Produced  at  the  Acad^mie  impMale 
Nov.  28,  1808;  at  Dresden,  March  181 2;  after 
revision  by  the  composer,  at  Paria^  May  28, 1817, 
Berlin,  Apr.  ao,  181 8. 

FEBBABOSCO  (or  FEBABOSOO),  Alfonso, 
mn  Italian  musician  who  settled  in  Enffland  in 
the  middle  of  the  1 6th  century,  ranked  amane 
the  first  of  the  Eliiabethan  era.  He  composed 
motets,  madrigals,  and  pieces  for  the  virig^nals. 
His  first  book  of  madrigala  was  printed  at  Venice 
in  1542,  and  aome  of  hia  moteta  at  the  same 
place  in  1 544.  Morley  (Introduction  to  Practical 
Music,  1597)  speaks  of  a  'vertuous  contention' 
between  Ferraboeoo  and  W.  Byrd  in  m^lfiTig 
each  to  the  number  of  40  parts  upon  the  plain- 
Bong  of  Miaerere^  '  without  mahoe^  esmo,  at 


/s\ 


IPSBKABA. 

backlnting,*  'eaok  uaUmg  other  Oeuor  of  tliat 
which  thev  had  done.*  i^id  Pisarham  mentions 
another  ffiendly  oMttest  between  them  which 
could  best  set  the  woida  of  the  madrigal,  *Tbe 
nightingale  so  pleaaant  and  so  gay,*  taal  awards 
the  palm  to  Fecraboaco.  Many  of  Fecrabosoo't 
madrigala  were  printed  in  the  two  hooka  of  'Ma- 
aica  Traoaalpina,'  1588  and  1597,  and  asvenl  of 
hia  other  oompoaitiooa  are  extai&t  in  M8. 

[W.H.H,] 

FEBBABOSCO,  ALVOireo,  the  younger,  prob- 
ably aon  of  the  preceding,  bom  at  Greenwich 
about  1580,  was  one  of  the  extraordinaiy  grooms 
of  the  privy  chamber  of  Jamea  I,  and  the  instractor 
in  music  of  Prince  Henry,  for  his  services  in  which 
respect  he  was  rewarded  in  1605  with  an  annuity 
of  £50.  In  1609  he  published  a  folio  vdame  of 
'Ayres,*  dedicated  to  Prince  Henir,  and  pre- 
fiMed  "by  commendatory  vereea  lyy  Ben  Jooaoo, 
Dr.  Campion,  and  N.  Tomkma.  Thb  work  oon- 
taina  many  of  the  aonga  in  Ben  Jonaon'a  phji 
and  maaquea.  Jn  thd  came  year  FenaWo 
publiahed  aome  Leasons  for  Viola,  with  aoims 
introductory  linea  by  Ben  Jonaon.  He  was  one 
of  the  contributors  to  the  collection  publishsd  m 
1614  by  Sir  William  Leighton  andsr  the  title  of 
'The  Tearea  or  Lamentaciona  of  a  Sozrowfull 
Soule.'  He  compoaed  numeroua  Fancies  for 
viols.  Antony  Wood  says  he  first  set  muaie 
lyra-way  for  the  lute.  In  1641  his  name  oocmi 
in  a  warrant  exempting  the  king's  muficisns 
from  the  payment  of  subsidiea.  He  died  in 
165  a.  Pepys  twice  (1664  and  1667)  mentioas  a 
lady  named  Ferraboeoo  as  a  good  singer.  At 
the  latter  date  she  was  an  attendant  on  the 
Ducheaa  of  Newcastle.  She  waa  probably  a 
daughter  of  Alfonso  the  younger.  A  fine  soo^ 
by  Ferrabosco, '  Shall  I  seek  to  eaae  n^  gnef  I 
from  the  *  Ayres*  above  mentioned,  is  published 
by  Dr.  EimbauH  (Novello).  [W.H.tt] 

FEBBABOSCO,  John.  Mus.  Bac.,  organist 
of  Ely  Cathedral  from  1662  to  hia  death  in  1683, 
was  probably  a  son  of  Alfonso  Fezrabosco  the 
youBMb  am  obtained  his  degree  at  Cambridge 
in  1671  'per  literas  regies.*  Eight  complete 
imrvices  and  eleven  anthems  by  him  are  presenred 
;in  MS.  in  the  library  of  Ely  Cathedral,  some 
of  which  have  often  been  erroneously  asoribed  to 
hia  preaumed  father.  [W.H.H.1 

FEBBABA.  The  earlieet  and  best- known 
musical  academy  in  Ferxara  mm  that  of  the 
'Intrepid!,'  founded  in  1600  by  Giamhsttista 
Aleotti  d'Ajqgenta  for  dramatic  musical  repre- 
sentation. The  magistrates  of  the  dty  allowed 
the  academicians  xoo  scudi  a  jeu  for  public 
celebrations  in  their  theatre.  Prevknif  io  tbe 
founding  of  this  academy,  Feirara  could  bosit 
one  of  the  moat  magnifinent  theatres  of  Italyi 
opened  in  1484  by  Eroole  I,  Duke  of  Fen«re» 
in  which  were  celebrated  the  'Feste  Musicali. 
thooe  earliest  farms  of  the  musical  drama  onivenftl 
in  Italy  in  the  15th  century.  While  the  *Orko' 
of  Poliziano  was  repreaented  at  MantoS)  the 
theatre  of  Femura  witnessed  the  'Cefiilo'  of 
Kiooolb  da  Coneggioj  the  'Feast  of  An|>hitnaD0 


FEBRABA. 

and  SosiA,'  and  othen.  The  *  Intrepid! '  in  1607 
repKsented  with  great  pomp  the  Pastorale  called 
'La  Filla  di  Sciio'  by  Guiduhaldo  BonarelU. 

Freeoobaldi  was  a  native  of  Ferrara  and  made 
his  studies  there.  [C.M.P.] 

FERRARESE  DEL  BENE,  the  sobriquet  of 
Franceses  Gabrielli,  an  ItaHan  singer,  native  of 
Ferrara.  When  Bumey  was  in  Venice,  in  Aug. 
1770,  he  heard  at  the  Ospedaletto  an  orphan  girl 
la  Ferrarete  with  an  'extraordinary  compass'  and 
a  *fair  natural  voice.'  She  eang  in  London  from 
1784  to  87  in  Chembini*s  'Giulio  Sabino'  and 
other  parts,  but  without  much  success.  In  1 789 
she  waa  prima  donna  in  Vienna.  Mozart  wrote 
for  her  the  Rondo  'Al  dedo,'  introduced  into 
the  part  of  the  Countess  in  Figaro  on  its  revival 
Aug.  89,  and  she  phiyed  Hoidiligi  in  'Cosl  Uji 
tatte'  at  its  production  Jan.  26,  90.  Mozart 
did  not  think  much  of  her,  for  in  speaking  of 
Alkgrandi  he  says,  'she  is  much  better  than 
the  Ferrarese,  though  that  is  not  saying  a  great 
deaL'  She  probably  owed  her  gooa  fortune  to 
her  pretty  eyes  and  mouth,  and  to  her  intrigue 
with  da  Ponte,  with  whom  she  lived  as  his 
loistreas  for  three  years.  In  the  end  she 
qnairelled  with  the  other  singers,  and  waa  sent 
from  Vienna  by  the  Emperor.  [O.] 

FERRABI,  Beniditto,  called  'della  Tiorba,' 

aa  Italian  musician,  and  composer  of  words  and 

mxuac  for  the  species  of  Italian  dramas  called 

'dramme  per  musica,*  was  bom  most  probably 

at  Reggio  in  1597  ;  as  according  to  a  letter,  now 

in  the  archives  of  Modena,  written  by  him  to 

the  Duke  of  Modena  in  1635,  his  .reputation 

u  a  musician,  and  especially  as  a  pUiyer  on  the 

theorbo,   was  by  that   time  considerable.      It 

was  lai^y  owing  to  him  that  the  'dramma 

mosicale'   took  such  deep  root   in  Italy  and 

Germany,  and  herein  lies  his  chief  interest  for 

118.    His  opertk  'Andromeda,'  set  to  music  by 

Manelli  and  brought  out  at  the  Teatro  San 

Cassiano  at  Venice  in  1637,  was  the  first  opera 

performed  before  a  mixed  audience.    In   1639 

followed  bis  'Adone,*  set  by  Monteverde,  and 

'Aimida,*  of  which  he  wrote  both  words  and 

miuic.     Its  success  induced  Ferrari  to  devote 

himself  more  to  composition  tiian  before.    He 

remained  in  Venice  till  1644,  when  he  waa  in- 

Tited  to  Vienna  by  the  Emperor  Ferdinand. 

A  ballet  by  him  was  performed  at  the  Diet  of 

Batiebon  in  1653.    In  the  same  year  he  was 

appointed  maestro  di  capella  to  Duke  Alfonso 

of  Modena,  on  whose  death  in   166  a  he  was 

diiffnisHed,  but  reappointed  in   1674,  and  died 

in  possession  of  the  post  Oct.  aa,  168 1.     His 

librettos  were  collected  and  printed  at  Milan  and 

Piacenza,  and  passed  through  several  editions; 

none  of  these  collections  however  are  complete. 

The  library  at  Modena  contains  several  of  his 

^ISS.,  including  the  ballet  'Dafiie  in  alloro' 

(Vienna,  1 65 1 ).  We  have  not  sufficient  materials 

to  form  any  opinion  on  the  style  of  his  music. 

He  published  at  Venioe  in  1638  '  Muslche  vane 

a  voce  Bola»*  in  which,  according  to  Bumey,  the 

term '  Cantata*  occurs  for  the  first  time^  although 


EERREL* 


SIS. 


the  invention  of  this  kind  of  piece  was  claimed 
by  Barbara  Strozzi  twenty  years  later.       [E.G.] 

FERRARI,  DoKENico,  an  eminent  Italian 
violin-player,  bom  at  the  beginning  of  the  i8th 
century.  He  was  a  pupil  of  Tartini,  and  lived 
for  a  number  of  years  at  Cremona.  About  the 
year  1749  he  bc^an  to  travel,  and  met  with 
great  success  at  Vienna,  where  he  was  considered 
the  greatest  living  violin-player.  In  1753  he 
became  a  member  of  the  band  of  the  Duke  of 
Wiirtemberg  at  Stuttgart,  of  which  Nardini 
was  at  that  time  leader.  If  Ferrari  was  a  pupil 
of  Tartini,  he  certainly,  according  to  contempo- 
rary critics,  did  not  retain  the  style  of  that  great 
master  in  after  life.  He  had  an  astoni^ng 
ability  in  the  execution  of  octave-runs  and  har- 
monics, and  appears  altogether  to  have  been 
more  a  player  than  a  musidan.  He  twice  visited 
Paris,  and  played  there  with  great  success.  He 
died  at  Paris  in  1780,  aooonUng  to  report,  by 
the  hand  of  a  murderer.  Ferrari  published  a  set 
of  6  Violin-Sonatas  (Paris  and  London),  which 
however  are  now  forgotten,  [B.D.] 

FERRARI,  GiAOOMO  Gotifrkdo,  a  cultivated 
and  versatile  musician,  son  of  a  merchant  at 
Roveredo,  bom  there  1759.  He  learned  the 
pianoforte  at  Verona,  and  the  flute,  violin,  oboe, 
and  double-bass  at  Roveredo,  and  studied  theory 
under  Pater  Marianus  Stecher  at  the  convent  of 
Mariabeiig  near  Chur.  After  his  father's  death 
he  accompanied  Prince  Lichtenstein  to  Rome 
and  Naples,  and  studied  for  two  years  and  a  half 
under  Latilla  at  Paisiello^s  recommendation. 
Here  also  he  made  the  acquaintance  of  M.  Cam- 
pan,  Marie  Antoinette's  master  of  the  house- 
hold, and  went  with  him  to  Paris,  where  he  was 
appointed  accompany ist  to  the  new  Th^tre 
Feydeau.  In  1793  the  company  was  dispersed, 
and  Ferrari  shortly  afterwards  left  France. 
Having  travelled  for  some  time  he  finally  setUed 
in  London,  where  he  composed  a  very  large 
number  of  works,  including  4  operas  and  2 
ballets.  In  1804  he  married  Miss  Henry,  a 
well-known  pianist.  From  1809  to  181  a  he 
suffered  from  loss  of  sight.  In  18 14  he  went 
to  Italy  with  Broadwood  the  pianoforte-maker, 
and  visited  Naples,  Venice,  etc.,  returning  in 
1 816.  He  died  in  London  Dec.  184a.  He  was 
an  active  teacher  of  singing,  and  published  a 
'Treatise  on  Singing'  in  a  vols.,  of  which 
a  French  translation  appeared  in  1827.  His 
'Studio  di  musica  pratica  e  teorica*  (London) 
is  a  useful  treatise.  Two  of  his  French  songs, 
'Qu*il  faudrait  de  philosophie*  and  'Quand 
Tamour  naoquit  Ik  Cythbre,'  were  extremely 
popular  in  their  day.  His  acquaintance  with 
almost  eveiy  contempoiary  musician  of  im» 
portance  gives  a  historical  value  to  his  book 
*  Anedotti  . . .  occorsi  nella  vita  di  G.  G.  Ferrari,* 
a  vols.  London,  1830.  Besides  the  operas,  ballets, 
and  songs  already  named,  Ferrari  composed  an 
extraordinary  quantity  of  music  for  the  voice, 
pianoforte,  flute,  and  harp.  L^*^*] 

FERREL,  Jean  FXAK9018,  musician  in  Paris 
about  the  middle  of  the  17th  century,  wrote 

L 1 


514 


FERRSri* 


a  gmall  punphlet  'A  lavoir  qne  lei  nutistra 
de  dance,  qui  sont  de  vrays  maistret  lurons  k 
Tendttnt  dee  violons  de  France,  n*ont  pas  royale 
oommiseion  d'incorporrer  ^a  leur  compagnie  lea 
orgaaistea  et  auatrea  muaiciena,  oomme  auaay  de 
leur  £Bure  paler  redevance,  d^monsir^  par  J.  F. 
Ferrel,  praticien  de  muaique  k  Paris,  natif  de 
TAnjou  (Paris,  1659).  This  was  the  signal  for 
a  contest  lasting  for  100  jears,  between  the  French 
musicians  and  the  dancing-masters,  whose  chief, 
the  'roi  des  m^^triera,*  claimed  jurisdiction  over 
all  musiciaiis.  Hard  words  were  exchanged  on 
both  sides,  and  after  several  law-suits,  a  decree  of 
the  Paris  parliament  in  1750  settled  the  question 
in  favour  of  the  musicians.  Some  of  the  pamphlets 
had  curious  titles ;  for  example, '  La  cloche  fel^,  ou 
le  bruit  faict  par  un  musiden  qui  ne  veult  6tre 
maistre  de  dance  paroe  qu*il  ne  sait  sur  quel 
pied  se  tenir,*  and  *  Discours  pour  prouver  que  la 
danse  dans  sa  plus  noble  partie  n*a  pas  besoin  des 
instrumens  de  musique,  et  qu  elle  est  en  toute  in- 
dependante  du  violon.'  [See  Fixis.]      [M.C.a] 

FEBRETTI,  GiOTAinn,  bom  at  Venice  about 
1540,  composed  five  books  of  'Cansoni*  in  5 
parts  (Venice  1567-91),  2  books  in  6  parts 
(Venice  1576-86),  and  another  of  5^part  madri- 
gals (Venioe  1588),  all  excellent  examples  of  their 
kind.  A  madrigal  of  his,  '  Siat*  avertiti,'  for  5 
Toioei»  is  iadaded  in  Webb's  madrigals.  [M.  C.  C] 

FEBBI,  Baldassass,  one  of  the  most  extra- 
ordinary singers  who  ever  lived,  was  bom  at 
Perugia,  Bee.  9,  1610.  He  owed  to  an  acddent 
in  his  boyhood  the  operation  by  which  he  became 
a  sopranist.  At  the  age  of  11  he  entered  the 
service  of  the  Bishop  of  Orvieto  as  a  chorister, 
and  remained  there  until  1625,  when  Prince 
Vladislas  of  Poland,  then  on  a  visit  at  Bome, 
carried  him  off  to  his  father*s  Court.  In  1665 
he  was  transfeired  to  Ferdinand  III,  Emperor 
of  Gennany,  whose  successor,  Leopold  I,  loaded 
him  with  riches  and  honours.  This  prince  had 
a  portodt  of  Fezri,  crowned  with  laurels,  hanging 
in  his  bed-chamber,  and  inscribed,  'Baldaraare 
Perugino,  Be  del  Music!.*  At  the  age  of  65  he 
received  permission  to  retire  to  his  native  country, 
with  a  passport,  the  terms  of  which  indicated 
sufficiently  the  oomideration  in  which  he  was 
held.  He  reached  Italy  in  1675,  ^^^^  ^^  <^^ 
Perugia^  Sept.  8, 1680. 

Ferri  was  made  a  Knight  of  S.  Mark  of 
Venice  in  1645 ;  and,  therefore,  probably  visited 
Italy  at  that  time.  He  aroused  the  greatest 
enthusiasm  wherever  he  appeared ;  hundreds  of 
sonnets  were  written  in  his  honour,  he  was 
covered  with  roses  in  his  carriage  after  simply 
singing  a  cantata^  and  at  Florence  a  number  of 
distinguished  persons  went  three  miles  out  of 
the  town,  to  escort  him  into  it.  (Ginguen^.) 
He  is  said  also  to  have  visited  London,  and  to 
have  sung  here  the  part  of  '  Zephyr* :  but  this 
must  be  a  fable,  as  Italian  opera  did  not  b^n 
here  till  1692, — la  years  after  his  death.  It 
is  trae  that  in  M.  Lookers  *  Psyche'  (167 1)  there 
b  a  character  called  '  Zephyr' ;  but  he  has  only 
four  lines  to  speak,  and  none  to  sing.     Ferri 


FESCA. 

had»  Betetrihelei^  made  one  joimey  (before 
1654)  to  Sweden,  to  gratify  Queen  Christina't 
wiidi  to  hear  him.  Ginguen^  says  that  his 
portrait  was  engraved  with  the  inscription '  Qui 
fedt  misabilia  multa* ;  but  auch  a  portrait  \u 
far  as  the  present  writer  knowa)  has  never  been 
seen.  A  medal  was  stmck,  bearing  on  one  iide 
his  head  crowned  with  bays,  and  on  the  other 
the  device  of  a  swan  dying  by  the  banks  oi 
Meander.  Ferri  was  tall  and  handsome,  with 
refined  manners ;  and  he  expressed  himself  with 
distinction.  He  died  very  rich,  leaving  600,000 
crowns  for  a  pious  foundation. 

His  voice,  a  beautiful  soprano,  had  an  in- 
describable limpidity,  combined  with  the  greate«( 
agUity  and  facility,  a  perfect  intonation,  a 
brilliant  shake,  and  inexhaustible  length  oi 
breath.  Although  he  seems  to  have  surpaawd 
all  the  evirati  in  brilliance  and  endurance,  he 
was  quite  as  remarkable  for  paihoa  as  for  thoM 
qualities.  (Bontempi,  HUtoria  Mu»ca.)  [J.H.] 

FEBTii,  PAFiLLOir  db  la«  became  in  1777,  b; 
purchase,  'Inteodant  des  Menua-plaisiiB'  to 
Louis  XVI,  and  as  such  had  the  dirsctton  d 
the  'Eoole  Boyale  de  chant'  founded  by  the 
Baron  de  Breteoil,  and  of  the  opera  after  the 
municipality  had  given  np  the  administratifio 
of  it.  In  1790  he  publiahed  a  reply  to  a  pam- 
phlet by  the  artists  of  the  opera — *M^moire 
justificatif  des  sujets  de  TAcad^mie  royale  de 
musique*— in  whidi  they  demanded  a  refoim  o( 
the  administration.  His  son  occupied  the  same 
post  after  the  Bestoration.  [M.C.C.] 

FESCA,  Feudbioh  EBim,  composer,  bora 
at  Magdeburg,  Feb.  15,  1789.     His  father  ww 
an  aniateur,  and  his  mothiar  a  singer,  pupil  of 
J.  A«  Hiller,  so  he  heard  good  music  in  hit 
youth,  and  as  soon  as  he  oould  play  the  riolis 
had  taste  enough  to  choose  the  quartets  sul 
quintets  of  Haydn  and  Moaart  in  preference  to 
Pleyei'a   musifo,  for  which    there  was  then  a 
perfect  rage  in  Grermany.    Having  completed 
his  elementary  studies,  he  went  through  a  come 
of  counterpoint  with  Pitterlin,  oondoctor  of  the 
Magdeburg  theatre.      On  Pitterlin's  death  in 
1804  he  became  a  pupil  of  August  Eberhardt 
MtUier  at  Leipdc     Here  he  played  a  violin  con- 
certo of  his  own  with  brilliant  sooeeM.    In  1806 
he  accepted  a  place  in  the  Duke  of  Oldenborg'i 
band,  but  in  the  following  year  became  solo 
violinist  under  Beichardt  at  Caasel,  where  he 
passed  six  hi^py  yean  and  composed  his  fint 
seven  quartets  and  first  two  symphonies,  in* 
teresting  works,  especially  when  he  himself  played 
the  first   violin.      In    1814,  after  a  vint   to 
Vienna,  he  was  i^pointed  solo  violin,  and  in  the 
following  year  oonoert-meister,  to  the  Duke  of 
Baden  at  Carkruhe.     During  the  next  elem 
years  he  wrote  a  operas, '  Gantemir*  and  'Leih^' 
overtures,  quartets,   quintets,   chorales,  pealms 
and  other  sacred  music.    He  died  at  Carlsruhe 
May  24,  i8a6,  of  consumption,  after  many  yean' 
suifering,  which  however  had  not  impaued  hii 
powers,  as  his  last  works  contain  some  of  lue 
best  writing.    His  'De  profimdis^'  arranged  is 


FESCA. 

4  parts  %7  SinkusB,  was  sung  at  his  fuxieral. 
Feaca  was  ihonghtful,  earnest,  «id  warmbeartad, 
with  oocasional  traits  of  humour  in  stziking  oon- 
bast  to  his  keen  senability  and  loitj  enthusiasm 
far  ait.  He  appreciated  success,  but  steadfastlj 
declined  to  saonfice  his  own  peroepticns  of  the 
good  and  beautiful  for  popuUnty.  Fesoa's  rank 
as  a  composer  has  been  much  disputed.  There 
ia  a  wBJit  of  depth  in  his  ideas,  but  his  melo* 
dies  are  taking  and  his  combinations  effective. 
His  quartets  and  quintets^  without  possessing 
the  qualities  of  the  great  masters,  have  a  grace 
sod  elegance  peouHar  to  himself  and  are  emi- 
nently attractive.  His  symphonies  are  feebly 
bstrumented,  but  his  saoed  works  are  of  real 
merit.  In  richness  ci  modulation  he  approaches 
Spohr.  A  complete  edition  of  his  quartets  and 
quintets  ( ao  and  5  in  number)  has  been  published 
inParis(Rimbault).  His  son,  Alszandeb  Ebnst, 
bom  at  Garlsmhe  May  22,1820,  died  at  Brunswick 
Feb.  22,  1849,  was  a  pupil  of  Bungenhagen,  Wil- 
helm  Bach,  and  Taubert»  and  composer  of  trios  for 
pianoforte^,  violin,  and  cello,  and  other  chamber- 
mudc  popular  in  their  day.  His  best  opera  was 
•  Le  Troubadour'  (Brunswick,  1 854).    [M.  C.  C] 

FESTA,  CosTANzo,  one  of  the  earliest  com- 
posers of  the  Homan  school,  was  born  somewhere 
towards  the  close  of  the  15th  century.  He  was 
elected  a  member  of  the  Pontifical  choir  in  15 17, 
sztd  died  April  10, 1 545.  He  eventually  beotme 
Maestro  at  the  Yatican,  and  his  nomination  was 
so  &r  singuUkr  that  he  was  at  that  time  the  only 
Italian  in  a  similar  podtion  throughout  the 
Peninsula.  His  genius  cannot  be  doubted,  and 
Dr.  Bumey,  who  had  been  at  the  trouble  of 
soaring  a  great  number  of  his  Madrigals,  was 
SBtonidiad  at  the  rhythm,  grace,  and  facility  of 
them.  The  Doctor  ealls  one  of  Festa's  Motetti, 
'Quam  pnkhra  es,  anima  mea,'  a  model  of 
elegance,  simptieity,  and  pure  harmony,  and 
layB  tiiat  'the  subjects  of  imitation  in  it  are  as 
modeni,  and  that  the  parts  sing  as  well,  as  if 
it  were  a  production  of  the  eighteenth  century.* 
Festa,  according  to  Baini,  fell  in  his  motets 
into  a  faehion  too  prevalent  in  his  day,  of  setting 
distinct  words  to  each  voice.  The  Abb^  ('Life 
of  Palestrina,'  vol.  i.  pp.  95-*io3)  explnins  in 
great  detail  the  lengths  to  which  this  absurd 
and  undignified  affectation  was  carried,  and 
quotes  wiih.  obvious  and  well-merited  approval 
a  rebuke  administered  by  the  Cardinal  Oapranica, 
m  the  pontificate  of  Niocolo  V,  to  some  singer 
who  had  asked  him  to  admire  the  caprice.  '  Mi 
psre^'  said  the  Cardinal,  'di  udir  una  mandra 
di  poroelli,  che  gmgniscono  a  tutta  forza  senza 
{oofferiie  per6  un  suono  articolato,  non  che  una 
psrola.' 

The  principal  repertories  for  Festa*s  music  are 
the  collectioDS  whidi  flowed  from  the  presses  of 
Gardano  and  of  Scotto  at  Venice  iu  the  middle 
of  the  1 6th  century,  and  for  which  the  curious 
enquirer  must  be  referred  to  the  Bibliographic 
of  Eitner.  The  archives  of  the  Pontifical  chapel 
are  rich  in  his  MSS.,  and  a  celebrated  Te  Deum 
of  his  is  still  song  by  the  Pontifical  choir  at  the 
•Lection  of  <a  new  Pope,    Bureey,  in  his  History 


FESTING. 


hu 


(ill.  245,  6)  prints  a  motet  and  a  madrigal  of 
Festa*8 ;  and  a  Te  Deum  and  motet  are  given 
in  Book's  collection  (vi.  51,  40).  "HU  madrigal 
'Down  ?n  a  flowry  vale*  ('Quando  ritrovo  la 
mia  pastirella*)  enjoys  the  distinction  of  being 
the  most-  popular  piece  of  this  description  in 
England.  [E.H.P.] 

FESTING,  MiOBAEL  Chbistiak,  an  eminent 
performer  on,  and  composer  for  the  violin,  wM 
the  son  of  a  flautist  of  the  same  names,  who  was 
a  member  of  the  orchestra  of  the  King's  Theatre 
in  the  Ha^nnarket  about  1727.  Festing  was  at 
first  a  pupil  of  Bichard  Jones,  leader  of  the  band 
at  Drury  Lane,  but  subsequently  studied  under 
Gkminiani.  He  first  app^tfed  in  public  about 
1 7  24.  He  became  a  member  of  the  lung*s  private 
band  and  first  violin  at  an  amateur  association 
which  met  at  the  Crown  and  Anchor  Tavern  in 
the  Strand,  under  the  name  of  the  Philhannonic 
Society.  On  the  opening  of  Ranelagh  Gardens 
in  1 743  he  was  appointed  director  of  the  music 
as  well  as  leader  of  the  band. 

Festing  was  one  of  the  originators  of  the 
Society  of  Musicians.  Being  seated  one  day  at 
the  window  of  the  Orange 'Coffee-house  in  the 
Haymarket  in  company  with  Weidemann,  the 
flautist,,  and  Vincent,  the  oboist,  they  observed 
two  very  intelligent  looking  boys  driving  milch 
asses.  On  inquiry  they  found  them  to  be  the 
orphans  of  Kytch,  an  eminent  but  imprudent 
German  oboist,  who  had  settled  in  London  and 
then  recently  died,  literally  in  the  streets,  from 
sheer  want  Shocked  by  Uiis  discovery  Festing 
consulted  with  Dr.  Greene,  his  intimate  frien<j^ 
and  other  eminent  musicians,  and  the  result  was 
the  establishment  of  the  Society  of  Musicians 
for  the  support  and  maintenance  of  decayed 
musicians  and  their  families.  Festing  for  many 
years  performed  gratuitously  the  duties  of  secre- 
tary to  this  institution.  He  died  July  24,  1752. 
In  September  of  that  year  his  goods,  books,  and 
instruments  were  sold  at  his  house  in  Warwick 
Street,  Golden  Scmare.  He  left  an  only  son, 
the  Rev.  Michael  Festing,  rector  of  Wyke  Begis^ 
D<4rset,  who  married  the  only  child  of  his  father's 
friend.  Dr.  Greene.  From  this  union  sprang 
many  descendants  to  perpetuate  the  name  of 
Festing,  and  not  many  years  since  an  Hertford- 
«shire  innkeeper,  bearing  the  names  of  Maurice 
Greene  Festing,  was  living.  Festing's  composi- 
tioDs  consist  of  several  sets  of  solos  for  the  violin ; 
sonatas,  concertos  and  symphonies  for  stringed 
and  other  instruments ;  part  of  the  3rd  chapter 
of  Habakkuk,  paraphrased;  Addison's  Ode  for 
St. Cecilia's  day ;  Milton*s  Song  on  May  morning; 
an  Ode  on  the  return  of  the  Duke  of  Cumberland 
from  Scotland  in  1745;  an  ode  'For  thee  how 
I  do  mourn*;  and  many  cantatas  and  songs  for 
Ranelagh.  Sir  John  Hawkins  says  that  'as  a 
performer  on  the  vidin  Festing  was  inferior  to 
many  of  his  time,  but  as  a  composer,  particularly 
of  solos  for  that  instrument,  the  nature  and 
genius  whereof  he  perfectly  understood,  he  had 
but  few  equals.'  Festing  had  a  brother  of  the 
name  of  John,  an  obcMst  and  teacher  of  the  flute, 
whose  success  in  his  proression  was  auch  that  he 

L12 


516 


FESTING. 


died  in  1772  worth  £8,000,  acquired  cl^efly  by 
teaching.  [W.H.H.] 

FESTIVALS.  The  earliest  musical  festivals 
of  which  any  trustworthy  record  exists  ^r/ere  held 
in  Italy.  At  an  interview  between  J'rancis  I, 
King  of  France,  and  Pope  Leo  X  at  Lologna  in 
1 515,  the  musicians  attached  to  their  respective 
courts  combined  and  gave  a  performance,  but  no 
details  of  the  prograpome  have  been  preserved. 
In  the  early  part  of  the  1 7th  century  there  was 
a  thanksgiving  festival  at  St.  Peter's  at  Home  on 
the  cessation  of  the  Plague,  when  a  mass  by 
Benevoli  for  six  choirs  was  sung  by  more  than 
300  voices  with  organ  accompaniment,  the  sixth 
choir  occupying  the  highest  part  of  the  cupola. 
In  France  the  first  festival  recorded  is  that 
which  took  place  as  a  thanksgiving  for  the 
recovery  of  the  eldest  son  of  Louis  XIV,  when 
Lulli's  '  Te  Deum'  (written  to  celebrate  a  similar 
happy  event  in  His  Majesty's  own  life  in  1686) 
was  performed  by  300  musicians.  In  Bohemia 
the  earliest  festival  was  held  at  Prague  in  honour 
of  the  coronation  of  the  Emperor  Charles  VI  as 
King  of  Bohemia,  when  an  opera  by  Fuz  was 
performed  in  the  open  air  by  a  band  of  aoo  and 
a  chorus  of  100  voices — a  somewhat  singular 
proportion  of  orchestral  to  vocal  resources — and 
of  this  an  account  is  given  by  Bumey  in  his 
German  Tour,  vol.  ii.  p.  1 78.  French  musicians 
united  at  Paris  in  1707  in  a  solemn  service  at 
the  funeral  of  Rameau ;  and  at  Naples  in  1 774, 
at  the  burial  of  Jomelli,  the  service  was  rendereid 
by  300  musicians.  In  Austria  the  earliest 
festivals  were  given  by  the  Musical  Institution 
at  Vienna  (Tonkiinstler  -  Societ&t),  by  whose 
members,  to  the  number  of  400,  oratorios  were 
performed  twice  annually,  in  Advent  and  Lent, 
for  charitable  purposes,  beginning  with  1772.^ 
In  the  same  city  there  was  a  festival  in  honour 
of  Haydn  in  1808,  at  which  the  'Creation*  was 
performed,  and  at  which  the  composer  bade 
farewell  to  the  world.  More  important,  and  in 
its  dimensions  approaching  more  nearly  to  the 
modem  festival,  was  a  performance  given  at 
Vienna  in  181 1,  also  in  Haydn's  honour,  when  the 
numbers  are  said  to  have  been  upwards  of  700. 

The  greatest  of  the  German  festivals,  the 
Lower  Rhenish,  had  its  origin  in  a  '  Thurin^an 
Musical  Festival,*  held  at  Erfurt  in  181 1,  under 
the  direction  of  Bischoff,  the  organist  of  Gran- 
kenhausen,  whose  example  was  imitated  in  181 7 
when  Johann  Schomstein,  the  musical  director 
at  Elberfeld,  gave  a  performance  at  that  town 
in  which  the  musicians  of  Dusseldorf  also  took 
part.  At  first  the  Lower  Rhenish  festivals  were 
held  alternately  at  Elberfeld  and  Diisseldorf, 
but  in  1 83 1  Cologne  joined  in  the  scheme,  and 
the  Musikfest  took  place  there.  In  1825  the 
festival  was  held  at  Aix  la  Chapelle,  and,  with 
the  exception  of  1827 — the  year  of  Beethoven's 
death — when  Elberfeld  once  more  took  its  place, 
it  has  been  held  at  I3iisseldorf,  Aix,  or  Cologne. 

[NiSDEBRHEINISCHE  MUSIKFBSTB.] 

In  England  the  earliest  festivals  were  those 
held  at  St.  Paul's  Cathedral  in  aid  of  the  Sons  of 

>  BaDaUck*B 'OoDoert-weMa  In  Wten.' P.1& 


FESnVAlS. 

the  Clergy  Corporation,  at  which,  since  the  year 
1 709,  a  full  band  and  choir  has  annually  assLsteii 
the  Royal  Society  of  Musicians  for  many  yean 
undertaking  to  supply  the  orchestra.  The  second 
English  festival  established  was  that  of  'The 
Three  Clioirs* — Gloucester,  Worcester,  and  Here- 
ford— which  after  having  been  held  previounly 
for  some  years  for  the  enjoyment  of  the  lay 
clerks  and  choristers,  was  in  1734  utilised  as 
a  means  of  securing  an  annual  collection  for 
the  widows  and  orphans  of  the  clergy  of  the 
three  dioceses.  [See  Three  Cuoibs  Festivals.] 
In  1739  a  festival,  to  which  Handel  lent  his  aii 
was  established  in  connection  with  the  '  Fund  for 
the  Support  of  Decayed  Musicians,*  and  thig 
institution  was  in  1790  incorporated  as  'The 
Royal  Society  of  Musicians,'  which  still  follows 
the  ancient  custom  by  giving  an  annual  per- 
formance  of  the  'Messiah*  in  aid  of  its  funds 
In  1749  Handel  conducted  a  festival  at  the 
Foundling  Hospital  in  aid  of  that  charity,  and 
directed  it  annually  until  his  death.  [See  Fockd* 
LINO  Hospital.]  Festivals  were  subsequently 
held  at  Cambridge  in  1749  on  the  occasion  of 
the  ChancelWs  installation;  at  Leeds  in  1767 
for  the  Leeds  Infirmary  then  recently  opened; 
at  Birmingham  in  1768  [see  BiBtfiNGHAv] ;  at 
Beverly  in  1769 — at  the  opening  of  Snetzler'i 
organ  in  the  Minster;  at  Norwich  ini770  [st^ 
Nobwigh]  ;  at  Westminster  Abbey  in  1 784  [see 
Handel  CoBOfEUOBATiON]  ;  at  Oxford  ini785; 
at  Manchester  in  1785 ;  at  Sheffield  in  17S6;  at 
Derby,  Winchester,  and  Salisbury — in  celebration 
of  the  opening  of  Greenes  organ — in  1788;  at 
Hull  in  1789  in  aid  of  the  Infirmary ;  at  Liver- 
pool in  1790;  at  York  in  179 1  (held  annually 
till  1803  and  revived  1833)  [see  Yobk]  ;  at 
St.  Margaret's,  Westminster,  in  1793 — the  first 
annual  performance  of  the  'Messif^'  in  aid  of 
the  Westminster  Hospital ;  and  at  Edinbuigh  in 
1 8 1 5 .  Many  of  these  festivals  were  continued  in 
subsequent  years,  and  some  are  still  held.  The 
Sons  of  the  Clergy  Festival,  the  Three  Choirs 
Festival,  the  Birmingham  and  Norwich  FestivaK 
are  now  held  triennially,  and  at  Leeds,  Liverpool, 
and  Bristol,  festivals  of  a  similar  character  an 
also  held  every  third  year.  So  are  the  Handel 
Festivals  of  the  Sacred  Harmonic  Society  at  the 
Crystal  Palace,  which  after  a  preliminary  trial 
in  1857  began  their  triennial  existence  in  1859. 
[Handel  Festival.]  The  Edinbuigh  Orchestral 
Festivals  are  now  held  annually  under  the 
direction  of  the  Reid  Pk^fessor  of  Music,  and 
festivals  of  importance  have  been  established  at 
Glasgow  and  Dundee. 

.  Festivals  of  Parochial  Choirs,  which  are  now 
lield  annually  in  the  majority  of  the  cathedrala 
and  at  other  large  churches,  were  first  oi^ganided 
about  the  year  1850,  the  Cheadle  A88ociatio&  in 
the  diocese  of  Lichfield  being  one  of  the  earliest. 
The  first  festival  of  this  nature  on  a  large  scale 
was  held  in  Durham  Cathedral  in  1863.  Next 
in  order  in  the  cathedral  or  diocesan  festiyaU 
came  Ely,  Peterborough,  Salisbury,  and  Norwich, 
and  at  York  in  1861  there  was  a  festival  u  the 
Minster  with  3700  trained   singezs.     Similar 


semoes  are  now  held  annually  In  St.  Paul*! 
Cathedral,  and  the  Bystem  has  been  adopted  in 
i^oHland,  Ireland,  and  in  the  United  States.  [See 
Charity  Childbxn.]  [CM.] 

F^mS,  FitAV90is  JosKPH,  tx»n  March  25, 
17S4,  at  Mons,  died  March  25,  1 871,  at  Brussels, 
the  most  learned,  laborious,  and  prolific  musical 
litterateur  of  his  time.  He  was  the  son  of  an 
organist  at  Mens,  and  early  learned  to  play  the 
violin,  piano,  and  organ,  completing  his  studies 
»t  the  Paris  Conservatoire.  Boieldieu  and 
Pradher  were  his  masters  for  the  piano,  but  he 
only  succeeded  in  gaining  the  harmony  prize  in 
1803,  and  the  second  'second  priz'  for  com- 
position in  1807,.  scarcely  as  much  as  might  have 
been  expected  &om  one  who  delighted  to  style 
himself  the  pupil  of  Beethoven.  He  married 
in  1806,  and  in  181 1  pecuniary  difficulties, 
caused  by  the  loss  of  his  wife's  fortune,  com* 
pelled  him  to  retire  to  the  Ardennes,  where  he 
reoiained  till  his  appointment  as  organist  and 
professor  of  music  at  Douai  in  Dec.  1813.  In 
1821  he  succeeded  Eler  as  professor  of  counter- 
point and  fugue  at  the  Paris  Conservatoire,  and 
became  librarian  of  that  institution  in  1827.  In 
March  1833  he  was  appointed  director  of  the 
Brussels  Conservatoire  and  maitre  de  chapelle 
to  the  King  of  the  Belgians,  two  important  posts, 
which,  besides  ensuring  him  many  gratifying 
distinctions,  obliged  him  to  take  part  in  the 
labours  of  the  Belgian  Acad^mie  Royale,  for 
which  he  wrote  several  interesting  memoirs. 

F^tis  must  be  considered  separately  in  his 
various  capacities  of  composer,  author  of  theo- 
retical works,  historian^  and  critic.  As  a 
composer  he  wrote  much  pianoforte  music  for 
a  and  4  hands,  chamber-musio,  duos,  a 
qnartet,  quintets,  and  a  sestet,  overtures  and 
symphonies  for  orchestra,  operas  and  sacred 
music.  His  operas  'L'Amant  et  le  Mari' 
(1820),  'Marie  Stuart  en  Ecosse*  (1823),  'La 
Yieille'  (1826),  and  'Le  Mannequin  de  Ber- 
game'  (1832)  were  produced  at  the  'Op^ra 
Comique'  with  some  success,  though  they  now 
seem  feeble  and  antiquated.  Among  his  sacred 
compositions  we  will  only  specify  his  'Messes 
fisbciles  pour  Toigue,'  and  his '  Messe  de  Requiem  * 
composed  for  £be  funeral  of  the  Queen  of  the 
Belgians  (1850).  The  greater  part  of  his 
church  music  is  unpublished.  F^is*B  fame 
however  rests  not  upon  his  compositions,  but 
upon  his  writings  on  the  theory,  history,  and 
literature  of  music.  His  'Methods  ^^mentaire 
. . . .  dluurmooie  et  d^aocompagnement*  (1824, 
36,  4i\  which  has  been  translated  into  English 
(Cocks  ft  Co.)  and  Italian;  his  'Solf(%es  pro- 
greasifs*;  'Manuel  des  prinoipes  de  musique'; 
*  Traits  ^^entaire  de  musique*  (Brussels  1831- 
32^ ;  '  Traits  du  chant  en  choeur* — translated  by 
Helmore  (Novello)  ;  '  Manuel  des  jeunes  com- 
positeurs';  'M^thode  des  mdthodes  de  piano*; 
and  ' M^thode  A^entaire  de  Plain  Chant,'  have 
b«en  of  great  service  to  teachers,  though  some  of 
them  bear  traces  of  having  been  written  in  haste 
for  the  pubUshers.  Far  above  these  must  be 
ranked  his  '  Traits  de  raooompagnement  de.  la 


vtxts. 


B17 


partition*  (1829);  l^i  'Traits  oomplet  de  la 
th^rie  et  de  la  pratique  de  rharmonie'  (1844% 
which  has  passed  through  many  editions  and 
been  translated  into  several  languages;  and 
his  'Traits  du  contrepoint  et  de  la  fugue* 
(1824),  a  really  classical  work.  These  two  last 
F^tis  considered  his  best  original  productions, 
and  looked  to  them  for  his  permanent  reputa- 
tion. They  were  the  more  important  in  his 
eyes  because  he  believed  in  the  infallibility  of 
his  doctrines.  Outside  his  own  peculiar  system 
of  harmonic  generation — the  'omnitonic'  system, 
whose  main  principle  is  that  harmonic  combina- 
tions exist  by  which  any  given  sound  may  be 
resolved  into  any  key  and  any  mode — he  saw 
nothing  but  error  and  confusion.  As  a  historian 
he  was  equally  systematic  and'equally  impatient 
of  contradiction.  Nevertheless,  in  his '  Bioffraphie 
universelle  des  Musiciena,*  and  in  his  'Histoire 
g^n^rale  de  la  Musique*  errors  of  detail  and 
mistakes  in  chronology  abound,  while  many  of 
the  opinions  he  advances  are  open  to  question. 
Easy  as  it  may  be  however  to  find  fault  with 
these  two  standard  works,  it  is  impossible  to 
do  without  them.  The  first  edition  of  the 
'Bipgraphie'  (Paris  1835-44)  is  especially  de- 
fective, but  it  contains  a  remarkable  uitixKluo- 
tion  founded  on  the  writings  of  Forkel,  Gerber, 
Kiesewetter,  Hawkins,  and  others.  F^tis  in- 
tended to  use  this  introduction  as  material  for  a 
'Philosophie  de  la  Musique,*  but  had  not  time 
to  accomplish  it.  The  second  edition  of  the 
'Biographic*  (Paris  1860-65)  though  more  com- 
plete and  more  satisfactory  than  its  predecessor, 
should  still  be  consulted  with  discretion ;  its 
dates  are  still  often  wrong,  and  there  are  mistakes, 
especially  in  the  articles  on  English  musicians^ 
which  are  almost  ludicrous,  and  might  have  been 
avoided.  [For  Supplement  see  Pouam.]  F^tis 
unfortunately  allows  his  judgment  to  be  biassed 
by  passion  or  interest.  It  is  a  pity  that  in  his 
'Histoire  g^n^rale  de  la  Musique*  (Didot,  5 
vols.  1869-76)  he  is  not  more  just  to  some  of  his 
predeoessors,  such  as  Yilloteau  and  Adrien  de  la 
Fage,  whom  he  quotes  freely  but  never  without 
some  depreciatory  remarki  thus  forgetting  the 
poet*s  words : — 
'  Ah  1  doit-on  h^ter  de  ceux  qu*on  assassine  V 

In  spite  of  this  defect,  and  of  a  strong  ten- 
dency to  dogmatism,  the  'Histoire  g^n^rale  de 
la  Musique,*  although  a  fragment — for  it  ceases 
at  the  1 5th  century— exhibits  F^tis  at  his  best. 
Another  useful  work  is  '  La  Musique  mise  k  la 
port^  de  tout  le  monde*  (Paris  1830,  34,  47), 
which  has  been  translated  into  German,  English, 
Spanish,  and  even  Russian.  The  same  elevation 
and  deamess  appear  in  his  innumerable  articles 
and  reviews,  which  were  all  incorporated  in  the 
'  Biographie,'  the  'Curiosit^s  historiques  de  la 
Musique*  (Paris  1830),  the  '  Esquisse  de  l*hi8toire 
de  l*htfmonie'  (Paris  1840,  now  very  scarce), 
and  other  works  already  named.  The  'Kevue 
musicale'  which  he  sturted  in  1827,  and  con- 
tinued till  35,  was  the  foundation  of  the  musical 
press  of  France.  This  short  r^um^  of  F^tis*s 
labours  will  suffice  to  show  the  immense  services 


518 


FfiTis: 


he  rendered  to  mnaoal  liuiracddn  and  literature. 
Had  he  been  a  little  lew  one-tided,  and  a  little 
more  diainterested  and  fiur,  he  vronld  have  been 
a  model  critic  and  Utt^teur. 

His  eldest  son,  Exmuakd,  bom  at  Bonvignes 
in  Belgium,  May  i6^  1812,  at  an  early  age 
assisted  his  father,  and  edited  the  'Revue 
musicale*  from  1835  to  35,  He  is  noiir  art 
critic  of  the  'Ind^pendance  Beige/  has  edited 
the  5th  YoL  of '  Histoire  g^n^rale  de  la  Musique,* 
«nd  has  published  'L^nde  de  Saint  Hubert' 
(Brassels  1847),  'Les  Musidens  Beiges'  (Brus- 
sels 1848),  a  useful  work,  and  a  'Catalogue 
laisonn^'  (1877)  of  his  father's  valuable  library 
purchased  by  the  Government  for  the  'Biblio- 
th^ue  Royale '  of  which  K  F^tts  is  librarian. 
He  IS  also  profiessor  of  nsthetlcs  to  the  Bmsseli 
Academic  des  Beaux  Arts  and  member  of  the 
Academic  Royale  in  Brusseli.  [G.  C] 

FEVIN,  ANTOime,  composer  of  the  i6th  cen- 
tury, whose  works  entitle  htm  to  a  position 
amongst  his  contemporaries  second  alone  to  that 
of  Josquin  Depr^.  We  have  only  a  few  vague 
conjectures  as  to  the  actual  circumstances  of  his 
life.  Bumey  mentions  Orieans  as  his  birthplace, 
and  later  historians  have  accepted  his  statement. 
Indeed,  there  is  little  reason  to  dispute  it,  unless 
the  existence  of  Fevin's  compositions  in  MS.  in 
the  cathedral  at  Toledo,  and  the  opinion  of 
Spanish  musicians,  can  make  him  a  Spaniard, 
as  Gevaert  and  Eslava  would  have  him  to  be. 
There  are  some  books  of  masses  in  the  Vienna 
library  containing  three  bv  'Anthonius  Fevin, 
pie  memorie.'  A^bros,  in  his  History  of  Music 
(^iii.  274)  shows  that  the  date  of  these  books 
lies  bcrtween  1514  and  1516,  and  assiuning  that 
Fevin  died  about  this  time,  and  moreover  (as 
Glarean  leads  us  to  Infer)  that  he  died  quite 
young,  places  his  birth  about  1490.  We  may, 
at  any  rate,  accept  these  dates  as  approximately 
true,  and  at  once  see  that  it  is  scarcely  correct  to 
oaU  Fevin  a  contemporary  of  Josquin.  Although 
he  died  a  few  years  before  the  great  master,  he 
was  probably  bom  40  years  after  the  date  of  Jos* 
quin  s  birth.  Had  it  not  been  for  his  premature 
death,  might  not  the  '  Felix  Jodoci  semulator,'  as 
Glarean  calls  him,  have  lived  on  to  work  by  the 
side  of  LassuB  and  share  with  him  the  giory  of 
a  brighter  period!  Surely  there  was  in  'that 
noble  youth,  whose  modesty  was  equal  to  his 
genius  (again  we  quote  Glairean),  every  element 
of  grreatness,  except  perhaps  physical  strength, 
requisite  for  making  his  name  stand  with  those 
of  Clement  and  Gombert  in  the  gap  between 
Josquin  and  Lassus.  But  although  Fevin  can 
never  be  the  hero  of  any  chapter  in  musical 
history,  there  Is  little  doubt  that  when  the 
compositions  ci  his  time  become  once  more 
generally  known,  the  few  works  which  he  has 
left  behind  him  will  find  &yoar  as  soon  as  any, 
on  account  of  the  peculiar  charm  which  veils  his 
most  elaborate  workmanship,  and  the  simplicity 
of  effect  which  seems  to  come  so  naturally  to 
him,  and  so  well  agrees  with  the  personal 
character  for  which  Glarean  admired  him.  We 
give  the  following  list  uf  his  works,  and  the  various 


FIASCO. 

coBed^oas  in  wUch  they  appear : — (1)  3  masses, 
'  Sancta  Trinitas,' '  Mente  tota,'  and  'Ave  Maris/ 
from  a  book  of  5  masses  (Petmcci,  Fossambrone 
1515).  The  only  known  copy  of  this  work,  with 
all  tiie  parts,  is  in  the  British  Museum.  Barney 
has  given  two  beautiful  extracte  from  the  ist 
mass  in  his  History,  (a)  3  masses,  'Ave  Maris,' 
'Mente  Tote,*  and  'De  Feria,'  in  'liber  quin- 
dedm  Missarum '  (Andreas  Antiquis,  Rom.  1 5 16), 
a  copy  of  which  is  in  the  Mwwrin  Library  at 
Paris.  (3)  6  motets  from  the  zst  book  of  ths 
'Motetti  della  corona'  (Petruoci,  Fossombrcmo 
1514).  (4)  A  motet,  'Descends  in  hartnm 
meum,*  and  a  fugue,  'Quas  es  isti^'  from  the 
'Cantiones  selectae  ultra  centum*  (Kriesstan, 
Augsburg  1 540).  (5)  a  lamentetions^ '  Migrant 
Juda*  and  *  Recordare  est,'  from  the  collection  by 
Le  Roy  and  Ballwd,  Paris  1557.  C^)  Detached 
movements  from  m  asses  in  F^dava's  '  Lira-saoo- 
Hispana.'  (7)  i  magnificat  from  Attaignant's 
5th  book  for  4  voices,  and  a  moteto  from  his  nth 
book  (Paris  1534).  (8)  i  piece  in  the  'Bidoia 
GaUica,  eto.'  (Rhau,  Wittenberg  1545).  (9) 
3  masses,  *0  quam  glorifioa  luoe^,*  'Requiem,' 
and  '  Mente  tota,'  in  the  *  Arobraser  Messen'  at 
Viennay  and  3  MS.  motota  in  same  library.  (10) 
A  mass»  '  Salve  sanote  parens,'  the  only  copy  of 
which  is  in  the  Royal  Library  at  Munich.  There 
is  a  song  of  his, '  Je  le  I'airray,'  in  the  HarUisn 
MSS.  5342 ;  and  fragmente  of  two  msnsen  in 
Bumey^s  musical  extracts^  Add.  MSS.  11,581 -a 
— both  in  the  British  Museum.  [J.R.S.-B.] 

FXALA,  JosBPH,  eminoit  oboist^  bom  1749 
at  Lobkowits  in  Bohemia.    He  taught  himself 
the  oboe,  for  which  he  had  a  perfect  pasBion« 
but  being  a  serf  was  compelled  to  menial  labour 
in  the  Sddoss.    He  ran  away,  and  was  recaptured, 
upon  which  his  mistress,  the  Countess  Lobkowits, 
ordered  his  frx>nt  teeth  to  be  pulled  out  that  he 
might  be  incapable  of  playing :  but  some  of  the 
nobility  of  Prague  interceded  for  him' with  the 
Emperor,  who  commanded  him  to  be  set  free. 
He  first  entered  Prince  Wallerstein's  baud,  and 
in  1777  that  of  the  Elector  at  Munich.    He  was 
afterwards  in  that  of  the  Archbishop  of  Salzbuig; 
where  he  made  the  intimate  acquaintance  of  the 
Mosarte.     In  1 785  he  was  suddenly  dischaiged 
by  the  Archbishop,  with  a  loss  of  aoo  florins,  o& 
which  Mosart  not  only  urged  him  to  come  to 
Vienna^  but  offered  him  a  good  engagemeat. 
After  a  residence  of  some  years  in  Kussia  he 
became  in  179a  Capellmeister  to  Prince  Ffirsien- 
beig  at  Donauschingen,  where  he  died  in  18 16. 
He  published  two  sete  of  quarteto  .(Frankfort 
and  Vienna,  about  1780*86),   'Six  duos  pour 
yidon  et  violonoelle*  (Augsburg  1799),  and  two 
seta  of  trios  for  flute,  oboe,  and  bassoon  (Ratisboii 
1806)^  besides  MS.  concertos  for  flute,  oboe,  and 
cello.    He  played  several  other  instruments  well, 
especially  the  cello  and  double  bass»  and  was 
evidently  a  man  of  mark.  [M.C.C.] 

FIASCO  (a  flask).  '  Faire  flasoo/  'to  make 
a  fiasco,'  i.6.  a  complete  fiulure— a  pluase  of 
somewhat  recent  introduction.  The  term,  though 
Italian,  is  not  used  by  the  Italians  in  this  sense, 
but  first  by  the  French  and  then  by  ourselves. 


fiasco; 

The  d»te  and  origin  of  the  ezpreodon  are  unknown 
to  littr^ ;  bnt  it  is  tempting  to  believe  the  image 
to  be  that  of  a  flask  filling  and  breaking — or,  as 
onr  own  slang  has  it,  'coming  to  utter  smash.*  [G.] 

FIDDLE.  The  old  English  word,  before  *yior 
eame  in,  and  still  the  more  idiomatic  of  the  two. 
Both  tare  possibly  derived  from  the  same  root — 
W/v/a.  a  calf,  from  the  springing  motion  of  dancers 
(Dies  and  LittrA ;  and  compare  the  oonnection  of 
Geige  and  }ig>.  Fiddlestick  is  the  Tiolin-bow, 
ss  in  tbe  Epigram  on  a  Bad  Uddler:^ 

OH  Orpheus  play*d  so  well  he  mov*d  Old  Nick, 
Whilst  thou  moy*st  nothing — ^but  thy  fiddlestick. 

The  Gennans  have  three  tenns  for  the  instru- 
ment— Fiedd,  Geige,  and  VioUne.  [6.] 

FXDELIO,  ODER  DIE  EHEUCHE  LIEBE. 

Beethoyen*s  single  opera  (op.  7a) ;    the  words 

adapted  by  Joseph  Sonnlei  Inner  from  Bouilly's 

'lienors,  ou  T Amour  conjugaL*     He  received 

the  text  in  the  winter  of  1804,  and  composed 

the  of>era  at  Hetzendorf  in  the  summer.    It  was 

produced  ( I.)  at  the  Theater  an  der  Wien,  Viam% 

on  Wednesday,  Not.  20,  1805,  in  3  aots;  the 

overture  was  probably  that  known  ss  *  Leonora 

No.  a.'     Cherubini  was  in  the  house,    (a.)  It 

was  played  again  on  the  a  ist  and  a  and,  and  then 

withdrawn.    (See  p.  185  a.)     The  libretto  was 

then  reduced  by  Breuning  to  a  acts;  3  pieces  of 

mosio — said  to  have  been  an  air  for  Pioaro  with 

chorus ;  a  duet,  Leoncce  and  Marselline ;  and  a 

terzet,  ManwUinfl,  Jaquino;  and  Boooo — were 

aaoifioed,  and  the  overture  *Iieooora  No.  3' 

oomposed.    It  was  played  again  at  the  Imperial 

private  theatre  on  Saturday,  March  39,  1806, 

and  April  10,  and  again  withdrawn.     (3.)  Early 

in  1814  the  opera^  as  again  revised  by  Traitschket 

was  submitted  to  Beethoven ;  he  at  once  set  to 

work,  and  it  was  produced  a  third  time,  in  a 

acts,  at  the  Kimthnerthor  theatre,  Vienna,  on 

May  a3,  18 14,  as  Fiddio.     The  overture  was 

that  of  the  '  Buins  of  Athens,*  but  on  the  36th 

the  overture  in  E,  known  as  the  <  Overture  to 

Ildelio,'  was  first  played.     It  was  Beethoven^s 

wish  that  the  opera  should  be  called  Leonora^ 

but  it  was  never  perfonned  under  that  namOi 

(4.)  It  was  produced  in  Paris,  at  the  Th^tre 

I.)rique,  translated  by  Barbier  and  Garr^,  and 

in  3  acts.  May  5,  i860.    In  London  by  Ghelard's 

Gennan  company  (Schroder,  etc.)  at  the  King's 

Theatre,  May  18,  183a.    In  English  (Malibran) 

St  Covent  Garden,  June  la,  35.     In  Italian 

(Ottvelli  and  Sims  Reeves,  Beoitatives  by  Bolfe) 

at  Her  Majesty's,  May  ao,  1851..  (5.)  The  chief 

editions  are — a  P.  F.  score  of  the  and  arrange* 

ment  (by  Moscheles  under  B/s  direction)  without 

Overture  or  Unale,  1810;  with  them,  1815; 

both  entitled  'Leonore.'     A  ditto  of  the  3rd 

amngement,  entitled  'Fidelio,*  Aug.  181 4.    A 

critic^  edition  by  Otto  Jahn  of  the  complete 

work  as  *  Leonora,'  in  P.  F.  score,  showing  the 

variations  and  changes  (Breitkopf  &   Hiirtel, 

185 1 ).  An  English  translation  by  Oliphant 
(AdcUson  &  HoUier),  and  another  by  Soane, 
with  Pre&ce  (Boosey).  The  4  overtures  are 
given  in  the  Boyal  Edition  (Boosey),  [G.] 


FIELDL 


tn 


FIELD,  HiKBT,  called  'Field  of  Bath,'  was 
bom  Dec.  6.  1797,  and  died  May  19,  1848. 
Pupil  of  Coombs  of  Chippenham.  ]Eieyond  these 
facts,  and  that  he  was  a  careful  pianist  and 
greatly  esteemed  as  a  teacher,  there  is  nothing 
to  explain  why  he  should  require  to  be  dis* 
tinguished  fit>m  his  greater  namesake.  [G.] 

FIELD,  JOHK,  known  as  'Bussian  Field*  to 
distinguish  him  fixnn  Henry  Field.  Bom  at 
Dublin  July  a6,  178a,  died  Jan.  11,  1837,  at 
Moscow.  To  a  modem  pianist  who  is  aware  of 
Chopin  and  Liszt,  the  name  of  John  Field  recalls 
little  or  nothing  beyond  'Field's  Nocturnes,'— 
not  the  seven  concertos,  so  much  admired  in 
their  day,  nor  the  three  sonatas  dedicated  to  his 
master  Clementi,  nor  the  pianoforte  quintet  with 
strings,  nor  the  *Airs  varies,*  or  'Polonaise  en 
rondeau,'  or  similar  more  or  less  sentimental 
inanities, — ^but  Field's  Nocturnes  pure  and  simple. 
And  here  again,  not  the  entire  lot  of  twenty  little 
sentimental  effusions  bound  up  into  a  nocturnal 
sfiaaC  but  about  half  a  dozen  delicate  little  lyrics 
— the  nocturnes  in  A,  £b,  C  minor,  Ab,  and  Bb 
(nos.  4,  7,  a,  3,  and  5,  in  Liszt's  edition),  the 
very  essence  of  all  idylls  and  eclogues,  '  Poesies 
intimes '  of  simple  charm  and  inimitable  grace^ 
such  as  no  undue  popularity  can  render  stale, 
no  sham  imitation  nauseous.  Both  as  a  player 
and  as  a  composer  Chopin,  and  with  him  all 
modem  pianists,  are  much  indebted  to  Field. 
The  form  of  Chopin's  weird  nocturnes,  the  kind 
of  emotion  embodied  therein,  the  type  of  melody 
and  its  graceful  embellishments,  the  peculiar 
waving  accompaniments  in  widespread  chords, 
with  their  vaguely  prolonged  sound  resting  on 
the  pedals,  all  this  and  more  we  owe  to  Field. 

Field's  method  of  playing,  as  was  to  be  ex- 
pected from  Clementi's  best  pupil,  was  distin- 
guished by  the  most  smooth  and  equable  touch, 
the  most  perfect  legato,  with  supple  wrists  and 
quiet  position  of  the  hands,  a  suave  and  sing- 
ing tone,  capable  of  endless  modifications  and 
dedicate  shades  of  expression.  He  is  reported  to 
have  played  his  nocturnes  with  an  inexhaustible 
variety  of  embellishments,  and,  like  Chopin  after 
him,  is  said  to  have  preferred  the  smaller  square 
and  upright  pianofi>rtes  to  grands.  Schuberth 
ft  Co.'s  edition  of  his  Nocturnes  is  ])refaced 
by  a  charming  essay  in  French  on  Field  and  his 
musical  ways,  by  Franz  Liszt,  well  worth 
reading. 

Field  came  of  a  family  of  musidans.  He  wa« 
the  son  of  a  violinist  engaged  at  a  theatre  in 
Dublin,  who  again  was  the  son  of  an  organist. 
His  grandfather  taught  him  the  rudiments  of 
music  and  grounded  him  on  the  piano.  He  told 
F^tis  Uiat  both  his  fikther  and  grandfiither  forced 
him  to  practice  so  unmercifully,  that  he  attempted 
to  run  away  firom  home — to  which,  however, 
abject  misery  soon  brought  him  back.  The  elder 
Field,  who  was  subsequently  engaged  as  violinist 
at  Bath,  and  afterwards  at  the  Haymarket 
Theatre,  brought  young  John  to  Loudon  and 
apprenticed  him  (for  a  premium  of  100  guineas) 
to  Clementi,  with  whom  he  became  a  sort  of 
musical  salesman  in  the  pianoforte  shop  of  Cle< 


1^20 


FIELD. 


inenti  and  Co.,  and  from  whom,  np  to  Us  22nd 
year,  he  received  regular  instruction  in  pianoforte 
playing.  In  1802  Clementi  took  field  to  Paris, 
where  his  admirable  rendering  of  Baches  and 
HandeVs  fugues  astonished  musicians ;  tfaenoe  to 
Germany,  and  thereafter  to  Russia.  Here  he 
was  encountered  by  Spohr,  who  gives  a  graphic 
account  of  him.  Clementi  kept  him  to  his  old 
trade  of  showing  off  the  pianos  in  the  ware- 
house, and  there  he  was  to  be  found,  a  pale 
melancholy  youth,  awkward  and  shy,  speaking 
no  language  but  his  own,  and  in  clothes  which 
he  had  far  outgrown;  but  who  had  only  to 
place  his  hands  on  the  keys  for  all  such  draw- 
backs to  be  at  once  forgotten  (Spohr,  Selbstbio- 
graphie  i.  43). 

On  Clementi*B  departure  in  1804  Field  settled 
ftt  St.  Petersburs  as  a  teacher,  where  his  lessons 
were  much  sought  after  and  extraordinarily  well 
paid.  In  1823  he  went  to  Moscow,  and  gave 
concerts  with  even  greater  success  than  in  Peters- 
burg. After  further  travelling  in  Russia  he 
returned  to  London  and  played  at  the  Philhar- 
ii)onic->a  concerto  of  his  own — Feb.  27,  1832. 
From  thenoe  he  went  to  Paris,  and  in  1833 
through  Belgium  and  Switzerland  to  Italy,  where 
at  ^^an,  Venice  and  Naples,  his  playing  did 
not  please  the  aristocratic  mob,  and  his  concerts 
did  not  pay.  Habits  of  intemperance  had  grown 
upon  him;  he  suffered  firom  fistula,  and  his 
situation  at  Naples  became  worse  and  worse. 
He  lay  in  a  hospital  for  nine  months  in  the  most 
deplorable  condition,  firom  which  at  last  a  Russian 
family  named  Raemanow  rescued  him,  on  con- 
dition that  he  should  consent  to  return  with 
them  to  Moscow.  On  their  way  back  field  was 
heard  at  Vienna,  and  elicited  transports  of 
a<)  miration  by  the  exquisite  playing  of  his 
Nocturnes.  But  his  health  was  gone.  Hardly 
arrived  at  Moscow  he  succumbed,  and  was 
buried  there  in  Jan.  1837. 

Field's  printed  compositions  for  the  piano  are 
as  follows : — 7  CJoncertos  (No.  1,  Eb  ;  No.  2,  Ab ; 
No.  3,  Eb ;  No.  4,  £b ;  No.  5,  C,  •  L'incendie 
par  I'orage* ;  No.  6,  O ;  No.  7,  C  minor) ;  a 
IHvertimenti,  with  accompaniment  of  two  violins, 
flute,  viola  and  bass ;  a  Quintet  and  a  Rondo  for 
piano  and  strings ;  Variations  on  a  Russian  air  for 
four  hands ;  a  grand  Valse,  4  Sonatas,  3  of  which 
are  dedicated  to  Clementi ;  a  'Airs  en  Rondeau' ; 
Fantasie  sur  le  motif  de  la  Polonaise,  '  Ah,  quel 
dommage';  Rondeau  Ecossais;  Polonaise  en  forme 
de  Rondo ;  deux  airs  Anglais,  and  '  Vive  Henry 
IV'  vari^;  and  20  pieces  to  which  in  recent 
editions  the  name  of  Nocturnes  is  applied,  though 
it  properly  belongs  to  not  more  thim  a  dozen  of 
them.  [E.D.] 

FIERRABRAS.  An  opera  in  3  acts  by 
Schubert,  words  by  Kupelwieser.  It  was  com- 
missioned by  Barbaja,  but  owing  to  his  failure 
was  never  performed,  and  remains  in  MS.  in 
the  Library  of  the  Gresellschaft  der  Musikfineunde 
at  Vienna.  Act  i,  304  pages,  is  dated  at  be- 
ginning and  end  25th  and  3i6t  May  (1823); 
Act  2,  31  st  May  and  5th  June.  The  overture 
is  occasionally  pUyed  at  concerts.  [G.] 


IIGtJBE. 

FIFE.  Hie  smaller  variety  of  the  sunple  flute, 
possessing  at  most  one  key.  It  is  made  in  several 
keys,  F,  Bb,  and  Eb.  It  is  seldom  used  in 
Orchestral  music,  and  only  for  the  prodaction  of 
peculiar  effects.  Fifes  are  combined  with  drums 
in  military  use.  They  play  simple  melodies, 
without  bass,  of  a  marked  character  and  rhythm, 
suitable  to  mark  the  time  of  marching.  [W.H.S.] 

FIFTEENTH  is  a  stop  or  set  of  pipes  in  an 
organ  sounding  2  octaves,  or  15  notes,  above  the 
Open  diapason.  Thus  when  the  Fifteenth  and 
Open  diapason  stops  are  drawn  out  at  the  same 
time,  ana  the  finger  is  placed  on  the  key  of 
middle  C,  two  notes  are  sounded — ^middle  C  and 
C  two  octaves  above  it. 

FIFTH.  A  Fifth  is  the  perfect  consonance, 
the  ratio  of  the  vibrational  numbers  of  the  limiting 
sounds  of  which  is  a  :  3.  It  is  called  fifth  becaiue 
5  diatonic  notes  are  passed  through  in  arriving 
from  one  extreme  of  the  interval  to  the  oth<7, 
whence  the  Greeks  called  it  8<d  riwrt,  Diapente. 
The  interval  consists  of  3  whole  tones  and  a 
semitone.  [C.H.H.P.] 

FIGARO.    See  Nozzi  Di  Fioabo. 

FIGURANTE.  A  ballet-dancer  who  takes 
an  independent  part  in  the  piece ;  also,  in  France, 
a  suboniinate  cnaracter  in  a  play^  who  comes  on 
but  has  nothing  to  say. 

FIGURE  is  any  short  suooesrion  of  notei^ 
either  as  melody  or  a  group  of  chords,  which  pro* 
duces  a  single,  complete,  and  distinct  impression. 
The  term  is  the  exact  counterpart  of  the  German 
MotiVf  which  is  thus  defined  in  Reissmann's  con> 
tinuation  of  Mendel's  Lexicon  : — '  Motiv,  Gt- 
danke,  in  der  Musik,  das  kleinere  Glied  eines 
solchen,  aus  dem  dieser  sich  organisch  entwick- 
elt.'  It  is  in  fact  the  shortest  complete  idea  in 
music ;  and  in  subdividing  musical  woriu  into 
their  constituent  portions,  as  separate  movements, 
sections,  periods,  phrases,  the  units  are  the  figures, 
and  any  subdivision  below  th^n  will  leave  only 
expressionless  single  notes,  as  unmeaning  as  the 
separate  letters  of  a  word. 

Figures  play  a  most  important  part  in  instru- 
mental music,  in  which  it  is  necessary  that  * 
strong  and  definite  impression  should  be  produced 
to  answer  the  purpose  of  words,  and  convey  the 
sense  of  vitality  to  the  otherwise  incoherent  sue* 
cession  of  sounds.  In  pure  vocal  music  this  is 
not  the  case,  as  on  the  one  hand  the  words  asea^i 
the  audience  to  foUow  and  understand  what  they 
hear,  and  on  the  other  the  quality  of  voices  in 
combination  is  such  as  to  render  strong  charao* 
teristic  features  somewhat  inappropriate.  But 
without  strongly  marked  figures  the  very  reason 
of  existence  of  instrumental  movements  can 
hardly  be  perceived,  and  the  success  of  a  move- 
ment of  any  dimensions  must  ultimately  depend, 
to  a  very  large  extent,  on  the  appropriate  de- 
velopment of  the  figures  which  are  contained  in 
the  chief  subjects.  The  common  expression  that 
a  subject  is  very  'workable,*  merely  means  that 
it  contains  well-marked  figures ;  though  it  must 
be  observed  on  the  other  hand,  that  there  are 
not  a  few  instances  in  which  masterly  treatment 


PIGURE. 

)as  invested  with  powerful  interest  a  figure 
which  at  first  right  would  seem  altogether  de- 
ficient in  character. 

As  dear  aA  instance  as  could  be  given  of  the 
hreaking  up  of  a  subject  into  its  constituent 
figures  for  the  purpose  of  development,  is  the 
treatment  of  the  first  subject  of  Beethoven*s 
Pastoral  Symphony,  which  he  breaks  up  into 
<a)  (6)  (c) 


HGURE. 


521 


^T^ 


acitp: 


^ 


three  figures  corresponding  to  the  first  three 
liars.  As  an  example  of  his  treatment  of  (a) 
may  be  taken^ 

-  ^  a 

At— ^ 


pjXim 


ft&t 


[h)  is  twice  repeated  no  less  than  thirty-six  times 
Buooessively  in  the  development  of  the  movement; 
and  (e)  i^pears  at  the  close  as  follows : — 


Examples  of  this  kind  of  treatment  of  the 
figures  contained  in  subjects  are  vexy  numerous 
in  classical  instrumental  music,  in  various  degrees 
uf  refinement  and  ingenuity ;  as  in  the  ist  move- 
ment of  Mozart's  G  minor  Symphony;  in  the 
game  movement  of  Beethoven  s  8th  Symphony; 
aiid  in  a  large  number  of  Bach's  fugues,  as  for 
instance  Nos.  3,  7,  16,  of  the  WoMtemperirte 
Klavier.  The  beautiful  little  musical  poem,  the 
18th  fugue  of  that  series,  contains  as  happy  a 
specimen  of  this  device  as  could  he  cited. 

In  music  of  an  ideally  high  ordsr,  everything 
should  be  reoc^isable  as  having  a  meuiing ;  or, 
in  other  wordd,  every  part  of  the  muric  should 
be  capable  of  being  analysed  into  figures,  so  that 
even  the  most  insignificant  instrument  in  the 
orchestra  should  not  be  merely  making  sounds 
to  fill  up  the  mass  of  the  harmony,  but  should 
be  playing  something  which  is  worth  playing  in 
itself.  It  is  of  course  imposrible  for  any  but  the 
highest  genius  to  carry  this  out  consistently,  but 
in  proportion  as  music  approaches  to  this  ideal, 
it  is  of  a  high  order  as  a  work  of  art,  and  in  the 
measure  in  which  it  recedes  from  it,  it  approaches 
more  nearly  to  the  mass  of  base,  slovenly,  or 
false  contrivances  which  lie  at  the  other  ex- 
treme, and  are  not  works  of  art  at  all.  This 
will  be  very  well  recognised  by  a  comparison 
of  Schubert  s  method  of  treating  the  accompani- 
ment of  his  songs  and  the  method  adopted  in  the 
Urge  proportion  of  the  thousands  of  'popular' 
BongB  which  annually  make  their  appearance  in 
this  country.  For  even  when  the  figure  is  as 
»imple  as  in  'Wohin,'  'Mein,'  or  'Ave  Maria,' 
the  figure  is  there,  and  is  clearly  recognised,  and 
is  SB  different  from  mere  sound  or  stuffing  to 

support  the  voice  as  a  living  creature  is  from 

(i«sd  and  inert  clay. 


Bach'  and  Beethoven  were  the  great  masters 
in  the  use  of  figures,  and  both  were  content  at 
times  to  make  a  short  figure  of  three  or  four 
notes  the  basis  of  a  whole  movement.  As  ex- 
amples of  this  may  be  quoted  the  truly  famous 
rhythmic  figure  of  the  C  minor  Symphony  (d), 
the  figure  of  the  Scherzo  of  the  9th  Symphony 
(e),  and  the  figure  of  the  first  movement  of  the 
last  Sonata,  in  C  minor  (/).  As  a  beautiful  ex« 
ample  firom  Bach  may  be  quoted  the  Adagio  from 
the  Toccata  in  D  minor  (g),  but  it  must  be  said 


if) 


if)  n,  ,S^\  ^  _ 


3CJK 


that  examples  in  his  works  are  almost  innumer- 
able, and  will  meet  the  student  at  every  turn. 

A  very  peculiar  use  which  Bach  occasionally 
makes  of  figures,  is  to  use  one  as  the  bond  of 
connection  running  through  a  whole  movement 
by  constant  repetition,  as  in  Prelude  No.  10  of 
the  Wohltemperirte  Klavier,  and  in  the  slow 
movement  of  uie  Italian  Concerto,  where  it  serves 
as  accompaniment  to  an  impassioned  recitative. 
In  this  case  the  figure  is  not  identical  on  each 
repetition,  but  is  freely  modified,  in  such  a  way 
however  that  it  is  iUways  recognised  as  the 
same,  partly  by  the  rhythm  and  partly  by  the 
relative  positions  of  the  successive  notes.  This 
manner  of  modifying  a  given  figure  shows  a 
tendency  in  the  direction  of  a  mode  of  treatment 
which  has  become  a  feature  in  modern  music : 
namely,  the  practice  of  transforming  figures  in 
order  to  show  difierent  aspects  of  the  same 
thought,  or  to  establish  a  connection  between 
one  thought  and  another  by  bringing  out  the 
characteristics  they  possess  in  common.  As  a 
simple  specimen  of  this  kind  of  transformation, 
may  be  quoted  a  passage  from  the  first  move- 
ment of  Brahms's  P.  F.  Quintet  in  F  minor. 
The  figure  stands  at  first  as  at  (A),  then  by 
transposition  as  at  (t).  Its  first  stage  of  trans- 
formation is  (J) ;  further  {k)  if)  (m)  are  pro- 
gressive modifications  towards  the    stage   [^n). 


which,  having  been  repeated  twice  in  difierent 


522 


FIGUBEn 


FIGXJBED  BASS. 


positioDB,  appears  finally  aa  tlia  fiffore  immedi- 
ately attached  to  the  Gadenoe  in  Jxi,  thus-— 


i 


s 


r 


i 


^F 


I 


A  similar  very  fine  example — too  familiar  to 
need  quotation  here — is  at  the  close  of  Beethoven*8 
Overture  to  Coriolan. 

The  use  which  Wagner  makes  of  strongly 
marked  figures  Is  very  important,  as  he 
establishes  a  consistent  connection  between  the 
characters  and  situations  and  the  music  by  using 
appropriate  fibres  {LeUmotive),  which  appear 
whenever  the  ideas  or  characters  to  which  they 
belong  come  prominentlv  forward. 

That  figures  vary  in  intensity  to  an  immense 
degree  hardlv  requires  to  be  pointed  out ;  and  it 
wiU  also  be  obvious  that  figures  of  accompaniment 
do  not  require  to  be  so  marked  as  figures  which 
oocupy  positions  of  individual  importance.  With 
regard  to  the  latter  it  may  be  remarked  that 
there  is  hardly  any  department  in  music  in  which 
true  feeling  and  inspiration  are  more  absolutely 
indispensable,  since  no  amount  of  ingenuity  or 
per.<«everance  can  produce  such  figures  as  that 
which  opens  the  C-minor  Symphony,  or  such 
Boul-moving  figures  as  those  in  the  death  march 
of  Siegfried  in  Wagner's  '  Gdtterdammerunff  .* 

As  the  common  notion  that  music  ^iefly 
consists  of  pleasant  tunes  grows  weaker,  the 
importance  of  figures  becomes  proportionately 
greater.  A  succession  of  isolated  tunes  is  always 
more  or  leas  inconsequent,  however  defUy  they 
may  be  connected  together,  but  by  the  appropriate 
use  of  figures  and  groups  of  figures,  such  as  real 
musicians  only  can  invent,  and  the  gradual  un- 
folding of  all  their  latent  possibilities,  continuous 
and  logical  works  of  art  may  be  constructed ;  such 
as  will  not  merely  tickle  uie  hearer's  fancy,  but 
arouse  profound  interest,  and  raise  him  mentally 
and  morally  to  a  higher  standard.      [C.H.HJ'.J 

FIGURED.  A  translation  of  Figurato,  an- 
other word  for  Florid.  Figured  Gounterpdnt 
is  where  several  notes  of  various  lengths,  with 
Sjmcopations  and  other  ornamental  devices,  are 
set  against  the  single  notes  of  the  Canto  fermo ; 
and  Figured  melody,  or  Canto  figurcUo,  was  the 
breaking  up  of  the  long  notes  of  the  church 
melodies  into  lar^  or  more  rapid  figures  or 
passages.  The  fgmrirter  Chorai,  or  Figured 
chorale,  of  the  German  school  was  a  similar 
treatment  of  their  church  tunes,  in  which  either 
the  melody  itself  or  its  accompaniments  are 
broken  up  into  'figures*  or  groups  of  smaller 
notes  than  the  orig^naL  Of  this  numberless  ex- 
amples  may  be  found  in  the  worics  of  J.  S.  Bach. 

FIGURED  BASS  is  a  species  of  musical  short- 
hand by  which  the  harmony  only  of  a  piece  is 
indicated.  It  consists  of  the  bass  notes  alone, 
with  figures  to  represent  the  chords.  It  seems 
to  have  been  first  employed  by  Peri,  Caocini, 
Yiadana,  and  Monte verde,  about  160Q,  in  tiie 
accompaniments  of  their  Recitatives  and  Songs, 
and  was  afterwards  for  some  time  in  universial 
use  for  accompaniment;  songs  such  as  the  col- 


lection of  the  Orpheus  Britannicus,  and  anthems 
such  as  Boyce's  collection,  and  gretX  works  like 
Bach's  Passion  and  Handel's  Messiah,  having 
accompaniments  indicated  in  this  manner.  The 
bass  l&e  consisted  of  the  lowest  part  off  whatever 
was  going  on  at  the  time,  whether  treble^  or 
tenor,  or  bass,  and  in  dhonl  works  it  often  leapt 
about  promiscuously  in  a  manner  that  would  be 
very  harassing  to  a  player  unaccustomed  to  the 
process,  as  for  example 


from  the  last  chorus  of  the  Messiah, 

The  figures  represented  the  diatonic  intnrsls 
counting  upwards,  without  reference  to  the  nature 
of  the  chord;  thus  3  always  meant  the  next 
diatonic  note  above— D  above  C,  aa  in  (a),  and 
4  the  next  note  but  two^  as  (b),  and  so  on  up  to 
the  9th,  above  which  the  figures  of  the  lower 
octave  were  repeated ;  and  the  choice  of  the  par- 
ticular octave  in  which  a  note  represented  by  a 
figure  should  be  placed,  as  well  as  the  progteai  on 
of  the  parts,  was  generally  left  to  the  discredmi 
of  the  player. 

It  was  not  customaiT  to  insert*  tfll  the  figneB, 
as  some  intervals  were  looked  upon  as  too  familiar 
to  require  indication,  such  as  the  octave  and 
the  fifth  and  the  third,  or  any  of  them  in 
combination  with  other  intervals ;  t^na  a  7  bj 
itself  would  admit  of  any  or  all  of  them  beii^ 
taken  without  being  indicated,  aa  (c) ;  and  a  9 
would  admit  of  a  fifth  and  a  third,  as  {d) ;  and 
a  6  of  a  third,  but  not  of  a  fifth,  as  (e) ;  and  a  4 
of  a  fifth  and  an  octave,  as  (/).  When  a  a  was 
written  alone  over  a  note  it  admitted  also  of  a 
sixth  and  a  fourth,  as  {g) ;  but  more  commonly 
the  4  was  written  with  the  2,  and  the  sixth  only 
was  understood ;  and  this  seems  to  be  the  only 
case  in  which  notes  other  than  the  octave  or  fif^ 
or  third  are  left  to  be  understood. 


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"When  notes  were  chromatioally  altered  the 
accidental  was  added  by  the  side  of  Uie  figure 
representing  that  note  (7b),  or  for  sharpening  a 
note  a  line  was  drawn  through  the  figure  or  by 
its  side,  as  at  (A),  and  as  it  was  not  customaty  to 
write  the  3,  when  the  third  was  to  be  chromatically 
altered  the  accidental  was  placed  by  itself  with  the 
bass  note — thus  a  simple  f,  b,  or  i],  implied  a  f . 
1  ^»  or  \,  3rd.  When  the  bass  ifioved  and  any  or  ail 


FIGUBUD  H^SS. 

of  the  notos  of  the  hannony  aboTe  it  stood  rtill, 
it  was  oommofi  to  indicate  this  by  a  line  drawn 
from  iht»  figures  indicating  the  notes  which 
remained  stationary  to  the  place  where  they 
Bored  again,  and  if  the  notes  happened  to  be 
such  aa  were  uanally  left  to  be  understood  by 
the  player,  the  lines  were  drawn  over  the  bass 
from  the  point  in  which  it  b^^  to  moTe  under 
the  implied  chord.  Wheneyer  the  bess  was  to 
be  unaooompanied  by  luumoay,  the  words  '  Taeto 
Solo*  were  written. 

The  figures  were  usually  written  in  their 
numwical  order,  though  for  special  purposes  they 
might  be  reversed  when  the  composer  required  a 
particalar  disposition  of  the  notes,  and  similar 
ODoergeDcies  often  caused  the  8  or  the  5  or  the  3 
to  be  iziserted  if  it  was  indispensable  that  the 
notes  represented  by  tboee  figures  should  not  be 
Buased  out.  [C.H.H.P.} 

FILLE  DTJ  REGIMENT,  LA.    Opera  in  a 

acts ;  words  by  Bayard  and  St.  Georges ;  music  by 
Donizetti.  iSroduoed  at  the  Op^ra  oomique  Feb. 
II,  1 840.  In  London,  as  La  Ilglia  di  Reggri. 
mento,  at  Her  Maje8ty*s  (Jenny  Und)  May  27, 
1847;  and  as  The  Daughter  of  the  Begiment 
(Fitzball)  at  Surrey  Tlieatre  Dec.  a  I,  47. 

FILTSCH,  Chablbs,  bom  about  1830  at  Her- 
mannstadty  Siebenborgen,  Hungary.  He  appears 
to  have  reoeived  his  earlkst  regular  instruction 
on  the  piano  from  Mittag  at  Vienna.    In  1843 
he  was  in  Paris,  studying  under  CSiopin  and 
Lisat.    In  the  summer  of  43  he  came  to  London 
(at  the  same  time  with  Ernst,  Halle,  Sivori, 
Jkvywchock,  and  Spohr),  and  appeared  twice  in 
pablic  onoe  on  June  14*  at  St.  James*s  Theatre, 
between  two  of  the  plays,  and  agdn  on  July  4, 
at  a  Mating  of  his  own  at  the  Hanorer  Square 
Booms.     On  the  latter  eocasion,  besides  the 
9dteni>  in  fi  minor  and  other  pieces  of  Chopin, 
he  played  a  Prelude  and  Fugue  of  Baches  and  a 
piece  in  A  from  the  'Temperaments'  of  Men- 
delsohn.   In  the  last  of  these  he  was  pecnliariy 
happy.     'Presto  de  Mendelssohn,'  said  Spohr, 
the  moment  he  saw  Filtsch  seated  at  the  piano 
at  Sir  6.  Smart^s  a  few  nights  after.    He  also 
played  at  Buckingham  PaliKM  before  the  Queen 
and  Prince  Alberts    He  was  then  13  yeara  old, 
and  his  playing  is  described  as  most  remarkable 
both  for  execution  and  expression — ^full  at  onoe 
of  viiour  and  feeling,  poetiy  and  passion.    (See 
the  Musical  Examiner  for  June  1 7  and  July  8, 
1843.)    Every  one  who  met  him  seems  to  haye 
loved  him.     He  was  'le  petit'  in  Paris,  and 
'little  filtsch*  in  London.     According  to  the 
enthusiastic  von  Lena.  Chopin  said  that  he  played 
his  music  better  than  he  himself,  while  Liszt  on 
one  occasion  exclaimed '  Quand  ce  petit  voyagera 
je  &nnerai  boutique.'    (Lena,  *  Grosse  P.  F.  Vir- 
tooeen,'  p.  36;   'Beethoven  et  ses  3  Styles/  1. 
229.)     But  he  was  not  destined  to  fulfil  the 
promiae  of  so  brilliant  a  childhood  —  the  blade 
was  too  keen  for  the  scabbard;  and,  as  Mos- 
cfaeles  warned  him,  he  practised  too  much  for 
his  strength ;  consumption  showed  itself  and  he 
died  at  Venice  on  May  x  1, 1845.  [G.] 


nKALEL 


523 


FIKALE.  (i)  The  last  movement  of  a  svm* 
phony,  sonata,  ccnoerto,  or  other  instrumental 
composition.  (1)  The  pieoe  of  music  with  which 
any  of  the  acta  of  an  opera  are  brought  to  a 
dose. 

(I)  The  finales  of  the  first  great  master  of 
the  symphony,  Haydn,  though  developed  with 
extraordinary  skill  and  inexlukustible  invention, 
are  mostly  of  a  somewhat  playful  character. 
Though  their  treatment  is  learned,  their  subjects 
are  often  trito.  They  are  almost  uniformly  cast 
in  the  'rondo,*  as  contradistinguished  from  the 
'  sonata*  form.  The  finales  of  more  recent  masters 
exhibit  a  somewhat  severer  purpose,  and  are  cast 
in  forms  for  which,  seeing  their  variety,  no  name 
has  been,  or  seems  likely  to  be,  devised.  In  the 
finale  to  Mozart's  so-called  'Jupiter  Symphony' 
every  conoeivable  contrapuntal  resource  ia  em- 
ployed, with  a  freedom  unsurpassed  by  the 
greatest  masters  of  fugue,  to  sive  eflfeot  to  ideas 
such  as  have  been  vouch«afed  to  few  other  com* 
posers.  In  those  of  Beethoven  the  great  musical 
poet  goes  'from  strength  to  strength,  and  having, 
as  he  would  seem  to  have  thought,  exhausted 
all  the  capabilities  for  effect  of  tl^  instrumental 
orchestra,  brings  the  chorus  to  bear  on  hia  latest 
Bvmphony^-a  colcssal  monument  of  the  inven- 
tion, and  command  of  invention,  of  its  composer ; 
surpassing  in  scale,  variety,  and  effect  all  former 
and  indeed  subsequent  efforts  of  the  kind. 

(a)  In  the  earlier  operas,  of  whatever  nation, 
each  act  was  comm<mly  terminated  by  an  aria 
or  at  the  most  duet,  constructed  rather  to 
exhibit  the  powers  of  the  singer  or  singers 
employed  in  it,  than  to  carry  on  or  even 
emphasise  the  action.  The  last  act  was  some- 
times brought  to  a  close  with  a  chorus,  generally 
brief  and  always  of  the  simplest  character. 
The  finale  proper— the  great  concerted  pieoe 
in  the  course  of  which  the  interest  of  each 
act  culminates— is  a  modem  addition  to  the 
musical  drama,  having  ito  origin  in  the  earlier 
Italian  opera  htffa  of  the  last  century.  The 
principal  masters  of  this  delightful  variety  of 
musical  composition  were  Leo,  Pergolesi,  the 
Italianised  G^erman  Hasse,  and  Logruscino ;  and 
it  is  in  the  operas  of  the  last  of  theee,  otherwise 
greatly  distii^raished  for  their  inventiveness  and 
spirit,  that  the  finale  first  appears,  though  in  a 
somewhat  primitive  form.  To  Piocinni  its 
development,  if  not  ite  perfectionment,  is  sub* 
sequently  due.  His  opera  'La  CSeochina,  essia 
la  Buona  Figliuola'  owed  much  of  ito  extra* 
ordinary  popularity  to  the  introduction  of  finales 
in  which  the  action  was  carried  on,  and  which 
were  first  enlivened  to  the  ear  by  the  varieties 
ci  key  and  of  rhythm  given  to  the  suoce^ive 
movements,  and  to  the  eye  by  the  entrances  and 
exits  of  the  different  persons  of  the  drama. 

Two  of  the  finest  specimens  of  this  class  form 
large  portions  of  Mozart's  'Nozze  di  Figaro.* 
One  of  them — that  to  the  seoond  or,  as  it  is 
commonly  performed,  the  first  aet-HX)nsists  of 
no  less  than  eight  movements,  as  various  in 
character  as  are  the  nine  personages  who  are 
ooDoemed  in  it,  and  whose  several  accusations^ 


524 


FINALE. 


defenoeSy  protests,  recriminatioiis,  and  alterna-  ' 
tions  of  suooess  and  failure  are  wrought  into 
a  work  of  musical  art  which,  as  has  been  well 
said,  'begins  on  an  eminenoe  and  rises  to  the 
last  note.* 

The  great  concerted  piece,  whether  introduced 
at  the  end  of  an  act  or  elsewhere,  has  not  been 
made  an  essential  feature  of  modem  opera 
without  strong  protest;  and  this  by  the  same 
writer  whose  amusing  designation  of  barytones 
and  basses  has  already  been  quoted.  [Bass.] 
Lord  Mount-Edgecumbe  (Musical  Reminiscences, 
Sect,  yii.)  attributes  its  introduction  to  no  other 
cause  than  the  decline  of  the  art  of  singing,  and  the 
consequent  necessity  for  making  compensation  to 
the  musical  hearer  for  a  deficiency  of  individual 
excellence  by  a  superfluity  of  aggregate  mediocrity. 
'Composers,*  he  says,  'having  (now)  few  good 
voices,  and  few  good  -singers  to  write  for,  have 
been  obliged  to  adapt  their  compositions  to  the 
abilities  of  those  who  were  to  perform  in  them ; 
and  as  four,  five,  or  six  moderate  performers 
produce  a  better  effect  jointly  than  they  could 
by  their  single  efforts,  songs  have  disappeared, 
and  interminable  quartettos,  quintettes,  sestettos 
etc.  usurp  their  place.'  Aiid  again,  'It  is 
evident  that  in  such  compositions  each  indivi- 
dual singer  has  little  room  for  displaying  either 
a  fine  voice  or  good  singing,  and  that  power 
of  lungs  is  more  essential  than  either;  very 
good  singers  therefore  are  scarcely  necessary, 
and  it  must  be  confessed  that  though  there  are 
now  none  so  good,  neither  are  there  many  so 
bad  as  I  remember  in  the  inferior  characters. 
In  these  levelling  days,  equalisation  has  ex- 
tended itself  to  the  stage  and  musical  profession  ; 
and  a  kind  of  mediocrity  of  talent  prevails, 
which,  if  it  did  not  occasion  the  invention  of 
these  melodramatic  pieces  is  at  least  very  favour- 
able to  their  execution.'  The  most  extraordinary 
thing  connected  with  this  passage  is  that  it  was 
written  half  a  century  after  the  production  of 
Mozart's  'Nozase  di  Figaro,'  with  which  the 
venerable  critic  was  certainly  well  acquainted. 
From  the  most  k^ecent  form  of  opera,  that  of 
Wagner,  the  finale,  like  the  air,  the  duet,  the  trio 
or  other  self-contained  movement,  has  entirely 
disappeared.  Each  act  may  be  described  as 
one  movement,  from  the  beginning  to  the  end  of 
which  no  natural  pause  is  to  be  found,  and  from 
which  it  would  be  impossible  to  make  a  connected, 
or  in  itself  complete  extract.  It  is  di^cult  to 
conceive  that  this  '  system '  should  in  its  integ- 
rity maintain,  or  attain,  extensive  popularity; 
but  it  will  no  doubt  more  or  less  affect  all  future 
musical  dramas.  [J.H.] 

FINCH,  Hon.  and  Rev.  Edwabd,  a  pre- 
bendary of  York  in  1 704,  composed  several  pieces 
of  church  music.  Of  these  a  '  Te  Deimi'  and  an 
anthem  *  Grant,  we  beseech  Thee,'  are  included 
in  Tudway*8  collection  of  church  music  in  the 
British  Museum  (Harl.  MSS.  1337-42).  He 
died  Feb.  14, 1738,  aged  74.  [W.H.H.] 

FINGERBOARD.  The  Fingerboard  is  that 
part  of  the  violin  and  other  stringed  instruments 
played  with  a  bow,  over  which  the  strings  are 


FINGER. 

stretched,  and  agunst  which  ihe  fingers  of  the 
left  hand  of  the  player  press  the  strings  in  order 
to  mtxluce  sounds  not  given  by  the  open  string. 

The  fingerbowrd  of  tiie  vioUn  is  best  made  of 
ebony,  as  harder  and  less  easily  worn  oat  than  any 
other  wood.  Its  surface  is  somewhat  carved — 
corresponding  to  the  top  line  of  the  bridge,  bat 
not  quite  so  much->in  order  to  allow  the  bow 
to  touch  each  string  separately,  which  would  be 
impossible,  if  bridge  and  fingerboard  were  fiat. 
On  an  average-sized  violin  it  measures  10^  inches 
in  length,  while  its  width  is  about  i  inch  nearest 
to  the  head  of  the  violin  and  if  inch  at  the 
bridge-end.  It  is  glued  on  to  Uie  neck,  and 
extends  from  the  heaA  to  about  three-fourths  of 
the  distance  between  the  neck  and  the  bridge. 
At  the  head-end  it  has  a  slight  rim,  called  the 
'  nut,'  which  supports  the  strings  and  keeps  them 
at  a  distance  sufficient  to  allow  them,  to  vibrate 
without  touching  the  fingerboard.  This  distance 
varies  considerably  according  to  the  style  of  the 
player.  A  broad  tone  and  an  enesgetic  treat* 
ment  of  the  instrument  require  much  room  for 
the  greater  vibration  of  the  strings,  and  conse- 
quently a  high  nut.  Amateur>playen,  as  a  rule, 
prefer  a  low  nut,  which  makes  it  easier  to  press 
the  strings  down,  but  does  not  allow  of  the  pro- 
duction of  a  powerful  tone. 

The  fingerboard,  getting  worn  by  the  constant 
action  of  the  fingers,  must  be  renewed  from  time 
to  time.  The  modem  technique  of  violin-playiiig 
requires  the  neck,  and  in  consequence  the  finger- 
board, to  be  considerably  longer  than  they  were 
at  the  time  of  the  great  Cremona  m&ken.  For 
these  reasons  we  hi^dly  ever  find  an  old  instru- 
ment with  either  the  original  fingerboard,  bridge, 
sound-post,  or  bass-bar,  all  of  which  however  can 
be  made  just  as  well  by  any  good  violin-maker 
now  living  as  by  the  ancient  masters. 

The  fingerboards  of  the  Violoncello  and  Doable- 
bass  are  made  on  the  same  principle  as  that  of 
the  violin,  except  that  the  side  of  the  fingerboard 
over  which  the  lowest  string  is  stretched  is 
flattened  in  order  to  give  sufficient  room  for  its 
vibration.  Spohr  adopted  a  somewhat  similar 
plan  on  his  violin  by  having  a  little  scooping-out 
underneath  the  fourth  string,  which  grew  flatter 
and  narrower  towards  the  nut. 

In  the  instruments  of  the  older  viola-,  gambs-, 
and  lyra-tribe,  the  fingerbcard  was  provided  with 
frets.  tP.B.] 

FINGER,  GOTTFBIED  or  Godfrbt,  a  native 
of  Olmfits  in  Moravia,  came  to  England  about 
1685,  and  was  appointed  chapel-master  to  Jsme« 
II.  In  1688  he  published  *SonatiB  XII.  pro 
Diversis  Instrumentis.  Opus  Primum,'  and  in 
1690  *  Six  Sonatas  or  Solos,  three  for  a  violin 
and  three  for  a  flute.'  In  1691,  in  conjunction 
with  John  Banister,  he  published  'Ayres,  Chsr 
cones,  Divisions  and  Sonatas  for  Violins  and 
Flutes/  and  shortly  after  joined  Godfrey  Keller 
in  producing  *  A  Set  of  Sonatas  in  five  psrts  for 
Antes  and  hautboys.*  He  subsequently  pub- 
lished other  sonatas  for  violins  and  flutes.  In 
1693  Finger  composed  the  music  for  Theophilui 
Parbons'  Ode  for  the^  annual  celebration  of  St 


unger.  • 

Cecilia*B  day.  In  1696,  in  oonjanction  with  John* 
Eodee,  he  compoeed  the  muaic  for  Motteuz*8 
nttsque,  *The  Loves  of  Mare  and  VeniiB,*  and 
in  the  next  year  that  for  Bavenscroft's  comedy, 
'The  Anatomist,  or.  The  Sham  Doctor,*  In 
1701  he  set  to  music  Elkanah  Settlers  opera, 
'The  Vizigin  Ptophetess,  or,  The  Siege  of  Troy.* 
In  the  same  year  he  was  awarded  the  fourth 
prize  for  the  composition  of  Gongreve's  masque, 
'The  Judgment  of  Paris,*  the  others  heing  given 
io  John  Weldon,  John  Eccles,  and  Daniel  Pur- 
celL  Finger  was  so  displeased  at  the  ill  reoep- 
ti(Hi  of  his  composition  that  he  quitted  England 
and  returned  to  Germany,  where  in  170a  he 
obtained  the  appointment  of  chamber  musician 
to  Sophia  Charlotte,  Queen  of  Prussia.  Whilst 
at  Berlin  he  composed  two  Grerman  operas,  '  Siee 
der  Schonheit  uber  die  Helden*  and  'Hoxane, 
both  performed  in  1706.  In  171 7  he  became 
chapel-master  at  the  court  of  Gotha.  Nothing 
U  known  of  his  subsequent  career.  Besides  the 
above-mentioned  compositions  Finger  wrote  in- 
stmmental  music  for  the  following  plays — *  The 
Wives'  £xcuse,*  169a ;  *  Love  for  Love,*  1695 ; 
'The  Mourning  Bride,'  1697;  *Love  at  a  loss,* 
'  Love  makes  a  man,*  *  The  Humours  of  the  Age,* 
and  •  Sir  Harry  WUdair,*  1 701.  [W.  H.  H.] 

FINGEBING  (Ger.  Fingenatz,  AppVeatur; 
Fr.  DoigU),  the  method  which  governs  the 
application  of  the  fingers  to  the  keys  of  any 
koyed  instrument,  to  uie  various  positions  upon 
stringed  instruments,  or  to  the  holes  and  keys  of 
wind  inBtruments,  the  object  of  the  rules  being 
in  all  cases  to  facilitate  execution.  The  word  is 
also  applied  to  the  numerals  placed  above  or 
beueaiJi  the  notes,  by  which  the  particular  fingers 
to  be  used  are  indicated. 

In  this  article  we  have  to  do  with  the  fingering 
of  the  pianoforte  (that  of  the  organ,  though  di^ 
ferent  in  detail,  is  founded  on  the  same  prin- 
ciples, and  will  not  require  separate  considera- 
tion) ;  for  the  fingering  of  wind  and  stringed 
instruments  the  reader  is  referred  to  each  par- 
ticular name. 

In  order  to  understand  the  principles  upon 
which  the  rules  of  modem  fingering  are  based,  it 
will  be  well  to  glance  briefly  at  the  history  of 
those  roles,  and  'n  so  doing  it  must  be  borne  in 
mind  that  two  causes  have  operated  to  influence 
their  development  —  the  construction  of  the 
keyboard,  and  the  nature  of  the  music  to  be 
performed.  It  is  only  in  comparatively  modem 
times,  in  fact  since  the  rise  of  modem  music, 
that  the  second  of  these  two  causes  can  have  had 
much  influence,  for  the  earliest  use  of  the  organ 
was  merely  to  accompany  the  simple  melodies  or 
plainsongs  of  the  church,  and  when  in  later 
years  instrumental  music  proper  came  into  exist- 
ence, which  was  not  until  the  middle  of  the  i6th 
century,  its  style  and  character  closely  resembled 
that  of  the  vocal  music  of  the  time.  The  form 
and  construction  of  the  keyboard,  on  the  other 
hand,  must  have  afiected  the  development  of  any ' 
■ystem  of  fingering  from,  the  very  b^inning,  and 
^e  various  changes  which  took  place  from  time 
V>  time  are  in  fact  sufiicient  to  account  for  cer- 


FINGERING. 


SIS 


tain  remarkable  differences  which  exist  between 
the  earliest  rules  of  fingering  and  those  in  force 
at  the  present  time.  Until  the  latter  half  of  the 
1 6th  century  there  would  appear  to  have  been 
no  idea  of  establishing  rules  for  fingering ;  nor 
could  this  have  been  otiierwise,  for  from  the  time 
of  the  earliest  organs,  the  keys  of  which  were 
from  3  to  6  inches  wide,  and  were  stmck  with 
the  closed  fist,  down  to  about  the  year  1480, 
when,  although  narrower,  the  octave  still  mea- 
sured  about  two  inches  more  than  on  the  modem 
keyboard,  any  attempt  at  fingering  in  the  modem 
sense  must  have  been  out  of  the  question.  The 
earliest  marked  fingering  of  whioh  we  have  any 
knowledge  is  that  given  by  Ammerbach  in  his 
'Oi^  Oder  Instrument  Tabulatur*  (Leipzig, 
157 1 ).  This,  like  all  the  fingering  in  use  then 
and  for  long  afterwards,  is  characterised  by  the 
almost  complete  avoidance  of  the  use  of  the 
thumb  and  little  finger,  the  former  being  only 
occasionally  marked  in  the  left  hand,  and  the 
latter  never  employed  except  in  playing  intervals 
of  not  less  than  a  fourth  in  the  same  hand. 
Ammerbach's  fingering  for  the  scale  is  as  follows, 
the  thumbs  being  marked  0  and  the  fingers  with 
the  first  three  numerals  :>- 


RitAt  Hand, 


W 


tititaiifli 


a    1    0    »  \J    •   X    0    a    %    1    a    1    «i 


Z</t  Hand, 

This  kind  of  fingering,  stiff  and  awkward  as  it 
appears  to  us,  remained  in  use  for  upwards  of 
a  century,  and  is  even  found  as  late  as  1718,  in 
the  third  edition  of  an  anonymous  work  entitled 
'Kurzen  jedoch  griindlichen  Wegweiner,*  etc. 
Two  causes  probably  contributed  to  retud  the 
introduction  of  a  more  complete  system.  Li  the 
first  place,  the  organ  and  clavichord  not  being 
tuned  upon  the  system  of  equal  temperament, 
music  for  these  instruments  was  only  written  in 
the  simplest  keys,  with  the  black  keys  but  rarely 
used;  and  in  the  second  place  the  keyboards 
of  the  earlier  oreans  were  usually  placed  so  high 
above  the  seat  of  the  player  that  the  elbows  were 
of  necessity  considerably  lower  than  the  fingers. 
The  consequence  of  the  hands  being  held  in  this 
position,  and  of  the  black  keys  being  but  seldom 
required,  would  be  that  the  three  long  fingers, 
stretched  out  horizontally,  would  be  chiefly  used, 
whUe  the  thumb  and  little  finger,  being  too  short 
to  reach  the  keys  without  difficulty,  would  simply 
hang  down  below  the  level  of  the  keyboard. 

But  although  this  was  the  usual  method  of 
the  time,  it  is  highly  probable  that  various 
experiments,  tending  in  the  direction  of  the  use 
of  the  thumb,  were  made  from  time  to  time  by 
different  players.  Thus  Praetorius  says  ('Syn- 
tagma Musicum,'  1619), '  Many  think  it  a  matter 
of  great  importance,  and  despise  such  oi^ganista 
as  do  not  use  this  or  that  particular  fingering, 
which  in  my  opinion  is  not  worth  the  talk ;  for 
let  a  player  run  up  or  down  with  either  first, 
middle,  or  third  finger,  aye,  even  with  his  nose  if 
that  oould  help  him,  provided  everything  is  done 
dearly,  ooiractly,  and  gracefully,  it  does  not  much 


62ff 


FINGEBIKa 


matter  liow  or  in  wh»t  nuunner  it  is  ftOOOnipluheiL' 
One  of  the  boldest  of  these  experimenteni  was 
Couperin,  who  in  his  work  '  L*art  de  toucher  le 
clavecin*  (Paris,  1 71 7)  gives  numerous  examples 
of  the  employment  of  the  thumb.  He  uses  it 
however  in  a  very  unmethodical  way ;  ibr  in- 
stance, he  would  use  it  on  the  first  note  of  an 
ascending  scale,  bat  not  again  throughout  the 
octave;  he  employs  it  for  a  change  of  fingers 
on  a  single  note,  and  for  extensioDS,  but  in 
passing  it  under  the  fingers  he  only  makes  use 
of  the  first  finger,  except  in  two  cases,  in  one 
of  which  the  second  finger  of  the  left  hand  is 
pnssed  over  the  thumb,  and  in  the  other  the 
thimib  is  passed  under  the  third  finger,  in  the 
very  unpractical  fashion  shown  in  the  last  bar 
of  the  following  example,  which  is  an  extract 
from  a  composition  of  his  entitled  'Le  Mouche- 
n>n,'  and  will  serve  to  give  a  general  idea  of 
fingering. 


Ll^dS^luisS^^-^ 


About  this  time  also  the  thumb  first  came 
into  use  in  England.  PurceU  gives  a  rule  for 
it  in  the  instructions  for  fingering  in  his  '  Choice 
Collection  of  Lessons  for  the  Harpsichord,'  pub' 
lished  about  1 700,  but  he  employs  it  in  a  very 
tentative  maimer,  using  it  only  once  throughout 
a  scale  of  two  octaves.    His  scale  is  as  follows : — 

Might  Hand, 


Might  HcmdL  ^  ^  4    *  %  ^ 

t7^    X  1  ■  t  s  a  in» 

4  ■         §1 


L^Band, 


Contemporary  with  Couperin  we  find  Sebastian 
Bach,  to  whose  genius  finming  owes  its  most 
striking  development,  since  in  has  hands  it  became 
transformed  fi\>m  a  chaos  of  unpractical  rules  to 
a  perfect  system,  which  has  endured  in  its  essential 
parts  to  the  present  day.  Bach  adopted  the  then 
newly  invented  system  of  equal  temperament  for 
the  tuning  of  the  davichord,  and  was  therefore 
enabled  to  write  in  every  key;  thus  the  black 
keys  were  in  continual  use,  and  this  fact,  together 
with  the  great  complexity  of  his  music,  rendered 
the  adoption  of  an  entirely  new  syston  of  finger- 


FIKGEBING. 

log  inevitable,  all  existing  methods  being  totally 
inadequate.  Accordingly,  he  fixed  the  place  oi 
the  thumb  in  the  scale,  and  made  free  uae  d 
both  that  and  the  little  finger  in  every  posdUfl 
position.  In  consaqnenoe  of  thia  the  hands  wen 
held  in  a  more  forwmrd  poatton  on  the  keyboan^ 
the  wrists  were  raised,  the  long  fingers  becaou 
bent,  and  therefore  gained  greatly  in  flexibilityi 
and  thus  Bach  acquired  such  a  prodigiooa  powa 
of  execution  as  compared  witli  his  oontemporariea 
that  it  is  said  that  nothing  which  was  at  ^ 
possible  was  fior  him  in  the  smallest  degra 
difficult. 

Our  knowlec^  of  Badi*s  method  is  derived 
from  the  writings  of  his  son,  Emanuel,  wh 
taught  it  in  his  '  Versubh  \xber  die  wahre  Aii 
das  Clavier  su  qiielen.*  But  it  would  not  bi 
safe  to  conclude  that  he  gave  it  literally  ad 
without  omissions.  At  any  rate  there  are  Ui^ 
small  pieces  extant,  the  marked  fingering  ii 
which  IS  undoubtedly  by  Sebastian  Bach  ImueUS 
and  yet  differs  in  sevenl  respects  from  his  owb 
rules  as  given  by  his  son.  These  pieces  are  U 
be  found  in  the  'Oavierbiichlein,  and  one  oi 
them  is  also  published  as  Ko.  1 1  of  'Douse  petiti 
Pr^udes,'  bat  without  Bach*s  fingering.  Thti 
other  is  here  given  complete  :-^ 


y^  xili- 


huj  ^  ipj  ^^m 


XrA^ 


*^.^J 


1    ta4   11x1 


In  the  above  example  it  is  worthy  cf  notice 
that  although  Bach  himself  had  laid  down  ^ 
rule,  that  the  thumb  in  scale-playing  was  to  be 
used  twioe  in  the  ot^ve,  he  does  not  aUde  I7 
it,  the  seales  in  this  instance  being  fiz)ge>^ 
according  to  Uie  older  plan  of  passing  the  seocmd 
finger  over  the  third,  or  the  first  over  the  thumb. 
In  the  fifth  bar  again  the  second  finder  mM 
over  the  first — ^a  progression  which  is  disaJjowed 
by  Emanuel  Bach. 

The  discrepancies  between  Bach's  fisgerifi^ 
and  his  son's  rules,  shown  in  the  other  piece 
mentioned,  occur  between  bars  22  and  3 3,  34 
and  35,  and  38  and  39,  and  consist  is  patfUfiT 


HKGERING. 

fte  soeond  finger  over  the  fint,  the  little  fin^ 
muier  the  third  (left  hand),  aaid  the  third  over 
the  little  finger  (left  hand  also). 


JTINIC 


527 


Bar  33, 


P-iM:Jt 


9  4   t  X  1   1 


a 


t 


9   1X12  1 


S 


:4= 


Bar  34, 


^i 


35- 


^ 


Ti  rr  I  ' 


•  M 


^S 


^ 


38* 


39- 


1     3      1     "K      * 


;J4^ 


S 


■  I      ~- 


i 


r'^r 


9      4      14 


>^ 


-rr 


I 


r 


From  theee  diacrepaiiciefl  ft  wovid  appear  that 
Bech*8  own  fingering  waa  more  varied  than  the 
dncription  of  it  which  has  oome  down  to  ns, 
end  that  it  was  five  in  the  lenae  not  only  of 
employing  every  poarible  new  oombination  of 
fi&gen,  but  alto  of  making  use  of  all  the  old 
ooes,  tuch  aa  the  pawing  of  one  long  finger  over 
another.  Kmannel  Bach  reetricta  this  fi«edom 
to  aome  extent^  allowing  for  instanoe  the  pasnge 
of  the  Mcond  finger  over  the  third,  but  of  no 
otlher  long  finger.  Thoa  only  so  much  of  Bach's 
method  £a8  remained  in  practical  use  to  the 
{Kiait  dav  M  Emanuel  Bach  retained,  and  aa 
ti  abeolutcdy  essential  lor  the  performaooe  of  his 
worksk 

Emannel  Bach's  fingering  has  been  practically 
that  of  all  his  suooessors  until  the  most  recent 
times ;  (^lamenti.  Hummel,  and  Czemy  adopted 
it  almost  without  change,  excepting  only  the 
fimitation  caused  by  the  introduction  of  the 
pianoforte^  the  touch  of  which  requires  a  much 
iharper  blow  fixim  the  finger  than  that  of  the 
ciAvidiord  or  harpsichorc^  in  consequence  of 
which  the  ffentle  gliding  of  the  second  finger 
over  the  thud,  which  was  allowed  by  Emanuel 
Bach,  has  become  unsuitable^  and  is  now  rarely 
used. 

In  the  teaching  of  all  the  above-named  masters, 
one  principle  is  particularly  observed, — the  thumb 
is  not  used  on  a  black  key  except  (as  Emanuel 
Bach  puts  it)  'in  cases  of  necessity,*  and  it  is 
the  aholition  of  this  restriction  which  forms  the 
latest  development  of  fingering.  Modem  com- 
posen,  and  in  particular  Chopin  and  Liszt,  have 
by  their  invention  of  novel  passages  and  diffi- 
colties  done  once  more  for  the  thumb  what  Bach 
^d  for  it,  and  just  as  he  redeemed  it  from  a 


oonditNm  of  nseleasness,  so  have  they  ftreed  its 
employment  firam  all  rules  and  restrictions  what- 
soever. Hummel,  in  his  *Art  of  playing  the 
Pianoforte^*  says  'We  must  employ  the  same 
suooesnoQ  of  fingers  when  a  passage  consists  of 
a  progression  of  similar  groups  of  notes  ....  The 
interventiott  of  the  black  key  changes  the  sym- 
metrical progression  so  fitf  only  as  the  rule 
forbids  the  use  of  the  thumb  on  we  black  keys.* 
But  the  modem  sjrstem  of  fingering  would  employ 
absolutely  the  same  order  of  fingers  throughout 
such  a  progression  without  considering  whether 
black  keys  intervene  or  no.  Many  examples  cC 
the  application  of  this  principle  may  be  ibund 
in  Tausig*s  edition  of  dementi's  'Gradns  ad 
Pamassum,*  especiaQy  in  the  first  study,  a  con^ 
parison  of  whicn  with  the  original  edition  (where 
it  is  No.  16)  will  at  once  show  its  distinctive 
characteristics.  That  the  method  has  immense 
advantages  and  tends  greatly  to  fiaotlitate  the 
execution  of  modem  difficulties  cannot  be  doubted, 
even  if  it  but  rarelv  produces  the  striking  results 
ascribed  to  it  by  Von  Bulow,  who  says  in  the 
preface  to  his  edition  of  Cramer's  Studies,  that 
m  his  view  (which  he  admits  may  be  somewhat 
chimerical),  a  modem  pianist  of  the  first  rank 
ought  to  be  able  by  its  help  to  execute  Bee- 
thoven^s  '  Sonata  Appassionata*  as  readily  in  the 
key  of  Ff  ndnor  as  in  that  of  F  minor,  Mid  with 
the  same  fingering  I 

There  are  two  methods  of  marking  fingerings 
one  used  in  England  and  the  other  in  ail  other 
countries.  Both  consist  of  figures  placed  above 
the  notes,  but  in  the  En^ish  system  the  thumb 
is  represented  by  a  x  ,  tmd  the  four  fingers  by 
I,  2,  3,  and  4,  while  in  (Germany,  Fiance,  and 
Italy,  the  first  five  numerals  are  employed,  the 
thumb  being  numbered  i,  and  the  four  fingers  a, 
3,  4,  and  5.  This  plan  was  probably  introduced 
into  Germany — where  its  adoption  only  dates 
from  the  time  of  Bach — from  Italy,  since  the 
earliest  Grerman  fingering  (as  in  tiie  example 
from  Ammerbach  quoted  above)  was  precisely 
the  same  as  the  present  English  system,  except 
that  the  thumb  was  indicated  by  a  cypher 
instead  of  a  cross.  The  same  method  came  into 
partial  use  in  En^and  for  a  short  time,  and  may 
be  found  spoken  of  as  the  'Italian  manner  of 
fingering'  in  a  treatise  entitled  '  The  Harpsichord 
Illustrated  and  Improv'd,'  published  about  1 740. 
Pureell  ftlso  adopted  it  in  his  'dioice  Col- 
lection '  quoted  above,  but  with  the  bewildering 
modification,  that  whereas  in  the  right  hand  the 
thumb  was  numbered  1,  and  so  on  to  the  little 
finger,  in  the  left  hand  the  little  finger  was 
called  the  first,  and  the  thumb  the  fifth.    [F.T.] 

FINK,  GrOTTFBZKD  WiLBELM,  theologian  and 
musical  critic,  bom  March  7,  1783,  at  Sulz  in 
Thuringia,  was  educated  at  Naumburg,  where 
he  was  chorister,  and  Leipzig  (1804-9).  He 
began  writing  for  the  Allgemeine  musik.  Zeitung 
in  1808,  and  in  1827  sooceeded  Rochlitz  as 
editor,  a  post  he  held  till  1841.  In  1842  he 
became  for  a  short  time  professor  of  music  to  the 
University  of  Leipzig.  He  died  at  Halle  Aug. 
37,  1846.    Fink's  only  musical  works  'of  value 


528 


HNK. 


were  the  'Musikalischer  Haasachfttz;*  a  collection 
of  Lieder,  &c.  (Leipzig  1843),  and  'Die  deutache 
liedertafer  (ibid.  46).  Ab  an  author  he  pub- 
lished various  volumes  and  pamphlets,  but  none 
of  which  the  names  are  worth  preserving.  Besides 
the  Zeitung,  he  was  a  prolific  contributor  to  the 
Conversations -Lexicons  of  Ersch  and  Gruber, 
and  of  Brockhaus,  and  to  Schilling's  '  Lexicon  der 
Tonkunst.'  He  left  in  MS.  a  history  of  music, 
upon  which  he  had  been  engaged  for  ao  years. 
Fink  was  at  once  narrow  and  superficial,  and  a 
strong  conservative;  and  the  Zeitung  did  not 
maintain  under  his  editorship  the  position  it  held 
in  the  musical  world  under  Rochlitz.     [M.  C.C.] 

FIOBAVANTI,  Valentiko,  composer,  bom 
in  Bome  1770,  studied  under  Sala  at  the  '  Pietik 
de*  Turchini'  at  Naples.  His  first  opera  'Coi 
matti  il  savio  si  perde  *  produced  at  the  Pergola 
in  Florence  1791,  was  followed  by  at  least  50 
others,  all  comic.  He  was  invited  to  Paris  in 
consequence  of  the  success  of  'Le  Cantatrici 
Yillane*  (1806)  and  there  wrote  'I  virtuosi 
ambulanti*  (1807).  These  two  were  on  the 
whole  his  best  operas,  though  all  possessed  a 
genuine  vein  of  oomedy,  a  fireshness,  and  an 
ease  in  the  part-writing,  which  concealed  their 
triviality  and  want  of  originali^,  and  made 
them  very  popular  in  their  day.  In  June  1816 
he  succeeded  Jannaooni  as  maestro  di  capella 
to  St.  Peter*B  at  Bome,  and  while  in  that  post 
wrote  a  quantity  of  church  music  very  inferior 
to  his  operas.  His  character  was  gentle  and 
retiring  ;  and  the  last  few  years  of  his  life  were 
spent  very  quietly.  He  died  at  Capua,  on  his 
way  to  Naples,  June  16,  1837.  Like  Paisiello 
and  other  considerable  Italian  composers  of  that 
date,  Fioravanti  was  extinguished  by  Bossini. 

His  son  ViNCENZo,  bom  1810,  also  composed 
operas  with  ephemeral  success.  [M.  C.  C] 

FIOBILLO,  Fedebioo,  violin-player  and  com- 
poser, was  bom  in  1753  at  Brunswick,  where  his 
fitther  Ignazio,  a  Neapolitan  by  birth,  lived  as 
conductor  of  the  opera.  He  appears  to  have 
been  originally  a  player  of  the  mandoline,  and 
only  afterwards  to  nave  taken  up  the  violin.  In 
1780  he  went  to  Poland,  and  about  the  year 
83  we  find  him  conductor  of  the  band  at  Biga, 
where  he  stayed  for  two  years.  In  85  he 
played  with  much  success  at  the  Concert  Spi- 
rituel  at  Paris,  and  published  some  of  his  com- 
positions, whidi  were  very  favourably  received. 
In  1788  he  went  to  London,  where  he  appears  to 
have  been  less  successful  as  a  violinist,  as  we 
conclude  from  the  fact  that  he  played  the  viola 
part  in  Salomon  s  quartet-party.  His  last  ap* 
pearance  in  public  in  London  took  place  in  the 
year  1794,  when  he  performed  a  Concerto  on  the 
viola  at  the  Antient  Concert.  Of  the  rest  of  his 
life  but  little  is  known,  except  that  he  went  from 
London  to  Amsterdam,  and  in  1823  was  in  Paris. 
Place  and  date  of  his  death  are  not  known.  His 
numerous  compositions  are  Duoe  for  Violins,  for 
Piano  and  Violin,  and  Violin  and  Cello ;  Trios 
for  Flute,  Violin,  and  Tenor,  for  2  Violins  and 
Bass;  Quartets  and  Quintets  for  Stringed  In- 


FISCHER.' 

struments;  Concertos  far  the  Violin;  Concert* 
antes  for  a  Violins,  etc.).  They  were  Teryi 
fiivourably  received  in  his  time,  and,  although 
somewhat  dry  and  old-fashioned,  show  him  to 
have  been  a  sound  and  earnest  musicisn.  There 
is  however  one  particular  work  which  has  brought 
his  name  down  to  our  time,  and  will  probably 
long  remain  a  standard.  His  36  Caprices  or 
Etudes  are  known  and  valued  by  every  violin- 
player.  They  rank  with  the  classical  stndiei 
of  Kreutser  and  Bode,  and,  apart  from  their 
usefulness,  are  not  without  merit  as  campositiona. 
They  have  been  edited  over  and  over  again — mot4 
recently  by  Ferdinand  David  (Leipzig,  Senff). 
Spohr  wrote  and  published  an  aooompanjring 
violin-part  to  them.  [P.  D  ] 

FIOBITUBR,  flowerets.  The  Italian  term  for 
ornaments— scales,  arpeggios,  turns,  shakes,  etc. 
— ^introduced  by  singers  into  airs.  In  the  last 
century  airs  were  often  written  plain,  and  were 
embroidered  by  the  singers  according  to  thtir 
taste  and  ability.  Such  songs  as  'O  dolce  on- 
cento'  and  *Nel  cor  pitt*  were  seldom  sung  alike 
by  two  dififerent  singers.  Bossini's  early  airs 
were  written  for  the  same  treatment — witness 
'  Non  piii  mesta.*  A  remnant  of  it  many  vill 
still  remember  in  the  long  tasteless  cadenzas 
indulged  in  at  the  close  of  Handel's  airs.  This 
was  all  very  well  as  long  as  singers  were  also 
good  musicians,  and  as  long  as  the  singing  was 
more  thought  of  than  what  was  sung.  But  now 
these  things  are  changed,  and  the  composer 
writes  exactly  what  he  intends  to  be  simg^ 
notes,  nuances,  and  expression. 

The  practice  of '  fioriture*  was  not  unknown  to 
players  in  the  orchestra  as  well  as  to  singers. 
Spohr  gives  some  amusing  and  almost  incredible 
instances  of  such  fireaks  of  Horns  and  ClarineU 
in  the  Tutti  of  his  *  Scena  Cantante*  Concerto,  at 
Bome  in  18 16  (Selbstbiographie,  i.  330).       [G.] 

FIBEWOBK  MUSIC.  A  series  of  pieces- 
Overture,  Allegro,  Lentement,  Bour^,  LsTgo 
alia  siciliana^  Allegro,  and  2  Minuets,  all  in  the 
key  of  D — written  by  Handel  and  performed  at 
the  Fireworks  given  in  the  Green  Park,  April 
27,  1749,  on  the  occasion  of  the  Peace  of  Aixla* 
Chapelle.  The  band — 100  in  all — contained  34 
oboes,  1 2  bassoons,  9  trumpets,  9  horns,  3  tim- 
pani, besides  string  [G.] 

FIBING  is  pulling  all  the  bells  in  a  tower  at 
once,  so  as  to  make  them  strike  tpsether.  It  ia 
practised  in  England  on  ^)eciany  joyful  or 
mournful  occasions— on  the  latter  with  the  belU 
muffled.  [C.A.W.T.] 

FIS  and  FISIS,  the  German  terms  for  FS  and 
Fx.  The  equivalent  French  terms  are  Fa  dk*6 
and  Fa  double  diese, 

FISCHEB.  A  fiunily  of  singers  of  the  i8th 
and  19th  centuries.  The  founder  was  Ludwig, 
a  Bass,  of  whom  Otto  Jahn  (^Mozart,  2nd  ed.  i. 
661,  630)  speaks  as  '  an  artist  of  extraordinary 
gift,  for  compass,  power,  and  beauty  of  voice, 
and  artistic  perfection  both  in  singing  and  play* 
ing,  probably  the  greatest  (renpan  bass-siDger. 
He  was  bom  at  Mayence,  1745,  and  well  knova 


flSCHS!R. 


PISCHHOFF. 


$29 


It  the  theatres  of  Moniofa  (177S),  Vienna  (79^, 
Paris  (83),  Italy  (84),  Berlin  (88),  etc.  He 
died  at    Berlin,   July   10,   1825.  j^ 

He  was  tile  original  Osmin  in  the    £ 

•  Efltfuhmng/  and  had  a  compaos  gg  '  — 
ti  two  octaves  and  a  half   'all  i     sz. 

roufid,  even,  and  in  tune*  (Reich-  '** 

udt). 

Fifldier  was  a  great  ally  of  Mozart's,  who 
wrote  for  him  'Non  bo,  d*onde  viene/  and 
often  mentions  him  with  affection — *A  truly 
cplendid  v<rice,  though  the  Archbishop  told  me 
ke  tang  top  low  for  a  bass,  and  I  assured  him  he 
ibould  aing  higher  next  time*  (^pt.  26,  81)  ; 
*A  man  whose  loss  is  irretrievable*  (Feb.  5,  83) ; 
'I  went  to  see  the  FHachers ;  I  cannot  describe 
tkeir  joy«  the  whole  family  desire  to  be  re- 
membered to  you'  (Man^  17,  81).  The  others 
ot  the  fraoily  were  his  wife  Biarbara,  a  more  than 
ras|>ectab]e  idnger  and  actress;  his  son  Joseph 
11780-1862),  tdso  a  bass  of  renown,  but  more 
known  as  an  Impresario  than  a  ginger;  his 
daughters  Fischer- Vernier — who  in  1 835  founded 
&  sin^niig  school  of  great  r^ute  for  girls  in 
Vienna — and  Wilhelmine,  and  Joseph's  adopted 
daughter,  Fischer  -  MaraSa,  all  good  efficient 
intelligent  artists.  [M.O.C.] 

FISCHER,  Gottfried,  son  of  a  master  baker 
of  Bonn,  bom  there  July  21,  1780 — ^ten  years 
after  Beethoven ;  the  author  of  a  narrative  or 
collection  of  anecdotes  on  Bonn  and  the  Bee- 
thovoi  family,  their  circumstances  and  connect- 
ions, from  the  grandfather  of  Ludwig  to  Ludwig's 
own  youth.  The  Fischers  lived  at  934  in  the 
Kbeingasse,  in  which  the  Beethovens  also  lived 
from  1775,  and  which  was  for  long  believed  to 
be  the  birthplace  of  the  composer.  Fischers 
Q&rrative  was  not  committed  to  writing  till  1838, 
wd  though  highly  curious  and  interesting,  and 
vritten  with  apparent  bona  fides,  cannot  be 
cliMely  relied  on  as  to  dates.  It  has  been  sifted 
uul  employed  by  Thayer  in  his  life  of  Beethoven 
^8ee  vol.  i.  Anhang  vii.).  [G.] 

FISCHER,  JoHANN  Chbistian,  distinguished 
oboigt,  bom  1733  at  Freiburg  (Breisgau),  was  for 
eome  years  in  the  court  band  at  Bresden,  then 
in  the  service  of  Frederic  the  Great,  and  after 
&  Bocceflsf  ul  concert  tour  by  Mannheim,  Holland, 
and  Paris,  came  to  London,  and  made  his  first 
appearance  at  the  Thatched  House,  June  2, 1 768 ; 
J.  C.  Bach  playing  the  'pianoforte'  for  the  first 
time  at  the  same  concert.  Fischer  was  for  many 
yean  a  great  attraction  at  the  Bach-Abel  and 
Vauxhall  concerts,  and  as  a  member  of  the 
Queen's  band  played  frequently  before  the  court. 
His  playing  of  HandeFs  fourth  oboe  concerto  at 
the  Handel  Commemoration  in  x  784  so  delighted 
the  King  that  he  expressed  his  satisfaction  in 
a  note  on  his  book  of  the  words.  (Memoir  of 
Dr.  Bumey  by  Mme.  D'Arblay,  ii.  385.)  His 
tine  must  have  been  very  poweriiil  since  Giardini 
the  violinist  characterised  it  as  'such  an  impu- 
dence of  tone  as  no  other  instrument  could  contend 
with' ;  and  accoit|ing  to  the  ABCDario  'it  v^as 
veiy  fine  and  inexpressibly  well-managed.*  On 
the  death  of  Stanley,  Master  of  the  King^s  band 


(i  786),  Fischer  competed  with  Bumey  and  others 
for  the  vacant  post,  but  Parsons  was  appointed, 
and  Fischer  soon  after  went  abroad,  probably  in 
disgust  at  his  failure.  Mozart  in  1766  as  a  boy 
had  been  enchuited  with  his  playing  in  Holland^ 
but  on  hearing  him  again  in  Vienna,  severely 
criticises  him  (letter  to  his  &ther,  April  4,'  1 787)1 
and  condemns  alike  his  tone,  his  execution,  and 
his  compositions.  From  1790  he  remained  in 
London.  While  playing  at  court  he  was  struck 
with  paralysis,  and  died  April  29,  1800  (see 
*  Times*  of  May  i ).  Kelly,  in  his  'Renunisoences* 
(vol.  i.  9),  gives  an  anecdote  of  Fisoher*8  pride 
as  an  artist.  A  certain  nobleman  having  invited 
him  to  supper  much  against  his  will,  said  when 
he  arrived,  'I  hope,  Mr.  Fischer,  you  have 
brought  your  oboe  in  your  pocket' ;  to  which  he 
replied,  '  No,  my  lord ;  my  oboe  never  sups,'  and 
instantiy  left  the  house.  He  was  very  intimate 
with  Grainsborough,  who  was  a  great  lover  of 
music,  and  whose  pretty  daughter  Mary  he 
married,  though  the  father  gave  a  very  unwilling 
consent,  foreseeing  the  short  duration  of  the 
marriage.  (Ftdcher*s  life  of  Gainsborough.) 
There  U  a  fine  portrait  of  Fischer  by  Gains- 
boroagh  at  Hampton  Court  (private  dining-roomi 
No.  747).  Thicknesse  mentions  a  second  in  full 
uniform — 'scarlet  and  gold  like  a  colonel  of  the 
Foot  Guards.* 

Zuck  and  Kellner  were  his  best-known  pupils 
in  London.  J.  C.  Bach  wrote  a  quartet  for  two 
oboes,  viola,  and  cello,  for  him,  which  he  often 
played.  His  avm  compositions  (of  which  F^tis 
and  Gerber  give  a  partial  list)  consist  of  solos, 
duets,  concertos,  quartets,  etc.  On  this  point 
the  ABCDario  says,  '  as  a  composer  his  desire  to 
be  original  often  makes  him  introduce  whimsical 
and  outre  passages,  which  nothing  but  his  playing 
could  cover/  Mozart,  in  spite  of  his  unfavour- 
able (pinion  of  him,  Inomortalised  his  minuet  by 
writing  variations  for  it  (1773),  which  he  often 
played  to  display  his  bravura  (Kochel,  No.  179). 
'This  minuet  was  then  all  the  rage,*  as  Kelly 
writes,  after  hearing  Fischer  play  it.  in  Dublin 
(Rem.  i.  9),  and  it  oontinued  to  be  the  rage  for 
many  years.  [C.  F.  P J 

FISCHHOFF.  The  Fischhoff  MS.  is  the 
name  of  a  coUection  of  many  and  valuable 
particulars  of  Beethoven's  life  existing  in  the 
Royal  Library  at  Berlin.  A  short  biography 
of  the  composer  was  published  soon  after  his 
death  by  Schloaser,  which  was  even  more  im- 
perfect and  incorrect  than  such  hasty  compilations 
are  wont  to  be.  It  was  quickly  followed  (Oct.  6, 
1827)  by  a  public  notice  from  Hotschevar,  the 
kgjl  representative  of  the  Beethoven  family,  to 
the  effect  that  an  adequate  biography  was  in 
preparation  which  would  correct  the  many  and 
important  errors  to  be  found  in  Schlosser.  This 
appears  to  have  been  the  origin  of  the  collection. 
On  Carl  van  Beethoven's  majority  it  came  into 
his  hands,  and  at  length,  after  some  vicissitudes, 
into  those  of  Fischhoff,  from  whom  it  was  ac- 
quired by  the  Berlin  Library,  where  it  remains 

>  Set  Otto  Jahn'B '  M oxsrt,'  Ui.  99. 

Mm 


^80 


3PISCHH0FP, 


Btill  niiptibliahed  as  a  whole.  It  oontaiiu  copies 
of  a  vast  number  of  letters  and  dooumoitBy  many 
of  which  no  longer  exist;  of  memoranda  and 
remarks  scribbled  by  Beethoven  in  pocket-books 
and  joomals ;  of  the  personal  recollections  of  his 
intimate  friend  Zmeskall ;  and  of  a  few  printed 
materials  dating  from  1830  to  37.  Mr.  Ihayer 
appears  to  have  been  the  first  of  Beethoven's 
biographers  to  make  systematic  use  of  this  im- 
portant source,  and  it  is  from  the  ist  volume  of 
nis  Biography  (p.  iz)  that  the  above  information 
Ss  obtainea.  [G.] 

FISH,  William,  bom  in  Norwich  in  1775, 
became,  early  in  life,  a  violinist  in  the  theatre 
there.  He  was  next  a  teacher  of  music,  then 
principal  oboist  at  the  theatre,  etc,  and  event- 
ually leader  of  the  band  at  the  concerts.  He 
numbered  among  his  pupils  Edward  Taylor, 
afterwards  professor  of  music  in  Gresham  Col- 
lege, and  George  Peny,  afterwards  leader  of  the 
buid  of  the  Sabred  Harmonic  Society.  He  died, 
at  a  very  advanced  age,  about  1 863  or  4.  He  com- 
posed numerous  songs,  and  other  vocal  pieces,  and 
oonoertos  for  various  instruments.        [W.H.H.] 

FISHER,  JoHir  Abraham,  Mus.  Doc.,  was 
bom  at  Dunstable,  1744.  He  became  a  stu- 
dent  of  the  violin  under  Pinto,  and  made  his 
first  appearance  in  public  in  July  1765  at  the 
King's  Theatre,  in  a  concert  for  the  benefit  of 
the  Musical  Fund.  About  1770  he  married  a 
daughter  of  Powell  the  actor,  and  became,  in  her 
right,  proprietor  of  a  sixteenth  share  in  Covent 
Garden  Theatre.  He  composed  for  that  and 
other  theatres  the  music  for  the  following  pan- 
tomimes, viz.  'The  Monster  of  the  Wood,*  1772 ; 
•The  Sylphs,'  1774;  'Prometheus,*  1776;  and 
*The  Norwood  Gipsies,*  1777;  and  also  music 
for  the  opening  of  *  Macbeth.'  On  July  2,  1777, 
an  oratorio  by  Fisher,  entitled  '  Providence,'  was 
performed  in  the  Sheldonian  Theatre  at  Oxford, 
and  on  the  5th  of  the  same  month  the  composer 
(as  a  member  of  Magdalen  College)  accumulated 
the  degrees  of  Bachelor  and  Doctor  of  Music. 
His  oratorio  was  performed  in  Freemasons*  Hall, 
London,  on  May  28.  1778,  for  the  benefit  of  the 
Middlesex  Hospital,  and  again  in  1 780.  On  the 
death  of  his  wife  Fisher  disposed  of  his  interest 
in  Covent  Garden  Theatre,  and  started  on  a 

Professional  tour  through  Russia  and  Germany, 
n  1784  he  reached  Vienna^  where  he  induced 
the  youthful  Anna  Selina  Storace  to  become 
his  second  wife— contrary  to  the  advice  of  aU 
her  friends.  The  union  proved  an  unhappy  one, 
and  in  a  short  time  the  parties  separated  and  the 
wife  never  after  used  her  husband's  name.  The 
Emperor,  incensed  at  Storaoe's  having  had  to 
submit  to  blows  from  her  husband,  ordered  Fisher 
to  quit  his  dominions.  He  then  went  to  Dublin 
and  gave  concerts  in  the  Rotunda.  When  or  where 
his  existence  terminated  is  unknown.  Besides 
the  above-named  compositions  Fisher  published 
some  S3nnphonies  for  orchestra.  [W.H.H.] 

FTTZWILLIAM.  Edward  Francis,  son  of 
Edward  and  Frances  Fitzwilliam — both  actors 
and  singers — ^bora  in  1824.     He  was  educated 


FITZWILIMM  OOUiECnON. 

for  the  musical  profession,  and  devoted  lumself 
especially  to  the  study  of  oonaposntion.  In  1853 
he  published  a  set  of  1 2  songs  which  were  much 
admired,  and  in  the  same  year  was  appouted 
director  of  the  music  at  the  Hay  market  Theatre, 
where  he  produced  an  operetta  called  'LoTe'i 
Alarms,'  and.music  for  some  minor  pieces.  About 
1855  he  married  Miss  Ellen  Chaplin,  a  member 
of  tiie  Haymarket  company,  bo  well  known  at 
Mrs.  E.  Fitzwilliam.  His  compositions  were 
distinguished  by  an  intelligenoe  which  gave 
promise  of  great  excellence  when  he  should  have 
fully  mastered  the  technicalities  of  his  art— a 
hope  disappointed  by  his  early  death,  after  a 
lingering  illness,  on  Jan.  20,  1857.  Besides  the 
songs  above  mentioned,  he  publi^ed  a  Te  Deum, 
and  a  hymn,  *  O  incomprehensible  Greator.'  A 
quartet  from  the  former  is  given  by  Mr.  Hullah 
in  his 'Sacred  Music  for  FamUy  Use,'  [W.H.H.] 


FITZWILLIAM  COLLECTION,  THE.    In 
the  year  18 16  Viscount  Fitzwilliam  died,  leaving 
to  the  University  of  Cambridge,  of  which  he  wm  % 
member,  the  annual  interest  on   £100,000  is 
money,  and  a  large  number  of  valuable  paintings, 
books,  engravings,  and  other  works  of  art.    Of 
these  a  collection  of  MS.  music  forms  a  porti(»i. 
Its  most  prominent  features  are  the  'Yirginall- 
book  of  Queen  Elizabeth  ;  a  volume  of  anthems  in 
the  handwriting  of  Henry  Puroell,  and  another 
in  that  of  Dr.  Blow,  containing  various  pieces  no( 
yet  printed ;  and  a  miscellaneouB  collection  em- 
bracing the  works  of  more  than  250  compoeens 
mostly  of  the  1 7th  and  1 8th  centuries,  and  chiefiy 
of  the  Italian  school;   as  for  instance  Clari, 
3  Masses,  $  Dixit  Dominus,  a  Stabat,  a  Cod- 
fitebor  etc. ;  Leo,  a  Mass,  2  Miserere,  3  Dixit— 
k  5,  k  8  (in  autograph)  and  k  10;  an  Oratorio 
etc ;  CoLONNA,   a  Magnificat,   a  Confitebor,  a 
Domine  ad  adjuvandum,  a  Beatus  vir,  a  Dixit  etc ; 
JoMKLLi,  a  Miserere,  a  Dixit  (k  8),  2  Operas,  an 
Oratorio,  etc. ;  BONONCINI,  a  Mass  (k  8),  an  Opera, 
a  PsaliA,  Cantatas,  etc. ;  Prrgouesi,  a  A!  ass,  a  | 
Kyrie  and  Gloria  (k  10),  portions  of  a  Dixit  etc.; 
Durante,  a  Messa  de'  Morti  (k  8),  a  Litanv  and  1 
Motets.   In  addition  to  these  there  is  the  auto- 
graph of  a  Symphony  in  F,  'di  me  Giuseppe 

Haydn  787,*  and  some  interesting  MSS.  in 
Handel's  autograph.  Kelway  is  said  to  have 
been  employed  by  Lord  Fitzwilliam  to  collect  fiX 
him  in  Italy. 

A  portion  of  the  above  music  was  published  by 
the  late  Vincent  Novello  in  1825  by  pe^ni^sioa 
of  the  University  authorities.  The  list  is  as  fd* 
lows: — 


Bonno.  Cum  Sanetow 

Clari,  Cnm  Baneto. 

BoooDciDi,  Kterna  two. 

Do.  Ds  profnndta.  OrA. 

Do.  In  ta  Domine.    Oroh. 

Do.  Domine  Deos.  Ordi. 

DaSaoctiu.   Orch. 

Do.  Gloria  Patri.  Alto  Solo.  OrcK 

Do.  Te  ergo  qwBMiiimh 

Do.  Gloria  PairL  Orch. 

O&bro,  Amen. 

Do.  Gratlas  ■cfmu. 

Oariasiml.  Dulce  te. 

Do.  Kyrie  eieboo.  Orch. 

Do.  Et  tie  laudabimiis. 

Do.  Kjrte  eletoon.  Ordi. 

Do.  Oeudeuniu  omuet. 

Do.  LcBlatat  sum.  A& 

Do.  0  fellz  anima. 

Do.  0  qoam  trittit.  Orch. 

Da  Sargamu*.  eamua. 

Do.  Quia  moBfebat  Or^ 

Clarl.Amen.   Orch. 

Da  Quando  ooifHis.  Ordi. 

Do.  Cujua  anlnuun.    Orch. 

Do.  Qoando  oorpm&i 

Do.  Cum  Baocto.    Ordt. 

Da  Qui  tolIlL 

Do.  Cum  eaocto.  Orch. 

Do.  Saneu  Hater. 

FITZWILLIAM  COLLECTION. 


FLAGEOLET. 


531 


Out  Bleat  ens.  Orah. 

Dtkaicoient.   Orah. 

Do.  Stabat  Mater.   Oreb. 

Da  Tecum  prindplUBi. 
r«oti.  Abico. 

GoiooBa.  Domiiie  ad  a4}QTaiidiiin. 
Oreb. 

D«u  Gloria  PUxl. 

Po.  Faratmn  air. 

D«b  Stent  crat. 
SBnaia  Cantate  Domino. 

Do.  PniBxiMl  me  Denit 
ferooe.  Adofams  Te. 
Jmeili.  Conlnaa  hoe  Oeia. 
Le(\ Amen, Ala   Onh. 

Do.  Chrbtan  tutus  eaU 

]>a.  CwB  Baocto  SptritD.  Orch. 

Da  Dfadt  Domlnus,  A  8. 

Do.  Kyrte  eleteon. 

Xk&QaitoOiiL   Orch. 

Do.  Qui  toUlib 


Leo.  SlcuteimL   Orcli.(X>lzltlnA)i. 

Do.0icuterat.AlOL   Oroh.(DUlt 
InD). 

Do.  Tu  es  Saoerdoe  (Dixit  In  AX 

Do.  Tu  ei  fiaeerdoi,  Orch.(Dlxit 
InD). 

Do.  To  ei Saeerdoi.  Ordi.CDizlt 
inO). 

fiupl.  AudlTl  Tocem,  tt, 
Vtttorla,  Bedna  Coall. 
Vtrtini,  Stcut  erat.   Orch. 

Do.  (Hcut  erat,  A  6.   Orch. 
O.  Lano,  iileut  ablactatus. 
Palestrlna,  Et  incarnatne. 
Peivole^  Dominm  a  deztrle.  A  t, 
Orch. 

Do.  Gloria  Patri.  Oreh, 

Do.  Jnravtt  Domlniw. 

Do.  Bleat  erat. 
Pertt,  Adoramos  Te. 
BtradellA.  Dove  Battlrta.      TQl 


FINTA  GIARDINIERA,  LA.  Opera  buff* 
in  3  ads,  author  of  libretto  wiknown ;  music  by 
Mocurt;  produced  at  Munich  Jan.  13,  I775- 

FINTA  SEMPLICE,  LA.  Opera  buffa  in 
3  acts ;  libretto  by  Coltdllni,  music  by  Moout ; 
composed  at  Vienna  in  1 768,  when  he  was  only 
12,  but  apparently  never  put  on  the  stage. 

FLADT,  Antov,  eminent  oboist,  bom  1775 
at  Biannheim,  studied  under  Bamm,  sucoeeded 
Lebnm  in  the  orchestra  at  Munich  (1790).  He 
traYelled  much,  visiting  Vienna  (1793),  Italy, 
the  Tyrol,  the  Rhine,  ^xony,  Prussia,  Enjriand 
(179^)1  Bohemia,  Hungary,  and  France.  When 
in  London  the  Prince  of  Wales  made  him  Uberal 
offers  to  remain  in  England.  After  1810  he 
resided  entirely  at  Munich.  He  composed  three 
ooncertinos  for  oboe  and  orchestra,  and  some 
pieces  for  two  flageoletB.  [M.  C.  C] 

FLAGEOLET.  The  French  and  Italian  term 
jbr  the  harmonic  notes  in  the  violin  and  other 
instruments  of  that  tribe;  doubtless  so  called 
because  in  quality  they  resembled  the  flageolet. 
[Hasmonigs.] 

FLAGEOLET  (Old  Ft. /a;oO.  The  modem 
fenn  of  the  old  Piute  A  bee  or  straight  flute.  The 
npper  part  consists  of  a  plain  mouthpiece,  leading 
to  a  cavity,  in  which  is  a  sounding-lip  exactly 
TeMmbling  that  of  an  open  pipe  in  uie  organ. 
The  air  is  shaped  by  a  thin  groove  into  a  flat 
sheet,  which  strikes  against  the  feather-edge  of 
an  aperture  fomied  in  the  intermediate  part  of 
the  instmment.  The  vibrations  thus  originated 
pass  into  a  conical  tube,  which,  unlike  the  organ- 
pipe,  is  furnished  with  lateral  holes,  and  some- 
times with  keys.  The  fundamental  note  of  the 
speaidng  throat,  being  coerced  by  different 
lengths  of  consonant  tube,  gives  a  simple  scale ; 
which  can  be  extended  by  forcing  wind  in  more 
strongly,  and  thus  producing  the  flrst  two  or 
three  htumonics  of  the  ground  tone. 

The  simplest  form  of  the  Flageolet  is  the 
ordinary  tin  whistle  with  six  holes.  This  con- 
sists of  a  conical  tube  of  metal  stopped  at  the 
top  by  a  square  block  of  wood,  except  in  a 
narrow  anterior  Assure.  Below  the  fissure  is 
a  gap,  the  lower  edge  of  which  is  flattened  so 
ss  to  cut  and  intercept  the  stream  of  air.  In 
more  elaborate  instruments  a  chamber  is  added 
above  containing  moist  sponge  intended  to  hold 
back  the  condensed  moisture  of  the  breath. 


In  the  whistle,  and  in  the  English  Flageolet, 
the  scale  is  simply  that  of  the  Flute;  indeed, 
flutes  are  made  from  which  the  usual  head  can 
be  removed  and  that  of  the  Flageolet  substituted. 
The  French  Flageolet  is  similar  in  its  upper 
part,  but  possesses  a  more  complicated  scale,  and 
an  abundance  of  auxiliai^  keys. 

Tlie  invention  of  the  Flageolet  is  ascribed  by 
Bumey  (Hist.  iii.  378  note)  to  the  Sieur  Juvigny, 
who  played  it  in  the  famous '  Ballet  comique  de  la 
Boyne,*  1 581 .  In  the  time  of  Mersennus  (i  600- 
1648)  the  principal  teacher  and  player  was  Le 
Vacher  (Hawkins,  chap.  126).  It  appears  to 
have  superseded  the  more  ancient  Recorder, 
much  as  the  Violin  did  the  Viol.  The  two  were 
obviously  for  a  time  in  use  together  in  this 
country;  for  the  'Genteel  Companion,  being 
exact  directions  for  the  Recorder,  carefully  com- 
posed and  gathered  by  Humphrey  Salter,'  is 
dated  from  the  ' Lute  in  St.  Paul's  churchyard' 
in  1683,  whereas  the  'Pleasant  companion,  or 
new  lessons  and  instractions  for  the  Flagelet  by 
Thomas  Greeting,  Gent.*  was  'printed  for  J. 
Playford,  and  sold  at  his  shop  near  the  Temple 
Church'  in  1683.  The  former  work  gives  a  plate 
of  the  long  bulky  Recorder,  reaching  halfway 
down  to  the  player's  knee,  whereas  the  latter 
represents  him  sitting  over  a  table  on  which  lies 
his  book,  holding  in  his  mouth  and  hands  the 
'Flagelet,'  a  pipe  not  more  than  nine  inches 
long ;  on  the  table  lies  one  somewhat  larger, 
apparently  about  twelve  inches  in  length.  'It 
may  be  earned  in  the  pooket,  and  so  wiUiout  any 
trouble  be  a  companion  by  land  and  by  water.' 
In  the  same  way  the  early  Violins  were  termed 
piecoli  VioUni  alia  PranceM  in  opposition  to  the 
more  bulky  Viol.  Both  instruments  read  from  a 
staff  of  six  Unes,  each  of  which  represents  a  hole 
to  be  stopped.  In  the  Recorder  music  the  tune, 
with  proper  notes  and  time,  is  placed  on  a  staff 
above,  wnereas  in  the  Flageolet  a  single  svmbol 
above  the  staff  shows  tiie  time,  but  not  the  in- 
tervals of  the  melody.  The  recorder  had  a  top 
hole  stopped  with  the  left  thumb,  followed  by 
three  for  the  first  three  fingers  of  that  hand,  a 
fifth  stopped  by  the'  thumb  of  the  right  hand, 
and  four  more  with  the  right  fingers.  It  thus 
possesses  a  scale  of  eight  notes.  The  flageolet 
nas  only  six  holes,  stopped  by  a  different  ar- 
rangement ;  their  doeure  being  appropriated 
successively  to  the  thumb,  first,  and  second 
fingers  of  the  left,  followed  in  order  by  the  first 
finger,  thumb,  and  second  fingers  of  the  right 
hand.  This  fingering  seems  to  be  unique  of  its 
kind,  and  persists  in  the  French  Flageolet. 

The  Double  flageolet  was  invented  by  a  person 
named  Bainbridge  about  1800,  and  his  Method 
for  the  instrument  is  supplemented  after  about 
30  years  by  his  son-in-law.  It  consists  of  two 
'  patent  Flageolets,  the  sides  close  to  each  other ; 
the  one  has  seven  holes  in  front  and  one  behind ; 
the  other  only  four  in  frt>nt.  The  seven-holed 
Flageolet  is  played  with  the  left  hand,  the  four- 
holed  Flageolet  is  played  with  the  right  hand; 
and  in  playing  duets  you  will  in  general  have 
the  same  number  of  holes  covered  on  the  second 

Mm2 


582 


FLAGEOLET. 


Flageolet  as  on  the  first.'  From  the  examples 
it  appears  that  in  this  case  the  two  instruments 
play  m  thirds ;  intervals  larger  than  this  being 
possible  in  a  few  cases.  The  two  tubes  are  set 
m  a  single  block  and  blown  by  one  mouthpiece. 
Contrivances  were  added  for  silencing  one  of  the 
two  pipes  when  required,  but  they  seem  to  have 
been  often  blown  m  unison  to  a  single  note. 
The  Instrument,  though  still  within  the  memory 
of  some,  has  entirely  and  most  deservedly  gone 
out  of  use.  No  music  of  importanoe  seems  to 
have  been  composed  for  it. 

The  single  English  and  French  Flageolets  are 
still  to  be  met  with,  chiefly  in  dance  music. 
The  former  has  been  described  as  a  simple  form 
of  Flute  It  bee.  The  latter  is  a  far  more  com- 
plicated instrument,  possessing  two  holes  for  the 
thumbs  at  the  baok  and  four  in  front  for  the  two 
first  fingers  of  the  two  hands.  Indeed  it  is 
distinctly  a  descendant  of  the  old  Flageolet 
given  above.  The  half-stopping  of  the  left  hand 
thumb-hole  by  means  of  a  grooved  plate  for  the 
thumb-nail,  and  the  introduction  of  the  tip  of 
the  right  little  finger  into  the  small  everted 
bell  at  the  bottom  of  the  instrument,  are  devices 
peculiar  to  this  difficult  but  rather  ineffective 
instrument.     Its  compass  is  two  ^ 

octaves  and  three  semitones  from  ^ 

G  on   the  treble  stave.      A  full       Q  | 

MeUiodJs  published  by  Bousquet.     Cd   •       — 
~        "  in     cT    ^ 


The  Flageolet  is  never  found  in 
orchestral  scores,  but  there  is  a  tradition  of  some 
authority  that  the  solo  part  in  '  O  ruddier  than 
the  cherry/  marked  in  the  score  as  '  Flauto,'  was 
played  in  Handel's  time  cm  the  flageolet ;  and  Mr. 
Sullivan  has  introduced  it  with  excellent  effect  in 
the  part  of  Dr.  Daly  in  his  'Sorcerer;  [W.H.S.] 

FLAMAND-GRftTRY,  Louis  Victor,  bom 
1 764,  married  the  niece  of  Gr^tnr,  and  bought 
'  TEnnitage,'  near  Montmorency,  long  the  alter- 
nate residence  of  Rousseau  and  Gr^try,  and  the 
burial  place  of  the  latter.  An  offer  he  made,  but 
subsequently  withdrew,  of  presenting  Gr^try's 
heart  to  Li^ge,  the  native  place  of  the  composer, 
involved  him  in  a  long  and  ruinous  lawsuit, 
which  finally  went  against  him.  He  died  in 
Paris,  July  1843.  [M.C.C.] 

FLAT.  A  term  employed  in  the  sense  of 
lowering ;  an  artist  sings  or  plays  flat  when  his 
notes  are  below  the  right  pitch.  B  flat  is  a 
semitone  lower  than  B,  £  flat  than  E,  and  so 
on ;  to  '  flatten  *  (baisaer)  a  sound  or  an  instrument 
is  to  make  it  lower  than  before,  just  as  to 
'sharpen*  it  is  to  raise  it.  The  sign  used  to 
denote  this  flattening  in  music  is  b,  called  a 
flat— Fr.  h6mol;  Ital.  Bemolle;  Germ.  Be,  It 
has  been  already  shown  under  Aocidkntals  and 
B  (p.  19  a  and  107)  how  the  signs  of  the  flat  (b) 
and  natural  (I])  were  derived  from  two  forms  of 
the  letter  b.  A  double  flat  is  a  descent  of  two 
semitones,  and  is  marked  by  bb.  The  flat  of  a 
note  is  not  the  same  pitch  (does  not  give  the 
same  number  of  vibrations)  as  the  sharp  of  the 
note  a  tone  below  it,  though  on  a  keyed  instru- 
ment the  two  aie  represented  by  the  tame  black 


FLIGHT- 

key ;  nor  are  B  and  E  the  same  as  Cb  and  I^-^ 
and  so  on.     ^^lis  will  be  em>lained  under  Ik- 

TEBTAL. 

In  German  musical  nomenclature  the  notei 
are  flattened  by  adding  es  to  the  letter,  as  Es, 
Des.  Ges,  etc.,  A  flat  is  As,  and  B  flat  B,  thou(rh 
Hes  has  been  used.  Double  flats  are  Deses,  etc. 
The  b  and  %  in  German  literature  were  fonneily 
used  to  express  minor  and  major,  as  Gb  for  G 
minor,  Df  for  D  major,  and  even  Eb  for  E 
minor,  and  As  f  for  A  flat  major.  ^See  the 
earlier  Indexes  of  the  Allgemeine  musikaliwhe 
Zeitung  for  frequent  instances  oi  this  strange 
usi^.)  Such  ambiguities  are  now  avmded  by 
the  use  of  the  words  dur  and  moU  for  major  and 
minor.  [G-] 

FLAT  FIFTH  is  an  interval  which  is  Icsa 
by  one  semitone  than  a  perfect  fifth,  and  u 
dissonant. 

FLAUTO  TRA VERSO  (ItaL;  Pr.  Fl'tk 
travertih-e).  The  distinguishing  name  of  the 
Flute  with  a  lateral  mouthpiece,  held  acrou  tire 
performer,  as  opposed  to  the  Flnte  dthecw  Fla- 
geolet, held  straight  in  front.  [Flutb.]   [W.HJS.] 

FLEMING,  Alexander,  minister  of  the 
Scotch  Church,  author  of  two  small  treatises  in 
favour  of  the  introduction  of  organs  into  Scotch 
churches  (Glasgow  1808),  the  first  suggestion  of 
the  kind  since  the  Reformation.  [M.C.C.] 

FLIEGENDE  HOLLANDER,  DER.  Opera 
in  3  acts,  words  and  music  by  Richard  Wagner; 
produced  at  Dresden,  Jan.  2,  1843.  In  Loodon 
at  Drury  Lane,  as  L*011andese  dajonato,  July  23, 
1870 ;  and  by  Carl  Rosa,  as  the  Flying  Dutch- 
man, at  the  Lyceum,  Oct.  1876;  at  GoTVot 
Garden  as  D  Vasoello  fantasma^  June  16,  77. 

The  words  were  sold  by  Wagner  to  the  mansgv 
of  the  Grand  Op^ra  in  1 841,  set  by  Dietsch  m 
Le  Yaisseau  fant6me^  and  brought  out  there 
Nov.  9,  1842.  [G.] 

FLIGHT,  Bekjamin,  an  eminent  organ  boilder, 
bom  about  1 767,  was  the  son  of  Benjaoun  Fligbt, 
who,  in  the  latter  part  of  the  last  century,  csnied 
on,  in  partnership  with  John  Kelly,  mider  tbt 
style  of '  Flight  and  Kelly,'  the  business  of  orgaB 
building  at  Exeter  Change.  Young  Flight  lesnied 
the  art  of  constructing  organs  from  his  wher. 
About  the  year  1800  he  commenced  bonim 
in  partnership  with  Joseph  Robson,  in  Liisle 
Street,  Leicester  Square,  under  the  style  of 'Flight 
and  Robson.'    They  afterwards  removed  to  St 
Martin's  liane,  where  they  constructed  and  for 
many  years  publicly  exhibited  the  ApoUooiooa  j 
[See  Apollohicon.]     The  partnership  was  dis- 
solved in  1832,  after  which  Flight,  in  oonjimctiai 
with  his  son,  J.  Flighty  who  had  loog  actirel/ 
assisted  hun,  carried  on  business  in  St.  Martina 
Lane,   as   'Flight  and  Son.'     Flight  invented 
many  improvements  in  organ  binlding  ^^^  i 
prepared  the  way  for  still  superior  mechanian*  j 
Amongst  them  was  an  f^paratus  for  steadying 
the  wind,  added  to  the  bellows  during  s  r^para* 
tion  of  Father  Schmidt*s  organ  at  Trinity  CoUeg«t  | 
Cambridge,  which  preceded,  and  poaaibly  Bug*  | 
gested,  the  oonounon  bellowa.    B.  Fliglit  died 


FLIGHT. 


FLORENCE. 


533 


in  1847  aged  80.  and  Rolvoa  in  1876.  Flight's 
ion  continueB  tiia  business  in  St,  Martin's  Lane 
anaer  the  Mine  of  FUghi  aad  Son.'  [W.H.H.] 

FLINTOFT,  Rkv.  Luke,  was  appointed  Gen- 
tleman of  the  Chapel  Royal  in  1715,  having 
been  Priest-Vicar  of  Lincoln  Cathedral  from 
170410  1714.  In  July  1719  he  was  appointed 
Reader  in  WLitdtall  chapel.  He  was  also  a 
minor  fniffT  of  Westminster  Abbey.  He  died 
Kor.  3,  1737.  He  is  presumed  to  have  invented 
the  double  ekant,  his  beautifol  chant  in  G  minor 
beiog^  tba  earliest  known.  [W.  H.  H.] 

FLORENCE  {Fireme\  although  in  point  of 
great  masters  inferior  to  the  other  schools  of 
mosic  in  Italy,  can  still  daim  her  place  among 
the  eariieat  institutions  lor  instruction  in  that 
KieBce.      Casella»  the  friend,  of  Bante,  was  a 
native  of  Florence,  and  as  early  as  13 10  there 
existed    a    philharmonic  society   there,   which 
Bumey,  writiDg'  in  1789,  speaks  of  as  '  still  in 
existence,'    and    which    invented    the   Lacdi 
SmiTUALi.      Under  the  &mous   Lorenso   de' 
Mediei,  tlie  streets  of  Florence  resounded  with 
the  'Canti  Camascialeschi,* '  the  gay  and  frivolous 
songs  of  the  Oamival,  against  which  Savonarola 
protested,  and  the  music  of  which  was  often 
Mgrificed  on  the  pile  of  '  Vanitk.*    To  the  history 
ef  Florentine  music  during  that  epoch  may  be 
added  the  name  of  Antonio  Squarcialuppi,  organ* 
Ut  of  the  Duomo ;  but  passing  over  the  oiher 
iBsslers  of  this  first  ^Kxsh  of  the  Florentine 
school  we  come  to  the  dkwn  of  the  opera  music, 
vhlch  had  a  fitting  birthplace  in  festive  Florence. 
For  the  purpose  of  promoting  this  kind  of  music, 
a  private  musical  academy  ctJled  *  Degli  Alterati* 
(the  thirsters)  was  founded  in  1568  at  Florence 
by  seven  Florentine  noblemen  who  assembled  at 
the  house  of  Giambattista  Strozzi.    They  chose 
as  their  device  a  cask  of  grapes  filled  to  over- 
flowings and   the   motto    'Quid   non   designat 
ebrietas?*      Giovanni   Bardi  Conte    di   Vamio 
belonged  to  this  academy,  and,  after  the  death 
of  Strozzi,  his  house  became  the  rendezvous  of 
the  academicians.     Bardi  had  for  many  3'ears 
itudied  the  theory  and  practice  of  music  till  he 
became  a  corr^t  and  good  composer;   and  he 
was  often  solicited  to  prepare  for  the  stage  those 
mythological  representations  which   under  the 
name   of   'Feste   musicali*    were    among   the 
earliest  forms    taken    by  the    musical    drama. 
Tbeee  entertainments  were  first  represented  at 
Florence  on  a  scale  of  magnificence  in  keeping 
with  the  gorgeous  character  of  the  Medici  feasts. 
Vincenzo  Galilei  —lather  of  the  great  Galileo — 
was  another  member  of  the  academy   '  Degli 
Alteratl/     He  wrote  a  clever  treatise,  '  Dialogo 
deUa  Musica  antica  e  modema'  ^Florence  1581), 
upon  the  abuse  of  modem  music,  in  which  he 
places  in  the  mouth  of  Bardi  an  attack  upon  the 
inatbrigali  and  the  researches  after  counterpoint. 
He  was  also  a  composer,  and  is  supposed  to  be 
the  first  who  composed  melodies  tor  a  sin^ile 
vrnce.    He  set  to  music  the  speech  of  Ugolino 
(lof.  xxxiii.)  beginning  'La  boeca  sollevb  dal 

rirtdlited  bf  GTMiiBl.  Florene^  lIBk 


if  o  pasto* ;  also  a  portion  of  the  Lamenia.iona 
of  Jeremiah. 

Girolamo  Mei  was  another  member  of  this 
academy,  and  Emilio  del  Cavaliere,  a  composer 
of  the  Roman  School  who;  previous  to  the  com> 
position  of  the  first  entire  musical  drama  by 
Kinuccini,  had  divided  into  scenes  and  set  to 
music  two  Pastorales — 'La  disperazione  di  Si- 
leno*  and  'II  Satire* — the  latter  to  words  by 
Laura  Guidiccini,  a  lady  of  Lucca. 

When  Bardi  was  summoned  to  Rome  by 
Clementi  VlII  the  society  of  the  *Alterati* 
assembled  in  the  house  of  Jaoopo  Corsi,  a 
Florentine  nobleman,  an  enlightened  lover  of  the 
fine  arts,  and  passionately  devoted  to  dramatic 
music.  They  snon  added  to  their  number  the 
names  of  Ottavio  Rinnuccini  the  poet,  Jacopo 
Peri,  the  composer,  and  Giulio  Caccini,  who, 
besides  his  talent  for  composition  had  the  gift 
ef  a  beautiful  voice.  These  three  occupied  them- 
selves in  developing  the  first  attempts  at  musical 
drama  into  the  finished  performance  called  the 
opera.  They  invented  the  recitative  by  which 
the  Italian  opera  and  the  oratorio  are  diatin- 
guished  from  the  opera  of  other  countries  and 
from  other  species  of  theatrical  musical  exhibitioB. 
'Dafne'  was  the  first  result  of  their  united 
efforts.  Rinuccini  composed  the  poetry,  Caccini 
and  Peri  the  music,  and  the  whole  was  repre- 
sented  in  the  house  of  Jacopo  Corsi,  1596. 
'This,*  says  Bumey  (Hist.  iv.  p.  18),  'seems  ^e 
true  era  whence  the  opera  or  drama  whoUv  set 
to  music,  and  in  which  the  dialogue  was  neither 
sung  in  measure  nor  declaimed  without  music, 
but  recited  in  simple  musical  tones  which, 
amounted  not  to  singing,  and  yet  was  different 
from  speech, — should  be  dated.'  'Dalne*  waa 
succeeded  by  'Euridice,*  represented  with  gor- 
geous splendoinr  in  1600  at  the  feasts  given  in, 
Florence  in  honour  of  the  marriage  of  Henry  IV 
of  France  with  Maria  de*  Medici.  None  of  the 
subsequent  compositions  of  the  great  masters  of 
operatic  music  produced  anything  like  the  effect 
of  these  first  representations,  which  introduced 
Italy  as  it  were  to  a  new  art— that  of  'musica 
parlante.'  The  poet  Angdo  Grille  (the  friend  of 
Ta8so>,  writing  to  Oaocini,  observed :  '  Yon  are 
the  father  of  a  new  kind  of  music,  or  rather 
singing,  which  is  not  a  song,  but  a  recitative  song 
of  a  nobler  and  higher  order  than  the  popular 
song ;  which  does  not  sever  or  maim  the  words, 
nor  deprive  them  of  life,  but  gives  new  force  and 
vigour  to  both.  It  is  then  a  new  and  wonderful 
invention,  or  rather  a  revival  of  the  ancient 
Greek  musical  drama  which  has  been  lost  to  us 
for  BO  many  centuries*  (Tiraboschi,  vii.  1321). 
Rinuccini's  next  opera,  'Arianna,*  composed  by 
Monteverde.  was  represented  at  the  nuptials  of 
Francesco  Gonzaga  of  Mantua  with  the  In&nta 
Margaret  oi  Savoy  (Doni,  Opere,  ii.  25). 

This  first  academy  for  theatrical  music  waa 
succeeded  by  many  others,  as  the  passion  for 
musical  representation  became  universal  in  Italy. 
Quadrio  (i.  71)  mentions  three  in  Florence, 
'degl'  Infocati,*  'degl*  Immobili,*  'de*  Sorgenti,* 
founded  between  1550  and  1560  eq)6cially  for 


5Br 


FLOREKCE. 


FLOTOW. 


promoting  this  kind  of  muac  Each'  of  tlieae 
had  its  own  theatre  and  vied  with  the  others  in 
the  splendour  and  magnifioence  of  its  represen- 
tations. Indeed,  in  the  middle  of  the  i6th  cen- 
tury, the  theatres  of  Italy,  constructed  in  many 
cases  by  no  less  an  architect  than  Palladio,  and 
where  tiie  most  melodious  of  all  modem  languages 
first  appeared  married  to  sweet  harmony,  were 
the  wonder  and  admiration  of  the  world. 

The  Florentine  school  of  music  differs  from  the 
other  great  schools  of  Italy  in  that  the  com- 
posers of  dramatic  music  just  enumerated  were 
only  amateurs,  and  had  been  for  the  most  part 
trained  in  the  great  schools  of  Rome  and  Bo- 
logna. Nor  did  Florence  ever  produce  any  great 
composers  of  church  music,  although  composer 
succeeded  composer  in  that  brilliant  operatio 
music  of  which  we  have  traced  the  first  begin- 
nings, until  we  arrive  at  the  great  Cherubini, 
who  was  a  master  in  both  the  church  and  the 
theatre. 

The  present  *  Royal  Musical  Institute*  of  Flo- 
rence is  of  recent  foundation,  and  was  opened  for 
public  instruction  in  1862.  Its  objects  are.  To 
teach  the  science,  histoxr,  and  practice  of  music ; 
to  maintain  a  public  library  of  music ;  to  grant 
rewards  to  deserving  artists ;  to  perform  the  best 
works  of  modem  and  ancient  masters.  It  is  an 
establishment  for  public  and  gratuitous  instruc- 
tion, and  comprises  three  sectiona — that  of  admin- 
istration; that  of  instruction ;  and  the  Academy. 
The  administration  is  directed  by  a  President^ 
assisted  by  three  Professors,  who  form  the  Council 
of  Management.  The  department  of  instruction 
contains  schools  for  the  rudiments  of  music  and 
musical  reading ;  for  solfeggio ;  for  solo  and  part 
singing;  for  keyed,  string^,  and  wind  instru- 
ments ;  for  thorough  bass,  counterpoint,  and  com- 
position ;  and  for  sasthetics  and  musical  history. 
The  Academy  is  composed  of  resident,  corre- 
sponding, and  honorary  members.  The  Exam- 
iners are  chosen  from  the  resident  members  of 
the  Academy,  as  are  also  the  three  members  of 
the  council  of  management.  The  number  of 
pupils  averages  220,  and  is  regulated  by  the 
applications  for  admission,  the  result  of  the  ex- 
aminations, and  the  means  available  for  imparting 
instruction.  [G.  M.  P.  j 

FLORID.  Music  in  rapid  figures,  divisions, 
or  passages,  the  stem  of  the  simple  melody 
bursting  lorth,  as  it  were,  into  leaves  and  flowers. 
The  image  is  the  same  as  that  in  Fioriture.  The 
Italian  term  is  Figurato.  Examples  are  hardly 
necessary ;  but  the  genesis  of  florid  passages  is 
highly  interesting,  and  an  instance  or  two,  from 
the  simplest  form  to  the  very  highest  art,  may 
be  forgiven* 

Bach,  Christmas  Oratorio. 


Hatdn,  Quartet  i. 


CL'U'^ 


:iE*a: 


MozAKT,  O-minor  Sjmphodj. 


Beethoven,  Concerto  No.  5. 


^irlr^rrir-f 


^ 


Do.,  Ninth  Symphony  {Adagio), 


.j/r-  .)i^  jrj.ijjj':gir^-.-ri 


Such  florid  passages  are  essent'al  to  VaiiationB, 
and  the  last  of  these  examples  is  taken  from  the 
finest  set  of  variations  existing. 

For  Florid  Counterpoint  see  p.  408 &.    [G.] 

FLORILEGIUM  PORTENSE.  A  colleo- 
tlon  of  sacred  vocal  music  of  the  i6th  oentunr, 
in  separate  parts,  published  in  2  vols,  by  Boden- 
schatz  in  1618  and  21,  and  containing  in  all  265 
pieces.    [Bodenschatz.] 

FLOTOW,  Fbibdbich,  Fbeihbrb  vow,  Ger^ 
man  opera  composer,  bom  April  27,  181 2,  son 
of  a  landed  nobleman  of  the  archduchy  of 
Mecklenburg ;  was  educated  with  a  view  to  the 
diplomatic  service.  In  1827  he  went  to  Paris, 
when  music  was  at  its  IxMt.  The  brill  ant 
artistic  life  into  which  he  was  thrown  aroused 
him  to  a  consciousness  of  his  own  talent  for 
music,  and  he  devoted  himself  to  a  course  of 
study  under  Reicha.  The  Revolution  of  1830 
drove  him  away  for  a  time,  but  feeling  that  the 
atmosphere  of  Paris  was  necessary  to  his  success, 
he  soon  returned,  and  produced  his  first  dra- 
matic attempts  at  the  private  houses  of  some 
of  the  aristocracy.  '  Stradella  *  was  brought  out 
at  the  Palais  Royal  as  a  short  pi^ce  Ijrrique  in 
1837 «  ^"^  Flotow's  first  public  success  was  at 
the  Th^&tre  de  la  Rena'ssance,  where  he  pro- 
duced. May  31,  1839,  '^  Naufrage  de  la 
M^use,'  which  ran  for  53  nights  in  12  months, 
and  at  once  established  his  podoion.  He  after- 
wards re-wrote  the  piece,  and  produced  it  at 
Hamburg  in  1845  as  'Die  Matrosen/  whence 
it  spread  to  the  other  theatres  of  Germanj. 
Meantime  he  had  composed  for  the  Paris  theatres 
several  other  operas,  such  as  '  L^esdave  de 
Camoens*  ^^43)*  <^<^  'L'&me  en  peine'  (1846), 
known  in  London  as  '  Leoline'  (Princesses 
Theatre,  Oct.  16,  1848).  .'Stradella'  wm  re- 
written as  an  opera,  and  brought  out  at  Ham- 
burg, Dec.  30,  44,  and  has  had  extraordinary 
success  throughout  Geimany.  In  Paris,  though 
published,  it  has  never  been  produced,  in 
London  it  was  brought  out  in  English  at  Drury 
Lane,  June.6|  46— a  dead  fiulure— and  in  Italian 


HiOTOW. 

in  1864  ftt  Gbveiit  Garden,  wjieii  it  lasted  tkd 
nights  odHj,  lulled  by  a  joke  of  Bonconi'B.  It 
w»  followed  by  'Martha*  (Vienna,  Nov,  25, 
i$47\  which  was  remodelled  fiK>m  a  ballet  written 
in  oQBJanctioa  with  Buxf^iiller  and  Deldevez  in 
1844,  and  in  its  new  form  quickly  spread  all 
oTer  the  world  (London,  Govent  Garden,  1858). 
These  two  wofrks  Flotow  has  never  suxpassed,  and 
of  his  later  operas  THe  Grossforstin'  (1850), 
'Indra' (1853), 'Riibezahl'(i854), 'Hilda' (1855), 
'Der  MuUer  von  Meran*  (1856),  <La  Veuve  Gra- 
pin'  (1859^,  'L'Ombre'  (1869),  'Nalda'  (Milan, 
73\  'B  Flor  d*Harlem*  (Turin,  76),  the  only 
ones  which  have  attained  any  general  popularity 
were  'Indra,'  •  La  Veuve  Grapin/ and  'L'Ombre,' 
the  last  of  which  was  enormously  suooeBsful  not 
only  in  Baria,  but  in  Italy  and  Spain,  and  has 
beoi  produced  in  London  (Her  Majesty's)  Jan. 
1 3, 1878.  as  'The  Phantom.*  His  * Enchanteresse* 
» in  rehearsal  at  the  Italiens,  and  his  *  Bosellana* 
18  not  yet  complete  (Feb.  1878). 

In  1856  he  was  appointed  Intendant  of  the 
court  theatre  at  Schwerin,  a  post  which  he  re- 
tained till  1 863.  The  only  important  works  he  pro- 
doced  during  this  period,  when  he  had  so  many 
inducements  to  compose,  were  a  'Fackeltanz* 
and  some  charming  music  to  Shakspeare's  '  Win- 
ter's Tale.'  After  giving  up  the  matiagement  of 
the  theatre  in  1863  he  returned  to  Paris,  and  in 
1868  removed  to  the  neighbourhood  of  Vienna, 
where  he  still  resides.  His  remaining  com- 
podtions,  overtures,  songs,  and  chamber  music, 
are  litUe  known,  and  call  for  no  remark.  In  1864 
Flotow  was  elected  corresponding  member  of  the 
Institut  de  France. 

The  great  success  of  'Stradella'  and  'Martha' 
most  be  mainly  ascribed  to  the  melody  which 
pervades  them,  and  to  their  light  and  attractive 
character.  Flotow*s  comic  talent  is  considerable, 
and  he  has  great  natural  instinct  for  the  stage. 
His  early  French  experience  taught  him  tiie 
virtue  of  lively  and  well-accentuated  rhythm, 
and  gave  him  dexterity  in  the  construction  of 
ezteniled  pieces,  to  which  he  writes  pleasing 
harmony  and  piquant  orchestration.  On  the 
other  hand,  his  music  has  rarely  anything  below 
the  surface,  his  rhythm  frequently  degenerates 
bto  that  of  mere  dance-tunes,  his  modulations 
are  poor,  and  he  is  prone  to  sentimentality,  which, 
though  popular  in  our  days,  is  none  the  less  mor- 
bid. In  the  scientific  part  of  composition  he  too 
often  betrays  the  uziateur.  On  the  whole  the 
condoaion  is  forced  upon  us  that,  in  spite  of  his 
popularity,  Flotow  will  not  live  in  the  histoiy  of 
dramatic  music.  [A.  M.] 

FLOWEKS,  GsoBGB  French,  Mus.  Doc.,  son 
of  Rev.  Field  Flowers,  Rector  of  Partney,  Lin- 
colnshire, bom  at  Boston  18 11,  studied  music 
in  Germany  under  C.  H.  Rinck  and  Schnyder 
von  Wartensee,  and  was  for  some  time  organist 
of  the  English  Chapel  in  Paris.  Returning 
home  he  became  organist  of  St.  Mark's  Church, 
Myddelton  Square.  In  1839  he  graduated  as 
Bachelor  of  Music  at  Oxford.  For  a  period  he 
was  the  music  critic  of  the  'literary  Gazette.* 
In  1848  he  was  an  unsuccesstul  candidate  for 


FLUTE. 


5SS 


the  ProfessoirBhlp  of  Music  at  Oxford,'  as  he  was 
in  1863  for  that  in  Gresham  College.  In  185 1 
he  established  *  The  British  School  of  Vocalization* 
for  teaching  singing  on  new  principles,  and  in 
the  two  years  following  gave  concerts  for  the 
purpose  of  exhibiting  the  progress  made  by  his 
pupils,  the  most  notable  of  whom  was  Miss 
Featherstone,  now  Mrs.  Howard  Paul.  In  1865 
Flowers  proceeded  Doctor  of  Music.  He  wrote 
an  'Essay  on  the  construction  of  Fugue,  with  an 
Introduction  containing  new  Rules  of  Harmony,' 
and  composed  Fugues  in  the  style  of  Sebastian 
Bach,  and  other  organ  music,  and  Tennyson  a 
Ode  on  the  death  of  the  Duke  of  Wellington^ 
and  other  vocal  pieces.  He  was  also  a  copious 
contributor  to  the  musical  periodicals.  He  died 
of  cholera,  June  14, 187a.  [W.H.H.] 

FLtJGEL  (a  wing).  The  German  appellation 
of  a  grand  pianoforte  or  a  harpsichord,  from  the 
wing  shape  common  to  both.  See  Groethe's  pun 
on  g^iigeUe  Geisterin.  'Gtiethe  and  Mendelssohn,' 
p.  24.  Stut2  Flugbl  is  a  short  grand  pianoforte. 
[See  HABPStoHOBD,  Gbaiid  Piano.]     [A.  J.H.] 

FLt^GEL  HORN.  The  German  name  for 
instruments  of  the  Bugle  family.  Originally^ 
say  the  dictionaries,  a  hunting  horn  {Waldhamt 
Jagdhom),  used  by  the  huntsman  whose  duty  it 
was  to  watch  in  the  FlUgeln,  or  paths  cut  through 
the  wood,  and  give  a  signal  on  the  approach  of  the 
game.  The  Fltigel  horn  now  used  in  the  English 
and  German  armies  is  a  Bb  comet  with  pistons 
and  a  horn  mouthpiece.  The  pistons  have  super- 
seded a  clumsy  kind  of  keys,  &om  which  it  used 
to  be  called  Klaf^penhom,  The  name  is  also 
applied  to  several  instruments  in  the  Alto,  Tenor, 
and  Bass  cle&.  [W.  H.  S.] 

FLUE -WORK.  Organ-stops,  in  regard  to 
the  manner  in  which  their  sound  is  generated* 
are  grouped  in  two  great  classes — RXEEhWOBK 
and  Flub-wobk.  All  organ-stops  in  which  the 
sound  is  produced  by  the  wind  passing  through 
a  fissure,  ^u€,  or  wind-way,  and  strikii^^  against 
an  edge  above,  belong  to  the  Flue-work,  whatever 
may  be  the  shape,  make,  or  tone  of  their  pipes. 
The  peculiarities  of  shape  or  proportion,  make* 
and  tone,  lead  however  to  a  subsequent  division 
into  Pbincipal-wobk,  Gedact-wobk,  and  Flutb- 
WOBK.  [E.J.  H.] 

FLX7TE  (Germ.  FlGte,  QuerJlSte;  Ital.  Flauto, 
Flauto  traverao;  Fr.  FliUe,  FlUte  traffersUre), 
An  ancient  instrument  used  in  every  part  of  the 
world.  It  has  always  had  two  principal  forms, 
the  direct  flute  or  Flvte  d  bee,  now  developed 
into  the  Flageolet,  and  the  German  flute  or 
Flute  travernh^,  which  appears  to  have  super- 
seded it  about  1720.  There  is  however  evidence 
of  an  intermediate  instrument,  partaking  of  the 
characters  of  both,  which  will  be  described 
farther  on. 

The  Flute,  as  now  employed,  consists  essentially 
of  a  tube,  conical  from  below  upwards,  terminating 
in  the  Head,  and  stopped  at  the  top  by  a  cork. 
In  the  side  of  the  head  is  a  large  orifice  with 
sharp  edges,  situated  lees  than  an  inch  below 
the  cork,  through  which  the  breath  is  forced 


fSW 


PLTJTE, 


obHqnely  ftdm  the  approzimftted  lips.     In  iike 
lower  part  are  six  holes — to  be  stopped  by  the 
first  three  fin^i^B  of  either  hand — and  various 
intermediate  keys ;  there  are  also  on  the  lowest 
joint    three,    or    even    four,    levers   producing 
additional  notes  below  the  regular  scale  of  the 
instrument.    It  is  held  transversely  and  sloping 
downwards  against  the  lower  lip,  with  the  orifice 
in  the  head  turned  somewhat  outwards,  so  that 
the  stream  of  wind  shall  impinge  upon  its  outer 
edge.    By  this  impact  of  the  current  upon  the 
wedge- like  margin   of   the   aperture  sound  is 
produced.    Considerable  practice  is  required  to 
develop  any  note  whatever,  and  much  controversy 
exists  as  to  the  exact  cause  of  the   musical 
vibration.     It  is  not  howcYor  necessary  that  the 
feather  edge  should  be  at  the  side  of 
the  main  tube;  for  in  the  Nay  or 
Egyptian  flute  figured  in  the  maigin' 
the  extreme  circular  end  of  the  tube 
itself   (here    made    of   bamboo)    is 
thinned  away  so   as  to  produce  a 
linear  termination,  against  which  the 
current  of  breath  is  directed.     Such 
a  flute  might  be  held  straight  in 
front  of  the  player,  like  the  Flageolet 
or  flute  k  bee ;  in  which,  however, 
tile  simple  combination  of  orifice  and 
lip  is  replaced  by  a  fiur  more  com- 
phcated  arrangement,  exactly  similar 
to  the  mouth  of  a  diapason  organ- 
pipe.     As  a  matter  of  fact  it  is  held 
obliquely  towards  the  right  side  of 
lAie  player,  like  the  modem  transverse 
flute,  except  that  its  lower  extremity 
bears  considerably  downwards,  so  as 
to  enable  the  blast  to  enter  a  terminal 
instead  of  a  lateral  orifice.    An  almost  similar 
i^utrument  to  the  one  here  figured  is  in  the 
andent  Egyptian  collection  in  the  British  Mu- 
seum, and  from  the  absence  of  the  usual  lateral 
hole  was  considered  to  be  a  foigery.    Not  only 
is  the  same  instrument  still  in  use  at  the  present 
day,  but  the  mode  of  playing  and  the  position  of 
the  ancient  instrument  can  be  recovered  from 
ihe    plaster  mural  decorations  still   preserved. 
The  cmly  difierence  in  the  more  ancient  instru- 
ment is  that  the  scale  is  one  of  four  orifices, 
-whereas  the  modem  possesses  the  full  complement 
oi  six.     Either  of  these  may  be  looked  upon  as 
intermediate  between  the  flute  and  the  flue-pipe 
of  the  organ,  the  foot  and  'languid'  being  in 
this  case  supplied  by  the  cavity  of  the  mouth 
and  the  linear  opening  of  the  lips. 
'.  No  instrument  has  undergone  so  many  changes 
and  improvements  within  the  last  half  century 
as  the  Elute.    The  bore,  instead  of  being  conical, 
has  been  made  cylindrical ;   the  fingering  and 
disposition  of  the  keys  have  been  entirely  altered 
according  to  the  system  named  after  Boehm.  - 
.  The  flute,  though  not  possessing  a  very  ex- 
tensive compass,  is  especially  prominent  in  con- 
certed music,  from  the  aouteness  of  the  sounds 

•1  This  eurioas  lnitnim«tit  is  itlll  nmd  by  Uw  pcaaanta  about  Ui« 
Kite.  The  original  of  the  figure  was  brought  from  Egjpt  by  F. 
Girdlenone.  Esq..  of  the  CharterhouM.  See  an  adminble  ctit  In 
I^'s '  MoOara  fisyptlans.' 


FLUTE. 

it  U  competent  to  produce.  Indeed,  the  Ficcolo, 
or  small  Octave  variety,  emits  the  sharpest  notes 
ordinarily  used  in  music.  Its  tme  Scale  may  be 
considered  to  b^gin  on  D  (i)  below  the  treble  stftve, 
and  hence  the  Flute  is  often  called  a  D  imtni- 
ment.  The  notes  €%,  C,  Bt,  and  even  Bb,  below  D, 
are  obtained  by  associated  levers  set  in  motion 
by  the  two  little  fingers  of  either  hand,  but  do 
not  occur  again  in  tl^  higher  regiateiB.  By  tbe 
suqpessive  removal  of  the  three  &nt  fingm  of 
the  right  hand,  followed  by  those  of  the  left, 
the  series  of  notes  rising  from  I>  to  Q|  (2)  are 
elicited,  and  on  D  again  ( 3)  a  nefw  octave  hannooie 
scale  is  commenced  by  dosing  all  the  holes  except 
that  beneath  the  forefinger  of  the  leH  hand.  In 
this  respect  the  scale  is  similar  to  the  Oboe  and 
Bassoon,  with  the  exception  that  the  latter,  being 
fundamentally  in  the  key  of  G,  change  uprai 
that  note  instead  of  upon  D.  The  seotmd  octave 
is  produced  by  a  stronger  pressure  of  wind  and 
an  alteration  of  embouchure,  rising  to  T>  above 
the  stave  (4),  and  there  remains  a  third  still 
higher  octave,  obtained  by  cross-fingerings  often 
of  a  complicated  nature,  risizig  to  X>  or  even  J)$ 
in  altissimo  (5)-— 


P 


4=1 


T 


(I) 


(0       0)       (4)       (5) 
The  scale  here  described  is  that  of  the  old  ei^t- 
keyed  Flute. 

The  principles  of  the  Flute  originally  invented 
by  Captain  Gordon  of  Charles  the  Tenth's  Swiss 
Guards. and  introduced  by  Theobald  Boehm*  in 
his  new  flute,  constructed  in  1832^  were  princi- 
pally  { 1 )  that  each  note  should  speak  independcnU  v 
out  of  a  single  hole,  as  thougn  the  remainder  of 
the  bore  were  entirely  cut  off;  (a)  that  all  keya 
in  their  position  of  rest  should  be  pennaneaUj 
open.     He  also  aimed  at  equalising  the  difficulty 
of  the  diflerent  keys,  some  of  which,  on  the  older 
flute,  were  notoriously  inconvenient  and  all  but 
impracticable.     A  subsequent  improvement  con- 
sisted in  substituting  a  cylindrical  for  a  conical 
bore.     In  its  latest  modification,  the  Boehm  flute 
consists  of  a  cylindrical  tube  teorminating  at  the 
upper  end,  above  the  embouchure  in  a  oonicai 
or  '  parabolic'  prolongation.     For  the  left  band, 
whidi  occupies  the  upper  part  of  the  instrument 
next  to  the  head,  are  four  open  keys  to  be  closed 
by  the  first  finger,  thumb  (situated  at  the  back 
of  the  instrument),  second,   and   third  fingen 
successively.    For  the  little  finger  of  this  hand 
is  an  open  key  producing  the  G|  or  Ab.    On  the 
right  hand  joint  are  three  open  keys,  for  the 
first,  second,  and  ring  fingers  respectively,  with 
accessory  or  'shake  keys    (which  are  normally 
closed)  interposed.     For  the  right  Uttle  finger 
are  the  closed  key  of  Dj  and  the  two  open  ken 
of  Of  and  C.     In  many  flutes  mechanism,  still 
worked  by  the  right  little  finger,  is  added  to 
produce  Btl  and  even  Bb.     But  from  the  Djj 

1  Pee  hia  pamphlet  'tber  dim  FlOtenbaa  irad  die  neoeitcD  Ver- 
bwaeniiigeD,'  Ifaii^,  1817. 


FLUTH, 


FLUTE. 


m 


^ 


down  wards  all  tlie  work  is  aooesaoiy,  and  noi 
directly  used  in  the  production  of  the  natural 
icale.  For  this  reason  the  instrument  m  said 
to  stand  in  the  key  of  D.  For  the  purpose  of 
obuiuing  each  sound  by  the  closure  of  a  single 
orifice,  a  soBsewhat  new  arrangement  of  the  smle 
ifeiieoessaiy  OB  certain  notes.  The  G,  for  instance, 
IB  either  octave  is  produoed  by  dosing  the  five 
holes  of  the  left  hand.  For  the  F  a  whole  tone 
below,  the  forefinger  of  the  ri^ht  hand  is  added. 
The  intermediate  F|  is  obtained  by  depressing 
the  pad  of  the  middle  or  ring  fingers,  that  of 
the  index  being  left  open.  In  the  Clarinet, 
Oboe,  Bassoon,  and  other  octave-scaled  instru- 
ments, the  Bb  a  whole  tone  below  C,  which  in 
a  D  instnnnent  like  the  flute  is  represented  by 
the  Fi|  below  the  middle  G,  has  to  be  produoed 
by  closing  the  Bi)  and  AI|  holes  and  lifting  an 
intermediate  Bb  key,  thus  lowering  the  pitch  a 
minor  third  and  raising  it  a  semitone.  The  same 
method  as  that  for  the  Ff  is  employed  for  the  Bb 
or  A  I,  which  is  {nroduced  by  lowering  the  B||  a 
semitone  through  the  intervention  of  a  lever  ac- 
tasted  by  the  fingers  of  the  right  hand,  those  of 
the  \efi,  middle,  and  ring  fingers  being  left  open. 

The  compass  of  the  Boehm  Flute 
is  from  C  to  C  three  octaves  higher, 
though  the  C|  above  this  note,  and 
even  more  acute  sounds,  can  be 
obtained  by  ezceptionalplayerB. 

A  variety  of  other  Flutes,  modified  more  or 
lea  from  the  old  eight-keyed  instrument  or  the 
Boehm  system,  are  to  be  met  with.  Among  these 
may  be  named  those  of  Siocama,  Clinton,  and 
Csrte.  Their  differences  are  chiefly  mechanical. 
The  main  distinction  between  the  older  and 
the  more  modem  instmments  is  the  adoption 
of  the  cylindrical  bore.  There  can  be  no  doubt 
that  this  contrivance  adds  materially  to  the 
power  of  tone,  and  gives  it  a  reedy  quality 
closely  approximating  to  that  of  the  Clarinet. 
But  it  is  a  question  if  it  does  not  to  the  same 
extent  modify  its  peculiar  orchestral  character, 
and  diminish  its  purity  of  intonation.  This 
distinctive  quality  of  tone  has  been  shown  by 
Hehnholtx  (Fllis's  Tr.  113,  141,  172)  to  be  pecu- 
liar, and  free  from  most  harmonic  'upper-partials* 
except  the  octaves. 

The  literature  of  the  Flute  is  so  extensive  as 
hardly  to  admit  of  illustration  within  moderate 
limits.  Bach  uses  it  freely  both  as  an  obbligato 
iostrament  and  in  concerted  passages,  and  ever 
since  his  time  it  has  held  a  prominent  place  in 
the  band.  In  the  scores  of  his  works  it  is  some* 
times  marked  Traveniire  to  distinguish  it  from 
the  Flute4i;-bec. 

Haydn,  both  in  his  Symphonies  and  in  his 
Oratorios,  awards  it  the  same  prominence.  The 
Trio  for  three  Flutes  in  the  'Creation'  maybe 
named  as  an  illustration. 

Handel  usually  specifies  the  'German*  Flute, 
and  often  indicates  its  importance  by  the  words 
'with  the  accompaniment  of  a  German  Flute.* 
It  is  difficult  to  understand  how  the  players  of 
hs  day  were  able  to  make  themselves  heard 
with  the  few  Flutes  then  allotted  to  the  Orchestra 


against  the  large  number^  of  Oboes  and  Bassoons. 
In  the  Handel  Ci>nuDaemoration  in  Westminster 
Abbey  in  1784  there  were  6  Flutes  against  26 
Oboes  and  a6  Bassoons,  besides  1 2  Trumpets  and 
the  same  number  of  Horns.  Handel  produces, 
however,  a  magnificent  efieet  in  the  Bead  March 
in  '  Saul*  by  the  simple  employment  of  two  Flutes 
HK>iing  in  thirds  against  the  reiterated  baas  of 
the  kettledrum. 

Mosart,  except  in  some  of  his  Symphonies, 
which  were  obviously  written  for  a  small  band, 
freely  scores  for  this  instrument.  The  opera 
of  the  Zauberflote  derives  its  name  from  it. 
There  are  also  two  Concertos  fior  solo  Flute 
and  Orchestra  in  G  and  D,  and  one  for  Flute 
and  Harp  among  his  works  (Eochel,  3131  3x4, 
399). 

Beethoven,  Mendelssohn,  and  all  later  writers, 
give  it  the  leading  part  of  the  wind  in  all  their 
oompositionH.  The  solo  shortly  after  the  trumpet 
flourishes  in  the  Overture  to  Leonora  No.  3  wiB 
not  be  forgotten,  or  the  lovely  part  for  two  flutee 
in  the  2Eid  movement  of  the  Italian  Symph<my. 
Schumann  also  has  introduced  a  prominent  ca- 
denza for  it  in  the  Finale  to  his  B  flat  Symphony. 
The  difficult  accompaniment  to  the  Ranz  des 
Vaches,  played  by  Ihe  Oboe,  in  Rossini's  over- 
ture to  '  WiUiam  Tell*  affords  a  good  illustration 
of  the  mechanical  complexities  which  this  flexible 
and  agile  instrument  is  competent,  and  conse- 
quently is  expected,  to  surmount.  In  a  dramatie 
sense  it  is  used  by  Mendehssohn  in  the  sacrificial 
chorus  ^O  be  gracious*  in  St.  Paul,  and  by 
Gretry  in  'Andromaque,*  in  which  the  part  of 
Andremache  is  always  accompanied  by  3  flutes. 

The  most  voluminous  writer  for  the  Flute  was 
probably  Quantz,  who  composed  aoo  solos  and 
300  concertos  for  Frederick  the  Great  alone. 
But  the  instrument  had  a  distinguished  writer, 
Kuhlau,  as  the  special  exp<ment  of  its  powers 
and  beauty.  This  eminent  contrapuntist  devoted 
nearly  the  whole  of  his  short  life  to  Flute  com- 
positions. This  nngular  fact  has  been  aooounted 
ior  by  the  statement  that  an  amateur  flute-player 
of  position  employed  him  ocmstantly  and  liberally 
in  writing  them.  Kuhlau  has  been  termed  the 
*  Beethoven  of  the  Flute.*  It  will  be  seen  from 
the  list  given  below  that  Solos,  Duets,  Trios,  and 
even  Quartets  for  Flutes,  are  among  his  volu- 
minous works.  Indeed,  but  for  a  fire  which 
destroyed  the  compo8er*8  manuscripts,  their  num- 
ber would  be  at  least  threefold.  Such  as  are 
extant  afford  inestimable  models  of  construction 
and  originality. 

Flute  Mutie, 

Mozart. — Grand  duo  in  G,  op.  76 ;  Andante 
in  C,  Concerto  in  G,  Rondo  in  D,  op.  86. 

Sfohb. — Concerto  in  modo  di  Scena  Cantante, 
op.  47. 

Weber. — Roman za  Siciliana  in  G  minor,  with 
Orchestra ;  Trio  for  Flute,  Cello,  and  Pianoforte, 
op.  63. 

Beethoven. — Serenade  for  Flute,  Violin,  and 
Alto,  op.  35. 

Haydn.— Two  Trios  for  two  Flutes  and  Celhi. 


58S' 


FLUTE. 


FODOK-MAIN  VIELLE. 


KuHLAU. — ^Three  grand  Trios  for  three  Flutes, 
op.  1 3  ;  Bo.  do.,  op.  86 ;  One  do.,  op.  go ;  Three 
Quintets  for  Flute  and  String  Qoartet  in  D,  £,  A, 
op.  51 ;  Grand  Quartet  for  four  Flutes  in  E,  op. 
103 ;  Six  sets  of  three  Duets  for  two  Flutes, 
ops.  10,  39,  80,  81,  87  ;  .Solos,  with  Pianoforte, 
op.  57  ;  Three  Fantasies,  Bo.  do.,  op.  95. 

Reioha. — Quartet  for  four  Flutes  in  B,  op.  12; 
24,  Quintets  for  wind  instruments. 

ScHUBEBT. — Introduction  and  Variations  on 
'Trookne  Blumen,'  for  Flute  and  Piano,  op. 
160.  [W.H.S.] 

FLUTE  B*AMOUB  (Qfltm.  LUbe^te),  An 
old  form  of  flute  with  a  narrow  bore,  standing  in 
the  key  of  A,  and  corresponding  in  pitch  with 
the  Oboe  d*amore.  Both  were  supposed  to  possess 
a  smooth  and  fascinating  quality  of  tone,  whenoe 
the  name  is  derived.  [W.  H.  S.] 

FLUTE-WORK.  Under  this  head  are 
grouped  all  the  flue-stops,  of  whatever  kind, 
shape,  or  tone,  that  are  not  classed  as  PBtNCi- 
PALWOBK,  or  Gbdact-wobk,  and  it  also  includes 
various  modifications  of  these  two  classes  of 
stops.  [Flub-wobk.]  Thus  when  the  '  scale'  of 
the  pipes  of  a  cylindrical  stop  is  reduced  bdow 
the  proportion  essential  to  secure  the  broad  and 
full  Biapason  tone,  and  the  sound  becomes 
delicate  as  in  a  Bulciana,  or  crisp  as  in  a 
Gamba;  or  when  it  is  inoE^ased  beyond  the 
Biapason  scale,  and  the  tone  bec(»ne8  thick 
or  less  resonant  as  in  the  Block-flote,  the  stop 
becomes  a  member  of  the  'flute-work.*  Also, 
if  the  covers  of  the  pipes  of  a  closed  metal-stop 
be  punctured,  and  a  narrow  tube — in  Germany 
called  a  reed,  in  France  a  chimney — be  inserted, 
the  stop  then  becomes  a  member  of  the  flute- 
work  under  the  name  Rohr-JUite,  FliUe  A  ehemin^e, 
or  '  Metal  stopped -Biapason  (or  Flute)  with 
chimneys.*  A  unison  cylindrical  stop  will  be 
oooasionally  met  with  labelled  as  a  member  of 
the  flute-work.  All  stops  the  pipes  of  which 
taper  upwards,  as  the  Spitz-flote  and  Gemshom  ; 
all  three-  or  four^sided  open  wood  pipes,  as  the 
Hohl-flote,  Oarabella,  Wald-flute,  Oboe-flute, 
and  Suabe-flute ;  and  most  string-toned  stops,  as 
Salicional  and  Viol  d'Amore, — are  members  of 
the  Flute-work. 

The  invention  of  the  conical,  the  string-t<med, 
and  the  other  stops  classified  as  flute-work, 
dates  back  no  farther  than  the  oommencement 
of  the  1 6th  oentury.  [E.  J.  U.] 

FOCHETTI,  a  bass,  who  sang  in  London  in 
1 775  and  6.  In  the  former  year  he  appeared  in 
Saochini's  '  Motezuma  * ;  in  the  latter  he  played 
Nardo  in  the  '  Isola  d*amore  *  of  the  same  com- 
poser, and  in  '  La  Sposa  fedele.*  [J.  M.] 

FOBOR,  Joseph,  violin-player,  bom  in  1752 
at  Venloo.  In  1 766  he  studiod  under  Franz  Benda 
at  Berlin,  and  having  acquired  great  proficiency, 
travelled  for  a  number  of  years  in  Germany,  the 
Netherlands,  and  France,  establishing  his  repu- 
tation as  an  eminent  violinist.  In  1 794  he  went 
to  St.  Petersburg,  and  remained  there  up  to  his 
death  in  1828.  Spohr,  who  heard  him  m  1803, 
considers  him  wanting  in  feeling  and  taste,  and  1 


objects  to  his  unsteady  manner  of  bowing,  hnt 
acknowledges  his  gnat  *^^r^''*^  aldll.  His 
nxmieronB  oompositiaBs — OoBoertoB  and  Solos  for 
the  Violin,  Buoe  for  Violins,  and  Quartets  for 
Strings,  are  well  written,  ai^  met  with  much 
success  in  their  time.  The  fiunous  ainger,  Mmc 
Fodor-Mainvielle,  was  his  daughter,  and  his  two 
younger  brothers,  Gabl  and  Ajstom,  weaa  dever 
pianists  and  composers.  [F.B.] 

FOBOR -MAIKVIELLE,  JoflSFHnrB,  cde- 
farated  linger,  bom  1793  in  Paris,  where  her 
father,  Joseph  Fodor  the  violinist^  had  settled 
in  1787.    In  1794  her  parents  removed  to  St. 
Petersbuig,  where  she  played  both  pianoforte 
and  harp  when  only  eleven.    Three  years  after 
she  became  known  as  a  singer,  and  in  1810  made 
her  first  appearance  at  the  Court   Theatre  in 
Fioravanti*8   'Cantatrici  villanelle,'  which  was 
repeated  60  times,  so  successful  was  her  per* 
formance.    In  18 12  she  married  the  actor  Main- 
vielle,  and  travelled  with  him   to   Stockhohn, 
Copenhagen,    returning    to    Paris,     where   she 
was  engaged  for  the  Op^ra  Comique.     Her  first 
appearance,   Aug.  9,  1814,  was  a  comparatiTe 
failure;  it  was  evident  that  French  opera  waa 
not  her  province,  and  she  was  transferred  in 
November  of  the  same   year  to   the  Thi&tre 
Italien,  then  under  Mme.  Catalani*8  management. 
Here  she  remained  till  the  banning  of  1816, 
when  she  left  for  London.    In  London  she  sang 
for  three  seasons  as  prima  donna,  listened  to 
with  respect,  though  never  a  warm  £&vourite. 
'  Bon  Giovanni '  was  brought  out  at  the  King  8 
Theatre   in   181 7,    and   Zerlina  was   her  bebt 
character.     In  July  181 8   she  went  to  Italy, 
returning  to  Paris  early  in  the  following  year, 
after  Catalani  had  given  up  the  opera.     Roe* 
sini*s  'Barbiero'  was  then  given   lor  the  first 
time  in  Paris  (Oct.  26,  1819)  and  she  played 
Rosina,  as  well  as  Ninetta,  Agneae,  and  other 
first-rate  parts.     In  1822,  suffering  severely  from 
dyspepsia,  she  was  advised  to  try  the  milder 
climate  of  Naples,  which  so  completely  restored 
her  that  she  appeared  at  San  Carlo  as  Besdemona, 
Semiramide,  and  Zelmira,  creatiDg  in  all  20  new 
parts.      In  the  following  year  she  sang  for  a 
whole  season  in  Vienna,  but  returned  to  Naples 
and  remained  there  till  1825,  when  she  again 
went  to  Paris.      On  Deo.  9   she  appeared  in 
Semiramide,  but  her  voice  &iled  and  she  was 
compelled  to  leave  the  stage.    This  misfortona 
was  followed  by  a  hoarseness  which  prevented 
her  singing  again  in  Paris.     The  management 
having   declined   to   fulfil   their   contract,  she 
brought  a  succession  of  actions  against  them, 
and   finally   accepted   a   compromise  in  1828. 
After  her  return  to  Naples  her  voice  so  hi 
improved  that  she  sang  again  at  San  Carlo,  hot 
its  peculiar  charm  waa  gone  though  her  style 
was  as  fine  as  ever,  and  served  as  a  model  for 
no  less  a  singer  than  Henrietta  Sontag.    Men- 
delssohn saw  a  great  deal  of  her  at  Naples  in 
1 83 1,  and  his  very  favourable  impression  may  be 
learned  from  his  letters  (April  27,  1831).    Her 
last  appearance  was  at  Boxdeaux  in  1833,  after 
which  she  retired  into  private  life. 


FODOE^MAINVTELLB^ 


K)ItBES. 


SSd 


When  at  her  prime,  Fodor's  voice  was  not 
oalj  powerful  but  extremely  sweet  *nd  round, 
with  a  peculiarly  charming  accent,  and  a  iault- 
ks  intnnmtion.  She  waa  very  painstaking,  and 
loquired  by  pnctice  a  flexibility  with  which 
the  was  not  naturally  gifted.  Her  daughter 
Enbichetta,  aho  a  sfaiger  of  merit,  was  very 
iuoceasful  at  the  Kbnig^adt  Hieatro  in  Berlin 
between  the  years  1846-9  (not  the  ftiedrich- 
Wilhehnstadt  Theatre).  [^-^^J 

FORSTEMANN,  Cabl  Eduabd,  antiquary, 
published  'Georg  Friedrich  Handel's  Stamm- 
baom,  nach  original-Quellen  und  authentischen 
Nachrichten  au%estellt  und  erlautert*  (Leipzig, 
&eitkopf  &  Hartel,  1844),  a  carefully  compilcKl 
genealogy  of  the  great  composer.  [M.C.G.] 

FOBSTEB,  Ekandkl  Alots,  oompoeer  of 
good  chamber-musio,  bom  at  Niederstein,  Glatz, 
SUtisia,  Jan.  a  6,  174S.  In  his  youth  he  studied 
mudc  by  himself,  and  composed  industriously, 
while  obeying  his  father  by  attending  the  Latin 
gchool,  and  working  under  him  as  an  accountant 
at  a  tavern.  He  afterwards  served  in  the  Prussian 
army,  and  in  1776  resolved  to  go  to  Vienna  in 
order  to  cultivate  music  thoroughly.  There  he 
Boon  became  one  of  the  most  vidued  teachers  of 
thorough-bass  and  composition,  and  his  works 
were  universally  respected  as  the  products  of 
Boond  thought  and  earnest  study.  In  1803  he 
published  his  'Anleitung  znm  Greneralbass  * 
(Traeg)  with  146  examples,  a  clear  practical  work 
still  of  value.  In  1805  it  was  re-published  by 
Breitkopf  &  Hartel,  and  a  new  edition  by 
Artaria  in  1834.  Forster  added  three  supple- 
mentary numbers  of  practical  examples.  His 
oompositioiis  consist  of  48  violin  quartets,  nume- 
torn  pianoforte  sonatas,  preludes  and  fugues  for 
organ,  Lieder,  etc.  He  composed  the  variations 
in  A  on  an  air  from  Sarti's  opera  '  I  finti  Eredi,* 
which  were  long  attributed  to  Mozart,  and  ex- 
iremely  popular;  and  which  appeared  in  many 
editions  of  Mozart*s  works.  (Kuchel,  p.  530, 
No.  289 ;  compare  Jahn*8  '  Mozart,'  ed.  i,  iv.  11 ; 
ed.  2,  ii.  1 37.)  Forster  was  held  in  high  estimation 
by  aU  the  composers  of  his  own  time,  particularly 
by  Beethoven,  who  speaks  of  him  in  terms  im- 
ph-ing  he  had  learnt  much  from  him.  He  died 
at  Vienna  Nov.  13,  1823.  His  place  and  date  of 
birth  and  death,  much  deputed  points,  are  given 
here  from  the  Transactions  of  the  '  Tonkilnstler- 
Bocietat,'  of  which  he  was  a  member.      [G.F.P.] 

FOGGIA,  Francesco,  the  last  Italian  church 
ooniposer  who  remained  faithful  to  the  traditions 
ofPalestrina;  bom  in  Rome  1604,  studied  under 
Cifra,  Nanini,  and  Agostini.  He  then  entered 
the  service  of  the  Elector  of  Cologne,  the  Elector 
of  Bavaria,  and  the  Archduke  Leopold  of  Austria 
in  turn.  After  his  return  to  Italy  he  was  ap- 
pointed maestro  di  capella  successively  at  Nami, 
Montefiascone,  and  the  following  diurche-t  in 
Rome, —  Santa  Maria  in  Aquiro,  Santa  Maria 
i&  Trastevere,  St.  John  Lateran  (1636-61),  San 
Lorenzo  in  Daniaso,  and  Santa  Maria  Maggiore 
(1677),  which  last  post  he  retained  till  his  death, 
Jan.  8,  1688,  when  he  was  succeeded  by  his  son 


Antonio.  He  is  buried  in  the  church  of  S. 
Praxede.  He  published  much  church  mufdc  for 
from  3  to  9  voices  (see  the  list  in  F^tis),  and 
most  of  the  churches  in  Rome  possess  some 
works  by  him  in  MS.  Martini  has  analyseil  some 
of  his  motets  in  the  *Saggio  di  contrappunto.* 
Uberati  calls  him  Ml  sost^^o  e  il  padre  delta 
musica  e  della  vera  armonica  ecclesiastica.'  He 
was  one  of  the  first  musicians  to  write  tonal 
fognes^  while  he  was  the  last  Italian  capable 
of  oumposing  genuine  church  music  in  the  poly- 
phonic style.  Mr.  HuUah  has  printed  a  fine 
motet  by  him  in  his  '  Vocal  Soons.'  [F.  6.] 

FOLIA.  Said  to  be  an  old  Spanish  dance  for 
a  single  dancer — '  ces  belles  chaconnes,  ces  Foliee 
d'Espagne,'  which  the  son  of  the  seneschal  of 
Rennes  danced  to  such  perfection  (Mad.  de  Se* 
vign^,  July  34,  1689).  But  really  all  that  ia 
kn^wn  of  it  is  that  the  33  variations,  or  the 
theme  of  them,  which  close  Corelli's  I3  solos 
(op.  5)  are  entitled  Follia;  that  the  same  bass 
and  air,  but  with  different  variations,  are  given 
in  the  'Division  Violin'  as  'Faronell*s  division 
on  a  ground*;  that  Vivaldi's  op.  i,  no.  1 3,  is  a  set 
of  variations  on  the  same;  and  that  Hawkins 
(chap.  141)  cites  it  as  'a  favourite  air  Known  in 
England  by  the  name  of  Farinelli's^  Ground,' 
composed  by  Farinelli,  the  uncle  of  the  singer, 
who  was  court  musician  at  Hanover  in  1684.  It 
seems  to  follow  from  this  that  the  ground,  and  not 
the  treble  part,  was  the  *  air,'  just  as  it  is  in  the 
chaconnes  of  Bach  and  Haudel  (60  variations).  The 
ground  is  one  on  which  a  skilful  violin  player  and 
a  skilful  dancer  might  go  on  fiddlins^  and  dancing 
ad  iitfinitum*  The  following  is  Corelli's  theme :  — 


^'i  r  r  PttH-rg 


^ 


5=: 


± 


^ 


^^— Mr 


jS± 


■^1 


5=2= 


^^^^ 


C-fl£|y^'TrT^ 


T6 


b06 


5=T 


3:2*t 


p    l?g 


m 


■^ 


tZSL 


e 


f^'W  I'lrr^ir"! — 


:^ 


^ 


3   iS 


3lTjC 


t 


T7^\-r-l 


Cherubini  has  introduced  8  bars  of  it  in  the 
opening  of  the  Overture  to  the  '  Hdtellerie  Por- 
tugaise.*  [G.] 

FORBES,  Hbnrt,  bom  in  1804.  studied  music 
under  Sir  George  Smart,  Hummel,  Moscheles,  and 
Herz.  He  was  an  excellent  pianist  and  oxganist» 
and  conductor  of  the  Societa  Armonica.  He  for 
some  years  held  the  appointment  of  organist  of 
the  parish  church  of  St.  Luke,  Chelsea.  His  pub* 
lished  com|>oeiticns  comprise  several  songs  and 
a  collection  of  psalm  tunes  for  4  voices  called 

I  The  eommon  XmrlUh  Mum  wm  '  FijnUiieU*i.'  m  MmImm  dt 
I  QaeroiuUla  ms  o^led  'IUkUbi  CmtoIL' 


540 


FORBES; 


'National  Paalinodj/  He  also  c<m)posed  'The 
Fairy  Oak,*  an  opera  produced  at  Drury  Lane 
Theatre  in  1845,  and  '  Ruth/  an  oratorio,  per- 
formed at  Hanover  Square  Rooms  in  i^47-  He 
died  Nov.  24, 1 859.  [ W.  H.  H.] 

FORD,  David  Evkbabb,  organist  of  Lyming- 
ton,  Hants,  published  between  1822  and  1836 
seven  books  of  psalm  and  hymn  tunes  for  two 
voices  with  organ  accompaniment.  He  was  also 
the  author  of  an  elementary  work  entitled  *  The 
Rudiments  of  Music,*  which  passed  through  seve- 
ral editions.  [W.H.H.] 

FORD,  Miss,  was  about  1760  distinguished  as 
a  performer  on  the  harmonica  or  musical  glasses. 
She  published  *  Instructions  for  playing  on  the 
Musical  Glasses/  1760.  In  October,  1761,  she 
announced  a  concert  at  *the  large  Room,  late 
G>ck's  Auction  Room,  over  the  great  China-shop, 
near  Spring  Garden.'  at  which  she  engaged  *to 
sing  some  favourite  English  Songs  and  aooompany 
herself  on  the  Musical  Glasses^'  and  also  to  '  play 
a  Lesson  on  the  Guittar,  and  a  Solo  on  the  Viol 
di  Gamba.*  [W.H.H.] 

FORD,  Thomas,  was  one  of  the  musicians  of 
Prince  Henry,  son  of  James  I.  In  1607  be  pub- 
lished a  work  entitled  'Musicke  of  Sundrie 
Kindes.  set  forth  in  two  Bookes.  The  first 
whereof  are  Aires  for  4  Voices  to  the  Lute, 
Orpharion,  or  Basse- Viol,  with  a  Dialogue  for 
two  Voyces  and  two  Bass  Viols  in  parts  tunde 
the  Lute  way.  The  Second  are  Pavens,  Gali- 
ards,  Thumpes  and  such  like,  for  two  Basse 
Viols,  the  Liera  way,  so  made  as  the  greatest 
number  may  serve  to  play  alone,  very  easie  to  be 
performde.*  This  work  contains  the  beautiful 
four-part  songs  *  Since  first  I  saw  your  face.'  and 
*  There  is  a  ladie  sweet  and  kind.'  Ford  was 
a  contributor  to  Leighton's  '  Teares  or  Lamenta- 
oions  of  a  SorrowfuU  Soule,'  1614.  On  the  acces- 
sion of  Charles  I.  he  was  appointed  one  of  his 
musicians  at  a  yearly  salary  of  £8o.  Ford  com- 
posed some  canons  and  rounds  printed  in  Hilton  s 
'  Catch  that  Catch  can/  and  an  anthem  printed 
in  the  Anthems  by  Madrigal  Composers  of  the 
Mus.  Antiq.  Society.  He  was  buried  at  S.  Mar- 
garet's West.,  Nov.  17,  1648.  [W.H.H.] 

FORKEL,  JoHAW  NicoLAUS,  a  meritorious 
though  over-rated  writer  on  the  history  and 
theory  of  music,  son  of  a  shoernaker,  bom  Feb. 
23,  1749,  ^^  Meeder  near  Coburg;  educated 
himself  by  the  study  of  Mattheson  s  '  VoUkom- 
mener  Capellmeister.'  Having  a  fine  voice  he 
was  appointed  chorister  at  Lttneburg  in  1762, 
and  4  years  later  '  Chorprafect '  at  Schwerin. 
In  1 769  he  entered  the  university  of  Gottingen 
to  study  law,  but  soon  occupied  himtelf  exclu- 
sively with  music,  and  became  organist  of  the 
university  church.  In  1778  he  was  appointed 
director  of  music  to  the  University  and  gra- 
duated as  doctor  of  philoeoph^^  in  1 780.  On  the 
death  of  Emmanuel  Bach  he  hoped  to  have 
been  appointed  his  successor  at  Hamburg,  but 
Schwenke  obtained  the  post,  and  Forkel  re- 
mained at  Gottingen  till  his  death,  March  17, 
1818.     He  is  best  known  as  a  musical  critic  and 


FOKLANA. 

historuMi.  His  first  work,  'Ueber  die  Theorie 
der  Musik,  etc.*  (Cramer,  Gottingen,  1774%  ^ 
pamphlet  urging  the  fouodation  of  lectures  on 
music  at  Gottingen,  was  followed  by  many 
others,  especially  '  Musikalisch-kritiache  Bah&y 
thek,'  3  vols  (Goiha,  1774),  containing  violent 
attacks  on  Gluck's  'Iphigenie  in  Aalide  ;  the 
'Mus.  Abnanach  fiir  Deutschland*  for  1782,  3, 
4,  and  9^  containing  particulars  (not  always  trust- 
worthy)  as  to  novelties  in  music;  bis  ' AWg^ 
meine  Geschichte  der  Musik,*  2  vols.  (Leipxig 
1788  and  x8oi),  founded  on  Hawkins,  Bumey, 
and  Marpurg,  now  superseded,  but  interesting 
as  a  literary '  curiosity;  'Geschichte  der  Italien- 
ischen  Oper,'  2  vols.  (Leipzig  1789),  a  transla* 
tion  of  Arteaga's  book ;  and  '  Allgemeine  Litersr 
tur  der  Musik '  (Leipzig  1 79  2),  his  most  important 
work.  This  book,  which  shows  tiie  amount  of 
his  knowledge  and  reading,  is  the  foundation 
of  Becker's  'Systematisch-chronologische  Dar- 
stellung  der  musikalisdien  Literatnr.*  Forkel 
was  the  first  to  attempt  a  biogn^h  j  of  Bach 
(Ueber  J.  S.  B.*s  Leben,  Kunst,  und  Kunstwerfce. 
Leipzig,  1802),  translated  into  English  under 
the  title  'Life  of  J.  S.  Bach,  with  a  criticai 
review  of  his  oompoeitioos*  (London  1820).  As 
he  knew  little  of  Bach's  great  sacred  vocal  works, 
he  treats  him  mainly  fi^  the  point  of  view  of 
the  organ  and  clavier,  but  the  book  will  always 
remain  as  the  foundation  of  all  subseqnent  Lives 
of  the  great  muncian. 

The  royal  library  at  Berlin  contains  an  inteiestp 
ing  specimen  of  Forkel's  labours.    Thia  is  a  large 
volume  of  church  music  of  the  16th  centunr, 
scored  by  himself,  and,  though  printed,  unique. 
It  was  intended  to  form  the  ist  volume  of  a 
series  of  examples  illustrating  the   history  of 
music,  and  was  undertaken  at  the  instance  of 
Sonnleithner  of  Vienna.  The  plates  were  engraved 
in  Leipzig,  and  the  proofs  were  already  in  ForkeFs 
hands,  when  the  French  took  the  city  in  1806, 
and  seized  everything  in  the  shape  of  metal  to 
be  converted  into  bullets.     His  {dates   having 
been  thus  destroyed  Forkel  had  the  proof-^eets 
bound,  and  this  is  the  copy  now  at  BWlin.    The 
masses  it  contains  are  tiJcen  from  *Miss»  tie- 
decim  .  . .  Norinbergse  .  .  .  arte  Hieronymi  Gr»- 
phei,  1539,*  and  '  Liber  quindecim  Missarum  . . . 
Norimbergse  apud  Job.  Petreiumj  1539.'   L-^.G.J 

FORLANA.  An  Italian  dance,  a  fihvourite 
with  the  Venetian  gondoliers.  It  is  in  6-8  or 
6-4  time,  biit  possesses  no  special  characteristics. 
An  example  of  this  dance  may  be  found  in  J.  S. 
Baches  suite  for  orchestra  in  C  major.  The 
following  quotation  of  the  opening  bars  of  a 
forlauA  of  the  1 7th  century  is  from  F.  L.  Schu- 
bert's '  Die  Tanzmusik.* 


^,iiiii^ff,.fi:^^ 


etc    [E.P.] 


1  An«r  Forkel's  deith.  Prhwickert.  the  pubHsh«r.  oOinvd  fhe  imte> 
r!alt  fiir  completing  the  third  Tohinie  to  Fdtb  sod  Choroii,  bat  ttaf 
declbMd  (bo  tuk. 


FORM. 


•IPORM. 


1141 


FOfiM.    ThemeuiB  by  which  imily  and  pro 
portioD  are  anrived  at  in  musical  woxJu  are  the 
idatire  distribution  of  ke]^  and  hannonic  bases 
OQ  the  one  hand,  and  of  'subjects'  or  figures  or 
melodies  on  the  other;  and  this  distribution  is 
c»Iled  the  Form  of  the  work.     The  order  of 
distributioii  Taries  greatly  with  the  conditions. 
Music  set  to  poetry  witia.  a  'burden'  to  each 
verse  would  naturally  adopt  the  form  of  repeating 
the  same   melody  to   each  recnirenoe   of  tlie 
burden;    and  when  the  words  implied  similar 
ciremnstanoes  and  feelings  would  adopt  repetition 
of  similar  or  allied  phrases.     In  dnuuatio  worics 
the  order  of  distribution  must  vary  with  the 
development  of  the  emotional  crises,  and  in  such 
cases  will  be  rathear  a  distribution  of  culminations 
snd  gradstions  of  intensity  of  passion  and  emotion, 
than  the  mcnre  obvious  cme  of  key  and  figure; 
though,  if  the  relation  between  important  figures 
of  melody  and  the  special  circumstances  to  which 
they  are  appended  be  observed,  the  notion  of 
form  as  defined  by  subjects  will  still  continue  to 
be  perceptible.    Analogously,  in  music  which  is 
snpposed  to  represent  some  story  or  idea,  such  as 
is  now  known  by  the  name  of  Programme  Music, 
the  form  must  bis  developed  with  the  view  of  in- 
terpreting that  programme  truly  and  consistenUy. 
Such  musio  may  be  compared  in  ^s  to  the  work 
of  a  painter  who  trusts  rather  to  the  stirring 
nature  of  his  subject  than  to  the  perfection  of  its 
composition  to  engage  and  delight  the  beholders, 
while  in  a  portrait  or  picture  of  less  vivid  interest 
the  element  of  composition,  following  generally 
and  easily  recognised  principles,  would  be  of  vital 
importauoe.     Similarly  in  programme  music  the 
composer  may  choose  to  follow  the  established 
ao-called  dassical  models,  but  it  can  hardly  be 
doubted  that  a  genius  deeply  impregnated  with 
the  spirit  of  his  subject  would  seek  to  create  a 
form  of  his  own  which  should  be  more  in  con- 
sonance with  the  spirit  of  his  programme— even 
as  Beethoven  did  without  programme,  expressing 
some  marv^ous  inner  woridngs  of  his  emotions, 
in  the  first  movement  of  the  Sonata  in  E,  op.  109. 
But  even  with  Beethoven,  in  the  case  of  music 
without  eidier  programme  or  words  to  explain  its 
purpose,  such  irregularity  is  rare.     It  is  here 
especially  that  the  nature  and  oapadty  of  the 
minds  of  the  auditors  play  an  important  part. 
Their  attention  has  to  be  retained  for  a  space 
of  time,  sometimes  by  no  means  insignificant ; 
and  connection  has  to  be  establidied  for  them 
without  the  aid  of  words  or  other  accessories 
between  parts  of  the  movement  which  appear  at 
considerable  distance  from  each  other,  and  the 
whole  muHt  be  so  contrived  that  the  impression 
upon  the  most  cultivated  heM«r  shall  be  <Mie  of 
unity  and  consistency.    In  subh  a  case  Form  will 
inevitably  play  an  important  part,  becoming  more 
and  more  -complex  and  interesting  in  proportion 
to  the  devdopment  of  readiness  of  ocHnprehension 
in  the  auditors.    The  adoption  of  a  form  which 
is  quite  beyond  the  intellectual  standard  of  those 
for  whom  it  is  intended  is  a  waste  of  valuable 
work ;   but  a  perfect  adaptation  of  it  to  their 
highest  ttandand  is   both  the  only  means  of 


leading  them'  on  to  still  higher  things,  and  the 
only  starting  point  for  further  progress.  From 
this  it  will  be  seen  that  in  musical  works  which 
are  connected  with  words  or  programme — ^whether 
choruses,  .songs,  ariasy  or  ball^s,  etc.^ — Form  is 
dependent  on  Uie  words ;  and  such  worics,  as  far 
as  they  are  reducible  to  any  definable  system, 
are  reducible  only  to  the  simplest,  and  such  as 
admits  of  infinite  latitude  of  variation  within  its* 
limits.  But  in  instrumental  music  there  has 
been  a  steady  and  perceptible  growth  of  certain 
fundamental  principles  by  a  process  that  is 
wonderfully  like  evolution,  from  the  simplest 
couplings  of  repeated  ideas  by  a  short  link  of 
some  sort,  up  to  the  complex  but  consistent 
completeness  of  the  great  instrumental  works  of 
Beethoven. 

There  can  hardly  be  any  doubt  that  the  first 
attempts  at  Form  in  music  were  essentially  un- 
conscious and  unpremeditated.  Therefore  if  any 
conformity  be  observed  in  the  forms  of  early 
music  derived  from  various  sources,  it  would 
seem  to  indicate  a  sort  of  consensus  of  instinct  on 
the  part  of  the  oomposers  which  will  be  the  true 
starting  point  of  its  posterior  development.  It 
must  be  remarked  by  way  of  parenthesis  that  in 
the  early  days  of  modem  music — apart  from  the 
ecclesiastical  music  of  the  Roman  Church — ^the 
instrumental  and  vocal  orders  were  not  nearly  so 
distinct  as  they  are  'now,  for  the  tendency  to 
strongly  and  clearly  marked  distinction  in  kind 
is  notoriously  a  matter  of  slow  growth.  Hence 
examples  may  be  drawn  with  perfect  safety  from 
both  kinds  wherever  they  can  be  found. 

The  first  basis  of  true  Form,  apart  from  the 
balance  of  g^roups  of  rhythms,  is  essentially 
repetition  of  some  sort,  and  what  is  most  vital 
to  the  question  is  the  manner  of  the  repetition. 
The  simplest  and  most  dementary  kind  is  the 
repetition  of  a  phrase  or  bit  of  melody  with  a 
short  passage  in  the  nuddle  to  connect  the  two 
statements.  As  an  early  example  of  this  form 
may  be  taken  an  ancient  Grerman  chorale,  '  Jesus 
Ohristus  unser  Holland,  Der  den  Tod  uberwand* 
(1535)*  which  is  as  follows :— 


$ 


T=^ 


n     rJ 


^ 


j^L 


t=m 


2t 


^^ 


^ 


I^ 


S 


zz: 


^p3" 


2a: 


zz 


^ 


jlJ^.JL  '  JUJ^rJfajM 


In  this  the  bars  bracketed  are  the  same,  and  the 
phrase  which  connects  them  is  very  short ;  and 
the  whole  presoits  about  as  simple  and  un-. 
sophisticated  a  specimen  of  Form  as  could  well 
be  conceived.  The  simple  basis  of  which  this  is 
a  type  is  the  origin  of  the  Rcmdo-form,  which 
has  survived  with  great  variety  and  modificati<m 
of  treatment  till  the  present  day.  The  first 
advances  upon  the  above  example  which  offer 

1  For  Instance.  Uie  old  EnglUh  maflrisab  wen  ^bliahed  aa '  apt  for 
TlotaaDdVoioM.' 


uo 


FORBESi 


jvbM. 


•HtXioml  IWmodj.'     Ho  «Im  oompoBed  "Ti-  '  _,^,Mari mum  oatods  of  tlw  prinri/ial 

Fair;  0>k,'  an  open  produced  at  T^  ^xH',]idi  ii  7e(iai>reimp(staiit)Ubrougbt 

Tbeatrs  in  1845,  and  '  Rut>  '  Vrt-^tmd  is  an  extremely  happy  varUtioo  ;  ' 

"    '  r     ,' /^'"'■i;'*  prophetjo  of  Boethoven'a  favourite  pr»c- 

^'  '^  '^^;«'' ^putting  identical  ideai  in  different  li|;hls. 

"C- '    j'^-'J^/naait  stage  of  deTBlopmant  of  tlu«  form — »ad 

.  ;  '.^,  •"'if' it\  probably  rather  a  ohaugo  than  an  improve- 

{?'^A'/sinit  on  the  above  beauUml  little  ipecim^   uf 

-  ^''V'^^'^/Baeh  — ii   the   Bondo  of  Haydn   and   Mozmrt. 

-.-:.>'Vv  ■p-'-  ■  ■  *       ■    -  -  ■ 


fonoed  at  Hanover  Sqi 
died  Not.  34>  >^5^ 

FOBD,  Datid  EvniiB 
ton,  Uaota,  pablished  b' 
■even  booki  of  paalm  a' 
Traces  with  (Tgan  aixai 
the  author  of  an  eUni 
Budimenti  of  Hunc,' 
nd  sditiou. 

FOBD,  Miss,  w        J 
a  perfonoer  on  tb 

She  pabliabed  '  ■■  ".^  'f^r^r.t 

Huual  GlaBif  "'■''' "J^^"' 

annoDDced  a  '«' '  ^ '*>i,'!'/' 

Cook-.  Anoti  ,V  '>/^*J^*'^"d«  domirmnt 

|MT  Sprm-  yr-,>;-^S*r^-onconcludo.; 

hoself  o.  ^^-..*^,^J,,l,„,e  condudo.. 

J,*;*"  a«(ul»tion  in  the  oon- 

™  "•■  ^  dement  of  oontrast, 

FO'  jg  Mlvance  in  musical 

Prinr  (J  of  the  preceding  ei- 

Othc  ,  almoat  contemporary 

Kir  be  works  of  Couperin, 

wb  I  Rondo,  consisting  of 

O-  ith  differences  in  tba 

t  heae  the  paasage  with 

encea  is  repeated  over 

without  disguise,  and 

)f  liiailar  length  but 

in  between.   Couperin 

the  Bondo-fbnn,  and 

«-  ■,-  BWJ   -   ■"   P"''""™  in   1^ 

to^'f^-ne  """  which  is  perhaps  best  known 

■t<^^  iraiiable  for   refiireace  is   the  '  Cha- 

(bJ  ""^  {{oDiieau,'  published  in  Iha  sixth  num- 

"""nf  P*^^'  ' ^'^  ClaviennuBik.'      A  point 

^  %r  Dbservahie  in  thorn  is  the  rigidity  and 

ff^u-i  of  any  attempt  at  sophistication  in  the 

sj*^     The  seodons  are   like  crude  squares 

I'T^inJes  fitted  togetiiBr  into  a  design,  luid  no 

■J^m^l,  or  very  little  at  best,  is  made  to  soften 

Zgtiie  outlines  b;  making  the  sections  pass  into 

^a  another.     Tlie  chief  subject  is  distinot  and 

ijjg  episodes  are  distinot,  and  (bo  number  of 

repetitions  seems  to  depend  solely  on  the  capacity 

of  the  oompoeer  to  put  something  in  between. 

Still  it  ia  clear  that  Uie  virtue  of  contrasts  both 

(^  style  and  of  key  is  appreciated,  though  the 

range  of  modulation  is  extremely  limited.     It  is 

notioeable   moreover,    as   illusliating    the  point 

of  view  from  which   Form   at  that  time  was 


1  by  a  Fermata  or  pause.  From  this 
to  such  a  Rondo  u  we  find  in  the  Partita  in 
C  minor  of  Bach  is  a  great  step,  Here  there 
are  no  strongly  marked  divisions  to  stiffen  (he 
movement  into  formality,  but  it  flows  on  almcet 
interruptedly  from  first  to  last.  The  episodes 
modulate  more  freely,  and  there  is  not  such 
rigid  regularity  in  the  reappearanoe  of  the  main 


Th^  treatment  of  i(  is  practicaUy  the  man  am 
Couperin's,  but  in  many  cases  is  strongly  modiSeil 
by  the  more  important  and  (dabnnte   '  First- 
moTsmsnt-fmrn,'  which  by  thnr  lime  had  grown 
into  cleamaes  of  system  and   definition.      The 
Rondo-form  pure  and  simple  has  remained   till 
now  much  as  it  was  in   Couperin's  time,  giining 
more  in  expansion   than   in  change  of  outliiu?. 
Even  the  great  Hondo  of  Beothoven's  'WaJd-.^ 
stein'  Sonata  (op.  53)  consists  of  the  repetitico   . 
of  a  subject  of  some  length  intaspened  with   : 
episodea ;  with  modifications  in  the  leng(b  of  tlie 
episodes  and  the  repetition  of  one  of  vbtxa,  aJtd   1 
a  great  Coda  founded  on  the  principal  subject  to 
conclude  with.    The  further  consideration  of  the 
Rondo  SB  affected  by  (he  '  first  inoTemen('  form 
must  be  postponed  till  after  the  examinatioD  uf 
the  latter. 

By  the   side  of  the  primitive   Bondo   above 

J  noted  a  form  more  complex  in  principle  is  finind. 
a  this  form  the  relations  of  harmonic  roots  ccane 
largely  into  play,  but  Its  most  striking  and 
singular  feature  is  the  manner  of  (he  repetitdoB 
by  which  it  is  characterised.  And  in  this  case 
examples  drawn  from  various  eariy  soorcca  which 
agree  in  the  peculiar  manner  of  the  repetition 
will  be  of  value,  as  above  indicated.  In  this 
form  the  movement  is  divided  into  two  halvci^ 
and  these  again  into  two  socdons.  Hie  first 
half,  or  complete  period,  comprises  a  sort  of  rough 
balance  between  the  amount  which  (ends  (o  iJis- 
Tooio  and  the  amount  which  tends  to  the  Domi- 
nant, thereby  indicating  the  division  into  two 
sections  ;  and  (be  second  half  begins  with  paassges 
which  have  mora  &eedom  in  the  distribution  of 
their  roots,  which  constitutes  its  first  section,  and 
ends  with  a  quotation  of  the  last  bars  or  Sguits 
of  the  first  hal£  which  ooustitutea  its  second 
section,  nds  will  he  best  understood  from  an 
example.  The  following  is  a  very  early  specimen 
of  the  danoe  tune  called  a  *  Branle'  or  '  Biawl,' 
from  the  '  Orchesographie'  of  Thoinot  Arbeiu 
(Langros,  1545)  •- 


^^ 


^m 


In  this  it  will  be  observed  that  the  Gnt  half 
of  the  little  tune  ia  divided  at  (a)  by  the  strong 
emphatda  on  the  Dominant,  fi«n  which  poiot 
it  returns  to  the  Tonic,  and  so  (dosea  the  Gnt 


half,  oommendng  at  (b\  can 
dved  to  have  a  freer  harmonic 
X  either  of  the  first  sectionBy  and  bo 
»  mind  away  finom  the  Tonic  and  Domi- 
oentrea  in  order  that  they  may  come  in 
»n  again  for  the  conclusion ;  and  having  carried 
ktie  figure  on  to  an  apparently  disproportionate 
length  (which  serves  the  excellent  purpose  of 
breaking  the  monotony  of  constant  pairs  of  bars), 
finally,  at  (e>,  resumes  the  little  tail-piece  of  the 
fitBt  half  and  thereby  clenches  the  whole  into 
completenees.    The  manner  in  which  this  answers 
the  requirements  of  artistic  construetion  is  very 
remarkable,  and  it  will  be  found  hereafter  that 
it  does   so   throughout  on  a  precisely  similitf 
scheme,  in  miniature,  to  that  of  a  19th  century 
S3rmphony  movement.     It  would  be  natural  to 
suppose   that  this  was  pure  accident  if  there 
were  not  other  ancient  examples  of  the  same 
form  coming  from  the  most  opposite  sources. 
The  above  Branle  is  a  French  dance  tune ;  if  we 
torn  from  it  and  take  the  most  famous  German 
Chorale  '£in*  feste  Burg*  (1529),  the  principles 
of  its  construction  will  be  found  to  be  identical. 
It  is  so  well  known  that  it  is  needless  to  quote 
it.*    It  will  be  sufficient  to  point  out  that  the 
first  half  of  the  tune  ends  at  the  conclusion  of 
the  second  line ;  and  of  this  half  the  first  line 
ends  on  the  Dominant  and  the  second  on  the 
Tonic,  precisely  as  in  the  Branle ;  and  it  is  then 
lepeated  for  &e  third  and  fourth  lines.     The 
music  to  the  fifth,  sixth,  seventh,  and  eighth 
lines  answers  to  the  passage  between  {h)  and  (c) 
in  the  Branle,  and  like  it  presents  a  variety  of 
harmonic  bases;   and  to  clench  it  all  together 
the  music  of  the  second  line  is  quoted  to  conclude 
'«ith»  precisdy  as  is  the  little  tailpiece  of  the 
first  half  in  the  Branle.    It  is  impossible  not  to 
feel  the  force  of  this  as  a  point  of  musical  form 
when  it  is  once  realised;   it  has  the  effect  of 
completeness  for  a  short  tune  which  is  unrivalled. 
If  we  turn  to  far  other  sources  we  shall  find  an 
early  English  specimen  in  the  well-known  '  ISince 
first  I  saw  your  fifioe'  (1607),  in  which  the 
second  and  last  line  will  again  be  found  to  be 
identical,  and  the  other  points  of  the  scheme  to 
conform  in  like  manner.     Even  in  Italy,  where 
the  value  of  form  does  not  seem  to  have  been 
80  readily  appreciated  as  by  Teutons,  we  find 
a  little  Sinfonia  for  flutes  in  Giacomo  Peri's 
'Euridice'  (1600) — ^the  first  musical  drama  per- 
formed in  modem  Europe — which  at  least  has 
the  one  important  feature  of  repeating  a  little 
characteristic  figure  of  the  cadence  of  the  first 
half  to  oondude  the  whole.    It  must  not  be  sup- 
posed that  this  form  was  by  any  means  universal 
so  early  as  the  middle  of  the  i6th  century— a 
time  when  notions  of  harmony  proper,  as  apart 
from  polyphony,  were  but   dawniug,   and  the 
musical  sendee  and  ke]^  as  we  now  know  them 
were  quite  vague  and  unsettled.     It  is  wonderful 
enough  that  there  should  be  any  examples  of 
Form  at  all  in  such  a  state  of  musical  language ; 
for  Form  as  now  recognised  depends  greatly  upon 
those  two  very  elements  of  harmonic  bases  and 
lItliglTeaonpk«Bl 


FORK. 


M3 


relation  of  keys ;  so  that  what  was  then  done  in 
those  de^irtments  must  have  been  done  by  in- 
stinct. But  by  the  middle  of  the  1 7th  century 
musical  knowledge  in  these  respects  was  much 
more  nearly  complete,  and  the  scope  of  composers 
proportionately  widened.  Accordingly  we  find 
a  greater  freedom  in  the  treatment  of  forms ; 
but  the  outline  of  the  same  form  on  a  larger 
scale  is  found  to  predominate  in  the  instrumental 
works  of  the  time,  especially  such  as  pass  under 
the  names  of  dances ;  though  it  is  probable  that 
those  sets  of  them  which  were  cslled  *  Suites,* 
or  'Sonatas,'  or  'Onlres,'  were  rather  purely 
Musical  than  Terpsichorean.  In  the  ecdesias* 
tical  Sonatas  (Senate  di  Chiesa)  the  style  still 
continues  fugal  and  polyphonic. 

It  would  be  impossible  to  give  even  a  faint 
idea  of  the  number  of  examples  of  this  form 
which  are  to  be  found  in  these  dance-tune  suites, 
but  it  will  be  well  to  take  some  typical  speci- 
mens and  indicate  the  points  in  whidi  they  diow 
development.  In  Curelli*s  Chamber  Sonatas 
there  are  many  dear  instances.  Thus,  in  the 
Giga  of  Sonata  IV  of  the  '  Opera  Quarta,*  there 
is  the  usual  division  into  two  halves.  Of  these 
the  first  is  again  divided  into  two  phrases^  the 
first  phrase  all  in  the  Tonic  key,  D ;  the  second 
then  modulating  to  the  key  of  the  Dominant  and 
closing  in  it.  The  second  half  begins  with  a 
sort  of  development  of  the  figures  of  the  first 
part^  then  modulates  to  nearly  related  keys,  and 
after  "passing  back  to  the  original  key  concludes 
with  a  quotation  of  the  last  few  bars  of  the 
first  half.  In  this  scheme  there  are  two  points 
of  advance  on  the  previous  examples ;  the  first 
part  condudes  in  what  we  will  henceforward 
call  the  complementary  key,  or  key  of  the  Domi- 
nant, instead  of  merely  passing  to  it  and  back 
and  closing  in  the  princi^  key — by  that  means 
establishing  more  clearly  the  balance  between  it 
and  the  principal  key;  and  secondly,  the  first 
part  of  the  second  half  of  the  movement  presents 
some  attempt  at  a  development  of  the  features 
of  the  subjects  of  the  first  part,  and  real  free 
modulation.  The  Gorrente  and  Giga  of  the  7th 
Sonata  of  the  'Opera  Seoonda'  are  also  remark- 
ably dear  specimens  of  repetition  of  the  end  of 
the  first  part  as  a  condusion  to  the  whole,  since 
full  six  bars  in  each  are  repeated.  Both  examples 
are  however  inferior  to  the  above-quoted  Giga  in 
respect  of  the  condusion  of  the  first  part  being 
in  the  prindpal  key — like  the  older  examples 
first  quoted  as  typical — though  like  that  Giga 
they  are  superior  to  the  older  examples  in  the 
free  modulations  and  reference  to  the  conspicuous 
figures  of  the  subjects  in  the  first  section  of  the 
second  half  of  the  movements. 

Domenico  Scarlatti  (1683-175  7)  was  a  con- 
temporary of  Handel  and  Bach,  being  but  two 
years  older  than  the  former;  nevertheless  he 
must  be  considered  as  historically  prior  to  them, 
inasmuch  as  the  very  power  of  their  genius 
would  make  them  rather  the  prophets  of  what 
was  to  come  than  representatives  of  prevalent 
contemporary  ideas.  Domenico  Scarlatti  lett 
many  examples  of  Studies  or  Sonatas  which  are 


541 


FORM. 


eflsentiftllj  expaasioiui  of  the  plan  of  the  <»• 
ginal  Bruile.    In  some  the  first  part  concludes 
in  the  principal,  and  in  some  in  the  comple- 
mentary key,  either  Dominant  or  relative  major. 
A  vexy  extended  example  is  found  in  a  Study  in 
D  minor.  Allegro  (no.  7  of  a  set  of  <  Pieces  pour 
le  Clavecin'   published  by  Cramer).     In  this 
there  is  firat  a  section  chiefly  in  D  minor,  which 
modulates  to  F,  the  relative  major,  and  con- 
cludes in  that  key — altogether  2a  bars;   and 
tbeii  another  sectian,  of  2 1  bars,  all  in  F  major,  1 
and  ckising  in  that  key.     This  concludes  the 
first  half,  which  corresponds  with  the  first  half  | 
of  a  modem  Sonata  movement.    The  second  half 
sets  out  with  a  reference  to  the  first  subject  in 
F,  and  then  modulates  freely  to  various  keys, 
ultimately  closing  in  the  original  key  of  D  minor, 
and  there  taking  up  the  thread  of  the  latter 
sectian  of  the  £st  naif  of  the  movement,  and 
giving  the  whole   21   bars  almost  identically, 
transposed  from  the  original  key  of  F  into  the 
principal  key  of  D.    The  descent  of  this  move- 
ment fipom  the  dance  type  is  sufficiently  dear 
without  again  going  over  the  ground.     Its  most 
conspicuous  advance  is  in  its  relative  extension,  ' 
22  bars  corresponding  to  2  in  the  original  ex- 
am{de,  and  the  other  divisions  being  in  propor- 
tion.    The  free  modulation  of  the  second  half 
of  the  movement  is  the  strict  counterpart  on  a 
large  scale  of  the  changing  harmonic  basis  in 
ihe  Branle,  and  this  is  an  advance  due  to  the 
great  increase   of  musical   knowledge   and  re- 
sources.    In  other  respects  the  similarity  be- 
tween the  typical  progenitor  and  its  descendant 
is  sufficiently  clear.     D.  Scarlatti's  works  are 
almost  universally  a  great  advance  on  Corelli  in 
the  clear  definition  of  the  subjects  and  the  variety 
of  the  rhyl^mis,  which  enables  him  to  approach 
much  more  nearly  to  modem  ideas  in  what  is 
called  the  '  development'  of  the  subjects ;  though 
it  ii  true  that  a  mere  patohwork  of  short  subjects 
stated  one  after  another  often  serves  the  purpose 
with  him  of  the  more  continuous  and  artistic 
modem  development.      It  will  also  be  noticed 
that  Scarlatti  generally  abandons  the  names  of 
the  dance  tunes  while  retaining  their  forms. 

There  were  other  contemporaries  of  Bach  and 
Handel  who  must  be  noticed  before  them  for  the 
same  reasons  as  Scariatti.  Their  works  generally 
present  the  feature  of  extensive  repetition  of  the 
last  section  of  the  first  part  as  a  conclusion  to  the 
whole,  in  a  very  marked  manner.  Thus  in  a 
Corrente  from  a  Suite  by  Domenico  ZipoU  (bom 
1685)  precisely  the  same  system  is  observable  as 
in  the  example  by  Scariatti.  And  in  a  Sonata 
by  Wagenseil  (bom  1688)  in  F,  op.  i,  the  first 
movement  is  a  very  extended  specimen  of  the 
same  kind ;  and  the  last  movement,  a  Minuetto, 
is  remarkable  for  the  great  length  of  the  phrase 
repeated.  The  first  half  of  the  movement  is  but 
16  bars,  of  which  the  latter  12  are  all  in  the 
Dominant  key ;  and  the  whole  of  these  12  bars 
are  repeated  at  the  conclusion,  the  first  4  having 
been  disposed  of  at  the  commencement  of  the 
preceding  'development/  as  in  the  Study  of 
bcarlattL 


FORir. 

Bach  and  Handel  present  an  extraordinary 
variety  of  forms  in  their  works.  Some  arS  iden- 
tical with  the  form  of  the  Branle  and  '  Ein*  feiite 
Bui^' ;  others  are  like  the  primitive  Rondo  rm  a 
very  extended  scale;  and  many  exhibit  various 
stages  of  progressive  development  up  to  perfect 
types  of  the  complete  modern  foraui  as  used  by 
Mozart. 

A  very  large  number  of  the  movements  in  ihe 
Suites  of  hoiSk  Bach  and  Handel  are  in  the  same 
form  as  the  previous  examples.     The  first  half 
is  divided,  not  very  strongly,  into  two  sections,  in 
which  the  principal  key  and  the  oomplementarr 
key  alternately  predominate.     The  seocynd  half 
sets  out  with  developmeBt  and  fi^e  modnlatifiD, 
and  concludes  with  a  quotation  of  the  ooncluding 
bars  or  features  of  the  first  half.    To  take  Bach's 
'Suites  Fran^aises'  as  examples,  the  following, 
among  others,  will  be  found  to  conform  to  tlik 
simple  scheme: — Gigue  of  No.  i,  in  D  minor; 
Courante  of  No.  2,  in  C  minor ;  Gigue  of  No.  5, 
in  B  minor ;  Courante  of  No.  4,  in  £b  ;  the  Alle- 
mande  and  the  Courante  of  No.  5,  in  G ;  and  the 
Courante  and  the  Bourr^  of  No.  6,  in  £.    As 
examples  of  the  same  from  Handel's  Suites  the 
following  may  be  taken  : — the  Courante  in  No.  i, 
in  A ;  the  A&egro  in  No.  2,  in  F ;  the  Courante 
in  No.  4,  in  £  minor ;  the  Allemande  in  No.  5, 
in  £  major ;  and  the  Gigues  in  the  5ih,  7U1, 8^, 
and  10th  Suites.     In  many  of  these  there  is  a 
systematic  development  of  the  Bgurea  of  the  sub- 
ject in  the  first  section  of  the  second  half  of  the 
movement ;  but  a  tendency  is  also  ofaeervaUe  to 
commence  the  second  half  of  the  movement  with 
a  quotation  of  the  comm^icement  of  the  whole, 
which  answers  practicidly  to  the  first  subject. 
This  was  also  noticed  in  the  example  quoted 
from  Scarlatti.     Bach  not  unfrequMitly  b^ns 
the  second  half  with  an  inversion  of  the  charac- 
teristic figure  of  the  commencement,  or  treats 
it  in  a  free  kind  of  double  counterpoint,  as  he 
sometimes  does  in  repeating  the  conclusion  oi  the 
first  half  at  the  conclusion  of  the  whole.    (See 
the  last  4  bars  of  the  Allemande  in  the  Partita 
No.  2,  in  C  minor.)     How  the  subject  reappean 
is  however  a  matter  of  subsidiary  importaooe. 
What  is  chiefly  important  is  the  fact  that  the 
first  subject  gradually  begins  to  make  its  appear' 
ance  clearly  and  definitely  in  the  second  part  ss 
a  repetition  frx>m  the  first  part ;  and  it  is  very 
interesting  and  curious  to  note  that  there  was  a 
long  hesitation  as  to  the  position  in  the  second 
half  which  this  repetition  should  occupy.     The 
balance  for  a  long  time  was  certainly  in  favour 
of  its  appearing  at  the  beginning  of  the  second 
half,  and  in  the  complementary  key  of  the  move- 
ment.    A  very  clear   and   easily  recognisable 
instance  of  this  is  the  opening  *  pomposo '  move- 
ment of  the  Oveiture  to  Handers  'Samson,' 
which  differs  in  form  from  the  first  movement  of 
a  modem  Sonata  or  Symphony  in  this  one  par^ 
ticular  only.     But  there  are  speeimeos  of  form 
in  both  Bach  and  Handel  which  are  prophetic  of 
the  complete  modem  system  of  Mosait.    The 
fact  is  so  interesting  and  instructive  &at  it  will 
be  worth  while  to  give  an  analysb  of  the  shortest 


FORM. 

example  of  Bach,  in  order  that  it  may  be  com- 
pared with  the  scheme  of  Mozart's  form,  which 
will  be  given  later.  A  little  Air  in  the  Suite 
Francaise  No.  4,  in  Eb  major,  sets  out  with  a 
dearly  defined  figure  which  may  be  called  the 
'first  subject,*  and  modulates  in  the  fourth  bar 
to  the  key  of  the  Dominant,  in  which  the  figure 
which  may  also  be  called  by  analogy  the  '  second 
subject*  appears,  and  with  this  the  first  half  of 
the  movement  concludes.  The  second  half  sets 
oat  with  modulations  and  hints  at  the  figures  of 
the  first  half,  after  10  bars  comes  to  a  pause  on 
the  Dominant  of  the  original  key,  and  from  thence 
reoommenoGS  the  first  subject;  and  the  latter 
part  of  the  section  being  deftly  altered  by  a 
device  of  modulation — of  which  Mozart  made 
great  use  in  the  same  position  in  the  movement — 
enables  the  whole  of  the  last  4  bars  of  the  first 
half  of  the  movement  to  follow  also  in  £b,  so 
condading  the  Air. 

There  is  no  need  to  give  a  like  detailed  ana- 
lysis  of  the  Allegro  in  Handel's  Suite  No.  14, 
in  6.  It  will  suffice  to  point  out  that  its  form 
is  identical  with  the  preceding  on  a  large  scale ; 
and  that  it  is  dearer  and  easier  to  recognise, 
inasmuch  as  the  sections  do  not  fiow  so  closely 
into  one  another,  and  the  subjects  are  more 
definite.  These  two  eiuunples  are  however  ex- 
ceptional as  regards  both  Bach  and  Handel  and 
their  inmiediate  successors.  The  tendency  was  st'U 
far  a  time  to  adopt  the  form  of  reproducing  the 
firrt  subject  at  the  commencement  of  the  second 
half  of  the  'movement ;  and  in  point  of  &ct  it 
is  not  difficult  to  see  why  it  was  preferred,  since 
if  nothing  else  could  be  said  for  it,  it  certainly 
seemed  to  keep  the  balance  of  the  keys  more 
equal.  For  by  this  system  the  subject  which 
appeared  in  the  principal  key  in  the  first  half 
(^ue  in  in  the  complementary  key  in  the  second 
half^  and  the  second  subject  vice  versd,  whereas 
in  the  later  system  the  first  subject  always 
appears  in  the  prindpal  key.  Moreover  the  still 
Older  system  of  merely  repeating  the  ending  of 
the  first  half  still  lingers  on  the  scene  after  the 
time  of  Bach  and  Handel,  for  in  a  Sonata  by 
Gsluppi  (1705-85)  in  D  (published  in  Pauer's 
'Alte  Clavier  Musik*)  there  is  a  charming  little 
opemng  Adagio  which  seems  to  look  both  for^ 
wards  and  backwards  at  once ;  for  its  fbrm  is  a 
dear  specimen  of  the  mere  repetition  of  the  con- 
dading phrase  of  the  first  part  at  the  condusion 
of  the  whole,  while  its  soft  melodious  manner 
and  characteristic  definition  of  sections  by  ca- 
dences and  semi-cadences  (tending  to  cut  it  up 
into  so  many  little  tunes),  make  it  in  spirit  a 
very  near  relation  of  Mozart's.  And  one  might 
take  this  little  movement,  without  much  stretch 
of  invagination,  as  the  final  connecting  link  be- 
tween the  movements  which  look  back  towards 
the  primitive  form  as  displayed  in  the  original 
Branle,  and  those  which  look  on  towards  the 
3Iozart  and  Haydn  epoch.  The  other  movements 
of  Galuppi*8  Sonata  are  in  the  more  developed 
farm,  in  which  the  first  subject  is  quoted  at  the 

I  The  »lo«  naoTemeiit  of  Baetbofm's  Qaartet  In  D  mOor,  «p^U, 
bu  exuDpte  of  thto  form. 


FORM. 


545 


I  commencement  of  the  second  hiJf  of  the  move- 
ment. 

In  Graluppi's  contemporary,  P.  D.  Paradies,  we 
find  even  a  closer  relationship  to  Mozart  in  many 
respects.  The  first  movement  of  his  Sonata  in  A, 
for  instance,  is  on  an  extended  scale.  His 
subjects  tare  dearly  defined,  and  the  growing 
tendency  to  cut  the  movement  up  into  sections 
is  still  clearer  than  in  Galuppi.  The  subjects  are 
definitely  restated,  but  ifter  the  earlier  manner, 
with  the  fiiM  subject  reproduced  at  the  beginning 
of  the  second  half.  It  is  however  noticeable  that 
in  the  livdy  Finale  of  this  Sonata  the  subjects 
both  renppear  at  the  end  of  the  whole. 

If  we  turn  to  the  distinguished  German  com- 
posers of  this  epoch  we  find  ourselves  as  it  were 
among  the  immediate  exemplars  of  Haydn.  In 
tiiem  both  the  manner  and  form  of  their  great 
successors  are  prefigured,  and  there  is  no  longer 
any  doubt  about  the  basis  of  construction  of  the 
movement;  the  first  part  being  as  it  were  the 
thesis  of  the  subjects,  and  the  second  part  their 
discussion  and  restatement ;  but  there  is  still  an 
uncertainty  with  regard  to  the  respective  posi- 
tions of  the  re -statements.  If,  for  instance,  we 
examine  a  Sonata  of  Johann  Christian  Bach, 
op.  17  (Pauer*s  '  Alte  Clavier  Musik*),  we  find  a 
very  dear  and  extended  specimen  of  the  older 
system.  The  first  half  has  a  very  long  section  in 
the  principal  key  (Bb),  and  another  section,  al£o 
long,  in  the  Dominant  key  (F) — all  of  which  is 
fUB  usual  repeated.  The  second  half  commences 
with  a  dear  statement  of  the  first  section 
in  the  Dominant  key,  followed  by  development 
and  modulation,  and  pausing  on  the  Dominant 
of  the  original  key  of  Bb,  in  which  all  the 
second  section  of  the  first  part  is  reproduced 
with  an  exactness  which  is  aJmost  tiresome.  It 
is  worthy  of  remark  that  the  last  movement  is 
in  the  Gigue  time  and  style  witliout  being  so 
named,  and  is  a  happy  instance  of  the  gradual 
complete  mergence  of  the  old  dance  Suite  in  the 
Sonata.  As  a  reverse  to  this  picture  there  is  a 
Bourse  in  a  Suite  by  Johann  Ludwig  Elrebe — a 
contemporary  of  Johann  Christian  Bach,  and  one 
of  the  most  distinguished  of  his  father  s  pupilJs — 
which,  though  called  by  the  old  dance  name,  is 
in  perfect  modem  form,  and  shows  so  aptly  the 
transition  of  the  repeated  ending  of  the  first  part 
into  a  second  subject  that  it  is  vorth  quoting  in 
outline. 


f^^i^^wmp 


m 


JU 


r 


r 


1 


T 


I 


N  B 


546 


FORM. 


This  18  followed  by  7  more  ban  of  development 
after  the  mamier  of  this  oonmienoement,  moda- 
lating  to  C  minor  and  Ab  and  thence  back  to  £b, 
in  which  key  the  first  subject  is  resumed  as 
follows : — 


^ 


^E 


£ 


wji.jrpj 


fr 

I 


^ 


n\ 


^  Iff  ^ij^.a 


r 

In  this  the  passage  from  (a)  to  (b)  constitutes 
the  first  subject  and  section ;  and  that  from  (b) 
to  (c)  the  second,  in  the  Dominant  key.  cor- 
responding to  a  '  second  subject* ;  then  follow 
the  development  and  modulation,  from  {c)  to  {d); 
and  then  the  repeat  of  the  first  section  in  the 
principal  key,  with  the  little  cadence  figure  (e), 
which  is  treated  in  precisely  the  manner  that 
a  second  subject  would  be  treated  in  a  more 
extended  movement,  being  given  complete,  trans- 
posed from  the  Dominant  key  to  the  original 
Tonic.  That  Krebs  had  well  defined  his  own 
objects  in  these  matters  is  clear  from  the  fact 
that  the  Polonaise  from  the  same  suite,  and  an 
Allemande  from  another  in  Bb  are  constructed 
after  precisely  the  same  system. 

There  remains  yet  the  most  important  pre- 
decessor of  Haydn,  namely  Emmanuel  Bach,  in 
whose  Sonatas  Form  reached  a  veiy  remarkable 
pitch  of  perfection.  Many  of  them  stand  in  a 
very  peculiar  relation  both  to  the  old  order  and 
to  the  new  which  was  destined  to  supplant  it  on 
the  principle  of  the  survival  of  the  fittest ;  for 
they  present  examples  of  the  reappearance  of  the 
first  subject  at  the  commencement  of  the  second 
half  of  the  movement,  as  taell  at  after  the  section 
devoted  to  development  and  modulation — in 
other  words,  both  in  its  older  position  and  in  its 
recognised  place  in  nlodem  instrumental  works. 
This  is  the  case  in  the  Sonata  in  G  in  the  first 
collection  published  at  Leipzig  in  1779,  '^^^  ^ 
Biilow^s  little  selection  of  Six.  The  same  also 
in  the  last  movement  of  the  Sonata  in  A  (which 
is  both  in  Bulow^s  collection  and  in  Pauer*B 
'Alte  Meister*),  and  in  the  first  movement  of 
the  Sonata  in  F  minor  from  the  third  set  of 
Clavier  Sonatas,  also  edited  by  Billow.  The 
sonata  in  D  minor  approaches  more  nearly  to 
modem  ways  in  the  position  of  the  repetition  of 
the  first  subject  in  the  second  part ;  but  offers  a 
marked  instance  of  independent  thought  in  re- 
producing the  second  subject  in  the  key  of  the 
third  below  the  Tonic  (that  is,  in  Bb  relative  to 
D),  and  afterwards  passing  back  to  the  principal 
key,  and  reproducing  the  rest  of  the  materials  of 
the  section  after  the  usual  manner — ^thus  in  some 
respecCs  anticipating  Beethoven. 

A  great  deal  more  might  be  said  on  the  in- 
dividual  and  thoughtful  use  of  Form  which  is 
observable  in  the  works  of  Emmanuel  Bach ;  but 
it  will  be  merely  necessary  to  point  out  that  the 
atudy  of  them  as  works  of  art,  by  those  who  are 


FORM. 

as  yet  unacquainted  with  them  will  throw  quite 
a  new  light  on  Haydn  and  Mozart.  He  has 
been  call«l  ^  their  forerunner,  and  he  thoroughly 
justifies  the  title  not  only  by  the  deameas  and 
distinctness  of  his  form,  but  by  certain  undefinable 
qualities  of  style  and  sentiment.  Something  of 
Uiis  may  be  due  to  his  view  that  music  dioold 
be  interpreted  as  vocally  sjb  possible  (see  Bimey, 
vol.  iv.  chap,  x.),  which  is  also  a  very  distingniah- 
ing  trait  of  the  Mozart  schooL  It  must  also  be 
noted  that  in  him  the  oontinuons  fugal  manna 
seems  finally  to  have  yielded  before  Uie  growing 
predominance  of  the  essentially  distinct  modeni 
harmonic  style.  The  forms  of  the  fugal  style, 
such  as  they  were,  were  rather  relative  thaa 
positive,  and  depended  upon  certain  laws — not 
very  clearly  defined  or  consistently  observed— ai 
to  the  modes  of  recurrence  of  the  subject! ; 
whereas  the  forms  of  the  modem  harmonic  style 
are  positive  and  systematic.  The  forms  of  the 
fugal  style  may  be  compared  to  the  composition 
of  lines  and  curves  in  a  drawing,  in  which  they 
are  not  preconceived,  but  grow  into  oompletenesa 
by  the  attention  which  is  bestowed  by  tiie  artist 
on  their  relations  to  one  another.  Whereas  the 
forms  of  tiie  harmonic  style  are  architectoral, 
and  are  governed  by  certain  necessary  prior  con- 
siderations as  vital  as  that  of  roof  and  walls  to 
the  architect,  whereby  the  movement  comes  to 
be  divided  into  sections  chiefly  based  upon  the 
succession  of  keys,  in  which  the  various  subjects 
are  rather  indicators  of  outline  than  positive 
elements  of  construction.  In  Emmanuel  Bach  we 
find  a  number  of  figures  and  subjects  characteristic 
of  each  of  the  primary  sections,  as  #e  do  in 
Beethoven ;  and  the  spirit  of  his  great  fsther, 
though  attenuated  ehough,  is  yet  perceptible  in 
his  manner  of  treating  short  and  pregnant  figures, 
and  in  some  peculiarities  of  phraseology.  These 
are  probably  tne  chief  pointsof  connection  between 
the  spirit  of  the  great  giant  and  the  graces  of  the 
less  austere  style  of  Haydn  and  Mozart. 

It  can  hardly  be  doubted  that  the  realisation 
of  this  practically  new  discovery  of  the  element 
of  positive  harmonic  or  Tonal  form  in  music  must 
have  acted  like  many  other  firesh  discoveries  in 
the  realms  of  art,  and  tended  to  swamp  the  other 
elements  of  effect;  making  composers  look  to 
form  rather  as  ultimate  and  preeminent  than  as 
inevitable  but  subsidiary.  It  seems  not  improb- 
able that  the  vapid  and  meaningless  common- 
place which  often  offends  the  sensitive  musician 
in  the  works  of  Haydn  and  Mozart,  smd  appears 
like  JTist  so  much  rubbish  shot  in  to  fill  up  a 
hole,  was  the  result  of  this  strong  new  feeling 
for  form  as  paramount,  and  that  it  remained  for 
Beethoven  to  reestablish  definitely  the  principle 
of  giving  equal  intensity  to  every  part  of  the  piece 
in  proportion  to  its  importance.  With  Haydn  and 
Mozart  it  is  frequent  to  find  very  sweet  tunes, 
and  sometimes  very  serious  and  pregnant  tunes^ 
in  each  of  the  primary  sections,  and  then  a  lot 
of  sciurying  about — *  brilliant  passages*  as  they 
are  often  csdled — the  only  purpose  of  which  is  to 
mark  the  cadence,  or  point  out  that  the  tone 

lYonBBlow,: 


FOHM. 

wUch  u  JQst  finished  b  in  Bach  or  such  a  kev. 
Baydn*8  early  Quartets  are  flometimee  very  little 
more  than  jingle  in  one  key  and  more  jingle  in 
another,  to  fill  up  his  recognised  system  of  form, 
without  ever  rising  to  the  dignity  .of  a  tune,  and 
much  less  to  a  figure  with  any  intensity  of 
meaning;  and  some  of  Mozart's  instrumental 
productions  are  but  little  better. 

That  Haydn  studied  the  works  of  Emmanuel 
Bach  is  well  known,  for  he  himself  confessed  it ; 
and  the  immediate  connection  between  him  and 
his  predecessors  is  nowhere  more  dear  than  in 
the  similarity  of  occasional  irregularities  of  con- 
struction in  the  second  half  of  his  movements. 
There  is  more  than  one  instance  of  his  first 
Bubject  reappearing  clearly  at  the  beginning  of 
the  second  half  of  a  movement  instead  of  in  its 
latter  portion  (Quartet  in  F  major,  op.  2,  No.  4 ; 
Ko.  67  in  Trautwein) ;  and  further  than  this, 
and  COTToborative  of  the  continuous  descent,  is 
the  tad  that  when  the  first  subject  reappears  in 
what  we  should  call  its  right  place,  there  are 
conspicuous  irregularities  in  the  procedure,  just 
as  if  Haydn  were  half  apologising  for  a  liberty. 
¥oT  the  section  is  often  prolonged  and  followed 
by  irreguljff  modulations  before  Sie  second  subject 
reappearsy  and  is  then  far  more  closely  followed 
than  the  lirst  subject  and  the  materials  of  the 
first  section.  Another  point  illustrating  a  linger- 
ing feeling  far  the  old  practice  of  repeating  the 
ocnolusioxi  or  cadence-figures  of  the  fint  part  at 
the  condiuion  of  the  whole,  is  that  a  sort  of 
premature  coda  is  occasionally  inserted  after  the 
earlier  figures  of  the  second  section  on  its  repetition 
in  this  place,  after  which  the  conduding  bars  of 
the  first  part  are  exactly  resumed  for  the  finish. 
Of  this  even  Mozart  gives  a  singular  and  very 
dear  instance  in  the  first  movement  of  his  G 
minor  Symphony. 

Of  the  minor  incidental  facts  which  are  con- 
ipicuous  in  Haydn's  works  the  most  prominent 
is  his  distribution  of  the  subjects  in  the  first 
part.  He  conforms  to  the  key-dement  of  Form 
m  this  part  with  persistent  regularity,  but 
one  subject  frequently  suffices  for  both  sections. 
With  this  prindpal  subject  (occasionally  after 
a  short  independent  introduction  in  slow  time) 
he  commences  operations ;  and  alter  conduding 
the  iirst  secdon  and  passing  t3  his  complementary 
key  for  the  second,  he  reproduces  it  in  that  key, 
sometimes  varied  and  sometimes  quite  simply — 
as  in  the  well-known  Symphony  in  D,  No^  7  of 
Sdomon*s  set  (first  movement),  or  in  that  in  £b, 
Ko.  9  of  the  same  series  (also  first  movement\  or 
in  the  Quartet  in  F  minor,  op.  55,  or  the  Finale 
of  the  Quartet  in  G,  op.  75  (No.  i  in  Trautwein). 
And  even  where  the  second  section  has  several 
new  features  in  it  the  first  subject  is  often  still 
the  centre  of  attraction,  as  iu'ihe  first  movempent 
of  the  Quartet  in  C  (No.  16,  Trautwein^,  and 
the  same  movement  of  the  Quartet  in  F  (No.  11, 
Trantwdn).  On  the  other  hand  Haydn  is  some- 
times profuse  with  his  subjects,  and  like  Beethoven 
gives  several  in  each  section ;  and  again  it  is  not 
uncommon  with  him  to  modulate  into  his  com- 
plementary key  and  go  on  with  the  same  materials 


FORM. 


547 


for  some  time  before  produdng  his  second  subject, 
an  analogous  practice  to  which  is  also  to  be  met 
with  in  Beethoven. 

A  far  more  important  item  in  Haydn*s  de- 
vdopment  of  Form  is  the  use  of  a  feature  which 
has  latterly  become  very  conspicuous  in  instru- 
mental compositions,  namdy  the  Coda,  and  its 
analogue,  the  independent  episode  which  usually 
condudes  the  first  half  of  the  movement. 

Every  musician  is  aware  that  in  the  early 
period  of  purdy  formal  music  it  was  common 
to  mark  all  the  divisions  of  the  movements 
clearly  by  doses  and  half  doses ;  and  the  more 
vital  the  division  the  stronger  the  cadence. 
Both  Haydn  and  Mozart  repeat  their  cadences 
in  a  manner  which  to  modem  ears  often  sounds 
excessive ;  and,  as  already  pointed  out,  they  aro 
both  at  times  content  to  xnake  mero  *  business* 
of  it  by  brilliant  passages,  or  bald  chords ;  but 
in  movements  which  were  more  earnestly  carried 
out  the  virtue  of  making  the  cadence  also  part  of 
the  music  proper,  and  not  a  mero  rigid  meaning- 
less line  to  mark  the  divisions  of  the  pattern, 
was  soon  recognised.  There  wero  two  ways  of 
effecting  this;  either  by  allusion  to  the  figures 
of  the  subjects  adapted  to  the  form  of  the 
cadence,  or  by  an  entirely  new  figure  standing 
harmonically  on  the  same  basis.  From  this 
practice  the  final  episode  to  the  first  part  of  the 
movement  was  devdoped,  and  attained  at  times 
no  insignificant  dimensions.  But  the  Coda  proper 
had  a  somewhat  different  origin.  In  the  days 
before  Haydn  it  was  almost  invariable  to  repeat 
the  secondf  half  of  the  movement  as  well  as  the 
first,  and  Haydn  usually  conformed  to  the  practice. 
So  long  as  the  movements  were  of  no  great  length 
this  would  seem  suffident  without  any  addition, 
but  when  they  attained  to  any  considerable 
dimensions  the  poverty  and  want  of  finish  in 
ending  twice  over  in  predsely  the  same  way 
would  soon  become  apparent ;  and  consequently 
a  passage  was  sometimes  added  after  the  repeat 
to  make  the  condusion  more  full,,  as  in  Haydn's 
well-known  Quartet  in  D  minor,  op.  76,  the  first 
movement  of  the  Quartet  in  0  (l^iMitwein,  No. 
56),  the  last  movement  of  the  Quartet  in  £, 
No.  17,  and  many  others.  It  seems  almost 
superfluous  to  point  out  that  the  same  doctrine 
really  applies  to  the  conclusion  of  the  movement, 
even  when  the  latter  half  is  not  repeated ;  since 
unless  an  addition  of  some  sort  is  made  the 
whole  condudes  with  no  greater  force  than  the 
half;  the  condusion.  being  merdy  a  repetition 
of  the  cadence  figure  of  the  first  half  of  the 
movement.  Thii  case  however  is  lees  obvious 
than  the  former,  and  it  is  probable  that  the 
virtue  of  the  Coda  was  first  observed  in  con- 
nection with  movements  in  which  the  second 
half  was  repeated,  and  that  it  was  afterwards 
found  to  apply  to  all  indiscriminately.  'A  Coda 
in  both  cases  is  to  be  defined  as  the  passage  in 
the  latter  part  of  a  movement  which  commences 
at  the  point  where  the  substance  of  the  repeated 
first  part  comes  to  an  end.  In  Haydn  codas  are 
tolerably  plentiful,  both  in  movements  in  which 
the  latter  half  is  repeated  and  in  movements  in 

Nn2 


548 


FOBM. 


which  it  IB  not.  They  are  generally  constracted 
out  of  materials  taken  from  the  movement,  which 
are  usually  presented  in  some  new  light,  or  asso- 
ciated together  in  a  fresh  manner ;  tatd  the  form 
is  absolutely  independent.  Modulation  is  rarely 
to  be  found,  for  the  intention  of  the  Coda  was  to 
strengthen  the  impression  of  the  principal  key 
at  the  conclusion^  and  musicians  had  to  be  taught 
by  Beethoven  how  to  do  this  without  incessantly 
reiterating  the  same  series  of  chords  in  the  same 
key.  As  an  instance  of  the  consideration  and 
acuteness  which  characterise  Haydn's  very  varied 
treatment  of  forms  may  be  taken  the  Coda  of  the 
first  movement  of  the  Symphony  in  G,  No.  i  of 
the  Salomon  set.  In  this  movement  he  misses 
out  certain  prominent  figures  of  the  first  section 
on  its  repetition  in  the  second  half,  and  after 
passing  on  duly  through  the  recapitulation  of 
the  second  section  he  takes  these  same  omitted 
figures  as  a  basis  whereon  to  build  his  Coda. 
Many  similar  instances  of  well-devised  manipula- 
tion of  the  details  of  form  are  scattered  through* 
out  his  works,  which  show  his  remarkable  sagacity 
and  tact.  They  cannot  be  brought  under  any 
system,  but  are  well  worth  careful  study  to  see 
how  the  old  forms  can  be  constantly  renewed 
hy  logically  conceived  devices,  without  bong 
positively  i^elinquished. 

Haydn  represents  the  last  stage  of  progress 
towanis  clear  and  complete  definition  of  abstract 
Form,  which  appears  in  its  final  technical  perfection 
in  Mosart.  In  Mozart  Form  may  be  studied  in 
its  greatest  simplicity  and  clearness.  His  mar- 
vellous gift  of  melody  enabled  him  to  dispense 
with  much  elaboration  of  the  accepted  outlines, 
and  to  use  devices  of  such  extreme  simplicity  in 
transition  firom  one  section  to  another  that  the 
difficulty  of  realising  his  scheme  of  construction 
is  reduced  to  a  minimum.  Not  that  he  was 
incapable  of  elaborating  his  forms,  for  there  are 
many  fine  examples  to  prove  the  contrary ;  but 
it  is  evident  that  he  considered  obviousness  of 
outline  to  be  a  virtue,  because  it  enabled  the 
ordinary  hearer  as  well  as  the  cultivated  musician 
to  appreciate  the  symmetrical  beauty  of  his  com- 
positions. Apart  from  these  points  of  systematic 
definition  Mozart  was  not  an  innovator,  and 
consequently  it  will  not  be  necessary  to  point 
out  his  advances  on  Haydn.  But  inasmuch  as 
he  is  generally  recognised  as  the  perfect  master 
of  the  formal  element  in  piusic  it  will  be  advisable 
to  give  an  outline  of  his  avstem. 

The  first  section,  whicn  tends  to  mark  deariy 
the  principal  key  of  the  movement^  sets  out  with 
the  principal  subject^  generally  a  tune  of  simple 
form,  such  as  8  bars  divided  into  corresponding 
groups  of  four  (see  the  popular  Sonata  in  0 
minor).  This  is  either  repeated  at  once  or  else 
gives  place  to  a  continuation  of  less  marked 
character  of  figure,  generally  commencing  on  the 
Dominant  bass  ;  the  order  of  succession  of  this 
repetition  and  continuation  is  uncertain,  but 
whichever  comes  last  (unless  the  section  is  fur- 
ther extended)  usually  passes  to  the  Dominant 
key,  and  pauses  on  tto  Dominant ;  or  pauses  with- 
out modulation  on  the  last  chord  of  a  hiJf  dose 


FOBM. 

in  the  original  key ;  or,  if  the  key  of  the  whole 
movement  be  minor,  a  little  more  mudulatiim 
will  take  place  in  order  to  pass  to  the  key  of  the 
relative  major  and  pause  on  its  Dominant.  The 
second  section — whidi  tends  to  define  clearly  the 
complementary  key  of  the  movement^  whether 
Dominant  or  Belative  major  to  the  anginal — 
usually  starts  with  a  new  subject  someiwhiat  con- 
trasted with  the  features  of  the  first  section,  and 
may  be  followed  by  a  further  aooessocy  8ab)ecty 
or  derivative  continuation,  or  other  form  of  pro- 
longation, and  so  passes  to  the  frequent  repetition 
of  tiie  cadence  of  the  complementary  key,  with 
either  brilliant  passages,  or  oooasionally  a  definite 
fresh  feature  or  subject  which  conatitatee  the 
Cadence  episode  of  the  first  part.  These  two 
sections^-oonstituting  the  first  half  of  the  move* 
ment — are  usually  repeated  entire. 

The  second  half  oi  the  movement  oommences 
with  a  section  which  is  frequently  the  longest  of 
all ;  it  sometimes  opeDS  with  a  quotation  of  the 
first  subject,  analogous  to  the  old  practice  com- 
mon before  Haydn,  and  proceeds  to  develop  freely 
the  features  of  the  subjects  of  the  first  part,  like  a 
discussion  on  theses.   Here  cadences  are  avoided, 
as  also  the  complete  statement  of  any  idea,  or  any 
obvious  grouping  of  bam  into  fixed  sucoeasians ; 
modulations  are  constant,  and  so  irr^ular  that  it 
would  be  no  virtue  to  find  the  succession  alike  in 
any  two  movements;    the  whole  object  being 
obviously  to  produce  a  strong  formal  contrast 
to  the  regularity  of  the  first  half  of  the  move- 
ment ;    to  lead  the  hearer  through  a  maze  of 
various  keys,  and  by  a  certain  artistic  confusioa 
of  subject-matter  and  rhythm  to  indaoe  a  fresh 
appetite  for  regularity  which  the  final  return  of 
the  original  subjects  and  sections  will  definitely 
satisfy.    This  section  Mozart  generally  concludes 
by  distinctly  modulating  back  to  his  principal  key, 
and  either  pausing  on  its  dominant,  or  passing 
(perhaps  with  a  little  artistically  devised  hesi- 
tation), into  the  first  subject  of  the  movement, 
which  betokens  the  commencement  of  the  fourth 
section.    This  section  is  usually  given  without 
much  disguise  or  'change,  and  if  it  concludes 
with  a  pause  on  the  Dominant  chord  of  the 
original  key  (ie.  the  final  chord  of  a  half  closed, 
will  need  no  further  manipulation,   since  the 
second  subject  can  foUow  as  well  in  the  original 
key  as  in  that  of  the  Dominant,  as  it  did  in 
the  first  part.     If  however  the  section  concludes 
on  the  Dominant  of  that  Dominant  key  in  the 
first  half  of  the  movement,  a  little  more  manipu- 
lation will  be  necessary.    Mozart*s  device  is  com- 
monly to  make  some  slight  change  in  the  ordesr  oi 
things  at  the  latter  part  of  the  section,  whereby 
the  course  of  the  stream  is  turned  aside  into  a 
Sub-dominant  channel,  which  key  standing  in 
the  same  relation  to  the  principal  key  that  the 
principal  key  stands  to  ihe  Dominant^  it  will 
only  be  necessaiy  to  repeat  the  latter  purt  of  the 
section  in  that  key  and  pause  again  on  the 
Dominant  of  the  original  key,   in  which  the 

1  In  tha  flnt  moreoMiit  of  the  'Jupiter*  SrinphooyM  enct  b  th« 
repetition,  that  In  one  of  tixe  editions  a  pamce  of  SI  Imn  i»  not  re- 
printed, bat  a  roferenee  'Da  Capo*  it  made  to  lis  oeenrwoce  at  the 
beilnniuf  of  tba  Alletrob 


FORH. 

teoond  section  of  the  first  half  then  follows  siinply 
in  the  same  order  as  at  the  first.  If  the  principal 
key  of  the  movement  happens  to  he  minor,  and 
the  second  section  of  the  first  part  to  be  in  the 
relative  major,  its  reappearance  in  either  the 
major  or  minor  of  the  principal  key  depends 
chiefly  tm  its  character;  and  the  passage  that 
led  to  it  by  modulation  wonld  be  either  omitted 
altogether  or  so  manipulated  as  not  to  conclude 
out  of  the  principal  key. 

With  this  simple  order  of  reproduction  of  the 
first  two  sections  Mozart  is  generally  ocmtentedi 
and  the  little  alterations  which  he  does  occasion- 
ally make  are  of  a  straightforward  nature,  such  as 
producing  the  second  subject  before  the  fint  (as  in 
a  Sonata  in  D  major  composed  in  1778),  cac  pro- 
ducing the  second  subject  in  the  Dominant  key 
iirst  and  repeating  it  in  the  principal  key  (as  in 
a  Sonata  in  C  composed  in  1779).  The  whole  of 
the  latter  half  of  the  movement  is  firequently 
repeated,  and  in  that  case  generally  followed  by 
a  Coda — as  in  the  last  movements  of  Quartets  in 
G  minor  No.  I,  and  A«  No.  5,  and  D,  No.  10 ;  first 
movements  of  Quartets  in  £b,  No.  2,  and  D,  No. 
10 ;  slow  movement  of  Quartet  in  F,  No.  8 ;  first 
movement  of  Sonata  in  C  minor ;  and  of  Quintets 
in  G  minor,  D,  and  £b ;  and'last  movement  of  the 
'Jupiter*  Symphony.  The  Coda  is  generally 
constructed  out  of  prominent  features  of  tiiie  move- 
ment,  presented  in  some  new  light  by  fresh  asso- 
ciations and  firesh  contrasts.  It  is  seldom  of  any 
great  length,  and  contains  no  conspicuous  modu- 
lation, aa  that  would  have  been  held  to  weaken 
the  impression  of  the  principal  key,  which  at  the 
OQnclusion  of  the  movement  should  be  as  strong 
as  possible.  In  a  few  instances  there  are  codas 
without  the  latter  half  of  the  movement  having 
been  repeated.  Of  this  there  is  at  least  one  very 
beautiful  instance  in  the  short  Coda  of  the  slow 
movement  of  the  Quartet  in  Bb,  which  is  con- 
structed out  of  ejaculatory  fragments  of  the  first 
tnbject,  never  touching  its  first  phrase,  but 
passing  like  a  sweet  broken  reminiaoenoe.  It 
must  be  borne  in  mind  that  this  scheme  is  but 
a  rough  outline,  since  to  deal  with  the  subject 
completely  would  necessitate  so  much  detail  as 
to  preclude  all  possibilitv  of  deameas. 

It  is  commoiUy  held  that  the  influence  of  Mo- 
zart upon  Beethoven  was  paramount  in  his  first 
period;  but  strong  though  the  influence  of  so 
great  a  star  must  inevitably  have  been  upon  the 
unfolding  genius,  his  giant  spirit  soon  asserted 
itself;  especially  in  that  which  seems  the  very 
marrow  of  his  works,  and  makes  Form  appear  in 
an  entirely  new  phase,  namely  the  ekonent  of 
unirersally  distributed  intensity.  To  him  that  by- 
word 'briUiant  passages*  was  as  hateful  as  *Cant* 
to  Carlyle.  To  him  bombast  and  gesticulation 
at  a  particular  spot  in  a  movement — just  because 
certain  supposed  laws  of  form  point  to  that  spot 
as  requiring  bustle  and  noise — were  impossible. 
If  there  is  excitement  to  be  got  up  at  any  par- 
ticular point  there  must  be  something  real  in 
the  bustle  and  vehemence;  something  intense 
enough  to  justify  it,  or  else  it  will  be  mere 
vanity ;  the  cleverness  of  the  fingers  diiiguising 


FORX 


549 


the  BmptinesB  of  the  soul, — ^a  fit  accompaniment 
to  'the  clatter  of  dishen  at  a  princely  table,*  as 
Wagner  says,  but  not  Music.  Such  is  the  vital 
germ  firom  which  spring  the  real  peculiarities 
and  individualities  of  Beethoven's  instrumental 
compositions.  It  must  now  be  a  Form  of  spirit 
as  well  as  a  Form  in  the  framework;  it  is  to 
become  internal  as  well  external.  The  day  for 
stringing  certain  tunes  together  after  a  obtain 
plan  is  past,  and  Form  by  itself  ceases  to  be  a 
final  and  absolute  good.  A  musical  movement 
in  Beethoven  becomes  a  continuous  and  complete 
poem ;  or,  as  Ms.  Dannreuther 'says,  'an organism* 
which  is  gradually  unfolded  before  us,  mned  by 
none  of  the  ugly  gaps  of  dead  stdO&ng  which 
were  part  of  the  'form*  of  his  predecessors. 
Moreover  Form  itself  must  drop  into  the  back- 
ground and  become  a  hidden  presence  rather 
than  an  obvious  and  pressing  feature.  As  a 
basis  Beethoven  accepted  the  forms  of  Mozart, 
and  continued  to  employ  them  as  the  outline  of 
his  schema.  *  He  retained,*  as  the  same  writer 
has  admirably  said,  'the  triune  symmetrv  of 
exposition,  illustration  and  repetition,*  whi<m  as 
far  as  we  know  at  present  is  the  most  perfect 
system  arrived  at,  either  theoreticaUy  or  empiri- 
cally ;  but  he  treated  the  details  with  the  inde- 
pendence and  force  of  his  essentially  individual 
nature.  He  absorbed  the  principle  in  such  a 
fashion  that  it  became  natural  for  him  to  speak 
after  that  manner ;  and  greatly  as  the  form  varies 
it  is  essentially  the  same  in  principle,  whether 
in  the  Trio  in  Eb,  opus  i,  or  the  Qwurtet  in  F, 
opuB  135. 

In  estimating  the  great  difierenoe  between 
Mozart  and  Beethoven  in  their  manner  of  treat- 
ing forms  it  must  not  be  forgotten  that  Mozart, 
as  has  been  before  observe^  wrote  at  a  time 
when  the  idea  of  harmonic  form  was  compara- 
tively new  to  the  world  of  music^  and  to  coniform 
to  it  was  in  itself  a  good,  and  to  say  the  merest 
trifles  according  to  its  system  a  source  of  satisfac- 
tion to  the  hearer.  It  has  been  happily  suggested 
that  Mozart  lived  in  an  era  and  in  the  very  at- 
mosphere of  court  etiquette,  and  that  this  shows 
itseff  in  the  formality  of  his  works;  but  it  is 
probable  that  this  is  but  half  the  cause  of  the 
effect.  For  it  must  not  be  foi^tten  that  the 
very  basis  of  the  system  was  clear  definition  of 
tonality ;  that  is  to  say,  the  key  must  be  strongly 
marked  at  the  beginning  and  end  of  a  movement, 
and  each  section  in  a  different  key  must  be  clearly 
pointed  out  by  the  use  of  cadences  to  define  the 
whereabouts.  It  is  in  the  very  nature  of  things 
that  when  the  system  was  new  the  hearers  of  the 
music  should  be  but  little  apt  at  seizing  quickly 
wliat  key  was  at  any  given  moment  of  the  highest 
importance ;  and  eqiuJly  in  the  nature  of  things 
that  this  fikculty  should  have  been  capable  of 
development,  and  that  the  auditors  of  Beethoven*8 
later  days  should  have  been  better  able  to  tell 
their  whereabouts  with  much  less  indication  than 
could  the  auditors  of  Mozart.  Hence  there  were 
two  causes  acting  on  the  development  of  form. 
On  the  one  hand,  as  the  system  grew  fiamiliar^  it 
>  In '  Haemillau's  ahsuios '  for  Jalj.  Iffa 


6!r0 


FORM. 


FORM. 


was  inevitable  that  people  should  lose  much  of 
the  satisfaction  which  was  derived  from  the  form 
itself  as  such ;  and  on  the  other  hand  their 
capacity  for  realising  their  whereabouts  at  any 
time  being  developed  by  practice,  gave  more 
scope  to  t£e  composer  to  unify  his  composition 
by  omitting  those  hard  lines  of  definition  which 
had  been  previously  necessary  to  assist  the  unde- 
veloped musioal  faculty  of  the  auditors.  Thus 
Mozart  prepared  the  way  for  Beethoven  in  those 
very  things  which  at  first  sight  seem  most  op> 
posed  to  his  practice.  Without  such  education 
the  musical  poems  of  Beethoven  must  have  fallen 
upon  deaf  ears. 

Beethoven  then  very  soon  abandoned  the  formal 
definition  of  the  sections  by  cadences,  and  by 
degrees  seems  rather  to  have  aimed  at  obscuring 
the  obviousness  of  the  system  than  at  pointing  it 
out.  The  division  of  the  movements  becomes 
more  subtle,  and  the  sections  pass  into  one  an- 
other without  stopping  ostentatiously  to  indicate 
the  whereabouts  ;  and,  last  but  not  least,  he 
soon  breaks  away  from  the  old  recognised 
system,  which  ordained  the  Dominant  or  relative 
major  as  the  only  admissible  key  for  the  com- 
plementary section  of  the  first  part.  Thus  as 
early  as  his  2nd  and  3rd  Sonatas  the  second 
sections  begin  in  the  Dominant  minor  key,  and 
in  the  slow  movement  of  the  Sonata  in  £b  (op.  7) 
the  Dominant  is  discarded  in  favour  of  the  key 
of  the  third  below  the  tonic  —  Ab  relative  to 
the  principal  key  0.  In  tiie  first  movement  of 
the  Sonata  in  G  (op.  31)  he  b^ns  his  second 
subject  in  the  key  of  tiie  mi^'or  third,  and  that 
major — ^i.  e.  B,  relative  to  6 ;  and  the  same  key 
(relatively)  is  adopted  in  the  Waldstein  Sonata 
and  the  Lmnora  Overture.  The  effect  of  such 
fresh  and  unexpected  transitions  must  have  been 
immense  on  minds  accustomed  only  to  the  formal 
regularity  of  Mozart.  Moreover  Beethoven  early 
began  the  practioe  of  taking  one  principal  key  as 
central  and  surrounding  it  with  a  posse  of  other 
keys  both  related  and  remote.  JSvery  one  is 
familiar  with  the  opening  passages  of  the  Wald- 
stein and  Appassionata  Sonatas,  in  both  of  which 
a  new  key  is  introduced  in  less  than  half  a  dozen 
bars,  and  then  passes  back  to  the  principal  key; 
and  this  practice  is  not  done  in  the  vague  way  so 
often  met  with  in  Mozart  and  Haydn,  where  their 
excessive  use  of  rapid  transitions  in  the  third  sec- 
tion of  the  movement  has  the  effect  of  men  beat- 
ing about  in  the  dark.  True  it  is  that  there  are 
instances  of  this  in  Beethoven's  early  works  while 
he  wrote  under  the  same  order  of  influences  as 
they  did ;  but  in  his  maturer  works  these  sub- 
sidiary modulations  are  conceived  with  large 
breadth  of  purpose  founded  on  certain  peculiari- 
ties in  the  affinities  of  the  keys  employed,  which 
makes  the  music  that  is  heard  in  them  produce 
the  most  varied  feelings  in  the  mind  of  the  auditor. 
It  is  most  important  for  a  young  student  to  avoid 
the  hasty  conclusion  from  insufficient  observation 
that  to  modulate  much  is  to  be  free  and  bold,  for 
it  is  nothing  of  the  sort.  Irregular  purposeless 
modulation  is  sheer  weakness  and  vapidity. 
Strength  is  shown  in  nothing  more  conspicuously 


than  in  the  capacity  to  continue  long  in  one 
key  without  ceasing  to  be  interesting ;  and  when 
that  is  effected  a  bold  stroke  of  well-defindl 
modulation  comes  with  its  proper  force.  For 
when  keys  are  rapidly  interlaced  the  force  of 
their  mutual  contrasts  is  weak^ied  and  even 
destroyed  ;  their  vital  energy  is  frittered  away  to 
gratify  an  unwholesome  taste  for  variety,  and  is 
no  longer  of  any  use  for  steady  action.  In  Bee- 
thoven action  is  always  steady,  and  the  eSiBcts  of 
the  changing  keys  come  with  their  full  force.  A 
new  key  is  sought  because  it  gives  additional 
vitality  to  a  subject  or  episode,  or  throws  a  new 
light  upon  an  idea  from  a  strange  and  unexpected 
quarter,  as  in  the  wonderful  stroke  of  genius  at 
tne  outset  of  the  '  Appassionata.'  As  other  in- 
stances may  be  quoted  the  first  movement  of  the 
Sonata  in  G,  op.  31,  No.  i ;  Scherzo  of  Quartet 
in  F,  op.  59,  No.  I ;  first  movement  of  Quartet  in 
F  minor,  op.  95. 

The  Episode  which  concludes  the  first  part  of 
the  movement  is  almost  invariably  of  some  im- 
portance in  Beethoven's  works.  Very  generally 
he  reproduces  figures  of  his  first  subject,  as  in 
the  Prometheus  and  Leonora  Overtures,  the  first 
movements  of  the  Quartets  in  F  major  (op.  50, 
No.  i)  and  £b  (op.  137),  the  Symphonies  in  D, 
Eroica,  C  minor,  and  A,  the  Sonata  in  £ 
(op.  14),  and  the  last  movement  of  the  Appas- 
sionata. But  more  frequently  he  produces  a 
new  subject,  often  of  quite  equal  importance  and 
beauty  to  either  the  first  or  the  second — to  quote 
but  one  instance  out  of  many  take  the  fi^i^t 
movement  of  the  Sonata  in  G  (op.  14) — and  very 
often  does  so  besides  referring  to  his  first  subject. 
The  chief  thing  to  notice  from  this  is  that  the 
Episode  in  question  has  grown  into  important 
dimensions  in  his  hands,  and  is  so  clear,  and  its 
distinction  as  a  separate  section  frx>m  what  pre- 
cedes it  so  marked,  that  it  is  not  uncommon  to 
hear  it  spoken  of  as  the  Coda  of  the  first  part. 

In  the  part  devoted  to  the  development  ol 
the  features  of  the  subjects,  which  commonly 
commences  the  second  half  of  the  movement, 
Beethoven  is  especially  great.  No  musician 
ever  had  such  a  capacity  for  throwing  an  infim'te 
variety  of  lights  upon  one  central  idea ;  it  is  no 
'business'  or  pedantry,  but  an  extraordinary 
genius  for  transforming  rhythms  and  melodies 
so  that  though  they  be  recognised  by  the  hearer 
as  the  same  which  he  has  heard  before,  they 
seem  to  tell  a  totally  different  story ;  just  as  the 
same  ideas  working  in  the  minds  of  men  of  dif- 
ferent circumstances  or  habits  of  thought  may 
give  them  the  most  opposite  feelings.  As  was 
pointed  out  with  reference  to  Mozait.  no  system 
is  deducible  from  the  order  of  this  division  of  the 
movement,  than  which  none  shows  more  infal- 
libly the  calibre  of  the  composer.  As  a  rule 
Beethoven  avoids  the  complete  statement  of  any 
of  his  subjects,  but  breaks  them  up  into  their 
constituent  figures,  and  mixes  them  up  in  new 
situations,  avoiding  cadences  and  uniformity  of 
groups  of  bars  and  rhythms.  As  frir  as  pos- 
sible the  return  to  the  original  key  is  marked 
in  some  more  refined  way  than  the  matter -of- 


FORM. 


FORM. 


551 


fict  pUkn  of  baldly  passing  to  its  Dominant, 
pausing,  and  re -commencing  operations.  The 
repriae  of  the  first  subject  is  sufficient  indication 
to  the  hearer  as  to  what  part  of  the  movement 
lie  has  arrived  at,  and  the  approaches  to  it  re- 
quire to  be  so  fined  ofi*,  that  it  may  burst  upon 
him  with  the  extra  force  of  a  surprise.  Some- 
times a  similar  efiect  is  obtained  by  the  totally 
of.posite  course  of  raising  expectation  by  hints  of 
what  is  to  come,  and  then  deferring  it  in  such  a 
manner  that  the  suspended  anticipation  of  the 
mind  may  heighten  the  sense  of  pleasure  in  its 
gratification,  as  in  the  last  movement  of  the 
Waidstein  Sonata.  Again  the  return  is  not  un- 
frequently  made  the  climax  of  a  grand  culmina- 
tion  of  increasing  force  and  fury,  such  as  that 
in  the  first  movement  of  the  WsJdstein  Sonata 
(where  the  return  is  pp)  and  the  4th  and  8th 
Symphonies,  a  device  which  is  as  moving  to  the 
hearer  as  either  of  the  former  ones,  and  equally 
intense  and  original. 

In  the  recapitulation  of  his  subjects,  as  might 
be  anticipated  from  his  intensity  in  all  things, 
there  is  a  growing  tendency  to  avoid  the  appa- 
rent platitude  of  repeating  them  exactly  as  at  iirst. 
Sometimes  they  appear  with  new  features,  or  new 
ordera  of  modulation,  and  sometimes  altogether 
as  variations  of  the  originals.  As  instances  of 
this  may  be  taken  the  recapitulation  of  the  first 
subjects  in  the  first  movements  of  the  Eroica 
Symphony,  D  minor  Sonata  (op.  31,  No.  3),  the 
Waldstein,  the  Appassionata,  and  the  Bb  Sonata, 
op.  106,  the  first  movement  of  the  Quartet  in  Eb, 
op.  127,  and  of  the  Kreutzer  Sonata,  the  slow 
movements  of  the  Violin  Sonata  in  C  minor,  op. 
30,  and  of  the  great  Bb  Sonata  just  named,  all 
which  present  the  various  features  above  enu- 
merated in  great  perfection.  No  system  can  be 
defined  of  the  way  in  which  Beethoven  connects 
his  first  and  second  subject  in  this  part  of  the 
movement,  as  he  particularly  avoids  sameness 
of  procedure  in  such  matters.  As  a  rule  the 
second  subject  is  given  more  simply  than  the 
first;  no  doubt  because  of  its  being  generally 
of  less  vital  importance,  nnd  less  prominent  in 
the  mind  of  the  hearer,  and  thererore  requiring 
to  be  more  easily  recognisable.  With  regard 
to  the  key  in  which  it  appears,  he  occasionally 
varies,  particularly  when  it  has  not  appeared  in 
the  first  part  in  the  orthodox  Dominant  key. 
Thus  in  the  first  movement  of  the  great  Quartet 
in  Bb,  op.  130,  the  second  subject,  which  had 
appeared  in  the  first  part  in  the  key  of  the  third 
below  (6b  relative  to  Bb),  appears  in  the  recapi- 
tulation in  the  key  of  the  minor  third  above — l3b. 
And  in  the  Sonata  in  G  major,  op.  31,  the  second 
subject,  which  appeared  in  the  key  of  the  major 
third  in  the  first  part,  appears  in  the  reprise  in 
that  of  the  minor  third  below.  These  and  other 
analogous  instances  seem  to  indicate  that  in  the 
statement  and  restatement  of  his  subjects,  when 
they  did  not  follow  the  established  order,  he  held 
the  balance  to  be  between  the  third  above  and 
the  third  below,  major  and  minor.  The  reason 
for  his  not  doing  so  in  the  Bb  Sonata  (op.  106) 
is  no  doubt  because  in  the  very  elaborate  repeat 


of  the  first  section  he  had  modulated  so  far  away 
from  the  principal  key. 

Tl^e  last  point  to  which  we  come  in  Beethoven's 
treatment  of  the  Sonata-forms  is  his  use  of  the 
Ck)da,  which  is,  no  doubt,  the  most  remarkable 
and  individual  of  all.  It  has  been  before  pointed 
out  that  Mozart  confines  himself  chiefly  to  Codas 
after  repetition  of  the  second  half  of  his  move- 
ments, and  these  are  sometimes  interesting  and 
forcible;  but  Codas  added  for  less  obvious  reasons 
are  rare;  and  as  a  rule  both  his  Codas  and 
Haydn's  remain  steadily  in  the  principal  key 
of  the  movement,  and  strengthen  the  Cadence 
by  repetition  rather  than  by  leading  the  mind 
away  to  another  key,  and  then  back  again  up  to 
a  fresh  climax  of  key-definition.  That  is  to  say, 
they  added  for  formial  purposes  and  not  for  the 
sake  of  fresh  points  of  interest.  Beethoven,  on 
the  other  hand,  seemed  to  look  upon  the  conclu- 
sion of  the  movement  as  a  point  where  interest 
should  be  concentrated,  and  some  most  moving 
effects  produced.  It  must  have  seemed  to  him 
a  pure  absurdity  to  end  the  whole  precisely  as 
the  half,  and  to  conclude  with  matter  which  had 
lost  part  of  its  zest  from  having  been  all  heard 
before.  Hence  from  quite  an  early  period  (e.g. 
slow  movement  of  D  major  Sonata,  op.  10,  No. 
3)  he  began  to  reproduce  his  subjects  in  new  and 
interesting  phases  in  this  part  of  the  movement, 
indulging  in  free  and  forcible  modulation,  which 
seems  even  horn  the  point  of  pure  form  to  endow 
the  final  Cadence  with  fresh  force  when  the  ori- 
ginal key  is  regained.  The  form  of  the  Coda  ia 
evidently  quite  independent.  He  either  com- 
mences it  firom  an  interrupted  Cadence  at  the 
end  of  the  preceding  section,  or  passes  on  from  the 
final  chord  without  stopping — in  tiie  latter  case 
generally  with  decisive  modulation.  In  other 
cases  he  does  not  conclude  the  preceding  section, 
but  as  it  were  grafts  the  Oda  on  to  the  old 
stock,  from  which  it  springs  with  wonderful  and 
altogether  renewed  vigour.  As  conspicuous  in- 
stances may  be  quoted  the  Coda  of  the  Sonata  in 
Eb,  Op.  81a,  ('Les  Adieux,  TAbsence,  et  le  Be- 
tour/)  which  is  quite  the  culminating  point  of 
interest  in  the  movement;  the  vehement  and 
impetuous  Coda  of  the  last  movement  of  the  Ap- 
passionata Sonata,  which  introduces  quite  a  new 
feature,  and  the  Coda  to  the  last  movement  of 
the  Waidstein  Sonata.  The  two  climacteric  Codas 
of  all,  however,  are  those  to  the  first  movements 
of  the  Eroica  and  the  9th  Symphony,  which  are 
sublime.  The  former  chiefly  by  reason  of  its 
outset,  for  there  is  hardly  anything  more  amazing 
in  music  than  the  drop  from  the  piano  Tonic  Eb 
which  concludes  the  preceding  section,  to  a  forte 
Bb,  and  then  to  the  chord  of  C  major  fortissimo. 
But  the  whole  Coda  of  the  first  movement  of  the 
9th  Symphony  is  a  perpetual  climax  and  a  type 
of  Beethoven's  grandest  conceptions,  full  of 
varied  modulation,  and  constant  representation 
of  the  features  of  the  subjects  in  various  new 
lights,  and  ending  with  a  surging,  giant-striding 
specimen  of  'Tonic  and  Dominant,'  by  way  of 
enforcing  the  key,  which  is  quite  without  rival 
in  the  whole  domain  of  musio. 


6i2 


FORM. 


any  points  of  interest  seem  to  be  in  cMes  where 
we  find  either  a  contrast  aimed  at  in  the  passage 
which  forms  the  link,  or  a  number  of  repetitions 
succeeding  one  another,  with  dlfTerenoes  in  the 
passages  connecting  them.  These  two  consti- 
tute the  two  great  branches  through  which 
this  primitive  idea  diverged  into  thousands  of 
Arias,  Lieder,  Nocturnes,  Romances,  Scherzos, 
*and  other  lyrical  pieces  on  the  one  hand,  and 
the  movement  which  still  retains  its  name  of 
Rondo  on  the  other.  As  an  early  examjde  of 
the  first  we  may  take  the  song  *  Roland  courez 
auz  armes'  from  Lully^s  opera  '  Roland,*  which 
is  too  long  for  insertion  here,  but  will  be  found 
in  the  136th  chapter  of  Hawkins's  'History  of 
Music*  In  this  there  are  12  bars  of  melody 
in  G,  concluding  in  that  key;  followed  by  12 
more  bars,  in  which  there  is  modulation  first  to 
the  relative  minor  A,  and  then  to  the  dominant 
key  G  major,  in  which  key  this  portion  concludes ; 
after  which  the  first  twelve  bars  are  resumed 
precisely  as  at  first,  and  so  the  whole  concludes. 
Here  the  employment  of  modulation  in  the  con- 
nectuig  passage  is  a  strong  dement  of  contrast, 
and  ii^icates  a  considerable  advance  in  musical 
ideas  on  the  obscure  tonality  of  the  preceding  ex- 
ample. On  the  other  hand,  almost  contemporary 
with  Lully,  there  are,  in  the  works  of  Couperin, 
numerous  specimens  of  the  Rondo,  consisting  of 
a  number  of  repetitions,  with  differences  in  the 
connecting  passages.  In  these  the  passage  with 
which  the  movement  commences  is  repeated  over 
and  over  again  bodily  and  without  disguise,  and 
separate  short  passages,  of  similar  length  but 
varying  character,  are  put  in  between.  Couperin 
was  particularly  fond  of  the  Rondo-form,  and 
examples  may  be  found  in  profusion  in  his 
works.  The  one  which  is  perhaps  best  known 
and  most  available  for  reference  is  the  *Cha- 
conne  en  Rondeau,'  published  in  the  sixth  num- 
ber of  Pauer's  'Alte  Glaviermusik.'  A  point 
specially  observable  in  them  is  the  rigidity  and 
absence  of  any  attempt  at  sophistication  in  the 
process.  The  sections  are  like  crude  squares 
and  cirdes  fitted  together  into  a  design,  and  no 
attempt,  or  very  little  at  best,  is  made  to  soften 
off  the  outlines  by  making  the  sections  pass  into 
one  another.  The  chief  subject  is  distinct  and 
the  episodes  are  distinct,  and  the  number  of 
repetitions  seems  to  depend  solely  on  the  capacity 
of  the  composer  to  put  something  in  between. 
8tiU  it  is  clear  that  the  virtue  of  contrasts  both 
of  style  and  of  key  is  appreciated,  though  the 
range  of  modulation  is  extremely  limited.  It  is 
noticeable  moreover,  as  iUustrating  the  point 
of  view  from  which  Form  at  that  time  was 
regarded,  when  recognised  as  such,  that  the 
divisions  of  the  Rondo  are  marked  with  extra 
emphasis  by  a  Fermata  or  pause.  From  this 
to  such  a  Rondo  as  we  find  in  the  Partita  in 
G  minor  of  Bach  is  a  great  step.  Here  there 
are  no  strongly  marked  divisions  to  stiffen  the 
movement  into  formality,  but  it  flows  on  almost 
interruptedly  from  first  to  last.  The  episodes 
modulate  more  freely,  and  there  is  not  such 
rigid  regularity  in  the  reappearance  of  the  main 


FORM!. 

subject.  It  appears  once  ontdde  of  the  principal 
key,  and  (which  is  yet  more  important)  is  brought 
in  at  the  end  in  an  extremely  happj  variation ; 
which  is  prophetic  of  Beethoven's  fiavonrite  prac- 
tice of  putting  identical  ideas  in  difieroit  lights. 
The  next  stage  of  development  of  this  form — ^and 
that  probably  rather  a  change  than  an  improve- 
ment on  the  above  beautiful  little  specimen  of 
Bach  —  is  the  Rondo  of  Haydn  and  Mozart. 
Their  treatment  of  it  is  practically  the  same  as 
Couperin*s,  but  in  many  cases  is  strong^ly  modified 
by  the  more  important  and  elaborate  'First- 
movement-form,*  which  by  thear  time  had  grown 
into  deamess  of  system  and  definition.  The 
Rondo-form  pure  and  simple  has  rranained  till 
now  much  as  it  was  in  Gouperin*s  time,  gaining 
more  in  expansion  than  in  change  of  outline. 
Even  the  great  Rondo  of  Beethoven's  'Waldv 
stein'  Sonata  (op.  53)  consists  of  the  repetitioa 
of  a  subject  of  some  length  interspersed  with 
episodes ;  with  modifications  in  the  length  of  the 
episodes  and  the  repetition  of  one  of  them,  and 
a  great  Ooda  founded  on  the  principal  subject  to 
conclude  with.  The  further  consideration  of  the 
Rondo  as  affected  by  the  'first  movement'  form 
must  be  postponed  till  after  the  examination  of 
the  latter. 

By  the  side  of  the  primitive  Rondo  above 
quoted  a  form  more  complex  in  principle  is  found. 
In  this  form  the  rdations  of  harmonic  roots  come 
largely  into   play,  but  its  most  striking  and 
singular  feature  is  the  manner  of  the  repetition 
by  which  it  is  characterised.    And  in  this  case 
examples  drawn  from  various  early  sooices  which 
agree  in  the  peculiar  manner  or  the  repetition 
will  be  of  value,  as  above  indicated.      In  this 
form  the  movement  is  divided  into  two  halves, 
and  these  again  into  two  sections.      The  first 
half,  or  complete  period,  comprises  a  sort  of  rough 
balance  between  the  amount  which  tends  to  ^e 
Tonic  and  the  amount  which  tends  to  the  Domi- 
nant, thereby  indicating  the  division  into  two 
sections ;  and  the  second  half  begins  with  passages 
which  have  more  freedom  in  the  distribution  of 
their  roots,  which  constitutes  its  first  section,  and 
ends  with  a  quotation  of  the  last  bars  or  figures 
of  the  first  half,  which  constitutes   its  second 
section.    This  will  be  best  understood  from  an 
example.    The  following  is  a  very  eariy  specimen 
of  the  dance  tune  called  a  'Branle'  or  'Brawl/ 
frt>m  the  *  Orohesographie'  of  Thoinot  Arbeau 

(Langres,  1545) :— 

(d) 


.j.'jjJn^ij;jij.iJju  J 


-r-i^\rf.^.\^-f^\i-j^}i^^ 


w 


J■.^J77^^J.,^J  jlj  J  J  JIJ  Jj 


In  this  it  will  be  observed  that  the  first  hslf 
of  the  little  tune  is  divided  at  (a)  by  the  strong 
emphasis  on  the  Dominant,  frxmi  which  point 
it  returns  to  the  Tonic,  and  so  closes  the  first 


half.    The  seoond  half,  oommencing  at  (b\  can 
easily  be   perceived  to  have  a  freer  harmonic 
basis  than  either  of  the  first  sections,  and  so 
leads  the  mind  away  from  the  Tonic  and  Domi- 
nant oentroe  in  order  that  they  may  come  in 
£peeh  again  for  the  oonclusion ;  and  having  carried 
the  figure  on  to  an  apparently  disproportionate 
length  (which  serves  the  excellent  purpose  of 
breaking  the  monotony  of  constant  pairs  of  bars), 
finally,  at  (0),  resumes  the  little  taU-piece  of  the 
firet  half  and  thereby  clenches  the  whole  into 
completeness.    The  manner  in  which  this  answers 
the  requirements  of  artistic  construetion  is  very 
lemarkablet,  and  it  will  be  found  hereafter  that 
it  doee   so  throughout  on  a  preoiBely  similar 
Bcheme,  in  miniature,  to  that  of  a  19th  century 
Symphony  movement.    It  would  be  natural  to 
Buppoee  that  this  was  pure  accident  if  there 
were  not  other  ancient  examples  of  the  same 
form  coming  from  the  most  opponte  sources. 
The  above  Branle  is  a  French  dance  tune;  if  we 
torn  from,  it  and  take  the  most  famous  German 
Chorale  'Ein*  feste  Burg'  (1539),  the  principles 
of  its  conatruction  will  be  found  to  be  identical. 
It  is  so  well  known  that  it  is  needless  to  quote 
it.*    It  wUl  be  sufficient  to  point  out  that  the 
first  half  of  the  tune  ends  at  the  conclusion  of 
the  seoond  line ;  and  of  this  half  the  first  line 
ends  on  the  Dominant  and  the  seoond  on  the 
Tonic,  precisely  as  in  the  Branle ;  and  it  is  then 
repeated  for  ihe  third  and  fourth  lines.     The 
music  to  the  fifth,  sixth,  seventh,  and  eighth 
lines  answers  to  the  passage  between  (6)  and  (c) 
in  the  Branle,  and  like  it  presents  a  variety  of 
harmonic  bases;   and  to  clench  it  aU  tc^ther 
the  music  of  the  second  line  is  quoted  to  conclude 
with,  precisely  as  is  the  little  tailpiece  of  the 
first  half  in  the  Branle.    It  is  impossible  not  to 
feel  the  force  of  this  as  a  point  of  musical  form 
when  it  is  once  realised;   it  has  the  effect  of 
completeness  for  a  short  tune  which  is  unrivalled. 
If  we  turn  to  &r  other  sources  we  shall  find  an 
esrly  English  specimen  in  the  well-known  '  iSince 
first  I   saw  your  fiaoe*  (1607),  in  which  the 
second  and  last  line  will  again  be  found  to  be 
identical,  and  the  other  points  of  the  scheme  to 
conform  in  like  manner.     Even  in  Italy,  where 
the  value  of  form  does  not  seem  to  have  been 
so  readily  appreciated  as  by  Teutons,  we  find 
a  little  Sinfonia  for  flutes  in  Giacomo  Peri*s 
'Euridioe'  (1600) — the  first  musical  drama  per- 
formed in  modem  Europe — which  at  least  has 
the  one  important  feature  of  repeating  a  little 
characteristic  figure  of  the  cadence  of  the  first 
half  to  conclude  the  whole.    It  must  not  be  sup- 
posed that  this  form  was  by  any  means  universal 
80  eariy  as  the  middle  of  the  i6th  century — a 
time  when  notions  of  harmony  proper,  as  apart 
from  polyphony,  were  but   dawning,   and  the 
musical  scales  and  keys  as  we  now  know  them 
were  quite  vague  and  unsettled.     It  is  wonderful 
enough  that  there  should  be  any  examples  of 
Form  at  all  in  such  a  state  of  musical  language ; 
for  Form  as  now  recognised  depends  greatly  upon 
those  two  very  elements  of  harmonic  bases  and 
I  Itb|iTe0onpi.48l 


FORM. 


643 


relation  of  keys ;  so  that  what  was  then  done  in 
those  departments  must  have  been  done  by  in- 
stinct. But  by  the  middle  of  the  1 7th  century 
musical  knowledge  in  these  respects  was  much 
more  nearly  complete,  and  the  scope  of  composers 
proportionately  widened.  Accordingly  we  find 
a  greater  freedom  in  the  treatment  of  forms ; 
but  the  outline  of  the  same  form  on  a  larger 
scale  is  found  to  predominate  in  the  instrumental 
works  of  the  time,  a'tpedally  such  as  pasH  under 
the  names  of  dances ;  though  it  is  probable  that 
those  sets  of  them  which  were  called  *  Suites,' 
or  'Sonatas,'  or  'Ordree,'  were  rather  purely 
Musical  than  Terpeichorean.  In  the  ecclesias- 
tical Sonatas  (Senate  di  Chiesa)  the  style  still 
continues  fugal  and  polyphonic. 

It  would  be  impossible  to  giwe  even  a  faint 
idea  of  the  number  of  examples  of  this  form 
which  are  to  be  found  in  these  dance-tune  suites, 
but  it  will  be  well  to  take  some  typical  speci- 
mens and  indicate  the  points  in  which  they  ehow 
development.  In  Gurelli's  Chamber  Sonatas 
there  are  many  clear  instances.  Thus,  in  the 
Giga  of  Sonata  IV  of  the  '  Opera  Quarta,'  there 
is  the  usual  division  into  two  halves.  Of  these 
the  first  is  again  divided  into  two  phrases,  the 
first  phrase  all  in  the  Tonic  key,  D  ;  the  second 
then  modulating  to  the  key  of  the  Dominant  and 
dosing  in  it.  The  second  half  begins  with  a 
sort  of  development  of  the  figures  of  the  first 
part^  then  modulates  to  nearly  related  keys,  and 
after  *paBsing  back  to  the  original  key  concludes 
with  a  quotation  of  the  last  few  bars  of  the 
first  half.  In  this  scheme  there  are  two  points 
of  advanoe  on  the  previous  examples;  the  first 
part  concludes  in  what  we  will  henceforward 
call  the  complementary  key,  or  key  of  the  Domi- 
nant, instead  of  merely  passing  to  it  and  back 
and  closing  in  the  principal  key — by  that  means 
establishing  more  clearly  the  balance  between  it 
and  the  principal  key;  and  secondly,  the  first 
part  of  the  seoond  half  of  the  movement  presents 
some  attempt  at  a  development  of  the  features 
of  the  subjects  of  the  first  part,  and  real  free 
modulation.  The  Oorxente  and  Giga  of  the  7th 
Sonata  of  the  'Opera  Seconda*  are  also  remark- 
ably dear  specimens  of  repetition  of  the  end  of 
the  first  part  as  a  condusion  to  the  whole,  since 
full  six  bars  in  each  are  repeated.  Both  examples 
are  however  inferior  to  the  above-quoted  Giga  in 
respect  of  the  condusion  of  the  first  put  being 
in  the  prindpal  key — like  the  older  examples 
first  quoted  as  typical — ^though  like  that  Giga 
they  are  superior  to  the  older  examples  in  the 
free  modulations  and  reference  to  ihe  conspicuous 
figures  of  the  subjects  in  the  first  section  of  the 
second  half  of  the  movements. 

Domenico  Scarlatti  (1683-1757)  was  a  con- 
temporary of  Handd  and  Bach,  being  but  two 
years  older  than  the  former;  nevertheless  he 
must  be  considered  as  historically  prior  to  them, 
inasmuch  as  the  very  power  of  their  genius 
would  make  them  rather  the  prophets  of  what 
was  to  come  than  representatives  of  prevalent 
contemporary  ideas.  Domenico  Scarlatti  left 
many  examples  of  Studies  or  Sonatas  which  are 


'554 


FORM. 


or  at  least  only  in  such  a  special  way  that  its  ] 
conidderation  must  be  left  to  that  particular  head. 
Bat  as  a  form  in  itself  it  has  been  employed 
largely  and  to  a  degree  of  great  importance  by  | 
all  the  greatest  masters  in  the  department  ' 
of  Instrumental  Music ;  as  by  Handel,  Bach,  I 
Beethoven,  Schubert,  Mendelssohn,  Schumann,  I 
and  Brahms.  In  most  cases  sets  of  Variations  ^ 
are  not  continuous,  but  each  Varintiou  in  detached 
from  its  fellow,  znaking  a  series  of  little  move- 
ments like  the  Theme,  each  in  the  same  key. 
But  this  is  not  invariable ;  for  on  the  rme  hand, 
Beethoven  produced  a  veiy  remarkable  set  of 
Variations  on  a  Theme  in  F  (op.  34),  in  which 
the  key  changes  for  each  variation  ;  and  on  the 
other  hand  there  are  many  examples  of  Variations 
which  are  continuous,  that  is,  run  *into  one 
another  consecutively,  without  pause,  as  in  the 
last  movement  of  Beethoven*s  Sonata  in  C  minor, 
op.  Ill,  and  (on  a  smaller  scale)  the  slow  move- 
ment of  Haydn's  Quartet  in  B  minor,  op.  64. 
It  is  very  common  for  sets  of  Variations  to  have 
a  grand  Coda — frequently  an  independent  move- 
ment, such  as  a  Fugue  or  free  Fantasia  based 
upon  some  conspicuous  figure  of  the  Theme ;  as 
in  Beethoven's  Prometheus  Variations,  op.  35, 
and  Schumann's  Etudes  Symphoniques.  There 
can  be  no  possible  reason  for  tying  down  com- 
posers by  any  rigid  dogmas  as  to  key  or  order 
of  succession  in  the  construction  of  a  work  in 
the  form  of  Variations.  Change  of  key  is  emi- 
nently desirable,  for  the  succession  of  a  number 
of  short  clauses  of  any  sort  with  a  cadence  to 
each,  runs  sufficient  risk  of  monotony  without 
the  additional  incubus  of  unvarying  tonality. 
Moreover  it  is  impossible  to  resist  the  conclusion, 
based  on  the  development  of  the  great  variations 
in  the  finale  of  Beethoven's  Sonata  in  G,  op.  1 1 1, 
those  in  the  Sonata  in  G  (op.  14),  and  those  on  an 
original  theme  in  F  (op.  34),  that  the  occasional 
introduction  of  an  episode  or  continuation  be- 
tween two  variations  is  perfectly  legitimate,  pro- 
vided it  be  clearly  connected  with  the  series  by 
its  figures.  For  if  the  basis  of  form  which 
underlies  the  Variations  as  a  complete  whole 
be  kept  in  mind,  it  will  be  obvious  that  the 
system  of  incessant  repetition,  when  thoroughly 
established,  would  raUier  gain  than  lose  by  a 
slight  deviation,  more  especially  if  that  which 
follows  the  deviation  is  a  clearer  and  more  ob- 
vious version  of  the  theme  than  has  appeared  in 
the  variations  immediately  preceding  it. 

It  will  be  best  to  refer  the  consideration  of 
the  general  construction  of  Symphonies,  Over- 
tures, Concertos,  Sonatas,  etc.,  to  tiieir  respective 
heads,  merely  pointing  out  here  such  things  as 
really  belong  to  the  general  question. 

The  practice  of  prefietcing  the  whole  by  an 
Introduction  probably  originated  in  a  few  pre- 
liminary chords  to  call  the  attention  of  the  audi- 
ence^ as  is  typified  in  the  single  forte  chord  which 
opens  Haydn's  Quartet  in  £b  (No.  33  in  Traut- 
wein).  Many  examples  of  more  extensive  and 
purely  musical  introductions  are  to  be  found  in 
Haydn's  and  Mozart's  works,  and  these  not 
unfrequently  contain  a  tune  or  figure  of  seme 


FORM. 

Importance;  but  they  seldom  have  any  doser 
connection  with  the  movement  that  fbUows  than 
that  of  being  introductory,  and  whenever  there 
is  any  modulation  it  is  confined  within  very 
small  limits,  generally  to  a  simple  alternation 
of  Tonic  and  Dominant.  Beethoven  has  ooc*- 
sionally  made  veiy  important  use  of  the  intro- 
duction, employing  free  modulaiioii  in  eome 
instances,  and  producing  very  beautiful  tunes  in 
it,  as  in  the  Svmphony  in  A.  The  most  im- 
portant feature  m  his  use  of  it  is  his  practice  of 
incorporating  it  with  the  succeeding  movement ; 
either  by  the  use  of  a  oonspicuousfigore  taken  from 
it  as  a  motto  or  central  idea,  as  in  the  Sonata  in 
Eb,  op.  8ia;  or  by  interrupting  the  ooune  of 
the  succeeding  movement  to  reintroduce  frag- 
ments of  it,  as  in  the  Quartet  in  Bb,  op.  130 ; 
or  by  making  it  altogether  part  of  the  movement, 
as  in  the  9th  Symphony,  where  it  has  an  imme- 
diate and  very  remarkable  connection  with  the 
first  subject. 

The  order  of  succession,  and  the  relation  of 
the  keys  of  the  different  movements  of  which 
each  complete  work  b  composed,  passed  through 
various  stages  of  change  simUar  to  those  which 
characterised  the  development  of  the  fonn  of  the 
several  movements,  and  arrived  at  a  certain 
consistency  of  principle  in  Mozart's  time;  but 
contrattt  of  style  and  time  is  and  has  been,  since 
the  early  Suites,  the  guiding  principle  in  their 
distribution.  In  the  Suites  and  early  examples 
of  instrumental  music,  such  as  some  of  Haydn's 
early  Quartets,  all  the  movements  were  in  the 
same  key.  Later  it  became  customaiy  to  cast  at 
least  one  movement  in  another  key,  the  key  of 
the  Subdominant  predominating.  No  rigid  rule 
can  be  given,  except  that  the  key  of  the  Domi- 
nant of  the  principal  key  seems  undesirable, 
except  in  works  in  which  that  key  is  minor; 
and  the  use  of  very  extraneous  keys  should  be 
avoided.  .  In  Sonatas  prior  to  Beethoven  the 
interest  generally  seems  to  centre  in  the  earlier 
movements,  passing  to  the  lighter  refection  at 
the  conclusion.  Beethoven  changed  this,  in 
view  of  making  the  whole  of  uniform  interest 
and  equal  and  coherent  importance.  Prior  to 
him  the  movements  were  merely  a  succession  of 
detached  pieces,  hitched  tc)gether  chiefly  with 
consideration  of  their  mutual  contrasts  under  the 
name  of  Sonata  or  Symphony — such  as  is  typified 
even  in  Weber's  Ab  Sonata^  of  which  the  two 
last  movements  were  written  full  two  years 
before  the  two  first,  and  in  the  similar  history 
of  some  of  Mozart's  works.  With  Beethoven 
what  was  a  whole  in  name  must  be  also  a  whole 
in  fact.  The  movements  might  be  chapters,  and 
distinct  from  one  another,  but  still  consecutive 
chapters,  and  in  the  same  stoiy.  Helmholtz 
points  out  the  scientific  aspect  of  a  connection  of 
this  kind  in  the  Sonata  in  £,  op.  90,  of  which  he 
says,  '  The  first  movement  is  an  example  of  the 
peculiar  depression  caused  by  repeated  "Doric" 
cadences,  whence  the  second  (major)  movement 
acquires  a  still  softer  expression.'  In  some  cases 
Beethoven  connected  tne  movements  by  such 
subtle  devices  as  making  disguised  versiouB  of 


FORM. 

an  identical  figure  reappear  in  the  different 
moTementa,  aa  in  the  Sonataa  in  Bb,  op.  io6, 
and  in  Ab,  op.  i4$  and  the  Quartet  in  Bb. 
Sach  a  device  aa  this  waa  not  altogether  unknown 
to  Mosart,  who  oonnecta  the  Minuet  and  Trio  of 
the  Quintet  in  (r  minor,  by  making  a  little 
fizare  which  appears  at  the  final  cadence  of  the 
Minuet  aerre  aa  the  baaiB  of  the  Trio — the 
Minuet  ending 


FOBSTER. 


555 


f  ■n'JiJ,iN  li\ll 


and  the  Trio  beginning 


f  ^MJjlj  Omfr-lf-r^lr 


In  a  little  Symphony  of  Haydn*8  in  B  major 
{HUt  of  the  Minuet  reappears  in  the  Finale ;  and  ^e 
tame  thing  is  done  by  Beethoven  in  the  G  minor 
Symphony.  In  his  Sonata  called  '  Lea  Adieus, 
r Absence,  et  le  Retour'  (which  is  an  instance  of 
programme  music),  the  last  two  movements,  slow 
and  fast,  pass  into  one  another;  as  is  also  the 
caae  in  the  Sonata  Appassionata.  In  his  Quartet 
in  CS  minor  all  the  movements  are  continuous. 
The  same  device  is  adopted  by  Mendelssohn  in 
his  .Scotch  Symphony  and  Concertos,  by  Schumann 
in  the  D  minor  Symphony — the  title  of  which 
expressly  states  the  fact — and  by  Liszt  in  Con- 
certos. Schumann  also  in  his  Symphonies  in  C 
and  B  minor  connects  his  movements  by  the 
recorrence  of  figures  or  phrases.  [C.H.H.P.] 

FORMES,  Karl,  bass  nmter,  son  of  the 
sexton  at  Muhlheim  on  the  Rhine,  bom  Aug. 
7, 1 8 10.  What  musical  instruction  he  had  he 
seems  to  have  obtained  in  the  church  choir ;  but 
he  fixst  attracted  attention  at  the  concerts  for  the 
benefit  of  the  cathedral  fund  at  Cologne  in  1841. 
So  obvious  was  his  talent  that  he  was  urged  to 
go  on  the  stage,  and  made  his  dUInU  at  Cologne 
as  Sarastro  in  the  Zauberflote,  Jan.  6,  42,  with 
the  most  marked  success,  ending  in  an  engage- 
ment for  three  years.  His  next  appearance  was 
at  Vienna.  In  1849  he  came  to  London,  and 
sang  first  at  Drury  Lane  in  a  German  company 
as  Sarastro  on  May  30.  He  made  his  appearance 
on  the  Italian  stage  at  Co  vent  Garden,  March 
16, 1B50,  as  Caspar  in  *  11  Franco  Arciero'  (Der 
Freischiitz).  At  the  Philharmonic  he  sang  first 
on  the  following  Monday,  March  18.  From  that 
time  for  some  years  he  was  a  regular  visitor  to 
London,  and  filled  the  parts  of  Bertram,  Marcel, 
Kocco,  Leporello,  Beltramo,  etc.  In  1857  he 
went  to  America^  since  which  he  has  led  a  wan- 
dering life  here  and  there. 

For  volume,  compass,  and  quality,  his  voice 
was  one  of  the  most  magnificent  ever  heard.- 
He  had  a  handsome  presence  and  excellent  dis- 
positions for  the  stage,  and  with  self-restraint 
and  industry  might  have  taken  an  almost  unique 
position. 

His  brother  Thbodorb,  16  years  his  junior, 
bom  June  24,  1826,  the  possessor  of  a  splendid 
tenor  voice  and  great  intelligence,  made  his  debut 
At  Ofien  in  1846^  and  from  57  to  64  was  one  of 


the  most  noted  opera  singers  of  Germany.  He 
too  has  been  in  Ajnerica,  and  is  now  singing 
second-rate  parts  at  small  Grerman  theatres.  [G.J 

FORNASARI,  Luciano,  a  bass  singer,  who 
made  his  appearance  about  1828  on  second  and 
third-rate  stages  in  Italy.  In  1831  he  was  sing- 
ing at  Milan ;  the  next  three  years  he  passed  at 
New  York.  He  sang  at  the  Havana  in  1 835,  and 
in  1836  in  Mexico.  Returning  to  Europe  he  ob- 
tained an  engagement  at  Lisbon  in  1840,  and 
remained  there  two  years.  After  this  he  made 
a  tour  in  liis  native  .country,  singing  with  success 
at  Rome,  Modena,  Palermo,  Turin,  and  Trieste. 
In  1843  (F^tis  is  wrong  in  fixing  it  in  1845)  For- 
nasari  appeared  in  London.  F^tis  says  he  had 
a  good  voice  and  sang  with  method.  Mr.  Chorley 
writes,  *The  new  baritone — as  substitute  for 
Tamburini — ^was  a  tall  dashing  man : — he  pos- 
sessed a  veiy  handsome  face,  a  sufficient  voice, 
though  its  quality  was  not  pleasant — and  pre- 
tension enough  and  to  spare.  He  sang  with  l*ad 
method  and  confidence.  He  continued  to  sing 
in  London  until  1846,  afler  which  he  did  not 
again  appear.  [J.  M.] 

FORSTER  Sn  ANDREWS  have  been  esta- 
blished at  Hull  as  organ -builders  since  1843. 
Amongst  many  instruments  from  their  factory 
may  be  quoted  the  organs  in  the  Kinnaird  Hall, 
Dundee;  St.  Mary's,  Leicester;  Holy  Trinity, 
Hull ;  and  the  '  City  Temple '  Congregational 
Chapel,  London.  [V.deP.] 

FORSTER,  WiLLiAV,  eminent  instrument 
maker,  bom  May  4,  1739,  at  Brampton,  Cum- 
berland, was  son  of  WilUam,  and  grandson  of 
John  Forster,  makers  of  spinning  wheels  and 
violins.  He  was  taught  both  toadea  by  his 
father,  and  also  learned  to  play  on  the  violin. 
He  came  to  London  in  1759  and  took  up  his 
abode  in  Ihresoott  Street,  Groodman's  Fields,  and 
for  a  time  endured  much  privation  from  inability 
to  obtain  suitable  employment.  Ultimately  he 
was  engaged  by  a  music  seller  on  Tower  Hill 
named  Beck,  and  the  violins  made  by  him  being 
much  approved  and  quickly  sold,  he  started  in 
business  on  his  own  account  in  Duke*s  Court, 
St.  Martin's  Lane,  whence  he  shortly  removed 
into  St.  Martin's  Lane,  and  speedily  attained 
great  reputation.  Forster  afterwards  added  to 
his  business  that  of  a  music  seller  and  publisher, 
and  in  that  capacity  in  1781  entered  into  an 
agreement  with  Haydn  for  the  purchase  and 
publication  in  England  of  that  master's  com- 
positions, and  between  that  date  and  1 787  pub- 
lished 83  symphonies,  24  quartets,  24  solos,  duets 
and  trios,  and  the  'Passione,'  or  *  Seven  Last 
Words.'  About  1 785  he  removed  into  the  Strand 
(No.  348),  where  the  business  was  carried  on  until 
the  pulling  down  of  Exeter  'Change.  In  1 795  he 
issued  a  copper  medal  or  token,  halfpenny  size, 
bearing — Obverse,  'Wm.  Forster,  Violin,  Tenor 
and  Violoncello  Maker,  No.  348,  Strand,  London.' 
Prince  of  Wales's  feathers  in  the  field.  Rererfe. 
The  melody  of  *  God  save  the  King '  in  'musical 
notation  in  the  key  of  G.  A  crown  in  the  field, 
above  it  'God  save  the  king;'  beneath  it '  1795/ 


556 


TORSTEB. 


FOUNDLING  HOSPITAL. 


William  Fonter  died  at  the  houae  of  his  sob,  ^2, 
York  St.,  Weatminster,  Dec.  14,  i8o8.  [W.H.H  ] 

F0B8TEB,  WiLiiiAM,  (No.  2),  son  of  the  above- 
mentioned,  and  generally  known  as  'Royal* 
Fonter,  from  his  title  'Mosic  Seller  to  the 
Prince  of  Wales  and  the  Duke  of  Cumberland.' 
Bom  1 764,  died  1824.  Like  his  father,  he  made 
large  numbers  of  instruments,  which  once  enjoyed 
a  high  reputation.  By  making  the  bellies  of  their 
instruments  thin,  and  increasing  the  weight  of 
the  blocks  and  linings,  the  Forsters  obtained* 
while  the  instrument  was  still  new,  a  strong  and 
penetrating  tone,  which  found  high  favour  with 
Lindley  and  his  school.  Being  well  made  and 
finished,  and  covered  with  excellent  varnish, 
their  instruments  have  much  that  commends 
them  to  the  eye.  The  Forsters  copied  both 
Stainer  and  Am&ti.  'Royal*  Forster  had  two 
sons :  William  Forsteb  (No.  3),  the  eldest, 
devoted  himself  to  other  pursuits,  and  made 
but  few  instruments;  but  the  second,  Simon 
Andrew  Fobsteb,  carried  on  the  business,  first 
in  Frith  Street,  afterwards  in  Macclesfield  Street, 
Soho.  Simon  Andrew  Forster  made  instruments 
of  high  model  and  no  great  merit.  He  is  best 
known  as  the  author  (jointly  with  W.  Sandys, 
F.  S.'A.)  of  '  The  History  of  the  Violin  and  other 
Instruments  played  with  the  Bow,*  1864.  He 
died  Feb.  2,  1870.  [E.J.F.] 

FORTE,  loud :  an  Italian  word,  usually  ab- 
breviated into  /.  A  lesser  d^^ee  of  loudness  is 
expressed  by  mf—mez2oforte;  a  greater  one  by 
jnit  f  and  ff,  and  the  greatest  of  all  by  fff — 
forUmmo,  as  in  Boethoven*s  7th  Symphony 
(Finale),  8th  ditto  (ist  movement).  Overture, 
op.  115  (at  end),  Leonore,  No.  2  (8vo  score,  pp. 
40,  76),  or  at  the  grand  climax  near  the  dose  of 
ike  Finale  of  Schubert*s  Symphony  in  C,  at  the 
end  of  ike  extraordinary  long  crescendo,  ffff 
has  been  occasionally  used  by  later  oomposoB,  as 
in  the  Overture  to  '  Charlotte  Cknday,'  by  Benoit. 

Fortepiano — afterwards  changed  to  Piano- 
forte— was  the  natural  Italian  name  for  the  new 
instrument  which  could  give  both  loud  and  soft 
sounds,  instead  of  loud  only,  as  was  the  case  with 
the  harpsichord. 

fp,  is  a  diaractmstic  sign  in  Beethoven,  and 
one  which  he  often  uses;  it  denotes  a  sudden 
forte  and  an  equally  sudden  piano.  He  will 
require  it  in  the  space  of  a  single  crotchet  or  even 
quaver,  as  in  the  Overture  to  Leonore,  No.  2 
(8vo  score,  pp.  31.  43,  5>— /PP)-  Again,  he 
was  very  fond  of  a  forte  passage  succeeded 
suddenly,  without  any  diminuendo,  by  a  ^,  as 
in  bars  64  to  66  of  the  Allegro  of  the  same  work, 
where  the  sudden  p  on  the  Ff  is  miraculous ;  or 
in  the  repriee  of  the  subject  after  the  trumpet 
fanfares,  where  if  the  p  is  not  observed  the  flute 
solo  is  overwhelmed.  In  a  fine  performance  of 
his  works  half  the  battle  lies  in  the  exact  observ- 
ance of  these  nuances.  No  one  marked  them  before 
him,  and  no  one  has  excelled  them  since.       [G.] 

FORTI,  Anton,  distinguished  baritone  singer, 
bom  at  Vienna  June  8,  1790.  He  made  his 
d<^but  at  Presbuig  with  so  much  success  that 
towards  the  end  of  1807  Prince  Esterhazy  engaged 


him  almost  at  the  same  time  as  the  tenor  Wild 
for  his  celebrated  band.  Forti  soon  forfeited  the 
&vour  of  the  Prince,  who  suddenly  enrolled  him 
as  a  soldier,  and  only  released  him  at  the  in- 
tercession of  sevend  of  the  nobility.  He  next 
appeared  (June  29,  1811)  at  the  Theatre  'an 
dier  Wien*  as  Don  Juan,  a  part  for  which  his 
very  sonorous  voice,  commanding  pcesenoe,  and 
elevated  refined  style  of  acting  eminently  fitted 
him.  In  April  1813  he  was  engaged  at  the 
court  theatre,  and  speedily  became  a  favourite. 
Besides  Don  Juan  he  specially  excelled  in  Figaro 
(Mozart  and  Rossini),  Telasoo  ^Ferdinand  Ooriez), 
etc.,  and  in  French  dialogue-operas.  He  sang 
Pizano  at  the  revival  of  '  FideUo*  in  1814 ;  and 
Lysiart  at  the  first  performance  of  '  Emyanthe' 
(1823).  When  Count  Gallenberg  undertook  the 
direction  of  the  court  tiieatre  in  1839  Forti 
was  pensioned,  and  made  stairing  toun  to 
Prague,  Hamburg,  and  Berlin,  where  he  aleo 
took  a  short  engagement.  On  his  return  to 
Vienna  his  voice  had  lost  its  charm,  and  h-s 
increasing  corpulence  spoiled  his  acting.  Be 
retired  finally  from  the  stage  after  winning  the 
first  prize  at  one  of  the  pulSic  lotteries,  and  died 
July  16.1859.  lC.F.P.] 

FORZA  DEL  DESTINO,  LA.  Tragic  Opera 
by  Verdi,  libretto  by  Piave ;  in  4  acts.  Produced 
at  St.  Petersburg  30  Oct.  (11  Nov.)  1862,  and  at 
Her  Majesty's  Theatre,  London,  June  3  a,  1867. 

FOUNDLING  HOSPITAL.    The  connection 
of  Handel  with  this  charitable  institution  ^founded 
by  Captain  Coram  in  1739)  forms  a  pleasant 
episode  in  the  composer*s  life  in  ESngland,  and 
gives  a  signal  illustration  of  his  boievolenoe. 
Following  the  example  of  the  msBters  of  the 
sister  art  of  Painting,  who  organised  an  exhi- 
bition on  its  behalf,  and  of  Hogarth  and  others 
who  presented  paintings  for  its  decoration,  Handel 
on  May  4,  1749,  attended  a  committee  at  the 
Hospital,  and  offered  a  performance  of  vocal  and 
instrumental  music  in  aid  of  the  fund  f<v  finifihing 
the  chapel.     The  Grentlemaa*s  MagaEine  recorda 
that '  Saturday  37th  [May]  the  Prmoe  and  Prin- 
cess of  WaleB«  with  a  great  number  of  persons  cf 
quality  and  distinction,  were  at  the  chapel  of  the 
Foundling  Hospital  to  hear  several  pieces  of 
vocal  and  instrumental  music,  composed  by  Greoi^ 
Frederick  Handel,  Esq.,  for  the  benefit  of  the 
foundation :  1st,  the  music  of  the  late  Fire  Works 
and  the  anthem  on  the  Peace ;  and,  select  pieces 
from  the  oratorio  of  Solomon  relating  to  the  de- 
dication  of  the  Temple ;  and  3rd,  several  pieces 
composed  for  the  occasion,  the  words  taken  from 
Scripture,  applicable  to  the  charity  and  its  bene- 
£EM^rs.    There  was  no  collection,  but  the  tickets 
were  at  half-a-guinea,  and  the  audience  above  s 
thousand.*     For  this  act  Handel  was  at  onoe 
enrolled  as  one  of  the  governors  and  guardians 
of  the  Hospital,  and  during  every  subsequent 
year,  while  his  health  permitted,  he  diitcted 
the  performance  of  the  Messiah  in  the  chapel, 
whidi  yielded  to  the  charity  a  net  result  of 
£7000  in  all.    The  governors,  under  a  misappre- 
hension,  imagined  that  he  intended  to  pit4cnt 


FOUNDLING  HOSPITAL. 

them  with  the  copyright  of  the  oratorio,  and 
prepAred  a  petition  to  parliament  praying  that  a 
bill  might  be  passed  to  Becure  to  them  the 
light  in  perpetuity ;  but  Handel  indignantly  re- 
pudiated  any  sudi  intention,  and  the  petition 
ner^  reached  the  House.  On  the  completion  of 
the  ehaapei  Handel  presented  it  with  an  organ, 
which  ne  opened  on  May  i,  1750,  when  the 
attendaaioe  was  so  large  that  he  was  oompelled 
to  repeat  the  perf  ormanoe.  The  composer  by  his 
wtU  bequeathed  'a  fair  copy  of  the  score  and  all 
the  parts  of  the  Messiah*  to  the  Hospital, 
snd  on  his  death  a  dirge  and  funeral  were  per- 
Ibnned  in  the  chapel  on  May  a6«  1 759,  under  the 
direction  of  his  amanuensis,  John  Christopher 
Smith,  who,  with  his  fiill  oonourzenoe,  had  been 
appointed  the  first  oxganist.  In  July  1 774  Dr. 
Bumey  proposed  to  the  govemon  a  scheme  for 
forming  a  Public  Music  School  at  the  Hospital 
for  the  training  of  the  children ;  but  strong  op- 
position was  raised  to  it,  and  it  was  never  pro- 
ceeded with.  The  chapel  services  are  still  note- 
worthy for  their  music,  in  which  the  professional 
ehoir  is  aasbted  by  the  children,  under  the  direc- 
tion of  Mr.  Willing,  the  oiganist.  (1878.)  [CM.] 

FOXJRNEAUX,  NapolAow,  bom  May  21, 
1808,  at  L^ard  (Aj^ennes\  originally  a  watch- 
maker, improved  the  Accordion.  In  1830  he 
settled  in  Paris ;  in  36  bought  Chameroy^s  organ- 
factory,  and  introduced  great  improvements  in 
the  manu&cture  of  all  reed  instruments  blown 
by  wind.  At  the  ezhibitian  of  1844  he  received 
a  sQver  medal  for  his  '  orgues  expressives.'  He 
originated  the  idea  of  the  percussion  action  in 
hannoniums.  He  died  at  Aubanton  (Aisne), 
July  19,  1846.  [M.C.C.] 

FOIJRNIER,  PiSRBi  Simon,  engraver  and 
tvpe-founder,  bom  in  Paris  Sept.  15,  171 2,  died 
there  Oct.  8,  1768.  He  greatly  improved  the 
engraving  of  music  in  France,  which  up  to  his 
day  waa  BtUl  effected  by  punches  on  the  model 
of  those  cut  by  Hautin  in  1525.  He  replaced 
the  lozenge-shaped  notes  by  round  ones,  and 
made  music  altogether  easier  to  read,  although 
his  notes  were  still  thin  and  poor  compared  to 
those  of  later  times.  He  published  '  Essai  d*un 
nonveau  caract^re  de  fonte  pour  Timpression  de 
la  musique,  etc.*  (Paris  1756%  and  a  'Traits 
historique  et  critique  sur  Torigine  et  les  progr^ 
des  caract^res  de  fonte  pour  Timpression  de  la 
musique*  (Paris  1765),  which,  though  incomplete 
and  oocafflonaUy  incorrect,  contains  interesting 
information  on  music  printing  in  France.  6ia- 
oomo  Falconi  of  Venice  seems  to  have  attained 
a  similar  result  almost  simultaneously  with 
Foumjer.  Falconi  published  at  Venioe  in  1 765 
'Manifesto  d'uno  nuova  impresa  di  stampare  la 
musica,  etc.*;  and  Paoluoci*s  'Arte  pratica  di 
contrapunto'  (1765)  was  printed  in  the  new 
characters.  [M.C.C.] 

FOUKTM  is  an  interval  comprising  two  whole 
tones  and  a  semitone.  It  is  caU«l  a  fourth 
because  four  notes  are  passed  through  in  going 
from  one  extreme  of  the  interval  to  the  other, 
£>r  which  reason  the  Greeks  called  it  &d  rwaa- 


FRlNZIi, 


557 


p&v — Diatessaron.  The  ratio  of  the  vibrational 
numbers  of  its  limiting  sounds  is  3  :  4.  It  is  in 
fiMt  a  perfect  consoiuuice,  though  r^;arded  as  a 
di8c<ml  in  the  old  Diatonic  style.        tC.H.H.P.] 

FRA  DIAVOLO,  OU  L'HOTELLEBIE  DE 
TERRACINE.  Op^ra  oomique  in  3  acts ;  words 
by  Scribe,  music  by  Auber.  Produced  at  the 
Opera  comique  Jan.  28,  1830;  in  London — ^in 
English,  adapted  by  Rophino  Lacy — ^at  Drury 
Lane,  Nov.  3,  1831 ;  in  Italian,  at  the  Lyceum 
by  the  Royal  Italian  Opera  July  4-1 1,  1857. 

FRANZL,  Ferdikand,  eminent  violinist  and 
oomposer,  bom  in  1770  at  Schwetsingen  in  the 
Palatinate.  He  was  a  pupil  of  his  &ther, 
Ignaz  Franzl,  and  performed,  when  only  seven 
years  of  age,  a  concerto  at  a  court-concert  in 
Mannheim,  where  he  entered  the  band  of  the 
Elector  in  1782.  From  1785  he  began  to  travel 
with  his  father.  During  a  prolonged  stay  at 
Straasbuig  he  studied  composition  under  Richter 
and  Pleyel,  and  later  under  Padre  Mattel  at 
Bologna.  He  appears  to  have  been  lees  successful 
at  Paris  than  at  Rome,  Naples,  and  Palerma 
Returned  to  Mannheim  in  1792,  he  took  O. 
Gannabich's  place  as  leader  of  the  band,  but  in 
1802  again  started  for  a  tour  to  Russia.  At 
this  period  Franzl  was  generally  acknowledged 
to  be  one  of  the  best  of  living  violin-players^ 
and  his  compositions  enjoyed  great  popularity. 
Spohr  heard  him  in  1802  at  St.  Petersburg,  and 
gives  an  interesting  account  of  him: — 'Fransl 
was  at  that  time  the  foremost  of  violin -players 
in  St.  Petersbuxg.  He  still  follows  the  old 
method  of  holding  the  violin  on  the  right  side 
of  the  tail-piece,  and  is  therefore  obliged  to  play 
with  his  head  bent  down.  [Violin.]  He  also 
lifts  the  right  arm  very  high,  and  has  a  bad 
habit  of  raising  his  eyebrows  whenever  he  plays 
something  expressive.  His  execution  is  neat  and 
dear.  In.  the  slow  movements  he  performs  a 
great  many  runs,  shakes,  and  cadenzas,  with  rare 
precision  and  distinctness;  but  as  soon  as  he 
plays  forte  his  tone  b  rough  and  unpleasant^ 
owing  to  his  drawing  the  bow  too  slowly  and  too 
close  to  the  bridge,  and  pressing  it  too  much  on 
the  string.  Quick  passages,  he  executes  with 
good  intonation  and  very  dearly,  but  invariably 
in  the  middle  of  the  bow,  and  consequently 
without  light  and  shade.*  On  a  later  occasion 
Spohr  comments  less  fiivourably  on  him,  and 
describes  both  his  style  and  his  compositions  as 
old-fiKshioned ;  but  this  only  shows  that  Franzl 
had  not  kept  pace  with  the  progress  made  in 
vioUn-playing  towards  the  end  of  the  last  and 
beginning  of  the  present  century,  and  could  not 
stand  comparison  with  the  great  masters  of  the 
Paris  school,  still  less  witii  Spohr  himself. 

In  1806  Franzl  returned  to  Munich,  and  was 
appointed  conductor  of  the  opera.  He  did  not 
however  give  up  travelling,  and  played  at  various 
times  in  Paris,  Amsterdam,  Vienna,  and  Leipzig. 
In  1823  he  made  a  second  journey  to  Italy. 
He  then  retired  to  Groneva,  but  finally  settied 
at  Mannheim,  and  died  there  in  1833.  Franzl 
was  a  fertile  composer.  He  published  8  oon- 
oertoB  and  4  conoertinoB  for  the  violin,  i  conoer- 


558 


FRlNZL, 


tante  and  3  duos  for  3  violine,  9  qaartetB  fbr 
stringB,  3  trioB  for  a  violinB  and  baai,  several 
overtures,  a  symphony,  and  a  number  of  songs. 
He  also  wrote  operas,  which  were  performed 
with  much  success  at  Munich  and  elsewhere. 
All  these  works  are  written  in  an  easy  and 
correct  style,  but,  being  without  higher  artistio 
value,  are  now  entirely  forgotten,  [P.  D.] 

FB AMBRY,  Nicolas  £tienne,  author  and 
musician,  bom  March  25,  1745  ;  when  quite 
young  was  appointed  *  Surintenduit  de  la  mu- 
sique*  to  the  Comte  d'Artois.  He  wrote  both 
words  and  music  of  'La  Sord^re  par  hasard* 
( 1 783))  <^  comic  opera,  and  of  '  Miaie*  a  prize 
libretto,  which  was  to  have  been  set  by  Saodiini, 
bad  not  his  death  intervened.  It  was  never  per- 
formed. Fnunery  was  a  skilful  adapter  of  French 
words  to  Italian  operas.  As  an  author  he  pub- 
lished— A  criticism  on  Gluck  in  the  '  Mercure ' 
for  Sept.  1776;  'Le  Musicien  pratique*  (Paris 
1 786),  a  poor  translation  of  Azopardi  s  '  II  Mu- 
fiico  prattico,'  rearranged  by  Ohoron  in  1824; 
articles  on  Haydn,  Delia-Maria^  etc. ;  besides 
editing  from  17  71  to  78  the  'Journal  de  Mxisique,* 
founded  by  Mathon-de-la-Cour  in  1764;  the 
'Calendrier  musical,*  1788-9,  a  continuation  of 
Mathon-de-laCour's 'Ahnanach  musical*  (1775); 
and  taking  part  with  Ginguen^  and  Feytou  in 
the  musi(^  dictionary  of  '  TEncydop^die  m^ 
thodique/  afterwards  completed  by  Momigny; 
and  in  ihs  ' Bictionnaire  des  beaux-arts'  of  the 
Acad^mie.  He  was  a  Gorrespondant  of  the  In- 
stitut.  After  .copyrights  had  been  recognised  by 
law  Framery  establidied  an  agency  for  enforcing 
the  rights  of  authors  throughout  France.  He 
died  in  Paris  Nov.  26, 1810,  leaving  MS.  notices 
of  Gavinibs  and  various  other  musicians.  [M.G.C.] 

FRANCESINA,  I^A,  Elisabeth  Ddparc, 
DETTA,  a  French  singer,  who  sang  for  some  years 
in  Italy,  where  she  acquired  her  sobriquet.  In 
the  autumn  of  1736  she  came  to  London,  and 
'had  the  honour  to  sing  (with  Merighi  and 
Chimenti)  before  her  majesty,  the  duke,  the 
princesses,  at  Kensington,  and  met  with  a  most 
gracious  reception ;  after  which  the  Francesina 
performed  several  dances  to  the  entire  satisfaction 
of  the  court.*  (London  Daily  Post,  Nov.  18.) 
The  aooomplishment  of  dancing,  however,  she 
does  not  seem  to  have  kept  up.  Her  name  as 
a  public  singer  is  not  found  until  Jan.  7,  173B, 
when  she  played  Clotilda  in  Handel*s  'Fara- 
mondo*  on  its  first  representation,  the  first  part 
ever  written  for  her  by  the  great  Gennan.  She 
seems  to  have  had  an  easy,  warbling,  style  of 
execution,  which  Bumey  calls  'lark-like,*  and 
pleased  both  composer  and  public.  La  Francesina 
appeared  again  in  Pesoetti  s  'Gonquista  del  Yello 
d  Oro  *  and  in  Handel's  'Serse*  that  same  year ; 
and  in  1739  she  took  part  in  'Acis,*  'Saul,* 
'Israel,'  and  'Dryden*s  Ode.*  In  1740  she  re- 
appeared in  'L' Allegro,*  and  in  'Imeneo*  by  the 
same  composer ;  the  latter  '  advertised  for  Nov. 
29,  but  deferred  for  near  a  fortnight,  on  account 
of  the  indisposition  of  Francesina.*  (Bumey.) 
On  January  10,  1741,  she  sang  in  Handel's  last 
opera '  Deidamia,*  in  which,  according  to  Bumey, 


FBANCISCELLO. 

'Nascondi  VusigwH,  which  finishes  the  first  act 
is  a  lights  airy,  pleasing  movement,  suited  to 
the  active  throat  of  the  Francedna.'  In  1741 
and  45  she  took  part  in  Handel*B  'Joseph, 
' Belshazzar,'  and  'Hercules';  she  had  quitted 
the  stage,  '  but  constantly  attached  herself  to 
Handel,  and  was  first  woman  in  his  oratorios  for 
many  years.'  (Bumey.)  She  enjoys  the  doubtful 
honour  of  having  sung  the  four  Italian  songa 
which  Handel  was  oompdUed  to  'intermix*  in 
'Israel  in  Egypt*  in  1739,  to  carry  it  over  a 
third  performance.  In  1737  her  portrait  was 
engraved  by  J.  Faber  in  mezzotint  &om  a  paint- 
ing by  George  Knapton.  It  is  a  balf-length,  and 
represents  a  pleasant,  intelligent  woman ;  she 
holds  a  book,  on  a  page  of  which  are  the  words, 
'Ua  sei  amabile  speranza,*  the  beginning,  pro- 
bably, of  one  of  her  favourite  songs.  [J.  M.] 

FRANCJHOMME,   August,    bom  at   Liile 
April  10,  1808,  learned  the  rudiments  of  the 
Oello  from  a  player  named  Mas,  entered  the  Paris 
Oonservatoire  in  March  1 8  25,  at  oxioe  attracted  tbe 
notice  of  Levasseur  and  NorbUn  the  Profe^ors, 
and  in  his  first  year  took  the  first  prize  for  his 
instrument.    He  then  joined  the  orchestra  of  the 
Ambigu-oomique,  in  27  that  of  the  Opera,  and  in 
28  fixed  himself  at  the  Theatre  des  Italiens.    In 
conjunction  with  Alard  and  Oh.  Halle  he  foimed 
an  annual  series  of  classical  quartets,  which  held 
the  highest  rank.     Franchomme  was  in  Paris  at 
the  time  of  Mendelssohn*s  visit,  in  the  winter 
of  31,  and  is  mentioned  by  Hiller  (Mendelssohn, 
19)  as  one  of  the  artists  who  most  waimly 
appreciated  him.    They  were  just  of  an  age,  and 
knowing  Mendelssohn's  predilection  fbr  the  cdlo 
it   is  not  difficult  to  believe  that  they  often 
'  made  music'  together.    He  was  very  intimate 
with  (Dhopin,  and  was  one  of  those  who  witaeseed 
his  last  sufferings  and  received  his  latest  words. 
Franchomme  has  travelled  very  little,  and  s 
visit  to  England  in  1856,  when  he  played  at  the 
Musical  Union,  appears  to  be  almoat  his  only 
journey.     He  has  been  Professor  at  the  Oon- 
servatoire since  Jan.  i,  1846.     Franchomme's 
playing    is    remarkable   for   a   command  over 
technical  difficulties  of   all    kinds,    very  pure 
intonation,  and  a  beautiful  and  expressive  sing- 
ing tone.    He  is  the  possessor  of  the  cello  of 
Duport,  said   to  be  the  finest  Stradivarius  in 
existence,    for    which    he   gave    ^1000.     His 
compositions  consist  chiefly  of  potpourris  and 
variations,   with    one  concerto.      He   has  tiso 
published  with  Ghopin  a  Duo  on  airs  from  'Bobert 
le  Diable,*  another  with  Bertini,  and  a  third 
with  our  own  Osborne.    His  Adagios  are  much 
esteemed.  [6.] 

FRANCISGELLO,  a  great  violoncellist  of  the 
early  part  of  last  centuiy,  but  of  whom  neither 
the  date  nor  place  of  biith  or  death  are  knovn, 
and  who  in  fact  would  have  left  no  trace  of  hi« 
existence  but  for  the  fiict  that  he  was  heard  by 
Quantz,  Benda,  and  Geminiani.  He  seems  to 
have  first  appeared  in  Borne  shortly  after  the 
death  of  Gorelli  (17 1 3).  He  was  at  Naples  in 
'735  i  Quantz  heard  him  there,  and  Geminiani, 
there  or  in  Bome,  was  witness  to  the  rapture 


FRAKCISCELLO. 

with  which  the  great  Aleasandro  Scarlatti  ao- 
companied  him  on  fche  harpsichorcL  In  1730  he 
was  at  Vienna,  where  F.  Benda,  then  a  young 
man,  was  ao  struck  by  his  style  as  to  say  that  it 
influenced  him  for  ever  alter.  He  is  heard  of 
afterwards  at  Grenoa,  where  he  may  have  died 
about  1750,  but  nothing  b  known.  [G.] 

FRANCXEUR,  FBAN901S,  Yiolinist  and  com- 
poser, bom  at  Paris  in  1698.  He  entered  the 
band  of  the  Opera  in  1 710,  was  for  many  years 
a  member  of  the  king's  private  band,  and  for 
some  time,  conjointly  with  R^bel,  manager  of 
the  Opera.  He  died  at  Paris  in  1787.  He 
published  two  sets  of  sonatas,  which,  according 
to  Wasielewsky,  show  considerable  progress  in 
form  and  in  trmtment  of  the  instrument,  when 
compared  with  sunilar  works  by  R^bel  and  other 
French  composers  of  the  period.  It  is  worth 
mentioning  as  a  peculiarity  of  his,  that  he  occa- 
sionally employs  the  thumb  of  the  left  hand  on 
the  fingerboard  for  taking  the  bass  note  of  a 
chord — a  proceeding  hardly  in  accordance  with 
legitimate  treatment.  He  also  composed  a  num- 
ber of  operas  conjointly  with  R^bel,  which  how- 
ever do  not  rise  above  the  level  of  the  period. 

His  son,  Louis  Joseph,  an  eminent  violinist 
and  clever  conductor,  was  bom  at  Paris  in  1738, 
and  died  in  1804.  He  was  first  leader  and  after 
wards  conductor  and  manager  of  the  Opera  and  of 
the  royal  band,  and  composed  a  numbco-  of  operas. 
He  also  published  a  treatise  on  instrumentation, 
which  F^tis  considers  a  meritorious  work.  [P.D.] 

FRANK,  Melchiob,  prolific  composer  of 
church  music  and  Lieder,  bom,  according  to 
Wetzler's  '  Lieder-Historie,'  at  Zittau  on  the 
borders  of  Saxony  and  Silesia,  lived  at  Nurem- 
berg in  1600,  and  was  Capellmeisterto  the  Duke 
of  Cobuig  at  the  time  of  his  death,  June  1,  1639. 
Gerber  gives  in  his  '  Lexicon  *  a  list  of  44  works 
by  him,  now  become  very  scarce.  He  did  much 
to  improve  the  instrumental  accompaniment  of 
songs,  a  point  to  which  littie  attention  was  paid 
before  his  day.  D<5ring  ('Ghoralkunde,'  p.  84) 
gives  a  list  of  13  of  his  Chorales  which  survived 
him,  among  which  'Jerusalem  du  hochgebaute 
Stadt'  and ' Wenn  ich  in  Todeenothen  bin*  are  still 
sung.  He  is  also  said  to  have  written  the  words 
of  several  hynms^ '  O  Jesu  wie  ist  deine  Gestalt/ 
'  Der  Braut^[am  wird  bald  mfen,'  etc.       [F.6.] 

FRANKLIN,  Benjamin,  bom  1706  at  Bos- 
ton, U.  S.,  died  at  Philadelphia  1790,  claims 
mention  here  for  his  connection  with  the  Har- 
monica, or  musical  glasses,  which  he  invented 
or  so  far  improved  as  to  make  the  instrument 
practically  available.  [Habmonioa.]  The  in- 
vention is  described  by  him  in  a  letter  to  Beccaria 
dated  London,  July  13,  1762,  and  printed  in 
Sparks's  edition  of  his  works  (vi.  245).  That 
Franklin  had  considerable  musical  fikculty  is 
evident  from  his  letters  on  Scotch  music  and  on 
the  defects  of  modem  music  (vi.  363,  269^,  which 
are  also  full  of  his  happy  mother-wit.    [M.  C.  C] 

FRANZ,  Kabl,  phtyer  on  the  French  hom 
(Wuldhom)  and  the  Baryton ;  bom  in  1 738 
at  Langenbielaa  in  Silesia.    His  first  post  was 


FRANZ. 


559 


under  the  Archbishop  of  Olmutz  in  1758;  his 
next  under  Prince  Nicholas  Esterhazy  at  Eisen- 
stadt,  where  he  remained  from  1763  to  the  end 
of  76.  His  adoption  of  so  difficult  an  instrument 
as  the  baryton  probably  arose  from  the  fad  that 
the  Prince  hiinself  played  it»  and  that  Haydn 
composed  much  for  it  for  his  use.  At  any  rate 
Franz  played  it  very  finely,  and  on  leaving  the 
Eisenstadt  band  made  several  tours,  in  which 
his  performance  on  it  excited  the  greatest  enthu- 
siasm. Like  Abel  with  the  gamba,  Franz  was 
accustomed  to  call  the  baryton  the  king  of 
instruments.  In  1787  we  find  him  established 
in  Munich  as  '  Kammermusikus,'  and  he  died 
there  in  180a.  That  he  was  greatiy  esteemed 
by  Haydn  is  proved  by  a  cantata  for  voice  and 
baryton,  composed  by  that  master  for  him,  and 
which  he  performed  on  his  tours,  singing  and 
accompanying  himselfl  The  cantata  was  written 
k  propos  to  the  death  of  Frederick  the  Great, 
and  begins  '  Er  ist  nicht  mehr  1  Ton*  trauemd, 
Baryton  1'  [C.F.P.] 

FRANZ,  Robert,  bom  June  28,  181 5,  at 
Halle,  Handel's  birthplace,  is  the  most  important 
living  representative  of  the  Grerman  Lied.  His 
reputation  has  been  of  tardy  growth,  and  has 
apparentiy  not  yet  reached  its  height.  It  can 
however  be  asserted,  without  fear  of  dissent  from 
any  competent  judge,  that  his  best  songs 
will  stand  their  ground  by  the  side  of  those  of 
Schubert  and  Schumann,  to  which  they  are 
closely  related.  Over  and  above  their  uniform 
and  elaborate  perfection  of  workmanship,  in 
which  it  is  difficult  to  equal  and  impossible  to 
surpass  them,  they  have  a  peculiar  physiognomy 
and  subtie  charm  of  their  own  that  is  sure  to 
endear  them  to  singers  and  players  able  to  deal 
with  them  at  all.  It  is  true  that  they  have 
hitherto  been  'caviare  to  the  general,*  uid  are 
likely  to  remain  so  for  some  time,  and  that '  the 
general,*  as  Franz  has  found  to  his  cost,  indudef 
the  majority  of  professed  vocalists  and  pianists. 

I^earer  akin  to  the  warm  but  contemplative 
enthusiasm  of  Schumann  than  to  the  passionate 
spontaneity  of  Schubert^  Franz's  songs  are  any- 
thing but  cold,  nor  do  they  in  any  case  smell 
of  the  lamp;  they  are  reticent  rather  than  out- 
spoken, timid  rather  than  bold,  pathetic  with- 
out conscious  pathos,  eloquent  without  studied 
rhetoric;  always  true,  giving  more  than  they 
seem  to  give,  saying  more  than  they  seem  to  say ; 
frequentiy  naif  yet  far  from  trivial,  here  and 
there  profound,  rarely  ecstatic  or  voluptuous,  not 
once  perverse  or  dry  or  oonunonplaoe.  All  forms 
and  phases  of  lyrical  speech,  as  lar  as  the  German 
language,  pecuharly  rich  in  songs,  has  been  able 
to  fumuh  the  groundwork — from  Luther's  sturdy 
hymns  to  the  love-ditties  of  Heine,  from  the 
primitive  weal  and  woe  of  huntsman  and  soldier, 
the  simple  sounds  of  forest  and  field,  to  the 
classic  finish  and  spring-like  grace  of  Goethe 
and  the  nocturnal  melancholy  of  Lenau — Robert 
Franz  has  set  and  sung.  Without  touching  the 
highest  heavens  or  deepest  depths,  he  has  illus- 
trated with  his  music  the  entire  world  of  Qemian 
lyrical  poetry. 


560 


FRANZ. 


If  Sdhubert  at  his  best  grapps  a  poem  with  the 
Intense  grip  of  a  dramatist,  and  sings  as  though 
he  struck  up  from  the  centre  of  some  dramatic 
dtuation ;  if  Schumann  declaims  his  verse  like  a 
perfect  reader,  or  illuminates  it  as  an  imaginative 
draughtsman  might  grace  the  margin  of  some 
precious  book,  or  dreams  over  it  as  a  tender  and 
profound  musician  is  prone  to  dream  over  some 
inexpressible  sentiment, — Franz  pursues  a  path 
of  his  own ;  he  trantlcUei  the  poem  into  music, 
that  is  to  say,  he  depicts  in  musical  outlines  the 
exact  emotional  state  from  which  it  appears  to 
have  sprung ;  and  contrives  to  reproduce  closely, 
with  photographic  truth,  the  very  essence  of  the 
poem,  following  sMotly  in  the  wake  of  the  poet^s 
form  and  diction.  Franz  never  repeats  a  word 
or  a  line,  never  garbles  the  sense  of  a  sentence, 
never  muddles  a  phrase  or  mars  any  rhythmical 
emphasis.  Without  Sohubert*s  dramatic  passion, 
or  Schumann's  oonoentrated  heat  or  ecstatic 
sentiment,  with  far  lees  specifically  musical  in- 
vention— melodic,  harmonic,  or  rhythmic — than 
Schubert,  or  even-  than  Schumann,  Franz  im- 
presses one  nevertheless  as  a  rare  master — a 
marked  individuality,  complete  and  perfect  in 
its  way. 

The  son  of  a  respectable  citizen  of  Halle, 
Bobert  Franz  had  &ir  opportunities  of  getting  a 
good  schooling,  and  might  have  gone  through  the 
regular  university  curriculum  if  it  had  not  been 
for  his  strong  musical  predilections.  He  had  to 
gratify  his  taste  fur  music  on  the  sly,  and  it  was 
only  after  years  of  delay  and  much  against  the 
grain  that  his  parents  could  be  brought  to  see 
that  he  was  destined  to  be  a  musician.  As  a 
lad  he  had  contrived  to  play  the  pianoforte  and 
organ  enough  to  be  able  to  act  as  aooompanyist 
in  the  choral  works  of  Handel,  Hayohi  and 
Mozart.  In  1855  he  obtained  the  consent  of  his 
parents  to  make  a  trial  of  his  musical  gifts  as 
pupil  of  Schneider  at  Dessau.  There  he  continued 
for  two  years,  playing,  studying  harmony  and 
counterpoint,  and  making  ambitious  attempts  at 
composition,  all  of  wldch  he  afterwards  de- 
■troyed. 

On  his  return  to  Halle  as  the  black  dieep  of 
the  fiunily,  with  whom  his  mother  alone  had 
any  sympathy,  Franz  vegetated  in  a  dreary 
manner  for  some  six  years,  unable  to  get  any 
sort  of  musical  employment,  yet  obstinately  unfit 
for  anything  else.  But  he  made  good  use  of  his 
time,  studying  Bach,  Beethoven  and  Schubert. 
In'  1843  he  published  his  first  set  of  twelve 
songs,  which  at  once  attracted  the  attention  of 
Schumann  (Neue  Zeitschrift,  July  31),  whose 
fiimkly  expressed  admiration  was  soon  shared 
by  Mendelfflohn,  Gade,  Liszt,  and  other  eminent 
masters.  At  length  the  authorities  at  Halle 
thought  fit  to  appoint  Franz  organist  at  the 
XJlrichskirche,  and  conductor  of  the  *  Sing-acade- 
mie*;  and  in  due  course  of  time  he  obtained 
the  titles  of  'Kdniglicher  Musikdirector '  and 
doctor  of  music,  which  latter  title  was  offared  by 
the  University  of  Halle,  on  his  lecturing  to  its 
students  on  musical  subjects.  Unfortunately  as 
early  as  1841   his  sense  of  hearing  began  to 


FRASCHINI. 

decline,  his  troubles  were  aggravated  by  serioos 
nervous  disorders  in  1853,  and  became  so  grave 
that  in  1868  he  had  to  relinquish  his  employ 
ments,  and  give  up  writing  altogether.  The 
distressing  pecuniary  difficulties  which  arose  in 
consequence  were,  however,  effectually  overK«ae 
by  the  generous  exertions  of  lAazt,  JoaefaiiO) 
fVau  HelenO  Magnus,  and  others,  who  in  187a 
got  up  ooDoerts  for  Franz's  benefit^  and  realised 
a  sum  of  £5000. 

In  his  latter  years  Franz  has  devoted  muck 
time  to  editing  and  arranging  the  works  of  Bach 
and  Handel,  by  furnishing  proper  pol)rpho&ie 
aooompaniments  in  cases  where  the  oomposer's 
intentions  are  only  indicated  by  a  figured  baaa^ 
rewriting  the  part  sketched  for  the  ocgan  for  a 
group  of  wind  instruments,  so  as  to  facilitate 
performance  in  concert  rooms,  supplying  proper 
substitutes  for  parts  written  for  obstdete  instrth- 
ments,  ete.  Detailed  critical  essays  upon  and 
about  Robert  Franz's  songs  and  arrangementd, 
have  been  published  by  Saran,  Scfaaffer,  Ambroa» 
Hueffer  and  Liszt,  of  which  the  first  and  last  are 
the  most  important. 

Franz*s  own  contributions  to  the  literature  of 
music  are  : — '  Mittheilungen  iiber*  J.  S.  Bach's 
Magnificat'  (Halle  1863);  and  'Offener  Brief 
an  Eduard  Hanslick  tiber  Bearbeitungen  alterer 
Tonwerke,  namentlich  Bach'scher  and  HindelV 
cher  Vocalmusik*  (Leipzig  1871).  His  con>- 
positions  and  arrangements  consist  of  357  songs 
for  a  single  voice  with  {nanoforte  aooompanimenl, 
in  45  sets;  a  Kyrie,  k  capella,  for  four-part 
chorus  and  solo  voices ;  the  1 1 7th  Psalm,  a 
capeUa,  for  double  choir  in  8  parts,  and  a  liturgy 
for  the  evangelical  service ;  6  chorsJes ;  four-port 
songs  for  mixed  voices,  and  6  ditto  for  male 
chorus.  His  arrangements  are  as  follows : — 
Of  Sebastian  Bach — ^the  Passion  asoording  to 
St.  Matthew ;  Magnificat  in  D ;  Trauerode ;  10 
cantatas ;  6  duets  and  numerous  arias.  Of  Han- 
del— ^the  Jubilate ;  L' Allegro  il  Penseroeo  ed  il 
Moderato ;  24  operatic  arias  and  i  a  duets ; 
Astorga^s  Stabat  Mater;  and  Durante's  Mag- 
nificat. Of  Mendelssohn — a  Hebrew  melody  for 
pianoand  violin ;  6twoandfour-partsong8arTBiiged 
for  one  voice  with  piano ;  Mozart^s  quintets  in  C 
minor  and  major,and  Schubert's  quartot  in  D  mmor, 
transcribed  for  piano  k  4  mains.  (1878.)   [E.D.] 

FRASCHINI,  Gaetano,  was  bom  at  Pavia 
in  1 81 5.  Originally  intended  for  the  study  of 
medicine,  he  soon  found  himself  possessed  of  a 
most  powerful  tenor  voice,  and  devoted  himseff 
to  its  cultivation.  Having  received  some  in- 
struction firom  a  master  named  Moretti,  he  made 
his  first  attempt  (1837)  in  the  cathecM  of  his 
native  city,  and  was  inunediately  engaged  to  sing 
the  second  tenor  rOle  in  'Belisario'  at  Pavi% 
and  Rodrigo  in  *  Otello '  at  the  fair  at  Bei^raroo. 
In  1840  he  sang  at  Milan ;  and  fi:om  thence  went 
to  Naples,  where  he  remained  several  yean 
attached  to  the  Opera.  Fdtis  heard  him  there  in 
1 841,  and  admired  his  voice,  and  the  bold  style 
in  which  he  attacked  the  most  difficult  notes; 
nine  years  later  he  heard  him  again  at  Bergamo^ 
and  found  to  his   smprise  not  only  thi^  lus 


FBASCHINI, 

energy  and  purity  of  tone  were  undiminished, 
in  spite  of  the  violence  of  the  music  which  he 
bad  been  executing  during  that  period,  but 
that  he  had  learned  to  sing  better  than  before. 
Fraschini  visited  Bologna,  Venice,  Turin,  Padua, 
Yicenza,  London,  and  Vienna;  and  sang  fre< 
qaently  at  the  later  place  down  to  185  a  witii 
constant  snccess.  In  1847  he  made  his  ddbut 
at  Her  Majesty's  Theatre.  '  Though  originally 
gifted  with  greater  vocal  power'  than  another 
linger,  says  Mr.  Ghorley, '  Signer  Fraschini  was 
]&a  fortunate ....  The  new-comer,  naturally 
anxious  to  recommend  himself  by  the  arts  which 
bad  deli|^ted  his  own  people,  seemed  to  become 
more^and  more  violent  in  proportion  as  the  ''sen* 
sation  '*  fiuled  to  be  excited.  But  he  **  piled  up 
the  agony,**  forte  on  forte,  in  vain.'  Continued 
to  appear  till  a  recent  date,  and  now  (1878) 
lives  at  Pavia,  where  the  theatre  is  called  after 
him,  Teatio  Fraschini.  [J.  M.] 

FRASI^  GiULiA,  appeared  in  London  in  1 743 
with  Galli,  and  remained  in  public  favour  for 
many  years.  '  She  was  young  and  interesting  in 
person,  with  a  sweet,  clear  voice  and  a  smooth 
and  chaste  style  of  singing,  which,  though  cold 
and  unimpassioned,  pleased  natural  ears  and 
escaped  the  censure  of  critics '  (Bumey).  She 
took  part  that  year  in  the  revival  of  Handel's 
'Alessandro,'  and  iii  the  first  performance  of 
Galuppi's  *  Enrico.'  Her  instructor  was  a  musi- 
cian named  Brivio ;  but  she  doubtless  owed  much 
more  of  the  formation  of  her  taste  and  style  to 
Handel  and  his  singers,  than  to  her  first  master. 
In  1746  she  was  stSl  in  an  inferior  position,  but 
in  48  played  a  more  important  part  in  the 
pasticdo  '  Ludo  Vero,'  in  operas  by  Hassd,  and 
in  the  comic  operas  instituted  by  Croza.  Frasi, 
however,  now  entered  on  a  career  which  will 
do  more  to  render  her  memory  lasting  than  any 
snail  suoceases  she  ever  achieved  in  opera.  In 
1749  she  sang  in  Handel*s  Oratorios  for  the 
first  time,  taking  part  in  'Solomon*  and  'Sas- 
anna*;  die  sang  in  'Theodora'  in  1750,  in 
'Jephtba'  in  52,  in  'Joshua'  at  Oxford  in  56, 
and  in  the  ' Triumph  of  Time  and  Truth'  in  57. 
She  did  not,  meanwhile,  sever  her  connection 
with  the  stage,  but  appeared  in  1750  in  Ciampf  s 
'Adriano  in  Siria'  and  Pergolesi's  'Serva  Pa- 
drona.*  In  1755  Frasi  was  called  upon,  in 
consequence  of  Uie  indisposition  of  Mingotti,  to 
perform  her  port  in  Jomelli*s  'Andromaca,*  as 
ahe  had  been  twice  in  '  Biccimero,*  the  preceding 
season.  Smith's  '  Fairies  *  in  this  year  owed  its 
success  principally  to  Guadagni  and  Frasi.  At 
her  house  Dr.  Bumey  at  that  time  'attended 
her  as  her  master.*  In  1758  she  appeared  in 
'Issipile*  by  G.  Cocchi.  She  sang  also  in  the 
City  at  both  the  Swan  and  Castle  concerts. 

Dr.  Bumey  relates  that '  when  Frasi  told  him 
[Handel],  that  she  should  study  hard,  and  was 
going  to  learn  Tharough-Base,  in  order  to  ac- 
company herself :  Handel,  who  well  knew  how 
little  this  pleasing  singer  was  addicted  to  appli- 
cation and  diligence,  said,  '  Oh — vaat  may  we 
not  expect  !*  There  is  a  portrait  of  Frasi,  in 
mezzotint  (folio),  in  which  she  is  turned  to  the 


FREDERIC  THE  GREAT. 


561 


left,  singing  from  a  sheet  of  music  held  in  tx>th 
hands,  on  which  is  engraved  a  song  beginning 
with  the  words  '  Voi  amante  che  vedete.*  It  has 
neither  name  nor  date,  and  is  very  rare.  [J.  M.] 

FRATESANTI.  Signoba,  the  name  of  asinger 
who  performed  the  part  of  Clito,  formerly  sung 
by  Boechi  or  Montagnana,  both  basses,  in  Han* 
del*s  'Alessandro,'  revived  in  1743.  Nothing 
else  is  known  of  her.  [J.  M.] 

FREDERIC  THE  ORSAT  (Friedrich  n.),  king 
of  Prussia,  a  distinguished  amateur,  bom  at 
Berlin,  Jan.  24,  1712,  died  at  Sans-Soud  near 
Potsdam,  A  ug.  1 7, 1 786.  He  passionately  admired 
German  music  while  detesting  that  of  Italy  and 
especially  of  France,  which  was  the  more  re- 
markable from  his  well-known  love  of  French 
literature.  He  said  on  one  occasion,  *  la  musique 
fran9aise  ne  vaut  rien.'  His  first  musical  in- 
structor when  Crown  Prince  was  Grottlob  Hayne 
the  cathedral  organist,  for  whom  he  always 
retained  a  regard,  and  who  presented  him  with 
a  composition  every  year  on  his  birthday.  In 
1728  he  began  to  learn  the  flute  from  Quantz, 
who  was  a  strict  master,  while  Frederic  was  a 
docile  pupil.  [Quaittz.]  He  was  afterwards, 
however,  compelled  to  study  in  secret,  as  his 
£ather,  Frederic  William  I,  considered  music  an 
efieminate  pastime,  and  declined  to  allow  him 
instructors  or  musicians  of  any  kind.  He  was 
therefore  driven  to  engage  musical  servants,  and 
often  played  duets  with  his  valet  Fredersdor^ 
uDtil  he  was  able  in  1 734  to  have  a  private  band 
at  his  own  castle  of  Reinsberg.  On  his  acces- 
sion to  thcf  throne  in  1740,  he  established  a 
court-band  at  Berlin,  and  sent  Graun  to  Italy 
to  engage  singers.  [Gbaun.I  He  also  had 
designs  made  for  a  new  opera-house,  which  was 
opened  Dec.  7,  1742.  An  amusing  account  of 
his  difficulties  with  Barberina  the  ballet  dancer 
will  be  found  in  Carlyle  (Bk.  xiv.  chap.  8). 
His  expenditure  on  music  was  lavish,  though  it 
has  been  exaggerated.  Quantz's  salary  amounted 
to  2000  thalers,  besides  25  ducats  for  each  of  his 
compositions  for  flute  solo,  and  100  ducats  for 
every  flute  he  made  for  llie  king.  According 
to  Reichardt,  Frederic  practised  perseveringly, 
playing  the  flute  four  times  a  day.  It  is  in 
one  of  these  eager  practisings  ukat  G^rome 
has  represented  him  in  an  admirable  picture. 
Quantz  died  in  1773  while  composing  his  300th 
concerto  for  the  kii^,  who  completed  the  work. 
Fredericks  execution  of  an  Adagio  is  said  by 
Fasch  to  have  been  masterly,  but  in  quick 
movements  he  betrayed  a  want  of  practice,  and 
in  matter  of  time  his  playing  was  so  impulsive 
and  irregular,  that  to  accompany  him  was  an  art 
in  itself.  In  later  years  he  again  took  up  the 
clavier,  not  having  sufficient  breath,  it  is  stated, 
for  the  flute.  He  invited  Sebastian  Bach  to 
Potsdam,  and  the  visit,  of  which  Forkel  gives 
an  account,  and  the  result  of  which  was  Bach's 
'  Musikalisches  Opfer,'  took  place  on  April  7, 
1747.  He  particularly  admired  Silbermann's 
pianofortes,  and  bought  all  he  could  hear  of,  to 
the  number,  according  to  Forkel,  of  15.  One  of 
these  is  perhaps  still  to  be  seen  in  the  Sohkes  at 

0  o 


562 


FREDERIC  THE  GREAT. 


Potsdam.  Frederic  wai  aIbo  a  cMnposer.  The 
Hohenfiriedberg  March  was  nominally  by  him, 
as  wdl  as  a  march  inserted  in  Leasing's  play, 
'Minna  von  Bamhelm.*  He  also  composed  a 
'Sinfonia'  for  'Galatea  ed  Acide*  and  one  for 
'D  Rb  pastore';  an  Aria  for  'B  trionfo  della 
fedeltk*;  another  for  Graan*B  'Goriolano*  (of 
which  he  wrote  the  libretto)  ;  and  added  fioritm« 
fbr  Hubert  the  singer  to  an  air  in  Hasse's  'Cleo> 
file.*  In  1835  a  search  was  instituted  by  King 
Frederic  WiUiam  III,  tfnd  1 20  pieces  composed 
by  Frederic  the  Great  were  found,  but  they  were 
interesting  only  from  their  history,  and  not 
suited  for  publication.  He  had  an  eve  to  the 
improvement  of  the  singing  in  the  pubhc  schools, 
and  an  official  decree  <^  his,  dated  Oct.  x8, 1 746, 
contains  the  following  passage :  'Having received 
manv  complaints  of  the  decline  in  the  art  of 
■ingug,  and  the  neglect  of  it  in  our  gymnasiums 
and  schools.  His  Majesty  commands  that  the 
young  people  in  all  public  schools  and  gymna- 
siums snaU  be  exercised  more  diligently  Uierein, 
and  to  that  end  shall  have  singing-lessons  three 
times  a  week ' — a  command  which  has  doubtless 
materially  contributed  to  the  prevalence  of  music 
in  Grermany.     (See  '  Frledrich  d.  G.  als  Kenner 

nnd  Dilettant' by  C.  F.  Muller,  Potsdam, 

1847.)  [F.G.] 

FREE  REED.  Organ  stops  of  the  Free-reed 
class  are  more  frequently  made  by  continental 
than  by  English  artists.  The  sound-producing 
part  of  a  pipe  of  this  species  is  formed  thus : — A 
surfiEM)e  of  metal  or  wood  has  a  vertical  opening 
made  through  it  as  a  passage  for  the  wind :  in 
front  of  this  a  strip  or  tongue  of  metal — in  some 
hirge  examples  wood — ^is  adjusted,  fiurtened  at 
the  upper  end  and  left  at  liberty  at  the  lower, 
which  is  so  slightly  smaller  than  the  opening  as 
almost  exactly  to  fit  into  it.  This  tongue  is  bv 
the  current  of  air  carried  a  short  way  through 
the  opening,  when  it  springs  back  from  its  own 
elasticity ;  and  the  sound  results  from  the 
periodical  and  regular  beats  which  the  tongue, 
vibrating  to  and  fro,  imparts  to  the  passing  air. 
The  '  vibrators*  of  a  harmonium  are  really  fr-ee 
reeds;  but  in  the  case  of  an  oigan-pipe  the 
tongue  is  furnished  with  a  tube,  which,  upon  the 
principle  of  a  speaking-trumpet,  greatly  augments 
and  amplifies  the  sound  i^oduoed.  There  are 
some  free-reed  16-  and  3a-feet  posaunes  in  the 
pedal  organ  of  Schulze's  fine  instrument  at  Don- 
caster  parish  church.  [£.  J.  H.] 

FREGE,  Madamb  (n^  Livia  G^hard),  was 
bom  at  Grera,  June  13,  181 8,  received  her  musi- 
cal education  at  Leipzig,  and  was  taught  to  sing 
by  Pohlenz.  She  made  her  first  appearance  in 
public  on  July  9,  1832,  when  just  entering  her 
15th  year,  at  a  concert  given  at  the  Gewandhaus 
by  the  still  more  juvenile  Clara  Wieck,  then 
only  13.  She  had  at  that  time  a  cultivated 
voice  of  lovely  quality,  especially  in  the  upper 
register,  perfect  intonation,  and  good  style.  She  ' 
was  enga^fed  for  the  next  series  of  Gewandhaus 
Concerts,  and  began  with  a  very  large  repertoire, 
as  is  evident  firom  the  pieces  ascribed  to  her  in 


FRENCH  HORN. 

the  reports  of  the  concerts.  She  first  ^ipeared 
on  the  stage  at  Leipzig,  in  Jessonda,  in  March 
1833.  A  residence  in  Dresden  enabled  her  to 
profit  by  the  example  and  advice  of  Schroder 
l>evrient.  In  35  she  entered  the  regular  o^m- 
pany  of  the  theatre  royal  of  Berlin.  After 
delighting  the  public  by  a  large  range  d  chsrac- 
ten,  in  which  her  acting  was  equal  to  her  singing, 
she  made  her  last  appearance  on  June  25, 1S36 
(as  Elvira),  and  left  the  boards  to  be  married  to 
Dr.  Frege  of  Leipsic.  Since  that  time  she  has 
sung  oidy  at  concerts.  Her  house  has  alwavB 
been  a  centre  of  the  best  music.  She  had  s 
singing  society  there  of  50  voices,  with  a  select 
band,  led  by  David,  and  conducted  by  I^nge, 
at  which  ue  best  and  least  known  mosic, 
old  and  new,  was  performed  in  perfection.  Men- 
delssohn was  her  intimate  finend,  often  con- 
sulted her  on  his  music,  and  took  hear  his  toogs 
to  try  before  making  them  public.  *  Yoa  don  t 
know  my  songs,'  said  he  to  a  friend  in  London; 
'  come  to  Leipzig  and  hear  Mme.  Trege,  and  yon 
will  understand  what  I  intended  them  to  be.' 
A  letter  to  the  'Fran  Doctorin  Frege:  dated 
London,  Aug.  31,  1S46,  and  describing  the  fint 
performance  of  '  Elijah,'  is  printed  in  tiie  second 
volume  of  his  Letters.  It  was  at  her  house,  on 
Oct.  9, 1847,  in  trying  over  the  songs  which  fonn 
op.  71,  that  he  was  struck  with  the  first  of  the 
attacks  which  ended  in  his  death  on  Nov.  4. 

Mme.  Frege's  characteristics  were  delicacy  and 
refinement — ^not  a  large  voice,  but  a  great  power 
of  expression  in  singing  her  words,  a  perfect  style, 
and  Uie  highest  musicad  intelligenoe.  [G.] 

FREISCHUTZ.^  DER.  Romantic  open  in 
3  acts,  words  by  Kind,  music  by  Weber  (bis  8th 
opera) ;  completed,  as  '  Die  JagersbrauV  May 
13,  1820.  I^oduced  at  Berlin  June  18,  1821; 
at  Paris  as  '  Robin  des  Bois,'  with  new  libretto 
by  Castile  Blaze  and  Sauvage,  and  many  changes,* 
at  Odeon,  Dec.  7,  1824,  but  with  accurate  trans- 
lation by  Pacini,  and  recitatives  by  Berlioz,  at 
Acad<Smie  royale,  June  7,  1841,  as  'Le  Franc 
Archer.*  In  London,  as  '  Der  FreischQtz,  or  the 
seventh  bullet,' by  Hawes,  at  English  Opera-hoase, 
with  many  ballads  inserted,  July  32,  1824;  in 
Italian  as  '  II  Franco  ardero,'  at  Covent  Garden, 
March  16,  1850  (recitatives  by  Co6t%  not  by 
Berlioz) ;  in  German,  at  King's  Theatre,  May  9, 
1832. 

FRENCH  HORN.  The  designation  of 
'French'  is  commonly  added  to  the  name  of 
the  orchestral  Horn,  firom  the  fact  that  adicolar 
instrument  of  this  nature,  without  crooks  or 
other  appliances,  was,  and  still  is,  used  in  France 
for  hunting.  It  is  carried  over  one  should^, 
and  beneadi  the  arm  of  the  other  dde,  usually 
on  horseback.  The  great  length  of  tube  enables 
a  long  series  of  harmonic  sounds  to  be  obtained ; 

I  ri«l-«difltt,MytlMdlettoiiArlM,Bft««-iiiulamaii,oiMiiliodm(i 
iritb  eburnad  buUsta.    Iliera  ia  do  equlvvleot  Eogliah  tenn. 

s  'AnurinA'  b  Berikn's  word  for  thb  outngoous  prooredtef  (no 
ihwaUrhy  In  Fnoee,  nor  lodead  In  London,  balf  n  etntmj  ago),  hj 
which  he  ftates  that  Ocatfl*  Blue  made  mora  than  lOO^tJOO  ftinc* 
(ll^oMjtrM  de  Berlfcn,  67. 61 ).  Then  were  DtTertteemenU  mate  np  of 
Uh  Dance  muilc  In  Pradoia  and  Oberon.  and  of  the  lOTttatko  to  the 
Walte  Mored  bgr  Barllac  tor  ttm  purpoMi 


Lted  or  I 

irth  of    <B)        I      I 

2T'T»riT«      ^         b-r- 


FRENCH  HORN. 

•od  theae,  arganised into  'calls'  or  ngnals,  serre  ' 
to  direct  the  order  of  the  chase.  At  the  firvt 
introductioii  of  the  Horn  into  the  Orchestra  it 
was  much  objected  to  on  this  account ;  and  its 
tones  were  considered  coarse  and  boisterous,  only 
fit  for  the  open  «ir  and  for  woodland  pastimes. 
[HORW.]  [W.H.S.] 

FRENCH  SIXTH.    The  name  fbimerly  used 
for  the  chord  of  the  Augmented  or 
extreme  sixth,  when  accompanied  by 
the  thizd  and  augmented  fourth 
its  bass.  [See  Sixth;  Gbbman  Sixth  ;     ^      ^ 
Italian  Sixth.]  [C.H.H.P.]  T 

FRESOOBALDI,  Gibolamo,  the  most  dis- 
tinguished organist  of  the  17th  century,  bom  at 
Ferrara  1587  or  8,  as  is  conjectured  from  the 
date  on  his  fir8t.compo8ition — 1608.  He  studied 
under  Alessandro  Milleville,  also  a  native  of 
Ferrara.  Quadrio  tells  us  that  he  possessed  a 
siDgularly  beautiful  voice ;  and  it  is  certain  that 
wMle  still  a  youth  he  enjoyed  a  great  reputation 
both  as  singer  and  organist.  In  1608  he  was  at 
Antwerp,  as  he  dates  from  there  the  preface  to 
his  first  book  of  5 -part  Madrigals  (Antwerp,  Pha- 
lesio)  dedicated  to  Guido  Bentivoglio,  Archbishop 
of  Rhodes ;  but  he  must  have  quiddy  returned 
to  Italy,  as  his  second  book  was  published  at 
Milan  in  the  same  year.  In  1614  he  was  in 
Borne,  and  by  the  following  year  was  regular 
organist  at  St.  Peter's.  His  first  performance 
there  attracted,  according  to  Baini,  an  audience 
of  30,000  persons.  Froberger  was  his  pupil  from 
Bept.  30,  1637,  to  April  1641,  and  thus  the  noble 
style  of  his  organ  playing  was  handed  on  to  other 
schools.     The  date  of  his  death  is  unknown. 

Freacobaldrs  compositions  are  important,  and 
give  ns  a  high  idea  of  his  powers.  He  was  the 
first  to  play  tonal  fugues  on  the  organ,  if  we 
except  Samuel  Scheidt,  a  Grerman  contemporary 
but  little  known.  His  works  comprise,  besides 
the  two  named  abore— '  Rioercari  e  canzoni 
francesi'  (Rome,  Borboni,  1615) ;  'Toccate  . . .  e 
partite  d'intavolatura'  (1613-27-37-57);  *Se- 
condo  libro  di  toocate  etc.*  (Riome  1616);  'Primo 
hbro  delle  canzoni  a  i,  2, 3,  4  voci '  (Rome  1628) ; 
'Primo  libro,  Arie  musicali*  (Florence  1630); 
'Fiori  musicali,'  op.  12  (Rome  1635);  and  'Ca- 
priod  sopra  divend  sogetid'  (Rome  1627,  Venice 
1626).  An  extract  book  of  Dr.  Bumey's  in  the 
British  Museum  (Add.  MSS.  11,588)  contains  a 
copy  of  the  first  of  these  works.  A  Canzona  for 
the  organ  w31  be  found  in  Hawkins  (chap.  130), 
and  many  other  pieces  in  Conmier's  'Musica 
sacra,'  and  '  Collection  des  compositions,'  etc.,  and 
F.  Riegl's  'Praxis  Organoedi'  (1869).        [F.G.] 

FRETS  (Fr.  Les  tons ;  Ital.  Tasto ;  Ger.  Bunde, 
Bwnde,  Tcmbunde,  Bander,  Oriffe,  Bundsteg). 
On  stringed  instruments  that  have  fingerboards, 
like  the  lute  or  guitar,  the  small  pieces  of  wood 
or  other  material  fixed  transversely  on  the  finger- 
board at  r^^ular  intervab  are  called  frets.  The 
object  they  serve  is  to  mark  ofiT  the  length  of 
B^ng  required  to  produce  a  given  note.  Pressure 
upon  a  string  immediately  above  a  fr^t  makes 
at  the  point  of  contact  of  string  and  fret  a 


FRETS, 


563 


temporary  'nut,'  and  the  string,  set  in  motion  as 
fiur  as  the  bridge  on  the  soundboard  by  plucking 
with  plectrum  or  finger,  or  bowing,  gives  a 
higher  note  in  proportion  to  the  shortening  of 
the  string.  Frets  therefore  correspond  in  their  use 
with  the  holes  in  the  tube  of  a  wind  instrument. 

The  use  of  fr^fcs  to  give  certainty  to  the  fingers 
in  stopping  the  notes  required  is  of  great  anti* 
quity,  the  Chinese  in  a  remote  age  having  had 
moveable  frets  for  the  strings  of  their  Chd.  The 
Hindu  Vina,  a  fingerboard  instrument  with  nine- 
teen fi«ts,  is  of  divine  and  therefore  remote 
origin.  And  the  Egyptians,  as  may  be  seen  in 
the  British  Museum,  depicted  by  themselves 
about  the  time  of  Moses,  had  either  frets  or 
coloured  lines  serving  A  like  purpose  on  the 
fingerboards  of  their  lutes.  In  the  present  day 
the  Balaika  of  the  Russian  country  people  has 
coloured  lines  that  serve  for  frets.  It  is  most 
likely  that  the  use  of  frets  came  into  Europe 
through  Spain  and  Southern  France  from  the 
Arabs.  In  the  Middle  Ages  bow  instruments 
had  them,  as  weU  as  those  played  with  plectrum 
or  finger.  The  Rebec,  the  Yiols  da  gamba,  da 
braccio,  d'amore,  the  Italian  Lire,  Lirone,  all 
had  them.  But  the  French  Gique  of  the  12th- 
14th  centuries,  like  our  modem  fiddles,  had  none. 
In  the  modem  highly-developed  technic  they 
would  be  an  impediment,  and  the  feeling  for 
temperament  has  only  been  satisfied  by  their 
rejection.  In  lutes,  guitars,  and  zithers,  how- 
ever, they  are  retained.  In  performance  the  end 
of  the  finger  must  be  placed  immediately  above 
the  fr^  and  not  upon  it,  as  vibration  would  be 
interfered  with ;  while  if  too  much  above,  the 
string  would  jar  upon  the  fr«t. 

The  fingerboard  has  been  dififerently  divided 
in  different  epochs  and  countries  according  to 
the  scale -system  prevailing.  In  Persia  and 
Arabia  there  would  be  smaller  division  than  our 
chromatic,  third  tones  as  well  as  half.  To  mark 
off  the  hemitonic  division,  the  eighteenth  part  of 
the  length  of  the  string  to  the  bridge  must  be 
measur^  off  from  the  nut  or  ledge  at  the  top  of 
the  fingerboard  over  which  the  strings  pass — ^in 
Italian  capo  tasto,  'head  fret.'  [Capo  Tasto.] 
This  gives  the  place  to  fix  the  first  fret.  Another 
eighteenth  from  this  fret  to  the  bridge  gives  the 
place  of  the  second,  and  so  on  until  the  division 
is  complete.  The  method  implies  a  nearly  equal 
temperament  and  uniform  tension,  but  in  prac- 
tice there  is  room  for  some  modification  by  the 
finger.  High  frets  demand  a  greater  finger  pres- 
sure, and  slightly  sharpen  the  pitch  of  the  notes. 
To  correct  this  the  frets  must  be  shifted  towards 
the  nut.  The  Hindu  usee  finger  pressure,  or  in 
other  words,  greater  tension,  to  get  his  half-tones 
from  a  diatonic  fret  system.  To  the  instrument 
maker  the  disposition  of  the  frets  is  a  difi&cult 
task,  requiring  nice  adjustment.  On  the  side 
that  the  strings  are  thicker  the  frets  should  be 
higher,  and  the  fingerboard  must  be  concave  in 
the  direction  of  its  length  to  allow  the  thicker 
strings  to  vibrate.  The  frets  are  gradually 
lowered  as  they  descend  towards  the  bridge,  the 
dianterelle,  or  melody -string,  having  often  a 

Oe2 


564 


FRETS, 


longer  serioB  eztendiog  only  partly  acroes  the 
fingerboard.  The  peraonal  peculiarity  of  the 
hand  or  touch  finally  modifies  the  adaptation  of 
the  beta. 

Narrow  slipi  of  wood  are  generally  glued  up 
the  sidee  of  ^  fingerboard  to  prevent  the  firets 
projecting.  The  convex  fingerboards  of  bow 
instruments  requiring  convex  frets,  fretted  viols 
had  oatgut  bound  round  the  fingerboard  and 
neck  at  the  stopping  distimoeB.  Hence  the 
German 'Bunde* — oinds.  (See  the  cut  of  6 amba.) 
The  French  '  ton*  indicates  the  note  produced ; 
the  Italian  'tasto*  the  touch  producing  it.  The 
English  'fret*  perhaps  implies  the  rubbing  or 
friction  of  the  string  at  the  point  of  contact,  but 
the  derivation  of  the  word  is  doubtful.  Some 
take  the  original  meaning  of  'fret'  to  have  been 
a  note,  and  thence  the  stop  by  which  the  note 
was  produced.  Shakspeare  puns  upon  the  word 
in  Hamlety  'though  you  can  fret  me  you 
cannot  play  upon  me.'  The  writer  has  been 
much  assisted  by  the  exhaustive  article  of 
Herr  Max  Albert  on  'Bunde'  in  Mendel*s 
*  Lexicon.'  [A.J.  H.] 

FREZZOLINI,  EBvnnA,  was  bom  at  Orvieto 
in  1818 ;  received  her  first  lessons  in  singing 
from  her  &ther,  a  buffo  cantante ;  and  afterwards 
from  Nuncini  at  Florence.  She  had  further 
instruction  from  the  elder  Bonconi  at  Milan, 
and  from  Manuel  Garcia;  and  completed  her 
musical  education  under  Taochinardi  at  Florence. 
In  this  town  she  made  her  cUbuts  in  1838,  in 
'Beatrice  di  Tenda*  and  in  the  'Marco  Yisconti* 
ef  Vaccaj.  She  sang  also  in  that  year  at  Siena 
and  Ferrara,  and  in  1839  at  Pisa,  Beggio,  Peru- 
gia, and  Bologna.  She  played  *  Lucrezia  Borgia* 
at  Milan  in  1840  with  brilliant  ^clat,  and  then 
went  to  Vienna.  Returning  to  Turin,  she  mar- 
ried the  tenor,  Poggi ;  but  continued  to  be  known 
on  the  stage  as  Frezzolini.  In  1842  (not  1841, 
as  stated  by  F^tb)  she  came  with  her  husband 
to  London,  diuring  Grisi's  temporary  absence,  but 
did  not  succeed  in  seizing  the  popular  sympathy. 
'She  was  an  elegant,  tall  woman,  bom  with  a 
lovely  voice,  and  bred  into  great  vocal  skill  (of  a 
certain  order) ;  but  she  was  the  first  who  airived 
of  the  "  young  Italians" — of  those  who  fancy  that 
driving  the  voice  to  its  extremities  can  sta^d  in 
the  stead  of  passioit.  But  she  was,  nevertheless, 
a  real  singer ;  and  her  art  stood  her  in  stead  for 
some  years  after  nature  broke  down.  When  she 
had  left  her  scarce  a  note  of  her  rich  and  real 
soprano  voice  to  scream  with,  Madame  Frezzolini 
was  still  charming*  (Chorley).  In  London,  how- 
ever, she  never  took  root.  She  returned  to  Italy, 
and  in  1848  was  engaged  for  St.  Petersbuig. 
But  the  climate  drove  her  back  to  Italy  in  two 
years.  In  1850  she  reappeared  in  London  at 
Her  Majesty*s  Theatre,  and  in  1853  was  at 
Madrid.  In  November  of  that  year  she  made 
her  first  appearance  in  Paris,  in  the  'Puritan!*; 
but  notwithstanding  her  sta^ge-beauty,  and  her 
nobility  of  style  and  action,  she  could  not  achieve 
any  success ;  her  voice  had  suffered  too  much  from 
wear  and  tear,  and  showed  signs  of  &tigue.  She 
subsequently  met  with  the  usual  enthusiastic  re- 


FRITZ. 

ception  in  America ;  but  her  career  was  over,  and 
she  has  not  been  hestrd  again  in  Europe.    [J.  M.] 

FRIBERTH,  Karl,  bom  1736  at  WnUezsdorf 
in  Lower  Austria,  where  his  fieither  was  school- 
master; came  early  to  Vienna,  and  studied 
singing  under  Bonno  and  oompositiGn  under 
Gassmann.  He  had  a  fine  tenor  voice,  and  ssng 
at  St.  Stephen's,  at  Prince  HildbuighAuaen's  con- 
certs, and  in  Italian  operas  at  court.  In  1 759  he 
was  engaged  by  Prince  Esterhaey,  and  while  in  his 
service  formed  an  intimate  firienddiip  with  Haydn, 
in  whose  operas  he  sang.  He  himself  wrote 
several  librettos.  In  1768  he  mairied  Maria 
Magdalena  Spangler,  a  singer  in  the  Prince's 
company,  ana  removed  with  her  in  1776  to 
Vienna,  where  he  was  appointed  Capellmeister 
to  the  Jesuits  and  to  the  Minorites.  During  a 
visit  to  Italy,  Pope  Pius  VI,  '  on  account  of  his 
services  to  music,*  made  him  a  knight  of  the 
(rolden  Spur — the  order  to  which  Gluck  and 
Mozart  also  belonged.  Friberth  was  an  actire 
member  of  the  'Tonkiinstler-Societat,'  and  took 
Haydn's  part  warmly  in  the  discusBiona  there. 
As  a  composer  he  restricted  himsrJf  almost 
entirely  to  church  music.  He  died  Aug.  6, 1816, 
universally  respected  both  as  a  man  and  an 
artist.  In  the  museum  of  the  '  Gesellschafl  der 
Musikfreunde*  at  Vienna,  there  is  a  p(»rtrait  of 
him  in  oils,  showing  a  fine  head  and  expressiTe 
countenance.  [C.F.P.]     ' 

FRICHOT,  a  Frenchman,  inventor  of  the  bass- 
horn  or  ophicleide,  settled  in  London  about  1790, 
published  there  in  1800  'A  oon^)lete  Scale  and 
Gamut  of  the  Bass-hom  ....  invented  by  Mr. 
Frichot.*  This  instrument  supplied  a  new  and 
powerful  bass  for  wind  instruments  in  aid  of  the 
tMMSOon,  which  was  too  weak,  and  the  serpent, 
which  was  very  imperfect.  It  is  now  genially 
superseded  by  the  Bombardon  and  Euphonium. 
[Ophiclktoe.]  [M.C.C.] 

FRICK,  or  FRIKE,  Philifp  Josbph,  bom 
near  Wurzburg  May  27, 1 740,  originally  oiganist 
to  the  Margrave  of  Baden,  remarkable  per&noer 
on  the  Harmonica;  travelled  much  firam  1769, 
spending  some  years  in  Russia.  He  came  to 
London  about  1780,  and  played  in  pabUc  with 
brilliant  success  both  on  the  pianoforte  and  har- 
monica. His  health  obliged  him  to  give  up  the 
latter  instrument  in  1786,  and  he  then  main- 
tained himself  by  teaching,  until  his  death  June 
I5»  1798*  He  published  various  tzeatises  and 
some  music,  none  of  which  is  of  any  permanent 
value  (see  F^tis).  The  harmonica  he  used  was 
one  <m  Franklin's  Byitean.  He  tried  in  vain  to 
adjust  a  key-board  to  the  instrument,  an  attempt 
in  which  Rbllig  succeeded.  [M.C.C.] 

FRITZ,  Babthold,  celebrated  mechaniciaa 
and  maker  of  instruments,  son  of  a  miller,  born 
near  Brunswick  1697.  He  had  no  education, 
but  found  out  for  himself  the  principles  of  organ- 
building,  and  made  in  all  nearly  500  argans, 
clavecins,  and  clavichords,  begiiming  in  1731 
with  a  davichord  of  4  octaves.  The  tone  of  ail 
his  instruments  was  good,  especially  in  the  bass. 
He  died  at  Brunswick  July  17,  1766.    He  pub* 


Jurrz. 

Hshed  '  Anweisang,  wie  man  Clayiere  ...  in  alien 
zwolf  Tonen  gleich  rein  stimmen  konne,  etc.* 
(Leipzig  1756-7-80),  a  new  system  of  tuning 
keyed  instruments  by  means  of  fifths  and  octaves, 
which,  though  erroneous,  had  much  success, 
haying  gone  through  3  editions,  and  being  trans- 
lated into  Dutch  by  no  less  a  person  than 
Hummel.  [M.C.C.] 

FROBEBGEB,'  JoHANir  Jacob,  enunent  or- 
ganist, bom,  acooiding  to  Mattheson,  at  Halle  in 
Saxony,  where  his  &ther  was  Cantor,  but  at  what 
date  is  unknown.  On  the  accession  of  the  Emperor 
Ferdinand  III  (Feb.  15,  1637)  he  was  appointed 
court  organist  at  Vienna.  There  are  entries  of 
his  salary  in  the  accounts  of  the  Hofcapelle,  from 
Jan.  I  to  Sept.  30,  1637',  ^^  April  i,  164X,  to 
Oct.  1645,  and  finom  April  i,  1653,  to  June  30, 
1657.  The  interval  from  1637-41  was  occupied 
by  hia  stay  in  Italy  as  Frescobaldi's  pupil,  and  a 
grant  of  200  florins  for  his  journey  is  entered  in  the 
accounts  under  June  a  2,  1637.  In  1657  he  left 
the  Emperor's  service.  In  1662  he  journeyed  to 
London,  where  he  was  twice  robbed  on  the 
way,  and  arrived  in  so  destitute  a  condition, 
that  he  thankfully  accepted  the  post  of  organ- 
blower  at  Westminster  Abbey,  offered  him  by 
Clhristopher  Gibbons,  then  organist  of  the  Chapel 
Royal  and  the  Abbey.  Gibbons  was  playing  be- 
fore the  Court  on  Uie  occasion  of  Charles  IFs 
marriage,  when  Frobeiger  overblew  the  bellows, 
and  thus  interrupted  ti^e  performance,  on  which 
the  enraged  organist  overwhelmed  him  with 
abuse  and  even  blows.  Froberger  seized  the  op- 
portunity a  few  minutes  after  to  sit  down  to  the 
instrument,  and  improvised  in  a  style  which  was 
at  once  recognised  by  a  foreign  lady  who  had 
formerly  been  his  pupil  and  knew  his  toudi.  She 
presented  him  to  the  King,  who  received  him 
graciously,  and  made  him  play  on  the  harpsi- 
chord to  the  astonishment  of  alL  This  curious 
anecdote  is  not  mentioned  by  English  writers, 
but  is  given  by  Mattheson  (Ehrenpforte)  fiom 
Froberger's  own  MS.  notes.  Mattheson  states 
that  he  became  a  Boman  Catholic  during  his  visit 
to  Borne,  but  it  is  almost  certain  that  he  was 
already  one  when  he  entered  the  Emperor's  ser- 
vice in  1637.  The  late  Anton  Schmidt,  Custos 
of  the  Imperial  library,  maintained  that  he  again 
became  a  Lutheran  after  his  visit  to  London,  and 
was  dismissed  from  his  post  of  Court  organist  on 
that  aooount.  The  contradiction  has  never  been 
explained,  but  that  he  died  a  Catholic  we  know, 
from  an  autograph  letter  of  Sibylla,  Duchess 
Dowager  of  Wurtemberg,  who  wxm  his  pupil, 
and  who  offered  him  an  asylum  in  her  house 
at  H^ricourt,  near  Montbelliard,  where  he  died 
May  7,  1667.  See  *  Zwei  Briefe  iiber  J.  J.  Fro- 
berger .  .  .  von  Dr.  Edmund  Schebek  *  (Prague 
1874).  His  printed  works — ^bere  first  given 
accurately — are  i.  'Diverse  ingegnosissime  e 
rari^me  Partite  di  Toocate,  Canzoni,  Bioercari 
. . .  Stampate  da  Lodovico  Bourgeat . .  .  Mogont. 
1693' — two  copies  in  possession  of  the  author, 

1  ffn.  and  not  Frohberser,  li  the  name  ipeU  hy  the  last  hiTestigatov, 
Dr.  E.  Bchebek. 
>  This  •loos  abows  that  the  reeelred  date  of  bis  birth,  163S^  mast  be 


fbOhlich. 


565 


one  with  Italian  title,  the  other  with  Italian  and 
German.  The  copies  quoted  in  oth^  works 
with  dates  1695,  '7'4»  ^'^  printed  from  the 
same  plates,  but  with  different  titles.  2.  'Di- 
verse .  .  .  etc..  Prima  continuasdone.  Mog.  1696.' 
3.  'Suites  de  Clavecin,  par  Giacomo  Froberger' 
2nd  edition,  Amsterdam,  Boger.  This  last  is  in 
the  library  at  Berlin,  where  are  also  several 
aut<^;Taph  vols,  of  Froberger's  dated  1649  and 
1650,  containing,  amongst  others,  some  of  the 
pieces  in  the  above  collections.  The  Imperial 
Libraiy  at  Vieima  also  contains  a  MS.  of  222 
sheets  of  Toccatas,  Caprices,  etc.  [F.  G.] 

FBCHLICH.  There  were  four  sisters  of  this 
name,  all  natives  of  Yieima. 

1.  The  eldest,  Nauiettb  (Anna),  bom  March 
18,  1797,  a  pupil  of  Hummel  for  tiie  pianov  and 
of  Hauss  and  Siboni  for  singing,  became  an 
excellent  artist  in  both  branches.  From  1819-54 
she  was  teacher  of  singing  at  the  Conservatoire 
of  Vienna,  where  she  trained  many  dramatic  and 
concert  singers,  since  celebrated.  She  will  be 
always  gratefully  remembered  for  having  induced 
F.  Sdiubert  to  write  the  following  pieces : — '  Gott 
ist  mein  Hirt*  (Psalm  xziii),  op.  132  ;  and  'Gott 
in  der  Natur,*  op»  133,  both  for  4  women^s  voices ; 
'  Nachthelle,'  op.  134,  for  tenor  solo  and  4  men*s 
voices ;  the  Serenade  ('  Zogemd,  leise*),  op.  135, 
for  alto  solo  and  4  women's  voices;  Miriam's 
Song,  op.  136 ;  and  Des  Tages  Weihe  (Schicksals- 
lenker'),  op.  146,  for  soprano  solo  and  chorus. 
Grillparzer  wrote  the  words  for  the  Serenade 
and  Miriam's  Song  also  at  her  instigation. 

2.  Babbaba,  bom  17991  a  gifted  artist,  excelled 
both  as  a  contralto  singer  and  a  painter  of  portraits 
and  flowers.  She  married  Ferdinand  Bogner,  a 
government  employ^  and  eminent  flute-player, 
who  was  honorary  professor  at  the  Conservatoire 
from  1 82 1  until  his  death  in  45. 

3.  Josephine,  bom  Dec.  12,  1805,  a  dis- 
tinguished singer,  pupil  of  her  sister  at  the 
Conservatoire  (i 819-21),  made  her  debut  at 
concerts  so  successfully  that  she  was  immediately 
engaged  for  the  court  theatre  ( 182 1-2  2).  Shortly 
afterwards,  however,  she  went  to  Copenhagen, 
and  completed  her  studies  under  Siboni,  who  had 
settled  there.  As  a  concert  singer  she  was  very 
well  received  in  Denmark,  Norway,  and  Sweden^ 
and  was  appointed  private  singer  to  the  King 
of  Denmark.  Later  she  went  to  Italy,  and  sang 
in  the  operas  of  Venice  (1829)  and  Milan  (31) 
with  brilliuit  success.  The  Societa  ApoUinea  of 
Venice  elected  her  an  honorary  member.  After 
her  return  to  Vieima  she  seldom  appeared  at 
concerts,  and  turned  her  attention  almost  entirely 
to  teaching  singing. 

4.  Katharina,  though  not  a  musician,  must 
not  be  omitted  from  this  remarkable  band  of 
suBters.  Her  cultivated  mind  and  sympathetic 
disposition  eminently  fitted  her  to  be  the  intimate 
friend  and  associate  of  the  great  Austrian  poet 
Grillparzer,  who  was  deeply  susceptible  to  music, 
and  passed  the  greater  part  of  his  life  in  the 
house  of  these  sisters  until  his  death  in  1872, 
It  was  'Kathi'  especially,  with  her  quiet  vn- 
assuming  ways,  whom  the  poet  reverenced  as  his 


566 


frOhuch. 


purest  ideal,  and  who  inspized  liim  with  muiy 
of  his  poems.  [C.F.P.] 

FROTTOLE,  early  ItaSaa  songs,  of  which 
nine  books,  containing  each  on  an  average  64, 
were  published  by  Petruoci  at  Venice  between 
1504  and  1509.  Many  of  them  are  by  Trom- 
bondno,  who  so  far  may  be  called  the  Gordigiani 
of  his  day.  As  far  as  can  be  gathered  from  the 
account  of  Ambros  ^  the  Frottola  was  essentially 
a  popular  melody,  or  streetHMBg,  treated  with  a 
certain  amount  of  contrivance.  It  stood  midway 
between  the  strict  and  complicated  Madrigal, 
and  the  Villota  or  Vilanelle,  which  was  a  mere 
liarmonisation  of  a  tune ;  and  in  fact  as  the  use 
of  counterpoint  increased  it  disappeared,  its 
better  elements  went  into  the  Madrigal,  its 
lower  into  the  Yilanella.  The  words  of  the 
Frottola  were  often  oomio  (in  fact  the  word  is  a 
synonym  for  a  joke)  but  still  oftener  extremely 
sentimental.  Ambros  (478)  cites  some  in  which 
the  song  of  the  cicada  and  the  mewing  of  a  cat 
are  imitated.  The  poem  was  in  verses,  some- 
times very  numerous.  The  music  was  set  almost 
exclusive^  for  j.  voices.  Besides  those  printed 
at  Venice  a  hooK  of  22  was  published  at  Borne 
by  Junto  in  1526.  See  Ambros,  as  below,  and 
£itner  <  BibUographie.'  [Q.] 

FBUYTIEBS,  Jait,  Flemish  poet  and  musi- 
dan  of  the  i6th  century,  was  livhig  at  Antwerp 
in  1565.  He  was  a  Lutheran,  and  author  of  the 
words  and  music  of  '  Ecdesiasticus  oft  de  wijse 
sproken  Jesu  des  soons  Syrach,  eta*  (Antwerp, 
Selvius,  1565),  a  metrical  translation  of  the  book 
of  Ecdesiasticus.  The  musie  is  printed  in  the 
fine  type  of  Plantia.  This  soaroe  book  is  the 
mora  remarkable  as  it  was  published  by  per- 
mission of  Margaret  of  Parma,  Qovemess  of  the 
Netherlands,  only  a  few  months  befora  she  en- 
forced  the  decrees  against  the  heretics  which 
brought  about  the  War  of  the  Gueux.  The 
mdodies  are  chiefly  popular  Flemish  airs.  The 
35th  Cantique  (Eodus.  xxiv)  is  set  to  a  French 
dance  of  the  15th  century,  called  *L*homme 
arm^,' — not  to  be  confounded  with  the  celebrated 
song  of  the  same  name,  so  often  used  as  a  theme 
for  entire  masses  by  oomposers  of  the  15th  and 
1 6th  centuries.  The  song  is  in  3-2  time,  the 
dance  in  2-4,   and  in  the  form  of  a  round. 

[L*HOMJfE  ARMi.]  [M.C.G.] 

FUCHS,  ALOT8,  bass-singer  la  the  Imperial 
chapel  since  1836,  and  government  employ^  in  the 
war  department  at  Vienna,  bom  June  23,  1799, 
at  Raase  in  Austrian  Silesia,  remarkable  as  an 
ardent  collector  of  autographs.  His  collection 
of  music,  books,  portraits,  etc.,  purohased  out  of 
a  small  salary  by  dint  of  rigid  economy,  has 
often  been  described  in  det^  It  contained 
spedmens  from  all  nations,  though  the  Italian 
and  German  masters  were  most  fuUy  represented, 
and  especially  Mozart.  These  materials  were 
partly  used  by  Otto  Jahn  in  his  Life  of  that  Master. 
Fuchs  contributed  articleB  to  several  musical 
periodicals,  and  took  a  keen  interest  in  every- 
thing connected  with  the  history  and  literature 

*  fiWfWrhtt  *"  JM   jflB 


fOesten'axj. 

of  music.  Severe  illnnsiifm  compelled  Imn  to  part 
with  his  treasures  one  by  one,  and  thus  his 
whole  collection  was  scattered.  Thalberg  bought 
the  remaining  autographs ;  the  Moxarteum  a&ir 
copy  of  Mozart's  works ;  Graanick  of  Berlin  the 
collection  of  portraits ;  the  eocleaoastical  in* 
stitution  of  Gottweig  the  library;  and  Butsch 
the  bookseller  of  Augsburg  the  rest  of  the  papers 
and  biographical  artidss.  Fuchs  died  at  Vienzub 
March  20, 1853.  [C.F.P.] 

FUHR£B»  RoBEBT,  bom  at  Tngae,  1807; 
m  1840  succeeded  Wittasek  as  orgauiiBt  to  the 
Cathedral  there.  His  irregular  life  however  lost 
him  the  post,  and  in  43  he  left  Prague.  In  57 
he  was  organist  at  Gmunden  and  Iscfal  lor  a 
short  time,  and  then  settled  in  Vienna,  where 
he  died  Nov.  28,  1861,  in  great  distress  in  a 
hospital.  His  compositions,  published  sinoe  1830 
in  Prague  and  Vienna^  are  numerous  and  good. 
(For  list  see  F^tis.)  They  comprise  masses, 
graduales,  offertories,  preludes,  fugues,  a  method 
ror  the  pedal-organ,  a  handbook  for  choirmasters, 
a  '  Plraktische  Ajileitung  zu  Orgelcompositionen,* 
etc.  Whatever  his  merits  as  a  musician,  how* 
ever,  he  was  a  dishonest  man,  for  he  actually 
published  Schubert's  Mass  in  G  under  his  own 
name  (Marco  Berra,  Prague  1846),  a  fact  which 
requires  no  comment.  [M.C.C.] 

FUBSTENAU,  a  family  of  distinguished 
flutists  and  good  musicians. 

1.  Caspar,  bom  Feb.  26,  1772,  at  Munster, 
where  his  father  was  in  the  Bishop's  band ;  was 
early  left  an  orphan  under  the  oare  of  A.  Kom- 
berg,  who  tried  to  force  him  to  leani  the  baasooo, 
as  well  as  the  oboe,  which  he  had  beem  already 
taught ;  but  his  preference  for  the  flute  asserted 
itself,  and  he  shortly  became  so  profident,  as  to 
support  his  fiunily  by  playing  in  a  military  band, 
and  in  that  of  the  JBishop.  In  1 793-4  he  made 
a  professional  tour  through  Germany,  and  set- 
tled at  Oldenburg,  where  he  entered  the  Gourt 
band,  and  gave  lessons  to  the  Duke.  In  181  x 
the  band  was  dispersed,  and  Caspar  again  tra- 
velled with  his  son.  He  died  at  Oldenburg  May 
II,  1819. 

2.  Anton  Bernhabd,  a  finer  flutist  than  hii 
brother,  bom  Oct.  20,  1792,  at  MUnster;  first 
appeared  at  a  Court  concert  in  Oldenburg  when 
only  7.  He  remained  with  his  fiiiher,  the  two 
talung  long  journeys  together.  In  1817  he  was 
engaged  for  the  municipal  orchestra  of  Frank- 
fort, from  whence  he  removed  in  1820  to  Dresden, 
where  he  remained  in  the  service  of  the  King  of 
Siaony  tiU  his  death,  Nov.  18,  1852.  In  1826 
he  aocompanied  Weber  on  his  last  sad  journey 
to  London,  tended  him  with  anxious  care,  and 
assisted  him  to  undress  the  night  before  his  death. 
(See  Max  Maria  von  Weber^s  Life  of  his  father, 
ii.  703.)  He  composed  several  pieces  and  two 
Methods  iot  the  flute. 

3.  His  son  MoRiTZ,  bom  in  Dresden,  July  26, 
1824,  also  a  flutist,  at  17  entered  the  roysl 
band,  in  which  he  has  remained  ever  since.  He 
has  made  some  valuable  contributions  to  the 
history  of  music,    such  as  *Bdtrage  zur  Ge- 


FUBSTENAU. 

schichte  der  koniglichen  sachsischen  muBikal- 
i-chen  Capelle'  (1849);  '^^  Geechichte  des 
Theaters  und  der  Musik  in  Dresden,*  2  vols. 
(1S61);  and  'Die  Fabrication  masikaliBcher  In- 
ssmmente  im  Voig^tlande '  ( 1 876).  In  1 85  2  he  was 
appointed  Gustos  of  the  royal  collections  of  musio, 
and  received  the  order  of  Albert  of  Saxony.  [F.G.] 
FUGATO.  A  name  given  to  an  irregalarly 
fogued  movement,  in  which  the  fogue-form  is  not 
strictly  followed  (especially  as  to  strettos  and 
pedal-points),  though  the  structure  is  fugal  and 
contrapuntal.  Fugato  passages  are  often  intro- 
duced in  orohestnJ  music  with  the  happiest 
effect,  as  in  first  and  last  movements  ot  the 
Eroica  Symphony,  in  the  Allegretto  of  No.  7, 
both  by  Beethoven,  and  in  the  first  movement 
of  Mendelssohn's  lUdian  Symphony,  immediately 
after  the  double  bar,  etc.  [F. A. G.O.J 

FUGHETTA.  A  short  oondensed  fugue— a 
mimatnre  fugue — correct  and  complete  as  to 
fcam,  but  with  all  its  dimensions  curtailed. 
Ko.  24  of  Beethoven*s  33  Variations  (op.  120) 
is  entitled  Fughetta.  It  is  in  2  sections  of  16 
bars,  each  repeated.  [F.  A.  G.  O.] 

FUGUE,  or  FUGA,  firom  the  Latin  f-ugare, 
to  put  to  flight,  because  one  part  after  another 
seems  as  it  were  to  ekcue  the  subject  or  motive 
throughout  the  piece.    (So  MUton,  Par.  Lost, 
zi'  563.)     It  has  been  technically  defined  as 
'a   regular    piece    of   music,    developed    from 
given  subjects  according  to  strict  contrapuntal 
rules,  involving  the  various  artifices  of  imita- 
tion, canon,  and  double  counterpoint,  and  con- 
structed  according   to    a  certain   fixed   plan.* 
The  necessary  parts  of  a  fugue  are  (i)  Subject 
(or  DuXi  or  /'•flArer),  (2)  Answer  (op  Comes,  or 
Gtfahrte),  (3)  Gountersubject,  and  (4)  Stretto; 
to  which  may  usually  be  added  (5)  Codetta  (or 
conduit,  or  copula),  (6)  Episode,  (7)  Pedal,  and 
(8)  Coda.     The  Subject  is  the  theme,  or  chief 
melody,   on  which  ih%  whole  fugue  is  based. 
The  AjiBwer  is  the  correlative  of  the  subject. 
The  relation  of  the  answer  to  the  subject,  in  feict, 
determines  the  whole  character  of  the  fug^e. 
Speaking  roughly,  the  answer  is  a  transposition 
of  the  subject  from  the  key  of  the  tonic  to  that 
of  the  dominant.     If  the  answer  can  be  tiius 
nmply  transposed  without  modulating  out  of  the 
key,  which  often  happens,  the  fugue  is  called 
a  '  Real  fugue,*  and  the  answer  a  '  Real  answer.* 
But  in  most  cases  the  answer  has  to  be  modified 
according  to  certain  rules  to  avoid  modulating 
out  of  the  key.    These  modifications  are  called 
'mutations,*  aod  an  answer  so  treated  is  called 
a  *  tonal  answer,'  and  the  fugue  is  called  a  '  Tonal  ^ 
fogue.'     For  instance,  if  the  subject  were 


(^_r  r  r  cj 


and  the  answer  were  a  simple  transposition 


i^k\     J     J     J     t^ 


FUGUE. 


567 


it  is  obvious  that  we  should  have  left  the  original 
key  of  C  altogether,  and  modulated  towards  the 
supertonic ;  to  avoid  this  the  answer  would  have 
to  be  modified  thus — 


^>n   J  J  ■!  .^g 


BO  as  to  keep  in  the  key  of  C,  and  the  change 
of  the  concluding  note  is  called  a  Mutation. 
Thus  the  dominant  answers  the  tonic,  and  the 
tonic  answers  the  dominant.  EzampU 
fyilbject,  Annoer, 


p  J  r  rlg=F^  ^^iNl 


A  few  more  examples  of  mutations  will  ex- 
«nplify  the  principle  of  tonal  answers. 

I.  Subject. 


eb<h  r  Jl'"'  rir  r  ''h^  I 


Anstoer, 


m^ 


^ 


^ 


^t=t 


m 


2.  SttbJeeL 


j>'(h  J  jj'Tir  r-ri'JJ^iJ.J^i 


Anstoer. 


((.'ih  r  ri^j-K'  ^nrrri'ir-i:f^i 


3.  Sul^t. 


ya-  ni.r^.H^.iri^  .1 


Antwer. 


$ 


o 


f^ 


^ 


s 


■^■ 


■B 


m 


^  This  ia  tbe  modern  mettnlog.  In  ihe  oarlj  dftya  of  ooanterpolnt  a 
Tooal  fugue  was  one  In  which  the  relations  of  the  subject  and  answer 
were  (ovemod  by  the  old  Ohurch  moden,  In  which  each  Authentic 
mode  had  lt»  related  Flagal  mode.  [See  Bial  Fooui.] 


Bules  for  the  finding  of  correct  tonal  answers 
may  be  found  in  all  the  treatises  on  the  con- 
struction of  fugues.  Sometimes  it  is  no  easy 
matter  to  find  the  proper  answer ;  and  there  are 
subjects  which  will  admit  of  more  than  one 
correct  answer. 

Into  these  details  it  is  impossible  to  go  in  such 
an  article  as  the  present.  But  the  following 
general  rules  may  be  useful : — (i)  Wherever  the 
subject  has  the  tonic,  the  answer  should  have 
the  dominant;  and  vice  versft.  (2)  Wherever 
the  subject  has  the  3rd  of  the  tonic,  the  answer 
should  have  the  3rd  of  the  dominant ;  and  vice 
versA.  (3)  Wherever  the  subject  has  the  6th  of 
the  tonic,  the  answer  should  have  the  6th  of  the 
dominant;  and  vice  versft.  (4)  Wherever  the 
subject  has  the  4th  of  the  tonic,  Uie  answer  should 
have  the  4th  of  the  dominant ;  and  vice  versft.  (5 ) 
In  the  minor  mode,  if  the  subject  has  the  interval 
of  a  diminished  7th,  that  interval  is  unaltered  in 
the  answer.  (6)  If  the  subject,  in  either  mode, 
goes  firom  the  dominant  up  to  the  subdominant  in 
the  upper  octave,  the  answer  constitutes  the  in- 
terval of  an  octave ;  thus — 


SMbiedL 


Antwer, 


\§ 


^ 


ipz 


i^^i 


-Hr  jH'^I 


k68 


FUGUE. 


FUGUE. 


(7)  Every  mutation  should  be  made  in  approacli- 
ing  or  quitting  the  tonic  or  dominant. 

The  oountersubject  is  primarily  to  be  r^farded 
as  an  acoompaniment  to  the  subject  or  answer. 
But  it  is  more  than  this,  for  it  ought  to  be  made 
so  melodious  as  to  be  an  available  foil  to  the 
subject  when  used  in  alternation  with  it,  or  with 
the  answer.  It  should  also  be,  in  most  cases,  so 
constructed  as  to  work  in  double  counterpoint 
with  the  subject.  It  usually  makes  its  first  appear- 
ance as  an  accompaniment  to  the  first  entry  ot'the 
answer,  after  the  subject  has  been  duly  announced 
by  itself.  We  now  proceed  to  give  an  example  of 
the  commencement  of  a  fugue,  containing  subject, 
anffwer,  and  counter-subject.  Such  a  commence- 
ment is  called  '  the  Exposition.* 


i 


m 


(ejV(h  "  f^-r|r_^:!_n^L-if_pj^ 


Answer. 


Subject, 


Suljeet 


r-  fTrf^ 


zz: 


fri'rr-'^ 


1 


I 


^P 


± 


t 


^^ 


Cuunter»ubjeci. 


^ 


-sr 


^f^llU'^f 


etc. 


2a: 


=t=t: 


^^ 


When  the  countersubject  is  introduced  simul- 
taneously with  the  subject  at  the  beginning  of  a 
fugue,  it  should  be  looked  on  rather  as  a  second 
tubjed,  and  treated  strictly  as  such  throujfhout 
the  fugue.  In  such  a  case  the  piece  would  be 
properly  described  as  a  Double  fugue,  or  Fugue 
with  two  subjects.  Similarly  there  are  fugues 
with  three  or  more  subjects ;  the  only  limitation 
being  that  there  should  always  be  fewer  subjects 
than  parts ;  though  there  are  exceptions  to  this 
rule,  as  e.g.  *Let  old  Timotheus'  in  Handel's 
'Alexander's  Feast/  where  there  are  four  sub- 
jects and  only  four  voice-parts. 

It  is  very  often  desirable  to  interpose  a  few 
notes  to  connect  the  subject  and  answer,  and  to 
facilitate  the  necessary  modulations  from  tonic 
to  dominant,  and  back  again.  Such  connecting 
notes  are  named  the  Codetta,  conduit,  or  copula, 
and  are  very  useful  in  rendering  the  fugue  less 
dry  and  cramped. 

The  following  is  the  exposition  of  a  two-part 
fugue,  including  a  codetta : — 


if''l^l;':VlJ^iJ.!ljJiJLU_L^ 


Subject, 


P^S 


m 


jrrrirr  r  ri^ 


Codetta. 


zz: 


J^ 


ComtUersmbjecL 


Ansufor, 


r-  'T  ^ 


■  f  ». 


3=5: 


32: 


^ 


*»- 


^       RJ    -H^  ZZ 


tie. 


£ 


^^ 


"ZSL 


-2 


After  the  exposition  is  completed  by  the  succey- 
sive  and  regular  entry  of  every  part,  it  is  well  to 
make  use  of  fragments  of  the  materials  ali^stly 
announced,  working  them  up  contrapuntally 
into  passages  of  imitation,  and  modulating  into 
nearly  related  keys  for  a  few  bars,  before 
returning  again  to  the  subject  and  answer. 
These  may  then  be  introduced  in  various  kindred 
keys,  according  to  the  taste  of  the  composer,  go 
as  to  secure  variety  and  contrast,  without  wan- 
dering too  &r  from  the  original  key  of  the  piere. 
As  the  fugue  goes  on,  it  is  important  to  keep  the 
interest  of  it  from  flagging  by  the  introduction 
of  new  imitations,  formed  of  fragments  of  tbe 
original  materials.  These  pi^sages  are  termed 
Episodes.  With  the  same  object  in  view  it  is 
customary  to  bring  the  subject  and  answer  nearer 
to  one  another  as  the  fugue  draws  towards  its 
conclusion.  The  way  to  effect  this  19  to  make 
the  entries  overlap  ;  and  this  is  called  the  Stretto 
(from  stHtufere,  'to  bind').  Thus  the  above 
subject  would  furnish  a  stretto  as  follows : — 


fP¥ 

— H 

— r 

— 1- 

=?fS 

— t- 

— r- 

-f-^ 

^ 
j^^ 

-ET-' 



zJb 

-fy- 

■  •  ■ 

• 

3 

-J- 

s=-»- 

a. 

h— 

Tf- 

^ 

V-t- 

::p- 

r  p  f  J^l  J=g 


rs 


J  r  t'    K  r 


ep 


3= 


r  lr:^rr 


^ 


-r-'Jr  rir  f  ^  l^^^^i 


etc. 


Some  subjects  will  furnish  more  than  one  stretto. 
In  such  cases  the  closest  should  be  reserved  for 
the  last.     [Stretto.] 

But  there  are  many  other  devices  by  which 
variety  can  be  secured  in  the  construction  of  & 
fugue.  For  the  subject  can  sometimes  be  inverttd, 
augmentcdt  or  diminished.  Or  recourse  maybe 
had  to  counterpoint  at  the  loth  or  iilh.  The 
inversion  of  the  above  subject  would  be  as  fol- 
lows— 


FUGUE. 


FUNDAMENTAL  BASS. 


569 


ISL 


^J^j^'^j^'^ 


•Ic. 


ftnd  this  might  he  treated  with  Its  appropriate 
answer  and  ccmntersubject,  if  desired.  Some 
subjects  will  fumish  a  stretto  in  strict  canon, 
and  this  should  be  always  reserved  for  the  con- 
cluding portion  of  the  fugue,  by  way  of  climax. 
If  the  fugue  ends  with  an  episode,  such  con- 
chiding  episode  is  caUed  the  Coda  (or  tailpiece). 
It  is  also  customary,  in  fugues  of  more  than  two 
parts,  to  introduce  a  Pedal,  or  'point  (Porgue, 
towards  the  end,  which  is  a'  long  note  held  out, 
almost  always  in  the  bass  part,  on  which  many 
imitations  and  strettos  can  be  built  which  would 
often  be  otherwise  impracticable.  The  only  notes 
which  can  be  thus  held  out  as  pedals  are  the 
dominant  and  the  tonic.  The  tonic  pedal  can 
only  be  used  as  a  close  to  the  whole  piece.  The 
dominant  pedal  should  occur  just  before  the 
close.  It  is  not  necessary  to  use  a  tonic  pedal  in 
every  fugue,  but  a  dominant  pedal  is  almost 
indispensable. 

Fugues  for  instruments  may  be  written  with 
more  freedom  than  those  for  voices,  but  ii^  all 
kinds  the  above  rules  and  principles  should  be 
maintained.  The  fugue*form  is  one  of  the  most 
important  of  all  musical  forms,  and  all  the  great 
classical  composers  have  left  us  samples  of  their 
skill  in  this  department  of  the  art  of  music.  At 
the  same  time  it  must  be  observed  that  in  the 
early  days  of  contrapuntal  writing  the  idea  of  a 
fugue  was  very  different  from  that  which  we  now 
understand  by  that  term.  In  Morley's  *  Flaine 
and  eaaie  Introduction  to  practicall  Musicke,* 
published  in  1597*  at  p.  76,  we  find  the  following 
definition: — 'We  call  that  a  fugue,  when  one 
part  b^nneth,  and  the  other  singeth  the  same, 
for  some  number  of  notes  (which  the  first  did 
fiiug),  as  thus  for  example : 


xzi 


=r 


zz: 


■g*"^^ 


*= 


^[■^  rjys.:^ 


This  we  should  now-a-days  call  a  specimen  of 
simple  imitation  at  the  octave,  in  two  parts ;  yet 
it  is  firom  such  a  small  germ  as  this  that  the 
sublime  structure  of  a  modem  fugue  has  been 
gradually  developed.  Orazio  Benevoli  (d.  1672) 
was  probably  the  first  of  the  Italian  composers 
who  wrote  fugues  containing  anything  like  formal 
development.  Later,  in  the  17th  century,  how- 
ever, every  Italian  composer  of  churoh  music 
produced  moro  or  less  elaborated  fugues,  those 
of  Leo,  Glari,  Alessandro  Scarlatti,  Colonna^ 
Durante,  and  Pergolesi  being  among  the  best. 

But  it  was  in  Germany  that  fugue-writing, 
both  vocal  and  instrumental,  reached  the  highest 
development  and  attained  the  greatest  perfection. 
It  woiJd  fill  a  volume  to  enumerate  all  the  g^at 
fa^ists  of  that  wonderfully  musical  nation  during 
the  17th  and  18th  centuries.  Two  or  three 
names,  however,  stand  out  in  bright  relief,  and 


cannot  be  passed  over.  Sebastian  Bach  occupies 
the  very  pinnacle  among  fugue-composers,  and 
Handel  should  be  ranked  next  him.  The  student 
should  diligently  study  the  fugal  works  of  these 
great  masters,  and  maike  them  his  model.  Bach 
has  even  devoted  a  special  work  to  the  subject, 
which  is  indispensable  to  the  student.  [See  Art 
OF  Fugue.]  The  treatises  of  Mattheson,  Mai^ 
purg,  Fux,  Albrechtsbeiger,  and  Andr^,  aro  also 
valuable.  Among  moro  modem  writers  may  be 
mentioned  Cherubini,  F^tis,  and  Reicha.  We 
abstain  frt>m  mentioning  the  works  of  living 
authors  who  have  contributed  much  valuable 
matter  to  the  literaturo  of  this  subject.  Mozart 
should  be  quoted  as  the  first  who  combined  the 
forms  of  the  sonata  and  the  fugue,  as  in  the 
overturo  to  'Die  Zauberfiote,*  and  in  the  last 
movement  of  his  '  Jupiter  Symphony.' 

It  is  perhaps  difficult  for  a  composer  at  the 
present  day  to  find  a  great  variety  of  original 
fugue-subjects.  But  the  possible  ways  of  treating 
them  are  so  inexhaustible  that  a  fugue  can 
always  be  made  to  appear  quite  new  even  though 
the  theme  on  which  it  is  based  be  trite  and 
hackneyed.  And  hero  we  have  one  of  the  great 
advantages  of  this  form  of  composition — namely, 
that  it  does  not  so  absolutely  require  the  origina- 
tion of  really  new  melodies  as  every  other  form 
necessarily  does.  But,  on  the  other  hand,  it 
does  require  a  command  of  all  the  resources  of 
harmony  and  counterpoint  to  produce  fugues 
which  shall  not  be  mere  imitations  of  what  has 
been  done  by  previous  composers;  and  it  also 
needs  genius  df  a  high  order  to  apply  those 
resources  so  as  to  avoid  the  reproach  of  dryness 
and  lack  of  interest  so  often  cast  upon  the  fugal 
style  of  composition.  [F.  A.  G.  O.] 

FULL  ORGAN.  This  term,  when  standing 
alone,  generally  signifies  that  the  chief  manual, 
or  Great  Organ,  is  to  be  used,  with  all  its  stops 
brought  into  requisition.  Sometimes  the  term 
I  is  employed  in  an  abbroviated  form,  and  with 
an  afl&x  indicating  that  a  portion  only  of  the  stops 
is  to  be  played  upon — as  '  Full  to  Fifteenth.'  In 
the  last  century  the  expressions  'Full  Oi^n,* 
'Great Organ, 'and  'Loud  Organ,*  were  severally 
used  to  indicate  the  chief  manual  organ.  [E.  J.  H.] 

FUNDAMENTAL  BASS  is  the  root  note 
of  a  chord,  or  the  root  notes  of  a  succession  of 
chords,  which  might  happen  to  be  the  actual 
bass  of  a  short  succession  of  chords  all  in  their 
first  positions,  but  is  more  likely  to  be  partly 
imaginary,  as  in  the  following  short  succession 
of  complete  chords,  which  has  its  fundamental 
bass  below  on  a  separate  stave  : — 


-I- 


^M 


pt 


t=a=: 


m 


rrrW 

tvj  r  J  .\  J  j-7i  J  r  J  jl^ 


Fundamental  Bass. 


Rameau  was  the  first  to  develop  the  theory  of 
a  fundamental  bass,  and  held  that  it  might '  as 


} 


670 


FUNDAMENTAL  BASS. 


a  general  rule  proceed  only  in  perfect  Fourihs  or 
Fifths  upwards  or  downwarda.'  Helmholtz  de- 
fines it  as  'the  compound  tone  which  repre> 
sents  the  chord,  as  distinguished  firom  its  hastf 
that  is,  the  tone  which  belongs  to  the  lowest 
part;  [C.H.H.P.] 

FUX,  JoHANN  Joseph,  bom  1660  of  a  pea- 
sant feunily  in  the  hamlet  of  Hirtenfeld,  near 
Gratz  in  Styria.  Nothing  is  known  of  his  early 
life  or  studies,  as  he  refused  to  give  information 
on  the  subject  even  to  Mattheson  for  his  'Grund- 
lage  einer  Ehrenpforte'  (Hamburg  1740;  see 
p.  340,  letter  dated  1718).  From  1696,  how- 
ever, sll  is  clear.  In  that  year  he  was  appdnted 
orguiist  to  the  eoclesiasttcal  foundation  *  Zu  den 
Schotten*  in  Vienna;  and  married  a  Viennese, 
by  whom  he  had  no  children.  In  1698  he  be- 
came court  composer,  and  in  1705  Capellmeister 
to  the  cathedral  of  St.  Stephen.  He  was  also 
appointed  vice- Capellmeister  to  the  court,  and 
in  1 7 13  Capellmeister  to  the  Dowager  Empress 
Wilhelmine  Amalie.  This  post  he  resigned  in 
1718,  as  he  had  done  that  at  the  cathedral  in 
1 71 5  upon  his  promotion  to  be  head  Capell- 
meister to  the  court.  He  received  many  prooft 
of  court  &vour.  To  the  King  of  the  Romans — 
Arch-duke,  afterwards  Emperor,  Joseph  1 — ^he 
dedicated  his  first  opus  'Conoentos  musioo- 
instrumentalis,'  in  7  parts  (Felsecker,  Nuremberg 
1 701),  and  the  'Missa  Canonica*  (1718) ;  and  to 
the  Emperor  Charles  VI  his  most  important  work 
'Gradus  ad  Pamassum*  (1725).  In  1723,  when 
laid  up  with  gout,  the  Emperor  Charles  had  him 
conveyed  in  a  litter  to  Prague,  that  he  might  be 
present  at  the  performance  of  his  opera  *CMtanza 
e  Fortezza,*  written  for  the  coronation.  Fnx 
died  at  Vienna  Feb.  13,  1741,  and  was  buried 
at  St.  Stephen's.  Among  his  best  pupils  were 
Zelenka,  Muffat,  Tuma^  and  Wagenseil.  An 
oil-painting  of  him  in  the  costume  of  the  period 
is  in  the  museum  of  the  '  Gesellschaft  der  Musik- 
freunde'  at  Vienna.  Fux  considered  his  art  in 
a  serious  light,  and  was  held  in  general  respect. 
He  was  courteous  to  all,  and  eminentlv  kind  and 
just  in  his  dealings  with  the  musicians  under 
him.  As  a  composer  he  was  most  industrious; 
405  works  by  him  are  still  in  existence — 50 
masses ;  3  requiems ;  57  vespers  and  psalms ; 
22  litanies  and  completoria;  12  graduals;  14 
offertoriums ;  2  2  motets ;  106  hymns ;  2  Dies  ine ; 
I  Domine ;  i  Libera  (290  church-works  in  all) ; 
10  oratorios ;  18  operas  (of  which  6  were  grand 
operas — 'dramme  per  musica' — and  the  other 
12  *componimenti  per  oamera*  and  'feete  teatrali 
per  musica') ;  29  partitas  and  overtures ;  and 
8  pieces  for  davier.  The  greater  part  of  these 
compositions,  either  copied  or  in  autograph,  are 
in  the  Imperial  Library  at  Vienna;  and  the 
'Gesellschaft  der  Musikfreunde*  also  possesses  a 
considerable  number. 

Of  his  works  only  few  are  printed :  his  '  Con- 
oentuB,'  already  mentioned,  '  Elisa,'  festa  teatrale 
(Jeane  Roger,  Amsterdam,  1719),  and  the  'Missa 
canonica'  (.see  below).  Proske's  'Musica  divina,* 
vol.  ii.  and  iii.,  contain  aeven  church-works.  36 
Trios  for  a  violins  and  bass  (published  about 


FUX. 

1700^  are  lost.     His  dramatic  works  are  now 
valueless,  though  in  their  day  they  contribatod 
much  to  the  lustre  of  the  court ;  while  his  ora- 
torios, written  for  Lent,  were  still  more  quiddj 
forgotten.  Among  his  MSS.  are  38  sacred '  Sonate 
a  tre,*  which  were  offcen  played  in  Divine  Service, 
and  are  masterpieces  of  freshness,  invention,  and 
variety.    It  is  evident  that  Fux  enjoyed  3-part 
writing,  for  in  his  'Gradus*  he  says '  the  mast^^t 
hand  may  always  be  detected  even  in  3-part 
writing,*  and  '  I  have  often  written  in  3  parts, 
and  not  unsuccessfully,'  a  statement  which  even 
Mattheson  endoraes^COitica  Musica**  L  p.  131X 
though  as  a  rule  no  friend  to  Fux.    In  his  church 
music  he  was  always  reverent,  and  though  poly- 
phonic writing  was  second  nature  to   him,  he 
usually  abstained  from  unnecessary  subtleties  in 
sacred  music.     One  exception  to  this  must  how- 
ever be  made.     His  'Missa  canonica,*  written 
throu^out  '  k  capella,*  a  masterpiece  containing 
every  species  of  canon,  is  unique  in  its  way. 
Here  Fux  displays  his  marvellous  knowledge  of 
counterpoint,  combined  with  the  richest  xnoda- 
lation ;  and,  as  Marpurg  says  (' Abhandlung  von 
der   Fuge,*  p.  130),  speaking  specially  of  the 
double   canon    in   the    'Chnste    eleison,*    'his 
harmonv  is   gorgeous,   and  at  the   same  time 
thoroughly  in  keeping  with  the  sacrednees  of  the 
occasion.*    The  mass  is  dedicated  to  the  Emperor 
as  a  proof  'that  classic  music,  far  fit>m  heinz 
extinct,  has  here  gained  one  more  step  in  advance 
(see  dedication  in  Italian).  The  Imperial  library 
at  Vienna  contains  a  copy  of  it  by  Michael 
Haydn  (i  757),  and  the  Royal  Library  at  Dresden 
another  l^  Zelenka^  Fuxs  pupil.    It  has  be^n 
printed  at  Leipsic  by  Peters  and  KiihneL    The 
frequent  performances  of  this  mass  at  the  cathe- 
dral and  the  court  speak  well  for  the  efficiency 
of  the  singers.     The  most  convincing  proof  of 
Fux*s  ability  as  a  teacher  is  his  'Gradus  ad  Paz^ 
nassum,*  written  in  Latin  in  the  form  of  a  dialogue 
between  master  and  pupil,  and  con  si  sting  of  two 
parts,  the  first  on  the  theory,  and  the  second 
on  the  practice,  of  composition.    It  has  passed 
through  innumerable  editions,  and  been  trans- 
lated into  four  hinguages.    The  dates  of  publi' 
cation  are  as  follows: — ^the  original,  in  I^tin, 
Vienna  1725  ;  German  edition,  by  Lorenz  Mita- 
ler,  Leipsic,  1742  ;  Italian^  by  Alessandro  Man' 
fr^d.   Carpi,    1 761 ;    French,   by  Sienr   Pietro 
Denis,  Paris,   1773;  and  English,  anonymous, 
London,  1791.    Its  usefulness  has  been  attested 
by  such  men  as  Picdnni,  Durante,  P.  Martini, 
the  Abb^  Vogler,  Paolucd,  CSerbert,  Cherubini, 
and  in  our  own  day  by  Heinrich  BeUermann 
('  Der  Contrapunct,'  etc.,  Berlin  1862).     Mozart 
used  it  in  his  contrapuntal  exercises,  and  Haydn 
repeatedly  studied  it,  and  founded  his  teaching 
upon  it.    An  exhaustive  biography  of  the  master, 
with  a  thematic  catalogue  of  his  compositions,  has 
been  drawn  up  with  his  usual  accuracy  by  Dr. 
von  Kochel  from  authentic  information,   with 
the  title  'J.  J.  Fux,  Hofcompositor  und  Hof- 
kapellmeister  der  Kaiser  Leopold  I,  Joeeph  I, 
und  Karl  VI,  von  1698  bis  1740  (Holder,  Vienna 
1872).  LC.F.P.] 


FZ. 

FZ.  The  abbreviation  of  the  Italian  word 
forzandoy  meaning  that  the  note  or  chord  against 
which  it  is  played  should  be  forced  beyond  the 
normal  sonnd  oif  the  passage.    It  is  always  pro- 


aABBIEU. 


571 


portionste;  and  thus  a  /z  in  a  piano  passage 
will  be  fisur  less  loud  than  in  a  fm'U  passage. 
tfz  or  ^f  {%f<trzando)  is  more  oommooly  used 
ihan/z.  [G.] 


FATJRE,  Jeak-Baftistb,  son  of  a  singer  in 
the  church  at  Moulins,  where  he  was  bom  Jan. 
15,  1830.  When  he  was  3  the  family  removed 
to  Paris,  and  when  he  was  7  his  &ther  died.  In 
1843  he  entered  the  solfoggio  class  in  the  Con- 
servatoire, and  soon  after  the  TnaitrUe  of  the 
Madeleine,  where  he  was  under  Trevaux,  an 
excellent  teacher,  to  whom  he  owes  his  sound 
knowledge  of  music.  After  the  breaking  of  his 
voice  he  took  up  the  piano  and  double  bass,  and 
was  for  some  time  a  member  of  the  band  at  the 
Odeon  theatre.  When  his  voice  had  recovered 
he  joined  the  chorus  of  the  Theatre  Italien,  and 
in  Nov.  1850  again  entered  the  Conservatoire, 
and  in  52  obtained  the  first  prizes  for  singing 
and  for  op^ra  comique.  He  made  his  d£but  Oct. 
20,  52,  at  the  Opera  Comique,  in  Mass^'s  '  Gala- 
th^e,'  after  which  he  advanced  steadily  through 
various  r6ls9  until  his  creation  of  the  parts  of 
Cr^vecoeor  in  Gevaert's  *Quentin  Durward' 
(March  58)  and  Hoel  in  Meyerbeer's  'Pardon 
de  Ploenner  (April  59)  placed  him  in  the  firHt 
rank.  In  the  wmter  of  1861  he  made  his  first 
sppearanoe  at  the  Grand  Op^ra,  since  which 


time  he  has  been  regularly  retained  there.  In 
London  he  first  appeared  at  Covent  Garden, 
April  10,  i860,  as  Hoel  in  *  Dinorah,'  and  has  since 
that  time  been  a  regular  visitor  at  one  or  other 
of  the  Italian  Opera  houses.  At  Brussels  also 
he  is  often  heard,  and  in  1874,  during  the  war, 
he  undertook  the  first  class  of  singmg  in  the 
Brussels  Conservatoire.  In  1861  he  appeared  in 
Berlin  at  Meyerbeer's  request,  but  the  tremolo 
in  his  voice  did  not  please  the  Germans,  and 
he  has  not  revisited  that  country. 

Faure  is  a  good  musician  and  a  fine  actor. 
He  is  also  a  collector  of  pictures  and  a  man  of 
great  culture.  His*  voice  is  a  baritone  of  great 
extent  and  of  very  fine  quality.  His  characters 
comprise  Mephistopheles,  Hamlet,  Nelusco  (Afiri- 
caine),  Posa  (Don  Carlos),  Don  Giovanni,  and 
many  more.  In  1857  he  was  for  a  short  time 
Professor  of  Singing  at  the  Paris  (>)nservatoire, 
and  in  1859  he  married  Mile.  Lefebvre  (bom 
Dec.  a  I,  1828),  the  chief  actress  of  Dugazon  r6le» 
at  the  Op^ra  (Comique.  He  has  published  1  books 
of  songs  (Heugel).  [G.] 


G. 


GThe  fifth  note  of  the  natural  scale — the 
dominant  of  C,  the  relative  major  of  E 
*  minor.  It  is  tcl  in  French  and  in  solfa- 
ing.  It  has  F|  for  its  signature.  G  minor  has 
Bb  and  £b  for  the  signature,  and  u  the  relative 
minor  of  B  flat  major.  G  gives  its  name  to  the 
treble  clef,  the  sign  fbr  which  is  nothing  but  a 
corruption  of  the  letter.  The  Greek  G  gives  its 
name  to  the  gamut  or  scale. 

As  to  its  use  in  composition — two  of  Haydn's 
12  Grand  Symphonies  are  in  G,  and  there  are 
Bevend  others  of  note  in  the  same  key  ('  Oxfwd,' 
'  Letter  V,'  etc.),  but  there  is  no  remarkable  one 
by  Mozart^  and  not  one  by  Beethoven,  nor  by 
Schubert,  Schumann,  or  Mendelssohn.  Of  Bee- 
thoven*6  16  Quartets  one  (No.  2),  and  of  his  11 
Overtures  one  (Ruins  of  Athens),  the  Sonata  op. 
31,  No.  I,  two  Violin  Sonatas,  and  the  P.  F.  Con- 
certo No.  4,  do  something  to  restore  ^e  balance, 
but  it  is  singular  how  much  he  avoids  the  key. 

G  minor  has  Mozart's  Symphony  and  Men- 
deLasohn's  Concerto  to  ennoble  it.  [G.] 

GABLEB,  JoHANK,  of  Ulm,  built  the  cele- 
brated organ  in  the  abbey  of  Weingarten  in  1 750. 
It  has  4  manuals,  and  76  speaking  stops,  and  is 
credited  with  6666  pipes.  It  is  also  said  that 
the  monks  were  so  pleased  with  it  that  they  gave 
Gabler  a  florin  per  pipe  over  and  above  the  contract 
price.    He  died  about  the  year  1 784.     [Y.deP.] 


GABRIEL,  Mart  Ank  Vibginta,  of  Irish 
parentage,  bom  at  Banstead,  Surrey,  Feb.  7, 1825, 
learned  the  piano  from  Pi^,  D(>hler,  and  Thal- 
berg,  and  harmony  and  construction  from  Mo- 
lique.  Her  principal  work  was  a  Cantata  named 
'Evangeline,'  founded  on  Longfellow's  poem; 
she  wrote  many  operettas,  one  of  which,  *  Widows 
bewitched,'  was  performed  by  Mr.  German  Reed's 
company  in  67,  and  had  a  long  run.  Her  Can- 
tatas 'JDreamland'  and  'Evangeline'  were  per- 
formed at  Covent  Garden  in  1 870  and  73.  Many 
of  her  songs  were  very  popular.  Miss  Gabriel 
married  Mr.  George  £.  March  (author  of  most  of 
her  librettos)  in  Nov.  1874,  and  died  from  the 
effects  of  an  accident  on  Aug.  7,  1877.  [G.] 

GABRIEU,  a  fisunily  of  great  Italian  musi- 
cians. 

I.  Andbsa,  celebrated  contrapuntisti  bom 
about  1 5 10,  in  the  quarter  ot  Venice  caUed 
Canareggio.  He  was  a  pupil  of  Adrian  Willaert» 
maestro  di  capella  of  St.  Mark's  (1527-62).  In 
1536  he  entered  the  Doge's  choir;  in  66  suc- 
ceeded CJlaudio  Merulo  as  second  organist  of 
St.  Mark's;  and  at  the  time  of  his  death,  1586, 
was  first  organist.  His  fame  spread  not  only 
throughout  Italy,  but  also  to  Germany  and  the 
Netherlands.  His  three  best-known  pupils  were 
his  nephew  Giovanni,  Leo  Hassler,  and  Peter 
Sweelinck.    In  1574  the  Republic  commissioned 


B72 


GABBIEU. 


him  to  write  tlie  mnsic  to  be  performed  at  the 
reception  of  Henry  III.  King  of  France;  for 
which  ocoarion  he  oompoeed  aeveral  pieces,  one 
being  for  xa  voioee  in  2  choirs,  'Ecoo  Vinegia 
bella,*  printed  in  the  'Gemma  MusicaliB*  (Venice, 
Gardano,  1588).  Though  much  addicted  to 
counteipoint,  his  style  is  elevated  and  dignified. 
His  finest  work  is  'Psalmi  Davidici  poeniten- 
tiales,  tum  omnis  generis  instrumentorum,  tum 
ad  vods  modulationum  acoomodati,  sex  vocum ' 
(Venice  1583).  Among  his  numerous  composi- 
tions may  be  mentioned — 'Sacrae  cantiones 
quinque  vocum,  liber  primus*  (1565);  *Mi8- 
sarum  sez  vocum,  liber  primus*  (1570);  'Ma- 
drigali  a  5  voci,  liber  primus,'  containing  24 
madrigals  and  6  canzoni  (1572) ;  'Libro  secondo 
di  Madrigali  a  5  e  6  voci,  con  un  dialogo  da  8  * 
(1573)  >  'Cansoni  alia  francese  per  lorgano* 
(1571) ;  and  'Canti  concert!  a  6,  7,  8,  xo,  e  16 
voci*  (1587).  In  the  last  are  some  pieces  bv 
his  nephew.  His  organ  music  was  printed  with 
his  nephew's  in  3  vols,  of  Rioercari.  Andrea 
seems  to  have  strongly  felt  the  necessity  of 
executing  vocal  music  by  instruments.  He  also 
composed  the  first  '  real  fugues,*  a  species  of  com- 
position for  which  his  nephew  showed  great 
Dacility.  Proske's  .'Musica  divina'  contains  a 
missa  brevis  and  no  fewer  than  xo  motets  of 
his,  all  for  4  voices. 

2.  GiOYANKi,  bom  in  Venice  1557,  pupil  of 
his  uncle  Andrea^  by  1575  already  well  known 
as  a  composer,  succeeded  Claudio  Merulo  as  first 
organist  of  St.  Mark*8,  Jan.  i,  X585.  He  died 
probably  in  161  a,  as  Gian^aol6  Savii  succeeded 
lum  on  August  I  a  of  that  year,  but  his  monu* 
ment  in  S&a  Sto&no  gives  Aug.  xa,  X613,  as 
the  date  of  his  death.  Although  he  seems  never 
to  have  left  Venice  he  was  well  known  through- 
out the  civilised  world.  The  works  of  his  pupils, 
Heinrich  Schutz,  Alois  Grani,  and  Michael  Prae- 
torius,  testify  to  the  deep  respect  they  all  enter- 
tained for  him.  His  contrapuntal  facility  was 
extraordinuy ;  his  'Sacrae  symphoniae'  (1597) 
contains  a  piece  for  3  choirs,  each  of  different  com- 
position. (This  or  a  similar  noble  work  is  printed 
by  Mr.  Hullah  in  his  '  Vocal  scores.*)  The  first 
part  of  the  Symphoniae  is  dedicated  to  Count 
George  Fugger,  in  acknowledgment  of  his 
having  invit^  Gabrieli  to  his  wedding.  The 
necessity  for  the  orchestra  is  still  more  marked 
in  Giovanni  than  in  his  uncle  Andrea;  his 
modulations  are  ofteb  so  bbld  and  difficult  that 
we  can  scarcely  believe  they  were  ever  intended 
for  voices.  In  this  respect  he  may  be  called  the 
father  of  the  chromatic  style.  For  particulars 
of  his  times  and  contemporaries  see  Winterfeld  s 
'  Johann  Gabrieli  und  seine  Zeit,*  a  vols,  of  text 
and  I  vol.  of  examples,  containing  33  pieces  for 
voices  (from  4  to  x6),  one  for  organ,  and  one 
for  quartet.  Others  will  be  found  in  Boden- 
Bchatz ;  Kochlitz ;  in  Musica  sacra  (Schlesinger 
1834),  ete.  Rochlitz's  Collection  (Schott)  con- 
tains an  In  excelsis  of  his  for  Soprano  and  Tenor 
solo,  and  chorus  (k  4),  with  violins,  3  horns, 
and  a  trombones ;  also  a  Benedictus  for  3  choirs. 

3.  DoMENico,  dramatic  composer  and  violon- 


GABBIELLE,  CHABMANTE. 

cellist,  known  as  'il  Menghino  del  violonedlo/ 
bom  at  Bologna  1640 ;  first  in  the  band  of  Ssa 
Petronio,  then  in  the  service  of  Cardinal  Pamfili. 
In  X676  he  became  a  member,  and  in  16S3 
President,  of  the  Sodetk  Filarmonica  in  Bo- 
logna. He  appears  to  have  died  before  X691. 
Of  his  operas,  produced  in  Bologna,  Padua,  ud 
Venice,  'Cleobulo*  was  the  most  suoceasfuL  Hii 
instrumental  compositions  'Balletti,  gigbe,  cor- 
renti,  sarabande,  a  due  violini  e  violoiioello  con 
basso  continue,*  op.  i  (Bologna  1703),  are  in- 
teresting. [F.G.] 

GABRIELLE,  CHARMANTE,  that  is,  Gt^ 
brielle  d'Estr^es,  mistress  of  Henri  I V.  Hie  reign 
of  Louis  XVIII.  revived  an  artless  little  romance, 
which,  Uke  the  song  'Vive  Henri  IV.*  [see 
£[sNBil,  recalled  pleasant  memories  of  the  B^r- 
nais.  '  Charmante  Gabrielle '  was  not  only  sung 
far  and  wide  at  that  loyal  epoch,  but  the  author- 
ship of  both  words  and  music  was  attributed  to 
the  gallant  king,  and  the  mistake  is  still  often 
repeated.  True  Henri  suggested  the  song  to  <me 
of  the  poets  of  his  court,  but  we  have  his  own 
authority  for  the  &ct  that  he  did  not  himself 
write  the  stanzas.  The  letter  in  which  the  king 
sent  the  song  to  Gabrielle  is  in  the  '  Becudl  dcs 
Lettres  missives*  of  Betger  de  Xivrey  (iv.  998, 
9),  and  contains  these  words: — 'Ges  vers  voos 
repr^nteront  mieulx  ma  condition  et  plus  agr^ 
ablonent  que  ne  feroit  la  prose.  Je  les  ay 
dictez,  non  arrangez.'  The  only  date  on  the 
letter  is  May  2X,  but  it  was  written  in  1597 
from  Paris,  where  Henri  was  collecting  money 
for  his  expedition  to  Amiens,  and  "iwlriTig  pre- 
parations to  leave  Gabrielle  for  the  campaign 
against  the  Spaniards.  It  was  probably  B^tauty 
Bishop  of  S^ez,  who,  at  the  king's  'dictation,' 
composed  the  four  couplets  of  the  romance,  of 
which  we  give  the  firsts  with  the  music  in  its 
revived  form : — 


Cluur-iiiAno  to 


Oft-bri-el.le.rttr.etf 


wttl 


£Rg=3HJ  r\U^^ 


le      derdt.  Qnud  U     glol  .   ra   m'ap-pel-Ie  Dtos 


Oni-el-le        df  -  per* 


rr/f  rlr  ^l^rlr  r  ri-f^ 


el  H&I-hen-renx        Joorl      Qa«  ne  sols-Je  not 


^ 


:^ 


Oa       wan*  m      •      moar! 


monrl 

The  refrain  is  not  original ;  it  is  to  be  found 
word  for  word  in  the  'Thesaurus  harmonious'  of 
Besard  (1603),  and  in  the  'Cabinet  ou  Tr^sor 
des  nouvelles  chansons'  (1602) ;  and  as  at  that 
time  it  took  more  than  five  or  six  years  for  an 
air  to  travel  from  the  court  to  the  people,  we 
may  safely  conclude  that  it  was  no  novelty, 


6ABRIELLE,  CHARMANTE. 

Fetis  &ttributeB  the  air  to  Eustache  Du  Caorroy, 
maitre  de  chapelle  to  Charles  IX,  Henri  III,  and 
Henri  IV;  but  the  music  of  that  'Prinoe  of 
mnsiciajis,*  as  Mersennus  calls  him,  is  so  imbued 
with  Bcieiice,  not  to  say  pedantry,  that  it  is  im- 
possible to  suppose  the  author  of  the  contra- 
puntal exercises  in  his  '  Melanges '  to  have  had 
anything  in  oonmion  with  the  composer  of  so 
simple  and  natural  a  melody.  Its  origin  is  un- 
doabtedl  J  secular ;  and  there  is  the  more  reason 
to  believe  it  to  have  been  borrowed  from  an  air 
already  popular  that  the  words '  Gruelle  d^partie, 
Malheuieux  jour'  occur  in  the  'Chansons  sur  lee 
airs  mondains.'  In  the  book  of  cantiques  en- 
titled 'La  pieuse  Alouette  aveo  son  tirelire* 
(1619)  we  find  a  proof  that  the  church  bor- 
roweid  the  air  and  prevailing  idea  of  this  song 
from  the  world,  rather  than  the  reverse,  for  the 
religious  refrain, 

DoQoo  Tittrge  Msris^ 

Secoorar-mol  I 
Otes-moi  ou  la  rie, 

Ou  Men  I'^moi, 

is  obvioosly  founded  on  the  love-song  of  1597. 

Such  is  all  the  positive  information  we  have 
been  able  to  obtain  about  'Charmante  Gabrielle'; 
bat  the  mystery  which  surrounds  its  origin  rather 
increases  than  diminishes  the  attraction  of  this 
celebrated  song.  [G.  C] 

GABBIELLI,   Cattebina,   bom   at   Borne 
Nov.  I  a,  1730,  daughter  of  Prince  Gabrielli^s 
cook,  one  of  the  most  beautiful,  accomplished, 
and  capricious  singers  that  ever  lived.    At  the 
age  of  14,  the  Prince,  walking  in  his  garden, 
heard  her  singing  a  difficult  song  of  Galuppi, 
sent  for  her,  and  after  listening  to  her  perform- 
ance, promised  her  his  protection  and  a  musical 
education.    She  was  placed  first  under  Garcia, 
lo  Spagnoletto,  and  afterwards  under  Porpora. 
A  great  success  attended  her  d^ut  (1747)  as 
prima  donna,  at  Lucca,  in  Galupprs  '  Sofonisba.' 
Guadsgni  gave  her  some  valuable  instruction  in 
the  style  in  which  he  himself  excelled, — the  pure 
and  correct  cantabile.     This  she  was  therefore 
now  enabled  to  add  to  her  own,  which  was  the 
perfection  of  brilliant  bravura^  with  a  marvellous 
power  of  rapid  execution  and  an  exquisitely 
delicate  quality  of  tone.    At  other  theatres  in 
Italy  she  met  with  equal  success,  singing  in 
1750,  at  Naples,  in  Jomelli*s  *I)idone,*  after 
wMch  she  went  to  Vienna.    Here  she  finished 
her  dedamatory  style  under  the  teaching  of 
Metastasio,  and  fiwdnated  Francis  I,  who  went 
to  the  Opera  only  on  her  nights.    Metastasio 
is  said  to  have  been  not   indifferent   to  the 
charms  of  this  extraordinary  singer,  still  known 
as  la  Coehetta  or  Cocheliina,  in  memory  of  her 
orig^ ;  but  she  did  not  respond.   Her  capricious 
treatment  of  her  numerous  adorers  gave  rise  to 
hundreds  of  stories,  among  which  one  may  be 
quoted.    By  this  it  appears  that  the  ambassadors 
ix.  France  and  Portugal  were  both  desperately 
enamoured  of  her  at  Vienna.    The  former,  con- 
cealing himself  in  her  apartments,  saw  enough 
to  confirm  his  suspicions,  and  rushed  upon  her 
with  his  sword,  with  which  he  would  doubUess 


GABUSai. 


57a 


have  transfixed  her,  had  not  the  busk  of  her 
boddice  turned  aside  the  point  of  the  blade. 
She  pardoned  the  Frenchman,  who  had  thrown 
himself  on  his  knees  before  her,  on  condition  of 
her  retainiog  his  sword,  on  which  she  determined 
to  have  the  words  engraved,  A^  de  M,  .  .  .  . 
qui  osa  frapper  la  Qabrielli,  &c. ;  but  Metastasio 
prevailed  upon  her  to  give  up  this  design.  In 
1765  she  quitted  Vienna,  Isiden  with  wealth, 
and  went  to  Sicily,  where  she  excited  the  same 
furore,  and  exhibited  the  same  caprices.  She 
was  imprisoned  by  the  Kling,  because  she  would 
not  sing  her  part  in  the  opera  above  a  whisper. 
During  the  twelve  days  of  her  imprisonment, 
she  gave  sumptuous  entertainments,  paid  the 
debts  of  poor  prisoners,  and  distributed  alms  in 
profusion.  Each  evening  she  assembled  the 
other  inmates  of  the  gaol,  to  whom  she  sang 
her  fSftvourite  songs  in  the  most  painstaking 
manner.  The  Eling  was  obliged  to  set  her  free, 
and  her  reputation  with  the  public  stood  higher 
than  ever.  In  1 767  she  went  to  Parma,  whero 
the  Infant  Don  Philip  fell  madly  in  love  with 
her,  and  persecuted  her  so  fieur  as  sometimes  to 
shut  her  up  in  a  room  of  which  he  kept  the  key. 
Terrible  scenes  occurred  between  them,  and  she 
called  him  on  one  occasion  gobho  maledetto. 
Having  escaped  fit>m  Parma  in  1768  she  went 
to  Russia,  where  she  astonished  Catherine  II. 
by  demanding  5000  ducats  as  salary,  a  sum,  as 
the  Empress  objected,  lai^er  than  the  pay  of 
a  field-marshal ;  to  which  GabrielU  simply  re- 
plied, 'Then  let  your  field-marshals  sing  for 
you' — as  Caffarelli  once  replied  in  similar 
ciroumstanoes.  She  appeared  in  London  in  the 
season  of  1775-6.  Bumey  says  of  her  that  'she 
had  no  indications  of  low  birth  in  her  counten- 
ance or  deportment,  which  had  all  the  grace  and 
dignity  of  a  Roman  matron.'  The  public  here 
was  prejudiced  against  her  by  the  stories  current 
of  her  caprice;  and  she  only  remained  during 
one  season^.  Bumey  extols  the  precision  and 
accuracy  of  her  execution  and  intonation,  and  the 
thrilling  quali<^  of  her  voice.  She  appeared  to 
him  *  the  most  intelligent  and  beet  bred  virtuosa 
with  whom  he  had  ever  conversed,  not  only 
on  the  subject  of  music,  but  on  every  subject 
oonceming  which  a  well-educated  female,  who 
had  seen  the  world,  might  be  expected  to  have 
information.'  She  sang  with  Paochierotti  at 
Venice  in  1777,  and  at  Milan  in  1780  with 
Marohesi,  with  whcHn  she  divided  the  publio 
into  two  parties.  After  this,  Gabrielli  retired 
to  Rome  with  her  sister  Francesca,  who  had 
followed  her  everywhere  as  seconda  donna,  and 
lived  upon  her  savings,  which  amounted  to  no 
more  than  ia,ooo  francs  per  annum.  She  died 
in  April  1 796  of  a  neglected  odd.  A  beautiful 
littie  portrait  of  her  in  mezzotint,  now  very  rare, 
was  engraved  by  D.  Martin  in  1766  from  a 
painting  by  Pompeo  Battoni.  [J.M.] 

GABUSSI,  ViNCENZO,  composer  and  teacher 
of  singing,  bom  at  Bologna  early  in  the  present 

>  FAk  ta  misteken  In  njloc  tlutt  ahe  never  eune  to  Xngland.  and 
In  the  whole  of  his  ezpUumtlon  of  her  reeaons  for  refuitng  engaic«n)ent» 
In  London.  He  alio  erroneoiuly  calls  her  sister  Annn. 


574 


GABUSSI. 


oentuiy,  rtadied  counterpoint  under  Padre  Mattel. 
He  brought  out  his  first  opera  at  Modena  in  1825 
and  then  came  to  London,  and  remained  there  for 
about  15  years  teaching  singing  and  acoompani- 
ment.  After  this  he  retired  to  Bologna.  In  1 834 
he  produced '  Ernani '  at  the  The&tre  des  Italiens, 
Paris,  and  in  41  'Clemenza  di  Valoia*  at  the 
Fenioe  in  Venice,  without  success.  He  composed 
chamber  music  for  instruments,  but  is  beet  known 
by  his  vocal  duets,  which  are  still  sung  in  England. 
He  died  in  London  Sept.  i  a,  1 846.        [M.  C.  C] 

GADE,  Niels  W.,  one  of  the  most  gifted  and 
accomplished  of  living  composers  and  conductors, 
was  bom  Oct.  ai,  181 7,  at  Copenhagen,  the  son 
of  a  maker  of  musical  instruments.  His  first 
instruction  in  music  was  obtained  from  a  teacher 
who  esteemed  mechanical  industry  beyond  talent, 
and  it  seems  was  not  very  well  satisfied  with 
the  progress  of  his  pupil.  Gade  learned  a  little 
about  guitar,  violm,  and  pianoforte,  without 
accomplishing  much  on  either  instrument.  Later 
on  he  met  with  more  able  masters  in  Wershall, 
Berggreen,  and  Weyse.  Various  compositions 
were  the  result,  of  wMch  their  author  now  thinks 
little.  He  afterwards  entered  the  royal  orohestra 
at  Copenhagen  as  violinist,  and  in  that  practical 
school  attained  that  rare  degree  of  mastery  in  in- 
strumentation which  his  publications  show  from 
the  first.  Through  his  *  Ossian '  overture,  which,  on 
the  approval  of  Spohr  and  Schneider,  was  crowned 
in  1 84 1  with  the  prize  awarded  by  the  Copen- 
hagen Musical  Union,  he  attracted  the  at- 
tention of  the  music-loving  king,  and  at  once 
received,  like  many  other  men  of  talent  in 
Denmark,  a  royal  stipend,  intended  to  assist 
him  in  a  foreign  journey.  Thus  equipped,  Gade 
turned  towards  Leipzig,  where  by  Mendelssohn 
he  was  introduced  to  the  musical  public  at  large. 
(See  Mendelssohn's  letters  Jan.  1 3,  Maroh  3,  43.) 

After  the  production  of  his  first  symphony 
(March  a,  1843)  and  the  cantata  *Coinala*  at 
Leipzig  (Maroh  3,  46),  Gade  travelled  in  Italy, 
and  on  his  return  in  1844,  Mendelssohn,  who  was 
then  staying  at  BerUn  and  Frankfort,  entrusted 
him  wiUi  the  conducting  of  the  Grewandhaus 
concerts.  In  the  winter  of  1845-46  he  acted 
as  sub-conductor  to  Mendelssohn  at  Leipzig,  and 
after  the  death  of  the  latter  conducted  alone  till 
the  spring  of  1848,  when  he  returned  to  Copen- 
hagen for  good,  to  occupy  a  post  as  organist  and 
to  conduct  the  concerts  of  the  Musikverein.  In 
1 861,  at  the  death  of  Glaeser,  he  was  appointed 
Hof-capellmeister,  and  received  the  title  of  Pro- 
fessor of  Music;  and  he  is  still  busy  composing, 
teaching,  and  conducting.  He  visited  England 
for  the  first  time  in  1876,  to  conduct  his  'Zion ' 
and  *The  Crusaders*  at  the  Birmingham  Festival. 

The  intimate  friend  of  Mendelssohn  and  Schu- 
mann, Gade  is  in  some  sense  their  disciple ;  his 
earlier  works  showing  faint  traces  of  the  influence 
of  the  former  as  his  later  works  do  that  of  the 
latter.  Still  Gade's  distinguished  and  amiable 
musical  physiognomy  is  fiir  firom  a  mere  reflex 
of  theirs ;  he  has  always  had  something  to  say 
for  himself  and  has  from  the  first  contrived  to 
say  it  in  a  manner  of  his  own.     His  musical 


OlNSBAGHEB. 

speech  fa  tinged  with  the  cadences  of  ScmdiBaviia 
folk-song,   and  almost  invariably  breathes  the 
spirit  of  northern  scenery.    All  dib  works  Anm 
the  same  refined  sense  for  symmetry,  for  haimo- 
nious   colouring  and   delicate  sentiment.     His 
themes,   if   rarely  vigorous  or  pawrionatre,  aie 
always  spontaneous  as  far  as  they  go,  and  ner^ 
without  some  charm  of  line  or  odour.    As  with 
a  landscape  painter  the  fiiscinatiaiL  of  hss  pieces 
lies  in  the  peculiar  poetical  impreaaion  conveyed 
by  the  entire  picture  rather  than  by  any  pro- 
minent  details;    and   as  in   a   landscape  Uus 
fascinating  total  impreMon  is  always  the  rsnzlt 
of  perfect   harmony  of   colour,    so    in   Gade'i 
works  it  b  traceable  to  the  gentle  rapose  sad 
proportion  of  his  themes  and  the  suave  perfectioD 
of  his  instrumentation. 

Gade  has  published  7  symphonies,  ops.  5,  lo,  15, 
30,  35,  33,  45,  in  C  minor,  JS,  A  minor,  B  flat,  I) 
minor  (with  Piano),  G  minor,  and  F  reapectivelj; 
five  overtures—*  Nachklange  aua  Ossian'  (op.  i), 
'Im  Hochland'  (op.  7),  in  C  (op.  14).  'Hamlet* 
(op.  37), '  Michael  Angelo '  (op.  39)  ;  the  cantataa 
'  Comala '  (op.  12), '  ^ruhlings&ntaisie '  (op.  33), 
'  Erlkonigs  Tochter '  (op.  30),  '  Die  heilige  Kacht  * 
(op.  40),  *Frtlhlingsbot8chaft*  (op.  35),  'Die 
Kreuzifkhrer '  (op.  50),  and  Zion ;  an  octet  (op. 
1 7),  sestet  (op.  17),  and  quintet  (op.  8)  for  stzings ; 
a  trio  called  'Novelletten'  for  pianoforte  and 
strings ;  two  sonatas  for  pianoforte  and  violin  in 
A  and  D  minor,  of  which  the  second  10  particD> 
larly  good ;  many  choral  songs  for  mixed  and  for 
male  voices ;  songs  for  one  voice  with  pianoforte, 
and  a  number  of  solo  pieces  for  the  pianoforte  far 
two  and  four  hands,  of  which  the  sonata  (in  E 
minor,  op.  38)  the  sketches  called  '  Aquarellen/ 
and  the  V olkstanze  (op.  3 1 )  are  the  best.   [E.  D.] 

GADSBY,  HxiniT,  son  of  a  musician,  boni  at 
Hackney  Deo.  15,  1843,  entered  St.  Paul's  cboir 
in  49,  at  the  same  time  with  Dr.  Stainer,  and 
remained  till  58.  The  instruction  in  haiinoay 
which  he  and  Stainer,  as  an  exception  due  to 
their  musical  faculty,  received  fix>m  Mr.  W. 
Bayley,  the  then  master  of  the  boys,  is  virtuallv 
the  only  teaching  that  Mr.  Gadsby  ever  received, 
the  rest  is  due  to  his  own  perseverance. 

Mr.  Gadsby's  published  works  are  the  130th 
Psalm;  a  Cantata  (1863);  'Alice  Brand,*  Can- 
tata (1870) ;  Festival  Service  for  8  voices  (1872); 
Concert  overture,  'Andromeda'  (1873);  String 
Quartet  (1875);  Andante  and  Bondo  piaoevole, 
P.  F.  and  Flute  (i 875) ;  music  to  Alcestis  (i 876). 
In  addition  to  these  he  has  (1878)  in  MS.  3 
Symphonies,  in  C,  in  A — portions  of  which  have 
been  played  at  the  Crystal  Palace — and  in  D; 
Overtures  to  the  Gold^  Legend*  and  'Witches* 
Frolic,*  and  an  Intermezzo  and  Scherzo  (aQ  pei^ 
farmed  at  the  Crystal  Palace),  as  well  as  many 
Songs,  Part-BongB^  Anthems,  and  Services.    [G.j 

GiLNSBACHER,  Johann,  Capellmmster  of 
the  Cathedral  at  Vienna,  bom  May  8,  1778,  st 
Sterzing  in  the  Tyrol.  At  6  years  old  he  was  a 
chorister  in  the  village  churoh  of  which  his  father 
was  choirmaster.  Later  he  learnt  the  organ, 
piano,  cello,  and  harmony  at  Innspruck,  Halle, 


GlNSBACHEB. 

md  Boftzen.    In  1795  lie  entered  the  Umyenil^ 
of  Innsprack,  but  on  the  fonnation  of  the  Land- 
stnnn  in  96  aeryed  as  a  volunteer,  and  won  the 
gold  '  TapferkeitB-medaille.'    In  1801  he  was  in 
Vienna,   studied  under  Yogler  and  Albrecht»- 
bergcn:,  and  was  recommended  as  a  teacher  by 
Haydi&y    Gyrowetz,  and  distinguished   patrons. 
He  next  aooompanied  Count  Firmian  to  Prague, 
and  devoted  himself  entirely  to  composition.     In 
1809  he  was  at  Dresden  and  Leipzig,  revisited 
his  home,  and  in  the  following  year  settled  for  a 
time  in  Darmstadt  to  renew  his  studies  under 
Vogler.     "Weber  and  Meyerbeer  were  his  feUow- 
pupilsy  and  the  three  formed  a  lasting  friendship. 
Weber  especially  retained  a  sincere  affection  for 
him,  took  him  to  Mannheim  and  Heidelbeig, 
where  Gransbacher  assisted  in  his  concerts,  and 
at  a  later  time  proposed  to  him  to  compete  for  the 
vacant  poet  of  Court  Capellmeister  in  Dresden. 
MeantimeGransbacher  lived  alternately  in  Vienna, 
where  he  became  acquainted  with  Beethoven, 
and  Pra^e,  where  he  assisted  Weber  with  his 
'Kampf  imd  8i^.'    He  also  served  in  the  war 
of  1813^  went  to  Italy  as  captain  in  military 
service,  and  was  even  employed  as  a  courier.  This 
unsettled  life  at  length  came  to  a  satisfactozy 
end.    At  the  tiine  that  Weber  was  suggesting 
his  settling  at  Dresden,  the  Capellmeistership  <^ 
the  cathedral  at  Vienna  fell  vacant  by  the  death 
of  Preindl  (Oct.  1823) ;  Gansbacher  applied  for 
H,  was  appointed,  and  remained  there  for  life. 
He  died  July  13,  1844,  universally  respected 
both  as  a  man  and  an  artist.    As  a  composer  he 
bdongB  to  the  old  school ;  his  works  are  pleasing 
but  l^tray  by  their  solidity  the  pupil  of  Vogler 
and  Albreehtsberger.    His  compositions  number 
216  in  all,  of  which  the  greater  part  are  sacred, 
—17  masses,  4  requiems,  2  Te  Deums,  offertories 
etc.    He  wrote  also  a  symphony,  several  seren- 
ades, msrchee,  and  concerted  pieces;  pianoforte 
pieces  with  and  without  accompaniment;  songs 
accompanied  by  various  instruments ;  music  to 
Kotzebue's  'Die  Kreuzfahrer*;  a  liederspiel,  etc. 
Two  requiems,  a  masses,  and  several   smaller 
church  works  were  published  by  Spina  and  Has- 
linger ;  3  terzettos  tor  2  sopram  and  tenor  (op.  4) 
by  Schlesinger;  Schillei^s  '  Erwartung'  by  Sim- 
rock  ;  and  sonatas  and  trios  by  various  publishers. 
A  song  of  his  is  given  in  Ayrton's  *  Sacred  Min- 
strdsy.* 

His  son  Dr.  Joskfh,  bom  1829,  is  now  a  valued 
teacher  of  singing  in  Vienna,  and  professor  at  the 
Conservatoire.  [C.F.P.] 

6AF0BI,  Fbakchiko,  or  Fbanohikus  Gafu- 
sius,  bom  at  Lodi  Jan.  14,  145 1,  a  priest  and 
a  writer  on  music.  His  first  instructor  was 
Goodendag,  or,  as  he  latinised  his  name,  Bona^ 
dies.  CSrcumstances  led  him  to  Mantua,  Verona> 
Genoa,  and  in  1478,  in  company  with  the  fugi- 
tive doge  Adomo,  to  Naplasi.  There  he  found 
Tinctor  and  two  other  great  Belgian  musicians, 
Gamier  and  Hycart ;  and  there  he  remained  for 
more  than  two  years  till  driven  back  to  Lodi  by 
war  and  the  plague.  He  passed  a  short  time  as 
maestro  di  capella  at  Monticello  and  Bergamo, 
sod  in  1484  became  attached  to  the  cathedral  at 


GALTMATHIA8. 


575 


Milan,  where  he  died  June  24,  1522,  still  in  full 
vigour.  His  works  are  as  follow : — 'Theoricum 
opus  armonice  discipline'  (Naples  1480) ;  'Prac- 
tica  musics'  (Milan  1496)  ;  *  Angelicum  et  divi- 
num  opus  musice'  (Milan  1508,  in  Italian); 
*  De  harmonica  musicorum  instrumentorum  opus' 
(Milan  15 18);  'Apologia  ad  versus  Spatarium' 
(Turin  1520).  Worlcs  with  other  titles  are  but 
editions  or  abridgments  of  the  above.  Though 
a  man  of  much  learning  and  research,  and  in 
some  respects  a  pedant — witness  the  headings  of 
his  chapters  and  the  terms  he  coined — Gafori 
was  no  mere  archeologist.  He  addressed  himself 
to  the  wants  of  his  time,  and  in  consequence 
enjoyed  for  long  a  wide  and  special  authority. 
His  great,  drawback  was  his  overweening  conceit, 
often  displayed  in  the  very  titles  of  his  books. 
Hawkins  has  devoted  chapters  72,  73,  74,  and 
75,  of  his  History  to  him,  and  has  given  copious 
extracts  from  the  *Practica  musics,'  his  most 
important  work,  and  the  'Apologia.'  [G.] 

GAGLIANO,  a  celebrated  family  of  violin- 
makers  at  Naples.  Albssaitdbo,  the  first,  worked 
from  about  1695  to  1725.  His  work,  like  that 
of  his  sons,  is  good  and  substantial,  but  it  exhibits 
the  same  unattractive  greyish -yellow  varnish 
which  was  used  by  the  sons.  Alexander  calls 
himself  'alumnus'  of  Stradivarius,  and  all  the 
Ghiglianos  worked  more  or  less  on  the  Stradivari 
modeL  His  sons,  Nicoix)  (1700-40)  and  Gen- 
KABO  (1710-50),  made  a  large  number  of  good 
instruments.  His  grandson,  Febdinando  (i  736- 
81),  son  of  Nich(uas,  like  all  his  Italian  con- 
temporaries, exhibits  a  marked  decline.  The 
later  Gaglianos  established  a  manufactory  of 
violin-strings,  which  to  this  day  enjoys  a  world- 
wide reputation.  [P-^O 

GALEAZZI,  Fravcesoo,  a  violin-player,  bom 
at  Turin  in  1738  (F^tis  says  1758)  and  for  many 
years  leader  of  the  band  at  the  'Teatro  Valle  at 
Kome.  He  deserves  special  notice,  not  so  much 
as  a  composer  of  numerous  instrumental  works, 
as  the  author  of  one  of  the  earliest  methodical 
instruction-books  for  the  violin,  which  bears  the 
title  of  '  Elementi  teoretico-practici  di  musica, 
con  un  saggio  sopra  Tarte  di  suonare  il  violino, 
analizzata,  Boma  1 791  e  1796.  He  died,  accord- 
ing to  F^tis,  in  181 9.  [^-I^O 

G ALEB ATTI,  Cattebika,  a  contralto  singer, 
who  appeared  in  the  early  times  of  Italian 
Opera  in  London.  In  1 714  she  made  her  d^ut, 
Jan.  9,  in  the  pastiocio  'Dorinda.'  She  sang 
also  in  '  Creso,'  in  a  revival  of  '  Binaldo,'  and  in 
'  Aiminio,'  and  had  a  benefit, '  by  command,'  that 
year.  In  1713,  Mar.  16,  she  signed  a  petition 
(in  the  possession  of  the  writer),  together  with 
Mrs.  Barbier,  Margherita  de  rapine,  T.  Bobinson, 
and  Valentino  Urban!,  for  the  better  regulation 
of  their  benefits.  Six  years  later,  we  lind  her 
again  singing  in  'Astarto,'  'Badamisto,'  and 
<Numitor.'  In  the  next  year,  1 721,  she  took 
prominent  parts  in  'Muzio  Scevola,'  'Arsinoe,' 
and  'L'Odio  e  L'Amore,'  after  which  her  name 
does  not  occur  again.  [J.M.] 

GALIMATHIAS.     A  French  term  of  very 


576 


OALIMATHIAS. 


doubtful  derivation  (Littr6),  meaning  a  confused 
unintelligible  affair.  'GalimathiaB  musicum*  is  a 
comic  piece  of  music  for  Orchestra  with  Clavier 
and  other  instruments  obligatOi  composed  by 
Mozart  in  1 766  at  the  Hague,  for  the  festivities 
at  the  coming  of  age  of  William  of  Orange  the 
Fifth  (March  8).  Mozart,  then  on  his  road 
from  London,  was  just  10  years  old.  The  piece 
is  in  1 3  short  numbers,  ending  with  a  variation 
on  the  Dutch  national  air  of  'Wilhelmus  von 
Nassau.'  (Kochel,  No.  3a  ;  O.  Jahn,  2nd  ed. 
i.  44.)  In  a  letter  of  Feb.  5,  1 783,  Mozart  speaks 
of  a  galimathiaa  opera — '  Gallus  cantjtns,  in  ar- 
bore  sedens,  gigirigi  fadens.'  [6.] 

GALITZIN,  Nicolas  Bobibsowitsch,  a  "Rub- 
sian  Prince  who  is  immortalised  by  the  dedication 
to  him  by  Beethoven  of  an  overture  (op.  124) 
and  3  quartets  (ops.  127,  130,  13a).  Of  his 
birth  nothing  is  known;  he  died  on  his  estates 
in  the  province  Kurski  in  1866.  In  1804-6 
he  was  in  Vienna^  and  doubtless  made  the 
acquaintance  of  Beethoven  and  his  music  at 
the  house  of  Count  Rasomowsky,  the  Russian 
ambassador,  for  whom  at  that  very  date 
Beethoven  wrote  the  3  quartets  (op.  59)  and  at 
that  of  the  Count  von  Browne,  an  officer  in  the 
Russian  service,  for  whom  Beethoven  had  written 
several  works  (ops.  9,  10,  22,  etc.).  In  1816 
Moscheles  met  him  at  Carlsbad,  and  speaks  of 
him  as  a  practical  musician  (Leben,  i.  37).  In 
i8aa  he  was  married  and  living  in  Petersburg 
in  very  musical  society,  his  wife  an  accomplished 
pianoforte-player  and  he  himself  a  cellist  and 
an  enthusiastic  amateur.  At  this  time,  Nov.  9, 
1822,  he  ^writes  to  Beethoven  a  letter  full  of 
devotion,  proposing  that  he  shall  compose  3  new 
quartets  at  his  own  price,  to  be  dedicated  to  the 
Prince.  Beethoven  accepts  the  offer  (by  letter, 
Jan.  25,  23),  and  fixes  50  ducats  (say  £23)  per 
quartet  as  the  price.  Feb.  19  the  Prince  replies, 
that  he  has  '  given  an  order'  for  50  ducats  to  his 
banker,  and  will  immediately  remit  100  more  for 
the  two  others.  May  5,  23,  he  writes  again, 
'  you  ought  to  have  received  the  50  ducats  fixed 
for  the  first  quartet.  As  soon  as  it  is  complete 
you  can  sell  it  to  any  publisher  you  choose — all 
I  ask  is  the  dedication  and  a  MS.  copy.  Pray 
begin  the  second,  and  when  you  inform  me  you 
have  done  so  I  will  forward  another  50  ducats.* 

From  this  time  the  correspondence  continues 
tiU  Beethoven's  death.  Galitzin*s  further  letters — 
in  French,  14  in  number— are  full  of  enthusiasm 
for  Beethoven,  pressing  money  and  services  upon 
him,  offering  to  subscribe  for  mass,  symphony, 
and  overture,  and  volunteering  his  willingness  to 
wait  for  'the  moments  of  inspiration.*  In  fact 
he  had  to  wait  a  long  time.  The  first  quartet 
(in  £b,  op.  127)  was  first  played  at  Vienna, 
March  6,  1825,  and  is  acknowledged  by  the 
Prince  on  Apnl  29.  The  second  (in  A  minor, 
op.  132)  was  first  played  Nov.  6,  25,  and  the 
third  (in  Bb,  op.  130)  on  March  ai,  26.  These 
were  received  by  the  Prince  together,  and  were 

1  The  letten  quoted  and  refemd  to  throochout  thb  notice  ue 
ftlmort  all  in  MS.,  and  will  be  printed  in  the  forthooming  rolnnMa  of 
Thftver's  'Lift  «f  Beetborea.* 


GALITZIN. 

acknowledged  by  him  Nov.  22,  26.  He  abo 
received  a  MS.  copy  of  the  Maas  in  D  a&d 
printed  copies  of  the  9th  Symphony  and  of  the 
two  overtures  in  C,  the  one  (op.  1 34)  dedicated 
to  him,  the  other  (op.  115)  dedicated  to  Coaoi 
Badzivill.  Thua  the  whole  claim  against  him 
was — Quartets,  150  ducats;  Overture  (op.  115), 
25  ducats;  Mass,  50  ducats;  loss  cm  exduuoge, 
4  ducats ;  total,  229  ducats,  not  including  varioiu 
other  pieces  of  music  sent.  On  the  other  hand 
he  appears,  notwithstanding  aU  hia  promi8e%  to 
have  paid,  up  to  the  time  of  Beethoven's  death, 
only  104  ducats.  It  should  be  said  tliat  in  1826 
war  and  insurrections  had  broken  out  in  Russia, 
which  occupied  the  Prince  and  obliged  him  to 
live  away  from  Petersburg,  and  also  put  him  to 
embarrassing  expenses.  After  the  peace  of 
Adrianople  (Sept.  14,  29),  when  Beethoven  had 
been  deaui  some  years,  a  correspondence  was 
opened  with  him  by  Hotschevar,  Carl  van  Bee- 
thoven's guardian,  which  resulted  in  183a  in  & 
further  payment  of  50  ducats,  making  a  total  c^ 
154.  Carl  still  urges  lus  claim  for  75  more  to 
make  up  the  150  for  the  quartets,  whidb  Galitzin 
in  1835  promises  to  pay,  but  never  does.  In 
1852,  roused  by  Schindler's  statement  of  the 
affair  (ed.  i.,  pp.  162,  3),  he  writes  to  the 
Grazette  Musicale  of  July  21,  1852  a  letter 
stating  correctly  the  sum  paid,  but  inoorreccly 
laying  it  all  to  the  account  of  the  quaitets. 
Other  letters  passed  between  him  and  CsrJ 
Beethoven,  but  they  are  not  essentiial  to  the 
elucidation  of  the  transactions. 

There  can  be  no  doubt  that  Galitzin's  intentions 
were  excellent,  that  the  world  owes  to  him  the 
existence  of  the  three  Quartets,  and  that  he  was 
lavish  of  admiration  and  promises  to  pay.  No 
doubt,  too,  he  had  to  wait  a  long  while,  and  to 
undergo  a  great  deal  of  disappointment^  but  this 
he  ought  to  have  known  was  inevitable  in  dealing 
with  a  man  of  Beethoven's  temp6ranient>  whoee 
mode  of  production  has  been  ekewhere  shown  to 
have  been  so  slow  and  uncertain.  [See  p.  174-} 
For  the  payments  of  50  and  25  ducats  he  had 
more  than  ample  compensation  in  the  copies  of 
the  Mass  and  the  Overture,  the  pleasure  he  de- 
rived firom  them,  and  the  credit  and  importance 
they  must  have  g^ven  him  in  the  musical  circles 
of  Bussia.  For  the  copies  of  Sonatas,  Overture 
(op.  115),  Terzet,  and  other  works  sent  him  by 
Beethoven,  he  appears  to  have  paid  nothing,  nor 
can  he  justly  demur  to  Beethoven's  having  sold 
the  quartets  to  publishers,  or  performed  them  in 
pubho,  after  the  carte  blanche  which  he  gives 
him  in  his  third  letter,  where  all  he  stipulated 
for  was  the  dedication  and  a  MS.  copy. 

The  son  of  the  preceding.  Prince  Gborob  Ga- 
litzin, was  bom  at  St.  Petersburg  in  1823,  and 
died  in  Sept.  1872.  He  was  not  only  a  great 
lover  of  music,  like  his  father,  but  was  a  com- 
poser  of  various  works  for  orchestra,  chamber, 
and  voices,  and  an  able  conductor.  In  1842  he 
founded  in  Moscow  a  choir  of  70  boys,  whom 
he  fed,  clothed,  and  educated.  It  was  for 
long  one  of  the  sights  of  the  city.  He  also 
maintained  an  orchestray  with  which  he  gave 


GAUTZIN. 

public  ooncertB,  viaited  England  »nd  France  in 
iJi6o.  [A.W.T.] 

G  AL.L.ENBERG,  Wbnzel  Robisrt,  Grap  von, 
of  an  old  Carinthian  fftmily,  bom  at  Vienna 
Dec.  38,  1783,  died  at  Borne  March  13,  1839, 
has  his  place  in  muaical  history  as  a  prolific 
composer  and  in  virtue  of  his  indirect  connexion 
with  Beethoven. 

His  pasedon  for  music,  manifeeted  at  a  very 
early  age,  led  him  to  forego  the  advantages  of  an 
offi<3al  career  and  to  devote  himself  to  the  art. 
His  master  in  the  science  was  Albrechtsberger. 
On  November  3,  1803,  being  then  not  quite 
twenty,  he  married  the  Oountess  Julie  Guicciardi, 
who  had  been  the  object  of  one  of  Beethoven's 
transient  but  violent  passions.    [Goiociardi.] 

Durin^^  the  winter  following,  young  Gallenberg 
made  his   appearance  in  Wtirth's  Sunday  Con- 
certs as  author  of  several  overtures,  which  made 
no  impression.     In  1805  we  find  the  youthful 
couple  in  Naples,  where  at  the  great  festival  of 
^^7  31  y  1805,  in  honour  of  Joseph  "Bonaparte, 
Gallaaberg  prepared  the  music,  which  was  mostly 
of  his  own  composition — 3  overtures,  8  pieces  for 
wind  band,   and  dances  for  full  orchestra.     It 
was  greatly  applauded,  and  was  doubtless  one 
cause  of  his  being  appointed  a  year  or  two  later 
to  the  charge  of  the  music  in  the  court  theatre. 
The  ballet  troupe  was  one  of  the  finest  in  Europe, 
and  Gallenberg  embraced  the  opportunity  of  im- 
proving the  Neapolitan  school  of  instrumental 
music  by  giving  firequent  adaptations  of  the  best 
German  productions— complete  movements  from 
Mozart,   Haydn,  Cherubini,  and  others,  which 
opened  new  sources  of  delight,  and  afforded  young 
composers  new  standards  of  excellence.     Thus 
vhat  the  Neapolitan  school  had  done  for  opera 
in  Germany  during  the  last  century,  was  in  some 
degree  repaid  by  Gallenberg  in  this. 

When  Barbaja  undertook  the  management  of 
the  court  theatre  at  Vienna  (Dec.  ai,  1821),  he 
introduced  Gallenberg  to  assist  in  the  manage- 
ment— an  arrangement-  which,  however,  existed 
but  two  years.  In  Jan.  1829  Gallenbeig  himself 
became  lessee  of  this  theatre  on  a  contract  for  10 
years,  which,  though  at  first  successful,  soon 
came  to  an  end  from  want  of  capital.  From  the 
aatumn  of  181 6  to  the  spring  of  1838  we  again 
find  him  in  Naples  employed  by  Barbaja  as 
ballet  composer  and  director;  and  in  March, 
i^39>  we  read  of  his  death  at  Borne  at  the  age 
of  56. 

Gallenberg  wrote  from  forty  to  fifty  ballets, 
but  the  local  records  alone  retam  even  ihe  names 
of  most.  We  add  the  titles  of  a  few  which  in 
their  day  were  reported  as  of  some  interest  to 
the  general  musical  public. 

'  ^^rnson '  (Naples  and  Vienna*  i  8t  i) ;  '  Arsinoe 
and  Telemaoo'  (Mihui,  1813) ;  'I  Riti  Indiani* 
(Do.  1814);  'Amleto'  (Do.  1815)  ;  •Alfred  der 
Grouse*  (Vienna,  1820);  'Joand'Arc'(Do.i8»i); 
'Margereta'  (Do.  1822);  'Ismaans  Grab*  (Do. 
1S23) ;  *  La  Garavana  del  Cairo'  (Naples,  1824) ; 
'Ottavio  Pinelli*  (Vienna,  i8a8);  'Das  befi^ite 
Jerusalem*  (Do.  Do.) ;  « Casar  in  Egypten'  (Do. 
1829);  'Theodosia'  (Do.  1831};  'Orpheus  und 


GALLI. 


677 


Eurydice*  (Do.  Do.)  ;  'Agnes  und  Fitz  Henri' 
(Do.  1833);  'Biancas  Wahl*  (Do.  1835);  *La. 
tona's  Rache '  (Do.  1 838).  [A.  W.  T.] 

GALLI,  CoRNELio,  a  native  of  Lucca,  one  of 
the  Gentlemen  of  the  Chapel  to  Queen  Catharine 
in  the  time  of  Charles  II.  Mr.  Berenclow  told 
Humfrrey  Wanley,  that  he  was  a  ^reat  master 
of  the  fmest  manner  of  singing,  and  was  one  of 
the  first  who  introduced  it  into  England.  [J.M.] 

GALLI,  FiLiPPO,  was  bom  at  Kome  in  1783. 
Though  destined  for  the  clerical  profession, 
young  Galli*s  strong  taste  for  music  proved 
insurmountable.  When  only  ten,  he  had  deve- 
loped a  musical  talent  beyond  his  age,  and  was 
remarked  as  a  player  and  acoompanyist.  His 
voice,  when  formed,  was  a  fine  tenor.  At  the 
age  of  18  he  married.  Compelled  by  circum- 
stances to  choose  a  career,  he  selected  that  of 
Opera,  and  made  his  d^but,  in  the  carnival 
of  1804,  at  Bologna.  He  met  with  a  brilliant 
success,  and  becsune  one  of  the  first  of  Itah'an 
tenors ;'  but  six  years  afterwards  a  serious  illness 
changed  his  voice  completely,  and  made  it  a 
bass.  Paisielk)  persuaded  him  to  cultivate  his 
new  voice,  and  profit  by  the  change.  This  be 
did,  and  became  one  of  the  greatest  bassi  cantanti 
that  his  country  has  produced.  His  first  appear- 
ance in  his  new  quaJlity  was  in  the  carnival  of 
18 1 2  at  S.  Mos^  in  Venice,  in  the  'Inganno 
Felice  *  of  Rossini.  He  sang  next  at  Milan,  and 
then  at  Barcelona.  Rossini  wrote  for  him  the 
parts  of  Fernando  in  '  La  Gazza  Ladra '  and  of 
'Maometto.'  GaUi  appeared  for  the  first  time 
at  Paris,  Sept.  18,  1821,  in  the  former,  and, 
though  singing  out  of  tune  in  the  first  act, 
achieved  a  considerable  success  on  the  whole. 
He  returned  to  Paris  in  1825,  and  made  a  great 
sensation :  but  his  vocalisation  had  become  rather 
slow  and  heavy.  This  defect  was  noticed  when 
he  came  to  London.  Ebers  engaged  him  with 
Zuchelli  for  the  season  of  1827,  and  his  salary 
was  fixed  at  £8  70.  He  made  his  first  appearance, 
as  usual,  in  *  La  Gazza  Ladra.'  His  voice  was 
less  flexible  than  Zuchelli's,  but  its  tone  was 
deep  and  full,  and,  according  to  Rossini,  he  was 
the  only  singer  who  ever  filled  the  part  of  Assur 
satisfactorily.  In  1828  GaUi  went  to  Spain; 
thence  to  Rome  and  Milan  in  1830.  In  the 
following  year  he  went  to  Mexico,  and  remained 
attached  to  the  Opera  in  that  city  from  1832  to 
1836.  In  1839  '^^  40  ^^  ^<^  si^iiig  a^  Barce- 
lona and  Milan,  but  was  at  length  obliged  to 
accept  the  place  of  chorus-master  at  Madrid  and 
Lisbon.  Amiable  and  cultivated,  Galli  had  but 
one  fiftult,  that  of  boundless  extravagance.  At 
the  end  of  1842  he  arrived  at  Paris  in  the 
greatest  want>  and,  as  a  charity,  obtained  a 
professor's  place  at  the  Conservatoire.  His  chief 
income  was  derived  from  a  yearly  benefit  concert, 
at  which  the  Italian  singers  performed.  Of  this 
he  was  deprived  in  1848.  He  then  fell  in'o 
great  misery^  and  died  June  3, 1853.         [J.M.] 

GALLI,  SiGNOBA,  a  mezso-soprano,  who  made 
her  d^ut  in  G^luppi's  '  Enrico,'  Jan.  i,  1743,  in 
London.    She  aad  Fraii,  'after  transplantation 


578 


GALLI. 


from  Italy,  took  root  in  this  country,  and 
remained  here  in  great  public  favour,  for  many 
years'  (Bumey).  GaUi  was  frequently  em- 
ployed in  male  parts  on  the  staq^e.  Though  her 
manner  was  spirited  and  interesting,  she  was 
little  noticed  by  the  public  till  she  sung  in 
Handel's  'Judas,'  1740,  when  she  ^ined  such 
applause  in  the  air  '  'Tis  Liberty,'  that  she  was 
encored  in  it  every  night,  and  became  an 
important  personage  among  singers.  She  had 
already  sung  in  'Joseph,*  1744,  and  she  sub- 
sequently performed  principal  parts  in  *  Joshua,' 
'Solomon,*^  'Susanna,'  'Theodora,'  'Jephtha^' 
&c.  She  is  said  to  have  been  a  favourite  pupil 
of  Handel  (Cradock).  Twenty  years  later  she 
sang  in  Sacchini's  'Perseo*  (1774)  and  'Mote- 
suma*  (1775).  She  became  the  companion  of 
the  celebrated  Miss  Ray,  and  was  with  her 
when  she  was  assassinated  by  Hackman,  April  7, 
1779.  She  afterwards  fell  into  extreme  poverty, 
and,  about  the  age  of  seventy,  was  induced  to 
sing  again  in  oratorios.  She  appeared  at  Covent 
Garden  as  late  as  1797.  Lord  Mount-Edgcumbe 
had  the  curiosity  to  go,  and  heard  her  sing 
'  He  was  despised.'  Her  voice  was  cracked  and 
trembling,  but  it  was  easy  to  perceive  that  her 
school  was  good.    She  died  in  1804.  [J.M.] 

GALLIA.  A  'Motet'  for  Soprano  solo, 
Chorus,  and  Orch'^stra ;  the  words  from  the 
Lamentations,  music  by  Gounod  :  first  performed 
at  the  Opening  of  the  International  Exhibition, 
Albert  Hall,  London,  May  i,  1871.  [G.] 

GALLIA,  Mabia,  incorrectly  called  Mabia 
Habohbrita  by  Bumey,  was  a  sister  of  Mar* 
gherita  de  l'£pine,  and  pupil  of  Nicolo  Haym. 
She  appeared  for  the  first  time  at  the  Lincoln's 
Inn  Fields  Theatre  in  1703.  She  sang  in  1706 
and  8  in  '  Camilla,'  in  the  libretti  of  which  she 
is  called  Joahna  Mabia.  In  the  former  year 
she  also  performed  the  principal  rdle  in  the 
'Temple  of  Lere^  by  SaggioneS  to  whom  she 
was  then  married.  Documents  (in  the  possession 
of  the  present  writer),  signed  by  this  composer, 
and  by  his  wife  as  Maria  Gallia  Saggione,  show 
that  they  received  respectively  £150  and  £700 
for  a  season  of  nine  months, — large  sums  at  that 
early  date.  Gallia  af^ieared  in  Clayton's  '  Rosa- 
mond'  at  its  production  in  1707.  She  sang 
■ongs  also  at  the  Haymarket  Theatre  '  in  Italian 
and  English,'  to  strengthen  the  attraction  (Daily 
Couraat).  At  this  time  she  must  have  been 
very  yoiag,  for  we  find  her  sfnging  in  'Alexander 
Balus,' '  Joshuiv'  &c.  in  1748 ;  unless,  indeed,  her 
name  is  incorrectly  put  for  that  «f  GralU.   [J^  M.] 

GALLIARD  (Ital  Ga^iarda ;  Fr.  OatOarde). 
An  old  dance,  as  its  name  implies,  of  «  meny 
character.  'I  did  think,'  says  Shakspearo,  ^by 
the  excellent  constitution  of  thy  leg  that  it  was 
formed  under  the  star  ef  a  galliard.'  It  was  gen- 
erally in  3-4,  but  sometimes  in  oommon  time^  It 
was  described  by  Praetorius  as  '  an  invention  of 
the  devil,'  and  '  full  of  shameful  and  obscene  ges- 
tures, and  immodest  movements.'  From  the  fact 
of  its  coming  from  Home  it  was  also  ealled 

A  Xmneouilj  attributed  to  Greber  bj  Bamay; 


GALTJAKD. 

Romakbsca.  Its  rhythms  were  strongly  marked. 
The  following  quotation  gives  the  opening  bats  uf 
a  gagliarda  of  the  17th  oentuiy : — 


,r«a  Jir  J  rt^-ai 

.^   .a.   .^    -    .^    _     t/if 


ig 


rrr.p  r  r.r  ^ 


etc 


[E.P.1 

GALLIAKD,  John  Ebnbrt,  son  of  a  per- 
ruquier  of  Zell,  in  Hanover,  where  he  was  lun 
about  1687.  He  studied  composition  under  Fari- 
nelli — undo  of  the  singer,  and  director  of  the 
concerts  at  Hanover — and  Steffani.  He  som 
attained  distinction  as  a  performer  on  the  oboe, 
and  coming  to  England  about  1 706  was  appointorl 
chamber  musician  to  Prince  George  of  r^nmark. 
On  the  death  of  Draghi,  the  then  sinecure  ap- 
pointment  of  organist  at  Somerset  Houk  wu 
bestowed  upon  him.  He  speedily  learned  Englid, 
and  composed  a  Te  Deum  and  Jubilate  and  three 
anthems  ('I  will  magnify  Thee,  O  Lord,'  '0 
Lord  God  of  Hosts,'  and  'I  am  well  pleased  \ 
which  were  performed  at  St.  Paul's  and  the  Chapel 
Boyal  on  oocasions  of  thanki^giving^  for  victories. 
In  171a  he  ocHnpoeed  the  music  for  Hu^b<»'fl 
opera  '  Calypso  and  Telemachua,'  which  was  per- 
formed at  the  Queen's  Theatre  in  the  Ha3nnarket. 
From  about  171 7  he  was  employed  by  Rich  to 
furnish  the  music  for  the  curious  admixtures  of 
masque  and  harlequinade  which  he  exhibited 
under  the  name  01  pantomime,  and  produced 
several  excellent  compositions  for  pieces  of  that 
description.  In  1728  he  set  for  two  voices,  cao* 
tata-wise,  the  Morning  Hymn  of  Adam  and  Eve 
from  Milton's  'Paradise  Lost.'  This  admirable 
oomposition  was  afterwards  enlarged  by  Dr. 
Benjamin  Cooke  by  the  addition  of  orchestral 
accompaniments  and  the  expansion  of  some  of 
the  movements  into  choruses.  In  1 74a  Gialliani 
published  a  translation  of  Pier  Francesco  Toei's 
'Opinioni  di  Cantori  Antichi  e  Modemi,  osie^o 
Osservazioni  sopra  il  Canto  Figurato,*  under  the 
title  of  ' ObeervationB  on  the  Florid  Song;  or. 
Sentiments  on  the  Ancient  and  Modem  Singers.' 
In  1745  he  had  a  benefit  oonoert  at  Linroln's 
Inn  Fields  Theatre,  at  which  were  perfonned 
his  music  for  the  choruses  in  the  tragedy  of 
'Julius  Csesar,'  by  John  Sheffield,  Duke  of 
Buckinghamshire,  and  a  piece  for  24  baboons 
and  4  double  basses.  Galliard  died  early  in  1 749> 
leaving  a  small  but  curious  collection  of  music, 
which  was  dispersed  by  auction  after  his  de- 
cease. Besides  the  pieces  mentioned  he  com- 
posed music  for  'Pan  and  Syrinx,'  opera,  17^7! 
'Jupiter  and  Europa,'  pantomime,  1733;  'The 
Necromancer ;  or,  HarleKjuin  Dr.  Fanstua,'  panto- 
mime, 1723;  'Harlequin  Sorcerer,  with  The 
Loves  of  Pluto  and  Proserpine'  (the  second  title 
afterwards  changed  to  'The  Rape  of  Proserpine'  \ 
pantomime,  1725 ;  'Apollo  and  Daphne ;  (X,  The 
Bui^gOBiaster  tricked,  pantomime,  1726;  'The 
Royal  Chace;  or.  Merlin's  Cave,'  a  mnffl«»l 
entertainment,  1736,  in  which  occurred  the 
famous  hunting  song  *  With  early  horn,'  which 


OALLIARD. 

tlie  ringing  of   B«ftrd   rendered  BO   axtremel; 

popular;  mauo  for  Lee's  tngeily  '(Edipui'; 
several  c&ntatas,  mugs,  colcw  for  violin,  bftSBOon, 
etc.  At  the  tune  of  hu  deiith  he  hsd  nearly 
completod  tbe  oompoeltioD  of  ui  It&liiui  opera, 
'  Oreeto  e  Filade,  ovet»  la  Foria  dell'  Anudiift.' 
Sir  John  Hawkini  cx>njecttired,  &iHn  intemal 
eTidflnoei,  that  GiJliard  made  the  ^^n^Iatiou  of 
the  Abb^  Baguenet'e  '  Parallel,'  publiihed  in 
1709  under  tbe  title  of  'A  oompanioa  betveen 
the  French  and  Italian  Musick  and  Operas,  with 
Remarks,'  and  wa«  the  author  of  'A  Critical 
Discoune  upon  Operas  in  Eagland,  and  a  means 
piupoaed  for  their  improTsment,'  printed  at  the ' 
ead  of  that  translation ;  whilst  Dr.  Burney, 
judeine  from  the  same  evidenoe,  was  of  a  contrary 
opinion,  [W.H.H.] 

GALLUP,  Jaoob,  whoae  real  name  was 
'UaNdi.,  born  about  ijSo,  a  native  of  Krain 
(or  Camioia);  CapeUmeiHter  first  to  Stanislas 
Pawlowaki,  Bishop  of  Olmdtx,  and  afterwards 
V>  the  imperial  chapel  at  Prague,  where  he  died 
mnch  respected  and  bewailed  July  4,  I591.  He 
had  a  apeclal  privilege  &om  the  Emperor  to 
publish  bis  great  work  '  UAndl  Jac.  Munci 
opens,  harmomorum  4.  5,  6,  S,  et  plurium  vo- 
cum'  (Pngue,  4  vols.  15GG,  7,  90),  a  collection 
of  the  greatest  value.  Qallus  wrote  in  the  old 
Church  tones,  before  the  modem  distinctjon  be- 
tween inajor  anil  minor  came  into  aiistence. 
His  well-known  motet  (k  4)  '  Ecce  quomodo 
moritur  Justus'  (which  Handel  botrowed  for  his 
Funeral  Anthem'),  is  contuned  in  the  ooUection 

C'  1st  named,  and  is  also  printed  (with  :  S  othen 
y  biTi  for  5,  6,  and  8  v<dcee)  in  Bodenschatz's 
'florilegiumPortense.'  Proske's'Husicadivina' 
contains  1 1  motets,  3  Besponsoria,  a  Miserere,  a 
Chriitus  fsctua  est,  and  a  Te  Deum,  all  by 
him.  [F.GO 

GALOP.  A  very  spirited  <]uiok  round  danoe 
in  i-cTotchet  time.  Tbe  following  ban  &om  the 
opening  of  Schulhoff's  Galop  di  txavura — now 
almost  a  classical  oomposition — will  give  ui  idea 
of  its  rhythm : — 


GAMBA,  VIOLA  DA. 


579 


I  two  Tiiaa.  and 
n  with  an  Introduction  and  Coda. 

Tbe  dance  is'  of  C^erman  origin,  and  its  old 
name  wsf  Hopaer  or  Butscher — describing  the 
■l£^  It  sppean  to  have  received  that  of  Galop 
on  Its  introdnction  into  France  about  the  begin- 
ning  of  the  century,  where  it  soon  took  root  [G.] 

GALUPPI,  BALDiSBiHB,  bom  Oct.  18,  1706, 
en  the  island  of  Burano  near  Venioe — whence  he 
was  known  as  II  Buranello — ^was  first  taught  by 

LB  father,  a  barber,  who  played  the  violin  at  the 

._.-.       ..  -i  1. J  ^^  Venice,  and  earned 


Uieitre.    At  16  he  a 


his  bread  by  organ  playing.  Through  the  Inter- 
vention of  Marcello  he  was  admitted  into  the 
Conservatorio  de^i  Incurabili,  where  he  studied 
under  Lotti.  His  first  dramatic  attempt,  '  Gli 
amici  rlvali,'  was  hissed  off  the  stage,  but  he 
was  more  fortunate  with  'Dorinda'  (171(1)  for 
which  Marcello  wrote  the  libretto.  From  this 
time  his  operss  were  performed  throughout  Italy. 
On  April  8,  1761,  he  was  appointed  maestro  di 
e^iella  of  St.  Mark's  and  director  of  the  In- 
curabiti ;  hut  he  shortly  gave  np  theee  posts 
in  order  to  go  to  St.  Petersburg,  where  he  had 
been  invited  by  the  Empress  Catherine  II. 
Having  first  improved  the  orohestia,  no  easy 
task,  he  produced  his  'Didone  abbandonata' 
with  extraordinary  success.  He  returned  in 
1768  to  Venice^  where  Dr.  Buroey  found  him 
in  1770  proaperous  and  respected,  and  maestro  of 
the  Incurabili.  Bumey  speaks  of  bis  'lira  and 
imagination,'  and  of  tbe  'novelty,  spirit,  and 
delicacy'  of  his  music  (Preeent  State,  IJ5,  174, 
184.)  His  fecundity  must  have  been  remarkable; 
F^tis  gives  a  list  tJ'  54  operas,  5  of  which  were 
written  in  one  year.  Though  written  with  taste, 
and  never  overloaded,  none  of  them  have  sur- 
vived the  Revolution  of  Rossini,  fatal  to  so  many 
of  Galuppi's  contemporaries.  'The  autograph  of 
the  opera  '  II  vilano  Celoeo,'  which  he  composed 
conjointly  with  Gasemann,  Marcello,  Scarlatti, 
Franchi,  Socchinl,  Monfe,  and  Yenti,  is  now 
in  Vienna;  also  a  grand  'Oedo,'  'Glcvia,'  and 
other  church  works.  His  church  works  are  still 
occaxionally  performed  in  Venice.  He  also  wrote 
for  the  Harpsichord,  and  a  sonata  of  his  of  grrat 
beauty  is  pdnted  in  tbs  'Alto  Clavier  muBik' 
oC  Pauer.     He  died  Jan.  3,  1 785,  [F.  G.] 

GAMBA,  VIOLA  DA  (gamba,  Ital.  for  leg), 
^-a  knee-violin,  as  distinguished  &om  viola  dft 


),  or  the  viola  to 
obsolete  stringed  - 

Ppa 


5do 


GAMBA,  VIOLA  DA. 


instrument,  played  with  &  bow  and  held  between 
the  knees ;  a  predecessor  of  the  violoncello.  It 
is  of  about  the  same  size  as  the  violoncello,  but  has 
a  flat  back,  like  a  double-bass ;  the  openings  in 
the  belly  have  not  the  /-shape,  but  are  variously 
cut,  generally  in  a  thin  crescent.  The  finger- 
boskrd  was  originally  provided  with  firets,  which 
were  afterwards  discontinued;  it  was  mounted 
with  6  catgut  strings,  which  were  ultimately  in- 
creased to  7,  the  3  lowest  covered  with  wire. 
The  two  kinds  were  thus  tuned  :~* 


m 


5 


^^ 


X 


The  Gamba  was  for  a  long  period  the  most 
popular  of  all  bowed  instruments,  and,  especially 
in  £nglaxMl  (which  by  some  is  bdieved  to  be  its 
original  home),  Holland,  and  Grermany,  appears 
to  have  been  Uie  &vourite  instrument  of  socie^. 
Shakespeare,  in  'Twelfth  Night,*  mentions  as  a 
special  accomplishment  of  Sir  Andrew  Aguecheek 
that  'he  plays  o*  the  viol-de-gamboys.'  In  the 
pictures  of  Grerard  Dow,  Terburg,  and  other 
great  Dutch  masters  of  the  1 7th  century  we  see 
again  and  again  richly  dressed  ladies  and  gentle- 
men playing  the  gamba.  At  one  time  few  noble- 
men's or  gentlemen's  houses  were  without  a  'chest,* 
containing  a  set  of  four  or  more  gambas  of  dif- 
ferent size,  often  expensively  got  up,  carved  and 
inlaid  with  ivory  or  tortoise-shell.  This  popu- 
larity of  the  gamba  lasted  up  to  the  middle  of  the 
1 8th  century,  when  the  violoncello  besan  gra- 
dually to  supersede  it.  Bumey,  who  heard  it 
played  by  Abel,  the  last  great  performer  upon  it 
in  London,  describes  its  tone  as  '  radically  crude 
and  nasal,'  and  adds  that  '  a  human  voice  of  the 
same  quality  would  be  considered  intolerable.' 
This  is  certainly  a  somewhat  strong  statement. 
In  tone  and  character  the  gamba  does  not  mate- 
rially differ  from  the  tenor  of  our  own  days ;  and 
its  banishment  from  the  modem  orchestra  is  easily 
accounted  for  by  the  £Act  that  its  higher  notes 
are  equally  well  and  more  easily  produced  on  the 
tenor,  while  the  effect  of  the  lower  strings  is 
much  finer  on  the  violoncello.  The  gamba  was 
handled  very  much  in  the  same  way  as  the  cello, 
except  that  some  virtuosi  had  additional  strings 
attached  at  the  back  of  the  neck,  on  which  they 
played  a  pizzicato  accompaniment  with  the  thumb 
of  the  left  hand.  Sebastian  Bach  was  the  last 
great  composer  who  wrote  for  the  gamba,  and 
he  appears  to  have  had  a  special  predilection 
for  it.  We  have  from  his  pen  three  Sonatas  for 
Clavier  and  Gamba  (Bachgesellschaft,  vol.  ix.) 
and  a  number  of  obligato  accompaniments  for 
airs  in  his  Cantatas  and  the  Passion  Music.  He 
also  employs  it  in  a  Concerto  groeso  for  a  viole 
da  bracoio,  a  viole  da  gamba,  violoncello,  violone, 
and  harpsichord,  and  on  other  occasions  uses  it 
to  attain  special  orchestral  effects.  A  striking 
instance  is  the  exquisitely  beautiful  introduction 
to  the  Cantata  'Gottes  Zeit'  (Bachgesdlschaft, 
vol.  xxiii.)  where  we  find  three  separate  gamba- 
parts  combined  with  violins  and  flutes,  which 
must  have  produced  a  very  peculiar  effect.    But 


GANDO. 

while  in  little  Leipzig  the  gamba  was  still  a 
favourite,  it  was  already  out  of  fashion  in  Lon- 
don, and  we  look  in  vain  for  it  in  the  m(«e 
forcible  and  practical  scores  of  HandeL  By  the 
end  of  the  i8th  century  most  gambaa  were  con- 
verted into  violoncellos,  and  for  that  reason  are 
but  rarely  met  with  now-a-days. 

Michael  Praetorius  in  his  'Syntagma  muai- 
cum '  (published  1619)  distinguishes  between  the 
'  viola  di  gamba*  and  the  '  gross  viola  di  gamba,' 
which  he  idso  calls  'violono'  or  'oontrabasBodi 
gamba.*  This  latter  one  we  must  suppose  to 
have  been  the  earlier  form  of  the  doable-bass, 
which,  as  a  fact,  does  belong  to  the  gamba  tribe, 
and  not  to  that  of  the  yiolm,  as  is  shewn  by  its 
flat  back. 

C.  F.  Abel  (died  1787),  a  pupil  of  Bach,  and 
Lidl,  an  Englishman  (died  1789),  were  the  last 
virtuosi  on  the  gamba.  Bumey,  and  Mozart  in 
his  letters,  both  speak  of  the  Elector  Maximilian 
III.  of  Bavaria  as  an  accamplished  gambist.  A 
Mrs.  Ottey  (1723)  and  a  Miss  Ford  (1760)  are 
recorded  among  English  players  of  reputation. 

The  Italian  instrument-makers  made  gambas 
only  down  to  the  middle  of  the  17th  centmj, 
when  after  the  general  adoption  of  the  violin, 
they  seem  at  once  to  have  supplanted  it  by  the 
violoncello.  In  England,  France,  and  Germaoy 
they  were  made  up  to  the  middle  of  last  centniy. 
Joachim  Tielke  of  Hamburg  (1660-1730)  had  a 
great  reputation  as  a  maker.  [P.  P.J 

GAMBABINI,  Signora,  sang  the  part  of  ist 
Israelitidi  woman  in  'Judas*  April  i,  1747. 
She  was  a  soprano,  but  her  name  does  not  oocvr 
again.  [J.  M.] 

GAMBLE,  John,  a  violinist  in  the  1 7th  cen- 
tury, was  a  pupil  of  Ambrose  Beyland,  one  of  the 
violins  to  Charles  I.  He  afterwards  perfonned 
at  one  of  the  theatres  and  was  a  oomet  player  in 
the  Chapel  Eoyal.  In  1657  he  published  'Ayres 
and  Dialogues  to  be  sung  to  the  Theorbo  Lote 
or  Bass  Viol,*  the  words  by  Stanley,  author  of 
the  History  of  Philosophy.  In  1659  he  published 
a  second  book  entitled  'Ayres  and  Dialogaes 
for  One^  Two,  and  Three  Voyoes.'  .A  few  years 
later  he  became  one  of  the  band  of  violins  to 
Charles  II,  and  a  composer  for  the  theatre.  His 
compositions  are  not  of  a  high  order.  [W.H.H.] 

GAMUT.  A  word  fast  becoming  obsolete  in 
England,  and  meaning  the  Scale.  It  is  derired 
from  gamma,  the  Greek  name  of  the  letter  G, 
which  was  adopted  by  Guide  d'Areszo  as  the 
lowest  note  of  his  system,  and  thence  became 
employed  for  the  entire  compass  of  a  voice  or 
instrument.  The  French  word  gammc  means 
strictly  the  scale.    [See  Hkxaohord.] 

In  the  old  English  Church  writers  'Gamot* 
signifies  the  key  of  G ;  '  Blow  in  Gramut*,  for  in- 
stance,  being  £ttow*s  service  in  G.  [G.] 

GANDO,  Nicolas,  type  founder,  bom  ai 
Geneva  early  in  the  i8th  oentuiy,  resided  first 
in  Berne  and  then  in  Paris,  where  he  establuhed 
a  foundry  for  a  new  musical  type.  His  md, 
Pierre  Fhm^ois,  bom  at  Geneva  1733,  was  hii 
assistant  and  saooeeior.     They  publi^ied  'Ob* 


GANDO. 

lervatioiis  inr  le  traits  historique  et  critique  de  \ 
M.  Foamier,  eto.*  (Paris  1766),  with  the  view  of 
showing  that  BaDard^s  process  was  an  imitation 
of  Breitkoprs.  It  contained,  amongst  others, 
specimens  of  6  pieces  of  ancient  music  printed  by 
BaOard,  and  a  Psalm  by  Roussier  in  Gando's 
own  characters,  and  printed  by  his  process,  the 
notes  and  the  lines  requiring  a  separate  im- 
pression, and  the  effect  resembling  copper  plate. 
Foumier  replied  (see  his  *  Manuel  typographique,* 
pp.  289-306),  criticising  the  Gandos  and  their 
type,  which  was  however  superior  to  his  own, 
though  inferior  to  those  of  Breitkopf  in  their 
own  day,  and  still  more  to  those  of  Duveiger 
and  others  since.  The  &ther  died  in  1767,  the 
aou  in  1800,  both  in  Paris.  [M.C.  C] 

GANZ.    A  musical  fisunily  of  Mayence. 

1.  Adolf,  bom  Oct.  14,  1796,  a  violinist, 
studied  harmony  under  HoUbusch  ;  conductor  at 
Mayence  (1819),  Gapellmeister  to  the  Grand 
Duke  of  Hesse  Darmstadt  (1835);  composed  a 
melodrama,  overtures,  marches^  Lieder,  and 
choruses  for  men's  voices. 

2.  His  brother,  Mobitz,  a  cellist  of  the  old 
school,  bom  1804,  was  first  cello  under  Adolph 
at  Mayence,  and  (1826)  in  the  royal  band  at 
Berlin,  where  he  succeeded  Duport  and  Romberg. 
^^  1S33  ^^  visited  Paris  and  London,  returning 
to  the  latter  in  37,  when  he  and  his  brother 
Leopold  played  at  the  Philharmonic  on  May  i. 
In  1845  he  led  the  violoncellos  at  the  Beethoven 
Festival  at  Bonn.  His  tone  is  full  and  mellow, 
and  his  execution  brilliant,  though  his  style  is 
of  the  old  schooL  His  compositions  for  his 
instrument  are  numerous,  but  few  only  have 
appeared  in  print. 

3.  The  third  brother,  Leopold,  violinist,  was 
born  at  Mayence  1806,  played  much  with  Moritz 
in  the  style  of  the  brothers  Bohrer,  whom  they 
succeeded  in  the  roy«il  band  at  Berlin  (1826). 
Leopold  was  well  received  at  the  Hague,  Rotter- 
dam, and  Amsterdam,  and  in  1837  visited  England 
vrith  his  brother.  They  published  the  duets  in 
which  their  polished  and  brilliant  execution  had 
excited  so  much  admiration.  Leopold  died  in 
Berlin  in  1 8^69.  Two  sons  of  Adolf  are  known 
in  the  musical  world — Edward,  bom  at  Mayence 
April  29,  a  pianoforte-player  and  pupil  of  Thai- 
berg,  died  Nov.  26,  1869;  and  William  (bom 
1830),  who  is  well  known  in  London  as  a  teacher 
and  accompanyist .  [M .  G .  G.] 

GARAT,  PiERBB  Jban,  bom  at  Ustaritz,  April 
15,  1764,  died  in  Paris  March  i,  1823,  the  most 
extraordinary  French  singer  of  his  time.  He 
was  the  son  of  an  avocat,  and  destined  for  the 
bar,  but  early  manifested  a  passion  for  music, 
which  he  studied  under  Franz  Beck,  composer 
and  conductor  at  Bourdeaux.  He  seems  however 
never  to  have  gone  deeply  into  the  subject,  for 
he  was  a  poor  reader,  and  owed  his  success  to 
his  natural  gifts  and  the  opportunity  he  enjoyed 
of  hearing  Gluck^s  works  and  of  comparing  the 
artists  at  the  French  and  Italian  operas  in  Paris. 
He  possessed  a  fine -toned  expressive  voice  of 
unusual  compass,  including  both  baritone  and 
tenor  registers,  an  astonishing  memory,  and  a 


GARCIA. 


581 


pro<^giou8  power  of  imitation,  and  may  fairly 
be  said  to  nave  excelled  in  aU  styles ;  but  his 
great  predilection  throughout  his  life  was  for 
Gluck^B  music.  Having  been  the  favourite 
singer  of  Marie  Antoinette,  who  twice  paid  his 
debts,  he  fled  from  Paris  during  the  Terror,  and 
with  Rode  took  refuge  at  Hamburg,  where  the 
two  gave  very  successful  concerts.  On  his  re- 
turn to  France  he  appeared  at  the  'Concert 
Feydeau*  (1795)  and  the  'Concert  de  la  rue 
Cl^ry'  with  such  brilliant  success  that  he  was 
appointed  professor  of  singing  at  the  (Ik)nserva- 
toire  in  1799-  Among  his  pupils  were  Roland, 
Nourrit,  Desp^ramons,  Ponchard,  Levasseur, 
Mmes.  Barbier -Walbonne,  Chevalier- Branchu, 
Duret,  Boulanger,  Rigaut,  and  Mile.  Duchamp, 
whom  he  married  when  he  waa  55.  He  retained 
his  voice  till  he  was  50,  and  when  that  failed 
him  tried  to  attract  the  public  by  eccentricities 
of  dress  and  behaviour.  He  composed  several 
romances,  *  B^isaire,' '  Le  M^nestrel,*  ^  Je  t^aime 
tant,'  etc.,  extremely  popular  in  their  day,  but 
now  BO  monotonous  and  uninteresting  as  to  make 
it  evident  that  the  style  in  which  Garat  sang 
them  alone  ensured  their  success.  [G.C.] 

GARCIA,  a  Spanish  &mily  of  musicians,  who 
have  been  well  characterised  as  'representative 
artists,  whose  power,  genius,  and  originality  have 
impressed  a  permanent  trace  on  the  record  of  the 
methods  of  vocal  execution  and  ornament*  (C^or* 
ley).  The  founder  of  the  family,  Manuel  del- 
PopoLO -Vicente,  was  bom  at  Seville  Jan.  22, 
1775.  Beginning  as  a  chorister  in  the  Cathedral ' 
at  the  age  of  6,  at  1 7  he  was  already  well  knowa 
as  composer,  singer,  actor,  and  conductor.  By 
1805  he  had  established  his  reputation  at  home, 
and  his  pieces — chiefly  short  comic  operas — were 
performed  all  over  Spain.  He  made  his  debut 
in  Paris,  Feb.  11,  1808,  in  Paer's  'Griaelda,' 
singing  in  Italian  for  the  first  time.  Within  a 
month  he  had  become  the  chief  singer  at  that 
theatre.  In  1 809  he  produced  his  '  Poeta  calcu- 
lista,'  originally  brought  out  at  Madrid  in  1805. 
In  181 1  he  Bet  out  for  Italy.  At  Naples  Murat 
appointed  him  (181 2)  first  tenor  in  his  chapel, 
lliere  he  met  Anzani,  one  of  the  best  tenors  of 
the  old  Italian  school,  by  whose  hints  he  profited 
largely.  There  also,  still  combining  the  r61es  of 
singer  and  composer,  he  produced  his  '  Califo  di 
Bagdad,*  which  obtained  an  inmiense  success. 
In  1 8 1 5  Rossini  wrote  for  him  one  of  the  principal 
r6les  in '  Elisabetta,'  and  in  1 8 16  that  of  Almavi va. 
About  the  end  of  1816  he  returned  from  Naples 
to  England,  and  thence  to  Paris,  where  he  revived 
his  '  Califo,*  and  produced  '  Le  Prince  d'occasion,* 
and  sang  in  Catalani*s  troupe,  where  he  made 
a  g^at  hit  as  PaoKno  in  the  'Matrimonio 
Segreto.'  Annoyed  by  Catalani's  man^ement, 
he  left  Paris  for  London  about  the  end  of  181 7. 
In  the  ensuing  season  he  sang  in  the  'Barbiere' 
with  Mme.  Fodor,  and  in  other  operas,  with 
much  ^clat.  In  18 19  he  returned  to  Paris,  and 
sang  in  the  '  Barbiere,*  not  till  then  heard  there. 
There  he  remained  till  1823,  performing  in 
'Otello,*  'Don  Giovanni,*  etc.,  and  composing 
'La  mort  du   Tasse*  and  'Florestan*  for  the 


582 


GARCIA. 


Grand  Op^ra,  besides '  Fazzoletto*  at  &e  Italiens, 
'La  Meimi^e*  at  the  Gymnase,  and  3  others 
which  never  reached  the  stage.  In  the  spring 
of  1823  he  re-appeared  in  London,  where  he  was 
still  a  most  effective  singer  (Ebers).  Here  he 
founded  his  fifunous  school  of  singing.  He  sang 
in  London  again  in  1824  in  'Zelmira'  and 
'Ricciardo  e  Zoraide.*  In  the  same  year  his 
'  Deux  contrats*  was  given  at  the  Op^  Comique. 
In  1825  he  was  here  again,  his  salary  having 
risen  from  £260  (1823)  to  £1 250.  He  continued 
to  gain  still  greater  fame  by  teaching  than  by 
singing,  and  his  fertility  as  a  composer  was 
shown  by  at  least  2  Italian  operas,  *  Astuzia  e 
prudenza'  and  '  Un  Avertimento.*  The  education 
of  his  illustrious  daughter  Marie,  subsequently 
Mme.  Malibran,  was  now  completed,  and  under 
his  care  she  made  her  d^but.  [See  Malibran.] 
He  then  realised  the  project  he  had  long  enter- 
tained of  founding  an  opera  at  New  York,  and 
set  out  with  that  object  from  Liverpool,  taking 
with  him  an  Italian  company,  which  included 
the  young  Grivelli  as  tenor,  his  own  son  Manuel 
and  Angiisani,  De  Rosich,  Mme.  Barbieri,  Mme. 
Garcia,  and  his  daughter.  At  New  York  he 
produced  no  less  than  ii  new  Italian  operas  in 
a  single  year.  In  1 82  7  he  went  to  Mexico,  where 
he  brought  out  8  operas,  all  apparently  new. 
After  18  months*  stay,  he  set  out  to  return  with 
the  produce  of  this  hard  toil ;  but  the  party  was 
stopped  by  brigands,  and  he  was  denuded  of 
everything,  including  nearly  £6000  in  gold. 

Garcia  now  returned  to  Paris,  where  he  re- 
appeared at  the  Italiens.  He  then  devoted 
himself  to  teaching;  and  died  June  a,  1832. 
Garcia  was  a  truly  extraordinary  person.  His 
energy,  resource,  and  accomplishments  may  be 
gath^^  from  the  for^^ing  brief  narrative. 
His  singing  and  acting  were  remarkable  for  verve 
and  intelligence.  He  was  a  good  musician,  and 
wrote  with  facility  and  effect,  as  the  list  of  his 
works  sufficiently  shows.  F^tis  enumera'es  no 
less  than  17  Spanish,  19  Italian,  and  7  French 
operas.  Words  and  music  seem  to  have  been 
alike  easy  to  him.  His  most  celebrated  pupils 
were  his  daughters  Marie — Mme.  Malibran,  and 
Pauline— Mme.  Yiardoty  Mmes.  Rimbaulty  Ruiz- 
Grarcia,  M^ric-Lalande,  FavelU,Gomtesse  Merlin; 
Adolphe  Noumt,  G^raldy,  and  his  son  Manuel 
Garcia. 

Manuel  Gaboia  was  bom  at  Madrid,  March 
I7»  1^5*  His  education  began  early,  and  at  15 
he  received  instruction  in  harmony  fr^mi  F^tis, 
and  in  singing  from  his  father.  In  1825  he 
accompanied  Ms  &ther  to  America.  Once  more 
in  Paris  (1829)  he  quitted  the  stage,  and  devoted 
himself  to  teaching.  A  little  later  he  undertook 
a  serious  scientific  enquiry  into  the  conformation 
of  the  vocal  ox^gans,  the  limits  of  registers,  and 
the  mechanism  of  singing ;  of  which  the  results 
were  two-'(i)  his  application  of  the  Laryngo- 
scope, the  value  of  which  is  now  universally 
recognised  by  physicians  and  artists,  and  (2)  his 
'  M^moire  sur  la  voix  humaine,'  presented  to  the 
French  Institut  in  1840,  which  obtained  for  him 
the  congratulations  of  the  Academy,  and  may  be 


GARDINER. 

said  to  be  the  foundation  of  all  snbseqneDt 
investigations  into  the  voice.  Appointed  pro- 
fessor of  singing  at  the  Conservatoire,  ne  publisned 
in  1847  his  'Traits  oomplet  de  Tart  du  chant, 
en  2  parties,*  4to,  which  has  been  translated  into 
Italian,  German,  and  English,  and  haa  gained  a 
world-wide  reputation.  Among  his  pupils  may 
be  mentioned  Mmes.  Jenny  Lind,  Catherine 
Hayes,  and  Henriette  Nissen  (afterwards  Mme. 
Saloman),  and  M.  Bataille.  In  1850  Garcia 
resigned  his  position  at  the  Conservatoire,  and 
came  to  London.  He  is  still  a  Professor  at  the 
Royal  Academy  of  Music  and  one  of  the  leading 
teachers  of  singing  in  London.  [See  alao  Mali- 
bran, and  YiARDOT.]  [J.M.] 

GARDANE,  Antonio,  a  composer,  printer 
and  publisher  of  music  in  Yenice  from  1538  to 
1 569.  From  and  after  1557  his  name  is  given  as 
GaitLano.  After  his  removal  his  eons  Cipriano 
and  Annibale  published  a  few  works,  and  an 
Angelo  Gardano,  whose  relationship  does  not 
appear,  many  more.  There  was  an  Alessandro 
in  a  small  way  at  Rome.  The  Yenice  boose 
lasted  till  161 9.  Their  publications  consist  of 
the  Masses,  Psalms,  Motets,  Madrigals,  Canzoni, 
and  other  compositions,  of  Archadelt,  Jacket, 
Lasso,  Prore,  Nannino,  and  other  great  Flemish 
and  Italian  writers,  and  fill  many  volumes.  See 
Eitner,  Bibliog.  der  Sammelwerke,  etc.         [G.] 

GARDINER,  William,  the  son  of  a  stocking 
manufacturer  at  Leioeeter,  was  horn  In  that  town 
March  15,  1770.  He  be(»me  an  assistant  to  his 
father  in  his  business,  to  which  he  afterwards 
succeeded,  and  which  he  carried  on  during  the 
rest  of  his  life.  But  the  taste  for  music  never 
forsook  him.  His  business  occasionally  required 
him  to  visit  the  continent,  and  he  availed  himself 
of  such  opportunities  to  become  acquainted  vith 
the  works  of  the  best  foreign  composers,  per* 
ticularly  of  the  great  German  masters,  so  that 
for  a  long  period  he  knew  more  about  their 
productions,  especially  those  of  Beethoven,  than 
the  majority  of  English  professors.  (See  Thayer, 
Beethoven,  i.  441.)  Both  at  home  and  abroad  he 
sought  and  obtained  the  acquaintance  of  the  best 
musicians  of  all  ranks,  both  professors  and  ama- 
teurs. In  his  youth  he  composed  some  songs  and 
duets,  which  were  published  as  the  productions  of 
'  W.  G.  Leicester.*  He  next  produced,  under  the 
title  of  '  Sacred  Melodies,*  a  selection  of  pieces 
by  the  best  masters,  chi^y  foreign,  adapted  to 
^iglish  words,  which  he  hoped  might  be  adopted 
in  our  churches  to  the  exclusion  of  the  clumsy 
verses  of  Stemhold  and  Hopkins,  and  Brady  and 
Tate.  Six  volumes  of  this  work  appeared  at 
distant  intervals,  and  it  included  a  volume  of 
selections  from  the  works  of  English  cathedral 
composers.  It  must  be  confessed  that  the  Pro* 
crustean  plan  was  followed  with  the  muidc  in  order 
to  fit  it  to  the  words ;  yet,  notwithstanding,  the 
work  had  the  merit  of  introducing  to  the  notice 
of  the  English  public  many  fine  compositions. 
In  181 7  Gardiner  added  notes  to  the  translation 
of  Beyle*s  *Life  of  Haydn*  by  Robert  Brewin. 
his  fellow  townsman,  published  ia  conjunction 


GARDINER. 

with  tnmalations  of  Schlictegroll^s  '  Life  of  Mo- 
zart/ and  other  pieces.  He  next  oompiled  an 
oratorio,  entitled  '  Judah/  by  adapting  English 
words  to  music  selected  principally  from  the 
masses  of*  Haydn,  Mozart,  and  beethoven«  and 
connected  by  oompositions  of  his  own.  He  wrote 
to  Beethoven  offering  him  loo  guineas  for  an 
overture  to  this  work,  but  received  no  reply, 
owing,  afl  he  supposed,  to  the  miscarriage  of  his 
letter.  In  1830  he  published  a  work,  entitled 
*  The  Music  of  Nature ;  or,  an  attempt  to  prove 
that  what  is  passionate  and  pleasing,  in  the  art  of 
singing,  speaking,  and  performing  upon  musical 
instxiunents,  is  derived  from  the  sounds  of  the 
animated  world.'  The  musical  examples  w.ere 
published  separately.  In  1838  he  published  two 
volumes  called  'Music  and  Friends ;  or,  Pleasant 
BecoUections  of  a  Dilettante,' — Qie  utility  of 
which  is  much  impaired  by  its  frequent  inac- 
curacy,— with  a  thud  volume  in  1853.  In  1840 
he  adapted  Pope's  '  Universal  Trttyet*  to  music 
by  Haydn,  Mozart,  and  Beethoven.  'Sights  in 
Italy,  with  some  Account  of  the  present  state  of 
music  and  the  sifter  arts  in  that  country '  appeared 
in  1 847.  Besides  these  works  Gardiner  composed 
a  few  anthems.  He  died  Nov.  16,  1853,  in  the 
84th  year  of  his  age.  [W.  H.H.] 

6ABD0NI,  Italo,  bom  at  Parma  late  in 
18 2 1,   studied  singing  under  De*  Cesari.     He 
made  his  cUbtU  at  Viadana  in  1840  in  'Roberto 
Devereux.'    In  the  same  year  he  was  engaged 
by  Ronzani,  with  whom  he  went  to  Turin  and 
lierlin,  where  he  sang  the  i^dU  of  Rodrigo,  with 
Rubini  as  Otello.     Rubini  took  a  great  fancy  j 
fot   the   young  artist,  and   jwedict^  for  him 
a  brilliant  career.     Gardoni  sang  during  two 
seasons  at  Milan,   and  afken^'ardiB  at  Brescia. 
Thence  he  went  to  Vieniuk,  and  sang,  in  company 
with  Viardot,  Alboni,  and  Tadolini,  in  the  'Bar- 
biere,* '  Linda,*  etc.  In  1 844-5  ^®  appeared  at  the 
Academic  Royale,  creating  the  tenor  parts  in 
'Marie  Stuart,*  '  L'Ame  en  peine,*  etc.     In  Paris 
Gardoni  remained  for  three  years,  singing  the 
principal  rdles  in  the  '  Favorite,* '  Robert  le  Dia- 
blo,' '  Charles  Six,*  etc.     In  1847  he  went  to  the 
ThMtre  des  Italiens,  and  in  the  same  spring  made 
his  first  appearance  at  Her  Majesty's  Theatre,  and 
*by  his  charm  of  person  and  of  voice  (somewhat 
slight  though  the  latter  has  proved)  did  more  to 
reconcile  the  public  to  the  loss  of  Signer  Mario 
than  could  have  been  expected.     A  word  is  his 
due — as  the  due  of  a  real  artist,  who  has  finished 
every  phrase  that  he  has  sung,  and  has  pointed 
every  word  that  he  has  said.    There  has  always 
been  the  real  Italian  elegance^and  that  more  uni- 
versal el^anoe  which  belongs  to  no  country — in 
Signer  Gardoni'  (Choriey).    Here  he  created  the 
tenor  r6ie  in  Verdi's  '  Masnadieri.*    Since  then, 
with  the  exception  of  a  few  seasons  spent  at 
St.  Petersburg,  Madrid,  Amsterdam,  and  Rome, 
Gardoni  has  come  every  spring  to  London,  and 
returned  to  Paris  (Italiens)  for  the  winter. 

Gardoni  belonged  to  ^e  mezzo  caraUcre  class 
of  tenors.  His  repertoire  was  rather  exception- 
ally large ;  for  he  sung  in  the  '  Barbiere,' '  L'lta- 
lijma  in  Algieri/  and  'Le  Comte  Ory,*  as  well 


GASSMAKK. 


583 


as  in  the  'Puritani,'  ' Sonnambula,'  'Robert  le 
Diable,*  ' Masaniello,*  and  Gounod's  'Faust.' 
He  is  a  member  of  the  *  Soci^t^  de  Bienfaisance 
Italienne*  of  Paris,  and  a  chevalier  of  the  'Co- 
rona d' Italia.'  He  married  a  daughter  of  Tam- 
burini  Aug.  14, 1847 ;  and  in  1874  retired  from 
the  stage.  [J.  M.] 

GASPARINI,  Francesco,  bom  at  Lucca  in 
1665,  according  to  F^tis,  but  the  date  is  possibly 
somewhat  too  early.  He  was  a  pupil,  first  of 
CoreUi  and  afterwards  of  Bernardo  Pasquini, 
was  Maestro  di  Core  at  the  Ospedale  di  Pietk 
in  Venice,  and  a  member  of  the  Accademia 
Filarmonica.  In  1725  he  was  elected  maestro 
by  the  Chapter  of  St.  John  Lateran,  but  he  was 
abrendy  in  broken  health  at  the  time  of  his 
appointment,  and  retired  upon  halfpay  in  August 
of  the  following  year.  He  retain^  his  poet 
nominally,  with  Girolamo  Chiti  for  a  coadjutor, 
until  April  1737,  when  he  died.  The  celebrated 
Benedetto  Marcello  was  his  pupil  for  many  years 
both  at  Venice  and  at  Rome,  and  a  correspond- 
ence between  them,  continued  up  to  a  few  weeks 
before  the  death  of  Gasparini,  testifies  to  the 
esteem  in  which  the  great  scholar  held  his 
master.  A  professional  conflict  between  Gas- 
parini and  A.  Scarlatti,  the  origin  of  which  was 
unknown  to  Baini,  took  the  form  of  an  exchange 
of  cantatas,  by  no  means  a  regretable  method  of 
retort  between  rival  and  disputative  artists. 

Gasparini  wrote  equally  well  for  the  church 
and  for  the  stage,  and  F^tis  gives  a  list  of  no 
less  than  thirty-two  of  his  operas.  Several  of 
them  were  favourites  in  London  in  the  early 
part  of  the  century.  He  also  composed  several 
cantatas.  But  the  work  by  which  he  is  now 
best  remembered  is  his  treatise  upon  accompani* 
ment  intituled  'L'Armonico  prattico  al  cembalo, 
owero  regole,  osservazioni  ed  avertimenti  per  ben 
suonare  il  ba^to  e  accompagnare  sopra  il  cembalo, 
spinetta  ed  organo.'  This  work  was  republished 
so  lately  as  1802  at  Venice,  and  has  maintained 
its  position  in  Italy  even  since  the  appearance 
of  the  clearer  and  better  arranged  treatise  of 
Fenaroli.  [E.H.P.] 

GASSMANN,  Florian  Leopold,  bom  May  4, 
1 72  3,  at  Briix  in  Bohemia :  in  1 736  ran  away  from 
his  father  who  wished  to  e«lucate  him  as  a  mer- 
chant. By  playing  the  harp  he  worked  his  way 
to  Bologna,  where  he  studied  for  two  years  under 
Padre  Martini.  He  then  entered  the  service  of 
Count  Leonardi  Veneri  at  Venice,  and  his  com- 
positions were  soon  in  general  request.  In  1762 
he  was  invited  to  Vienna  as  a  ballet-composer. 
On  the  death  of  Reutter  in  1771,  the  Emperor 
Joseph  II.  appointed  him  Court  Capellmeister 
with  a  salary  of  800  ducats.  Very  soon  after 
entering  on  his  new  office  he  suggested  the 
formation  of  the  'Tonkllnstler  Societat,'  a  Fund 
for  the  Widows  and  Orphans  of  Vienna  musi- 
cians, a  society  which  in  1S62  was  reorganised 
under  the  name  of  the  'Haydn.'  See  Pohrs 
'  Denkschrift,*  etc.  (Vienna  1871).  Gassmann 
died  Jan.  21,  1774,  owing  to  a  full  from  his 
carriage.  He  composed  23  Italian  operas,  of 
which  two  were  translated  into  German,  'L'Amor 


m 


GASSMANN. 


ftrtigiana  *  by  Keefe,  and '  La  ConteflBina  *  by  Hiller. 
He  also  composed  much  church  music,  which 
Mozart  thought  more  of  than  of  his  oporas 
(Letter,  Feb.  5,  1783).  When  at  Leipsic,  he 
said  to  Doles,  who  could  not  quite  join  in  his 

S raises, '  Papa,  if  you  only  knew  all  we  have  of 
is  in  Vienna !  As  soon  as  I  get  back  I  shall 
study  him  in  earnest,  and  hope  to  learn  a  great 
deal.'  Gassmann  cannot  be  said  to  have  exex^ 
cised  any  special  influence  on  the  developement 
of  musioftl  form  effected  during  his  time  by 
Emanuel  Bach,  Haydn,  and  Mozart.  His  best 
pupil  was  Salieri,  who  after  their  father's 
death  educated  Gassmann'a  daughters  as  opera- 
angers.  [^-(^0 

GASTOLDI,  Giovanni  Giacomo,  bom  at 
Garavaggio  about  the  middle  of  the  i6th  cen- 
tury; maestro  di  capella  in  Mantua,  and  later 
in  Milan  (1592).  He  was  the  author  of  *Bal- 
letti  da  suonare,  cantare,  e  ballare*  (Venice 
1591-5  ;  Antwerp  1596),  which  are  said  to  have 
served  Morley  as  models  for  his  *  Ballets  or 
Fal  las.*  Two  of  them  are  well  known  to  Eng- 
lish amateurs  under  the  names  of  *  Maidens  fair 
of  MantuaV  city,'  and  'Soldiers  brave  and 
gallant  be.*  Two  others,  '  Viver  lieto  voglio,' 
and  *  A  lieta  vita,*  are  given  by  Bumey  in  his 
History  of  Music.  These  were  adopted  as  Hymn 
tunes  by  Lindemann  in  1597  to  the  words 
'  Jesu,  wollst  uns  weisen,'  and  '  In  dir  ist  Freude ' 
respectively  (Doringf  Choralkunde,  45).     [F.  G.] 

GATES,  Bebnard.  Second  son  of  Bernard 
Gates  of  Westminster,  Gent.  Bom  probably  in 
1685  ;  is  mentioned  in  1702  as  one  of  the  Chil- 
dren of  the  (Chapel  Royal ;  was  made  a  Gentle- 
man of  the  same  in  1 708  in  place  of  John  Howell, 
who  died  July  15,  and  Master  of  the  C^lhoristers, 
Michaelmas  1740,  vice  J.  Church;  resided  in 
James  Street,  Westminster.  In  1758  he  retired 
to  North  Aston,  Oxon,  where  he  died,  Nov.  15, 
I773>  A£^  ^S*  ^^  ^M  buried  in  the  North 
Cloister  at  Westminster,  '  near  his  wife  and 
daughter.'  He  held  the  sinecure  office,  now 
abolished,  of  Tuner  of  the  Regals  in  the  King's 
household — see  his  epitaph  at  Aston. 

His  chief  claim  to  mention  is  his  connexion 
with  Handel,  whose  '  Esther '  was  acted  under 
Gates's  care  by  the  Children  of  the  C^lhapel  Royal 
at  his  house  Feb.  23  1732,  and  afterwards  at 
the  King's  Theatre,  Haymarket.  He  also  sang 
one  of  the  airs  in  the  Dettingen  Te  I>eum  on 
its  first  performance.  [G.] 

GATJNTLETT,  Henry  John,  eldest  son  of 
the  Rev.  Henry  (^auntlett,  was  bom  in  1 806  at 
Wellington,  Salop.  He  was  educated  by  his 
father,  and  at  an  early  age  evinced  an  aptitude 
for  music,  specially  for  playing  on*  the  organ. 
His  fiftther  was  presented  to  the  vicarage  of 
Olney,  Bucks,  and  there,  at  the  age  of  nine, 
young  Gauntlett  entered  on  the  duties  of  his  first 
organist  appointment.  In  1826  he  was  articled 
to  a  solicitor.  During  his  clerkship  he  pursued 
the  study  of  law  and  music  with  equal  assiduity, 
and  in  1827  obtained  the  post  of  organist  of 


GAUNTLETT. 

8t.  0!av6\  Sonthwark,  which  he  held  for  npvsids 
of  20  years.  Ini83i  he  was  admitted  a  soticitor. 
and  commenced  practice  in  the  City*  of  London 
in  partnership  with  a  brother.  Aboat  1836, 
having  attained  a  high  reputation  as  an  ofganist, 
he  oonunenoed  his  advocacy  of  a  reform  in  organ 
building  by  the  adoption  of  the  C  organ  in  the 
place  of  the  old  F  and  G  instriimenta.  He  met 
with  the  strongest  opposition,  but  finding  a  valu- 
able auxiliaiy  in  WilUam  Hill,  the  organ  builder 
(who,  under  his  superintendence  conatnicted  the 
organs  in  St.  Luke^s,  Cheetham,  Manchester; 
St. Peter  s,  Comhill ;  Ashton-under-Lyne  church ; 
Dr.  Raffles'  chapel,  Liverpool;  and  St.  Johns, 
Ci^cutta ;  and  reconstructed  the  large  organs  in 
Birmingham  Town  Hall,  and  Chriat  Church, 
Newgate  Street),  he  attained  his  aim,  and 
through  his  exertions  the  C  organ  was  firmly 
settled  in  England.  In  1 836  he  became  organist 
of  Christ  Church,  Newgate  Street.  In  1842  Dr. 
Howley,  Archbishop  of  Canterbury,  conferred 
on  him  the  degree  of  Doctor  oi  Music.  About 
the  same  time  he  gave  up  the  law  and  devoted 
himself  wholly  to  music.  In  the  year  1 844  Gaunt- 
lett, in  conjunction  with  Charles  Child  Spencer, 
drew  attention  to  the  subject  of  Gregorian  music 
by  the  publication  of  the  Hynmal  for  Matins  and 
Evensong  (Bell  &  Daldy).  He  took  an  active 
part  in  promoting  the  extension  of  choral  worship, 
and  composed  many  chants  and  anthems.  With 
equal  anlour  he  laboured  to  increase  the  study 
of  the  works  of  Handel,  Bach,  Beethoven,  Spohr 
and  Mendelssohn,  publishing  arrangements  of 
the  choral  and  instrumental  fugues  of  Bach; 
Beethoven*s  choral  works;  Cherubini's  ditto; 
the  Overtures  and  Chcnruses  in  Spohr's  *Cruci> 
fixion,'  etc.,  for  the  organ,  with  pedals.  But  it 
is  as  a  composer  and  editor  of  psalm  and  hymn 
tunes  that  he  will  be  best  remembered.  For 
upwards  of  40  years  he  worked  in  that  field 
with  unwearied  enthusiasm,  and  there  was 
scarcely  a  publication  of  any  note  issued  during 
that  period  in  which  he  was  not  engaged  as 
editor,  assistant,  or  contributor.  Gauntlett  also 
appeared  as  a  lecturer  on  miuic  and  as  a 
critic  and  reviewer,  and  able  articles  from  his 
pen,  abounding  in  learning  .  and  spirit  (,the 
opinions  confidently  expressed),  will  be  found 
in  the  first  6  volumes  of  '  The  Musical  W^orld,' 
in  'The  Morning  Post,'  *The  Orchestra,'  and 
'The  Church  Musician.'  After  quitting  St. 
Olave's  and  Christ  Church,  Gauntlett  was  suc- 
cessively organist  of  a  church  at  Kensington 
Park,  of  Union  Chapel,  Islington  (for  13  years), 
and  of  St.  Bartholomew  the  Great,  Smithfield. 
He  was  chosen  by  Mendelssohn  to  play  the 
organ  part  in  his  oratorio,  *  Elijah,'  on  its  pro- 
duction at  Birmingham,  Aug.  26,  1846.  He 
died  suddenly,  irom  heart  disease,  Feb.  a i,  1876. 
Gauntlett's  principal  publications,  besides 
those  mentioned,  were  '  The  Church  Hymn  and 
Tune  Book '  (with  Rev.  W.  J.  Blew),  1844-51 ; 
Cantus  Melodici,  1845;  'The  Comprehensive 
Tune  Book'  (with  Keams),  1846-7;  'The 
Halleluj.ah '  (with  Rev.  J.  J.  Waite),  1848-55; 
'The  Congregational  Psalmist*  (with  Dr.  AUon), 


GAUNTLETT. 

iRfil  ;  Cariyle's  '  Manual  of  Psalmody/  i860 ; 
'Tones,  New  and  Old,'  and  Harland'a  'Church 
Psalter  and  Hymnal,'  1868  ;  *  Specimens  of  a 
Cathedral  Psalter ' ;  '  The  £ncydop«dia  of  the 
Chant*;  'Hymns  and  Glorias';  *St.  Mark's 
Tune  Book';  'Hymns  for  Little  Children,' 
and  several  collections  of  Christmas  Carols, 
Anthems,  Songs,  etc.,  and  some  oigan  anrange- 
ments.  [W.H.H.] 

GAVEATJX,  PiEBRE,  bom  at  Beziers  Aug. 
1761 ;  died  insane  at  Charenton  Feb.  5,  1825; 
studied  composition  under  Beck,  conductor  of  the 
theatre  at  Bourdeaux.    There  he  made  his  d^ut 
as  tenor  with  a  success  which  decided  hia  future 
career.      HIb  voice  was  warm  and  flexible,  he 
sang  with  great  expression,  and  during  an  en- 
gagement  in  Paris  in  1789  created  many  im- 
portant    parts.      Ab  a  composer   he   produced 
between  1792  and  1818  no  lei$8  than  35  operas, 
written  in  an  easy  and  essentially  dramatic  style, 
natural  and  simple  in  melody,  but  not  charac- 
terised by  depth  or  originality.     Among  these 
may  be  specified    'Les  deux  Suisses'  (1792); 
'Le  petit  Matelot'  (1795");  'L^onore  ou  Tamour 
conjugal'  (1798),  the  same  subject  which  Bee- 
thoven afterwards  set  as  'Fidelio';  'Le  Bouffe 
et  le  Tailleur'  (1804),  sung  by  Ponchard  and 
Cinti-Damoreau  as  late  as  1835,  and  played  in 
London  in  1849 ;  and  '  Monsieur  Deschalumeaux' 
(1806),  afterwards  played  as  a  pantomime.     He 
also  published  a  book  of  Italian   'Canzonette' 
dedicated    to  Garat,   and    another    of   French 
'Romances.*     These  are  foi^otten,  but  some  of 
his  opera  airs  have  maintained  their  popularity, 
and  occupy  an  honourable  phute  in  '  La  Cle  du 
Caveau.'  [G.C.] 

GAVINI^S,  PiERBB,  an  eminent  French 
violin-player.  According  to  some  authorities  he 
was  bom  at  Bourdeaux  in  1728,  while  others 
give  Paris  and  the  year  1726.  His  instructors 
are  equally  unknown,  but  it  is  assumed  that  he 
was  self-taught,  forming  his  style  chiefly  after 
the  great  Italian  violinists,  who  woto  then  much 
in  the  habit  of  travelling  in  France.  He  was 
still  a  boy  when  he  made  his  first  successful 
appearance  at  the  Concert  spirituel  in  1741,  and 
after  this  to  the  end  of  his  life  he  but  rarely  left 
Paris,  where  he  soon  came  to  be  considered  as 
the  best  living  violinist,  and  was  a  great  favourite 
in  fashionable  circles.  Contemporary  writers 
attribute  to  him  all  the  qualities  of  a  really  great 
performer— wonderful  execution,  a  great  tone, 
spirit  and  feeling.  His  fiery  temperament  at 
one  time  got  him  into  considerable  trouble :  he 
became  involved  in  a  liaison  with  a  lady  of  the 
court,  and  on  being  detected  had  to  fly  from 
Paris,  but  was  captured  and  imprisoned  for  a 
year.  This  experience  effectually  sobered  him, 
and  we  are  assured  that  later  in  life  he  was  as 
much  esteemed  for  his  social  virtues  as  for  his 
artistic  gifts.  During  his  imprisonment  he  com- 
posed a  piece  which,  under  the  name  of  'Romance 
<ie6avim&,'for  a  long  time  enjoyed  considerable 
popularity  in  France,  and,  according  to  F^tis, 
iWbd  to  move  the  hearers  to  tears,  when  per- 


GAVOTTE. 


585 


formed  by  the  composer.  On  the  foundation  of 
the  Conservatoire  in  1794*  Gavini^s  was  ap- 
pointed to  a  professorship  of  the  violin.  He  died 
at  Paris  in  1800. 

In  France  Gavini^  is  generally  considered  the 
founder  of  the  great  French  school  of  violinists.- 
This  is  true  in  one  sense,  as  he  was  the  first  pro- 
fessor of  the  violin  at  the  Conservatoire,  but  with 
such  a  predecessor  as  Leclair,  the  title  appears 
at  least  disputable.  Viotti  is  said  to  have  spoken 
of  him  as  the  French  Tartini.'  But)  although 
there  can  be  no  doubt  that  Gavini^s  did  more 
than  any  one  before  him  towards  transplanting 
into  France  the  true  and  earnest  style  of  the 
great  Italian  school  of  violin -playing,  it  is  im- 
possible to  rank  him  in  any  way  with  Tartini  as 
a  composer  for  the  violin  or  even  as  a  performer. 
His  works,  while  not  devoid  of  a  certain  pathetic 
dignity,  do  not  shew  an  individual  original  style, 
and  are  in  merj  respect  inferior  to  Tartini's 
masterpieces.  They  are  on  the  whole  rather  dry 
and  laboured.  On  the  other  hand  it  must  bs 
granted  that  they  indicate  considerable  advance 
in  technical  execution.  His  most  celebrated 
work,  '  Les  vingt-quatres  Matinees,*  surpasses  in 
difficulty  anything  ever  written  by  Tartini,  and 
as  we  are  assured  that  Gavinies  used  to  play  them 
even  in  his  old  age  with  the  greatest  perfection, 
we  must  assume  him  to  have  possessed  an  eminent 
execution.  But  it  cannot  be  denied  that  his  man- 
ner of  writing  for  the  violin,  and  the  peculiar 
class  of  difficulties  which  his  studies  contain, 
show  a  tendency  to  go  beyond  the  natural 
resources  of  the  instrument — ^in  fact,  a  tendency 
to  exaggeration,  such  as  invariably  makes  its 
appearance  after  a  classical  period  in  any  ai% 
and  such  as.  in  the  art  of  violin  playing  in  par- 
ticular, is  represented  towards  the  end  of  the  last 
century  by  the  masters  who  lived  after  Tartini 
and  before  Viotti.  It  is  for  this  reason  Uiat 
Gavinies'  'Matinees'  cannot  be  ranked  with  the 
classical  studies  of  Bode,  Kreutzer,  and  Fiorillo. 
This  however  does  not  preclude  their  being  both 
of  interest  and  use  to  advanced  students. 

Capron,  Robineau,  and  Le  Due  atnS,  are  the 
best  known  of  Gavinies'  numerous  pupils.  Besides 
the  '  Matinees '  he  published  6  Concertos  for  the 
Violin,  2  sets  of  Sonatas  for  Violin  and  Bass 
(some  of  which  have  been  recently  republished 
by  Alard  and  David),  3  Sonatas  for  Violin  Solo 
(one  of  them  entitled '  Le  Tombeau  de  Gavinies'). 
He  also  composed  an  opera  which  was  played  at 
the  Comddie-Italienne  in  1 760.  [F.D.] 

GAVOTTE.  A  French  dance,  the  name  of 
which  is  said  to  be  derived  from  the  Gavots,  or 
people  of  the  pays  de  Gap  in  Dauphin^.  Its 
original  peculiarity  as  a  danse  grace  was  that  the 
dancers  lifted  their  feet  from  the  ground,  while 
in  former  danses  graves  they  walked  or  shuffled 
— (littr^).  It  is  in  common  time,  of  moderately 
quick  movement,  and  in  two  parts,  each  of  which 
is,  as  usual  with  the  older  dances,  repeated.  In 
the  original  form  of  the  dance  the  first  part  con- 
sisted of  four  and  the  second  of  eight  bars  ;  when 
introduced  as  one  of  the  movements  of  a  suite,  it 
has  no  fixed  number  of  bars.    The  following  is 


586 


GAVOTTE. 


the  first  strain  of  the  first  gavotte  in  BacVs  Suite ' 
inD:— 


^ViT^rf  J-L^TJCj'irfr^jJ 


n=ic 


3!=^ 


^ 


** 


^ 


fJ-^rcjic/^iiJ 


i 


The  gavotte  should  always  begin  on  the  third 
beat  of  the  bar,  each  part  fin^hing,  therefore, 
with  a  half-bar,  which  mast  contain  a  minim, 
and  not  two  crotchets.  Occasional  exceptions 
may  be  found  to  the  rule  that  the  gavotte  is  to 
begin  on  the  third  crotchet,  as,  for  instance,  in 
that  of  No.  3  of  Bach's  *  Suites  PranyaiseB,*  which 
commences  on  the  first  crotdiet^  of  whic^,  how- 
ever, it  should  be  noticed  that  in  some  editions 
it  is  termed  jm  *  Anglaise.*  In  any  case  it  is  not 
strictly  a  gavotte.  The  same  may  be  said  of  the 
'gavotte'  in  Gluck's  *Orph^,*  which  begins  on 
the  fourth  beat  of  the  bar,  and  should  therefore 
rather  have  been  marked  'Tempo  di  Gavotta.* 
A  second  ^votte  frequently  succeeds  the  first 
as  a  'trio,  in  the  moidem  sense  of  that  term. 
This  second  gavotte  is  either  similar  in  construc- 
tion to  the  first,  as  in  Bach's  Suite  in  B  minor 
(' Franzosische  Ouverture'),  or  is  a  Musette, 
i  e.  founded  on  a  'drone-bass,'  as  in  the  third 
and  sixth  of  Bach's  '  Suites  Anglaises.'  The  posi- 
tion of  the  gavotte  in  the  suite  is  not  invariable, 
but  it  usually  follows  the  sarabande,  though 
occasionally  (as  in  Bach's  Suite  in  B  minor  above 
referred  to),  it  precedes  it.  [E,  P.] 

GAWL£R,an  organist  in  London  in  the  early 
part  of  the  present  century,  published  a  collection 
of  psalm  tunes  with  interludes,  under  the  title  of 
« Harmonia  Sacra ' ;  'Dr.  Watts's  Divine  Psabns ' ; 
•Lessons  for  the  Harpsichord,'  and  two  sets  of 
*  Voluntaries  for  the  Ox^gan.'  [W.  H.  H.l 

GAWTHORN,  Nathaniel,  clerk  at  the  Fridav 
Lecture  in  East  Cheap,  published  in  1730  a 
collection  of  psalm  tunes  m  4  parts  under  the 
title  of  'Harmonia  Perfecta,*  containing  also 
some  hymns  and  anthems,  and  an  Introduction 
toPsahnody.  [W.H.H.] 

GAZZA  LADRA,  LA  (the  thieving  magpie). 
A  comic  opera  in  two  acts  ;  libretto  by  Gherardini : 
music  by  Rossini ;  produced  at  La  Scah^  Milan, 
in  the  Spring  of  1817,  in  London  at  the  King's 
Theatre  March  10,  1821.  and  in  Paris  Sept.  18. 
In  English  (adapted  by  Bishop)  as  'Ninetta,  or,' 
the  Maid  of  Palaiseau,^at  Covent  Garden,  Feb  4 
^^30.  [G.j 

GAZZANIGA,  Giuseppe,  one  of  the  most 
celebrated  opera  composers  of  his  time,  bom  at 
Verona,  Oct.  1 743 ;  pupil  of  Porpora,  both  in 
Venice  and  at  San  Onofrio  in  Naples.  He  also 
studied  under  Piccinni.  Through  Saochini's  in- 
fluence his  first  opera  'II  finto  cieco*  was  per- 
formed in  Vienna  (1770).  Among  his  many 
operas   may    be   mentioned    'U  convietato  di 


GEIGENPRINCIPAL. 

pietro,'  the  forerunner  of  'Don  Giovanni,'  which 
had  an  extraordinary  success  in  Venioe  (1787), 
Feirara,  Rome,  Bergamo,  and  London,  wh^e  it 
was  performed  repeatedly.  Gazzaniga  was  after- 
wards maestro  di  capella  at  Cremona^  where  he 
devoted  himself  entirely  to  church  music.   [F.  6.] 

GEBAUER,  Franz  Xaveb,  bom  in  1784  at 
Eckersdorf,  Glatz,  Prussian  Silesia^  received  his 
early  musical  education  from  his  fkither,  the  vil- 
lage schoolmaster.  In  1804  he  became  organist 
at  Frankenstein;  and  in  1 8 10  went  to  Vienna, 
where  he  soon  became  known  for  his  eztiaor- 
dinary  execution  on  the  Jews-harp,  and  lived  by 
giving  excellent  pianoforte  lessons,  and  playing 
the  cello.  In  18 16  he  was  appointed  C%or- 
director  of  the  chureh  of  St.  Augustin,  and  there, 
thanks  to  his  indefatigable  efforts,  the  larger 
works  of  the  great  masters  were  satisfactorily 
performed.  He  was  also  one  of  the  earliest  and 
most  active  members  of  the  'Gesellschaft  der 
Musikireunde,'  founded  in  1813.  In  iSiQ^threugh 
his  endeavours,  were  started  the  SpirituelConcerte 
which  continued  in  existence  until  1848,  and 
into  the  programmes  of  which  none  but  sterling 
works  were  admitted.  [See  Spirituel  CoircERTE,J 
Grebauer  was  the  first  conductor,  but  did  not  long 
enjoy  the  firuit  of  his  labours.  In  Oct.  1822  he 
returned  from  a  journey  to  Switzerland  seriously 
ill,  and  died  in  Vienna  on  the  13th  Dec.,  sincerely 
regretted  as  a  sterling  musician  and  an  upright 
man.  He  published  a  few  Lieder,  and  left  a  small 
number  of  choral  compositions  in  MS.  He  wss 
intimate  with  Beethoven,  who  in  a  note  pr^erred 
by  Se^firied  ('Beethovens  Studien,'  Anh.  36,  and 
Nohl  s  Briefe,  N&.  234^  puns  upon  his  name  in 
his  favourite  style,  calling  him  '  Geh*  Bauer '  and 
'  der  Bauer.*  [c.  F.  P.] 

GEDACKT-WORK  (i.e.  gedeeJct\  All  the 
Flue-stops  of  an  Organ  composed  of  pipes  that 
are  entirely  covered  or  closed  in  at  the  top  are 
members  of  the  '  Gedackt '  or  Covered- work.  To 
this  class  therefore  belong  the  Sub-Bourdon,  32 ; 
Bourdon,  16 ;  Stopped  Diapason,  8 ;  and  Stopped 
Flute,  4  feet -tone.  When  made  to  a  'small 
scale,'  and  voiced  so  as  to  produce  a  sweet  tone, 
the  adjective  'Lieblich'  is  prefixed,  as  Lieblich 
Bourdon,  16,  Lieblich  Gedackt,  8,  Lieblich  Flote^ 
4  feet-tone.  Large  stopped  pipes  are  genenJty 
made  of  wood ;  the  smaller  ones  either  of  wood  or 
metal.  Covered  Stops  were  first  made  in  Germany, 
in  the  early  part  of  the  i6th  century.     [E.  J.i] 

GEIGENPRINCIPAL,  t.«.  Violin  Diapason. 
An  organ  stop  of  8  feet  or  unison  pitch ;  crisp  in 
tone,  and  much  resembling  the  violin  in  quality. 
A  '  violl  and  violin  *  stop  originally  formed  une 
of  the  features  in  the  choir  organ  of  the  instru- 
ment in  the  Temple  Chureh,  bmlt  by  Father 
Smith  in  1688 ;  but  seems  to  have  been  removed 
shortly  afterwards  to  make  room  for  an  ad- 
ditional reed  stop.  The  Geigen-prindpal  was 
first  brought  under  notice  in  England  in  recent 
times  by  Herr  Schulze,  who  introduced  law,  one 
of  8  feet  and  another  of  4,  into  the  admirable 
little  organ  he  sent  to  the  Great  Exhibitiua  of 


GEIGKff.PBINCIPAL. 


GEMINIANI. 


587 


1851.  The  stop  was  subsequently  adopted  by 
the  EDglish  oi^an-builder,  Mr.  Lewis,  who  has 
made  several  excellent  specimens  of  it.  [£.  J.H.] 

6ELINEK,  Joseph,  secular  priest,  composer 
of  variations  for  pianoforte,  bom  Dec.  3,  1758, 
at  Selcz  in  Bohemia,  whtfe  his  &ther  was  school- 
master. He  was  well-grounded  in  music  at 
hnme,  and  on  going  to  Prague  to  complete  his 
philosophical  studies  took  lessons  from  Segert  in 
omiposition  and  organ-playing.  In  1783  he  be- 
came a  divinity  student  at  the  General -Seminar, 
the  orchestra  of  which  at  that  time  executed 
standard  works  so  well  as  to  elicit  praise  from 
Mozart  himself  when  in  Prague.  Mozart  also 
applauded  Gelinek^s  pianoforte  playing,  and 
encouraged  him  to  persevere.  In  1786  he 
was  ordained  priest,  and  became  domestic  chap- 
lain and  pianoforte  teacher  to  Prince  Joseph 
Kinsky,  who  settled  an  income  upon  him  for 
life,  and  took  him  to  Vienna,  where  he  studied 
with  AlbrechtsbOTger.  He  then  accompanied 
Prince  Poniatowsky  to  Rome,  with  the  view  to 
obtain  further  instruction,  but  illness  obliged 
him  to  return  to  Vienna.  There  he  became  the 
favourite  pianoforte  teacher  of  the  nobility,  and 
was  liberally  paid.  In  1795  he  entered  Prince 
£isterhazy*s  household  as  chaplain  and  music 
master,  and  remained  there  till  his  death,  which 
took  place  in  Vienna  April  13,  1825.  For 
GeUnek*B  relations  with  Beethoven  see  p.  i6Sa ; 
and  Czemy  in  PohFs  *  Jahresbericht  des  Conser- 
Tatoriums  in  Wien,'  1869-70. 

Gelinek  composed  with  ease  and  rapidity; 
both  he  and  his  publishers  made  large  profits 
from  his  works,  the  variations  in  the  fashionable 
style  of  the  day  especially  having  a  ready  sale. 
Of  these  alone  there  is  a  thematic  catalogue 
(Offenbach,  Andre)  containing  98,  with  spaces 
for  more.  The  monotony  which  was  one  of  their 
weak  points  is  well  hit  in  Weber's  epigram  :-^ 

'An  den  berUhmten  Yariationen-Schmidt  Oelinek. 

Kein  Thema  in  der  Welt  rerwhonte  dein  Genie, 
Das  simpelBte  allein— Dioh  selbst— Taribst  Da  nie.* 

Although  at  that  time  the  rage,  they  are  shallow 
and  superficial ;  and  like  his  fantasias,  rondos, 
marches,  dance-music  and  arrangements,  his  few 
sonatas,  songs,  etc.  are  all  now  forgotten.  Not- 
withstanding considerable  losses,  Gelinek  left 
42,000  gulden  (about  ^£4000)  among  his  poor 
relations.  [C.F.P.] 

GEMINIANI,  Fbancescx),  an  eminent  violin- 
player  and  composer,  was  bom  at  Lucca  in  1680. 
His  first  teacher  on  the  violin  was  Carlo  Ambro- 
gio  Lonati,  sumamed  'il  Gobbo,'  at  Milan.  He 
afterwards  studied  under  Oorelli  at  Bome,  and 
is  said  to  have  had  instruction  in  composition 
from  Alessandro  Scarlatti.  Geminiani  must  be 
considered  one  of  the  foremost  representatives  of 
the  school  of  Corelli,  however  different,  owing 
to  the  peculiarity  of  his  character  and  talent,  he 
proved  himself  to  be  as  a  performer  and  com- 
poser firom  his  great  master.  While  classical 
beauty  and  imperturbable  dignity  wore  the  main 
characteristics  of  Corelli*s  style,  Geminiani's  un- 
bounded vivacity  of  temperament  shewed  itself 


in  his  performances,  which  contemporary  critics 
invariably  describe  as  eccentric.  Tartini  is  said 
to  have  spoken  of  him  as  *  il  furibundo  Gemi- 
niani.' This  easily  accounts  for  the  fact  that, 
however  great  his  success  as  a  Solo-player,  he 
fidled  as  a  leader  and  conductor,  from  want 
of  the  necessary  cahnness  and  control.  Bumey 
relates,  on  the  authority  of  Barbella,  that  he  lost 
the  post  of  leader  of  the  opera-band  at  Naples 
because  *none  of  the  performers  were  able  to 
follow  him  in  his  tempo  rubato  and  other  un- 
expected accelerations  and  relaxations  of  mea- 
sure,* and  that  'after  this  discovery  he  was  never 
trusted  with  a  better  part  than  tenor  during  his 
residence  in  that  city.* 

In  1 7  I4he  came  to  England,  and  quickly  gained 
a  great  reputation  as  a  virtuoso,  although  he 
appears  to  have  but  rarely  played  in  public,  and 
to  have  supported  himself  by  teaching  and  play- 
ing in  the  houses  of  the  nobility.  When  invited 
to  play  at  a  court-concert,  he  only  consented  under 
the  condition  that  Handel  should  accompany  him. 
If  nevertheless  he  failed  to  gain  an  established 
and  secure  position  in  life,  this  again  is  attri* 
butable  to  the  peculiarity  and  eccentricity  of  his 
character,  which  did  not  allow  him  to  make  the 
best  of  his  opportunities  or  to  pursue  any  definite 
plan  of  life.  While  he  made  but  rare  use  of  his 
really  great  talent  as  a  performer,  he  spent  much 
time  in  writing  theoretical  works  of  but  doubtful 
value.  He  alw  indulged  in  a  foolish  passion  for 
dealing  in  pictures,  without,  we  are  assured, 
having  much  knowledge  of  the  subject.  This  at 
one  time  involved  him  in  difficulties  and  brought 
him  even  into  prison,  from  which  he  was  only 
extricated  by  Lord  Essex,  his  friend  and  pupiL 
This  same  nobleman  procured  for  him  the  post 
of  conductor  of  the  Viceroys  band  at  Dublin.  It 
is  supposed  that  Horaoe  Walpole  objected  to  this 
appointment  on  account  of  Geminiani  being  a 
Boman  Catholic.  At  all  events  it  was  not  Gemi- 
niani, but  Dubourg,  his  pupil,  who  went  to  Dublin. 

In  1748  he  made  a  journey  to  Paris,  where  he 
remained  till  1 755.  Nothing  however  is  known 
about  his  doings  there,  except  that  he  brought  out 
a  new  edition  of  his  Solo-Sonatas.  From  Paris 
he  returned  to  Loudon,  and  he  died  in  1761  at 
Dublin,  where  he  was  visiting  Dubourg. 

Geminiani  and  Veraoini  (see  that  name),  com- 
ing at  about  the  same  time  to  England,  found 
the  art  of  violin-playing  in  every  respect  in  its 
infancy.  Gorelli*s  Solos  were  considered  to  afford 
almost  insurmountable  difficulties  of  execution. 
Now  Geminiani  not  only  played  these,  but  in  his 
own  compositions  shows  considerable  progress  in 
the  technique  of  the  violin,  by  freely  employing 
the  shift,  and  by  frequent  use  of  double-stops. 
Bumey  naively  enough  assures  his  readers  that 
some  of  Geminianrs  Sonatas  were  too  difficult  to 
be  played  by  any  one.  His  published  compositions 
—Sonatas  and  Concertos  for  the  violin— show 
him  to  have  been  a  clever  musician,  but,  with  all 
his  impetuosity,  wanting  in  originality  and  indivi- 
duality. His  slow  movements  are  more  modem 
in  feeling  than  most  of  Corelli 's,  bearing  a  certain 
likeness  to  Tartini's  style,  though  without  ever 


588 


GEMINIANL 


equalling  tlie  beet  works  of  that  great  master.' 
His  Allegros  have  a  more  developed  and  freer 
form  than  those  of  Corelli,  but  it  is  gross 
exaggeration  of  Bumey,  to  describe  them  as 
encentric  and  rhapsodic. 

The  most  valuable  contribution  however  which 
he  has  made  to  the  literature  of  the  instrument 
is  his  *Art  of  Playing  the  Violin.  London,  1740.' 
This  booki  written  in  English,  was  the  very  first 
of  its  kind  ever  publish^  in  any  country ;  six 
years  earlier  than  Leopold  Mozart's  Violin- 
School.  It  has  the  gfreat  merit  of  handing  down 
to  posterity  the  principles  of  the  art  of  playing 
the  violin,  as  they  were  finally  established  by 
Corelli.  The  rules  which  Geminiani  gives  for 
holding  the  violin  and  bow,  the  management  of 
the  left  hand  and  the  right  arm,  are  the  same  as 
are  recognized  in  our  days.  In  one  particular 
point  he  even  appears  to  have  been  in  advance 
of  his  time,  since  he  recommends  the  holding 
of  the  violin  on  the  left  hand  side  of  the  tail- 
piece— ^a  practice  now  universally  accepted  and 
indispensable  for  a  higher  development  of  the 
technique — but,  strange  as  it  seems,  not  adopted 
either  by  Leopold  Mozart  or  by  the  masters  of 
the  Grerman  school  until  the  beginning  of  the 
present  century. 

His  other  Uieoretical  works— a  'Treatise  on 
Memory,*  a  '  Treatise  on  Good  Taste,'  *  The  Art 
of  Playing  the  Guitar,'  *  The  Ait  of  Accompani- 
ment*— are  of  little  value,  although  they  ap- 
peared not  only  in  English,  but  in  Italian,  French, 
German,  and  Dutch. 

Of  original  compositions  he  published  the  fol- 
lowing:— XII  Solos,  op.  I.  London  1716;  Six 
Concertos  in  seven  parts,  op.  2.  London  1732, 
and  Paris  i755i  in  score;  6  Concertos,  op.  3, 
London  and  Paris  1775  ;  XII  Solos,  op.  4,  Lon- 
don 1 739  ;  6  Solos  for  Violoncello,  op.  5  (these 
are  arrangements  from  the  violin-solos) ;  6  Con- 
certos, op.  6.  London  1741  ;  Six  Concertos  in  8 
parts,  op.  7;  XII  Sonatas  for  Violin,  op.  11, 
London  1758;  XII  Trios  and  VI  Trios,  the 
latter  arrangements  of  op.  i ;  Lessons  for  the 
Harpsichord,  London.  He  also  made  and  pub- 
lished in  London  an  arrangement  of  CorelU's 
Solos,  op.  5,  as  '  Concerti  grossi.'  [P.  D.] 

GEMSHORN  (i.  e.  Chamois  horn),  an  organ- 
stop  8,  4,  or  2  feet  in  length,  the  pipes  of  which, 
generally  of  metal,  are  taper  nhaped,  being  only 
about  one-third  the  size  at  the  top  that  they  are 
at  the  mouth,  with  a  tone  somewhat  lighter  than 
that  of  a  cylindrical  stop  of  the  same  scale  at  the 
mouth  ;  and  very  musical.  It  was  first  intro- 
duced here  by  Father  Smith,  who  placed  one  in 
the  choir  organ  at  the  Temple.  It  passed  out  of 
sight  for  many  years ;  but  was  reintroduced  by 
the  late  Mr.  William  Hill,  and  has  remained  in 
great  favour  ever  since.  [E.  J.H.] 

GENERALI,  Pietro,  bom  Oct.  4,  1783,  at 
Masserano,  near  Vercelli.  His  real  name  was 
Mercandetti,  but  his  father  becoming  bankrupt 
changed  his  name  and  removed  to  Rome.  Pietro 
studied  music  under  Giovanni  Massi,  a  pupil  of 
Durante,  and  soon  wrote  masses  and  church 
music.    In  1800  he  produced  his  first  opera,  '  Gli 


GENET. 

AmAnti  ridiooli,*  after  whi<^  he  trarelled  to 
Southern  Italy,  and  coming  back  to  Borne  in 
1801  composed  a  cantata,  'Roma  Liberata,'  and 
two  operas, '  II  Duca  Nottolone'  and  '  La  Villana 
al  cimento.'  These  were  followed  by  '  Le  Geloae 
di  Giorgio'  (Bologna  1802) ;  'Pamela  nubile'  and 
'La  C^zolaja'  (Venice  1803):  'Misantropia  e 
pentimento,'  after  a  play  of  l^otzebue's;  *Gli 
Effetti  della  somiglianza'  (ibid  1805)  ;  and  'Don 
Chisciotto'  (Milan  1805V  These  are  for  the 
most  part  opere  hvffe ;  and  an  attenipt  at  opera 
semi'Seria,  'OrgogUo  e  Umiliazione  (Venic«\ 
was  a  failure.  In  1807  he  wrote  '  L'Idolo  dnt^* 
for  San  Carlo,  and  'Lo  Sposo  in  Bersaglio*  for 
Florence.  Many  other  comic  operas  were  well 
received  in  Venice,  eflpecially  '  Adelina,'  a  farce, 
'La  M(M;lie  di  tre  mariti,'  and  his  chrf-iJCiftivrt 
'I  Baccanali  di  Roma'  (Venice  1815).  In  the 
meantime  Rossini  had  come  to  the  fronts  an<i 
Generali's  popularity  suffered.  After  several 
doubtful  successes  he  withdrew  to  Novara,  and 
accepted  the  poet  of  maestro  di  capeUa  to  the 
cathedral.  In  his  retirement  he  studied  Rossini's 
style,  appropriating  as  much  of  it  aa  he  could ; 
and  in  1827  reappeared,  first  at  Trieste  and  tiieo 
at  Venice,  where  his  '  Francesca  di  Rimini '  (Dec 
26,  1829)  was  a  total  &ilure.  He  returned  to 
Novara,  and  died  there  Nov.  3,  1832.  Hxt 
operas  number  in  all  more  than  45.  Generali  a 
reputation,  says  Fetis,  rests  on  his  having  been 
the  first  to  employ  certain  harmonica  and  modu- 
lations of  which  Rossini  took  advantage.  In 
fact  he  was  the  true  precursor  of  Rostdni,  but 
the  latter  possessed  genius,  while  Generali  had 
only  talent.  An  'Elogio'  of  him  by  C.  Piocoli 
was  published  at  Novara  in  1833.  [P'G.] 

GENET,  Eleazab,  also  called  Cabpektbas, 
after  the  Frencli  town  in  which  he  was  bom, 
was  priest,  singer,  and  composer,  attached  to  the 
papal  court  in  the  time  of  Leo  X.    He  was  made 
a  bishop  in  1 5 1 8,  and  was  soon  afterwards  sent  by 
the  Pope  on  a  mission  to  Avignon,  where  he  seems 
to  have  spent  the  rest  of  his  life.     He  once 
revisited  Rome,  and  during  his  stay  there  his 
'  Lamentations'  for  Holy  Week  were  performed 
by  his  former  colleagues.   Struck  by  many  defects, 
he  made  considerable  alterations  in  lus  work, 
had  a  magnificent  copy  made,   which   is  still 
preserved  in  the  Pontifical  Chapel,  and  wrote 
a  dedication  to  CHement  VII,  who  was  Pope  at 
the  time.     Of  detached  pieces  by  Genet  in  the 
Tarious  collections  of  the  time,  we  know  very 
few.     Two  motets  from  the  ist  and  3rd  books  of 
the  'Motetti  della  Corona'  (Petruoci,  Fossom- 
brone,  151 4\   2   psalms  from  the  'Psalmorum 
Selectorum  Tom.  II.'  (Petreius,  Nuremberg  15  39  \ 
and  a  few  two-part  motets  printed  by  Gardane 
in  1543,  a  slender  legacy,  if  in  truth  these  had 
been  idl  the  works — and  they  were  very  nearly 
being  all — that  were  to  come  to  us ;  for  Genet's 
position  and  the  powerful  patronnge  he  enjoyed 
made  him  independent  of  the  usual  collections 
and  publishers,  and  enabled  him  to  bring  out  his 
works   in   an  exceptional    way,   which   almost 
resulted  in  their  being  lost  to  posterity.    It  was 
only  a  few  years  ago  that  a  copy,  the  only  one 


GENET. 

known  at  present,  of  4  splendid  volumes,  printed 
by  De  Chs^uiay  for  Genet  at  Avignon,  was  found 
in  the  imperial  Libiytry  at  Vienna.  These  books 
are  remarkable  for  being  the  first  to  introduce 
Briard*B  new  types,  in  which  the  notes  are  round 
instead  of  square  and  diamond  shaped,  and,  what 
is  much  more  important,  ligatures  are  abandoned, 
snd  the  complicated  system  in  which  the  same 
notes  have  different  meanings  at  different  times 
gives  place  to  a  simple  method,  such  as  we  use 
st  present,  in  which  the  notes  bear  at  all  times 
a  fixed  ratio  to  each  other.  This  improvement, 
first  introduced  in  the  publication  of  Genet*8 
works,  may,  we  think,  be  fi&irly  attributed  to 
his  suggestion.  Of  the  4  volumes  the  ist  contains 
5  Masses — 'Se mieubc  ne  vient,'  'A  Tombre  d*un 
baissonet^'  '  Le  cceur  fut  mien,'  '  Forseulement,* 
and  'Encore  iray  je  jouer.'  The  2nd  volume 
contains  Hymns  for  the  principal  church  festivals 
of  the  year,  the  3rd,  Lamentations,  and  the  4th 
a  collection  of  Magnificats.  The  composer,  who 
cared  so  little  for  a  wide  popularity  in  his  life- 
time, and  wrote  with  the  learned  musicians  of 
the  Papal  Chapel  in  his  mind*s  eye  rather  than 
the  general  public,  who  scorned  the  popular 
editions  and  published  his  works  for  a  chosen 
few,  does  not  belie  his  character  in  the  works 
themselves.  We  have  in  them  music  that 
appeals  to  serious  and  learned  musicians  alone. 
8olaim  and  dignified,  the  bishop-musician  writes 
as  if  from  his  episcopal  throne,  unbending  and 
severe  in  s^le,  but  appealing  not  in  vain  to  the 
sympathy  of  his  Roman  colleagues,  who  indeed 
valued  so  highly  and  cherished  so  long  the  works 
he  gave  them,  that  50  years  after  his  death 
nothing  less  than  the  special  command  of  Pope 
SixtuB  IV  could  shake  their  firm  adherence  to 
the  *  Lamentations*  of  Grenet  or  cause  them  to 
recognise  in  place  of  them  those  of  the  popular 
Palestrina.  Much  of  Crenet's  music  was  written 
in  the  short  intervals  of  comparative  health 
allowed  him  by  an  agonising  complaint  which 
attacked  him  in  the  ears  and  brain,  was  beyond 
the  experience  of  his  physicians,  and  embittered 
the  last  years  of  his  life.  [J.  B.  S.  B.] 

GERBEB,  Heikrioh  Nigolaus,  bom  1 70a  in 
the  principality  of  Schwarzbuig ;  son  of  a  peasant, 
studied  at  the  University  of  Iieipzig,  where  his 
love  of  music  found  encouragement  in  the  teaching 
and  conversation  of  Sebastian  Bach ;  in  1728  he 
was  organist  at  Heringen,  and  1 73 1  court  organist 
at  Sondershausen.  Here  for  the  first  time  he 
felt  himself  safe,  as,  on  account  of  his  extra- 
ordinary height,  he  had  been  constantly  pursued 
by  the  recruiting  officers  of  Frederic  William  I. 
He  composed  much  for  clavier,  organ,  and  harp ; 
a  complete  Choralbuch,  with  ^pirod  basses ;  and 
variations  on  chorales,  long  and  widely  used. 
He  also  made  musical  instruments,  and  planned 
many  improvements  and  new  inventdons.  Among 
others  a  kind  of  rebeck,  harpsichord-shape,  with  a 
compass  of  4  octaves ;  the  keys  liberated  wooden 
balls  which  struck  on  bars  of  wood,  and  thus 
produced  the  notes.  From  1 749  Gerber  was  also 
oourt-secretary.    He  died  Aug.  6,  1775. 

His  son  £bn8T  Lcowig,  was  bom  at  Sonders- 


GERBERT. 


589 


hausen  Sept.  39,  1746;  learned  singing  and 
clavier  from  his  father,  and  studied  music  from 
an  early  age.  In  1 765  he  went  to  the  Univer- 
sity of  Leipzig,  but  returned  home  in  order 
to  assist  his  father  in  his  office,  and  succeeded 
him  on  his  death.  He  then  entered  on  those 
labours  which  finally  conducted  him  to  an  end 
he  himself  scarcely  contemplated,  and  by  which 
he  has  earned  the  gratitude  of  all  lovers  of  musio. 
His  love  of  musical  literature  suggested  to  him 
the  idea  of  making  a  collection  of  portraits  of 
musicians,  for  wMch  he  wrote  biographies, 
mainly  on  the  authority  of  Walther*s  Lexicon 
(1733).  As  Walther  was  at  that  time  out  of 
date,  he  procured  the  necessary  additions,  ob- 
tained biographical  sketches  of  Uving  musicians, 
took  journeys,  and  tried  to  fill  up  the  gaps  by 
consulting  all  the  books  then  in  existence  on 
the  subject.  Thus  the  idea  suggested  itself  of 
adapting  Walther*s  work  to  the  wants  of  the 
time,  and  of  writing  a  completely  new  work  of 
his  own,  which  eventually  became  the  '  Historisch 
biographische  Lexikon  der  Tonkiinstler'  (3  vols, 
Leipzig,  Breitkopf,  1790  &  gi)  translated  into 
French  by  Choron  (181  o,  11).  While  writing 
musical  articles  and  reviews  for  various  period- 
icals  (Erfurter  Gelehrten  Zdtung;  Leipziger 
Allg.  Musik.  Zeitung  from  1 798,  etc. ;  Becker's 
'Litcratur  der  Musik*  contains  a  list  of  his 
scattered  articles)  he  received  from  all  quarters 
corrections  and  information  of  all  kinds,  which 
enabled  him,  or  rather  made  it  his  duty,  to 
prepare  an  enlaa^ed  edition.  Accordingly  his 
^Neues  hist,  biogr.  Lexicon  der  Tonkttnstler* 
appeared  in  4  vols,  with  5  appendices  (Leipzig, 
Kuhnel,  1812,  14).  This  new  edition  did  not 
supersede  the  former  one,  to  which  it  often 
refers  the  reader;  but  rather  completed  it. 
Gerber  took  pains  to  keep  up  with  the  times, 
recorded  events  for  after  use,  was  continually 
making  additions  to  his  collection  of  books  and 
music,  and  composed  industriously  pianoforte 
sonatas  and  organ  preludes.  Hoping  to  keep 
together  the  coUection  he  had  made  at  the  cost 
of  so  much  labour  and  pains,  he  offered  it  for 
sale  to  the  Geeellschaft  der  Musikfreunde  in 
Vienna,  with  the  solitary  stipulation  that  he 
should  retain  it  during  his  own  life.  The  price 
was  fixed,  and  the  negotiation  completed  in 
January  181 5,  but  he  still  continued  his  ad- 
ditions, encouraged  doubtless  by  the  knowledge 
that  his  treasures  would  be  in  safe  keeping,  iu 
a  dty  so  feuned  for  its  musical  tastes.  He  was 
still  court  secretary  at  Sondershausen  when  he 
died,  June  30, 1819,  in  universal  respect ;  leaving 
behind  him  the  reputation  of  one  who,  with 
singular  disinterestedness  and  out  of  a  true  love 
for  music,  had  devoted  the  energies  of  his  whole 
life  to  a  single  end.  His  Lexicon  forms  the 
foundation  of  all  future  undertakings  of  the  same 
kind ;  and  if  new  Dictionaries  are  to  satisfy  the 
wants  of  the  age  to  the  same  extent  that  his  did, 
their  authors  must  possess  industry  as  persevering, 
knowledge  as  eclectic,  and  a  love  of  music  as  de- 
voted, as  that  which  inspired  Grerber.     [C.  F.  P.] 

GERBERT  yon  Hobkau,  Mabost,  an  emi* 


090 


6£RB£Rt« 


nent  writer  on  the  history  of  mnsic,  bom 
Aug.  12,  1720,  at  Horb  on  the  Neckar.  He 
received  a  thorough  literary  education,  in* 
eluding  mudc,  at  Ludwigsburg.  In  1736  he 
entered  the  Benedictine  monastery  of  St.  Blaise 
in  the  Black  Forest,  was  ordained  priest  in 
1744,  and  appointed  Prince-Abbot  Oct.  15, 
1 764.  Historical  research,  especially  in  music, 
was  his  favourite  pursuit,  and  a  taste  for  this 
he  endeavoured  to  infuse  into  the  convent.  The 
library  afforded  him  ample  materials,  and  much 
valuable  matter  hitherto  unused.  But  this  was 
not  enough.  Between  the  years  1759-65  he 
travelled  through  Germany,  France,  and  Italy, 
making  important  discoveries,  and  establishing 
relations  with  various  learned  societies.  His 
acquaintance  with  Padre  Martini  at  Bologna 
was  of  special  service  to  him.  Their  objects 
were  closely  connected — Gkrbert*8  work  being 
a  history  of  Church  music.  Martini's  one  of 
music  in  general.  In  176  a  Gerbert  published 
his  prospectus,  and  invited  contributions,  which 
were  furnished  him  in  abundance.  The  first 
volume  was  nearly  complete  when  a  fire  at  the 
monastery  in  1768  destroyed  all  the  materials 
which  had  been  collected;  in  1774,  however, 
the  complete  work  appeared  at  St.  Blaise,  in  a 
vols.  4to,  with  40  engravings,  under  the  title 
'  De  cantu  et  musica  sacra  a  prima  ecclesiae 
aetate  usque  ad  praesens  tempus*;  a  book  which 
has  ever  since  formed  the  foundation  of  all 
mudcal  scholarship,  although  naturally  requiring 
much  correction  at  the  present  day.  A  descrip- 
tion of  it  appears  in  Forkel's  'Geschichte  der 
Musik,'  which  without  Gerbert*s  work  would 
possibly  never  have  been  written,  or  would  at 
any  rate  have  been  published  later  and  in  a  fiir 
less  complete  form.  Ten  years  after,  in  1784, 
appeared  Gerbert's  second  great  work  'Scriptores 
eoolesiastici  de  musioa  sacra  potissimum,'  3  vols, 
also  printed  at  St.  Blaise ;  a  collection  of 
treatises  by  the  most  important  writers  on  musio, 
recently  continued  by  Coussemaker.  Three  more 
works,  also  printed  at  St.  Blaise,  deserve  special 
mention,  '  Iter  alemannioum,  aooedit  italicum  et 

gkllicum*  (1765 ;  and  ed.  1773;  German  ed.  by 
ochler,  XJlm  1 767),  which  contains  the  account 
of  his  travels,  and  abounds  in  interesting  par- 
ticulars; 'Vetus  liturgia  alemannica*  (a  vols, 
1776) ;  and  'Monumenta  veteris  litui^giae  ale- 
mannica* (2  vols,  1777).  He  also  imuie  the 
Latin  translation  of  *Opusoulum  theodiseum  de 
Musica/  a  treatise  in  4  chapters  written  in  old 
Grerman  by  Notker  (Labes)  a  monk  of  St.  Gall 
in  the  lotn  century  (see  Becker  s  '  Literatur  der 
Musik,'  p.  68).  His  other  writings  are  mainly 
theological.  Some  offertories  of  Ms  composition 
were  published  at  Augsburg. 

Gerbert  died  May  13,  1793.  He  realised  the 
ideal  of  virtue  and  industry  in  his  illustrious 
order;  his  gentle  character  and  engaging  man- 
ners secured  the  friendship  of  all  who  came  in 
contact  with  him.  Bonndorf  (4  leagues  from 
St.  Blaise,  and  the  chief  town  of  the  principality) 
is  indebted  to  him  for  a  hospital  and  house  of 
correction,  over  the  entrance  of  which  is  the 


rt 


GERNSHSIM. 

inscription  'Dedicated  by  Martin  11.  to  the 
poor,  and  to  the  improvement  of  mankind/  He 
also  built  the  fine  churah  of  the  Convent 
(after  the  model  of  the  Pantheon  at  Rome),  and 
founded  and  endowed  an  orphanage  for  the 
5  surrounding  districts.  The  peasaots  of  the 
neighbourhood,  of  their  own  accord,  erected  his 
statue  in  the  market-place  of  Bonndorf,  a  most 
unusual  tribute  of  respect.  His  memory  still 
lives  in  the  district.  Carl  Ferdinand  Schmalholz, 
the  able  musical  director  of  the  Cathedrsl  st 
Constance,  possesses  an  excellent  half-length  oil 
picture  of  Gerbert.  [C.  F.P.] 

GERMAN  SIXTH.     The  third  of  the  three 
varieties  of  sixth  called  in  the  old 
books  French,  ItaKan,  and  German 
sixths.    It  is  the  chord  of  the  Aug- 
mented   or   Extreme    Sixth    when     ^       ^ 
accompanied  by  the  major  third  and  > 

fifth  of  its  bass.  [C.H.H.P.] 

GERO,  Jhan,  commonly  known  as  Maistre  Jan, 
Jhan,  or  Jehan,  and  styled  '  Joannes  G alius'  in 
the  title  of  one  of  his  publications,  was  probably 
a  native  of  France  or  Belgium.  His  earliest 
known  work  is  a  motet,  '  Benignissime  Domine 
Jesu,'  in  the  'Motetti  della  Corona'  (Petrood, 
Fossombrone  1519),  so  we  may  assume  that  he 
was  bom  towards  the  close  of  the  1 5th  century. 
He  was  chapel-master  of  the  cathedral  at  Orvieto, 
and  afterwards  held  a  similar  position  at  the 
court  of  Hercules  II,  Duke  of  Ferrans  and  his 
successor  Alfonso.  Gero  was  a  most  voluminoos 
composer  of  motets  and  madrigala.  For  the 
former,  like  Josquin  and  Lassus,  he  made  choice 
of  most  important  subjects,  setting  to  music  the 
ten  commandments,  the  conversion  of  St.  Paul, 
and  parables  frx>m  the  New  Testament.  As  a 
madrigal  composer  he  was  very  suocessful,  and 
enjoyed  a  lasting  popularity.  In  a  collection  of 
madrigals  for  3  voices  printed  by  (xardane  in 
^597  (of  which  the  bass  part  is  in  the  British 
Museum)  ao  numbers,  more  than  a  third  of  the 
whole,  are  'by  Gero.  Eitner's  '  Bibliographie  der 
Musik -Sammelwerke^  (Berlin,  1877)  gives  a  list 
of  more  than  100  of  Grero^s  motets  and  madrigab. 
Of  these  3  a  appear  in  the '  Trium  vocum  cantiones 
centum'  (Nuremburg,  Petreiua,  1541),  14  in  the 
Second  Book  of  Madrigals  (Vemce,  Gardane, 
1543),  and  9  in  the  'Madrigals  for  3  Yoiees* 
(Venice,  Gardane,  1561).  The  rest  appear  in 
smaller  numbers  in  various  collections  printed 
between  15 19  and  1590.  [J.R.S.B.] 

GERNSHEIM,  Fbisdrich,  eminent  player, 
composer,  and  conductor,  bom  of  Hebrew  parents 
at  Worms  July  17,  1839.  He  received  his  first 
instruction  in  music  from  his  mother,  an  able 
pianiste,  and  was  then  put  successively  into  the 
hands  of  liebe,  Pauer,  and  Rosenheim.  He  also 
learned  the  violin,  and  under  Hauff  the  theory 
of  music.  His  ability  might  have  tempted  him 
to  become  a  virtuoso,  but  he  fortunately  preferred 
a  different  path,  and  at  the  Conservatorium  of 
Leipsic,  under  Moecheles,  Hauptmann,  Biets, 
and  Richter,  during  the  years  i85a-5  under- 
went a  thorough  musical  education.    He  followed 


GEBNSHBIM. 

this  ap  by  a  residence  in  Paris,  where  he  was  ' 
ma<^  esteemed  as  a  teacher  and  player.    Since 
then    he    has   heen   successively  at   Saarbruck  ' 
(1861)  ;    Coli^ne,  as    Professor  of   Pianoforte,  ' 
Counterpoint,  and  Fugue  (1865) ;  Botterdam,  as 
conductor  of  the  '  Eruditio  Musica,'  and  of  the 
Theatre  (1874).    His  works  consist  of  a  Sym- 
phony, an  Overture,  a  P.F.  Concerto,  3  String 
Quartets.  J  P.  F.  ditto,  several  small  works  for 
Choms  and  Orchestra,  Songs,  etc.    His  name  is 
now  well  known  in  England,  his  trio  for  P.  F. 
and  Strings  in  F  (op.  28)  having  been  repeatedly 
given  at  the  Popular  Concerts,  and  a  Quartet 
for  ditto  (op.  6)  once,  and  other  works  at  Chas. 
Halle^s  and  other  concerts.  [G.] 

GESEM^CHAFT  DER  MUSIKFREUNDE 
at  Vienna.    'This  institution,  now  of  world-wide 
celebrity,  was  suggested  in  181 2,  and  founded  in 
181 3,  mainly  through  Dr.  Joseph  von  Sonnleith- 
ner,  after  two  great  performances  of  Handel's 
'Alexander's  Feast,*  by  all  the  first  artists  of 
Vienna,  in  the  Imperial  Riding-school,  on  Nov. 
29  and  I>ec.  3,  181 2.     In  1814  the  statutes  re- 
ceived the  Imperial  sanction,  a  president  (Count 
Apponyi)  and  board  of  directors  were  appointed, 
the  formation  of  a  musical  library  and  museum 
decided  upon,  and  four  annual  subscription -con- 
certs announced.    These  took  place  in  the  Re- 
doutensaal — the  first  (Dec.  3,  181 5)  in  the  Small 
Hall,  the  others  in  the  laree  one.     The  '  Musik- 
feste'    (oratorios  only,   with   1000   performers) 
were  repeated  in  the  Riding-school  every  year 
until  1847,  when  Mendelssohn  would  have  con- 
ducted his  '  Elijah,'  but  for  his  death  a  few  days 
before  the  date  fixed  for  the  performance.    Since 
1859  two  extra  concerts  have  been  given  every 
year,  besides  the  original  four.    For  some  years 
past  the  number  of  performers  has  been  about  80 
in  the  orchestra,  and  300  to  350  in  the  chorus ; 
the  latter  form  the  *  Singverein,*  founded  in  1858. 
The '  Orohesterverein,'  establi^ed  in  i860,  gives 
a  few  soirte  annually.     Soir^,  with  misciBlla- 
neous  programmes,  were  held  regularly  from  181 8 
to  1 840.    At  the  four  general  concerts  all  masters 
worthy  of  note  have  been  and  are  still  represented. 
Beethoven  himself  was  invited  to  write  an  ora- 
torio for  the  Society,  but  was  unfortunately  at 
the  tone  too  busy  with  other  works  (the  Mass  in 
B,  etc.)  to  oomply  with  the  request.  The  Society 
has  twice  had  a  well-known  patron  of  music  at 
its  head — ^the  Archduke  and  Cardinal  Archbishop 
Eadolf  from  1814  to  1831,  and  the  Archduke 
Anton  from  1831  to  1835.     Down  to  1848  the 
concerts  were  conducted  by  the  best  musicians 
among  the  members  in  turn ;  but  in  1 85 1  Hellmee- 
hergerwas  appointed  as  professional  conductor. 
His  suooessora  were— Herbeok  in  1859,  Rubin- 
stein in  1871,  Brahms  in  1872,  and  Herbeck 
again  in  1875.     Herbeck  died  Oct.  28,  1877. 
and  Hellmesberger  is  discharging  the  duties  of 
the  office  in  the  interim  (1 878).  llie  formation  of 
the  'Singverein*  under  Herbeck  added  greatly 
to  the  interest  of  the  concerts.     Besides  such 
works  as  Beethoven*s  Mass  in  D,  and  Bach's 
Paasion-music  (both  St.  Matthew  and  St.  John) 
several  of  Schubert^s  works — 'Der  h&uslicfae 


GEVAfiRT. 


591 


Erieg,* '  Lazarus,*  the  B-minor  Symphony,  etc. — 
have  been  produced. 

The  possessions  of  the  Society  in  works  of  art 
have  gradually  increased,  and  are  now  of  enor- 
mous extent.  The  library,  the  foundation  of 
which  was  formed  by  Gerber's  valuable  collec- 
tion, acquired  in  1819,  now  contains  nearly 
4000  printed  vols,  and  about  40,000  numbers  of 
music,  printed  or  manuscript.  [Gbrbeb.]  Among 
the  latter  are  many  valuable  autographs  and 
literary  curiosities,  including  Mozart*s  P.  F.  con- 
certo in  D  minor,  a  quintet  (1768),  his  last 
cantata  (Nov.  1791) ;  Schubert's  9th  Symphony, 
Masses  in  A  flat  and  G,  the  opera  '  Alfons  und 
Estrella,'  the  Singspiele  'die  Zwillingsbrtider,' 
and '  der  vierj&hrige  Posten,*  4  stringed  quatuors, 
and  many  songs ;  Haydn*s '  Ten  Commandments,' 
Mass  in  B  flat,  a  great  cantata  (1768),  six 
stringed  quatuors  (1771) ;  Beethoven's  first  violin 
concerto  (a  fragment),  many  songs,  the  sonata 
op.  8 1  (first  part),  a  quantity  of  sketches,  the 
Eroica  (a  copy,  revised  by  Beethoven)  ;  choruses 
by  Gludc  and  Handel,  and  other  treasures.  The 
museum  indudes  a  large  collection  of  pictures 
and  engravings  of  celebrated  musicians,  and  a 
collection  of  ancient  musical  instruments,  medals, 
busts,  etc.  In  1830  the  Society  built  a  house  of 
its  own  (Tuchlauben),  but  having  far  outgrown 
the  accommodation  there,  removed  in  1870  to 
the  present  large  building  *  an  der  Wien,'  where 
the  concerts  are  now  held. 

The  *  Conservatorium,*  founded  by  the  Society 
in  1817,  and  still  in  connection  with  it,  has 
grown  to  great  importance  from  very  small 
beginnings.  It  includes  instruction  in  every 
branch  which  a  pupil  can  possibly  require.  In 
1870  an  opera  school  was  opened,  which  holds 
operatic  performances.  To  this  was  added  in 
1874  a  dramatic  school,  which  gives  theatrical 
representations.  At  present  (1878)  the  Institu- 
tion is  (bttended  by  over  700  pupils,  who  receive 
instruction  from  56  professors.  Hellmesbeiger 
was  appointed  professional  director  in  185 1,  and 
has  continued  at  the  post  ever  since.  Amoi^gst 
the  innumerable  artists  who  have  been  educated 
there  we  may  mention  Ernst,  Joachim,  Goldmark, 
Staudigl,  and  Hans  Richter,  as  representatives  of 
a  number  too  large  for  our  space.  [O.F.  P.] 

GEVAfiRT,  FBAK9018  AuQUSTB,  Director  of 
the  Brussels  Conservatoire,  bom  July  31,  1828, 
at  Huysse,  a  village  near  Oudenarde.  His  father, 
a  baker,  wished  to  bring  him  up  to  his  own 
trade,  but  his  great  musical  ability  becoming 
apparent,  he  was  sent  in  1 841  to  the  Conservatoire 
at  Ghent,  where  he  studied  under  Somm^re  and 
Mengal.  He  was  then  appointed  organist  of  the 
Jesuits*  Church,  and  in  1046  a  Christmas  cantata 
of  his  composition  was  performed  in  Ghent.  In 
June  1847  his  Psalm  'Super  flumina*  was  per- 
formed at  the  festival  of  the  'Zangverband' ; 
and  Spohr,  who  was  present,  congratulated  the 
young  composer.  In  the  May  previous  he  had 
won  the  first  prize  for  composition  at  the  national 
competition  in  Brussels,  but  was  allowed  to 
postpone  his  foreign  tour  for  two  years,  during 
which  he  produced  in  Ghent  his  first  opens 


5d% 


GEVAfiRT. 


'Hughes   de    Somerghem'    (March  33,   1848), 
followed  hy  'La  Com^die  k  la  ville/  a  decided 
Btep  in  advance.   In  1849  he  started  on  his  tour, 
and  after  a  short  stay  in  Paris  proceeded  to  Spain, 
where  he  composed  an  orchestral  fantasia  *  Sobre 
motives  espaiioles/  which    is  said   to  be  still 
popular  there.     His  reports  on  Spanish  music, 
regularly  forwarded  to  the  *  Ministre  de  Tlnte- 
rieur/  were  printed  in  the  bulletin  of  the  Aca- 
demic of  Brussels  for  1851.     From  Spain  he 
went  to  Italy,  and  returning  through  Germany 
reached  Ghent  in  the  spring  of  185a.    On  Nov. 
27  of  that  year  he  produced  'Georgette*  (i  act) 
at  the  Th^&tre  Lynque  in  Paris;   and  in  Oct. 
1854 '  Le  Billet  de  Marguerite/  in  3  acts,  libretto 
by  Leuven  and  Brunswick — both  with  extra- 
ordinary success.    *  La  Lavandi^re  de  Santarem' 
(Oct.  38,  1855),  however,  was  a  fiasco.    Gevaert 
received  the  order  of  Leopold  for  his  cantata  '  De 
nationale  verjaerdag,*  composed  in  honour  of  the 
a5th  anniversary  of  King  Leopold's  reign.   '  Quen- 
tin  Durward'  (March  25, 1858),  *  Chateau  Trom- 
pette*  (i860),  and'Le  Capitain^  Henriot'(Dec.  29, 
1 864),  were  all  successes  at  the  Op^ra  Comique  in 
Paris.    So  also  was  '  Les  Deux  Amours/  op^ra 
comique  at  the  Theatre  of  Baden-Baden,  1861. 
In  1867  he  was  appointed  *Chef  de  chant*  at 
the  Acad^mie  de  Musique,  Paris,   a  post   re- 
signed by  Haldvy  in  1845.     This  post  Gevaert 
retained  till  the  Op^ra  in  the  Hue  Le  Peletier 
was  closed  (Sept.  1870)  on  account  of  the  war. 
From   that  time  he  devoted  his  attention  to 
the  history  of  music,  and  in  1875  brought  out 
the  first  part  of  his  *  Histoire  et  Th^orie  de  la 
musique  dans  TAntiquit^'  (Henzel,  Paris,  i  vol. 
8vo.),  a  work  remarkable  for  much  new  matter, 
the  result  of  careful  and  original  research.    This 
had  been  preceded  bv  his  'Leerboek  van  den 
Gregoriaenschen  zang   (Ghent  1856),  his  '  Traits 
d^instrumentation '    (1863),    and    'Les   Gloires 
d'ltalie*  (Paris   1868),  a  collection  of  secular 
yocal  music  by  Italian  composers  of  the  1 7th  and 
18th  centuries,  with  introduction  and  biographies, 
etc.    In  1 87 1  he  succeeded  Fdtis  as  director  of 
the  Conservatoire  at  Brusseb ;  a  post  which  gave 
scope  for  his  remarkable  powers  of  organisation. 
One  of  his   reforms  consisted    in  placing  the 
singing-classes  under  the  annual  inspection  of 
some  celebrated  singer.     Faure  was  the  first 
Engaged.    In  1873  Gevaert  was  elected  a  mem- 
ber of  the  Academic  des  Beaux  Arts  in  place  of 
Mercadante ;  an  appointment  hailed  with  satis- 
faction in  France.    Gevaert  is  incontestably  a 
musician  of  a  very  high  order ;  and  his  fame 
rests  on  the  solid  foundation  of  a  thoroughly 
good  early  education. 

We  embrace  the  opportunity  of  giving  some 
notice  of  the  Brussels  Conservatoire  which  was 
omitted  before. 

Ilie  COKS£RVATOIBE  DE  MUBIQUB  ET  DE  De- 

OfJLMATiOK,  established  Feb.  13,  1832,  by  an 
order  in  council,  is  an  ofishoot  of  the  Eoole 
royale  de  Musique  founded  in  1823.  By  another 
order  in  Council,  April  15, 1833,  the  directorship 
of  the  new  institution  was  conferred  on  Mens. 
F.  J.  F^tis,  who  continued  in  office  till  his  death 


GEWANDHAUS  CONCERTS. 

(March  25,  1871),  and  was  succeeded  by  M. 
Gevaert.      Under  his  direction  the  inatitotloii 
steadily  increased  in  importance.       Its  annual 
income,  which  amounted  at  first  to  only  8000 
francs,  has  been  augmented  by  endowmetrts  from 
the  government,  city,  and  province,  to  108/340 
francs  (£4320)  in  1870,  and  it  has  now  three 
times  outgrown  its  accommodation.     In  1835  ^^ 
removed  to  an  hotel  in  the  Rue  de  Bodenbroeck, 
in  1847  to  the  ancient  Hotel  de  Croy  in  the 
Petit  Sablon,   and  on  Feb.    12,    187^    to  the 
present  Conservatoire,  in  the  continuaticm  of  the 
Rue  de  la  R^gence,  which  was  inaugurated  by 
the  King  and  Queen.    The  last  enlaxg«nent  ia 
a  proof  of  the  popularity  and  influenoe  of  the 
present  director.     There  are  about  350  pupils  in 
attendance,   distributed   as  follow^: — sdUeggio 
proper,   3  superior  classes  and  4   preparatacy; 
singing,  3  classes ;   organ  and  canto  fenno,  i ; 
pianoforte,  3  preparatory  and  2  superior ;  violin, 
3;  viola;  violoncello;  double  bass;  flute;  oboe; 
clarinet ;  bassoon  ;   saxophone ;    horn ;    trumpet 
and  comet   &   pistons ;    trombone ;    bugle    and 
comet  k  pistons;   orchestral  ensemble;   sUing 
quartet ;  chamber  music ;  compoedtion  ;  counter- 
point ;    harmony,   theoretical    and  practical — i 
class  each ;  declamation,  2  classes ;  Italian  de- 
clamation, and  dancing  and  deportment^  I  chm 
each.    Among  the  pro&ssors  we  will  mention  by 
name — MM.  Gevaert  (composition),  J.  Dupont 
(harmony),    Kufferath    (counterpoint),    Mailiy 
(organ),  Auguate  Dupont  and  Brassin   (piano- 
forte), Colyns  and  Wieniawski  (violin),  Wamots 
(singing),  Joseph  Servus  (cello),  Dumon  (flute), 
Poncelet  (clarinet),  Merck  (horn),  Duhem  (trum- 
pet), and  Van  Hoesen  (bugle).     Further  details 
may  be  obtained  fr^m  the  *Annuaire  du  Con- 
servatoire  royal  de   Musique  de  BruzeUes,*  of 
which  the  first  number  was  published  in  1877. 
We  need  only  add  that,  like  the   Paris  Con- 
servatoire, on  which  it  was  modelled,  the  in- 
stitution has  a  library  and  museum,  to  which 
the   upper  storey   of  the  building  is  devoted. 
According  to  the  catalogue  of  1870  the  library 
then  contained  nearly  5000  volumes ;  M.  Victor 
Mahillon  is  preparing  a  catalogue  of  the  instru- 
ments in  the  museum.  [G. C] 

GEWANDHAUS  CONCERTS.  So  called 
from  their  being  held  in  the  Hall  of  the  Gewand* 
haus,  the  ancient  armoury  of  the  city  of  Leipzig. 
They  date  from  the  time  when  Bach  was  Cantor 
of  the  Thomas-Bchule  (i  723-50),  and  the  Qriginal 
title  was  *das  grosse  Concert.'  The  first  per 
formances  were  held  in  a  private  house  in  1743; 
the  conductor  was  Doles,  afterwards  Cantor  of 
the  Thomas-Bchule  (1756-89),  and  the  orchestra 
consisted  of  1 6  performers.  "Diey  were  interrupted 
by  the  Seven  Years  War,  but  resumed  on  its 
termination  in  1 763,  under  the  direction  of  J. 
A.  Hiller,  who  conducted  them  at  his  own  risk, 
and  gave  them  the  title  of  '  Liebhaberconoerte.* 
The  orchestra  was  increased  to  30,  and  regular 
performances  held  down  to  Easter  1778.  After 
a  pause  of  three  years  the  concerts  were  resumed, 
and  located  in  the  Gewandhaus,  to  which  a  hall 
for  balls  and  concerts  had  lately  been  added. 


GEWANDHAUS  CONCERTS. 

The  credit  of  thiBohMige  is  due  to  Bdiigenneister 
K«ri  Wilhehn  MuUer,  who  has  a  right  to  be 
considered  as  the  founder  of  the  institution  in 
fte  present  form.  He  and  eleven  of  his  Mends 
oonstitated  themselyes  a  board  of  directois,  ap- 
pointed J.  A.  Hiller  as  conductor,  and  opened 
a  Bubscription  list  for  24  concerts.  The  first 
concert  in  the  new  rooms  took  plaoe  on  S^t.  2g, 
1781 ;  the  first  regular  subsonption  conoert  on 
Not.  35.  At  present  there  are  ao  winter- 
coooerta  and  3  benefit  -  concerts,  one  for  the 
orchestra  pension-fund,  the  other  for  the  poor. 
The  programmes  are  miscellaneous — orchestral 
pieces,  instrumental  and  vocal  solos,  and  choruses. 
Since  1809  eight  soirte  devoted  to  chamber- 
music  h«ve  also  been  given.  The  orchestra  now 
numbers  about  70  performers ;  Karl  Beinecke  is 
the  conductor ;  and  there  are  12  directors.  The 
most  hrilliant  period  of  the  Grewandhaus  Con- 
certs was  during  Mendelssohn's  conductorship. 

The  names  of  the  conductors  are  as  follows : — 
Johann  Friedrich  Doles  (1743-44);  Johann 
Adam  Hiller  (1763-85)  ;  Johann  Grottfried 
Sdftht  (1 785-1810) ;  Johann  Philipp  Christian 
Schulz  (1810-27);  Christian  August  Pohlenz 
(1827-35) ;  Felix  Hendelssohn  Bartholdy  (1835- 
43);  Ferdinand  Hiller  (1843-44);  Niels  W. 
Gade  (1844-48) ;  Julius  Biets  (1848-60) ;  Karl 
Beinecke  (1S60).  [C.  F.  P.] 

GHAZEL.  A  short  form  of  Persian  poetry 
in  which  the  rhyme  of  the  two  first  lines  is 
repeated  in  every  alternate  Hne  throughout  the 
piece.  The  name  has  been  adopted  by  F.  Hiller 
for  a  Pianoforte  piece  (Op.  54,  130)  in  which  a 
phrase  recurs  occasionally  as  a  r€(firain,  [6.] 

GHEYN,  VAN  BEN.  A  Flemidi  family  of 
bell  founders,  who  originally  belonged  to  the  town 
of  Malines,  and  afterwards  spread  to  Saint  l^ond, 
Tirlemont,  Nivelles»  and  Louvain.  Their  names 
are  found  on  bells  in  the  chimes  of  Malines  and 
Louvain  with  various  dates  ranging  from  1516 
to  1757,  that  of  the  second  great  beU  of  the 
chnroh  of  St.  Bombaud  at  Malines.  The  present 
representative  of  the  house  is  Andr6  Louis  van 
Aerschot^  atn^  Bue  de  Namur,  Louvain. 

The  ornament  of  the  family,  MATTHiAfl  yah 
OBV  Ghstit,  son  of  Andr^  Francois,  was  bom 
April  7, 1 721,  atTblemont,  removed  to  Louvain, 
was  appointed  organist  of  the  church  of  St.  Peter 
1 741,  and  on  July  i,  1745,  became  by  public 
oompetitioD  carilloneur  to  tibe  town  of  Louvain, 
which  two  posts  he  retained  till  his  death,  June 
32,  1785.  As  carilloneur  his  duties  were  to 
play  on  all  market  days,  fdte  days,  and  other 
public  occasions,  to  keep  the  chimes  in  tune  and 
to  set  fresh  tunes  for  hours  and  half-hours  on 
the  drum  of  the  carillon,  whenever  so  required  by 
the  authorities;  for  tJiis  the  salary  was  100 
*  pattacons '  a  year.  For  private  festivities  extra 
fees  were  paid.  His  habit  was,  in  addition  to 
his  reffular  duties,  to  extemporise  on  the  carillon 
for  huf  an  hour  every  Simday.  Matthias  mar- 
ried Feb.  24, 1745,  and  had  seventeen  children, 
one  of  whom,  Josse  Thomas  (Ixsn  175  a),  suc- 
ceeded him  as  organist  after  his  death. 


GLAJIDINT. 


59$ 


Chev.  van  Elewyck,  from  whose  pamphlet 
('Matthias  van  den  Gheyn,'  Louvain,  Peetera, 
i86a)  the  foregoing  account  has  been  condensed^ 
has  collected  51  compositions  by  Matthias.  Of 
these  three  were  printed— '  Fondements  de  la 
basse  continue,*  etc.  (Louvain,  Wyberechts) ; 
'  1 2  petites  sonates  pour  Torgue  ou  le  clavecin  et 
violon*  in  oontinuation  of  the  foregoing;  *Six 
Bivertiments  pour  clavecin '  (London,  Welcker, 
GrerrardHstreet,  Soho).  The  rest  remained  in 
MS.  during  his  lifetime ;  they  consist  of  a  second 
treatise  on  harmony  and  composition.  Preludes 
and  Fugues  for  the  organ.  Sonatas  for  Clavedn, 
and  Airs,  Bondos,  Marches,  Menuets,  Fugues  for 
3  and  4  parte,  etc.  for  the  carillons.  Dr.  Elewyck 
has  published  a  volume  selected  from  these 
(Sohott,  1863),  forming  voL  i.  of  his  'Andens 
Clavecinistes  Flamandes.*  [G.] 

GIABDINI,  Fbliob  de,  an  eminent  vidinisty 
was  bom  at  Turin  in  1 716.  He  entered  the  choir 
of  Milan  Cathedral  as  a  boy,  and  became  a  pupil 
of  Paladini  in  singing,  composition,  and  the 
harpsichord.  He  afterwards  returned  to  Turin, 
and  studied  the  violin  under  Somis.  He  was 
still  very  young  when  he  entered  the  opera-band 
at  Bome,  and  soon  afterwards  that  of  S.  Carle 
at  Naples.  In  possession  of  a  brilliant  execution, 
he  appears  to  have  been  fond  of  displaying  it  by 
inteipolating  in  the  accompaniments  of  tibe  airs 
all  sorts  of  runs,  shakes,  and  cadenzas,  and  thereby 
elidting  the  applause  of  the  house.  Of  this  habit, 
however,- he  was  cured  in  an  emphatic  manner. 
During  the  performance  of  an  opera  of  Jomelli's, 
the  composer  came  into  the  orchestra  and  seated 
himself  close  to  young  GiaidinL  Giardini,  am- 
bitious to  give  the  maestro  a  proof  of  his  clever- 
ness, introduced  into  the  ritomell  of  a  pathetic 
air  a  brilliant  cadenza  of  great  length,  at  the  end 
of  which  Jomelli  rewarded  him  with  a  sound 
box  on  the  ear.  Giardini  in  after  years  was  fond 
of  relating  this  incident^  and  used  to  add  that 
he  never  had  a  better  lesson  in  his  life.  He 
certainly  proved  himself  not  only  an  eminent  vir- 
tuoso, but  an  equally  good  leader  and  conductor. 

From  Naples  he  started  for  a  tour  through 
Grermany  and  thence  to  London.  The  date  of 
his  first  public  appearance  here  is  variously 
given.  According  to  Bumey  it  took  place  in 
1 750,  at  a  conoert  of  Cozaoni's.  His  success  was 
immense,  and  Bumey  afiSims  that  no  artist,  Gar- 
rick  alone  excepted,  was  ever  so  much  applauded 
as  Giardini.  His  powerful  yet  mellow  tone,  the 
brilliancy  and  boldness  of  his  execution,  the  spi- 
rited and  expressive  style  in  which  he  played  Uie 
grand  works  of  Tartini,  as  well  as  his  own  lighter 
out  pleasing  compositions,  created  a  p«*fect 
furore,  and  he  became  at  once  the  declared 
favourite  of  the  London  public.  We  may  form 
an  idea  of  the  peculiarity  of  his  style  fr<nn  the 
£fbct  that  when  De  B^riot  came  to  kngland,  the 
old  musicians,  who  still  remembered  Giardini, 
were  greatly  struck  by  the  similarity  of  De 
Boot's  style  to  his.  After  Festing*s  death  in 
1752,  Giardini  took  the  plaoe  of  Imder  at  the 

1  S«e  M  interaitliig  acooait  in  flM  ehaprier  on  OtriUoM.  la '  Marfft 
•Dd  Monli'  Xv  IteT.  Ji.  K.  Hawili(8tnliui,U71X 


594 


GIARDINI. 


Italian  Opera,  and  appears  to  have  infused  new 
life  and  spirit  into  the  band,  which  had  much 
deteriorated  under  Festing'a  languid  leadership. 

In  1756  he  undertook  the  management  of  the 
Italian  Opera,  but  thereby  suffered  great  losses. 
Kevertheless  we  find  him  as  impressario  in  1763, 
64,  and  65.  After  this  he  devoted  himself  onoe 
more  to  playing  and  teaching  the  Tiolin,  and 
leading  at  concerts  and  musical  festiyals.  At 
this  period  F.  Cramer  became  his  formidable 
rival,  though  the  two  remained  on  most  friendly 
terms.  From  1774  to  80  he  was  leader  at  the 
Pantheon  Concerts,  and  in  178  a  and  83  once 
more  at  the  Italian  Opera.  In  84  he  left  England, 
apparently  resolved  to  retire  firom  public  activity 
and  spend  the  rest  of  his  life  in  Italy.  But  his 
restless  spirit  brought  him  back  to  London  in 
1790,  when  he  staSrted  a  Comic  Opera  at  the 
Haymarket.  This  proving  a  failure,  he  went 
with  his  troupe  to  Bussia,  and  died  at  Moscow 
Deo.  17U1, 1796. 

6iarilini*s  immense  success  on  his  first  appear- 
•noe  in  London  was  no  doubt  greatly  due  to  the 
fret  that  he  really  was  the  first  violin-virtuoso 
of  eminence  that  had  been  heard  thero,  and  his 
star  went  down  as  soon  as  Salomon  and  Cramer 
became  his  rivals  ;  but  notwithstanding  this,  his 
influence  on  musiosl  and  operatic  life  in  England 
was  oonsiderable.  He  brought'  out  a  number  of 
operas,  though  with  little  success.  His  oratorio 
of  *  Buth '  was  several  times  performed  in  Lon- 
don. His  numerous  oompositions  for  the  chamber 
include,  according  to  F^tis,  Four  sets  of  6 
Violin  Solos  (op.  i,  7,  8,  16)  ;  Twelve  Solos  (op. 
19) ;  Six  Violin  Duets  (op.  a) ;  Six  Sonatas  for 
Hano  and  Violin  (op.  3) ;  Twelve  Violin  Con- 
<iei^c«  (op.  4,  5,  15) ;  Three  sets  of  Trios  for 
Stringed  Instruments  (op.  6,  14,  ao) ;  Six  Quin- 
tets for  Piano  and  Stringed  Instruments  (op. 
II)  ;  Twelve  Quartets  for  Stringed  Instruments 
(op.  ao  and  39).  [P-^O 

GIBBONS.  The  name  of  a  noted  fismily  of 
English  musicians. 

I.  The  Rbv.  Eowabd  Gibbons,  Mus.  Bac.,  bom 
about  1 570,  was  probably  son  of  William  Gibbons, 
one  of  the  Waits  of  the  town  of  Cambridge.  He 
graduated  as  Bachelor  of  Music  at  Cambridge, 
and  on  July  7, 159a,  was  incorporated  at  Oxford. 
About  the  same  time  he  was  appointed  organist 
of  Bristol  Cathedral  and  also  priest-vicar,  sub- 
chanter,  and  roaster  of  the  choristers  there.  He 
resigned  these  appointments  in  1 611  on  receiving 
theme  of  organist  and  custos  of  the  college  of 
priest-vicara  in  Exeter  Cathedral,  which  he  re- 
tained until  the  silencing  of  the  organ  and  choir 
in  1644.  Hawkins  says  he  was  sworn  a  gentle- 
man of  the  Chapel  Boyal  March  ai,  1604  ;  but 
that  is  a  mistake,  as  hu  name  is  not  to  be  found 
in  the  cheque  book  of  the  Chapel,  and  the  date 
given  is  that  of  the  admission  of  his  younger 
brother,  Orlando,  as  organist.  Some  composi- 
tions of  his  aro  preserved  in  the  Music  School  at 
Oxford ;  and  an  anthem, '  How  hath  the  city  sate 
solitary !  *  with  a  prelude  for  the  organ  and  accom- 
paniments for  viols  is  contained  In  the  Tudway 
ooUection,  British  Museum  (Harl.  MS.  7340). 


GIBBONS. 

He  is  said  to  have  advanced  £1000  to  Charies  I. 
during  the  civil  war,  for  doing  which  his  estate 
was  confiscated,  and  himself  and  three  grand- 
children compelled  to  quit  his  house  when  he  was 
upwards  of  80  years  of  age.  Matthew  Locke 
was  his  pupil  at  Exeter. 

a.  Ellis,  brother  of  the  preceding,  was  organ- 
ist of  Salisbury  Cathedral  at  the  latter  end  of  the 
i6th  century.  He  contributed  two  madrigak — 
*Long  live  fidr  Oriana,'  and  'Bound  about  her 
chariot*~to  'The  Triumphs  of  Oriana,'  i6ot. 
About  the  same  time  he  ceased  to  be  organist 
of  Salisbury,  but  whether  by  death  or  resignation 
does  not  appear. 

3.  Orlando  Gibboks,  Mus.  Doc.,  younger 
brother  of  the  two  preceding,  bom  at  Cambridge 
iS^Sf  was  one  of  the  finest  organists  and  com- 
posers of  his  time,  and  indeed  one  of  the  greatest 
musical  geniuses  of  our  country.  It  is  probable 
that  he  received  his  early  musical  education 
in  the  choirs  of  some  of  the  ooUege  chapels  st 
Cambridge.  On  March  21,  1604,  he  was  admits 
ted  to  the  place  of  organist  of  the  Chapel  BojaL 
in  the  room  of  Arthur  COck,  deoeaaed.  About 
1610  he  published  'Fantasies  in  three  parti,' 
composed  for  viols,  '  cut  in  copper,  the  like  not 
heretoforo  extant,*  being  the  first  music  printed 
in  England  from  engraved  plates.  In  the  follow- 
ing year  he  joined  with  Byrd  and  Dr.  Bull  in  the 
pi^uction  of  the  collection  of  music  for  the  rir- 
ginals  published  under  the  title  of  '  Parthenia.' 
(Both  these  works  wero  republished  by  the 
Musical  Antiq.  Society  in  1843  and  4.)  In  1613 
he  published '  The  first  set  of  madrigals  and  moteti 
of  5  pffts.*  In  1 61 4  he  contributed  two  pieces  to 
Leignton*s  'Teares  or  Lamentacions  of  a  Sorrow- 
full  Soule.*  He  also  composed  some  tunes  in  two 
parts  for  George  Wither^s  'Hymns  and  Songs 
of  the  Church.'  In  May,  1622,  he  accumulated 
the  degrees  of  Bachelor  and  Doctor  of  Music 
at  Oxford,  a  distinction  conferred  at  the  request  ^ 
of  his  firiend  Camden,  the  historian.  His  ezei^ 
cise  on  the  occasion  was  the  eight-part  anthem, 
'O  clap  your  hands,'  printed  in  Boyoe*s  Cathedral 
Music.  It  has  been  asserted  that  this  anthem 
was  also  allowed  to  serve  as  the  exercise  of 
William  Heyther,  who  was  admitted  to  the  same 
degrees  at  the  same  time,  but  it  is  highly  impro- 
bable that  such  an  absurdity  was  perpetrated. 
The  probability  is  that  Heyther,  being  at  the  time 
the  bearer  to  the  University  of  the  deed  of  en- 
dowment of  the  professorship  of  history  founded 
by  Camden,  had  his  degrees  conferred  on  him 
'honoris  caus&,*  and  was  not  called  upon  to 
produce  an  exercise.  In  1623  Gibbons  was  ap- 
pointed organist  of  Westminuster  Abbey  in  suc- 
cession to  John  Parsons.  In  1625  he  was  sam- 
moned  to  Canterbury  to  attend  the  marriage  of 
Charles  I,  for  which  he  had  composed  an  ode  and 
some  instrumental  music,  and  whilst  there  was 
attacked  by  the  smallpox,  which  terminated  his 
existence  on  Whitsunday,  June  5,  1625.  He 
was  buried  in  the  cathedral,  where  a  monument 
to  Ms  memory  is  placed  against  the  wall  of  the 
north  aisle  of  the  nave.  Gibbons  had  by  his  wife, 
Mizabeth  Patten,  seven  children,  six  of  wliom 


GIBBONS. 

(two  Kms  snd  four  dAugbters)  vurvived  him. 
Both  his  surviving  bodb,  Christopher  and  Orlando, 
became  musiciani).  Besides  the  before-named 
compositions  Gibbons  wrote  some  'Fancies  & 
Songs  made  at  K.  James  y^  first^s  being  in 
Scotlimd,*  '  A  Song  for  Prinoe  Charles  for  5  voices 
to  be  sung  with  wind  instnunents,'  and  some 
'Toys  in  five  parts/  and  canons.  A  MS.  Ma- 
drigal •  The  Cry  of  London*  in  3  parts  for  5 
voices,  is  in  fche  Library  of  the  Sacred  Harmonic 
Society  No.  1 88 1.  But  Gibbons's  reputation  as 
a  composer  will  ever  rest  on  his  magnificent 
church  music,  which  for  fine  harmony  and 
simple  solemn  grandeur  stands  unexcelled,  and 
has  gained  for  its  composer  the  title  of  'The 
English  Palestrina.*  Much  of  it  was  printed 
in  Bamaid's  Church  Music  (1641),  and  in 
Boyce*s  C&thedral  Music.  The  remainder  was 
published  in  1873  in  a  volume  edited  by  the 
Rev.  Sir  F.  A.  G.  Ousele^.  His  Madrigals  (re- 
published by  the  MusiciJ  Antiquarian  Siooiety  in 
1841),  are  among  the  heist  of  the  English  schooL 
A  portrait  of  Orlando  Gibbons  is  preserved  in 
the  Music  School,  Oxfdrd.  His  printed  works 
are  as  follows  : —  ' 

BJnnn.  0  Lord.  I  lift.  St. 
Ftelm  to  1st  Ptmw,  Thou  opencrt. 
4H7nuitaoei. 


GILES. 


595 


Tint  FteeeL    B  rolce^  In  F. 
Eeeoad  Do.  Do.        O. 

XornioK  and  Bvenlnc  Serrloe,  4't, 

P.  hMdadlnc  Venlta  (Onaeley). 
Te  Deoin  and  Jubllata.  Magnlflcat 

and  Xono  DImlttia.   6  t.,  with 

venM  and  onan  part.  D  minor. 
foB  AntlMni,  O  dap  roar  handi. 

Bt. 
Do.  Ond  pC)  Gcd  Is  gone  op^ 
Do.  Hosanoa.    6  t. 
Do.  Lift  ap  7<rar  heads.  6r» 
Da. 0 Lord  In  Thea.   Bt. 
Do.  Alraigfatr  and  ererlastlns.  4r. 
Do.  Why  ut  tboa  so  heavy.   4  ▼. 
Do.  Blesaed  be  the  Lord  God.   4  t. 
D& 0 Lord, Incnasfi my telth.  4t. 
Do.  Delifer  lu,  O  Lord.   4t. 
Do.  <2tid  pti  Bleased  be  the  Lord 

God. 
Verw  Anth..  Behold  Tboa  kast 

made.    6  T. 
Do.  This  te  the  record  of  John.  5t. 
Do.  Behold  1  hrinKTOtt  ^ad  tldiofs. 

$r. 
I>o.ni«hefliaQ«safai.  0t. 
I>i>-  We  i»aise  Thee,  O  Father.  0  t. 
I^  I«r1.  rrant  grace.   St. 
Da  Glorioaa and  powwftU  Ood.  St. 
Do.  See.  see,  the  Word  b  fncanate. 

«T. 

De-Sfnff  onto  the  Lord.  5r, 
Do.  Bletaad  are  aJl  they.   Br. 
Do.  Great  King  of  Gods.  Sr.,irtth 
*   TtoU 
Do.  0 all  true fUthfol hearts  6r. 

vlthTlols. 
BTnm.  O Lord. tww dOb  dr. 


Madrigals  and  Motets.  St. 
The  SDver  Swan. 

0  that  the  learned  poets. 

1  weigh  not  fortune's  from, 
(3nd  pt.)  I  tremble  not. 
(Srd  pt.)  I  aee  ambition. 

(4th  ptj  I  feign  not  fHendshlp. 
Bow  are  those  thrall'd. 

(3nd  pt)  FareweU  all  J071. 
Daln^  line  Urd. 
Fair  ladles  that  to  lora. 

Chid  ptj  Vongst  thooaudk 
good. 
Now  each  llow'rr  bankt 
Lala  now  old. 
What  boar  life? 
Ah !  dear  heart. 
Fair  Is  the  rose. 
VKf,  let  me  weep. 

(2Dd  pt.)  Ne'er  let  the  son. 

(8rdpt.)YetlfthatBcs. 
Trust  not  too  modi. 


Fantasies  InS  parts,  for  strings,  9  In 

namber. 
6  Pieces  (zTl-zzl)  for  the  Vliglnals 
in   '  Fiarthenia,'   abofe   men- 
tioned:— 

Galiardo. 

Fantasia  of  4  pti. 

The  Lord  of  Salbbniy  hb  Favtai. 

Galiardo. 

The  Qneene's  Command, 

Prehidlum. 


Chbistopheb  Gibbons,  Mns.  Doc.,  second 
ton  of  the  celebrated  Orlando  Gibbons,  was  bom 
in  1 61 5.  He  was  educated  in  the  choir  of 
Exeter  Cathedral  under  his  unde,  Edward. 
About  1640  he  succeeded  Bandal  Jewitt  as 
oiganist  of  Winchester  Cathedral,  which  appoint^ 
ment  he  was  compelled  to  quit  in  1644,  when  he 
joined  the  Royalist  army.  In  1660  he  was  ap- 
pointed organist  of  the  Chapel  Royal,  private 
organist  to  Charles  II,  and  organist  of  Westmin- 
ster Abbey.  On  July  7,  1664,  the  University  of 
Oxford  conferred  on  him  the  degree  of  Doctor  of 
Music, '  per  literas  regias,*  on  which  occasion  the 
Dean  and  Chapter  of  Westminster  made  him  a 
present  of  £5.     He  died  Oct.  20,  1676,  and  was 


buried  in  the  cloisters  of  Westminster  Abbey. 
Some  anthems  of  his  composition  are  extant  in 
MS.,  and  some  of  his  hymns  are  printed  in  the 
second  set  of  Dering*s  'Cantica  Sacra,^  1674,  but  he 
excelled  more  as  a  performer  than  a  composer. 
A  portrait  of  him  is  preserved  in  the  Music 
School  at  Oxford.  [W.  H.  H.] 

GIGUE  or  GIGA  is  an  old  Italian  dance 
which  derives  its  name  (or  vice  versa)  from  the 
Giga,  Gigue^  Geige,  or  early  fiddle.  It  was 
written  indiscriminately  in  3-8,  6-8,  3-4,  6-4, 
and  ia-8  time,  and  was  in  two  strains  or  sections, 
each  of  which  was  repeated.  The  time  was 
lively,  and  it  was  usually  employed  to  finish  up 
a  Suite.  A  good  example  is  that  which  winds 
up  No.  8  of  Corelli's  1 2  solos, 

i,iu  ■!  a   ■  I      I  m  m 


'*'Kiferej.p;ji:^.J^feg 


Bach  also  employs  them  to  close  his  Suites, 
and  has  left  an  immense  variety,  not  a  few  of 
which  are  in  common  time,  as  well  as  9-16  and 
12-16.  The  well-known  one  in  the  Partita  in 
Bb  is  in  4-4,  and  that  in  the  last  Partita  of  the 
same  set  in  8-4.  Handel's  16  Suites  contain 
1 3  Gigues,  one  of  which  fills  6}  pages.  Mozart 
has  left  a  very  fine  little  specimen  (Kochel 
574)  which  he  wrote  in  an  album  at  Leipsic 
after  a  surfeit  of  Bach. 

English  Jigs  seem  to  have  no  special  character- 
it^-tics.  The  word  came  to  be  synonymotis  with 
any  light  irreverent  rhythm,  giving  Uie  point  to 
Pope*s  line 

'  Make  the  soul  dance  upon  a  jig  to  heaven.' 

[G.] 

GILES,  Kathaniel,  Mus.  Doc.,  was  bom  in 
or  near  Worcester  about  the  middle  of  the  i6th 
century.  In  1559  he  was  admitted  a  chorister 
of  Magdalen  College,  Oxford,  which  office  he 
resigned  in  1 56 1.  In  1577  he  was  appointed 
a  clerk  in  the  same  chapel,  but  retained  the  place 
only  imtil  the  next  year.  He  graduated  at 
Oxford  as  Bachelor  of  Music  June  26,  J 585. 
On  Oct.  I,  1595,  he  received  the  appointments 
of  clerk,  organist,  and  master  of  the  choristers 
of  St.  George's  Chapel,  Windsor.  On  the  death 
of  William  Hunnis  in  June,  1597,  he  was  ap- 
pointed gentleman  and  master  of  the  children 
of  the  Chapel  Royal  Having  supplicated  for 
the  degree  of  Doctor  of  Music  in  1607,  but  from 
some  unknown  reason  not  having  performed  the 
exercise  for  it,  he  proceeded  to  it  July  5, 1622. 
It  has  been  asserted  that  on  the  accession  of 
Charles  I.  he  was  appointed  organist  of  the 
Chapel  Royal,  but  there  is  no  record  of  such 
an  appointment  in  the  Cheque  Book.  Giles 
contributed  to  Leighton*s  'Teares  or  Lamen- 
tacions  of  a  Sorrowfull  Soule,'  161 4;  a  service 
and  an  anthem  by  him  were  printed  in  Bamard*8 
Church  Music,  1641,  and  other  anthems  are 
extant  in  MS.  A  curious  *  Lesson  of  Descant 
of  thirtie  eighte  Proportions  of  sundrie  kindes ' 
by  him  is  printed  in  the  appendix  to  Hawkins's 
History  of  Music.  Giles  died  Jan.  24,  1633, 
and  was  buried  in  one  of  the  aisles  of  St.  George'* 

Qq2 


596 


GILES. 


Chapel,  WindBor,  where  411  inBcription  was 
placed  over  his  grave  which  stated  him  to 
have  been  master  of  the  children  there  49  years, 
master  of  the  children  of  the  Chapel  Boyal 
38  years,  and  to  have  been  75  yean  of  age. 
A  comparison  with  the  dates  given  above, 
which  are  all  derived  from  authentic  records, 
will  show  that  all  three  statements  on  the  grave- 
stone were  erroneous.  [W.  H.  H.] 

6I0BDANI.  An  Italian  musical  family  of 
the  1 8th  centuiT,  consisting  of  a  father,  tnree 
sisters,  and  two  brothers,  who  played  little  comic 
operas  in  one  of  the  Neapolitan  theatres  till 
1 763,  when  the  whole  troupe  migrated  to  London, 
with  the  exception  of  the  younger  brother, 
GiosEPPB,  then  but  nine,  who  remained  behind 
to  learn  composition  in  the  Conservatorio  di 
Loreto,  where  he  had  Cimarosa  and  Zingarelli 
for  his  fellow  students.  The  Giordani  &mily 
came  out  at  the  Haymarket  Theatre,  and  made 
a  great  success.  In  1772  they  were  joined  by 
their  brother,  who  had  by  that  time  obtained  the 
sobriquet  of  Giordanello,  and  who  became  composer 
to  the  troupe.  His  best-known  opera  was  'B 
Baccio,'  which  seems  to  have  kept  the  boards 
from  1774  to  79.  In  addition  to  composing  he 
was  much  in  vogue  as  a  teacher,  and  F^tis  gives 
a  list  of  6  P.  F.  quintets,  3  ditto  quartets,  1 2 
ditto  trios,  6  string  quartets,  3  Concertos  for 
Viol  and  Orchestra,  besides  pi^udes,  sonatas, 
and  lessons  for  the  harpsichord,  all  which  he 
publiuhed  in  London  between  1776  and  1782. 
In  the  latter  year  he  returned  to  Italy,  and 
remained  there  for  10  years,  producing  in  that 
time  no  less  than  24  operas  and  oratorios,  besides 
other  compositions  for  the  chamber,  some  pub- 
lished in  London  and  some  in  Berlin.  He  died 
at  Lisbon  in  May  94,  having  gone  there  to 
conduct  the  Italian  Opera.  * 

His  older  brother  Tohasso,  who  is  not  clearly 
distinguiehaUe  from  Giuseppe,  r^nained  in 
England,  acted,  taught,  played,  and  composed. 
In  1779,  however,  he  went  to  Dublin,  and  in 
partnerehip  with  Leoni  the  singer  took  the 
theatre  in  Chapel  Street  as  an  opera  house. 
At  the  end  of  four  yean  they  were  bankrupt. 
Giordani  however  had  plenty  of  teaching,  he 
married,  and  composed  an  opera  '  Perseverance^ 
and  an  oratorio  *  Isaac/  both  of  which  appear  to 
have  been  successful,  as  well  as  pianoforte  pieces 
and  songs,  Italian  and  English,  which  last  had  a 
g^reat  sale.  An  air  by  one  of  the  brothen, '  Caro 
mio  ben,*  is  still  sung  at  concerts.  [G.] 

GIORGL    SeeBAWTi. 

GIOVANELLI,  Bdgoieso,  bom  1560  at 
Telletri,  near  Rome.  Nothing  is  known  of  his 
oircumstauoes  or  early  studies.  In  1587  we  find 
him  maestro  di  capella  to  San  Luigi  de'  Frances! 
on  the  Cono  in  Rome ;  from  thenoe  he  passed  to 
the  Chiesa  dell'  Anima,  belonging  to  the  Grerman 
College;  and,  March  12,  1594,  was  appointed 
Palestrina^s  successor  at  St.  Peter's,  entering  on 
his  duties  three  days  later.  On  April  7,  1599, 
he  was  made  a  member  of  the  Sistine  choir.  He 
.was  living  in  1615,  aa  in  that  year  he  pub- 


GIRELLI  AGUILAB. 

lished  the  second  volume  of  his  new  edition 
of  the  *Graduale,'  undertaken  at  the  request 
of  Pope  Paul  V,  and  magnificently  printed  at 
the  Medici  press,  but  disfigured  by  macy 
arbitrary  alterations  of  the  teztb  Proske  has 
inserted  a  '  Dixit*  of  Giovanelli's,  in  his  '  Ma- 
sica  Divina'  (Tom.  iii.)  and  speakB  of  his 
works  as  'graceful,  pure  in  style,  and  very 
pleasing  in  harmony,  and  able  to  h^ar  oompaiiKia 
with  those  of  the  greatest  masters.'  Baini  • 
'  Palestrina '  also  contains  many  aUosions  to 
Giovanelli.  Amongst  his  works  preserved  in 
the  Pontifical  Chapel  at  Rome,  Btoni  specially 
mentions  a  'Miserere'  for  4  and  8  voices,  and 
a  Mass,  k  8,  on  Palestrina's  madrigal  *  VesUva 
i  colli';  but  he  doea  not  seem  to  have  knom 
of  a  particularly  fine  Mass  k  la,  characteri^ 
by  Proske  as  full  of  beauty  and  imag'tnatnai. 
Giovanelli  was  a  great  composer  of  madrigals, 
even  in  that  fertile  age.  He  publiahed  5  hovka 
of  them,  with  a  of  Canzonette  and  Vilanelk, 
between  the  yean  1586  and  92.  Othen  are  to 
be  found  in  the  collections  of  Sootto  and  Phalese 
(Eitner,  '  Sammelwerke ').  The  date  of  his  death 
is  unknown.  [F.G.] 

GIPSY'S  WARNING.  THE.  An  opera  in 
3  acts  ;  words  by  Linley  and  Peake ;  music  by 
Jules  Benedict.  Produced  at  Drury  Lane  Apnl 
19,  1838.  It  was  much  acted  in  Gemiaaj. 
*  Rage,  rage,  thou  angry  storm,*  and  *  Blest  be 
the  home,*  were  long  fiftvouritee  in  concert 
rooms.  [G.] 

GIRARDEAU,  Isabella,  dstta  LA  ISA- 
BELLA, an  Italian  singer,  mairied  to  a  French- 
man, who  performed  in  the  early  Italian  Opens 
in  London.  She  is,  perhi^,  the  same  ss 
the  Isabella  Calliari  mentioned  in  Quadrio's  list 
among  the  female  singen  who  flourished  from 
1700-20.  She  succeeded  'the  Baroness*  at  the 
Haymarket,  and  appeared  first  in  'Almahide.* 
She  sang  in  the  fint  and  succeeding  perfonn- 
ances  of  Handel's  '  Rinaldo.*  In  this»  one  of  her 
songs,  'Bel  piaoer,'  was  wholly  unaooompanied 
even  by  a  bass, — a  severe  trial  for  any  voice. 
On  Dec.  12  of  the  same  year,  Gasparini*s  *Antio- 
chus*  was  produced,  in  which  La  Isabella  took 
a  part,  as  uie  did  also  in  the  following  January 
in  his ' Ambleto.*  In  the  latter  she  had  'a  noisy 
song  for  trumpets  and  hautbois  obligati*  (Bumey), 
from  which  it  may  be  infen^  that  her  voice 
was  very  strong.  [J.Af.] 

GIRELLI  AGUILAR,  Sigvoba,  an  Italisa 
prima  donna,  who  took  pari  in  the  'grand 
dramatic  serenata  o(xnpo6ed  by  Moort  (I770 
in  honour  of  the  nuptials  of  the  Archduke 
Ferdinand,  celebrated  at  Milan  on  Oct.  17  of 
that  year.  'The  archduke  and  his  bride,  not 
only  frequently  inclined  their  heads  from  their 
box  and  applauded  the  maestro,  but  encored  two 
ain  sung  by  Manauoli  and  GireUi*  (Holiues, 
p.  79).  After  this,  Girelli  married  a  FrenGhman 
named  Aguilar,  and  visited  London,  suooeediijg 
Grassi,  and  singing  the  principal  rdle  in  Vento's 
'  Sophonisba*  (1772-3) ;  after  which  her  nsme  is 
not  found  again  in  London.  [J.M.J 


6X3ELLE. 

GISBLLE,  ou  ues  Wilis.  A  Ballet  by 
Adolphe  Adam  on  a  plot  adapted  from  Heine 
by  ll&^pliile  Gautier ;  produced  at  the  Grand 
Opera  July  4,  184 1,  at  Her  Majesty's  March  la, 
1843.  It  contained  one  of  Carlotta  Giisi'g  great- 
estparts. 

Tne  subject  was  employed  by  Loder  in  his 
opera  of  <The  Wilis,  or  The  Night  Danoen.' 

GISMONBI,  Gelests,  a  mezzo-soprano  en- 
gaged at  the  opera  in  London  from  1732-54. 
She  made  her  first  appearance  (Deo.  1732)  as 
Lisanra  in  Handel^s  '  Alessandro.*  She  played 
a  small  part  in  the  '  Orlando '  (1733),  one  of  her 
songs  in  which  ('  Amor  ^  qual  vento ')  contains 
Handel's  first  venture  at  a  '  diminished  seventh.* 
Parts  were  assigned  to  her  (1733)  also  in 
*  Deborah,'  'Tolomeo/  and  '  Ottone/  but,  after 
this,  she  is  said  by  M.  Sohcelcher  to  have  assisted 
in  setUng  up  the  rival  theatre  in  Lincoln's  Inn 
Kelds.  The  newspapers  of  the  day  (Nov.  3, 
1735),  however,  give  another  account  of  her 
secession,  by  announcing  the  death  of  '  Signora 
Celeste  Gismondi  . . .  Wife  to  Mr.  Hempeon  an 
English  Grentleman,  on  Tuesday  [Oct.  28],  after 
a  lingering  Illness.  She  perform'd  in  Mr.  Han- 
del's Operas  for  several  Winters  with  great 
Applause,  but  did  not  sing  this  season  on  any 
stage,  on  Account  of  her  Indisposition.*     [J.M.J 

GIUGLINI,  Antonio,  appeared  here  first  in 
1857  at  Her  Majesty's  Theatre.  He  possessed  a 
Bvreet  and  high  tenor  voice,  which  was  'a  wel- 
come variety  after  the  stentorian  exhibitions  of 
recent  singers  before  him ;  and  an  elegance  of 
style  of  which  some  critics,  nevertheless,  com- 
plained as  cold,  languid,  and  over  drawn-out' 
\Chorley).  He  was  the  best  that  had  been  heard 
since  the  arrival  of  Tamberlik,  and  remained 
singing  here  for  some  years.  His  career  was  not 
long,  and  terminated  in  a  very  melancholy  man- 
ner; in  1863  he  became  insane,  and  he  died 
at  Pesaro,  Oct.  12,  1865.  [J.M.] 

GIULIANI,  Cecilia,  n^  Biakchi,  a  some- 
what distinguished  prima  donna  in  the  latter 
years  of  the  i8th  century.  She  appeared  la 
London  (April  5,  1788)  in  '  Giulio  Sabino '  with 
the  great  Marchem.  With  a  good  figure,  face,  and 
style,  she  had  a  voice  too  thin  and  small  for  tho 
theatre ;  and  this  causied  her  to  force  its  tones  so 
much  that  she  sang  out  of  tune.  Bumey  says  she 
had  'a  bad  shake,  and  affectation.*  She  con- 
tinued to  sing  during  another  season,  after  which 
her  place  was  taken  by  Mara.  In  1 790  she  was 
at  Milan;  and  in  91  at  Vienna,  where  she  re- 
mained till  96.  Fetis  speaks  of  her  as  a  brilliant 
singer,  a  judgment  differing  widely  from  that  of 
Bumey  and  Lord  Mount-fSgcumbe.         [J.M.] 

GIURAMENTO,  IL.  A  Dramma  terio ;  li- 
bretto  by  Rossi  from  V.  Hngo*s  *  Angelo' ;  music 
by  Mercadante.  Produced  at  La  Scala,  Milan, 
m  the  spring  of  1837  ;  at  Her  Majesty's,  London, 
1840;  and  at  the  Th<$atre-italien,  Paris,  Nov. 
«,  58.  [G.] 

GIUSQUINO.  The  form  which  the  name  of 
JosQuiN  sometimes  takes  in  Italian ;  see  for  ex- 
ample one  of  the  chants  froui  tlie  *  Studij  di . 


GIZZIELLO. 


597 


Palestrfnft,*  in  Bumey*s  Extracts,  Brit.  Mus. 
Add.  MS8,  11,589.  [G.] 

GIUCTO,  correct,  suitable — *  Tempo  giuBto/ 
in  suitable  time;  as  the  fugues  in  Israel  in 
Egypt,  *  Egypt  was  glad,*  *He  led  them  through 
the  deep ' ;  and  also  *  Thy  right  hand,  O  Lord,' 
and '  The  horse  and  his  rider.  Also  used  in  this 
sense  of '  strict,*  to  restore  the  time  after  a  tempo 
rubato.  [G.] 

GIZZIELLO,  GiOACCHiNO  Cokti,  detto.  so- 
called  after  bis  master,  D.  Gizzi,  was  one  of  the 
greatest  singers  of  the  i8th  century.  Bom  Feb. 
28,  1 714,  at  Arpino  (Naples),  he  early  under- 
went the  preparation  for  the  career  of  a  sopranist. 
He  gained  a  round,  full,  sweet  voice  of  great 
extent  and  penetrating  quality,  which  was  united 
to  a  strong  natural  taste  and  feeling  in  music. 
At  the  age  of  15  he  made  his  ddbut  at  Rome, 
with  immense' success.  In  1731  he  excited  the 
greatest  enthusiasm  there  by  his  singing  in 
Vinci*s  *Didone*  and  'Artaserse.'  An  anecdote 
is  related  of  this  occasion,  showing  how  much 
other  singers  were  already  affected  by  his  fame. 
[See  Farinxlli.]  He  sang  at  NajJles  in  173a 
and  33  with  the  same  success.  Three  years  later 
(April  13,  36),  he  is  announced  in  the  London 
Newspapers  as  'expected  here  in  a  few  days.* 
This  was  the  critical  moment  at  which  the  split 
occurred  in  Handel's  company,  and  the  great 
master  was  at  a  loss  for  artists  to  replace  those 
who  had  seceded.  On  May  5,  he  began  with 
'Ariodante,*  and  Gizziello,  who  then  made  his 
first  appearance  in  London,  'met  with  an  un* 
common  reception;  in  justice  to  his  voice  and 
judgment,  he  may  be  truly  esteemed  one  of  the 
best  performers  in  this  kingdom '  (Daily  Post). 
In  presence  of  Farinelli,  no  more  could  be  said 
of  the  young  singer,  who  was  still  'so  modest 
and  diffident,  that  when  he  first  heard  Farinelli, 
at  a  private  rehearsal,  he  burst  into  tears,  and 
fiunted  away  with  despondency*  (Bumey).  '  Ata- 
lanta'  was  brought  out  May  la,  Gizziello  again 
singing  the  principal  man's  part,  as  he  did,  a 
little  later,  in  'Poro.*  In  1737  he  appeared  in 
'Arminio,'  'Berenice,*  'Giustino,*  and  'Parte- 
nope.*  In  1743  be  went  to  Lisbon,  where  the 
improvement  in  his  style,  due  to  the  example  of 
Farinelli,  was  at  once  perceived.  Charles  III, 
King  of  Naples,  engaged  both  him  and  Cafiarelli 
to  sing  in  the  '  Aochille  in  Scire  *  of  Pergolesi. 
Caffarelli  came  from  Poland,  and  Gizziello  from 
Portugal,  and  met  for  the  first  time.  The  former 
sang  the  first  song  with  splendid  effect,  and 
Gizziello  thought  himself  lost,  as  he  listened  to 
the  continued  applause;  but  he  sang  his  own 
song,  which  followed,  with  such  pathos  and 
expression  that  he  divided  the  honours  of  the 
performance.  In  1 749  he  was  invited  by  Farin- 
elli to  sing  at  Madrid  with  Mingotti;  and 
stayed  there  three  years.  He  then  returned  to 
Portugal.  About  the  end  of  1753  he  quitted  the 
stage,  and  settled  at  his  native  place.  He  died 
at  Rome  Oct.  a^,  1761,  An  excellent  mezzotint 
portrait  of  him  was  scraped  by  Alex.  Van 
Haecken,  after  a  picture  by  C.  Lucy,  in  1736, 
folio.    A  good  impretision  of  it  is  scarce.    [J.M.] 


598 


GLAREANXTS. 


GLAKEANUS,  Hbnricus,  bo  called  becaupe 
he  was  bom,  1488,  in  the  Canton  of  Glarus,  his 
real  name  being  Louis  or.  Latinised,  Lobitds; 
a  celebrated  teacher  of  miuiic.  He  is  said  to 
have  been  a  shepherd-boy  in  his  youth;  but 
he  studied  music  under  Cochlaus  at  Cologne, 
where  he  was  crowned  poet-laureate  in  1512  for 
a  poem  in  honour  of  the  Emperor,  which  he 
composed  and  sang  to  his  own  accompaniment. 
In  1 5 15  he  was  teaching  mathematics  at  Basle, 
and  in  1 5 1 7  was  appointed,  at  the  recommendation 
of  Erasmus,  professor  of  philosophy  and  'artes 
liberales*  in  Paris.  He  soon  however  returned 
to  Basle,  where  he  is  said  to  have  set  up  a  school, 
and  from  whence  he  removed  to  Freiburg  im 
Breisgau.  Heinrich  Schreiber,  in  an  excellent 
monograph  onGlareanus  (Freiburg  1857),  proves 
that  it  was  not  at  the  University  of  either  Paris, 
Basle,  or  Freibuiv,  that  he  was  professor.  He 
died  May  38,  1503,  at  Ereibuig.  His  friends, 
Erasmus,  Justus  Lipsius,  and  Vossius,  wrote 
panegyrics  on  him.  His  principal  works  on  the 
theory  of  music  are  '  Isagoge  in  musicen  Henrici 
Glareani,'  etc.  (the  dedication  *ad  Falconem 
Consulem  urbis  Aventinensis,*  Avignon,  is  headed 
'Basileae,  anno  Christ!  1516,  4to.  ad  idus  Mar- 
tias'),  now  extremely  scarce,  containing  chapters 
on  solmisation,  the  intervals,  modes,  tones,  and 
their  treatment;  and  ZkftyScxaxop^y  (1547,  fol.)) 
a  still  more  important  work,  the  aim  of  which 
is  to  prove  that  there  are  12  church  modes, 
corresponding  to  the  ancient  Greek  modes,  and 
not  8,  as  many  writers  have  maintained.  The 
third  part  contain!  numerous  examples  from  the 
works  of  Ockenheim,  Obrecht,  Josquin  de  Pr^, 
and  other  musidans  of  the  15U1  and  i6th 
centuries,  valuable  also  as  specimens  of  early 
music-printing.  Woneggar  of  Lithuania  pub- 
lished  an  abstract  of  the  *  Dodecachordon*  (fVei- 
burg  1557),  the  second  edition  of  which  (59) 
contains  a  poem  by  Glareanus  in  praise  of  the 
13  Federal  cities  ot  Switzerland,  set  to  music  by 
Manfred  Barbarin.  The  catalogue  of  Draudius 
mentions  a  third  treatise, '  De  musices  divi&ione 
ac  definitione*  (Basle  1549);  but  as  the  headings 
of  the  chapters  are  identical  with  those  in  the 
'Dodecachordon,*  it  can  scarcely  be  a  separate 
work.  His  theory  of  the  u  church  modes,  as 
parallel  to  the  ancient  Greek  modes,  will  assure 
for  Glareanus  a  lasting  place  among  writers  on 
the  science  of  music.  L^*^*] 

GLEE.  A  piece  of  unaccompanied  vocal  music 
in  at  least  three  parts,  and  for  solo  voices, 
usually  those  of  men.  The  glee,  though  possibly 
suggested  by  the  madrigal,  to  which  this  descrip* 
tion  also  applies,  is  separated  from  it,  so  far  as 
its  origin  is  concerned,  by  a  long  interval  of  time. 
The  production  of  madrigals  ceased  altogether, 
both  on  the  Continent  and  in  England,  in  the 
course  of  the  first  quarter  of  the  seventeenth 
century.  The  first  glees  are  due  to  the  begin- 
ning of  the  1 8th  centuiy,  and  the  finest  sped- 
mens  of  them  to  the  seventy-five  years  between 
the  middle  of  the  last  century  and  the  end  of 
the  first  quarter  of  this.  Vocal  compositions  by 
masters  ot  the  latter  part  of  the  seventeenth  oea- 


CLEEL 

tury  are  sometimes  found,  in  coIlecUans  pnnied 
aft^  their  decease,  to  which  the  word  Glee  is 
appended*  These  are  not  glees,  in  the  now  ac- 
cepted sense  of  the  word,  but  simply  luiv  by  tboia 
masters,  harmonised  subsequently  for  three  or 
four  voices;  or  choruses,  mostly  firom  operas,  from 
which  the  original  orchestral  parts  are  simply 
omitted.  Two  eminent  English  compoeen,  Arne 
and  Boyce,  wrote  each  a  few  pieces  wnich  they  at 
their  subsequent  editors  called  glees ;  but  their 
productions  in  other  styles  altogether  surpassed 
these,  both  in  excellence  and  number.  The  ear- 
liest, possibly  the  greatest,  master  of  the  glee 
proper  is  Samuel  Webbe,  during  whose  long  life 
(1740 — 1 816)  the  best  spedmens  of  tids  dan 
of  compositioa  were  produced.  Webbe  actually 
ouUived  many  of  the  most  eminent  practitionecs 
in  the  school  of  which  he  was  the  founder. 

The  word  '  glee  *  in  no  way  describes  or  cha* 
racterises  the  kind  of  composition  to  which  it 
gives  a  name.  It  is  simply  the  Ajiglo-Saxou 
gliffg — music.  A  glee  is  not  tiierefore  necessarily 
of  a  cheerful  chancter,  as  the  name  might  seem 
to  imply.  That  music  was  in  early  times  com* 
monly  assodated  with  cheerfulness  is  possibly 
true.  The  'Gliggman,'  according  to  Warton, 
was  identical  with  the  *Joculator.'  But  tfaa 
words  of  a  glee  may  be  mournful  or  sprightly, 
and  the  miidc  such  as  will  express  them  becom- 
ingly. The  *  serious  glee*  is  no  more  a  mismnner 
than  the  'cheerful.*  Both  terms  have  been  used 
by  glee  composers  again  and  again. 

The  glee  differs  from  the  madrigal,  as  might 
be  expected  from   the  distance  apart   of  their 
epochs,  in  its  tonality,  which  is  uniformly  modem. 
Not  only  so.     Whereas  the  'subjects'  of  the 
madrigal  are  generally  few,  always  contn^f^unt- 
ally  treated,  and  this  often  at  considerable  length, 
those  of  the  glee  are  generally  many,  and  only 
rardy  at   all  devdoped.     Masses  of  hannony, 
rare  in  the  madrigal,  are  oonmion  in  the  glee, 
and  indeed  give  it  some  of  its  best  effects.    The 
characteristio   figure   of   modem    tonality,  the 
'  perfect  cadence,'  rardy  and  timidly  introduced 
in  the  former,  is  of  frequent  oocurrence  in  the 
latter — sometimes  indeed  of  such  frequent  occur- 
rence as  to  give  to  many  of  these  oompodtions 
a  halting  and  disconnected  character,  as  though 
they  were  continually  about  to  come  to  an  end. 
Indeed  the  short  phrases,  incessant  cadences,  fre- 
quent changes  of  rhythm  and  pace  of  the  average 
glee,  contrast  un&vourably  with  the  'long  Re- 
sounding' phrases  of  the  madrigal,  never  brought 
to  an  end  in  one  part  till  they  are  begun  in 
another,  overlapping  one  another,  bearing  cue 
another  up,  and  never  allowing  the  hearer  to 
anticipate  a  close  till  everything  that  can  be 
done  with  every  subject  has  been  done,  and  the 
movement  comes  to  a  natural  end. 

In  so  far  as  the  glee  composer  exhibits  this 
power  of  sustentation,  this  strength  of  wing— 
the  highest  and  the  rarest  qualification  for  every 
kind  (^  polyphonic  composition — ^his  productions 
will  be  lasting  in  their  attraction.  Every  one  of 
the  best  glee  writers,  such  as  Webbe,  Stevens. 
CaUoott^  Honsley— has  exhibited  it  frequently 


GLEE. 

md  in  very  high  perfection;  and  this  together 
with  a  constructive  power  which  we  should  seek 
in  vain  in  the  musi<»l  compositions  of  the  madri- 
galian  era.  Stevens^s  glee,  *  Ye  spotted  Snakes/ 
is  a  model  of  construction,  and  if  not  the  earliest, 
is  one  of  the  earliest  specimens  of  pure  Yocal 
music  in  the  '  sonata  form.' 

The  g:lee  proper  is  wholly  independent  of  in- 
strumental accompaniment.  The  name,  however, 
is  oocasaonally  given  to  compositions  like  'The 
Chough  and  Grow/  hy  Sir  Heniy  Bishop.  These 
would  be  better  entitled  accompanied  trios,  quar- 
tets, or  choruses.  The  principal  glee  composers, 
over  and  above  those  already  named — without 
excepiicm  Englishmen — are  Attwood,  Battishill, 
Cooke,  Danby,  Hindle,  Lord  Momington,  Paxton, 
and Spofforth.  [Madrigal;  Pabt-sono.]  [J.H.] 

GLEE  CLUB,  Thx.    This  club  originated  in 
some  meetings  at  the  house  of  Mr.  Robert  Smith 
in  St.  Paul's  Churchyard,  commenced  in  1783, 
at  which  motets,  madrigals,  glees,  canons,  and 
catches,  were  sung  after  dinner.    The  meetings 
were  subeequently  held  at  Dr.  Beever*s  and  other 
houses  until,  in  1 787,  it  was  resolved  to  establish 
a  society  to  be  called  'The  Glee  Club,'  the  first 
public  meeting  of  which  took  place  at  the  New- 
castle Coffee  House  on  Saturday,  Dec.  32,  1787. 
The    original   members    were,   R.  Smith,    Dr. 
Arnold,   Dr.  Beever,   Rev.  J.  Hinckes,  T.   S. 
(afterwaxds  Dr.)  Dupuis,  J.  Roberts,  J.  Heseltine, 
T.  Aylward,  C.  Wright.  T.  Gregory,  H.  Desdier, 
L.  Atterbuiy,  and  T.  Linley.     The  professional 
members  were,  S.  Webbe,  J.  Dyne,  P.  Hobler, 
J.  W.  (afterwards  Dr.)  Callcott,  J.  Hindle,  J. 
Bartleman,   S.  Webbe,  jun.,  and  S.  Harrison. 
In  1788  the  Club  removed  to  the  Freemasons' 
Tavern,  thence  to  the  Crown  and  Anchor  until 
Feb.  1 790,  when  it  returned  to  the  Freemasons' 
Tavern,  but  removed  once  more,  on  July  6, 1 791, 
to  the  Crown  and  Anchor,  and  again  returned 
to  the  Freemasons'  Tavern.     In  1790  Mr.  S. 
Webbe  composed  for  the  Club   his  'Glorious 
Apollo,'  which  was   ever   after  sung   at    the 
meetings  as  the  opening  glee,  while  Byrd's  canon 
'Non  Nobis'  was  sung  immediately  after  dinner, 
often  followed  by  Dr.  Cooke's  canon   'Amen.' 
After  'Glorious  Apollo'  (first  sung  with  three 
voices  to  a  part  and  then  full)  the  chairman, 
vice-chairman,   conductor,  sub -conductor,  and 
secretary,  each  named  a  glee,   and  then   the 
members  according  to  seniority.     Among  the 
eminent  visitors  who  have  contributed  to  the 
music   of  the  meetings  were  Samuel  Wesley 
(who  played  Bach's  fugues  upon  the  pianoforte, 
or  an  extemporaneous  effusion  on   some  con- 
spicnous  passage  in  a  glee  recently  aung),  Mos- 
dieles,  and  Mendelssohn.  The  CHub  was  dissolved 
in  1857  *^  ^^o  Library  sold.    The  Club  must 
be  distinguished  from  another  Glee  Club  formed 
in  1795,  the  original  members  of  which  were 
Shield,  Johnstone,  Charles  Bannister,  Indedon, 
Dignum,  C.  Ashley,  and  W.  T.  Parke,  the  last 
of  whom  ('Musiod  Memoirs,'  U.  175)  states 
that  'it  was  held  on  Sunday  evenings  at  the 
Garrick's  Head  Coffee  House  in  Bow   Street, 
Covent   Grarden,   once  a  fortnight,   when    we 


GLINKA. 


t9^ 


Annsed  ourselves  by  singing  the  works  of  the 
old  and  modem  masters,  after  which  we  sat  down 
to  supper.*  [C.M.J 

GLEN.  An  eminent  Scotch  firm  of  musical 
instrument  makers.  Thomas  Glen,  the  founder, 
was  bom  at  Inverkeithiug,  Fifeshire,  in  1804; 
conmienced  business  in  the  Cowgate,  Edinburgh, 
in  1826 ;  in  1836  removed  to  North  Bank  Street^ 
and  died  July  la,  1873.  Amongst  the  instru- 
ments invented  by  him  was  a  wooden  Ophideide, 
of  which  a  large  number  were  made,  and  known 
as  '  Serpentcleides.'  The  business  is  still  carried 
on  by  his  sons  John  and  Robert.  The  Glens 
are  now  chiefly  noted  for  their  Bagpipes,  of 
which  they  are  the  recognised  best  makers.  [G.] 

GLINKA,  Michael  Ivanovitoh,  bom  1803 
near  Novospaskoi  in  Russia,  died  Feb.  1 5i  1 85  7,  at 
Berlin.  Of  late  years  several  northern  composers, 
not  German  by  birth  but  German  as  far  as  their 
musical  method  goes — ^like  Gade  the  Dane,  Grieg 
and  Svendsen  the  Norwegians,  Glinka,  Anton 
Rubinstein,  and  Peter  Tschalkoffsky  the  Russiani 
— have  made  their  mark  more  or  less  strongly. 
Glinka  is  the  earliest  of  the  Russians,  as  gifted 
as  any,  perhaps,  but  not  so  accomplished ;  there 
has  always  been  a  dash  of  dilettantism  about  his 
productions,  spite  of  his  obvious  talents,  his  gift 
of  spontaneous,  and  (to  those  who  do  not  know 
mu(m  of  Russian  folk-songs  and  dances)  original 
melody,  and  his  undeniable  cleverness  in  the 
manipulation  of  the  voice  and  of  orchestral 
instruments.  Glinka's  two  Russian  operas  are 
held  to  be  of  national  importance  by  his  country- 
men.  They  were  among  the  first  musical  works 
in  Russian,  and  for  a  long  time  the  best  of  their 
kind,  though  their  value  has  undoubtedly  been 
exaggerated  from  patriotic  motives. 

In  early  youth  Glinka  enjoyed  the  advantage 
of  lessons  in  pianoforte  playing  from  John  Field. 
In  1830  he  visited  Italy,  and  made  a  close 
study  of  Italian  singing  and  of  the  Italian 
method  of  composition  for  the  voice ;  but,  feeling 
himself  helpless  as  regards  harmony  and  counter- 
point, he  went,  in  1833,  to  Berlin  for  some 
months,  and  worked  hard  as  the  pupil  of  S.  W. 
Dehn.  Thence  he  returned  to  Russia,  and  became 
court  conductor,  and  director  of  the  opera  and 
the  choral  performances  at  the  imperial  churches. 
From  1840  to  50  he  again  led  an  itinerant  life« 
the  centre  of  which  was  Paris,  and  the  extent 
the  confines  of  Spain.  In  the  autumn  of  1856  he 
came  back  to  Berlin,  had  much  intercourse  with 
his  old  master  Dehn  upon  the  subject  of  ancient 
church  tunes  connected  with  the  Eastern  Church, 
and  died  there,  unexpectedly,  early  in  1857. 

Glinka's  name  is  associated  with  the  titles  of 
two  Russian  operas,  '  La  Vie  pour  le  Czar'  and 
'  Russian  et  Ludmilla,'  neither  of  which,  spite 
of  repeated  trials,  have  been  able  to  gain  a  firm 
footing  outside  their  native  land.  A  number  of 
orchestral  arrangements  or  transcriptions,  such 
as  'La  Jota  Aiagonese,'  etc.,  as  well  as  many 
romances  and  songs,  complete  the  list  of  his  pro- 
ductions. Of  these  a  catalogue'  is  given  by 
Gustav  Bertrand  in  the  Supplement  to  F^tis. 
He  left  his  own  memoir  in  Russian;  and  sketches 


eoo 


GfLINKA. 


of  his  life,  also  in  RuBsian,  htkve  been  publiihed 
by  Stauoff  and  Solovieff.  [£.  D.] 

GLORIA  is  the  name  which  is  generally 
applied  in  England  to  the  short  hymn  Gloria 
Patri,  and  in  the  Roman  Charch  to  the  longer 
hymn  Gloria  in  Excelds,  which  is  also  called  the 
'Great  Doxology/  or  'Angelical  Hymn/  because 
its  first  words  are  those  of  the  angels  who  ap- 
peared to  the  shepherds.  The  former  is  of  un- 
known origin,  and  wm  in  use  in  the  Anglo-Saxon 
offices.  The  custom  of  singing  it  after  each  psalm 
is  peculiar  to  the  Western  Church. 

The  Gloria  in  Excelsis  is  probably  of  Eastern 
origin.  In  the  Western  Church  it  was  fbrmeriy 
used  at  the  beginning  of  the  liturgy  when  the 
Te  Deum  was  used  at  the  end.  In  the  Mass  it 
follows  the  Kyrie.  It  now  comes  at  the  con- 
clusion of  the  Communion  Service  in  the  English 
Church,  immediately  before  the  blessing.  It 
appears  in  the  Common  Prayer  Noted  of  1550 
with  an  adaptation  of  the  old  church  melodies 
by  Marbeek,  but  it  does  not  appear  to  have 
been  sung  in  the  early  days  after  the  Reformation 
in  EngUmd,  and  received  little  attention  from 
English  oomposers.  At  the  present  day  it  is  set 
equally  with  the  other  porti(ms  of  the  Commu- 
nion Service.  [C.H.H.P.] 

GLOVER,  Charles  W.,  bom  February  1806, 
was  a  pupil  of  T.  Cooke.  He  became  a  violin 
player  in  the  orchestras  of  Drury  Lane  and 
Covent  Garden  Theatres.  In  183  a  he  was  ap- 
pointed  musical  director  at  the  Queen^s  Hieatre, 
Tottenham  Street,  and  continued  so  for  some^ 
years.  He  was  the  composer  of  numerous  songs 
and  duets,  some  of  whi<m  were  very  popular,  as 
*  Jeannette  and  Jeannot,'  '  Sing  not  that  song  to 
me,  sweet  bird,* '  Of  love,  pretty  maidens,  beware.' 
He  died  in  London,  March  12,  1863.  [W.  H.  H.] 

GLOVER,  William,  was  bom  in  London  in 
182  a.  In  1829  he  became  a  chorister  of  Trinity 
College,  Cambridge,  where  he  remained  until 
1838.  He  then  became  a  pupil  of  Professor 
Walmisley,  and  in  184I  obtained  the  organist- 
ship  of  the  newly  erected  Christ  Church,  Cam- 
bridge.  This  poet  he  vacated  in  the  next  year 
on  being  appointed  orgamst  of  St.  Matthew's, 
Manchester.  In  1846  he  was  chosen  organist  of 
St.  Luke's,  Cheetham,  which  appointment  he  still 
holds  in  conjunction  with  that  at  St.  Matthew*s. 
Glover  attained  to  much  distinction  in  the  higher 
style  of  organ  playing,  and  in  April  1847,  when 
Mendelssohn  went  to  Manchester  for  the  purpose 
of  conducting  a  performance  of  his  'Elijah* 
there,  he  received  a  visit  from  the  great  composer 
(with  whom  he  had  formerly  corresponded),  who 
performed  before  a  select  audience  on  the  organ 
at  St.  Luke's — a  fine  instrument  by  Hill  on  the 
German  CC  scale— being,  in  all  probability,  the 
last  time  he  touched  an  organ  in  England.  In 
1847  Glover  composed  an  oratorio  entitled  *  Jeru- 
salem,' which  was  produced  at  the  Manchester 
Mechanics'  Institution  on  Feb.  12,  184S.  In 
1850  he  composed  another  called  'Emmanuel,' 
which  was  performed  at  the  Free  Trade  Hall  in 
1851.    He  is  also  the  composer  of  *  The  Corsair,' 


GLUCK, 

a  cantata,  written  in  1849  and  published  ^  ^^5^ 
but  never  performed,  and  of  a  third  oratorio, 
quartets  and  quintets  far  stringed  instruments, 
pianoforte  trios,  etc.,  all  still  in  MS.  In  1847 
he  published  a  ooUectiim  of  '  Ptaalm  Tunes  and 
Chants,'  and  'The  Complete  Daily  Service  of 
the  Church,  as  chanted  at  St.  Matthew's,  Man- 
chester.' Glover  established  at  St.  Matthew's  the 
first  surpliced  choir  seen  in  Manchester  except 
that  of  the  cathedral.  He  haa  lately  devoted 
much  of  his  attention  to  meclianical  inventioos 
connected  with  weaving.  [W.H.H.] 

GLOVER,  William  Howabd,  bom  at  Kil- 
bum  June  6,  18 19,  was  a  son  of  Mrs.  Glover, 
the  celebrated  actress.  He  learned  the  violin 
under  Wagstaff,  leader  of  the  Lyceum  band, 
and  began  life  by  a  long  tour  on  the  continent, 
after  which  he  returned  to  England  and  kd 
a  desultory  career  for  some  years  in  Londou  and 
the  provinces  —  teaching,  playing,  oondiictin^, 
composing,  and  even  appearing  on  the  etage  in 
opera.  He  was  for  many  years  musical  critic  to 
the  Morning  Poet.  His  chief  works  were  'Tarn 
O'Shanter,'  a  cantata  produced  by  the  New 
Philharmonic  Society,  July  4.  1855,  and  per- 
formed at  the  Birmingham  Festival  of  the  same 
year,  the  operas  of  *Ruy  Bias.'  produced  at 
Covent  Garden,  Oct.  31,  1861,  and  'Aminta,* 
at  the  Haymarket  Theatre;  'Once  too  often,* 
operetta  at  Drury  Lane ;  '  The  Coquette ' ;  Over- 
ture to  'Manfred';  numerous  songs,  romances, 
etc.  In  1868  Glover  quitted  England  for  the 
United  States,  and  died  at  New  York,  Oct.  28, 
1875.  [W.H.H.] 

GLUCK,  Christoph  Willibald,  Ritteb* 
VON,  bom  July  2,  17 14,  baptised  July  4,  at 
Weidenwang,  near  Neumarkt,  in  the  Upper 
Palatinate.  His  father,  Alexander,  and  his 
mother,  Walburga,  belonged  to  the  household 
of  Prince  Lobkowitz,  and  it  was  at  his  castle 
of  Eisenberg  that  the  future  reformer  of  the 
lyric  drama  passed  his  eurly  days.  At  la  he 
was  sent  for  six  years  to  the  Jesuit  school  at 
Komotow  or  Chamutow  in  Bohemia,  where  he 
studied  classics,  and  had  his  first  lesBons  in 
singing,  the  violin,  clavecin,  and  organ.  In 
1732  he  went  to  Prague,  where  he  continued  his 
musical  education  under  Czemhorsky,  and  also 
learned  the  cello ;  maintaining  himself  in  the 
meanwhile  by  singing  in  church,  playing  the 
violin  at  the  peasants'  dances  in  the  neighbouring 
villages,  and  giving  concerts  in  the  larger  towns 
near  Prague.  In  1 736  he  went  to  Vienna,  and 
at  the  house  of  Prince  Lobkowitz  was  fortunate 
enough  to  meet  Prince  Melzi,  a  distinguished 
amateur,  who  engaged  him  for  his  private  bsiK^ 
took  him  to  Milan,  and  placed  him  with  G.  B. 
Sammartini  to  complete  his  studies  in  hannony* 
Gluck  soon  began  to  write  operas — *Arta»e2»e' 
(Milan^  1741 ;  'Demofoonte'  (.Milan).  'Cleonice' 
or  'Demetrio/  and  '  Ipennnestra'  (Venice)  in 
1743;  'Artamene'  (Cremwaa)  and  *Siface' 
(Milan)  in  1743;    'Fedra'   (Milan)  in  i;44'i 

1  Th«  date  of  his  kulgbthood  Is  unknown,  trat  It  was  before  he  mut 
to  1  orb. 


GLUCK. 


GLUCK. 


601 


and  in  the  spring  of  1745  '  Poro*  or  '  Aleasandzo 
neir  Indie*  (Turin).     All  these  were  well  re- 
ceived, and  in  consequence  of  their  success  he 
was  invited  in  1745  to  London  as  composer  for 
the  opera  at  the  Haymarket."    Here  he  produced 
<La  Caduta  de'  Giganti'  (Jan.  7,  1746),  <  Arta- 
mene*  (re-written),  and  a  pasticcio,  'Piramo  e 
Tiabe,'   all  without  success,  Handel   declaring 
that  the  music  was  detestable,  and  that  the  com- 
poser knew  'no  more  countei-point  than  his  cook' 
— Walts,  who,  howerer,  was  a  fair  bass  singer. 
Counterpoint  was  never  Gluok*s  strong  point, 
but  the  works  just  named  had  not  even  origin- 
ality to  recommend  them.      He  also  appeu«d 
on  April  25,  1746,  at  the  Haymarket  llieatre 
in   the    unexpected   character   of  a  performer 
on   tiie    musical   glasses,   accompanied   by  the 
orchestra  (see  the '  General  Advertiser,*  March  31, 
and  H.  WalpoIe*s  letter  to  Mann,  March  a8). 
[Habmorioa.]     But  his  journey  to  England, 
mortifying  as  it  was  to  his  vanity,  exercised  an 
important  influence  on  Gluck's  career,   for   it 
foitxd  him  to  reflect  on  the  nature  of  his  gifts, 
and   eventually  led  him  to  change  his  style. 
The  pasticcio  taught  him  that  an  air,  though 
effective  in  the  opera  for  which  it  was  written, 
may  fiul  to  make  any  impression  when  transferred 
to  a  different  situation  tJiA  set  to  different  words. 
A  visit  to  Paris  shortly  after  gave  him  the  opportu- 
nity of  hearing  Rameau^s  operas ;  and  in  listening 
to  the  French  composer's  admirably  appropriate 
recitatives,  he  came  to  the  conclusion  that  the 
Italian  opera  of  that  time  was  but  a  concert, 
for  which,  as  the  Abb^  Amaud  happily  expressed 
it,  the  drama  furnished  the  pretext.    Ketuming 
to  Vienna  by  way  of  Hamburg  and  Dresden 
towards  the  end  of  1 746,  he  applied  himself  to 
the  study  of  aesthetics  as  connected  with  music, 
and  of  the  language  and  literature  of  various 
countries^  taking  care  at  the  same  time  to  frequent 
the  moat  intellectual  society  within  his  reach. 
*Semiramide  riconosciuta*  (Vienna  1748)  is  a 
decided   step  in   advance,   and   in  it   may  be 
detected  the  germ  of  Gluck's  distinctive  qualities. 
His  next  work  was  'Filide*  (1749),  ^  serenade, 
or  more  fffoperly  cantata,  in  2  acts,  written  at 
Copenhagen  for  the  birthday  of  Christian  VII. 
It  is  now  in  the  library  at  Berlin,  but  being 
a  mere  piece  de  cir<xm$tance  scarcely  deserves  a 
place  in  the  list  of  his  works.    Far  otherwise  is 
it   with    *Telemaoco*   (Rome   1750)   and    'La 
Qemenza  di  Tito*  (Naples  1751),  which  deserve 
special  attention,  as  from  them  (^luck  borrowed 
many  a  page  for  his  French  operas  'Armide*  and 
'Iphig^nie  en  Tauride*;    from  which  fact  it  is 
evident  that  when  they  were  written  his  style 
had  already  chanjs^d.  Theee  operas  were  followed 
in  1754  by  'L'Eroe  Cinese,*  first  performed  at 
Sjhonbrunn,   'II  Trionfo  di  CamiUo*  ^Rome'^, 
aad  'Antigono*  (ibid.).    Fh>m  1755-61   Gluck 
was  stationary  in  Vienna,  and  to  all  appearance 
failing ;  he  wrote  divertissements  for  the  palaces 
of  Laxenburg  and  Schonbrunn;   composed  airs 
for  the  commies  or  comic  operettas  performed 
at  the  court  theatre  ;    and  produced  only  one 
opera  In  3  acts, '  Tetide*  (i  760),  of  which  nothing 


has  survived.  These  six  years  however,  far  from 
being  wasted,  were  probably  most  useful  to  him, 
for  by  these  apparently  insignificant  works  he 
was  acquiring  flexibility  of  style,  and  securing 
powerful  patrons,  without  losing  sight  of  his 
ultimate  aim.  His  opera  'Qrfeo  ed  Euridice'^ 
(Vienna  Oct.  5, 1763) — the  libretto  not  as  hereto- 
fore by  Metastaaio,  but  by  Galzabigi — showed  to 
all  capable  of  forming  a  judgment  what  the  aims 
of  the  reformer  of  the  lyric  stage  were.  After 
the  production  of  this  fine  work,  however,  he 
returned  to  Metastaaio  and  to  piices  de  eircoH' 
Ptance  for  the  court  theatre — '  Ezio  *  (1 765) ;  '  La 
Rencontre  impr^vue,*  afterwards  produced  in 
(jrerman  as 'Die  Pilgrimevon  Mekka'  (1764);  *I1 
PamasBo  confuse,' '  La  Corona,*  and  'Telemaoco,' 
partly  re-written  (1765);  in  fact  he  was  obliged 
to  bend  to  drcumstanoes,  and  before  all  things  to 
please  the  princes  who  protected  him  and  sang  his 
music.  *11  Pamasso'  was  played  by  four  arch- 
duchesses, the  archduke  Leopold  accompanying 
them  on  the  clavecin.  It  was  probably  between 
this  date  and  the  departure  of  Marie  Antoinette 
for  France  (May,  1770)  that  Gluck  acted  as 
singing  master  to  that  princess. 

At  length,  thinking  the  time  had  come  for 
bringing  his  ideas  before  the  public,  and  finding 
in  Calsabigi  a  poet  who  shared  his  taste  for  strong 
dramatic  situations,  he  produced  in  Vienna 
'Alceste'  (Dec  16,  1767)  and  *Paride  ed  Elena' 
(1769).  The  scores  of  these  operas  were  pub> 
lished  in  Vienna  (17^9-70),*  and  dedicated 
respectively  to  the  Archduchess  Lec^ld  and 
the  Duke  of  Braganza.  Each  contains  a  dedi- 
catory epistle,  briefly  explaining  Gluck^s  views 
on  dramatic  music.  As  far  as  theory  went,  his 
system  was  not  new,  as  it  rested  on  Uie  outlines 
already  sketched  by  Benedetto  Marcello  in  his 
'Teatro  alia  Moda'  (1720);  but  theory  and 
practice  are  two  different  tilings,  and  Gluck 
has  the  rare  merit  of  showing  in  his  *  Alceste' 
and  *Paride'  that  he  was  both  composer  and 
critic,  and  could  not  only  imagine  but  produce 
an  opera  in  which  all  is  consecutive,  where 
the  music  faithfully  interprets  each  situation, 
and  the  interest  arises  from  the  perfect  adapta- 
tion of  the  ensemh/e  of  the  music  to  the  whole 
of  the  drama.  The  composition  of  these  two 
great  works  did  not  prevent  his  writing  the 
intermeszi  of  'Le  Feste  d*  A  polio,*  'Bauci  e 
Filemone,'  and  '  Aristeo,'  produced  at  the  court 
theatre  of  Parma  in  1 769,  but  not  published. 

In  spite  of  the  &vour  he  enjoyed  at  the  court 
of  Vienna,  and  of  the  incontestable  beauties 
contained  in  'Orfeo,'  'Alceste,*  and  'Paride  ed 
Elena,'  Gluck's  countrymen  criticised  his  new 
style  in  a  manner  so  galling,  that,  conscious 
of  his  own  power,  and  by  no  means  devoid  of 
vanity,  he  resolved  to  carry  out  elsewhere  the 
revolution  he  had  determined  to  effect  in  dramatic 
music.  In  the  Bailli  du  Rollet,  an  attach^  of 
the  French  embassy  in  Vienna,  he  found  an 
enthusiastic  partisan  and  a  valuable  auxiliary; 
they  consulted  as  to  a  drama  in  which  musio 

1  TMnted  In  17IM  In  "Pui*  ht  the  fxpenw  of  Cnunt  Dnnuzo. 
S  Frinteil  iu  fulio  bj  Q.  T.  Tnttueru  wiUi  movMblo  tjpea. 


602 


GLUCK. 


might  be  employed  for  enlianciii^  tlie  expresaion 
of  the  words  and  the  pathos  of  the  sitaatioiiB ; 
and  their  choioe  fell  upon  Bacine^s  '  Iphig<$me.' 
This  opera,  'Iphig^nie  en  Aulide,'  was  written 
in  French  in  1772,  partially  rehearsed  at  the 
theatre  in  Vienna  towards  the  end  of  the  same 
year,  and  produced  at  the  Opera  in  Paris, 
April  19,  1774.  Gluck  left  no  means  untried 
to  ensure  success  —  statements  of  his  views, 
publio  announcements  ('Mercure  de  France,' 
Oct.  1772  and  Feb.  73),  public  tributes  of  respect 
to  J*  J.  Rousseau,  letters  to  authors  whose  good 
will  it  was  desirable  to  propitiate  —  in  short 
everything  that  ability  and  experience  in  such 
matters  could  'suggest.  And  yet  if  it  had 
not  been  for  the  all-powerful  protection  of  his 
former  pupil,  Marie  Antoinette,  he  would  in  all 
probability  have   failed    in   getting    his    work 

Eerformed,  so  strong  was  the  opposition  which 
is  arrival  in  France  had  roused,  especially 
amongst  those  interested  in  keeping  him  out  of 
the  'Acad^mie  de  Mudque.*  The  Dauphiness 
seems  to  have  been  really  attached  to  her  old 
singing  master.  In  a  letter  to  her  sister  Marie 
Christina  (May  3,  1777)  "he  calls  him  'notre 
cher  Gluck,'  and  after  the  success  of  'Orph^e' 
she  granted  him  a  pension  of  6000  francs,  and 
the  same  sum  for  eveiy  fresh  work  he  should 
produce  on  the  French  stage. 

The  appearance  of  'Iphig^nie  en  Aulide*  marks 
a  new  era  in  the  history  of  French  opera.  This 
severe  and  deeply  conceived  work  transports  us 
bodily  into  Greece ;  it  is  pervaded  throughout  by 
an  antique  atmosphere,  of  the  days  of  Sophocles 
rather  than  of  Euripides.  What  a  bold  innova- 
tion is  the  overture,  with  the  inexorable  voice  of 
the  oracle  making  itself  heard,  and  with  the 
striking  unison  passage,  which  at  once  forces  the 
ruling  thought  of  the  drama  into  notice,  while  it 
closely  connects  the  symphony  with  the  action  on 
the  stage!  Hien  again,  how  grand,  how  just, 
how  pathetic  is  the  declamation  of  all  the  aiis  I 
These  airs,  it  must  be  confessed,  succeed  each 
other  too  rapidly,  and  one  cannot  but  regret  that 
the  librettist  did  not  perceive  how  much  the 
action  is  retarded  by  making  three  airs  follow 
each  other  in  one  act,  a  mistake  which  might 
easily  have  been  avoided.  But  how  ingenious 
are  the  artifices  to  which  Gluck  resorts  in  order 
to  give  variety  to  the  recitative  and  the  decla- 
matory passages  1  How  skilfully  he  brings  in  hia 
short  incidve  symphonies,  and  how  much  effect 
he  produces  by  syncopation  I  How  appropriately 
he  introduces  the  orchestra  to  emphasise  a  word, 
or  to  point  a  dramatic  antithesis !  How  graceful 
is  the  chorus  '  Que  d'attraits* !  and  how  startling 
and  attractive  are  the  brilliancy,  force,  and  bold- 
ness of  the  harmony  in  the  hymn  of  triumph 
'  Chantons,  c^l^brons  notre  reine '  I  While  listen- 
ing to  the  air  of  Agamemnon,  'Au  falte  des 
grandeurs,'  the  enthusiastic  Abb^  Amaud  ex- 
claimed, 'With  that  air  one  might  found  a 
religion.'  What  a  depth  of  expression  is  con- 
tained in  the  air  'Par  un  p^re  cruel  k  la  mort 

1  In  thli,  u  ia  other  more  important  pointy  how  like  b  Glaek  to 
Wagftdrl 


GLUCK. 

condamn^e*  1  and  what  heart-rending  emotion  in 
the  recitative 

*Pentendfl  rotnitir  dans  mon  ttSn 
Le  cri  plaintif  de  la  natoFB  *! 

not  to  speak  of  the  scene  in  which  Clytemnestra 
faints,  the  duet  between  Achille  and  Iph'genie 
which  gave  rise  to  so  many  discussions^  the 
quartet,  or  the  dance  music ! 

Owing  to  the  support  of  the  oouri  and  the 
pains  taken  by  Gluck  to  obtain  a  thoroaghly 
satisfactory  'performance,  'Iphig^nie'  was  m<»t 
favourably  received.  Its  success  gave  the  finish- 
ing stroke  to  the  antiquated  works  of  Lully  and 
Rameau,  and  introduced-  into  grand  opera  the 
revolution  already  effected  in  -op^ra  oomique  by 
Philidor,  Monsigny,  and  Gr^try. 

'  Iphigenie'  was  speedily  followed  by  '  Orph^e 
et  Enrydice,'  adapted  from  the  'Orfeo'  already 
mentioned,  and  produced  at  the  Academic,  Aug. 
a,  1 774*  ^^B  opera  made  a  profound  impression, 
although  Gluck  was  compelled  to  transpose  the 
music  of  Orpheus  to  suit  Legros,  as  there  was 
no  contralto  capable  of  taking  the  part.  The 
second  act  is  still  accounted  a  masterpiece. 

In  accordance  with  a  desire  expressed  by 
Marie  Antoinette,  and  which  Glade  was  too 
good  a  courtier  to  refuse, '  Le  Poirier,*  a  comedy 
by  Vad^,  which  he  had  composed  in  1761,  and 
'Cyth^re  Assi^^e,'  a  piece  of  Favarts  whidi 
he  had  converted  into  an  opera  in  1759,  were 
performed  at  the  court  theatre  at  Versailles  in' 
1775.  '^^^  latter  work  was  also  produced  in 
Paris  (Aug.  I,  of  the  same  year)  with  a  diver- 
tissement by  P.  M.  Berton,  and  with  a  want  of 
success  which  compelled  Amaud  to  admit  that 
'  Hercules  was  more  at  home  with  the  dub  than 
the  distaff.* 

For  this  failure,  however,  Gluck  was  consoled 
by  the  brilliant  success  of  his  '  Alceste,'  which 
he  rearranged  for  the  French  stage  (April  23, 
1776),  and  which  created  quite  as  much  enthu- 
siasm as  'Orphee'  had  done,  notwithstanding 
a  want  of  variety  in  the  libretto.  It  is  in  this 
fine  work  that  the  oracle  of  Apollo  pronounces 
its  stern  decree  on  a  reiterated .  note  which 
strikingly  pictures  the  inunutability  of  the  in- 
fernal deities.  This  touch  of  deliberate  inspira- 
tion was  not  lost  on  Mozart  in  '  Don  Giovanni,' 
nor  on  Ambroise  Thomas  in  *  Hamlet.* 

In  order  to  prove  that  it  was  not  in  tngedy 
alone  he  excelled,  but  that  he  also  possessed  the 
descriptive  faculty,  and  could  depict  scenes  of 
luxury,  and  express  tender  and  graceful  senti- 
ments, Gluck  composed  *Armide'  (Sept.  23,1777). 
He  had  heea  reproached  with  having  no  melody, 
and  with  making  his  singers  'shriek  ;  this  work, 
which  contains  many  charming  passages,  and  a 
duet  magnificent  for  passion  and  tenderness,  was 
.his  answer.  The  excitement  it  aroused  is  almost 
incredible.  Piocinni  had  recently  arrived  in 
Paris,  and,  under  Marmontel*s  superintendence, 
was  composing  his  'Boland,'  to  be   produced 

*  Here  esmln  to  ft  dose  panllel  with  WegneiH  Jodidimi  neOods  of 
pmoeecliiift. 

*  Itui  Mme  MCOMtloo,  rl^Uf  wnraagHj,  b  made  taiaat  Wifneb 


GLUCIC, 


GLUCK. 


608 


four   xnontha  after  'Annide.*     Hig   admirers^ 
and  the  partisans  of  the  old  Italian  music,  were 
fiiriooB  at  Gluck's  suoceas,  and  every  one  knows 
the  lengths  to  which  the  war  of  the  Gluckists 
and  Piocixinists  was  carried.    It  was  even  more 
violent  than   the  old  qoarrel  of  the  Bouffons, 
since  the  combatants  were  enoooraged  by  the 
bodily  presence  of  the  rival  masters.   Marmontel, 
La  Harpe,  Ginguen^,  d^Alembert,  the  Chevalier 
de    Chastelluz,  Framery,    and  Coqu^au,   were 
among  the  attacking  party,  while  the  chief  de- 
fenders   were   Suard   and    the   Abbd  Amaud. 
Not  content  with  disparaging  Gluok*s  genius  in 
his  'Easai  sur  les  revolutions  de  la  Musique/ 
Marmontel  went  the  length  of  writing  an  entire 
poem,  '  Polymnie/  in  praise  of  the  Italian  school 
and   his  favourite   Hccinni.      Space  will   not 
permit    ns  to   enumerate   the    pamphlets,   epi- 
grams, and  satires,  which  emanated  from  both 
sides   in   this  contest;    nearly  all  that  are  of 
any  importance  may  be  found  in  the  collec- 
tion of   the  Ahh6  Leblond  —  'M^moires  pour 
servir  h  Thistoire  de  la  revolution  oper^e  dans  la 
musique  par  M.  le  Chevalier  Gluck*  (Naples  and 
Paris  1 781,  with  a  portrait  of  Gluck  engraved 
by  Saint  Aubin).    The  champions  of  the  Italian 
school  accused  him  of  composing  operas  in  which 
there  was  'little  melody,  little  nature,  and  little 
elegance  or  refinement.     They  declared  that  the 
noi»e  of  his  orchestra*  was  necessary  to  drown  his 
clumsy  modulations;  that  his  accompanied  reci- 
tative was  nothing  but  an  overloaded  imitation 
of  the  Italian  'recitative  obbligato';   that  his 
choroaes  were  less  dramatic  thiui  those  of  Ra- 
meau;  and  that  his  duets  were  borrowed,  nnd 
badly  borrowed,  from  the '  duetti  k  dialogo*  which 
he  had  heard  in.  Italy.    They  could  not  forgive 
what   Marmontel  calls  his  'harsh  and  rugged 
harmony,  the  incoherent  modulations,  mutilations, 
and  inoongruities  coptained  in  his  airs,^  but  they 
were   most  offended  by  his  'want  of  care  in 
choosing  his  subjects,  in  carrying  out  his  designs, 
and  giving  completeness  and  finish  to  his  melo- 
dies.    In  short  they  denied  him  the  possession 
of  any  creative  genius  whatev^.     They  might 
as  well  have  denied  the  existence  of  the  sun — 
but  passion  invariably  blinds  its  votaries. 

The  Abbe  Amaud,  on  the  other  hand,  met  the 
lystematic  disparagement  of  Marmontel  and  La 
Harpe  with  his  *  Profession  de  foi  en  musique* ; 
an  excellent  treatise  on  musical  esthetics,  though  < 
little  more  than  a  paraphrase  of  the  celebrated 
dedication  which  Gluck  himself  had  prefixed  to 
the  score  of  'Alceste.*  This  statement  of  the 
great  reformer's  principles  is  well  worth  trans- 
cribing. 

■When  I  undertook  to  set  fhs  ofwra  of  Alceste  to 
music,*  he  heglnt,  'I  resolved  to  avoid  all  thooe  abases 
which  had  crept  into  Italian  opera  tfaroagh  the  mistaken 
vanity  of  singers  and  the  unwise  compliance  of  oompoHors, 
■nd  which  had  rendered  it  wearisome  and  ridiculous, 
instead  of  being,  as  it  onoe  was,  the  nandest  and  most 
imposing  stage  ox  modem  times.  I  enoeavoiued  to  reduce 
music  to  its  proper  function,  that  of  seconding  poetry  by 
enforcing  the  exjiression  of  the  sentiment,  and  the  interest 
of  the  ntoations,  without  Interrupting  the  action,  or 

I  Oluek  was  tbs  flnt  to  latrodoM  ermbsb  sod  ths  'OrosM  eslns* 
«r  Mff  dram  Into  tbs  orchsttxs.  Wsgiwr  tuo  It  socuaed  of  moltlpljlnf 
MiMsai  iDstrttinMkta, 


weakening  it  hj  superflaons  ornament  Hv  idea  was 
that  the  relation  of  music  to  poetry  was  much  the  same 
as  that  of  harmonious  colouring  and  well -di)- posed  light 
and  shade  to  an  accurate  drawing,  which  animates  the 
figures  without  altering  their  outlines.  I  have  therefore 
been  very  careful  never  to  interrupt  a  sinf^r  in  the  ht  at 
of  a  dialogue  in  order  to  introduce  a  tedious  ritomeMe, 
nor  to  stop  him  in  the  middle  of  a  piece  either  ^or  the 

Jrarpose  of  displaying  the  flexibility  of  his  voice  on  some 
avourable  vowel,  or  that  the  orchestra  might  give  him 
time  to  take  breath  before  a  long-sustained  note. 

'Furthermore,  I  have  not  thouffht  it  right  to  hunv 
through  the  second  part  of  a  song  if  the  woras  happened 
to  be  the  most  important  of  the  whole,  in  order  to  repeat 
the  first  part  regularlv  four  times  over ;  or  to  finish  the 
air  where  the  sense  does  not  end  in  order  to  allow  the 
singer  to  exhibit  his  power  of  varying  the  patsage  at 
pleasure.  In  fact,  my  ouject  was  to  put  an  end  to  abuses 
against  which  good  taste  and  good  sense  have  long  pro- 
tested in  vain. 

'  My  idea  was  that  the  overture  ought  to  indicate  the 
subject  and  prepare  the  spectators  for  the  character  of  the 
piece  they  are  about  to  see ;  that  the  instruments  ought 
to  be  introduced  in  proportion  to  the  degree  of  interest 
and  pasnion  in  the  words:  and  that  it  was  necessary 
above  all  to  avoid  making  too  great  a  disparity  betwet* n 
the  recitative  and  the  air  of  a  dialogue,  so  as  not  to  break 
the  sense  of  a  period  or  awkwardly  interrupt  the  move- 
ment and  animation  of  a  scene.  I  also  thouffht  that  my 
chief  endeavour  should  be  to  attain  a  grand  simplicity, 
and  consequently  I  have  avoided  making  a  pande  of 
difSculties  at  the  cost  of  clearness ;  I  have  set  no  value 
on  novelty  as  such,  unless  it  was  naturall:^  suggested  by 
the  situation  and  suited  to  the  expression;  in  short 
there  was  no  rule  which  I  did  not  oonsider  myself  bound 
to  sacriflce  for  the  sake  of  effect* 

It  can  never  be  out  of  place  to  recall  such 
precepts  as  these — precepts  which  will  be  worth 
following  to  the  end  of  time.  Gluck  himself 
bore  them  carefully  in  mind  in  composing  his 
'  Iphig^nie  en  Tauride,'  produced  in  Paris  (in  4 
acts)  with  immen.se  success  May  18,  1779.  It  is 
the  highest  and  most  complete  expression  of  his 
genius.  Amongst  its  many  beauties  must  be 
specified  the  air  of  Thoas ;  the  airs  '  Je  t*implore 
et  je  tremble'  (borrowed  from  '  Telemacoo '), 
<0  malheureuse  Iphig^nie*  (originally  written 
for  'La  Clemenza  di  Tito*),  'Unis  dl^s  la  plus 
tendre  enfiEmce,*  sung  by  Pylades  ;  and,  beyond 
all,  the  sleep  of  Orestes  —  the  heart-breaking 
remorse  of  the  deceitful  parricide,  the  spirited 
choruses,  and  the  barbarous  Scythian  dances. 
These  passages  all  glow  with  odour,  though  the 
means  by  which  the  effect  is  produced  are  of  the 
simplest  kind.  By  this  chef-d*oeuvre  Gluck  amply 
vindicated  his  superiority  over  Piccinni,  whose 
'Iphig^nie  en  Tauride'  (.Tan.  23, 1781)  could  not 
make  way  against  that  of  his  rival. 

The  last  work  which  Gluck  composed  for  the 
Op^ra  in  Paris  was  ^Echo  et  Narcisse'  (Sept. 
31,  1779).  Though  not  very  successful  it  was 
revived  in  August  1780,  and  one  of  the  airs,  and 
the  '  hymne  k  T Amour,'  have  since  been  intro- 
duced into  '9rph('e.'  It  was  however  with  '  Les 
Dana'ides'  that  Gluck  intended  to  close  his  labo- 
rious career.;  but  an  apoplectic  seizure  compelled 
him  to  relinquish  the  task,  and  he  transferred 
the  libretto  to  his  pupil  Salieri.  He  then  retired 
to  Vienna,  where  he  passed  his  last  years  in  the 
enjoyment  of  the  position  secured  by  his  fame 
and  his  large  fortune,  until  a  second  stroke  of 
apoplexy  carried  him  off,  Nov.  15,  1787  (not 
the  25th,  as  F^tis  states). 

The  authorities  for  this  sketch  of  Gluck's  career, 
and  for  the  notices  of  the  most  remarkable 
passages  in  his  operas,  are  various   historical 


004 


GLUCK. 


documents,  and  the  biographies  and  critiques  of 
Leblond,  F.  J.  Riedel  ('Ueber  die  Mudk  des 
Bitters  Ghristoph  von  Gluck,  verschiedene  Schrif- 
ten,'  Vienna  1775)1  Siegmeyer  (*Uebep  den 
Bitter  Gluck  mid  seine  Werke/  Berlin  1825), 
Miel,  Soli^,  Anton  Schmid  ('  Chr.  W.  Bitter  von 
Gluck,'  Leipzig  1854),  F^tis,  Hector  Berlioz  ('A 
travers  chants'),  Ad.  Adam  (*Demiers  Souve- 
nirs*), Desnoiresterres  ('Gluck  et  Piccinui/  Paris, 
1872),  etc.  For  more  minute  details  the  reader  is 
referred  to  Schmidts  work,  which  is  most  complete 
as  regards  the  catalogue  of  Gluck's  compositions. 
to  his  list  must  be  added  the  magnificent  edition 
of  Mile.  Pelletan,  evidently  the  work  of  an 
ardent  admirer ;  of  which  the  full  scores  of  the 
two  *  Iphigenies,'  with  a  portrait,  and  preface  in 
three  languages,  are  all  that  have  appeared  at 
present.  For  those  who  wish  to  ||;udy  the 
physiognomy  of  this  diplomatic  composer,  im- 
petuous artist,  and  amusingly  vain  man,  there 
are  the  engravings  of  Miger^  and  Sichling  ftom 
the  portrait  painted  by  Duplessis  in  1775,  Saint 
Aubin's  engraving  from  Houdon*s  celebrated 
bust,  and  Pl^ppeaux's  from  the  picture  painted 
by  Houdeville.  There  is  a  full-length  statue  of 
Gluck  by  Cavelier  at  the  new  Opera  House  in 
Paris.  Under  Miger*s  portrait  are  the  words  of 
Pythagoras,  'He  preferred  the  Muses  to  the 
Sirens,'  words  applied  to  him  by  Wieland,  and, 
as  sudi,  in  striking  contrast  to  the  many  bitter 
remarks  of  earlier  German  critics. 

Before  summing  up  our  opinion  of  Gluek's 
works  as  a  whole,  we  have  only  to  remark  that, 
•ooording  to  F^tis,  he  failed  in  symphony  proper, 
and  was  by  no  means  distinguished  as  a  com- 
poser of  sacred  music.  He  wrote  indeed  but 
little  for  the  church ;  the  psalm  '  Domine,  Domi* 
nus  noster*  for  choir  and  orchestra^  a  '  De  pro- 
fundis*  for  the  same  (engraved),  and  a  part  of 
the  cantata  '  Le  Jugement  dernier,'  completed  by 
Salieri,  being  all  his  known  works  in  this  style. 

Gluck's  fame  therefore  rests  entirely  on  his 
dramatic  compositioiis.  Padre  Martini  said  that 
he  combined  in  the  musical  drama  '  all  the  finest 
qualities  of  Italian,  and  many  of  those  of  French 
music,  with  the  great  beauties  of  the  German 
Qrchestra' — in  other  words,  he  created  cos- 
mopolitan music.  He  was  not  satisfied  with 
introducing  a  correct  style  of  declamation,  and 
banishing  false  and  useless  omameats  from  the 
stage ;  and  yet  if  he  had  merely  carried  to  per- 
fection the  work  begun  by  Lully  and  Bameau ; 
if  his  efforts  had  been  limited  to  removing  the 
harpsichord  from  the  orchestra,  introducing  the 
harp  and  trombones,  employing  the  clarinets, 
scoring  with  skill  and  effect,  giving  more  im* 
portanoe  and  interest  to  the  OTerture,  and  em- 
ploying with  such  magic  effect  the  artifice  of 
momentary  pauses  to  vary  or  emphasise  speech 
in  music, — if  he  had  done  no  more  than  this  he 
would  have  earned  our  gratitude,  but  he  would 
not  in  that  case  have  been  one  of  the  monarchs 
of  art.    What  then  did  he  accomplish  that  was 

>  An  etching  of  this  by  I«  Rftt  forms  the  fh>ntlsp1ooe  to  Fart  IV  of 
IifljArts's  admlnible  'Bibliotbeque  miuicale  du  IL^atre  <le  TUp^m,' 

urn. 


GODDABD. 

so  extraordinary !  He  grasped  the  idea  that  the 
mission  of  music  was  not  merely  to  afford  grati- 
fication to  the  senses,  and  he  proved  that  the 
expression  of  moral  qualities  is  withim  her  reach. 
He  disdained  all  such  tricks  of  the  trade  aa  do 
not  appeal  to  the  heart, — in  &ct  he  'preferred 
the  Muses  to  the  Sirens.*  He  aimed  at  d^iciing 
historic  or  legendary  characters  and  antique  social 
life,  and  in  this  work  of  genius  he  put  into  the 
mouth  of  each  of  his  heroes  aooeats  suited  to 
their  sentiments,  and  to  the  spirit  of  the  times 
in  which  they  lived.  He  made  use  of  the  or- 
chestra to  add  to  the  force  of  a  dramatic  sitiia- 
tion,  or  (in  one  noble  instance)  to  contrast 
external  repose  with  the  internal  agitation  of  a 
remorseful  conscience.  In  a  word,  all  his  French 
operas  show  him  to  have  been  a  noble  mnsiciany 
a  true  poet,  and  a  deep  thinker. 

Like  Conieille  he  has  endowed  France  with  a 
series  of  sublime  tragedies ;  and  if  the  author  of 
'Le  Cid,'  'Les  Horaces,'  'Cinna,'  'Polyeucte,' 
and  'Pomp^'  may  be  justly  reproached  with 
too  great  a  preference  for  Lucan  and  Seneca^ 
there  is  perhaps  also  cause  for  regret  that  Gluck 
was  too  much  influenced  by  the  declamatory 
school  then  prevalent  in  France.  But,  like  the 
father  of  French  tragedy,  how  nobly  has  he 
redeemed  an  occasional  inflation  or  monotony,  a 
few  awkward  phrases,  or  trifling  inaocujaeies  of 
style  1  There  is  another  point  of  resemblance 
between  these  two  men,  whose  manly  genius 
was  reflective  rather  than  spontaneous ;  all  their 
works  have  in  common  the  element  of  grandeur, 
but  they  differ  from  one  another  in  physiognomy, 
form*  and  character.  The  influence  of  such  Art 
as  theirs  is  anything  but  enervating ;  on  the  con* 
trary  it  elevates  and  strengthens  the  mind,  and 
IS  thus  placed  beyond  the  reach  of  the  caprices 
of  fsshion  or  the  attacks  of  time.  [G.C] 

GLYN  &  PABKEB  were  organ  builders  at 
Salford,  near  Manchester,  Their  instruments 
date  firom  1730  to  1749.  Amongst  them  is  the 
organ  at  Poynton,  Lancashire,  which  so  pleased 
Handel  that  he  ordered  Parker  to  huild  one  for 
the  Foundling  Hospital  (1749).  [V.deP.] 

CrODDABD,  Arabella,  the  most  distinguished 
of  English  pianoforte-players,  of  an  old  Sidisbury 
family,  was  bom  at  S.  Servans,  St.  Malo,  Jan.  12, 
1838,  at  the  age  of  six  was  placed  under  Kalk- 
brenner  in  Paris,  and  afterwards  had  a  few 
lessons  from  Mrs.  Anderson  and  from  Thalheiig 
in  England.  She  made  her  first  appearance  in 
public  at  the  Grand  National  Concerts  at  Her 
Majesty's  Theatre,  of  which  Balfe  was  conductor, 
on  Oct.  23, 1850,  where  her  style  and  mechanism 
at  once  made  a  great  impression.  Gn  Thalberg*8 
recommendation,  she  was  placed  in  the  hands  of 
Mr.  J.  W.  Davison,  who  led  her  to  the  study 
of  those  great  compositions,  many  of  which  she 
played  in  England  for  the  first  time.  On  April 
14,  1853,  she  made  her  d^ut,  and  at  once  fixed 
her  position  as  a  classical  player,  at  the  concert 
of  the  Quartet  Association,  in  Beethoven's  immense 
solo  sonata  in  Bb,  op.  106,  a  work  which  till  that 
moment  had  probably  not  been  performed  in 


GODDABD. 


GOD  SAVE  THE  KING. 


60S 


public  in  EngUnd,  but  which  she  pUyed  without 
book.  The  winter  of  1854  '^^  ^^®  whole  of  55 
were  passed  by  Miss  Goddard  in  Germany  and 
Italy.  She  carried  her  classical  repertoire  with 
her ;  played  inter  alia  at  the  Gewandhaus  Concert 
Oct.  1S55  ;  and  was  received  with  enthusiasm  by 
some  of  the  best  critics  of  Germany.  Returning 
to  this  country,  she  made  her  first  appearance  at 
the  Philharmonic  on  June  9,  1856,  in  Stemdale 
Bennett's  Concerto  in  C  minor  (then  in  MS.); 
At  the  Crystal  Palace  (in  Moscheles*  Concerto  in 
£)  on  March  13,  58,  and  at  the  Monday  Popular 
Concerts  on  March  9,  59. 

In  1857  and  58  Miss  Goddard  played  in 
London  all  the  last  sonatas  of  Beethoven  (from 
op.  1 01  to  III) — at  that  time  almost  absolute 
novelties  to  most  of  her  heacers — as  well  as 
many  oth^r  masterpieces  by  dementi,  Dussek, 
Mozart,  Mendelssohn,  and  other  masters,  either 
solo  or  with  accompaniment  of  stringed  instru- 
ments, in  addition  to  tlie  usual  classical  Con- 
certos, Trios,  Sonatas,  etc.  In  i860  she  married 
Mr.  Davison,  who,  as  already  stated,  was  her  real 
master  and  the  former  of  her  taste.  In  1873 
Madame  Goddard  left  this  country  for  a  length- 
ened tour  through  America,  Australia,  and  India, 
returning  in  the  autumn  of  76,  and  making  her 
first  reappearance  in  two  recitals  at  St.  James's 
Hall  on  Oct.  la  and  19.  [G.] 

GODFREY.  A  family  of  English  military 
band-masters.  Chabubs  GtOdfbet,  the  founder, 
was  bom  in  1790  at  Kingston,  Surrey;  in 
1813  joined  the  Coidstreams  as  a  boMoon-player, 
and  soon  became  band-master,  a  post  which 
he  filled  with  honour  till  his  death,  Dec.  la, 
1863,  at  his  house  in  Vincent  Square,  West- 
minster, after  f  o  years*  service.  He  was  ap- 
pointed Musician  in  Ordinary  to  the  King  in 
1831,  and  was  one  of  the  Court  of  Assistants 
of  the  R<md  Society  of  Musicians.  The  first 
journal  of  militaiy  music  published  in  this 
country,  under  the  name  of  '  Jullien's  Journal,* 
was  arranged  by  Mr.  Godfrey.  His  three  sons 
were  educated  at  the  Boyal  Academy  of  Music. 
Daniel,  the  eldest,  was  bom  in  1831,  and  has 
been  band-master  of  the  Grenadier  Guards  since 
1856.  In  1873  he  took  his  band  to  the  United 
States — the  first  visit  of  an  English  military 
band  since  the  Independenoe.  He  is  well  known 
here  and  abroad  by  his  waltzes  for  military 
band— -* Guards,*  'Mabel,'  'HUda,*  etc. 

The  second,  Adolphus  Frxosbiok.  bom  in 
1837,  succeeded  his  father  in  the  Coidstreams,  and 
is  still  band-master  of  that  regiment.  Charlss, 
the  third,  bom  in  1839,  joined  the  Soots  Fusiliers 
as  band-master  in  1859  and  left  that  regiment 
in  1868  for  a  similar  position  in  the  Koyal  Horse 
Guards,  whioh  he  now  fills  (1878).  [G.] 

GOD  SAVE  THE  KING.  The  so-called 
'National  Anthem*  of  England,  a  feune  in  two 
sectiona^  the  first  of  6  bars,  the  second  of  8. 


± 


^ 


t 


5 


T 


I 


t 


m 


gractoos  Qoee&,God   im«   th«      Qneent         Band   her    Tie  • 


m 


:w=fc 


I     I     I 


^ 


-+ 


tor  -  1  -  QUI.  IUp^7   Mid  dor  •  I  -  cna,  Loiv   to 


m 


reign 


^ 


X 


It 


AA.  J  Jl 


o    -     rer   us.       God    mre    Uie         Queen. 

O  Lord  our  God,  arise, 
Scatter  our  enemifln, 

And  make  them  fall. 
Confound  their  politico 
Frustrate  their  knavish  tricks, 
On  Thee  our  hopes  we  fix, 

God  save  us  alL 

Thy  ohnioest  gifts  in  store 
On  her  he  pleased  to  jvmr, 

Long  may  she  reipm. 
Mav  she  defend  our  laws, 
And  ever  gi^e  us  cau>-'e 
lb  sing  with  heart  and  voioe, 

God  save  the  Queen. 

Its  first  public  performance  is  stated  to  have 
been  at  a  dinner  in  1 740  to  celebrate  the  taking 
of  Portobello  by  Admiral  Vernon  (Nov.  20, 1 739), 
when  it  is  said  to  have  been  sung  by  Henry 
Carey  as  his  own  composition,  both  words  and 
mu£,ic.  The  nearest  known  copy  to  that  date  is 
that  in  the  'Harmonia  Anglicana*  of  1743  or  4^, 
as  follows^.  It  is  marked 'for  two  voices,'  but 
we  give  the  melody  only. 


y  T"j  J  J I J  ■  J'  J I  r  r  r  I 


Ood    wre    our     Lord      tha  King,  Long   Uto     our 


no  -  ble  Kli«,  God   isto    the        King!         Ssnd    talm    vie 


£ 


± 


? 


± 


± 


i 


6^^^ 


^ 


tor 


1  -  on*.  Hap-p7   and  ^or  -  i  -  oua,  Long   to 


reign 


t 


^^1 


^m 


the 


King. 


Qod    mm    oar      ao   -  ble  Queen,  Long   live    our 


0    -     Ter   ui,       God  sare 

O  Lord  nor  Ood,  arise, 
Scatter  his  enemies. 

And  make  them  fall. 
Confound  their  politicks. 
Frustrate  their  knavish  nicki, 
Ob  him  our  hopes  are  flz*d, 

O  save  us  aUL 

This  is  the  nearest  we  can  arrive  at  to  the 
original  form  of  the  air  and  words,  and  both  will 
be  found  somewhat  different  from  those  with 
which  we  are  fiuniliar.  The  fact  that  Henry 
Carey  was  the  author  of  both  is  teetified  to 
by  J.  Christopher  Smith,  Hinders  amanuenna, 
and  by  Dr.  Harington ;  but  for  the  evidence  the 
reader  must  be  referred  to  Mr.  Chappell's  full 
statement  in  his  'Popular  Music,'  pp.  694,  5, 
and  to  Chiysander's  '  Jahrbucher*  (i.  287-407). 
In  1745  it  became  publicly  known  by  beine 
sung  at  the  theatres  as  'a* loyal  song  or  anthem 
during  the  Scottish  Rebellion.  The  Pretender 
was  proclaimed  at  Edinburgh  Sept.  16,  and  the 
first  appearance  of  '  God  save  the  King*  was  at 
Drury  Lane,  Sept.  28.  For  a  month  or  so  it 
was  much  sung  at   both  Covent  Grarden  and 

>  See  GhansU's  *?«pular  Itarie.'  U.  IQi. 


606 


GOD  SAVE  THE  KING. 


GOD  SAVE  THE  KING. 


Drury  Luie;  Btarney  liannonised  it  for  ilie 
former,  and  Ame  for  &.e  latter.  Both  words  and 
muBic  were  printed,  the  latter  in  their  present 
form,  in  the  Gentleman's  Magazine,  Oct.  1 745. 

How  far  God  save  the  King  was  compiled 
from  older  airs  will  probably  never  be  known. 
Several  exist  with  a  certain  resemblance  to  the 
modem  tune. 

1.  An  *  Ayre,'  without  farther  title,  at  p.  98 
of  a  MS.  book  attributed  to  'Dr.  Jan  Boll,  and 
dated  1619.  The  MS.,  formerly  in  possession  of 
PepuBch  and  of  Kitchener,  is  now  in  the  hands 
of  Mrs.  Clark,  who  refuses  to  allow  it  to  be  seen, 
but  the  following  is  copied  from  a  transcript  of 
SirG.  SmartV:-- 


^;i  J  ^=^-nrJH  J- J  plr- cjq^ 


-^-^p|J.Jj^.=^-i^zi^ 


TT  firn^Tir-rrir-r^ 


r  r  r\'' 


^^ 


:n: 


i 


This  is  in  2  strains  of  6  and  8  bars,  and  besides 
its  general  likeness  it  has  both  the  rhythm  and 
the  melody  of  the  modem  air  in  the  first  four 
bars  of  the  second  strain ;  but  the  minor  mode 
makes  an  essential  difference  in  the  effect. 

A  piece  entitled  'God  save  the  King*  occurs 
in  the  same  MS.,  p.  66,  but  this  is  founded  on 
the  phrase 


i 


is: 


I 


± 


.^- 


cj    4 


and  has  no  resemblance  whatever  to  the  national 
melody. 

2.  A  Scotch  card,  '  Remember,  O  thou  man,* 
in  Ravenscroii's  'Melismata,*  161 1. 


I 


^ 


^^=f=n^F^=^ 


Ba  -  mem-ber, 


thou 


thou 


i 


*=5 


•     • 


S 


:zii 


O     thou  man,  Remamber,    O  thou  min.  thy  time  b    apent. 


"7"^  r  |r'  ^  pip  r  rlr-  & 


s 


Be*inem-ber,      O      thou  man,  how  thou  art    dead    and  tone. 


^=i^l|J.   ^''^I 


^ 


^ 


And     I       did     what       I     can.     there  -  fore    re  -  pent. 

This  18  the  air  on  the  ground  of  which  '  God 
save  the  King*  is  sometimes  claimed  for  Scotland. 
It  is  in  2  strains  of  8  bars  each,  and  has  the 
rhythm  and  melody  of  the  modem  tune  in  the 
first  and  third  bars  of  the  second  strain.  But  it 
is  in  minor. 

3.  A  ballad,  'Franklm  is  fled  away'  (first 
printed  in  1669). 

>  Printed  hy  Mr.  Cummlngi  (If  us.  TIium,  Hay  VnVi,  The  ftharpe 
there  glren are  omitted  from  th«  tignature ;  ai  Mr.  Oummtngs  BormlsM, 
ivith  great  probability,  that  tliey  were  added  after  Bull's  tloie. 


f^^ 


^ 


^ 


S 


Franklin      b     fled      a -way.   O   hone.  O 


r  r  nf 


-t-i  dl  A- 1 


In   whom  my    Joys      do  and.     O     hone.    O      how! 


£ 


f^^"J|J  J    JIJ.^ 


PruikUn.  aqr   heart's  delifht,  liiMe  lait    be      took    Us  aglit. 


jjJir'  6  rN  J-  ^VT} 


Bids   now   the   woild  good  night.  O     hone.     O 

4.  A  piece  in  '  A  choice  Collection  of  LesBons 
for  the  Harpsichord  or  Spinnet,  composed  by  the 
late  Mr.  Henry  Puroell,'  1696. 


i^h  r  r  rlr'g^ 


1  I  i 


i 


f  rr|r-^r|fzf±=eq 


^ 


I*  I*  I*  I '' '  g  r  IT  r  r  I  r  •  e  r  ^ 


^ 


^ 


£ 


r I r  J  J IJ  J  i 


Here  the  similarity  is  confined  to  the  recurring 
rhythm  in  the  first  and  third  bars  of  each  section. 

Thus  the  rhythm  and  phrases  of  God  save  the 
King,  and  even  the  unequal  length  of  the  two 
strains  (its  most  essentiid  peculiarity),  had  all 
existed  before.  So  also  did  some  of  the  phrases 
of  the  words.  'God  save  the  kiiog*  is  round  in 
the  English  Bible  (Coverdale,  1535),  and  as  the 
phrase  is  in  no  sense  a  rendering  of  the  Hebrew 
words,  which  literally  are  'Let  the  king  live,' 
it  seems  to  follow  that  the  phrase  must  have 
been  employed  in  the  translation  as  one  fiuniliar 
to  English  readers.  Mr.  Froude  has  also  quoied  a 
watchword  of  the  navy  as  earlyas  1545 — 'Grodsave 
the  king,*  with  the  countersign  'I^g  to  reign 
over  us'  (Hist.  chap.  22).  'Grod  save  King 
James'  is  the  refiuin  of  a  ballad  of  1606;  and 
God  save  Charles  the  king.  Our  royal  Roy,  Grant 
him  long  to  reign.  In  peace  and  joy,'  is  the  open« 
ing  of  another  ballad  dating  probably  from  1645. 

Both  words  and  tune  have  been  considerably 
antedated.  They  have  been  called  'The  very 
words  and  music  of  an  old  anthem  that  was  sung 
at  St.  James's  Chapel  for  King  James  the 
Second'  (Victor's  letter,  Oct.  1745).  I>r.  Ame 
is  reported  to  have  said  that  it  was  a  received 
opinion  that  it  was  written  for  the  Catholic 
Chapel  of  James  II.  This  is  the  date  given  it 
by  Bumey  in  Bees's  Cydopeedia  (Chi^pell,  694% 
and  Dr.  Benjamin  Cooke  had  heard  it  sung  (o 
the  words  'Great  Junes  our  King.'  But  Dr. 
O>oke  was  not  bom  till  1734,  and  his  'James' 
must  have  been  (James  III. )  the  Pretender.  And 
as  to  the  Catholic  Chapel  of  James  11,  to  have 
been  sung  there  it  must  surely  have  been  in 
Latin,  of  which  certainly  no  traces  are  fonnd. 

Lully's  ( 1 633-8  7)  claim  to  the  'God  save,'  some- 
times put  forward,  rests  on  the  'Souvenirs  de  la 
Marquise  de  Cn^qui,'  which  is  now  known  to  be 


GOD  SAVE  THE  KING. 

%  mere  modem  firiion.  The  tune  however  quickly 
crossed  the  Channel.  It  is  found  in  'La  Lire 
Ma^onne . . .  de  VignoUes  et  du  Bois ...  a  la  Haye* 
as  early  as  1766,  and  it  is  worth  noting  that  ^the 
first  bar  has  there  taken  its  present  form,  and 
that  the  doee  is  as  follows  :— 


GOLDMABE. 


607 


F* 


£ 


3 


1 


It  was  employed  as  the  Danish  National  Air,  to 
words  which  afterwards  became  'Heil  dir  im 
Si^erkranzl*  (Flensburger  Wochenblatt,  Jan. 
27,  1790.)  As  a  Berlin  'Volkslied*  the  words 
first  appeared  in  the  '  Spenersche  Zeitung/  Dec. 
17,  1793,  and  both  words  and  music  have  since 
become  ihe  Prussian  and  German  National  Air. 
Mr.  Chappell  has  quoted  more  than  one  addi- 
tional occasional  stanza  as  well  as  parody  of 
'God  save  the  King.'  But  perhaps  none  are  so 
curious  as  the  extra  stanza  which  is  said  to  have 
been  sung  at  Calais  at  the  banquet  given  in 
honour  of  the  Duke  of  Clarence,  when,  as  Lord 
High  Admiral  of  England,  he  took  Louis  XYIIL 
acrofls  the  Channel : — 

Ood  tare  noble  Gluenoe, 
Wlio  brings  her  king  to  FitiUM^ 

Ood  nve  Clarence  I 
He  maintains  the  g^rj 
Of  the  British  navy, 
O  God  make  him  hs^ypvl 

God  save  Clarence  I 

The  tune  was  a  great  favourite  with  Weber. 
He  has  introduced  it  into  his  Cantata  'Elampf 
imd  Sieg'  (No.  9)  and  his  '  Jubel  Overture/  and 
has  twice  harmonised  it  for  4  voices— in  D  and 
Bb  (both  MS.— Jahns,  Nos.  247,  271).  With 
Beethoven  it  was  at  least  equally  a  favourite.  He 
wrote  7  variations  on  it  for  Piano  (in  C;  1804), 
and  has  introduced  it  into  his  Battle  Symphony ; 
and  k  propos  to  the  latter  the  following  words 
are  found  in  his  journal :  '  I  must  shew  the 
English  a  little  what  a  blessing  they  have  in 
God  save  the  King*  (Nohl,  ' Beethoven-Feier/ 
P-  55)-  Our  own  Attwood  harmonised  it  in 
his  anthera  'I  was  glad*  for  the  coronation  of 
George  IV,  as  he  did  '  Rule  Britannia  *  for  the 
coronation  of  William  IV. 

Since  these  pages  were  in  print  Mr.  Cummings 
has  published  an  investigation  of  the  subject  in 
the  Musical  Times  (March  to  Au^st,  1878) 
more  complete  than  any  preceding  it.  I  have 
only  been  able  to  avaU  myself  of  his  copy  of 
Boirs  Ayre,  and  must  refer  my  readers  to  the 
Musical  Times  for  the  rest.  [G.] 

CrOETZ,  Hermann,  bom  at  KSnigsberg,  Dec. 
17,  1840,  died  at  Hottingen,  Zurich,  Dec.  3, 
1876,  a  composer  of  some  performance  and 
greater  promise.  Though  evidencing  great 
mugical  ability  at  an  early  age,  he  did  not 
receive  any  regular  instruction  till  he  was  17. 
After  passing  some  time  at  the  University  of 
Konigsbeig,  he  at  length  decided  on  a  musical 
career,  and  placed  himself  at  the  school  of  Stein 
at  Berlin,  where  he  was  the  pupil  of  Billow  in 
p'aying  and  TJlridi  in  composition.  In  63  he 
succeeded  Kirchner  as  organist  at  Winterthur, 

I  ir  ttw  tana  Is  alike  In  the  lit  and  ted  aTnOedltloM.  SeeTaiipwt 
tnHas.WoeheDblatt.Aus.81.18n.  I 


supporting  himself  also  by  teaching,  and  em- 
bracing any  musical  wt>rk  that  fell  in  his  way. 
Meantime  he  was  engaged  in  the  composition 
of  an  opera  adapted  by  J.  V.  Widmann  from 
The  Taming  of  the  Shrew,  and  entitled  'Der 
Widerspanstigen  Zahmung.*  It  was,  after  much 
delay  and  many  disappointments  (not  unnatural 
with  the  first  work  of  an  unknown  composer), 
produced  at  Mannheim  Oct.  11,  1874.  Its 
success,  however,  was  great  and  rapid ;  it  was 
played  at  Vienna  (Feb.  75),  Leipzig,  Berlin, 
and  a  dozen  other  towns  in  Germany,  and  has 
recently  (1878)  been  published  in  English  (Auge- 
ner.  For  a  full  analysis  of  the  work  see  the 
M.  Mus.  Record  for  1878).  It  was  followed  by  a 
Symphony  in  F,  also  successful,  and  by  a  second 
opera^  'Franceeca  di  Bimini*  (Mannheim,  Sept. 
30, 1877).  This,  however,  was  not  finished  when 
its  author,  long  a  prey  to  ill  health,  died,  as  al- 
ready stated.  The  first  two  acts  were  finished, 
and  the  third  fully  sketched ;  it  has  been  com- 
pleted, in  compliance  with  Goetz*s  last  request, 
by  his  friend  Franck,  and  produced  at  Mann- 
heim, Sept.  30,  1877.  Besides  the  above  works 
Goetz  has  published  a  P.  F.  trio,  a  quartet,  and 
various  Pianoforte  pieces.  [G.] 

GOLDBERG,  Johakn  Gottlixb*,  the  dates 
and  places  of  whose  birth  and  death  are  un- 
known, was  a  pupil  of  Sebastian  Bach,  and 
one  of  the  most  remarkable  players  on  davier 
and  organ  of  the  middle  of  the  18th  century. 
He  was  brought  to  Bach  from  Konigsberg  by 
Count -Kaiserling,  the  Russian  ambassador,  ii 
whose  establishment  he  appears  to  have  be^  a 
member.  Bach  held  him  up  as  his  cleverest  and 
most  industrious  pupil,  and  with  reason,  for  to 
immense  executive  power  he  joined  an  extra- 
ordinary facility  of  improvisation,  and  of  playing 
the  most  difficult  music  at  sight.  His  works  (as 
named  by  Gerber)  are  not  important,  and  remain 
in  MS. : — ^a  Motet  and  a  Psalm  for  voices  and 
orchestra ;  Preludes  and  Fug^ues ;  24  Polonaises 
with  Variations ;  a  Concertos ;  a  Sonata,  and  a 
few  Trios  for  Ilute,  Violin,  and  Bass — all  ex- 
hibiting a  certain  melancholy,  and  strong  indi- 
viduality. During  the  Seven  Years  War  (1756^ 
63)  he  was  *Kammer*musikus*  to  Count  JBriihL 
I^Mch^s  Thirty  Variations  were  written  for  GU)ld- 
berg  at  the  request  of  Count  Kaiserling  (in 
exchange  for  a  golden  goblet  and  too  louis  d*or), 
and  he  was  accustomed  to  play  them  nightly  to 
the  Count  to  lull  him  to  sleep.  They  are  some- 
times known  as  the  Groldberg  Variations.       [G.] 

GOLDMARK,  Karl,  bom  May  18,  183a,  at 
Keszthely  on  the  Flatten  See,  Hungary,  of 
Hebrew  parents.  Was  a  pupil  of  Jansa,  the 
violinist,  at  Vienna,  and  in  47  entered  the 
Violin  and  Harmony  classes  of  the  Conservato- 
rium  there.  His  studies  however  were  inter- 
rupted by  the  revolution  of  48,  and  he  probably 
owes  more  to  his  own  perseverance  than  to  the 
schools.  Since  that  time  he  has  been  chiefly  in 
Vienna,  excepting  a  short  residence  at  Peeth. 
Hellmesberger  acted  as  a  good  friend,  and  gave 


s  Then 

T60t» 


to  be  lome  naoertalDtr  whether  theee 


are 


608 


GOLDMARK. 


GOMBERT. 


him  opportunities  of  hearing  his  chamber  music 
performed,  and  he  produced  orchestral  and  choral 
works  at  various  concerts  on  his  own  account. 
His  overture  Sacuntala,  his  grand  opera  Die 
Konigin  von  Saba,  produced  at  Vienna  March 
lo,  1875,  and  more  recently  his  so-called  sym- 
phony 'Die  landliche  Hochzeit'  (the  country 
wedding^  have  been  much  played,  and  have  given 
Groldmitfk  a  more  or  less  European  reputation. 

He  has  published  several  overtures  and  a 
Scherso  for  Orchestra,  a  quintet  and  a  quartet 
for  Strings,  Pianoforte  pieces,  and  various  Songs. 
The  *Coimtry  Wedding*  was  played  by  Charles 
Halle  at  Liverpool  Nov.  37,  1877,  and  at  the 
Ci^stal  Palace  March  a,  1878.  [6.] 

GOLDSGHMIDT,  Orro,  pianist,  composer, 
and  conductor,  bom  Aug.  21,  1829,  at  Hambuig, 
where  his  father  and  grandfihther  resided  as  mer- 
chants; studied  the  piano  and  hannony  under 
Jacob  Schmitt  and  F.  W.  Grund.  At  the  age 
of  14  he  entered  the  Leipzig  Conservatorium, 
•where  amongst  his  fellow  students  were  Joachim 
and  von  Billow.  From  1 843  to  46  he  studied  the 
piano  and  composition  as  a  pupil  in  Mendels- 
Bohn*s  dasa,  In  1848  ho  was  sent  to  Paris,  with 
the  view  of  continuing  his  studies  under  Chopin, 
whose  acquaintance  he  made,  and  was  present 
at  the  last  concert  given  by  him  in  the  Salle 
PleyeL  He  came  to  England  in  1848,  and 
in  the  following  year  played  at  th«  Musical 
Union,  and  at  a  concert  of  Mile.  Lind's  at  H.  M. 
Theatre.  In  185 1  he  went  to  America^  snooeed- 
ing  Mr.  Benedict  as  conductor  of  a  series  of 
oonoerts  given  by  Mile.  Lind.  He  mazxied  that 
lady  at  Boston,  XJ.S.A.,  on  Feb.  5,  1852.  From 
52  to  November  55  he  and  his  wife  resided  at 
Dresden,  and  anoe  58  have  lived  in  or  near 
London.  He  conducted  the  FesCivalB  held  at 
DUsseldorf  and  Hamburg  in  1863  and  66,  and  in 
63  was  appointed  Vice-Principid  of  the  Royal 
Academy  of  Music,  then  presided  over  by  Sir 
Stemdale  Bennett,  with  vniom  he  edited  'The 
Chorale  Book  for  England,'  a  collection  of 
Chorales  set  to  translations  of  German  hymns 
by  Miss  C.  Winkworth  (Longmans,  1863).  He 
composed  the  Oratoiio  '  Ruth '  for  the  Hereford 
Festival  of  1867,  and  it  was  subsequently  per- 
formed in  London,  Dusseldort  and  Hamburg. 
He  wrote  additional  accompaniments  for  Han- 
del's 'Allegro*  and  'Penseroso,*  as  well  as  for 
the  'Ode  to  St.  Cecilia's  Day,*  and  introduced 
these  works  tor  the  first  time  in  their  entirety  to 
English  and  German  audiences  since  Handel's 
death.  In  1875  the  Bach  (}hoir,  an  association 
of  amateurs,  was  formed  under  his  direction.  At 
its  first  concert  on  April  26,  76,  Bach's  Mass  in 
B  minor,  with  additional  accc«npaniments  by  Mr. 
Goldschmidt,  was  performed  for  the  first  time  in 
England.  The  marked  success  of  that  perform- 
ance, and  the  subsequent  prosperity  of  the  (}hoir, 
are  due  in  a  large  measure  to  the  earnestness  and 
devotion  of  the  conductor.  Besides  his  Oratorio 
Mr.  Goldschmidt  has  published  a  Pianoforte  Con- 
certo; a  ditto  IVio;  Pianoforte  Studies;  Songs, 
and  Part-songs.  In  1861  he  was  elected  Hono- 
rary Member  of  the  Philharmonic  Society,  in  64 


a  Member  of  the  Swedish  Royal  Academy  of 
Music  and  in  76  the  King  of  Sweden  oooDand 
on  him  the  Royal  Order  of  Wasa.  [A.D.C.] 

GOLDWIN,  John,  was  a  pupfl  of  Dr.  Wflliim 
Child.  On  April  12,  1697,  he  was  appointel 
successor  to  his  master  as  organist  of  St.Geor^'e'i 
Chapel,  Windsor.  In  1 703  he  became  abomaettf 
of  the  choristers.  He  died  Nov.  7,  1719.  Hii 
Service  in  F  is  printed  in  Arnold's  Catbednl 
Music,  and  Boyce  and  Page  also  printed  soax 
of  his  anthems ;  others  remain  in  MS.  in  Tmi- 
way  and  at  Ely  Cathedral,  where  he  is  entered 
as  Goiding.  'I  have  set  C^od — Goldwin'  ii  » 
very  favourite  little  anthem  at  catfaedrala, 
melodious  and  agreeable.  \W.  H.  H.] 

GOLTERMANN,  Gsobo  Eduabd,  a  player 
and  composer  on  the  cello  of  some  emineooe, 
whose  name  is  occasionally  seen  in  oonoert  pro> 
grammes,  bom  in  Hanover  1825,  and  educated 
there  and  in  Munich.  He  has  held  posts  in 
Wflrzburg  and  in  Frankfort,  where  he  is  now 
residing,  and  where  on  May  I,  1878,  he  cele- 
brated his  25th  anniversary  as  conductor.  Hu 
concerto  and  other  ^sontributiona  to  the  repertoire 
of  the  cello  mps  of  value,  since  though  not  of  great 
originality  they  aie  thoroughly  well  written  fcr 
the  instrument,  pleasing,  and  effectiTe.  Another 
Goltermann — LoOiB,  born  also  in  1825,  but  in 
Hamburg,  and  apparently  no  relation  to  the 
former — was  for  some  time  Professor  of  the  C^ello 
at  Prague  and  afterwards  a  member  of  the  court 
band  at  Stuttgart.  [G.] 

(K)MBERT,  NiooLAS,  one  of  the  most  im- 
portant and  prolific  composers  of  the  1 6th  century, 
was  bom  at  Bruges,  as  we  leam  from  the  title- 
page  of  his  motets,  and  was  attached  to  the 
service  of  Charles  V,  though  in  what  exact  ca- 
pacity is  not  known.  That  Josquin  was  his  master 
is  testified  by  Hermann  Finck  in  his  'Practica 
Musica,*  and  M.  F^tis  has  given  ns  the  quotation 
fh)m  the  copy  of  this  rare  work  in  his  posBession. 
'  Nostro  vere  tempore'  (the  book  was  publidied 
in  1556)  'novi  sunt  inventores,  in  quibus  est 
Nicolaus  Qombert,  Jusquini  pm  memorie  disci- 
pulus,  qui  omnibus  musicis  ostendit  viam,  imo 
semitam  ad  qusrendas  fiigas  ac  subtilitatem,  ac 
est  author  musioes  plane  diversse  a  superiori.  Is 
enim  vitat  pausas,'  et  illius  oompositio  est  plena 
cum  ooncordantiarum  tum  fugarum.*  Gombert 
set  to  music  a  poem  by  Avidius  on  the  death 
of  Josquin,  which  was  also  set  by  Benedictua 
Bumey  gives  us  the  music  of  this,  but  'after 
performing  the  tedious  task  of  scoring  the 
setting  by  Gombert,  found  its  chief  merit  to 
consist  in  imitations  of  his  master.'  A  great 
merit  nfsvertheless,  for  Gombert,  a  mere  lad 
when  Josquin  died,  persevered  in  his  imitationi 
so  successfully  that  he  not  only  came  to  be 
looked  upon  as  his  master's  greatest  pupil*  but 
was  able  in  due  time,  and  when  his  own  genius 
became  mature,  to  engrave  his  name  on  a  separate 
link  in  the  chain  of  musical  history.  In  the 
hands  of  his  predecessors,  in  Joaquin's  especially, 


>  TlM  totrodnotlon  of  freqaent  pMi.««  had  baeooM  v«r  eoauroo  la 
■aria  FblUpBulroiibenMiredfBrRMDSfivtotlili'iMUowbM 
foUy  *  OBnraw.  rol.  U.  p.  SS3). 


GOMBERT, 

nmtrapantal    skill  had  already  become  bubser- 
rient  to  the  beauty  of  the  musio.     A  further  im- 
>rovezneiit  -waM  making  itself  visible  in  the  art. 
J^^mpoeers  began  more  and  more  to  vary  the  cha- 
tu.'ter  of  their  musio  according  to  the  subject  of 
he  words.    Xo  one  worked  with  this  end  more  in 
riew  than  Gombert,  and  nothing  helped  him  so  | 
uuch  as  the  increasing  love  for  secular  chamber  ' 
uusic.     Musicians  of  his  time,  far  from  looking 
lawn  upon  secular  music,  were  banning  to  make 
i  one  of  their  great  specialities.    It  gave  them 
full  scope  for  Uieir  fancy,  they  were  hampered 
bj  no  prescribed  forms,  they  had  no  prejudices 
to  overcome.     It  gave  them  free  access  and  wel- 
come into  half  the  educated  homes  in  Europe. 
Oonibert   seems  to  delight  in  it.     He  chooses 
the  prettiest  pastoral  subjects,  and  sets  them  to 
descriptive  music,  and  while  the  birds  are  dis- 
courang  the  pleasures  of  Spring  in  notes  imitating 
their    natural    language,   while    shepherd    and 
shepherdess  sing  of  love  and  the  wolf  meantime 
attacks   their  flock,   or  while  all   the  stirring 
iocidents  of  the  'chasse  k  courre*  are  vividly 
depicted  to  us,  there  is  no  extravagance,  only  the 
auuple  happy  treatment  which  our  own  Haydn 
or  Mozart  would  have  employed  when  in  such 
a  mood.     Gombert*s  love  for  nature  is  apparent 
in  the  very  titles  of  his  songs — '  En  ce  mois 
dtlideux*;    'Joyeux  verger*;    'Le  chant   des 
oi^aux';    *'L*6{6  chaud  bouilloit';    'Je  m'en 
vois  au  vert  bois,'  etc.     His  power  of  description 
he  carries  into  all  the  higher  forms  of  his  art, 
and  his  motets  and  psalms  were  not,  in  their  time, 
surpassed  for  the  wonderful  manner  in  which  the 
noble  music  blends  itself  with  the  ideas  the 
woTxis  convey.     Gombert  has  had  one  piece  of 
g>>od  fortune  in  the  last  three  centuries,  of  which 
few  of  his  contemporaries  can  boast.    One  of  his 
motets,  the  '  Pater  Noster,*  has  been  performed. 
M.  Fetis  tells  us  of  the  profound  impression  it 
created  on  the  Paris  audience  at  one  of  his 
historical  concerts. — Eitner's  Bibliographie  der 
Musik-Sammelwerke  (Berlin,   1877)  mentions 
nearly  250  of  Gombert's  compositions,  printed  in 
upwards  of  90  different  collections  between  1529 
*°d  1573.    A  single  motet,  'In  nomine  Jesu,' 
printed  26  years  before  any  of  these  under  the 
name  Gompert  in  the  Motetti  B  (Venice,  Pe- 
trucci,  1 503)  must  surely  be  the  work  of  another 
composer.  [J.R.S.B.] 

GrOMEZ,  A.  Carlos,  a  Portuguese  by  parent- 
age and  a  Brazilian  by  birth,  was  bom  at  Gom- 
pinos  July  II,  1839,  was  sent  to  Europe  by  the 
£mperor,  and  received  his  musical  education  at 
the  Conservatorio  of  Milan.  His  d^ut  as  a 
composer  was  made  at  the  Teatro  Fosaati  in 
iiSL  67  in  a  little  piece  called  'Se  sa  minga,* 
which  had  a  remarkable  success.  His  next  was 
'II  Guarany,'  produced  at  La  Scala  March  19, 
1^70,  and  shortly  after  brought  out  at  Genoa, 
Florence,  and  Bome.  In  this  country  it  was 
first  performed  on  July  13,  1872,  at  Covent 
Quden.  This  was  followed  by  'Fosca*  at  the 
^la,  which  was  unsuccessful;  and  that  by 
'^vator  Rosa'  (Genoa,  Feb.  21,  74).  again 
Tmsaccessful.    Besides  these  operas  Seuor  Gomes 


(JOODGEOOME. 


609 


composed  an  ode  entitled  '  II  Saluto  del  Brasile,' 
which  was  performed  in  the  Exhibition  Building 
at  Philadelphia  in  1876.  Gomez's  music  is  full 
of  spirit  and  picturesque  effect,  and  is  therefore 
popular,  but  it  is  wanting  in  originality,  and  too 
obviously  indebted  to  Verdi  and  Meyerbeer. 
The  best  parts  of  II  Guarany — a  Brazilian  story— 
are  said  to  have  peea,  those  which  are  concerned 
with  native  subjects.  [G.] 

GrONG.  (Fr.  Tam-iam,  from  the  Indian  name.) 
This  is  a  Chinese  instrument,  made  of  bronze  (80 
copper  to  20  tin) ;  in  form,  a  thin  round  plate 
with  the  edges  turned  up,  like  a  shallow  sieve 
or  tambourine.  It  is  struck  with  a  stick,  ending 
in  a  large  padded  leather  knob.  The  effect  pro- 
duced is  an  awful  crash  or  clang,  which  adds  con- 
siderably to  the  horrors  of  a  melodramatic  scene. 
Meyerbeer  has  even  used  it  pianissimo  with  the 
orchestra,  in  'Robert  le  Diable*  (scene  of  the  re- 
surrection of  the  nuns) ;  and  Cherubini  has  one 
stroke  of  it  in  lus  Requiem  in  G  minor,  absolutely 
solo  (Dies  ir»,  bar  7).  If  a  long-continued  and 
loud  noise  is  desired,  it  should  first  be  struck  very 
gently,  and  the  force  of  the  stroke  gradually  in- 
creased until  the  effect  becomes  almost  terrific. 

It  is  a  remarkable  property  of  the  alloys  of 
copper  and  tin,  that  they  become  malleable  by 
b^ing  heated  and  then  plunged  into  cold  water. 
Gongs  are  thus  treated  after  being  cast,  and  are 
then  hammered.  This  was  a  secret  in  Europe 
until  found  out  some  years  ago  by  M.  d'Arcet, 
an  eminent  French  chemist.  [V,  de  P.] 

GOOBBAN,  Thomas,  was  bom  at  Canterbury 
about  1 780.  His  mother  was  a  vocalist,  and  hik 
father  combined  the  three  qualifications  of  violin- 
ist, lay  vicar  of  the  cathedral,  and  host  of  the 
Prince  of  Orange  tavern,  where  in  1 779  he  founded 
the  Canterbury  Catch  Club.  At  seven  years  old 
Goodban  became  a  chorister  of  the  cathedral 
under  Samuel  Porter.  After  leaving  the  choir 
he  was  placed  in  a  solicitor  s  office,  but  on  his 
father's  death,  about  1798,  changed  the  legal 
profession  for  that  of  music.  In  1809  he  was  ap- 
pointed a  lay  clerk  in  the  cathedral,  and  in  18 10, 
on  the  retirement  of  his  cousin,  Osmond  Saffrey> 
was  made  leader  and  director  of  the  Catch  Club. 
In  1 81 9  the  members  of  the  dub  presented  him 
with  a  silver  bowl  and  salver  as  a  token  of  esteem. 

Goodban  was  author  of  some  instruction  books 
for  the  violin  and  pianoforte,  and  of  '  The  Rudi- 
ments of  Music,*  published  about  1825,  a  work 
once  highly  popular.  He  was  also  the  inventor 
of  a  'Musical  Game*  for  imparting  elementary 
instruction,  and  of  *  Musical  Cards  for  teaching 
the  theory  of  music.  He  died  in  his  79th  year. 
May  4,  1863,  leaving  three  sons,  all  members 
of  the  musical  profession,  viz.  Charles,  Mus. 
Bac.  Oxon.  (now  retired  from  practice),  Henby 
William,  violoncellist,  and  Thouas,  viola-player. 
His  nephew,  James  Fbedebic,  is  a  violinist,  aud 
organist  of  St.  John's,  Paddington.      [W.  H.  H.] 

GOODGROOME,  John,  bom  about  1630, 
was  a  chorister  in  St.  George*s  Chapel,  Windsor. 
On  the  acoebsion  of  Charles  II  in  1660  he  was 
appointed  aGrentlemanof  the  Chapel  Royal|  and  on 

Rr 


610 


G00D6R00MB. 


Nov.  a8,  1664,  on  the  deaih  of  Piiroell'8  &tlier, 
waa  made  Mumcian  in  Ordinary  to  the  King. 
He  composed  several  songs,  some  of  which  ap- 
peared in  'The  Treasury  of  Masick/  1669,  and 
died  June  a 7,  1704.  A  John  Goodgroome, 
probably  his  son,  was  organist  of  St.  Peter's, 
Comhill,  about  1725.  Theodore  Groodgroome, 
the  singing-master  of  Samuel  Pepys  and  his  wife, 
was  probably  his  brother.  [W.  H.  H.] 

GOOBSON,  BiCHABD,  MuB.6ac.,  on  July  19, 
1682,  succeeded  Edward  Lowe  as  organist  of 
Christ  Church,  Oxford,  and  Professor  of  Music 
in  the  University.  Some  Odes  composed  by  him 
for  performance  at  the  Acts  at  Oxford  are  still 
extant.  He  died  Jan.  13,  171 8.  His  son, 
BiOHARD,  Mus.  Bac.,  was  the  first  orsanist  of 
Newbuiy,  to  which  post  he  was  appointed  August 
34,  1709.  He  graduated  Mus.  Bac.  March  i, 
1 716.  On  the  death  of  his  father  he  succeeded 
him  in  both  posts,  and  was  also  organist  of  New 
College.    He  died  Jan.  9, 1 74 1 .  [W.  H.  H.] 

GOBDIGIANI,  Luioi,  the  son  of  one  musician 
(Antonio)  and  the  younger  brother  of  another 
(Giovanni  Battista),  has  been  called  the  Italian 
Schubert.  He  was  bom  at  Modena  June  21, 
1806.  His  musical  education  was  most  desul- 
tory, but  his  talent  was  great,  and  while  still 
in  his  teens  he  had  written  thi^  Cantatas.  In 
1820  his  fftther  died,  and  he  was  forced  to 
make  a  living  by  writing  pianoforte  pieces  under 
such  German  noiM  de  plume  as  Zeuner  and 
Von  Fiirstenberger.  His  start  in  life  was  due 
to  two  Bussian  princes,  Nicholas  Demidoff  and 
Joseph  Poniatowski,  Uie  latter  of  whom  not 
only  furnished  him  with  the  libretto  of  an  opera, 
'FUippo,'  but  himself  acted  in  it  with  his  wife 
and  brother  at  the  Standish  Theatre,  Florence, 
in  1840.  Between  the  years  1835  and  1849 
Grordigiani  composed  or  produced  nine  other 
operas,  all  at  different  theatres  in  Florence.  But 
it  is  by  his  'Canzonette*  and  'Canti  popular!* 
for  voice  and  piano  that  he  will  be  remembered — 
delicious  melodies,  of  a  sentimental,  usually 
mournful,  cast,  in  the  taste  or  on  the  actual 
melodies  of  old  Italian  national  tunes,  and  often 
set  to  words  of  his  own.  They  are  more  than 
300  in  number,  and  were  published  in  parts, 
usually  of  8  or  10  each,  with  characteristic 
titles — 'In  cima  al  monte';  'Le  Farfalle  di 
Firenze' ;  '  In  rival  al  Amo' ;  '  Mosaico  Etrusco,' 
etc.  They  have  been  republished  everywhere  and 
in  all  languages.  He  also  published  a  collection 
of  Tuscan  airs  with  accompaniments  in  3  books. 
Gordigiani  was  odd  and  fantastic  in  manners  and 
disposition.    He  died  at  Florence  in  i860.     [G.] 

GOBDON,  John,  the  son  of  an  eminent  watch- 
maker of  the  same  names,  was  bom  in  the  parish 
of  St.  Martin,  Ludgate,  March  26,  1702.  He 
was  admitted  a  foundation  scholar  at  West- 
minster, and  elected  thence  to  Cambridge,  where 
he  became  pensioner  of  Trinity  College  June  18, 
1720.  In  1 72 1  he  obtained  a  scholarship  in  the 
same  college.  He  left  Cambridge  June  i,  22,  and 
returned  to  London  to  study  law,  in  view  of  which 
he  had  on  Nov.  9,  18,  entered  as  a  student  at 


GOSS. 

Gray*8  Inn.  On  Jan.  16,  33,  he  was  elected  Pro- 
fessor of  Music  in  Gresham  College,  which  plsce 
had  become  vacant  by  the  death  of  Dr.  Edvard 
Shippen.  On  Feb.  10,  25,  he  was  called  to  the 
bar  at  Gray*s  Inn,  but  continued  to  hold  his  pro- 
fessorship till  his  death,  Dec.  12, 1739.  [W.H.H.] 

GOBDON,  W.,  a  Swiss  of  English  deeoeot, 
bom  about  the  end  of  the  i8th  century.  In  his 
youth  he  studied  music  as  an  amateur,  and  wu 
a  pupil  of  Drouet,  the  celebrated  flutist.  Aft» 
the  fall  of  the  first  French  Empire  he  obtained 
a  captain's  commission  in  one  of  the  regimento 
of  Swiss  Guards  in  Paris.  In  18  26  he  began  hie  im- 
provements in  the  construction  of  the  flute.  Tbe 
Swiss  Guards  being  disbanded  after  the  revolnckii 
of  1830,  Gordon  devoted  his  whole  attention  10 
his  &vourite  object.  In  1 833  he  went  to  Mtmidi, 
where  he  had  some  flutes  made  on  a  novel  plan. 
He  circulated  prospectuses  of  his  invention  in 
Germany,  Paris,  and  London.  He  came  to  Lon- 
don in  the  hope  of  finding  a  large  demand  for 
his  instruments,  but  was  doomed  to  disappoint- 
ment, and  retiimed  to  Lausanne.  In  1836  be 
became  deranged,  and  (with  the  exception  oi  a 
short  interval  in  1839)  remained  so  un^  his 
death.  His  modifications  were  carried  out  by 
Boehm,  and  sesulted  in  the  flute  which  bean 
that  name.  [Boehm;  Flute,  5366.]  [W.RH.] 

GOBGHEGGI.    [See  Solfeooi.] 

GOSS,  John  JsBEinAH,  bom  at  Salisbury  in 
1770,  received  his  musical  education  as  a  chorister 
of  the  cathedral  there,  of  which  he  subsequently 
became  a  lay  vicar.  On  Nov.  30,  t8o8,  he  was 
appointed  a  gentleman  of  the  Chapel  Boyal,  and 
about  the  same  period  obtained  the  places  of 
vicar  choral  of  St.  Paurs  Cathedral  and  lay  ^icar 
of  Westminster  Abbey.  His  voioe  was  a  pore 
alto  of  beautiful  quality,  and  his  skill  and  taste 
in  part-singing  remarkable.  He  was  for  many 
years  the  principal  alto  at  the  Meetings  of  tbe 
Tniree  Choirs.   He  died  in  May  1817.  [W.H.H.] 

GOSS,  Sib  John,  Knight,  Mus.  Doc,  son  of 
Joseph  Goes,  organist  of  Fareham,  Hants,  wbere 
he  was  born  in  1800.  In  181 1  he  became  one 
of  the  children  of  the  Chapel  Boyal  under  Jobn 
Stafford  Smith,  and  on  leaving  the  choir  becanie 
a  pupil  of  Attwood,  under  whom  he  completed 
his  musical  education.  About  1824  he  was  ap- 
pointed organist  of  the  new  church  of  St.  Luke, 
Chelsea^  and  in  38  succeeded  Attwood  as  or- 
ganist of  St.  Paul's  Cathedral.  On  the  death 
of  William  Knyvett  in  56  Gobs  was  appointed 
one  of  the  composers  to  Uie  Chapel  Boyal.  He 
was  knighted  in  187a,  and  shortly  afterwards 
resigned  his  appointment  at  St.  Paul's.  He 
graduated  as  Doctor  of  Music  at  Cambridge 
in  1876.  Goss*s  compositions  consist  of  serrioes 
and  anthems,  chants,  psalm-tunes,  glees,  songs, 
orchestral  pieces,  etc.  Of  his  anthems  the  best 
known  are  '  If  we  believe,*  written  for  the  funeral 
of  the  Duke  of  Wellington ;  '  Praise  the  Lord, 
O  my  soul,*  composed  for  the  bicentenary  festi^'sl 
of  the  Sons  of  the  Clergy ;  *  The  wilderness' ;  and 
*The  Lord  is  my  strength,'  composed,  together 
with  a  '  Te  Deum,*  for  Uie  Thank^igiying  for  the 


QOSS. 


GOSSEC. 


611 


recoTciy  of  the  Prince  of  Wales  (Feb.  27,  187a). 
Of  his  gieeBj  *  There  ia  beauty  on  the  mountain  * 
is  a  cbazTxiing  specimen  of  truly  graceful  com- 
position. In  1833  he  published  'An  Introduction 
to  Harmony  and  Thorough-bass/  a  second  edition 
of  which  appeared  in  1847,  and  which  has  now 
reached  a  13th  edition.  In  1841  he  edited  a 
collection  of  'Chants,  Ancient  and  Modem*; 
and  in  1 8  the '  Church  Psalter  and  Hymnbook/ 
in  conjnnction  with  the  Bev.  W.  Mercer.  He 
also  published  'The  Organist's  Companion,'  a 
aeries  of  voluntaries  and  interludes,  besides  other 
works.  His  music  is  always  melodious  and  beau- 
tifully  -written  for  the  voices,  and  is  remarkable 
for  a  union  of  solidity  and  grace,  with  a  certain 
unaffected  native  charm  wMch  ought  to  ensure 
italon^life.  [W.H.H.] 

GOSSEC  (so  pronomiced),  Fbaki^is  Joseph, 
bom  Jan.  17,  1733,  at  Vergnies,  a  village  in 
Belgian  Hainault,  5  miles  firom  Beaumont.     He 
was  the  son  of  a  small  fiinner  whose  name  is 
spelt  Goss^,  Gossez,  and  Cosset,  in  the  registers 
of  his  native  place.     From  early  childhood  he 
showed  a  decided  taste  for  music,  and  thero  is  a 
storv  that  while  herding  the  cows  he  made  himself 
a  fiddle  out  of  a  sabot  with  strings  of  horse-hair. 
He  was  always  particularly  fond  of  the  violin, 
and  studied  it  specifically  after  leaving  the  cathe- 
dral of  Antwerp,  of  which  he  was  a  chorister 
till  the  age  of  15.    In  1 751  he  came  to  Paris,  and 
was  fortunate  enough  to  make  the  acquaintance  of 
Kameau,  and  to  b^xmie  conductor  of  the  private 
band  which  was  maintained  by  the  Fermier- 
g^n^ral  La  Popelinibro  for  the  express  purpose 
of  trying  the  new  works  of  his  prot^  and  friend 
ihe  author  of  '  Castor  et  Pollux.'     It  was  while 
conducting  these  performances,  and  observing  the 
poverty  of  French  instrum^tal  music,  that  Grossec 
conceived  the  idea  of  writing  real  symphonies, 
a  species  of  composition  tiien  unknown :  his  first 
was  performed  in  1754,  five  years  before  the 
date  of  Haydn's  first.'    It  was  some  time  before 
the  publio  appreciated  this  new  style,  but  his 
quartets,    published    in    1759,   became   rapidly 
popular.     By  this  time  he  was  attached  to  the 
household  of  the  Prince  de  Cond^,  who  gave 
him  tho  opportunity  of  making  himself  known 
both  as  composer  and  conductor.     Under  this 
encouragement  he  entered  upon  the  departments 
of  sacred  and  dramatic  music,  and  quickly  gained 
a  reputation  in  both.    In  his  'Messe  des  Morts,' 
which  made  a  great  sensation  when  first  per- 
formed at  St.  Roch,  1 760,  he  has  produced  an  effect 
which  must  have  been  not  only  quite  new  but 
also  very  mysterious  and  religious,  by  writing  the 
|Tuba  mirum*  for  two  orohestras,  the  one  of  wind 
instruments  concealed  outside,  while  the  strings 
of  the  other,  in  the  churoh,  are  playing  an  accom- 
paniment  pianissimo  and  tremolo  in  the  upper 
registers.     In  his  oratorio  of  'La  Nativity '^  he 
does  the  same  with  a  chorus  of  angels,  which  is 
BUQg  by  an  invisible  choir  at  a  distance. 

1  Th«  dale  of  Haydn'k  flnt  OrBbwtiml  Snapliony,  ftw  2  Vlollnt, 
^iula.  Bus,  2  Obow  and  3  Bonn,  to  17»;  tt  ma  puMUMd  la  17B8. 
»**.  rohl't  Hvdn,  L 198. 283.) 

^  Wcnls  bf  ClmlMBion  d«  Maasite,  fifao  «ad  In  ITBOi 


In  writing  for  the  stage  he  was  less  of  an 
innovator.  He  produced  successively  '  Le  Faux 
Lord*  (1765),  a  three-act  opera,  left  unfinished 
owing  to  the  badness  of  the  libretto ;  '  Les  Pd- 
cheurs'  (1766),  long  and  successfully  performed ; 
'Toinon  et  Toinette'  (1767);  *Le  double  d^guise- 
ment'  (1767),  withdrawn  after  the  first  repre- 
sentation; 'Sabinus'  (1774);  'Alexis  et  Daphn6' 
produced  the  same  night  with  'PhU^mon  et 
Baucis'  (1775);  'La  F6te  de  village,'  inter- 
mezzo (1778);  'Thes^e'  (178s),  reduced  to 
three  acts,  with  one  of  Lully's  airs  retained  and 
re-scored;  'Rosine*  (1786);  'L'OfiTrande  k  la 
liberty'  (Oct.  2,  179a) ;  and  'Le  IViomphe  de  la 
B^publique,  ou  le  Camp  de  Grandpr^'  (Jan.  27, 
1793).  In  the  two  last  works  he  introduced  the 
'Marseillaise,'  with  slight  alterations  in  the  air 
and  harmony,  and  very  telling  instrumentation. 

The  ease  with  which  Gossec  obtained  the 
representation  of  his  operas  at  the  Comedie 
Italienne  and  the  Academic  de  Musique,  proves 
how  great  and  legitimate  an  influence  he  had 
acquired.  He  had  in  fact  founded  tho  '  Concert 
des  Amateurs' in  1770,  regenerated  the  'Concert 
Spirituel'  in  1 773,  organist  the '  ilfecole  de  Chant,' 
the  predecessor  of  the '  Conservatoire  de  Musique,' 
in  1784,  and  at  the  time  of  the  Revolution  was 
conductor  of  the  band  of  the  National  Guard. 
He  composed  many  pieces  for  the  patriotic  fetes 
of  that  agitated  period,  among  which  the '  Hymne 
k  I'Etre  supreme'  and  'Peuple,  r^veille-toi,'  and 
the  music  for  the  funeral  of  Mirabeau,  in  which 
he  introduced  the  lugubrious  sounds  of  the 
gong,  deserve  special  mention.  On  the  founda- 
tion of  the  Conservatoire  in  1795  Gossec  was 
appointed  joint  inspector  with  Cherubim  and 
M^hul,  and  professor  of  composition,  a  post  he 
retained  till  1814,  Catel  being  one  of  his  best 
pupils.  He  wrotia  numerous  'solfi^es/  and  an 
'Exposition  des  principee  de  la  Musique'  for 
the  classical  pubhcations  of  the  Conservatoire. 
He  was  a  member  of  the  Institut  from  its 
foundation  (1795),  and  a  Chevalier  of  the  Legion 
of  Honour  ( 1 80 3).  He  retired  from  his  professor- 
ship in  1 8 15,  but  until  1833  continued  to  attend 
the  meetings  of  the  Academic  des  Beaux  Arts, 
in  which  he  took  great  interest.  He  died  at 
Passy,  where  he  had  long  resided,  Feb.  16,  1839. 

GoBsec's  works  are  both  numerous  and  im- 
portant, and  include,  besides  the  compositions 
alreadv  named,  a6  symphonies  for  full  orohestra, 
one  of  which,  '  La  Chasse,'  suggested  to  M^hul 
his  'Ouverture  du  jeune  Henri ' ;  3  symphonies 
for  wind ;  a  symphonie-concertante  for  1 1  instru- 
ments; overtures;  quartets,  trios,  and  other 
chamber  music ;  masses  with  full  orohestra ;  a 
'Te  Deum,'  then  considered  very  effective; 
motets  for  the  *  Concert  Spirituel,'  including  a 
'Dixit  Dominus'  and  an  'Exaudiat';  several 
oratorios,  among  them '  Saul.'  in  whidi  he  inserted 
an  'O  salutaris'  for  3  voices,  composed  for  Rous- 
seau, Lais,  and  Charon,  during  a  country  walk 
on  Sunday  ;  a  set  of  fate  choruses  for  Racine's 
'Athalie*;  and  finally  a  'Demiere  Messe  des 
Yivants'  (1B13),  and  tiie  ballet  h^rolque  of 
'  Calisto/  neither  of  which  have  ever  been  en- 

Rr2 


612 


GOSSEC. 


graved,  but  form  part  of  the  large  collection  of  his 
autographs  in  the  library  of  the  Conservatoire. 

Gossec's  life  may  be  held  up  as  a  model  to 
young  artists ;  without  money  or  friends,  we  may 
even  say  without  genius,  and  without  the  aid 
of  masters,  he  educated  himself,  and  by  toil  and 
study  attained  the  rank  of  a  classical  composer. 
His  career  presents  one  unfortunate  peculiarity. 
No  sooner  had  he  worked  out  an  original  idea 
than  some  man  of  genius  stepped  forward  and  ap- 
propriated the  ground  he  had  won.  As  a  writer 
of  symphonies  he  saw  his  'Chasse'  and  his  2i8t 
Symphony  in  D  eclipsed  by  those  of  Haydn ;  as 
a  composer  of  sacred  music  he  was  surpassed  by 
Mozart,  in  spite  of  the  long-continued  popularity 
of  his  '  Messe  des  Morts' ;  and  at  the  theatre  he 
was  entirely  thrown  into  the  shade  by  Gretry 
and  Gluck.  In  spite  of  all  this,  however,  the 
French  school  has  good  reason  to  be  proud  of 
him ;  he  was  completely  exempt  from  envy,  and, 
with  a  disinterestedness  truly  praiseworthy,  did 
all  in  his  power  to  promote  the  works  of  his 
great  rivals.  Nature  and  his  many  struggles  had 
made  him  usually  very  reserved,  but  he  could  be 
kind  on  occasion,  as  he  was  to  Mozart  in  1778, 
who  hits  him  off  in  a  line — 'Mein  schr  guter 
Freund  und  sehr  trockener  Mann '  (April  5). 

An  oil-painting  of  him  ornaments  one  of  the 
rooms  in  the  library  of  the  Conservatoire.  There 
is  another  small  portrait  engraved  by  Fremy 
after  Brun,  and  a  marble  bust  by  Caillouetc, 
a  pupil  of  Cartellier.  The  Belgians,  always 
ready  to  show  honour  to  the  illustrious  men  of 
their  own  country,  have  lately  erected  at  Verg- 
nies  a  monument  to  the  memory  of  Gossec,  in 
the  form  of  a"  quadrangular  fountain  surmounted 
by  his  bust.     It  was  inaugurated  Sept.  9,  1877. 

In  England  Gossec  is  almost  entirely  unknown. 
Probably  the  only  piece  published  here  is  the 
'O  Salutaris'  named  above,  and  the  fine  library 
of  the  Sacred  Harmonic  Society  contains  but  one 
of  his  compositions.  [G.C.] 

GOTTERDAMMERUNG.  The  fourth  and 
last  piece  in  Wagner's  '  Ring  des  Nibelungen,' 
first  performed  at  Bayreuth,  Aug.  17, 1876.  [GJ] 

•  GOUDIMEL,  Claude,  a  celebrated  teacher 
and  composer,  bom  at  Vaison,  in  the  neighbour- 
hood of  Avignon,  in  the  early  part  of  the  i6th 
century.  He  betook  himsdif  to  Rome,  and 
opened  a  music  school  there,  numbering  amongst 
his  pupils  such  distinguished  musicians  as  Ani- 
muocia,  Bettini  (called  'il  Fomarino'),  'Alessan- 
dro  della  Viola, '  Nanini,  and,  above  all,  Palestrina. 
Masses  and  motets,  written  at  this  period,  are 
preserved  in  the  Vatican  and  Vallicellan  libraries 
at  Rome.  Eitner's  Bibliographie  der  Musik- 
Sammelwerke  (Berlin,.  187 7)  gives  a  list  of  more 
than  60  compositions  printed  between  the  years 
1549  and  1597.  The  4th  book  '  Ecclesiasti- 
carum  cantionum,*  etc.  (Antwerp,  Tylman  Susato 
1554),  has  a  motet,  'Domine  quid  multiplicati 
sunt,*  which  Bumey  has  printed  in  score  in  his 
History.  In  1555  (^oudimel  appears  to  have  set- 
tled in  Paris ;  and  the  work,  entitled  '  Q.  Horatii 
odae  omnes  ad  rythmos  musicos  redacts,'  is  issued 
in  the  joint  names  of  Duchemin  and  Goudimel. 


GOULDING  &  DALMAINE. 

This  partnership  lasted  for  a  short  time,  probsl^ilT 
only  for  the  purpo«ie  of  bringing  out  this  particular 
work,  for  we  find  in  the  next  year  Duchemin's 
name  alone  on  the  title-page  of  his  pablicatinziii. 
Goudimel  conounenoed  writing  music  to  the  vhole 
psalms  of  David  in  the  form  of  motets,  but  did 
not  live  to  complete  the  work.  He  also  put  mxisk 
to  the  French  metrical  v^^on  of  the  Psalms  of 
Marot  and  Beza,  the  music  being  in  4  parts,  the 
counterpoint  note  against  note,  and  the  meluiy 
in  the  tenor  (Lyons,  Jaqni,  1565).  The  mehy- 
dies  are  those  used  by  Claude  Le  Jeune  in  a 
similar  work,  and  were  probably  of  GenL&Q 
origin.  The  translation  had  not  been  origin&llj 
intended  for  any  particular  religous  sec^  <xr  for 
any  form  of  pubUo  worship.  The  Sorbonne  sav 
nothing  in  it  contrary  to  the  faith,  and  the 
Catholics  at  first  used  it  freely.  It  is  thus 
doubtful  whether  Goudimel*s  work,  which  he 
expressly  states  in  his  preface  is  for  private  use 
only,  is  enough  to  prove  that  he  became  a 
Protestant.  It  is  certainly  not  enough  to  jusdfy 
Hawkins  (Hist.  ch.  88)  in  denying  the  possibility 
of  his  having  Uved  at  Rome  or  having  taught 
Palestrina.  But  Calvin*s  introduction  of  psaJia 
singing  into  the  public  worship  of  his  followers 
stamped  it  as  heretical,  and  Goudimel  fell  a 
victim  to  his  connection  with  it.  He  was  killed 
at  Lyons  in  the  massacre  on  St.  Bartholomew's 
day,  Aug.  24,  1572,  by  'les  ennemis  de  la  g\(me 
de  Dieu  et  quelques  mechants  enyieox  de  Than- 
neur  qu*il  avait  acquis.*  [J.R.S.B.] 

GOULDING  &  DALMAINE.  a  noted  Eng- 
lish  firm  of  music  publishers.  Thomas  Dalmaine, 
late  of  20  Soho  Square,  commenced  his  career  by 
joining  Messrs.  Goulding  and  Phipps,  'Music 
Sellers  to  their  Royal  Highnesses  The  Prince 
and  Princess  of  Wales,*  at  45  Pall  Mali  aod 
76  St.  James's  Street,  about  1800.  Mr.  Goulding, 
however,  was  in  that  line  of  business  in  the  vear 
1794  in  James  Street,  Covent  Garden  (Musical 
Directory  of  that  date).  They  published  songs 
and  ballads  composed  by  Mazzinghi,  Reeve, 
Shield,  etc.  In  1806,  7,  8  we  find  the  firm  at 
124  New  Bond  Street.  In  1809,  on  the 
secession  of  Phipps,  they  removed  to  20  Soho 
Square,  where  they  secured  the  publication  of 
the  works  of  Bishop.  The  house  eventualiy 
became  the  most  prominent  publishing  firm  in 
London  for  the  production  of  works  of  English 
composers,  up  to  about  the  period  when  Auber 
produced  his  opera  'La  Muette'  (Feb.  1828), 
the  publication  of  which  induced  Mr.  Dalmaine 
to  purchase  the  exclusive  publication  for  England 
of  Auber*s  future  works,  though  by  the  decision 
of  the  House  of  Lords  (1854)  he  was  unable  to 
maintain  that  right.  The  firm  did  not  concern 
itself  with  classical  music,  and  although  its  cata^ 
logue  contains  no  less  than  300  pages,  we  look 
in  vain  for  the  great  works  of  Bach,  Beethoves, 
Haydn,  Mozart,  or  Mendelssohn.  Under  the 
management  of  his  nephew  Mackinlay,  Dal- 
maine retired  on  an  annuity  of  £6cx>,  after 
which  the  house  dwindled  down  to  a  fourth-rate 
estaUishment,  and  in  1858  removed  to  104  Buud 
Street,  where  Dalmaine  died  at  the  age  of  83, 


GOULDING  k  DALMAINE. 


GOUNOiy. 


613 


and  in  1866  was  followed  by  Mackinlay.  In  ^  !  culty  in  appreciating  both  the  leading  charac- 
the  plates  and  copyrights  were  brought  to  the  teristics  and  the  defects  of  these  two  original 
lianuzi^.  The  printed  stock  sold  for  little  more  I  composers ;  he  would  doubtless  next  endeavour 
than  -waste  paper.  The  plates  of  all  Bishop's  |  to  discover  the  best  method  of  creating  an 
operas 'were  melted,  and  his  popular  songs  and  glees  |  individual  style  for  himself,  profiting  by  the 
are  published  by  anybody  who  chooses.  [G.H.P;]  |  study  of  models  so  dangerous  if  followed  too 
GOUNOD,  Charles  i'RANyois,  bom  in  Paris  closely.  It  was  probably  durinar  this  time  that 
June  17,  18 1 8.  He  received  his  early  musical  *"*  ^"^^  ^'^  *\f^^  «^in«r.on.  ;«  a  f»,  .r.^^ 
education  from  his  mother,  a  distinguished  pianist. 


and  having  finished  his  classical  studies  at  the 
Lyc^  St.  Louis,  and  taken  his  degree  as  Bache- 
lier-^-lettres,  in  1836  entered  the  Conservatoire, 
where  he  was  in  Hal^vy's  class  for  counterpoint, 
and  learned  composition  from  Paer  and  Lesueur. 
In   1837  his  cantata  'Marie  Stuart  et  Bizzio* 
obtained  the  Becond  'prix  de  Rome,*  which  he 
shared  with  the  pianist  Louis  Chollet ;   and  in 
1839  he  won  the  'Grand  priz*  for  his  cantata 
*  Femand.'    No  artist  or  literary  man  can  tread 
the  soil  of  Italy  with  indifference,  and  Gounod's 
residence  in  Rome  exercised  an  influence  on  his 
ardent  imagination,  of  which  his  whole  career 
bears  traces.    The  years  he  spent  at  the  Villa 
Medici  as  a  pensioner  of  the  Acad^mie  de  France, 
were  chiefly  occupied  with  the  study  of  the  music 
of  the  old  masters,  especially  Palestrina ;  and  his 
first  important  compositions  were  a  mass  for  3 
equal  voices  and  full  orchestra,  performed  May  i, 
1 84 1,  at  the  Church  of  San  Luigi  dei  Francesi 
(the  unpublished  MS.  is  in  the  Library  of  the 
Paris  Conservatoire),  and  a  mass  for  3  voices  with- 
out accompaniment,  produced  in  Vienna  in  1843. 
It  was  while  visiting  Austria  and  Germany  on 
his  way  back  to  Paris,  that  he  first  heard  the 
compositions  of  Robert  Schumann,  of  which  he 
knew  nothing  previously ;  the  effect  they  must 
have   had  on  the  impressionable  mind  of  the 
young  composer  may  be  imagined.    The  ideas 
imbibed  in  Rome  however  prevailed,  he  remained 
futhful   to  Palestrina,  and   on  reaching  Paris 
became  organist  and  maltre  de  chapelle  of  the 


'Missions ^trangferes.'   It  was  at  this  period  thai    ^®  composed  several  choruses,  and  2  Masses  for 
he  attended  for  two  years  a  course  of  theology?  ^  4  men's  voices ;  but  such  works  a^  these  were  not 


m  1S46  he  even  became  an  out-pupil  at  the 
'Sdminaire,'  and  it  was  generally  expected  that 
he  would  take  orders.  Fortunately  he  perceived 
the  mistake  in  time,  and  renounced  the  idea  of 
the  priesthood;  but  these  years  of  theological 
study  had  given  him  a  love  of  reading,  and  lite- 
rary attainments  of  a  kind  rarely  possessed  by 
modem  musicians.  M.  Gounod  still  delights  to 
quote  not  only  St.  Augustine  and  other  Fathers, 
but  passages  from  the  Latin  sermons  of  St.  L^n 
and  St.  Bernard — indeed  he  would  almost  seem 
to  have  appropriated  the  words  of  the  latter, 
*ardere  et  lucere,'  as  the  motto  of  his  life. 

How  he  passed  the  years  1845-50,  he  will 
himself  perhaps  inform  us,  if  he  writes  the 
history  of  his  life,  as  he  is  said  to  intend  doing. 
We  may  believe  that  he  employed  these  five 
years  of  silence  in  studying  the  works  of  Schu- 
mann and  Berlioz — the  former  then  almost  un- 
known in  France;  the  latter  encountering  nothing 
but  opposHion  and  unmerited  abuse.  VVith  his 
keen  intellect,  refined  taste,  and  aptitude  for 
baUle  analysis,  M.  Gounod  would  have  no  diffi- 


he  wrote  his  '  Messe  solennelle  in  G,  for  solos, 
chorus,  orchestra,  and  org^n,  and  which  gave 
him  his  first  appearance  before  the  world — 
strangely  enough  in  London !  Four  numbers 
from  that  work,  included  by  Mr.  HuUah  in  a 
Concert  at  S.  Martin's  Hall,  Jan.  15, 1851,  formed 
the  text  of  various  articles  in  the  English  papers, 
and  especially  of  one  in  the '  Athen&um'  (Jan.  18) 
which  was  reprinted  in  Paris  and  elsewhere,  and 
caused  much  discussion.  'Whatever  the  ultimate 
result,  here  at  any  rate  was  a  poet  and  musician 
of  a  very  high  order.' 

But  the  theatre  was  destined  mainly  to  occupy 
M.  Gounod  for  many  years.  His  first  opera, 
'Sapho,*  in  3  acts,  was  g^ven  at  the  Acad^mie 
Apnl  16,  1 85 1,,  with  Mme.  Yiardot  in  the 
principal  part.  It  contains  many  passages  rich  in 
colour,  though  scarcely  dramatic ;  the  grand  scena 
of  Sapho, '  Hero  sur  ht  tour,'  and  the  herdsman's 
air.  have  alone  survived.  In  writing  the  numer- 
ous choruses  for  Ponsard's  tragedy  of  '  Ulysse  *• 
(1852),  M.  Grounod  again  attempted  to  produce 
an  antique  colouring  by  means  of  rhythmical 
effects  and  modulations  of  an  obsolete  character ; 
but  the  music — ihough  betraying  a  master  hand, 
was  stigmatised  as  monotonous,  and  the  charm- 
ing chorus  of  the  'Servantes  infidMes'"  was 
the  only  pieoe  received  with  real  enthusiasm. 
In  1852  he  became  conductor  of  the  Orphan  in 
Paris ;  and  the  eight  years  he  was  there  en- 
gaged in  teaching  choral  singing  gave  him  much 
valuable  experience  both  of  the  human  voice  in 
itself,  and  of  the  various  effects  to  be  obtained 
frt)m  large  bodies  of  voices.   For  the  Orph^niBtes 


calculated  to  satisfy  the  ambition  of  so  exception- 
ally gifted  an  artist.  Anxious  to  try  his  stiength 
in  all  branches  of  music,  he  wrote  several  sympho- 
nies (one  in  D,  a  second  in  £b  *),  which  were 
performed  with  success  at  the  concerts  of  the 
'Association  des  jeunes  Artistes,'  but  are  of  no 
importance.  In  France  however  the  stage  is  the 
sole  avenue  to  fame  and  fortune,  and  .accordingly 
his  main  efforts  were  made  in  that  direction. 
The  'Nonne  Sanglante'  (Oct.  iS,  1854)  a  5-act 
opera  founded  on  a  weird  l^end  in  Lewis's 
'  Monk,'  was  only  given  1 1  times ;  although  it 
contains  a  2nd  act  of  a  high  order  of  merit 
as  music,  and  a  very  striking  duet — that  of  the 
legend.  After  this  second  finilure  at  the  Aca- 
demic Gounod  was  compelled  to  seek  success 
elsewhere,  and  accordingly  produced  'Le  M^decin 
malgr^  lui,'  an  opt^ra  comique  arranged  by  Carre 
and  Barbier  from  Moli^re's  comedy,  at  the 
Th^tre  Lyrique  (Jan.  15,  1858).  The  music  is 
refined,  but  not  in  the  least  comic.    The  most 

>  Th«  i«oond  of  thew  wv  played  by  the  rbttharaMDle,  18G8.  ud  both 
bare  been  repeaiedlf  heaid  at  Sjdeuham. 


614 


GOUNOD. 


GOUVY. 


< 


Buoceesful  number  was  the  septet  of  the  oon* 
aultation;  as  for  the  chanDing  couplets  sung 
by  Sganarelle  when  in  liquor,  they  are  de- 
lightful from  a  musical  point  of  view,  and 
essentially  lyric»  bmt  contain  not  a  particle  of 
the  vi8  oomica.  Under  the  title  of  the  '  Mock 
Doctor'  the  piece  has  had  fair  success  in 
London.  'Faust'  howeyer,  also  produced  at 
the  Theatre  Lyrique,  March  19,  1859,  with 
Mme.  Miolan-Carvalho  as  Marguerite,  placed 
Gounod  at  once  in  the  first  rank  of  living 
composers.  The  fantastic  part  of  Fauat  may 
not  be  quite  satisfactory,  and  the  stronger 
dramatic  situations  are  perhaps  handled  with 
less  skill  than  thofie  which  are  more  elegiac, 
picturesque,  or  purely  lyric,  but  in  spite  of  such 
objections  the  work  must  be  classed  among  those 


pieces  in  this  opera.  Since  these  Gounod  lus 
written  incidental  music  for  LegouWs  tn^coj 
'  Lies  deux  Reines,'  and  for  Jules  Barbit:r s 
'Jeanne  d'Arc'  (Nov.  8,  1873). 

He  has  also  published  much  chmch  music 
besides  the  'Mesae  Solennelle'  already  men- 
tioned, and  the  2nde  Messe  des  Orpheonistes ;  s 
'Stabat  Mater*  with  orchestra;  the  c^at^.o 
'Tobie';  'Gallia,'  a  lamentation,  prodooed  at 
the  Albert  Hall,  London  (May  i,  1871),  a 
De  Profundis ;  an  Ave  Verum;  Sicnt  oetrrs; 
and  various  other  hymns  and  motets,  two  coiloN 
tions  of  songs,  and  many  single  songs  and  pieces 
such  as  '  Nazareth,'  and  '  There  is  a  g^een  hiil.' 
For  orchestra  a  Saltarello  in  A,  and  the  Punenl 
march  of  a  marionette.  Ajeu  de  plumes  on  the 
propriety  of  which  we  will  not  decide,  but  whick 


which  reflect  high  honour  on  the  French  school,    is  unquestionably  extremely  popular,  is  his  '  M«- 


The  Kermesse  and  the  garden-scene  would  alone 
be  sufficient  to  immortalise  their  author.  '  Phi- 
lemon et  Baucis,*  a  on»-act  opera  composed  for 
the  theatre  at  Baden,  was  re-written  in  three 
acts  for  the  Th^tre  Lyrique,  and  performed 
Feb.  18,  i860.  The  score  contains  some  charm- 
ing passages,  and  much  ingenuity  and  elegance 
of  detail;  but  unfortunately  the  libretto  has 
neither  interest,  movement,  nor  point,  and  be- 
longs to  no  well-defined  species  of  drama.  After 
the  immense  success  of '  Faust,'  the  doors  of  the 
Acad^mie  were  naturally  again  opened  to  Gou- 
nod, but  the  'Beine  de  Saba'  (Feb.  28,  1862) 
did  not  rise  to  the  general  expectation.  The 
libretto,  written  by  Girard  de  Nerval,  embodies 
ideas  more  suitable  for  a  political  or  a  psycho^ 


logical  exposition,  than  for  a  lyric  tragedy.    Of  "^  To  sum  up,  Gounod  is  a  great  musician  and  s 


this  great  work  nothing  has  survived  but  the 
dialogue  and  chorus  between  the  Jewesses  and 
Sabeans,  in  the  2nd  act,  the  air  of  the  Queen 
in  the  4th  act  (afterwards  inserted  in  Faust), 
the  choral  march,  the  choral  dance,  and  above 
all  the  elegant  and  picturesque  airs  de  ballet. 
Under  the  name  of '  Irene '  an  English  version  of 
the  opera  was  occasionally  performed  in  London. 
The  success  of  'Mireille  (Th^&tre  Lyrique, 
March  19,  1864),  a  5-act  opera  founded  on  the 
Proven92d  poem  of  F.  Mistral,  was  secured  by 
the  cas^  especially  by  the  splendid  performance 
of  Mme.  Miolan-Oarvalho,  whose  part  contains 
one  of  the  most  remarkable  airs  of  modem 
times  ('Mon  ocBur').  Mme.  Faure-Lefebvre — 
as  Andreloun — and  the  other  artists  combined 
to  make  an  excellent  ensemble.  Still '  Mireille ' 
is  descriptive  and  lyric  rather  than  dramatic ; 
accordingly  by  Dec.  15,  1864,  it  was  reduced 
to  3  acts,  in  which  abridged  form  it  was  revived 
in  1876.  Its  overture  is  admirable,  and  a  great 
favourite  in  English  concert  rooms.  This  charm- 
ing pastoral  was  succeeded  by  'La  Colombo' 
(June  7,  1866)  originallv  written  for  the  theatre 
at  Baden,  and  known  m  England  as  the  'Pet 
Dove,'  and  by  'Kom^  et  Juliette'  (April  27, 
1867),  a  5-act  opera,  of  which  the  principal  part 
was  again  taken  by  Mme.  Miolan.  The  song  of 
Queen  Mab,  the  duet  in  the  garden,  a  short 
chorus  in  the  2nd  act,  the  page's  song,  and  the 
<duel  scene  in  the  3rd  act.  are  the  favourite 


ditation '  for  soprano  solo  and  orchestxa  00  tbft 
1st  Prelude  of  Bach's  48. 

After  a  stay  of  some  years  in  Ehigland,  during 
which  he  appeared  in  public  at  the  Philharmoiiic, 
the  Crystal  Palace,  and  Mrs.  Weldon*8  ooooens, 
Gounod  recollected  that  he  had  been  elected  a 
member  of  the  'Institut  de  France'  on  the  desth 
of  Clapisson  (18^16);  and  returning  to  Paris, 
resumed  the  position  to  which  his  genius  entid^ 
him.  On  the  5th  of  April,  1877,  he  pawlGi^fi 
*Cinq  Mars  *  at  the  Th^tre  de  I'Opdra  Comiqoe, 
a  work  which  bears  traces  of  the  haste  in  whicA 
it  was  designed  and  executed.  EGis  last  opera, 
PolyeuctO)  produced  at  the  Grand  Opera,  Oct.  7, 
1878,  though  containing  some  fine  miiadc  will 
hardly  add  to  the  fame  of  the  author  of  FaosC. 


thorough  master  of  the  orchestra.  Of  too  refer! 
a  nature  to  write  really  comic  munc,  his  diam&a: 
compositions  seem  the  work  of  one  hovering  be- 
tween mysticism  and  voluptuoosness.  This 
contrast  between  two  opposing  principles  luj 
be  traced  in  all  his  works,  sacred  or  dramaci' : 
and  gives  them  an  immense  interest  both  frva 
a  musical  and  psychological  point  at  view,  la 
the  chords  of  his  orchestra,  majestic  as  those  :i 
a  cathedral  organ,  we  recognise  the  mjsdb— ia 
his  soft  and  original  melodies,  the  man  oi 
pleasure.  In  a  word,  the  lyric  element  fte- 
dominates  in  his  work,  too  often  at  the  ex;*^ 
of  variety  and  dramatic  truth.  L^-^-] 

GOUVY,  Theodore,  prolific  composg,  Kn 
of  French  parents,  July  2,  1819,  at  Go9bntai=£, 
Saarbruck,  where  his  father  was  a  large  irs- 
founder.  He  took  his  degree  at  the  college  &: 
Metz,  and  then  proceeded  to  Paris  to  study  d± 
law.  Hitherto,  though  possessing  an  unnusuke- 
able  talent  for  music,  he  had  hsMi  no  instmeoa 
in  it,  and  had  probably  not  heard  a  single  daa&sl 
piece.  But  being  at  the  Conservatoire  he  hi^peir*- 
to  hear  Beethoven's  7th  Symphony.  Thi&  a' 
once  fired  his  mind,  and  he  wroCa  hot^  >- 
announce  his  determination  to  be  a  moscstf. 
His  parents'  consent  obtained,  he  placed  hla»-^ 
under  Elwart  for  3  years,  then  resided  at  Bcr^ 
where  he  published  his  'Opus  i,'  and  sbes*. 
went  for  more  than  a  vear  to  Italy.  In  iS^'y  . ■ 
returned  to  Paris^  which  since  then  has  bees.  L^ 


GOUVY. 

lome^  with  visits  to  Cologne  and  Leipdc,  where 
ii>«  music  has  been  frequently  played  with  Buooess. 
His  published  and  unpublished  works  (of  which 
h  list  is  given  by  F^tis  and  Poagin)  extend  to 
ip.  56,  containing  more  than  1 70  numbers,  many 
>f  them  of  large  dimensions.  They  comprise 
S  Symphoniee  for  full  orchestra ;  2  Concert  over^ 
lores;  String  quartets  and  a  quintet;  5  P.  F. 
trios  and  one  ditto  Quintet;  18  Serenades  for 
P.  F.  solo ;  Sonatas  for  ditto ;  choruses,  songs^ 
«nd  other  pieces  in  large  numbers.  His  music 
spears  to  be  much  relished  in  Paris,  and  to  be 
esteemed  even  in  Germany.  In  England,  however, 
it  is  not  at  all  known.  [G.] 

GOW,  KsiL,  was  bom  at  Strathband,  Perth- 
shire, in  1 7  a  7,  of  humble  parents.  At  a  very  early 
age  he  showed  a  taste  for  music,  and  at  nine 
began  to  play  the  violin.    He  was  self -instructed 
uitil  the  age  of  thirteen,  when  he  received  some 
lessons  from  John  Cameron,  a  retainer  of  Sir 
George  Stewart,  of  Grandtally.    He  became  dis- 
tinguished by  his  performance  of  Scotch  tunes, 
particularly  strathi^ys  and  reels,  in  which  he 
has  probably  never  been  excelled  or  equalled. 
His  Came  soon  reached  London,  and  his  assist- 
ance was  long  sought  at  fiishionable  balls  and 
assembliee.     He  had  an  uncommonly  powerful 
bow  hand«  particularly  in  the  up  stroke.     He 
was  ably  supported  hy  his  brother,  Donald,  on 
the  violoncello.    Gow  died  at  Inver,  near  Bun- 
keld,  in  1807.    ^^  published  several  collections 
of  Scotch   tunes,   including  many  of  his  own 
composition.     He  had  four  sons,  all  excellent 
violmists   in   the  same   style  as  their  father. 
The  eldest,  Nathaniel,  published  '  The  B«buties 
of  Neil  Gow,*  in  six  books,  and  several  other 
collections  of  Scotch  melodies.  [W.H.H.] 

GRACE  NOTES,  or  GRACES,  the  English 
name  for  the  ornaments  in  vocal  and  instrumental 
mimo — appoggiaturas,  acciaccaturas,  mordents,* 
turns,  shakes,  and  many  more — which  are  treated 
of  in  this  work  under  the  general  head  of 
AoRiMSNS,  as  well  as  under  their  own  separate 
names.  [G.] 

GRADUAL  (Lat.  Graduale;  from  gradus, 
a  step).  A  short  anthem  sung  at  High  Mass, 
hetween  the  Epistle  and  Groepel  for  the  day. 

In  the  early  ages  of  the  Church,  the  Gradual 
was  chaunted,  by  the  Deacon,  from  the  steps  of 
a  primitive  species  of  reading-desk,  called  the 
Ambo,  or  ^A/jifiwy ;  from  which  steps  this  por- 
tion of  the  Service  derives  its  peculiarly  charac- 
teristic name.  It  is  now  sung  by  the  Choir :  the 
fint  dause,  by  two  Cantors  only ;  the  remainder, 
in  full  chorus.  On  Sundays,  and  Festivals,  it  is 
Qsually  supplemented  by  the  Alleluia  and  Versus. 
During  the  Seasons  of  Septuagesimsy  and  Lent, 
and  on  some  few  other  occasions,  these  are  omit- 
ted, and  the  Gradual,  properly  so  called,  is  sung 
alone.  On  the  Sundays  after  Easter,  the  Gradusd 
itielf  is  omitted,  and  the  Alleluia,  and  Versus, 
are  sung  alone.  Special  forms  of  both  are  ap- 
pointed, for  daily  use  throughout  the  ecclesias- 
tical year.  The  words  are  taken,  with  very  few 
exceptions,  from  the  Book  of  Psalms :  and  Uie 


GRADUAL. 


615 


Plain  Chaunt  melodies  to  which  they  are  inva- 
riably sung  form  part  of  the  volume  called  the 
Graduale  Jiomanum,  to  which  the  reader  must 
be  referred  for  their  general  style.  Before  the 
9tb  century,  the  Gradual  proper  was  repeated, 
in  full,  after  the  Alleluia,  and  Versus. 

The  so-called  'Graduals*  of  Haydn,  Mozart, 
and  some  other  modem  composers,  are  Graduals 
in  name  only;  and  will  be  more  properly  dis- 
cussed in  the  aorticle  Motbt.  [W.  S.  R.] 

GRADUAL,  THE  ROMAN  (Lat.  Graduale 
Bomanum;  Old  Eng.  Grayle),  A  well-known 
volume  of  Ritual  Music,  containing  a  complete 
collection  of  the  Plain  Chaunt  melodies  appointed 
to  be  sung  at  High  Mass  throughout  the  year. 
The  first  idea  of  the  Graduate  JRomanum,  a9 
well  as  that  of  its  sister  volume,  the  Veeperale, 
was  undoubtedly  suggested  bv  the  treasury  of 
antient  music,  arranged,  for  the  first  time,  m  a 
systematic  fonn,  during  the  latter  half  of  the 
4th  century,  by  Saint  Ambrose,  Bishop  of  Milan, 
whose  method  of  chaunting  exercised  a  lasting 
influence  upon  mediaeval  art,  notwithstanding  the 
neglect  to  which  it  was  consigned,  when,  some 
two  hundred  and  thirty  years  later,  that  set  forth 
in  the  famous  Antiphonarium  of  Saint  Gregory 
the  Great  was  brought  into  almost  universal  use. 
Throughout  the  entire  Western  Church,  this  cele- 
brated Antiphonary  was  all  but  unanimously 
accepted  as  the  norm  to  which  all  other  Office 
Books,  of  like  scope  and  intention,  must,  of 
necessity,  conform.  It  was,  indeed,  well  worthy 
of  the  adixuration  it  excited ;  but,  unhappily,  the 
uncertain  and  rudimentary  character  of  its 
notation  led  to  so  much  misunderstanding,  and 
consequent  corruption  of  the  musical  text,  that, 
in  process  of  time,  every  Diocese  of  importance 
claimed  to  have  its  own  peculiar  *  Use.'  Hence, 
we  find  the  Paris,  Sarum,  York,  Hereford,  and 
innumerable  other  GradusJs,  all  differing  widely 
in  their  details,  though  always  exhibiting  suf- 
ficient resemblance,  in  their  general  plan,  to 
point  to  a  common  original.  Attempts  were 
made,  frt>m  time  to  time,  to  restore  a  purer  and 
more  unifonn  practice :  but,  until  after  the 
rev^ion  of  the  Liturgy,  by  the  Council  of  Trent, 
no  real  progress  was  made  in  the  right  direction. 
The  first  decisive  step  was  taken  by  Pope 
Gregory  XIII ;  who,  in  the  year  1576,  commis- 
sioned Palestrina,  assisted  by  his  friend  and  pupil, 
Guidetti,  to  revise,  and  restore  to  its  original 
purity,  the  entire  system  of  Plain  Chaunt  then  in 
common  use.  This  gigantic  task,  though  never 
fully  carried  out,  resulted  in  the  publication  of 
other  invaluable  works.  A  splendid  folio  Gradual 
was  also  printed  at  Venice  in  15 79-1 580,  by 
Pet.  lieohtenstein.  Another  very  fine  copy — the 
Editio  Plantiniana — was  brought  out,  at  Ant- 
werp, in  1599:  while,ini6i4-ioi5,the  celebrated 
Mediciean  edition,  which  (though  not  free  from 
error)  has  always  been  regarded  as  the  most 
correct  hitherto  given  to  the  world,  was  printed, 
at  Rome,  at  the  express  command  of  Pope  Paul 
V.  It  is  needless  to  say  that  copies  of  these 
magnificent  editions  have  long  since  become 
ex(^edingly  rare,  and  costly.     One  of  the  best 


616 


GRADUAL. 


GRAND  OPERA. 


modem  reprints — or,  rather,  re*oompilationB — is  [ 
a  Gradual,  based  upon  the  editions  of  1599  and 
1 6 14,  and  printed,  at  Mechlin,  in  1848,  under  the 
patronage  of  Cardinal  Sterckx.  A  similar  volume, 
intended  for  the  useof  the  Dioceses  of  Rheims,  and 
Cambrai,  appeared  in  1 85 1 :  and  a  third,  prepared 
for  the  press  by  Pkre  Lambillotte,  was  pubhi^hed, 
by  his  executors,  in  1857.  Far  more  important, 
however,  than  any  of  these,  is  the  latest  edition, 
carefully  revised  by  the  Sacred  Congregation  of 
Rites,  and  first  printed,  at  Ratisbon,  by  Friedrich 
Pustet,  in  1871,  under  special  privileges  granted 
by  His  Holiness,  Pope  Pius  IX.^ 

The  contents  of  the  Gradual — always  printed 
in  Gregorian  notation — are  classed  in  five  prin- 
cipal divisions :  viz.  the  *Propriam  de  Tempore,* 
* Proprium  de  Sanctis,''  '  Commune  Sanctorum* 
'  Ordinarium  Miuce*  and  '  Modus  Re^pondendV 
Of  these,  the  first  three  contain  the  words  and 
music  of  the  Introit,  Gradual,  Alleluia,  Versus, 
Tract,  Sequence,  Offertory,  and  Communion,  for 
every  day  throughout  the  ecclesiastical  year. 
The  Ordinarium  Mista  contains  rheAsperges  me, 
Kyrie,  Gloria  in  Excels  is,  Credo,  Sanetus,  Bene- 
dictus,  and  Agnus  Dei,  for  festivals  of  eveir 
degree  of  solemnity.  The  Modus  respondenai 
contains  the  Sttrsum  Corda,  Sed  libera  nos  a 
malo,  and  other  Responses  usually  sung  at  High 
Mass.  The  notation  of  the  Prefationes,  and 
JPater  noster,  being  given,  in  full,  in  the  Missal, 
is  not  repeated  in  the  Gradual;  which,  indeed, 
is  intended  rather  for  the  use  of  the  Choir,  than 
that  of  the  Celebrant.  [W.  S.  R.] 

GRADUS  AD  PARNASSUM.  The  titie  of 
two  eminent  progressive  works  on  music,  i. 
Fux's  treatise  on  composition  and  counterpoint — 
'  GraduB  ad  Pamassum,  sive  manuductio  ad  com- 
positionem  musicse  regularem,  methoda  nova  ac 
certa,  nondum  ante  tam  exacto  ordine  in  lucem 
edita :  elaborata  a  Joanne  Josepho  Fux'  (Vienna 
1725;  I  vol.  folio).  It  was  translated  into 
German  by  Mizler  (Leipsic  1742),  into  Italian 
by  Manfrtsdi  (Carpi  1761),  and  into  English, 
'Practical  rules  for  learning  Composition  trans- 
lated from  a  work  entitled  Gradus  ad  Pamassum, 
written  originally  in  Latin  by  'John  Joseph 
Feux,  late  chief  composer  to  the  Roman  Emperor 
Charles  VL—Welcker,  10  Hay  Market'  (a  thin 
folio  with  no  date).  This  contains,  in  addition 
to  the  exercises  in  the  text,  a  Kyrie  and  Amen 
from  the  Missa  Vicissitudinis. 

3.  Clementi's  well-known  work  'Gradus  ad 
Pamassum,  ou  Tart  de  jouer  le  Pianoforte  de- 
montr^  par  des  Exercises  dans  le  style  s^v^re  et 
dans  le  style  ^l^gant.  Compost  et  dedi^  Ik 
Madame  la  Prinoesse  Wolkonsky,  n^  Wolkonsky, 
par  Muzio  Clementi,  membre  de  TAcademie 
Royale  de  Stockholm.*     (Milan,  Ricordi.) 

It  is  in  two  parts  or  volumes,  containing  in  all 
1 00  exercises.  Some  of  these  are  marked  as  having 
been  published  before,  and  extendetl  and  revised 
by  the  author.  Thus  Ex.  14  is  headed  'extrait 
ar  Tauteur  de  ses  Duos  k  4  mains,  ceuvre  xiv,  pub- 
e  a  Londres  en  1 784.   Tulit  alter  honores.  Virg. 

1  The  Mechlin  and  Batltbcn  Gradnab  are  wdd,  in  London,  by  Heasn. 
Sunn  k  Oatet,  17  rortauui  btrect 


£ 


apud  Donat*  Ex.  39,  Adagio  in  Bb,  is  entitled 
'Scena  patetica,'  and  so  on.  The  work  has  at 
the  begmning  an  English  motto  from  Dr.  John- 
son— *  Every  art  is  best  taught  by  example.' 
Clementi  published  an  Appendix  to  the  Grades, 
containing  134  Exercises^  Gavottes,  Gigues,  Airs 
with  Variations,  etc,  partly  his  own,  but  ehieflv 
by  other  composers.  They  are  arranged,  each 
key  with  its  relative  minor — usually  a  prelude  cr 
preludes  by  Clementi,  followed  by  pieces.      [G.] 

GRAHAM,  George  Fabquhab,  eon  of  Ueiit.- 
Col.  Humphrey  Graham,  was  bom  in  Edinburgh 
in  1790  ftnd  educated  in  the  High  School  and 
University  there.  He  studied  mnsic  as  an 
amateur,  and  was  to  a  great  degree  self-taught. 
In  181 5  he  and  George  Hogarth  acted  as  joint 
secretaries  of  the  first  Edinburgh  Mosocal  Festi- 
val, and  in  the  next  year  Graham  publishe-i 
*An  Account  of  the  f^rst  Edinburgh  Musical 
Festival,  to  which  is  added  Some  General  Ob- 
servations on  Music*  He  passed  some  yean 
in  Italy  in  pursuit  of  musical  knowledge.  He 
composed  and  published  some  ballad w,  tmd  con- 
tributed the  article  *  Music*  to  the  7th  editicn 
of  the  '  Encydopfedia  Britannica.*  The  article 
was  reprinted  separately  in  1838,  with  the 
addition  of  an  Introduction  and  Appendix  under 
the  title  of  *An  Essay  on  the  Theory  and 
Practice  of  Musical  Composition.'  About  the 
same  time  he  assisted  in  bringing  out  the '  Skene 
MS.,*  and  contributed  an  interesting  paper  to  the 
appendix.  [See  Daunet.]  He  wrote  the  article 
'  Organ*  for  the  8th  edition  of  the  '  Encyclopedia 
Britannica.*  In  1 848-9  he  furnished  historical, 
biographical,  and  critical  notices  to  '  The  Songs  of 
Scotland,  adapted  to  their  appropriate  melodies.' 
He  died  in  Edinburgh.  March  12, 1867.  [W.U.U.] 

GRANCASSAoRGRANTAMBURO.thelta- 
lian  term  for  the  bass-drimi.  [Dbum,  3.]  [V.deP.] 

GRANCINO,  Paolo,  a  violin-maker  of  the 
second  rank.  Bom  at  Milan,  he  learnt  his  art 
under  Nioolo  Amati  at  Cremona.  His  violhu 
are  dated  from  1665- 1690.  His  son  Giovaxki 
(1696-1 7 1 5),  who  dates  *from  the  sign  of  the 
Crown*  in  the  Contrada  Larga  of  Milan,  wan 
a  maker  of  higher  merit.  IUb  violins,  tenors, 
and  violoncellos,  are  usually  of  a  huge  flat 
pattern,  and  present  a  development  of  the  Amad 
model  analogous  to  that  of  Stradivari.  His  Bons 
GiahBattista  and  Francesco  carried  on  his 
business  (i  715- 1746)  under  the  title  of  'Fratelli 
Grancini.*  [F.D.] 

GRAND.  A  word  much  in  use  in  England 
till  within  a  few  years  to  denote  a  classical  com- 
position of  full  dimensions  or  for  fuU  orchestra. 
Thus  the  1 2  Symphonies  written  by  Haydn  for 
Salomon  were  knovm  as  'Grand.  A  grand 
sonata  or  a  grand  concerto  meant  one  in  com- 
plete classical  form.  It  probably  originated  ia 
the  French  grand  or  German  grosse.  ^See  Bee- 
thoven's Sonatas,  Op.  13,  26,  28,  106,  115,  and 
most  of  his  symphonies,  etc.)  [G.] 

GRAND  OPERA.  A  reference  to  the  articles 
Comic  Opera  and  Acad£mie  de  Mcsiqus  will 
show  that  GraL.d  Opera^  like  Comic,  owes  iu 


GRAND  OPERA. 

oangin  and  its  present  form  to  the  French.    That 
in  the  Florentine  Academy  were  produced,  very 
early  in  the  1 7th  century,  lyric  dramas  in  which 
music  was  employed  for  the  illustration  of  noble 
subjects,  and  that  these  were  presented  with 
considerable  effect,  is  no  doubt  itue.    The  con- 
dition at  that  epoch  of  the  musical  ars  nova,  and 
the  means  of  giving  effect  to  any  specimens  of 
it,  were  however  bo&  too  imperfect  to  justify  the 
spplication  of  the  epithet  'grand*  to  any  music 
or  any  performances  that  could  then  possibly  have 
been  forthcoming.  Grand  opera  begins  nearly  half 
a  centuiT  later,  with  the  school  of  Lully ;  a  school 
^'hich,  the  birthplace  of  its  founder  notwithstand- 
ing, was  in  all  respects  essentially  French.    To 
LiuUy,    without  however   altogether    displacing 
him  in  public  favour,  succeeded  Rameau,  and 
to  Rameau,  Gluck  and  Piccinni,  the  one  a  Ger- 
man,  the  other  an  Italian ;  but  both  of  whom, 
from  the  times  of  their  arrival  in  Paris,  worked 
on  French  libretti,  with  the  cooperation  of  French 
singers,    dancers,    instrumentalists,    machinists, 
scene  painters,  and  the  like,  and,  more  than  all, 
of  French  audiences.     The  model  too  on  which 
these  great  masters  worked  was  in  its  essentials 
still  that  of  Lully. 

The  term — fast  becoming  obsolete — is  French 
and   purely  conventional,   and  denotes  a  lyric 
drama  in  which  spoken  dialogue  is  excluded,  and 
the  business  is  carried  on  in  melody  or  recitative 
throughout.     It  may  contain   any  number  of 
acts,  any  ballets  or  divertissements,  but  if  spoken 
dialogue  is  introduced  it  becomes  a  '  condc*  opera. 
Grand  opera,  though  till  lately  all   but  ex- 
clusively written  for  the  French  stage,  has  from 
its  origin  to  the  present  time  been  contributed 
to  by  &e  musicians  of  every  musical  country  but 
our  own ;  among  Italians  by  Piccinni,  Guglielmi, 
Sacchini,  Salieri,  Zingarelli,  Cherubini,  Spontini, 
Rossini,    and   Donizetti ;    among  Germans   by 
Gluck  and  Meyerbeer.     To  native  genius,  which 
has  shone  with  such  splendour  in '  Opera  Comique,* 
Grand  Opera  owes  little.     One  attempt  only  of 
Auber  in  this  class  of  composition  still  keeps  the 
stage,  '  La  Muette  de  Portici.'    The  popularity 
of  the  grand  operas  of  Halevy  seems  to  have 
expired   with   their  author;    the   reception  of 
Berlioz's  single  dramatic  essay,  'Benvenuto  Cel- 
lini,* never  inspired  him  to  make  another ;  and 
the  most  successful  lyric  productions  of  Gounod 
have  not  been  among  those  bearing  the  name  of 
'grand*  operas. 

The  Italiui  theatre  has  not  been  prolific  in 
successful  grand  operas.  The  best  works  of 
this  kind  of  some  of  the  best  Italian  composers 
have,  as  we  have  seen,  been  written  for  the 
French  stage.  Zingarelli,  Rossini,  Donizetti, 
and  Mercadante,  are  the  most  important  of 
those  Italians  who  have  contributed  to  their 
own  repertory.  Their  grand  operas,  however, 
with  the  exceptions  of  those  of  Rossini  and 
Donizetti,  scarcely  Mfil  the  French  conditions, 
and  few»  even  of  the  most  successful  among 
them,  are  now,  or  are  likely  again  to  be,  heard 
in  or  out  of  the  country.  Exception  may  be 
made,  perhaps,  in  favour  of  some  of  the  pro- 


GRAND  PIANO. 


617 


ductions  of  our  contemporary  Verdi,  which  at 
least  approximate  in  their  subjects  and  their 
scale  to  the  French  model ;  but  the  two  grandest 
operas  of  this  admirable  master,  'Les  V^pres 
Siciliennes*  and  'La  Favorite,*  were  written  for 
the  French  stage. 

The  romantic  and  mixed  lyric  drama  of  modem 
Germany — richer  beyond  all  comparison  in  musi- 
cal invention  and  science  than  the  lyric  drama, 
of  whatever  kind,  of  whatever  country — does 
not  here  ficbirly  come  under  consideration.  Neither 
'  Don  Giovanni,* '  Euryanthe,*  nor  even  '  Fidelio,* 
whatever  their  places  in  the  world  of  art,  are 
what  is  understood  by  'grand  operas.*  Wag- 
ner alone  has  attempted  this  kind  of  art — on 
conditions,  self-imposed,  which  are  discussed 
elsewhere.  [J.H.] 

GRAND  PIANO  (Fr.  Piano  A  queue;  Ital. 
Piano  a  coda ;  Germ.  Flugel).  The  long  hori- 
zontal pianoforte,  the  shape  of  which,  tapering 
along  the  bent  side  towards  the  end,  has  sug- 
gested the  French,  Italian,  and  German  ap- 
pellations of  'tail*  and  'wing,'  the  latter  of 
which  was  borne  also  by  the  predecessor  of  the 
grand  piano,  the  harpsichord. 

The  inventor  of  the  pianoforte,  Cristofori,  had 
as  early  as  the  year  1711  made  four  'gravicem- 
bali  ool  piano  e  forte/  three  of  which  we  learn  by 
the  account  of  Scipione  Maffei  were  of  the  usual, 
that  is  long  harpsichord  shape ;  they  were  there- 
fore grand  pianos,  although  the  prefix  'grand* 
does  not  occur  as  applied  to  a  piano  until  Sto- 
dart's  patent  of  1777.  The  Cavaliere  Leto  Pu- 
liti,  to  whose  researches  we  owe  the  vindication 
of  Cristofori's  claim  to  be  the  first  inventor,  saw 
and  examined  in  1874  a  grand  piano  in  Florence 
made  by  Cristofori  in  1720.  FarinelU*s  'Rafael 
d*Urbino,'  described  by  Dr.  Bumey  as  the  favourite 
piano  of  that  &mous  singer,  was  a  Florentine 
piano  of  1730,  and  appears  to  have  been  also  a 
grand.  Cristofori  had  followers,  but  we  hear  no 
more  of  pianoforte  making  in  Italy  after  his 
death,  in  1731. 

We  are  not  told  whether  the  Silbermann 
pianos  bought  up  in  1747  by  Frederick  the 
Great,  were  grand  or  square  in  shape,  and  those 
instruments,  which  were  described  by  Forkel  as 
existing  in  1802,  recent  researches  have  not  been 
successful  in  finding.  There  is  an  anonymous 
grand  in  the  New  Palace  at  Potsdam,  said  to 
have  been  one  on  which  J.  S.  Bach  played  when 
he  visited  the  King.  If  so  this  would  be  a  very 
early  German  grand,  and  one  of  Silberinann*s,  but 
absence  of  name  or  date  leaves  us  in  doubt. 

It  is  certain  the  pianos  made  in  London  be- 
tween 1760-70  by  Zumpe  and  other  Germans 
were  of  the  '  table '  or  square  shape.  J  ames  Shudi 
Broadwood  (MS.  Notes  1838,  printed  1862) 
states  that  the  grand  piano  with  the  so-called 
English  action  was  invented  by  Americus  Bac- 
kers, a  Dutchman,  and  a  note  appended  claims 
for  John  Broadwood  and  his  apprentice  Robert 
Stodart,  the  merit  of  assisting  him.  The  writer 
Las  seen  a  nameboard  for  a  grand  piano — re- 
ferred to  by  Dr.  Pole  in  '  Musical  Instruments 
of  the  Exhibition  of  1851  * — inscribed  'Americus 


618 


GRAND  PIANO. 


GRANDSIRE. 


Backers,  Factor  et  Inventor,  Jermyn  St.  London, 
1776.'  His  action,  since  known  as  the  'English 
Action,*  is  shown  in  the  drawing  to  Stodart*s 
patent  of  1777,  already  referred  to,  for  coupling 
a  piano  with  a  harpsichord.  It  is  the  same  in 
the  principle  of  the  escapement  as  that  of  Cristo- 
fori,  1 71 1. 

There  is  no  reference  in  Mozart*8  letters  to  the 
shape  of  the  pianos  he  plajed  upon»  those  of 
Spaett  or  Stein  for  example.  The  one  preserved 
in  the  Mozarteum  at  Salzburg,  made  by  Walter 
of  Vienna,  is  a  grand,  and  the  date  attributed  to 
it  is  1780.  It  was  Stein's  grand  action  that  be- 
came subsequently  known  as  the  *  Viennese,*  and 
we  should  derive  it  from  Silbermann's  could  we 
trust  implicitly  the  drawings  in  Welcker  von 
Gontershausen  s  'I)er  Clavierbau*  (Frankfort 
1870).  The  probability  is  that  Stein  submitted 
thia  action  to  Mozart,  and  that  it  was  the  one  so 
much  approved  of  by  him  (Letter,  Oct.  17, 1777). 

According  to  F^tis  the  first  grand  piano  made 
in  France  was  by  Sebastian  Erard  in  1 796,  and 
it  was  on  the  EInglish  model.  But  Erard's  Lon- 
don patent  for  one  was  earlier,  being  dated  1 794, 
and  the  drawing  was  allied  rather  to  Silbermann*s 
idea.  Perhaps  the  instrument  was  not  made. 
The  difference  introduced  into  Pianoforte  playing 
by  the  continued  use  of  the  very  different  grand 
actions  of  London  and  Vienna,  has  been  explained 
by  Hummel  in  his  Pianoforte  SchooL  Sebastian 
Erard  set  himself  the  problem  of  his  famous 
Repetition  Action  apparently  to  combine  the 
advantages  of  both.  The  Viennese  action  is  still 
adhered  to  in  Austria  for  the  cheaper  grands, 
but  the  English  (Broadwood)  and  French  (Erard) 
actions  are  used  for  the  better  classes,  and  their 
various  modifications  occupy  the  rest  of  the  field 
'  of  grand  piano  making  in  other  countries.  The 
enormous  advance  due  to  the  introduction  of  iron 
into  the  structure  of  the  instrument  began  with 
James  Shudi  Broadwood's  tension  bars  in  1808  : 
the  latest  development  we  enjoy  in  the  magnificent 
concert  grands  of  contemporary  makers.  [See 
Cristofori  and  Pianopobte.]  [A.  J.  H.] 

GRAND  PRIX  DE  ROME.  The  Acad^mie 
des  Beaux  Arts,  a  branch  of  the  Institut  de 
France,  holds  annual  competitive  examinations 
in  painting,  sculpture,  engraving,  architecture, 
and  music.  The  successful  candidates  become 
pensioners  of  the  government  for  a  period  of 
four  years,  and  as  such  are  sent  to  Rome,  where 
they  reside  at  the  Villa  Medici,  in  the '  Acad^mie 
de  France*  founded  by  Louis  XIV  in  1666.  Hence 
the  tenn  'Grand  prix  de  Rome*  is  applied  to 
those  musicians  who  have  obtained  the  first  prize 
for  composition  at  the  Institut  de  France.  The 
Prize  was  established  on  the  reorganisation  of 
the  Institut  in  1803.  The  judges  consist  of  six 
musician-members  of  the  Institut  who  belong  to 
the  Acad^mie,  and  three  of  the  most  eminent 
composers  of  the  day.  The  competition  takes 
place  in  May  or  June.  The  prize  composition  was 
originally  a  cantata  for  one  voice  and  orchestra ; 
subsequently  for  one  mide  and  one  female  voice ; 
but  for  the  last  forty  years  three  characters  have 
been  required,  and  it  has  now  attained  to  the 


La    Rtet 


4e  T3- 


'L'Ai«c   et 


importance  of  a  one-act  opera.  The  libretto 
is  also  furnished  by  competition^  in  which 
distinguished  writers  often  take  part ;  wfaila  ibe 
most  popular  singers  take  pleasure  in  performing 
these  first  compositions  01  the  young  aspiranu. 
In  the  event  of  no  composition  proving  worthy 
of  the  Prize,  it  stands  over  till  the  next  year, 
when  two  may  be  adjudged  ^see  1805, 1819,  etc). 
We  append  a  complete  list  of  the  musicians 
who  have  gained  this  gratifying  and  eagerly 
coveted  distinction;  adding  Uie  titles  of  their 
cantatas,  and,  where  obtainable,  the  dates  of 
birth  and  death. 


1«8.  Aiidrot   0781-1800.      'Al- 

c7one.* 
1W4.  No  flnt  prlss. 
1800.  Dourleo.  and  0«.1B  aT»-) 

'Cupldoa  pleurut  Fiyeh^.' 
1808.  BouteiUeraTSB-U   >.  'Hfco 

•t  Lteodre.' 

1807.  No  flnt  prlie. 

18»(.  Blondmu.   'Marie  Staart' 

1808.  DatusoigiM  (1790  —  1875). 
'  Agar  dans  to  Haert,' 

IRia  BeauUeu  0791-1883).  *Hto>.' 

1811.  CheUftl.    'Ariane.' 

UlS.  Harold.   'La  Duchena  da  la 

VailMrv.* 
1818.  Paoaeron.    'Benninla.* 

1814.  Boll  OTW-).    'Atala.' 

1815.  Benoht  (1795).    '(Enooe.* 

1818.  No  flnt  prtre. 

1817.  BattoD  (1787— 1886).  'Lamort 

d'Adonls.* 
lfQ8.  No  flnt  priZA. 

1819.  Hal<T7.  and  Maiilo-Tiutea 
(1798-X    'Henninle.' 

Uao.  Uborna  a7B7— 1808X  'Sopho- 

nbbe.* 
Un.  Biftuta79e-18W).    'IHane.' 
1802.  Lebourgeob(17S8-18M).  'Ge- 

nevMve  de  Brabant.* 
182S.  BolU)r(179»-).  and  Brmel  0796- 

1871).    'FjrnunaetThhbe.' 
18M.  Barbereau.    '  Arte*  Borel.' 
18SS.  OallllondWl— 1854).  'Ariaae 

dans  rne  de  Naxoa*. 
1898.  Paris  0801-86).    'Hermlnle.' 

1827.  J.  BL  Gairaad  0804-).  'Oi^ 
phfe.' 

laSBb  BoM-DeiprteaxO808-). 'Her- 
mlnle.' 

1828.  No  flnt  prlM. 

1830.  BerUoz.  and  Montfort.  'Bar- 
danapale.' 

1881.  Provost.   'BianeaCapello.' 

1832.  A.  Thomaa.  *  Uemuna  et 
Ketty.' 

18SS.  Thya.  *  Le  Oootrifaandtor 
espegnoL' 

1884.  Blwart  0806-77)1  'Vrntcie 
enloge.' 

18W.  Boulanger0815).    'AchtIK' 

1888.  Boisselot  0811).    '  VellMa.' 

1837.  L.  D.  BeK>uL  'Marie  Btaart 
et  Blzzlo.' 

1888.  Bousquet  08I8-M).  '  La  Ven- 
detta.' 

IBB.  Gounod.  'Femaod.' 


IMOl  Badna81S)L 

fcrt.* 
M4L  Malllart. 
1842.  Boiiflr   asi4-)L 

Floze.' 
ISO.  Noflntpilae. 
U4L  Maai^  and 

back.   '  Le  Bearcat.* 
184&  No  flrrt  prijB. 
104L  OaMlaeL   *  Vi 

1847.  Deflite    a81S>. 
ToUc' 

1848.  I>apratoafQ7>. 

1849.  2k'o  flnt  prize. 

1850.  Chartot  <18a7-7UL 
EfflnhanL' 

18B1.  Drlebelle  (Iflan   'Le  Frisoe- 

nier.' 
1882.  Uooee    Ooben   08991    *Le 

Betour  da  V.isftda.' 
UBS.  Gallbeit OSB-ttj.  'Lenicber 

d'AppenselL' 
1854.  Bacthe  Cuao.    'FkaaceKaA 

BlmlnL* 
ie86.Cante     a89ia.        'Ach     ft 

Qalat^e.' 
1868.  Mo  flnt  prise. 
18B7.  Bizet  iit^«-7SX  aad  CharlH 

OAin.    'ClorlsetCiiiiUrfe.' 
1868.  David  0888).    *  Jepht^' 
18BB.  Etigtee  Oviraad.     'B^^uet 

et  le  Joucnr  de  flftle.' 

1880.  FaladUlie.  'LeCzar  iTaalT.* 

1881.  Dubois  08ST-).    'Atak^' 

1882.  BCTunault-l*iicoodr«y  0»¥H. 
'  Louise  deM«zi«roa.' 

1881  Massenet.   *  David  lllztia' 
1864.  Slec.   'Ivanhoe.' 
1MB.  Lenepven.   *  Benaod  dam  Ics 
JardlRS  d'AnnklB.' 

1886.  Emlle  Pesaard.   'DaUa.' 

1887.  No  flnt  prize. 

1888.  Wlntzweiller    0844-7DX   ud 
Babuteau.   "Daniel.' 

1888.  TaudDO.   'nrnDgoise  de  Bt- 

mini.' 
18T0L  MarMial.  and  Ch.  Lefebrte 

'  Le  Jucement  de  Dieu.' 

1871.  Serpette.   'Jeanne  d'Aic' 

1872.  Balrayre.    'OalTpeo.* 
187S.  Paal  Paget.   '  MazenMu' 
1874.  Ehrhan  0868-75)^     'Ads  «t 

Oalatfe.' 
187B.  Wonneer.   'ClytenmestT'.' 
UTl  HlUemaober.  and  F.T.de  la 

Nox.   'Jodith.' 
1877.  No  flnt  prize. 


The  successful  cantata  is  performed  at  the  an* 
nual  stance  of  the  Academic  des  Beaaz  Arts  at 
the  Institut,  usually  in  October ;  it  has  sometimes 
been  sung  in  costume  at  the  Opera.  A  few  of 
the  cantatas  have  been  engraved,  but  the  greater 
part  are  unpublished.  At  the  instance  of  the 
writer  of  this  article,  and  by  his  endeavours, 
the  whole  of  the  autographs  of  these  interesting 
compositions  have  been  deposited  in  the  Libraiy 
of  the  Conservatoire  in  Puis,  under  the  title  w 
'  Fonds  des  Prix  de  Rome.'  [6.C.J 

GRANDSIRE.  The  name  given  to  one  of 
the  methods  by  which  changes  in  zinging  are 


GRAKBSIRE. 

produced.      It  is  supposed  to  be  the  original 
methcMl.    QSee  Chanok  Ringing.]     [C.A.W.T.] 

GRAN" JON,  BoBEBT.  Bom  about  the  begin- 
ning of  tbe  1 6th  century  at  Paris,  a  type-founder 
who  was  one  of  the  first  to  introduce  round  notes 
inate&d  of  square  and  lozenge-shaped  on^  and 
at  the  same  time  to  suppress  the  ligatures  and 
signs  of  proportion,  which  made  the  notation  of 
the  old  music  so  difficult  to  read — and  thus  to 
simplify  the  art.  His  efforts,  however,  appear  to 
have  met  with  little  or  no  success..  His  first 
publications  are  said  to  be  dated  1523,  and  the 
first  ^work  printed  on  his  new  system,  1559,  at 
whioh  time  he  had  left  Paris  for  Lyons;  he 
was  at  Home  in  158  a,  where  he  printed  the  first 
edition  of  Guidetti's  Directorium,  having  been 
called  to  Borne  by  the  Pope  in  order  to  cut  the 
capital  letters  of  a  Greek  alphabet. 

Whether  he  or  Briard  of  Bar-le-duc  was  the 
first  to  make  the  improvements  mentioned  above 
is  uncertain.  Briard^s  Garpentras  (printed  in 
the  neipir  style)  was  published  at  Avignon  in 
1 533*  l>ut  Granjon  appears  to  have  made  his 
invention  and  obtained  letters  patent  for  it  many 
years  before  he  had  an  opportunity  of  exercising 
it.     See  F^tis  for  more  details.  [G.J 

GRANOM,  Lewis  C.  A.,  a  composer  who 
flourished  about  the  middle  of  the  i8th  century, 
and  produced  many  songs  and  pieces  which  were 
popijdar  in  their  day.  His  first  work  was  '  Twelve 
Sonatas  for  the  Flute,^  published  in  1751.  He 
afterwards  published  *Siz  Trios  for  the  Flute/ 
1755,  and  a  collection  entitled  'The  Monthly  Mis- 
cellany,' consisting  of  duets  for  flutes,  songs,  etc. 
His  '  Second  Collection  of  40  favourite  English 
Songs,  with  string  accompaniments,  in  score ;  de- 
dicated to  Br.Boyce,'  bears  the  opus  number  ziii. 
Kothing  is  known  of  his  biography.     [W.  H.  H.] 

GRAS,  Madabib  Julie  Aimse  Dobus,  whose 
fumly  name  was  Steenkiste,  was  bom  at  Valen- 
ciennes in  1807.    Dobus  was  the  name  of  her 
mother.     She  was  the  daughter  of  the  leader  of 
the  band,  and  educated  by  her  father.  At  the  age 
of  14  she  made  a  d^but  in  a  concert  with  such  suc- 
cess as  to  obtain  a  subsidy  firom  the  authorities  to 
enable  her  to  study  at  the  Conservatoire  of  Paris. 
There  she  was  admitted  Dec.  21,  182 1 ;  and 
received  instruction  from  Henri  and  Blangini. 
With  a  good  voice  and  much  facility  of  execution, 
she  obtained  the  first  prize  in  1822.    Paer  and 
Bordogni  then  helped  to  finish  her  education. 
To  the  former  she  owed  her  appointment  as 
chamber-singer  to  the  king.     In  1825  she  began 
her  travels,  going  to  Brussels  first,  where  she 
sang  with  such  success  as  to  receive  proposals 
for  the  opera.     She  now  gave  six  months  to 
study  for  the  stage,  and  made  a  brilliant  d^ut. 
After  the  revolution  of  1830  she  went  to  the 
opera  at  Paris,  and  made  her  fin>t  appearance 
in  the  '  Comte  Ory '  with  great  applause.    On 
the  retirement  of  Mme.  Damoreau-Cinti  (1835) 
MUe.  Dorus  succeeded  to  the  principal  parts 
in  *La  Muette,'   'Guillaume  Tell,*  'Fernand 
Cortez,*  etc.     She  had  already  created  the  rdles 
of  Ther^sina    in   'Le    PhUtre/    of  Alice    in 


GBASSHOPPEB. 


619 


'Bobert  le  Diable,'  and  the  page  in  'Gustave.' 
In  1839  she  visited  London,  where  she  had  a 
very  warm  reception.  Having  married  M.  Gras, 
one  of  the  principal  violins  at  the  Op^ra,  April  9, 
1833,  Mile.  Dorus  for  some  years  kept  her 
maiden-name  on  the  stage.  The  management  of 
the  theatre  having  passed  into  the  hands  of  M. 
Stolz,  she  had  the  mortification  to  see  her  chief 
parts  given  to  Mme.  Stolz,  and  consequently 
retired  in  1845.  She  continued  however,  to  sing 
occasionally  in  Paris  and  in  the  provinces.  In 
1847  she  reappeared  in  London,  and  renewed 
her  former  triumphs ;  as  she  did  a^ain  in  1S48 
and  9,  singing  in  the  latter  year  Auber  s  Italianised 
'  Masaniello.*  In  1 850-1  Mme.  Dorus-Gras  re- 
mained in  Paris,  singing  in 'a  few  concerts ;  but 
since  then  her  artistic  career  has  ended.    [J.  M.] 

GBASSET,  Jeak-Jacques,  a  distinguished 
violin-player,  bom  at  Paris  about  1769.  He 
was  a  pupU  of  Berthaume,  and  is  reported  to 
have  excelled  by  a  clear,  though  not  powerful 
tone,  correct  intonation  and  technique.  After 
having  been  obliged  to  serve  in  the  army  for 
several  years— which  he  appears  to  have  spent 
not  without  profit  for  his  lurt  in  Germany  and 
Italy — he  returned  to  Paris  and  soon  gained  a 
prominent  position  there.  On  the  dsath  of  Ga- 
vini^  in  1800  he  was  appointed  professor  of  the 
violin  at  the  Conservatoire,  after  a  highly  suc- 
cessful competition  with  a  number  of  eminent 
performers.  Soon  afterwards  he  succeeded  Bruni 
as  '  chef  d*orchestre  *  at  the  Italian  Opera,  which 
post  he  filled  with  eminent  success  till  1829, 
when  he  retired  from  public  life.  He  published 
three  Concertos  for  the  Violin,  five  books  of 
Violin-Duos,  and  a  Sonata  for  Piano  and  Violin, 
which  are  not  without  merit.  He  died  at  Paris 
in  1839.  LP.I>.] 

GBASSHOPPEB  or  HOPPEB,  in  a  square 
or  upright  pianoforte  of  ordinary  London  make,  is 
that  part  of  the  action  known  technically  as  the 
escapement  lever  or  jack,  so  constructed  with 
base  mortised  into  the  key  and  backpiece,  that 
it  may  be  taken  out  or  replaced  with  the  key, 
without  disturbing  the  rest  of  the  mechanism. 
There  is  a  regulating  screw  perforating  the  jack, 
tongue,  or  fly,  as  it  is  variously  called,  of  the 
grasshopper,  drilled  into  the  backpiece  and  bear- 
ing a  leather  button,  the  position  of  which  and 
the  pressure  of  a  spring  determine  the  rake  of  the 
jack,  and  consequently  the  rise  and  rebound  of 
the  hammer ;  the  rebound  being  further  regulated 
by  a  contrivance  attached  to  the  jack,  when  not 
an  independent  member,  and  used  for  checking 
or  arresting  it  after  the  blow.  In  grand  piano- 
fortes, and  in  upright  ones  with  crank  lever 
actions,  the  escapement  apparatus  is  less  easily 
detached  from  the  action. 

It  is  not  recorded  by  whom  the  Grasshopper 
was  introduced,  although  the  escapement  part  of 
it  existed  in  Cristofori's  'linguetta  mobile';  but 
the  tradition  which  attributes  it  to  Longman 
and  Broderip,  pianoforte  makers  in  London,  and 
predecessors  of  the  firm  of  Clementi  and  Collard, 
may  be  relied  upon.     John  Geib  patented  in 


620  GRASSHOPPER,  GRAIW. 

London  in  1786  a  square  action  with  the  jack,  '  In  1803  she  was  engaged  to  sing  in  London  from 
and  the  setting  off  button  acting  upon  the  key,  !  March  to  July  for  £3000,  taking  the  place  of 
also,  in  another  form,  the  screw  holding  the  ^  Banti.  Here  she  had  to  contend  with  Mrs. 
button  perforating  the  jack— but  with  the  button  Billington  in  popular  favour,  though  their  xmcts 
in  front  of  it.  The  improved  form  with  which  1  were  veiy  different.  Lord  Mount -£dgcuittt« 
we  are  acquainted,  with  the  button  behind  the     speaks  in  disparaging  terms  of  that  of  Grassini, 

J'ack,    was  adopted  by   Messrs.    Longman  and  ,  though  he  gives  her  credit  fo'  great  beanty,  'a 
^nxlerip,  and  soon  became  general.        [A.  J.H.]  i  grace  peculIarW  her  own,*  and  the  excellence  of 

GRASSI,  Cecilia,  who  afterwards  became  the  '  ^^\^.^'^'    ,^«*^^  ^f^J^^  ^exdusi^y  the 
wife  of  John  Christian  ]6ach  ('English  B.«ch'),  I  «'«^^'^^.  and  bordered  a  litUe  on  the  m 


luiiiueu  111  i,iuii«  capaciw  aii  Lue  opera  lor  several  1             1        ,  '    ,       %    •  ^        *..              "i      11 

years.     Bumey  thought  her  'inanimate  on  the  ■^,'^  produce!  only  shnek    quite  unn:^ural,  ani 

stage,  and  far  from  b^utiful  in  her  person ;  but  *^°^^*  pamful  to  the  ear.      Her  firrt  appearanc^ 

there  was  a  truth  of  intonation,  with  a  plaintive  ^*^  V^  /  ^  ^^T"^  ,^^^  ^ole,    by  Mayer,  weU 

sweetness  of  voice,  and  imiocence  of  expression,  ""^^  Vf  \      ^.   IJ^T"^  7"^  1,     1  '^ 

that  gave  great  pleasure  to  all  hearers  who  did  *?P*'^?;  ^^  J^^""  ^^  benefit  was  to  take  pk  e 

not  expect  or  wLt  to  be  surprised.'     She  was  ?^V^^  J^^.^  encounter  it  alone,  but  caUe^l 

succeed^  in  1772  by  Girelli,  but  remained  in  f  ^J?'  Billington  to  her  aid.      The  fade  then 

England  untU  the  death  of  her  husband  in  1782,  turned,  andGrassim  became  the  reigning&vounW. 

when  she  returned  to  Italy,  and  retired  fionl  ^^*  ^^^  J^**  "^^  T^^^k^^Tk^^^J!    "^Z" 

pubUc  binging.  [J.  M.l     P,^^^'^  ^"*  "5*  ^f  .^>^  ^P J^^  ^«  ^  «*'*^*>'' 

x-  -o    o  L         J    fifte,  caressed,  and  introduced  as  a  regular  gae>^ 

GRASSINEAU,  Jamss,  bom  of  French  ,  in  most  of  the  fashionable  assemblies.'  Very 
parents  in  London,  about  1715  ;  was  first  em-  different  from  this  was  the  effect  produced  by 
ployed  by  Godfrey,  the  chemist,  of  Southampton  |  Grassini  on  other  hearers,  more  intellectual 
Street,  Strand,  then  became  Secretary  to  Dr.  though  less  cultivated  in  music,  than  Lnl 
Pepusch,  at  whose  instance  he  translated  the  Mount- Edgcumbe.  De  Quincey  found  her  voi.e 
* Dictionnaire  de  musique'  of  Brossard  (Paris,  ,  'delightful  beyond  all  that  he  had  ever  heard." 
1 703)*  ^ith  alterations  and  additions,  some  of  Sir  Charles  Bell  (1805)  thought  it  was  'only 
which  are  said  to  be  by  Pepusch  himself : — '  A  ^  Grassini  who  conveyed  the  idea  of  the  united 
musical  dictionary  ...  of  terms  and  characters,'  1  power  of  music  and  action.  She  died  not  only 
ete.,  London,  1 740,  an  8vo.  of  343  pages,  with  1  without  being  ridiculous,  but  with  an  effect  equal 
a  recommendation  prefixed,  signed  by  Pepusch,  |  to  Mrs.  Siddons.  ITie  *0  Dio'  of  Mrs.  Billing- 
Greene,  and  Galliard.  A  2nd  edition  is  said  to  \  ton  was  a  bar  of  music,  but  in  the  strange, 
have  been  published  in  1769  by  Robson  with  an  1  almost  unnatural  voice  of  Grassini.  it  went  to 


appendix  taken  from  Rousseau.  [G.] 

GRASSINI,  J08EPHINA  (as  she  signed  her- 
self), was  bom  at  Varese  (Lombardy)  in  1773,  of 
very  humble  parents.     The  beauty  of  her  voice 


the  soul.*  Elsewhere  he  speaks  of  her  '  dignity, 
truth,  and  affecting  simplicity.'  Such  was  her 
influence  on  people  of  refined  taste,  not  ma- 
sicians.     In  1S04  she  sang  again  in  Paris;  and, 


and  person  induced  General  Belgiojoso  to  give  1  »^''  ^^^»  ^^^^  ^he  quitted  London,  con- 
her  the  best  instruction  that  could  be  procured  '  tinned  to  sing  at  the  French  Court  for  several 
at  Milan.  She  made  rapid  progress  in  the  grand  |  y«»"'  *t  a  very  high  sakry  (altocether,  about 
school  of  singing  thus  opened  to  her,  and  soon  ^'»6oo).  Here  the  rdle  of  'Didone  was  written 
developed  a  powerful  and  extensive  contralto,  I  ^^^  ^^r  by  Paer.  After  the  change  of  dynasty, 
with  a  power  of  light  and  finished  execution  |  ^™®-  Grassini,  whose  voice  was  now  seriousay 
rarely  found  with  that  kind  of  voice.  She  had  I  impaired,  lost  her  appointment  at  Paris,  and 
the  great  advantage  of  singing  in  her  first  operas  i  returned  to  Milan,  where  she  sang  in  two  ooncerts 
with  such  models  as  Marchesi  and  Crescentini.  in  April  181 7.  In  1822  she  was  at  Ferrars, 
Grassini  made  her  debuts  at  MiUn,  in  the  cami-     ^"t  died  at  MUan  in  January  1850. 


val  of  1794,  in  ZingarellVs  'Artaserse,'  and  the 
*  Demofoonte '  of  Portogallo.  She  soon  became 
the  first  singer  in  Italy,  and  appeared  in  triumph 
on  all  the  chief  Italian  stages.  In  1796  she 
returned  to  Milan,  and  played  in  Traetta^s  *  Apelle 
e  Campaspe,'  and  with  Crescentini  and  Bianchi 


In  1806  a  fine  portrait  of  her  was  scraped  in 
mezzotint  (folio)  by  S.  W.  Reynolds,  after  a  picture 
by  Mme.  Le  Brun.  It  re])resents  her  in  Turkish 
dress,  as  '  Zaira*  in  Winter's  opera.  £J.  M.] 

GRAUN.  The  name  of  three  brothers,  one  of 
whom  made  his  mark  on  German  music,  sons  of  an 


in  the  *  Giulietta  e  Romeo'  of  Zingarelli.     The  I  Excise  collector  at  Wahrenbriick  near  Dresden, 
year  after  she  excited  the  greatest  enthusiasm  at        The  eldest,  August  Friedbich,  bom  at  the 


Venice  as  'Orazio.*     In  1797  she  was  engaged  1  end  of  the  17th  century,  was  at  the  time  of  his 


to  sing  at  Naples  during  the  fStet  held  on  the 
marriage  of  the  Prince.  In  1800,  after  Marengo, 
she  sang  at  Milan  in  a  concert  before  Buona- 
parte, and  was  taken  by  him  to  Paris,  where 


death  cantor  of  Merseburfif,  where  he  had  passed 
the  greater  part  of  his  life,  1 727-1 771. 

JoHANN  Gottlieb,  bom  1698,  was  an  eminent 
violinist,   and  composer  of  instrumental  made 


she  sang  (July  22)  at  the  natioiuU  f6te  in  the    much  valued  in  his  day.     He  was  a  pupil  of 
Champ  de  Mars,  and  in  concerts  at  the  opera.  ,  Pisendel.     After  a  journey  to  Italy,  where  he 


GRAUN. 


GRAUN. 


d21 


bad  instrnctionfrom  Tartini,  he  became  Concert- 
meister  at  Merseburg,  and  had  Friedemann  Bach 
for  some  time  as  his  pupil.  In  1737  he  entered 
the  aervice  of  Prince  yon  Waldeck,  and  in  28 
that  of  Frederick  the  Great,  then  Crown  Prince 
at  Reinsberg.  On  the  King*s  accession  he  went 
to  Berlin,  and  remained  there  till  his  death  in 
1771  as  conductor  of  the  royal  band.  Of  his 
many  compositions  only  one,  '6  Klavier-trios 
mit  Violine/  has  been  printed.  Bumey  in  his 
'Present  State*  (ii.  229)  testifies  to  the  great 
esteem  in  which  he  was  held.  The  excellence  of 
the  then  Berlin  orchestra  is  always  attributed  to 
him.  [P-D.] 

The  most  celebrated  of  the  three  is  the  youngest, 
Xarl  Hjeinbich,  bom  May  7.  1701.    He  was 
educated  with  Johann  Gottlieb  at  the  Kreuzschule 
in  Dresden,  and  having  a  beautiful  soprano  voice, 
was   appointed,  in   1713.  '  Raths-discantist/  or 
treble-singer  to  the  town-council.    Grundig  the 
cantor  of  the  school,  the  court-organist  Petzold, 
and  the  capellmeister  Joh.  Christoph  Schmidt, 
were  his  early  musical  instructors,  and  he  profited 
by  the  friendship  of  Ulrich  Konig  the  court-poet, 
and  of  Superintendent  Loscher,  who  defended 
him  from  the  pedantic  notions  of  an  inartistic 
Buigomaster.    His  career  both  as  a  singer  and 
composer  was  laigely  influenced  by  his  study  of 
the  vocal  compositions  of  Keiser,  the  then  cele- 
brated oompoeer  of  Hamburg,  and  of  the  operas 
of  the  Italian  composer  Lotti,  who  conducted  in 
person  a  series  of  performances  in  Dresden,  with 
a  picked  company  of  Italian  singers.  Even  during 
this  time  of  study,  Graun  was  busily  engaged 
in  composing.    There  still  exist  a  quantity  of 
motets  and  other  sacred  vocal  pieces,  which  he 
wrote  for  the  choir  of  the  Kreuzschule.     In  par- 
ticular may  be  cited  a  'Grosse  Passions-Cantata,' 
with  the  opening  chorus  *  Lasset  uns  aufsehen  auf 
Jesum,'  which,  as  the  work  of  a  boy  of  barely  1 5, 
is  veiy  remarkable.    Upon  Konig's  recommenda- 
tion he  was  appointed  tenor  to  the  opera  at 
Brunswick  when  Hasse  was  recalled  to  Dresden 
in  1725.    The  opera  chosen  for  his  first  appear- 
ance was  by  Schurmann  the  local  capellmeister, 
but  Graun  being  dissatisfied  with  the  music  of 
his  part  replaced  the  airs  by  others  of  his  own 
compositicm,  which  were  so  successful  that  he  was 
commissioned  to  write  an  opera,  and  appointed 
vice-capellmeister.    This  first  opera  'Pollidoro' 
(1726)  was  followed  by  five  others,  some  in 
Italian,  and  some  in  German ;  and  besides  these 
he  composed  several  cantatas,  sacred  and  secular, 
two '  Pasdons-Musiken,'  and  instrumental  pieces. 
His  fiune  was  now  firmly  established.     In  1 735 
he  was  invited  to  Reinsberg,  the  residence  of 
the  Crown-Prince  of  Prussia,  afterwards  Frederic 
the  Great.    This  powerful  amateur  continued 
Graun's  hiend  and  patron  till  his  death.    Here 
he  composed  about  50  Italian  cantatas,  usually 
consisting  each  of  two  airs  with  recitatives.   They 
were  highly  valued  at  the  time,  and  contain 
ample  materials  for  an  estimate  of  Graun's  style 
of  ?rriting  for  the  voice.    When  Frederic  came 
to  the  throne  in  1 740,  he  gave  Graun  the  post 
of  capellmeister,  with  a  salaiy  of  aooo  thalers^ 


and  despatched  him  to  Italy  to  form  a  company 
of  Italian  singers  for  the  opera  at  Berlin.  In 
Italy  he  remained  more  than /a  year,  and  his 
singing  was  much  appreciated.  After  his  return 
to  Berlin  with  the  singers  he  had  engaged,  he 
spent  some  years  of  remarkable  activity  in  com- 
posing operas.  Those  of  this  period  amount  to 
27  in  aU  (a  complete  b'st  will  be  found  in  F6t\&) ; 
*  RodeHnda,  Regina  di  Longobardia  *  appeared  in 
1 741,  and  'Merope,*  his  h»t,  in  1756.  In  his 
operas  he  gave  his  chief  consideration  to  the 
singer,  as  indeed  was  the  case  with  all  Italian 
operas  at  that  time.  His  forte,  both  in  singing 
and  in  composition,  resided  in  the  power  he 
possessed  of  executing  adagios,  and  of  expressing 
tenderness  and  emotion.  Although  his  operas,  as 
such,  are  now  forgotten,  they  contain  airs  which 
merit  the  attention  of  both  singers  and  public,  a 
good  instance  being  '  Mi  paventi '  from  '  Britan- 
nicus*  (1752),  with  which  Mme.  Viardot-Garcia 
used  to  make  a  great  effect.  A  collection  of  airs, 
duets,  terzettos,  etc.,  from  Graun  s  operas  was 
edited  by  the  celebrated  theorist  Kimberger,  in 
4  vols.  (Berlin  1773). 

Towards  the  close  of  his  life  Graun  again  de- 
voted himself  to  church- music,  and  two  of  the 
works  belonging  to  this  period  have  carried  his 
name  down  to  posterity ;  and  are  indeed  those 
by  which  he  is  now  almost  exclusively  known. 
These  are  the  'Te  Deum*  which  he  composed  for 
Frederic's  victory  at  Prague  (1756) — first  per- 
formed at  Charlottenbuig  at  the  close  of  the  Seven 
Years  War,  July  15,  1763— and  still  more, '  Der 
Tod  Jesu,'  or  Death  of  Jesus,  a  'Passions-Cantata,* 
to  words  by  Ramler,  a  work  which  enjoyed  an 
unprecedented  fame,  and  placed  its  author  in  the 
rank  of  classical  composers.  In  Grermany  the  Tod 
Jesu  holds  in  some  degree  the  position  which  is 
held  by  the  Messiah  in  England.  It  was  first 
executed  in  the  Cathedral  of  Berlin  on  March  26, 
1755,  and  has  since  then  been  annually  performed 
in  Passion- week.  A  centenary  performance  took 
place  in  1855  in  presence  of  Frederic  William 
IV.  Of  late  years  some  opposition  has  been 
raised  to  this  continual  repetition  of  an  anti- 
quated work,  but  it  may  to  a  great  extent  be 
justified  by  the  complete  and  masterly  form  in 
which  it  embodies  the  spirit  of  a  bygone  age. 
Looked  at  from  a  purely  musical  point  of  view, 
and  apart  from  considerations  of  age  or  taste,  the 
'Tod  Jesu*  contains  so  many  excellences,  and 
so  much  that  is  significant,  that  no  oratorio  of 
the  second  half  of  the  last  century,  excepting 
perhaps  Mozart's  'Requiem'  and  Haydn's  ' Crea- 
tion* can  be  compared  to  it.  Graun  was  a  master 
of  counterpoint ;  his  harmony — as  his  biographer, 
J.  A.  Hiller,  says — wa^  always  'clear  and  signifi- 
cant, and  his  modulation  well  regulated.'  His 
melodies  may  be  wanting  in  force,  but  they 
are  always  full  of  expression  and  emotion.  That 
he  possessed  real  dramatic  ability  may  be  seen 
from  his  recitatives,  and  these  are  the  most 
important  parts  of  the  '  Tod  Jesu.*  An  English 
edition  of  the  work  has  recently  been  published 
by  Messrs.  Novello,  so  that  it  has  now  a  fair 
chance  of  attaining  that  popularity  in  England 


622 


GRAUN. 


GBEATOREX. 


to  which  its  merits  entitle  It.  Hitherto  we  aie 
not  aware  of  its  having  ever  been  performed 
here  in  public. 

Graun's  instrumental  compositioTis,  trios,  piano- 
forte concertos,  etc.,  have  never  been  published 
and  are  of  litUe  value.  He  wrote  31  solfeggi, 
which  form  an  excellent  singing  method,  and  he 
invented  the  so-called  '  Da  me  ne  satio* — a  put- 
ting together  of  the  lE^llables,  da,  me,  ni,  po,  tu, 
la,  be,  for  the  practice  of  solfeggio,  which  how- 
ever has  been  little  used.  Graun  died  at  Berlin 
Aug.  8.  1759,  in  full  enjoyment  of  the  kiug*s 
fitvour,  illustrious  among  his  contemporaries, 
and,  after  Hasse,  undoubtedly  the  chief  com- 
poser  of  Italian  opera  of  his  time.  [A.M.] 

GRAUPNEB,  Chbistoph,  composer,  bom 
1683  or  84  at  Kirchberg  in  Saxony,  near  the 
Erzgebirge;  came  early  to  Leipzig,  where  he 
studied  nine  years  at  the  Thomas-schule  under 
Cantors  Schelle  and  Kuhnau.  He  began  to 
study  law,  but  was  driven  by  the  Swedish 
invasion  to  take  refuge  in  Hamburg,  where  he 
passed  three  years  as  hiumsichord  player  at  the 
opera  under  Reiser,  llie  Landgrave  Ernst 
Ludwig  of  Hesse  Darmstadt,  then  staying  in 
Hamburg,  having  appointed  him  his  vice-CapeU- 
meister,  he  removed  in  1710  to  Darmstadt,  and 
in  the  same  year  was  promoted  to  the  Capell- 
meistership  on  the  death  of  Briegel.  Here  he 
did  much  to  elevate  both  sacred  and  dramatic 
music,  and  greatly  improved  the  court  perform- 
ances, the  excellence  of  which  is  mentioned  by 
Telemann.  In  1723  he  was  proposed,  together 
with  Bach  and  Telemann,  for  the  post  of  Cantor 
at  the  Thomas-schule  (when  Bach  was  elected), 
but  he  preferred  remaining  in  Darmstadt.  In 
1750  he  lost  his  sight,  a  great  trial  to  so  active 
a  man,  and  died  May  10, 1 760,  in  his  78th  year. 

Graupner  worked  almost  day  and  night;  he 
even  engraved  his  own  pieces  for  the  clavier, 
many  of  which  are  very  pleasing.  Of  hia  operas 
the  following  were  produced  in  Hamburg: — 
*  Dido'  (1707),  'Hercules  und  Theseus,'  *  Antio- 
chus  in  Stratonica,'  '  Bellerophon'  (1708),  and 
'Simson'  (i.e.  Samson — 1709).  AfW  this  he 
wrote  only  church  and  chamber  music.  Between 
the  years  17 19  and  45  he  composed  more  than 
1300  pieces  for  the  service  in  the  Schloss-kirche 
at  Darmstadt — figured  chorales,  pieces  for  one 
and  more  voices,  and  chorales  with  accompani- 
ment for  organ  and  orchestra.  The  court  library 
at  Darmstadt  contains  the  autograph  scores  and 
the  separate  parts  of  these,  which  were  printed 
at  the  Landgrave's  expense;  Superintendent 
Lichtenberg  furnished  the  words.  The  same 
libnuy  abo  contains  in  MS.  50  concertos  for 
different  instruments  in  score ;  80  overtures ; 
116  symphonies;  several  sonatas  and  trios  for 
different  instruments  in  various  combinations, 
mostly  in  score ;  6  Sonatas  for  the  harpsichord, 
with  gngues,  preludes,  and  fugues.  Of  his  printed 
worksthere  also  exist  8  'Partien'  for  the  Clavier 
(171S)  ;  '^Monatliche  Clavier-Frfichte,'  consisting 
of  preludes,  allemandes,  courantes,  sarabandes, 
minuets,  and  gigues  (Darmstadt  1722);  *  Die 
vier  Jahreuzeiten,'  4  suites  for  clavier  (Frankfurt 


'  1 733) ;  Mid  *  VIII  Partien  auf  das  Clavier/  dedi- 
cated to  the  Landgrave  Ernst  Lad  wig  (Dano- 
stadt  1726).  We  must  also  mention  his  'Neu 
vermehrtes  Choralbuch'  (Frankfurt,  Gerhardt, 
1728).  Graupner's  autobiography  is  printed 
in  Mattheson*s  Ehrenpfortei,  p.  410.         [C.F.P.] 

GRAVE.  One  of  the  slow  TempoB,  indicating 
perhaps  rather  character  tlum  pace.  As  familiar 
mstances  may  be  given  the  optming  movement  of 
the  Overture  to  the  Messiah,  the  short  Choruses 
in  plain  counterpoint  in  Isn^el  in  lEigypt — 'And 
Israel  saw,'  'He  is  my  God,'  etc  ;  the  two 
recitatives,  'As  God  the  Lord,'  in  Elijah ;  'The 
nations  are  now  the  Lord's  *  in  St.  Paul ;  '  What 
ailed  thee'  in  the  114th  Psalm;  the  'Rex 
tremendse '  in  Mozart's  Requi^n ;  the  IntrodnctioQ 
to  the  Sonata  Pathetique,  and  that  to  the  Priscn 
scene  in  Fidelio.  In  Elijah  Mendelssohn  marks 
it  f «  60,  but  in  St.  Paul  p«  66.  [G.] 

GRAVICEMBALO.  An  Italian  oarraption  of 
the  term  Clavicembalo,  a  harpaichard.    [A.  J.H.] 

GRAY  &  DAVISON.  Robert  Gray  esUUisbed 
an  organ fikctory  in  London  in  1 774,  was  succeeded 
by  William  Gray,  who  died  in  1820,  and  then  by 
John  Gray.  In  1837-38  the  firm  was  John 
Gray  &  Son,  after  which  John  Gray  took  Frederic 
Davison  into  partnership.  Gray  died  in  1849, 
but  the  firm  continues  to  bear  the  same  title. 
Amongst  the  many  organs  erected  by  these 
favourite  makers  aU  over  the  country,  we  may 
mention  those  in  the  Crystal  Palace  (ELandd 
orchestra),  St.  PauVs,  Wilton  Place,  and  St.  Pan- 
eras,  London;  Magdalen  College,  Oxford;  and 
the  Town  Halls  of  Leeds,  Bolton,  and  Glasgow. 

In  1876  they  took  up  the  busineBB  of  Bobson, 
and  have  also  a  fi^ctory  in  Liverpool,  having 
succeeded  Bewshur  in  that  town.  [V.deP.] 

GRAZIANI,  S16NOR,  a  singer  who  appeared 
in  London  first  at  the  Royal  Italian  Opera  in 
1855.  He  made  his  tUbut  in  the  'Trovatore,' 
then  also  produced  here  for  the  first  time.  In 
this  'the  song  H  balen  exhibited  to  its  best 
advantage  one  of  the  most  perfect  baritone  voices 
ever  bestowed  on  mortal.  Such  an  organ  as  his 
is  a  golden  inheritance ;  one,  however,  which  has 
tempted  many  another  beside  himself  to  rely  too 
exclusively  on  Nature'  (Chorley).  Graziani  luis 
continued  to  sing  in  London  and  Paris,  with 
almost  undiminished  powers,  since  tiiat  time. 
His  voice,  though  not  extensive  downwards,  has 
still  beautiful  and  luscious  tones,  reaching  as  higli 
as  G,  and  even  A.  He  appeared  with  great 
effect  as  Nelusco  in  the  'AMcaine'  when  that 
opera  was  first  produced  in  London.  [J.  M.] 

GREATOREX,  Thomas,  son  of  a  professor  of 
music,  was  bom  at  North  Wingfield,  near  Ches- 
terfield, Derbyshire,  on  Oct.  5,  1758.  In  1772 
he  became  a  pupil  of  Dr.  Benjamin  Cooke.  In 
1774,  at  a  performance  of  sacred  music  in  St 
Martin's  chiuxih,  Leicester  (of  which  his  sister 
was  then  organist),  on  occasion  of  the  opening 
of  the  Leicestershire  Infirmary,  he  had  the  good 
fortune  to  make  the  acquaintance  of  the  Earl 
of  Sandwich  and  Joah  Bates.  The  eari  invited 
him  to  become  an  inmate  of  his  house,  and 


GBEATOREX. 

™  ^774*  Sf  <^i>cl  ^f  ^®  ABsisted  at  the  oratorioe 

which  were  given  at  ChristmaB,  under  Bates's 

direction,  at  his  lordship's  seat,  Hinchinbrook 

House,  near  Huntingdon.    On  the  establishment 

of  the  Concert  of  Ancient  Music  in  1 776  Greatorex 

sang  in  the  chorus.    In  1 780  he  was  appointed 

organist  of  Carlisle  cathedral,  a  post  which  he 

held  until  about  1784,  when  he  resigned  it  and 

went  to  reside  at  Newcastle.    In  1 786  he  went 

to  Italy,  returning  home  through  the  Netherlands 

and  Holland  at  the  latter  end  of  1 788.   At  Rome 

he  was   introduced  to  the  Pretender,  Charles 

Edward   Stuart,  with  whom  he  so  ingratiated 

himself  s»  to  induce  the  Prince  to  bequeath  him 

a  lar^  quantity  of  valuable  manuscript  music. 

On  hid  return  to  England  Greatorex  established 

himself  in  London  as  a  teacher  of  music,  and 

soon  acquired  a  very  extensiye  practice.    On  the 

retirement  of  Bates  in  1793  he  was,  without 

BoUcitation,  appointed  his  successor  as  conductor 

of  the  Concert  of  Ancient  Music.    In  1801  he 

joined  W.  Knyvett,  Harrison,   and  Bartleinan 

in  reviying  the  Vocal  Concerts.    In  1819  he  was 

chosen  to  succeed  George  Ebenezer  Williams  as 

organist  of  Westminster  Abbey.  For  many  years 

he  conducted  the  triennial  musical  festivals  at 

Birmingham,  and  also  those  at  York,  Derby,  and 

elsewhere.    Greatorex  published  a  collection  of 

P($alm  Tunes^  harmonised  by  himself  for  four 

voices,  and  a  few  hannonised  airs.   Besides  these 

he   arranged  and   composed  orchestral    accom- 

paniinents  to  many  pieces  for  the  Ancient  and 

Vocal  Concerts,  which  were  never  published. 

His  knowledge  was    by  no  means  limited  to 

music ;    he  was   well  -  skilled  in   mathematics, 

astronomy,  and  natural  history,  and  was  a  fellow 

of  the  Boyal  and  Tiinnman  Societies.    He  died 

July   18,  1 831,  and  was  buried  in  the  West 

cloister  of  Westminster  Abbey.  [W.  H.  H.] 

GREAT  ORGAN.  This  name  is  given,  in 
modem  instruments,  to  the  department  that 
generally  has  the  greater  number  of  stops,  and 
those  of  the  greater  power,  although  occasional 
exceptions  are  met  with  as  to  one  or  other  of 
these  particulars ;  as  when  a  Swell  of  more  than 
proportionate  completeness,  or  a  Solo  organ,  com- 
posed of  stops  of  more  than  the  average  strength 
of  tone,  fimns  part  of  the  instrument. 

The  use  of  the  term  <  Great  Organ'  in  England 
can  be  traced  back  for  upwards  of  400  years.  In 
die  '  Fabrick  Rolls  of  York  Minster,*  under  date 
1 469,  the  following  entry  occurs: — 'To  brother 
Jolm  for  constructing  two  pair  of  bellows  for  the 
great  organ,  and  repairing  the  same,  150.  2d* 
English  Organs  at  that  period,  and  for  nearly  a 
century  and  a  half  afterwards,  were  Invariably 
single  manual  instruments.  This  is  clearly 
intimated  in  numerous  old  documents  still  in 
existence.  Thus  the  churchwardens'  accounts  of 
St.  Mary's,  Sandwich,  contain  the  following  four 
memoranda : — '  1496.  Payd  for  mending  of  the 
lytell  oiganyB,  iijt.  ivd*  *  Item,  for.shepskyn  to 
mend  the  grete  organyse,  iijcf.*  More  clearly 
etill: — '1502.  Paid  for  mending  of  the  gret 
organ  bellowis  and  the  amaU  organ  bellowis,  v<2.' 
'  Item,  for  a  shepis  skyn  for  hoik  organys,  ij^.' 


GREAT  ORGAN. 


623 


It  was  no  uncommon  circumstance  before  the 
Reformation  for  a  large  or  rich  church  to  possess 
one  or  even  two  organs  besides  the  chief  one. 
Thus  at  Worcester  Cathedral  there  were,  besides 
the  'great  orffan'  in  the  choir,  a  'pair  of  organs' 
in  the  Chapel  of  St.  Greorge,  and  another  '  pair' 
in  that  of  St.  Edmimd.  At  Durham  there  were 
two  'great  organs,'  as  well  as  a  smaller  one, 
all  in  the  choir ;  and  an  interesting  description 
has  been  preserved  in  Davies's  'ioicient  Rites 
and  Monuments  of  the  Monastical  and  Cathedral 
Church  of  Durham,  1672,'  of  the  position  of  two, 
and  the  separate  use  to  which  these  several 
organs  were  appropriated : — '  One  of  the  £urest 
pair  of  the  three  stood  over  the  quire  door,  and 
was  only  ^ened  and  play'd  upon  on  principal 
feasts.'  '  The  second  pair, — a  pair  of  fair  large 
organs,  called  the  Cryers, — stood  on  the  north 
side  of  the  choir,  being  never  play'd  upon  but 
when  the  four  doctors  of  the  church  were  read.' 
'  The  third  pair  were  daily  used  at  ordinary  ser- 
vice.' Reverting  to  the  \  ork  records  of  the  15  th 
century  we  find  express  mention  of  'the  large 
organ  in  the  choir,'  and  'the  organ  at  the  altar.' 

The  'great'  organ  was  doubtless  in  all  cases 
a  fixture,  while  the '  small*  one  was  movable ;  and 
it  is  pleasant  to  notice  the  authorities  of  more 
opulent  or  fortunate  churches  helping  the  cus- 
todians of  smaller  establishments  by  lending  them 
a  'pair  of  organs'  for  use  on  special  anniver- 
saries. An  early  instance  of  this  good  custom 
is  mentioned  in  the  York  records  of  1485 : — 
'  To  John  Hewe  for  repairing  the  organ  at  the 
altar  of  B.V.M.  in  the  Cathedral  Church,  and 
for  carrying  the  same  to  the  House  of  the 
Minorite  Brethren,  and  for  bringing  back  the 
same  to  the  Cathedral  Church.  130.  9^.'  A 
1 6tli*  century  entry  in  the  old  accoants  of  St. 
Mary  at  HiU,  London,  states  the  occasion  for 
which  the  loan  of  the  organ  was  received: — 
'1510.  For  bringing  the  organs  from  St.  An- 
drew s  Church,  against  St.  Barnabas'  eve,  and 
bringing  them  back  again,  yd* 

We  have  seen  that  some  of  the  large  churches 
had  two  or  even  three  organs  in  the  choir, 
located  in  various  convenient  positions,  and  em- 
ployed separately  on  special  occasions.  But  the 
idea  of  placing  the  small  organ  close  to  the  large 
one, — in  finont  of  and  a  little  below  it, — with 
mechanism  so  adjusted  that  the  two  organs  could 
be  rendered  avulable  for  use  by  the  same  player 
and  on  the  same  occasion, — in  fact,  of  combining 
them  into  a  two-manual  organ, — does  not  seem 
to  have  been  conceived  in  England  until  about 
the  beginning  of  the  1 7th  century ;  and  among 
the  earliest  artists  who  effected  this  important 
improvement  appears  to  stand  Thomas  Dallam. 
This  builder  nutde  an  organ  for  King's  College 
Chapel,  Cambridge,  the  accounts  of  which, — en- 
titled, 'The  charges  about  the  organs,  etc.,  from 
the  22nd  of  June,  1605,  to  the  7th  of  August, 
1606,' — are  still  extant.  From  the  manner  in 
which  'l^e  greate  Organ'  and  'the  greate  and 
litel  Organs'  are  mentioned  in  these  entries, 
it  seems  clear  that  the  union  of  the  two  was 
a  recent  devioe.    Seven  years  later  Dallam  built 


624 


GKEAT  ORGAN. 


an  instrument  for  Worcester  Cathedral,  the  two 
dei)artment8  of  which  were  referred  to  collectively 
in  the  following  extract : — '  A.  D.  1 6i  3.  All  the 
materials  and  workmanship  of  the  new  double- 
organ  in  the  Cathedral  Church  of  Worcester  by 
Thomas  Dalham,  organ-maker,  came  to  j£aii.' 
The  name  'Chayre  oivan'  is  also  given  to  the 
smaller  one.  At  length,  in  the  contract  for  the 
York  Cathedral  Organ,  dated  1633,  we  find  the 
word  'great'  applied  to  an  organ  as  a  whole— 
'  touchinge  the  makeinge  of  a  great  organ  for  the 
said  church/ — although  feurther  on  in  the  u[ree- 
ment  a  'great  organ'  and  'chaira  organ  (in 
front)  are  specified.  [E.J.H.] 

GREAVES,  Thomas,  a  lutenist,  published  in 
1604  a  work  intitled  '  Songs  of  Sundrie  Kindes ; 
firat  Aires  to  be  sung  to  the  Lute  and  Base 
VioU.  Next,  Songs  of  Sadnesse,  for  the  Viols 
and  Voyces.  Liastly,  Madrigalles  for  five  Voyces.* 
It  consists  of  2 1  pieces ;  1 5  songs  and  6  niadri- 

fals.  On  the  title-page  the  composer  describes 
imself  as  '  Lutenist  to  Sir  Henrie  Pierrepoint, 
Knight,*  to  whom  he  dedicates  his  work.  No- 
thing is  known  of  his  biography.  [W.H.H.] 

GRECCO,  Gaetano,  bom  at  Naples  about 
16S0,  pupil  of  A.  Scarlatti,  whom  he  succeeded 
as  teacher  of  composition  in  the  Conservatorio 
dei  Poveri,  where  he  had  Pergolesi  and  Vinci 
for  his  pupils.  From  thence  he  passed  to  the 
Conservatorio  di  San  Onofrio.  The  date  of  his 
death  is  unknown.  None  of  his  music  appears 
to  have  been  printed,  and  only  a  very  few  pieces 
are  known  in  MS.  [G.] 

GREEN,  James,  an  oi^nist  at  Hull,  pub- 
lished in  1 734  '  A  Book  of  Psalmody,  containing 
Chanting  Tunes  for  the  Canticles  and  the  reading 
Piialms,  with  eighteen  Anthems  and  a  variety  of 
Psalm  tunes  in  four  parts,'  which  was  very 
favourably  received,  and  ran  through  many  edi- 
tions. The  eleventh  appeared  in  1 75 1 .  [W.  H.  H.] 

GREEN,  Samuel,  a  celebrated  organ  builder, 
born  in  1 740,  studied  the  art  of  organ  building 
under  the  elder  Byfield,  Bridge,  and  Jordan. 
After  commencing  business  on  his  own  account 
he  erected  many  instruments  in  conjunction  with 
the  younger  Byfield,  with  whom  he  was  for 
some  years  in  partnership.  Green  became  the 
most  esteemed  organ  builder  of  his  day,  his  in- 
stnunents  being  distinguished  by  peculiar  sweet- 
ness and  delicacy  of  tone.  There  exist  more 
cathedral  organs  by  him  than  any  other  builder ; 
though  most  of  them  have  been  since  altered 
and  added  to.  He  erected  those  in  the  cathe- 
drals of  Bangor,  1 779  ;  Canterbury,  1 784 ;  Wells, 
1786;  Cashel,  1786;  Lichfield,  1789;  Roches- 
ter, 1791 ;  and  Salisbuiy,  1792  :  in  Winchester 
College  chapel,  1 780  ;  St.  George's  chapel,  Wind- 
sor, 1 790 ;  and  Trinity  College  chapel,  Dublin  : 
in  the  following  churches,  chapels,  etc.  in 
London,  viz.  St.  Botolph,  Aldersgate;  Broad 
Street,  Islington ;  St.  Catherine  •  by-  the  -  Tower ; 
Freemasons'  Hall ;  The  Magdalen  Hospital ;  St. 
Mary-at-Hill;  St.  Michael,  Comhill;  St.  OUve, 
Hart  Street;  and  St.  Peterle-Poor :  in  the  fol- 
lowing provincial  cities  and  towns,  Aberdeen; 


GREENE. 

Ardwick,  near  Manchester ;  Bath :  'Boltoo-W- 
Moors  ;  Chatham  ;  Cirencester ;  Cranboume ; 
Greenwich  Hospital ;  Helston  ;  Leigh ;  Loogh- 
boiough  ;  Macclesfield  ;  Nayland  ;  Sleafoni ; 
Stockport  (St.  Peter*s> ;  Tamworth ;  Tunbridge : 
Walsall;  Walton;  Wisbech;  Wrexham;  and 
Wycombe :  at  St.  Petersburg,  and  Kiogston, 
Jamaica.  He  also  repaired  the  organ  erected  by 
Dallaiu  in  1632  in  York  Minster  (destroyed  by 
fire  in  1829)  and  that  in  New  College,  Oxford. 
Green  died  at  Isleworth,  Sept.  14, 1 796.  Although 
always  fully  employed  he  died  in  straiteiied  dr- 
cumstanoes,  and  left  little,  if  any,  provision  for  his 
fieunily,  having  invariably  expended  his  gains  in 
the  prosecution  of  experiments  with  a  view  Xo 
the  improvement  of  the  mechanism  of  the  organ. 
After  his  death  his  widow  continued  to  carry  on 
the  business  for  some  years.  [W.  H.  H.] 

GREENE,  Maubice,  Mus.  Doc.,  one  of  the 
two  younger  sons  of  the  Rev.  Thomas  Greene, 
D.D.,  vicar  of  the  united  parishes  of  St.  Olave, 
Old  Jewry,  and  St.  Martin,  Ironmonger  Luie 
(or  Pomary),   and  grandson  of  John   Greene, 
Recorder  01  London,  was  bom  in  London  about 
1696.     He  received  his  early  musical  education 
as   a  chorister  of  St.  PauFs  Cathedral,   under 
Charles  King.     On  the  breaking  of  his  voice  be 
was  articled  to  Richard  Brind.  then  organist  of 
the  cathedral.      He  soon  distinguished  himself 
both  at  the  organ  and  in  composition.     In  1716 
he   obtained  (it  was  said  chiefly  through   the 
interest  of  his  uncle,  Serjeant  Greene)  the  ap- 
pointment of  organist  of  St.  Dunstan^s  in  the 
West,  Fleet  Street,  and,  on  the  death  of  Daniel 
Purcell,   in   171 7,   was  chosen  organist  of  St. 
Andrew's,  Holbom.     He  held  both  those  places 
until  the  following  year,  when,  on  the  death  of 
Brind,  he  became  organist  of  St.  Paul's,  and  in 
1737,  on  the  death  of  Dr.  Croft,  organist  and 
composer  to  the  Chapel  Royal.     Greene  had  s 
strong  admiration  for  the  genius  of  Handel,  and 
assiduously  courted  his  friendship;  and,  by  ad- 
mitting him  to  perform  on  the  organ  at  St.  Paul's, 
for  which  instrument  Handel  had  an   especial 
liking,   had   become   very  intimate  with   him. 
Handel,  however,  discovering  that  Greene  was 
paying  the  like  court  to  his  lival,  Buononcini, 
cooled  in  his  regard  for  him,  and  soon  ceased 
to  have  any  association  with  him.      In  1728, 
by  the  artifice  of  Buononcini,  Greene  was  made 
the  instrument  of  introducing  to  the  Academy 
of  Ancient   Music  a  madri^  ('In  una  siepe 
ombrosa*)  as  a  composition  of  Buononcini's.  This 
madrigal  was  three  or  four  years  later  proved  to 
have  been  composed  by  Lotti.    The  discovery  of 
the  fraud  led  to  the  ^expulsion  of  Buononcini  irom 
the  Academy,  and  Greene,  believing,  or  afiTecting 
to  believe,  that  his  friend  had  been   unjustly 
ti-eated,  withdrew  frx)m  it,  carrying  off  with  him 
the  St.  Paul's  boys,  and,  in  conjunction  with 
another  firiend,  Festing,  established  a  rival  concert 
in  the  great  room  ctJled  'The  Apollo*  at  the 

1  A  hard  bte ;  for  It  h  dlfllcttlt  to  lee  tlmt  BaoDoncIid  wm  more  db- 
honeit  tluux  Handel  wai  when  h«  included  a  futfue  of  Keri't  In  Isnrl 
In  EKTPt  u '  EiTPt  WM  glad,'  wUlioat  a  wocd  to  Bhow  that  It  wu  uut 
hUown, 


6BEENE. 

De\  il  Tavern  near  Temple  Bar ;  a  proceeding  Wbicli 
gave  rise  to  the  joke,  attributed  to  Handel,  that 
*  Toctor  Oreene  had  gone  to  the  deviL'    In  1 730, 
on  the  ^Leath  of  Dr.  Tudway,  Greene  was  elected 
Professor  of  Music  in  the  University  of  Cam- 
bridge, with  the  degree  of  Doctor  of  Music.    As 
his  exercise  on  the  occasion  he  set  Pope's  Ode  on 
St.  Cecilia's  Day,  altered  and  abbreviated,  and  with 
a  new  stanza  introduced,  expressly  for  the  occa- 
sion, by  the  poet  himself,    lliis  composition  was 
performed  at  Cambridge  at  the  Commencement 
on  Monday,  July  6,  1 730.    (A  duet  from  it  is 
given,  by  Hawkins  in  his  History,  chap.  191.) 
In  1 735,  on  the  death  of  John  Eocles,  Dr.  Greene 
was  appointed  his  successor  as  Master  of  the 
King's   band  of  music,  in  which  capacity  he 
produced  many  odes  for  the  king's  birthday  and 
New  Year's  Day.     In  1743  he  published  his 
*  Forty  Select  Anthems,'  the  work  on  which  his 
reputation  mainly  rests.    These  compositions,  it 
h&B  been  remarked,  'place  him  at  the  head  of 
the  list  of  English  ecclesiastical  composers,  for 
they  combine  the  science   and  vigour  of  our 
earlier    writers  with  the  melody  of   the  best 
German  and  Italian  masters  who  flourished  in 
the  first  half  of  the  i8th  century'  (Harmonioon 
for  1829,  p.  72).     In  1750  Greene  received  a 
conaidieiabie  aocesdon  of  fortune  by  the  death 
of  a  cousin,  a  natural  son  of  his  unde,  Serjeant 
Greene,  who  bequeathed  him  an  estate  in  Essex 
¥r'orth   £700   a   year.      Being   thus   raised  to 
afllaence  he  conunenoed  the  execution  of  a  long 
meditated  project,  the  formation  and  publication 
in  score  of   a  collection  of  the  best  English 
cathedral  music.      By  the  year   1755   he  bad 
amassed  a  considerable  number  of  services  and 
anthems,  which  he  had  reduced  into  score  and 
collated,   when  his  £uling  health  led  him   to 
bequeath  by  will  his  materials  to  his  friend  Dr. 
Boyce,  with  a  request  that  he  would  complete 
the  work.     [See  Botce.]     Dr.  Greene  died  Sept. 
^   1755*  leaving  an  only  daughter,   who  was 
married  to  the  Kev.  Michael  Eesting,  Rector  of 
Wyke  Regis,  Dorset^   the  son  of  her  £ftther*8 
friend  the  violinist. 

In  addition  to  the  before-named  compositions, 
Greene  produced  a  Te  Deum  in  D  major,  with 
orchestral  accompaniments,  composed,  it  is  con- 
jectured, for  the  thanksgiving  for  the  suppression 
of  the  Scottish  rebellion  in  1 745  ;  a  service  in  C, 
composed  1737  (printed  in  Arnold's  'Cathedral 
Music') ;  numerous  anthems — some  printed  and 
others  stdll  in  MS. ;  '  Jephthah,'  oratorio,  1737  ; 
'The  Force  of  Truth,'  oratorio,  1744  ;   a  para- 
phrase of  part  of  the  Song  of  Deborah  and  Barak, 
1732 ;  Addison's  ode,  'The  spacious  firmament,' 
'Florimel;  or.  Love's  Revenge,'  dramatic  pasto- 
nl>  1 737  ;  *  The  Judgment  of  Hercules,'  masque, 
1740;    'Fhtsbe,'  pastoral  opera,   1748;    'The 
Chaplet,'  a  collection  of  twelve  English  songs ; 
'Spenser's  Amoretti,'  a  collection  of  twenty- five 
Bonnets ;  two  books  each  containing  '  A  Cantata 
and  four  English  songs' ;  'Catches  and  Canons 
foe  3  and  4  voices,  with  a  collection  of  Songs  for 
2  and  3  voices* ;  organ  voluntaries,  and  several 
lets  of  harpsichord  lessons.     It  must  not  be 


GREGORIAN  MODES. 


625 


foigotten  that  Greene  was  one  of  the  founders 
of  that  most  valuable  institution  'The  Society 
of  M  usicians.'  [Festino,  p.  5  i  5  b,]      [W.  H.  H.] 

GREENSLEEVES.  An  old  English  ballad 
and  tune  mentioned  by  Shakspeare  (Merry  Wives, 
ii.  I ;  v.  5).  The  ballad — '  A  new  Northeme 
dittye  of  the  Ladye  Greene  Sleeves* — was  entered 
in  the  Stationers'  Register  Sept.  1580  (3ind  of 
Elizabeth) ;  but  the  tune  is  probably  as  old  aa 
the  reign  of  Henry  YIII.  It  was  also  known  aa 
'The  Blacksmith'  and  ' The  Brewer'  (Cromwell), 
and  was  a  great  favourite  with  the  Cavaliers. 
Mr.  Chappell  (from  whom  the  above  is  taken, 
Popular  Music,  etc.,  Plate  3,  and  p.  227-233) 
gives  the  tune  in  its  oldest  form  as  follows :— 


ff\  ■^N'^gcHJ^JNi'JSj'l 


A  -  lu  my  lore,  jrou  do  me  wrangto  cut  ma   off  dU 


J  ;n  j-I  i  ^al^^^^S"^^ 


oourMousljr.   And  I  have  lor  <  ed     700  ao  long,   de  -  light 


j'jS/ij  J' J II  H^^^-^r&t^ 


lag      in   your  eom«p«>nj. 


OraensIeeTM  was   All    mj 


^jiOj:;*'^!'^ 


J«T, 


Green<4Jenres  wm   my    delight,  Gre«ml«eT«s  w«a  my 


"^     J'Jrl^'^^•^^^|J^J''^^' 


heart  of      gold,     and  who    but  my      La   •  dy  GieensIeeTes. 

A  modified  version  is  found  in  the  Beggar's 
Opera,  to  the  words  '  Since  laws  were  made  for 
ev'ry  degree,'  and  the  tune  is  still  sung  to 
'  Christmas  comes  but  once  a  year,'  and  to  songs 
with  the  burden  '  Which  nobody  can  deny.'  [G.] 

GREETING,  Thomas,  was  a  teacher  of  the 
flageolet  in  London  in  the  latter  half  of  the  1 7th 
century,  when  the  instrument  appears  to  have 
been  played  on  by  ladies  as  well  as  gentlemen, , 
as  we  gather  from  Pepys's '  Diary,'  which  informs 
us  that  in  1667  Mrs.  Pepys  was  a  pupil  of 
Greeting.  He  also  taught  Pepys  himself.  In 
1675  Greeting  issued  a  thin  oblong  small  8vo. 
volume  entitled  'The  Pleasant  Companion;  or. 
New  Lessons  and  Instructions  for  the  Flagelet,' 
consisting  of  8  pages  of  letter-press  containing 
'  Instructions  for  Playing  on  the  Flagelet,'  signed 
by  Greeting,  followed  by  64  pages  of  music 
printed  from  engraved  plates.  The  music  is  in 
a  peculiar  kind  of  tableture,  dots  being  plac^ 
in  the  spaces  of  a  stave  of  6  lines  to  indicate 
which  holes  of  the  instrument  were  to  be  stopped 
to  produce  each  note.  The  duraticm  of  each  note 
is  shown  above  the  stave  in  the  same  manner  as 
in  tableture  for  the  lute.  The  music  consists  of 
the  popular  song  and  dance-tunes  of  the  day.  The 
work  was  reprinted  in  1 680.  [W.  H.  H.] 

GREGORIAN  MODES  are  the  musical  scales 
as  set  in  order  by  St.  Gr^;ory  the  Great  (aj:>. 

590). 

St 


€2$ 


6RBG0RIAK  MODES. 


GREGOUAJr  MODES. 


I.  Foar  Males,  traditionilly  ascribed  to  St. 
Ambrose  (  a.d.  384),  existed  before  the  time  of  St. 
Gregory.  ThesOt  known  as  the  'Authentic*  modes, 
fttid  sinoe  the  13th  oentory  named  after  tiie  ancient 
Greek  scales  (from  which  they  were  supposed  to 
be  derived)  are  as  follows :  i.  Dorian,  a.  Phrygian, 
3.  Lydiai^  4.  Mixo-lydian. 

a.)  _  («.) 


000  tOMW* 


StvkMoer, 


Each  mode  thus  oopslsts  of  8  natural  notes  of 
the  Diatonic  scale— a  perfect  fifth,  or  diapente, 
below,  joined  to  a  perfect  fourth,  or  diatesMron, 
above.  The  lowest  note  of  the  scale  is  called  the 
'  final  *  (corresponding  to  the  Tonic  of  the  modem 
scale)  because  though  the  melody  may  range 
through  the  entire  octave  it  ends  r^ularly  on 
that  note ;  and  the  fifth  note  above  the  final, 
that  which  forms  the  junction  of  the  diapenie  and 
diaieswanmf  is  called  Uie*  Dominant,*  except  in  the 
Phrygian  mode,  where  C  was  substituted  for  Bj).* 

The  tenn  Dominant  in  the  ancient  scales  has 
not  the  same  meaning  that  it  has  in  modem 
tonality,  but  means  Um  predominaiing  sound  in 
each  mode,  the  note  on  which  the  recitation  is 
made  in  each  Psafan  or  Canticle  tone. 

One  peculiarity  of  these  ancient  scales  to  modem 
ears  ia,  that  the  plaoe  of  the  semitones  varies 
in  eadi;  in  the  Dorian  occurring  between 
the  and  and  3rd,  6th  and  7th  notes;  in  the 
Phrygian  between  the  ist  and  and,  5th  and  6th, 
and  so  on.  The  range  of  notes,  fin>m  the  lowest 
t»  the  highest,  in  any  ancient  melody  (seldom 
exceeding  8  or  9  notes)  partly  determines  the 
mode  to  which  it  belongs.  In  some  cases,  melo- 
dies of  small  compass  have  their  Tone  determined 
by  the  Jb'inal  of  other  portions  of  Plain  Song  pre- 
"ceding  and  following  them.  To  the  Dorian  scale, 
lor  example,  belong  melodies  extending  from  D 
(or  C)  upwards  and  having  D  as  their  Final. 

The  well-known  tune,  Luther*s  'Bin  feste 
Burg*  (see  p.  ^184 a),  ranging  firom  F,  its  key-note 
or  final,  to  tne  octave,  may  be  mentioned  in 
lllutftration  of  a  modem  tune  in  a  quasi- Authentic 
nfode. 

a.  To  the  4  Authentic,  St.  Gregory  added 
4  '  Plagal, '  {.  e,  oollateral  or  relative  modes.  Each 
ia  a  4th  below  its  corresponding  original,  and 
is  called  by  the  same  nam^  with  the  prefix 
hypo  {pno,  below),  as  follows:  5.  Hypo-dorian, 
6.  Hypo-phrygian,  7.  Hypo-lydian,  8.  Hypo-mixo- 
lydian^  Each  scale  here  also  consists  of  a  perfect 
fifth  and  a  perfect  fourth  ;  but  the  positions  are 
reversed ;  tne  fourth  is  now  below,  and  the  filth 
above. 

>  In  all  Omw  eninplM  the  UbiI  Is  marlnd  bf  ft  toer^  and  the 
nomlDUit  hu  a  •  abova  It. 

3  AS  a  pendant  t<«  this  the  Aathentle  Males  an  saawtliiMB  called 
HjV^r  (alxiTc  — H jper.|Aii7viaD,  etc— bat  it  Is  a  nomenclature  which 
oolr  tends  to  conftialoa. 


«■) 


s 


3S 


MS» 


ga  ■^  ^ 


<&}  • 


In  the  Plagal  scales  the  '  Final  *  is  no  longer 
the  lowest  note,  but  is  the  same  aa  that  in  the 
corresponding  Authentic  scale.  Thus  Uie  Final 
of  the  Hypo-dorian  mode  is  not  A  but  D,  and  a 
melody  in  that  mode,  though  ranging  from  about 
A  to  A,  ends  r^ularly  on  D,  aa  in  the  Dorian. 
Ab  an  exemplification  of  this,  we  may  mention 
Handel's  'Hanover,*  among  modem  tonea,  which 
ranges  firom  F  to  F,  but  has  its  Final  on  Bb. 
'  Should  auld  acquaintance  be  forgot  *  ia  also  a 
specimen  of  a  tune  in  a  Plagal  mode  descending 
about  a  fourth  below  its  fimd,  and  rising  above 
it  only  six  notes,  closing  upon  the  final  of  its 
tone.  The  semitones  in  each  scale  naturally  vaiy 
as  before.  The  Dominants  of  the  new  scales  are 
in  each  case  a  third  below  those  of  the  old  ones, 
C  being  however  substituted  for  Bj  in  the  Hypo- 
mixo-lydian,  as  it  had  been  before  in  the  Phrygian, 
on  account  of  the  irregularity  oi  the  relatioDs 
between  BQ  and  the  F  above  and  below. 

3.  The  system  was  afterwards  further  extended 
by  the  addition  of  two  more  Authentic  scales 
having  their  Finals  on  A  and  C,  and  their  Xktmi- 
nants  on  E  and  G,  and  called  the  ^-^^««t"  (No.  9) 
and  Ionian  (No.  10)^ 


(9.) 


•J      fia 


^ 


Z£ 


(100 


I 


8wiMaer. 


loeo. 


gj  "^ 


zz 


i 


and  two  oorreaponding  Plagal  modes  the  Hypo- 
sBolian  (Ko.  ii)  and  Hypo-ionian  (No.  I^: — 


(11.) 


0«.) 


^ 


Tg-^ 


»t2 


2a: 


la 


]|_,,«ir.ii»-'"^ 


8m  tower. 


SwAmmt. 


and  the  whole  formed  one  great  scheme,  ia 
which  the  Authentic  modes  were  the  ist,  3Td, 
5th,  7th,  9th  and  1  ith,  and  the  Plagal  ones  the 
an4  4th,  6th,  8th,  loth  and  12th. 


No. 
1 

Mode. 

ComiMUK. 

Final  or 
Tonic 

Uont- 

nnt 

Dorian 

DtoD 

D 

A 

2 

Uypo-dorian 

AtoA 

D 

F 

8 

PhTyi5ian 

EtoE 

S 

C 

4 

H^rpo-phiygian 

BtoB 

S 

A 

5 

Lydian 

FtoF 

F 

C 

6 

Hypo>lvdian 

CtoC 

F 

A 

7 

Mixolydtan 

GtoG 

0 

D 

8 

H^po-mizo-lydian 

DtoD 

G 

C 

« 

£ohan 

AtoA 

A 

E 

10 

Hypo-eolian 

EtoE 

A 

C 

n 

Ionian 

CtoC 

C 

G 

18 

Hypo-ionian 

GtoG 

C 

E 

4.  Some  inventors  or  innovators  have  how- 
ever broken  from  the  trammels  of  &e  perfect 
diaptiUt  and  dMtemaron  law,  and  make  the 


GBEGOItlAN  MODES. 

Batnral  diatcnic  modes  14  in  number — a  lo  eacH 
of  the  7  natural  notes — admitting  the  proscribed 
B^  as  a  Final  for  a  quasi-Authentic  and  quasi* 
Plagal  pair  of  modes — Locrian  and  Hypo-locrian. 
It  does  not  however  appear  that  more  than  1 2  or 
13  at  the  most  have  ever  been  found  in  any 
Bitnal  Servioe-books.  In  some  of  these  books  we 
find  the  9th,  loth,  nth,  and  12th  transposed  and 
placed  tmder  the  head  of  one  or  other  A  the  first 
eight  with  the  title  'formerly  the  oth,  loth/  etc. 
In  the  recent  Batisbon  editions  of  Bitual  music 
all  14  modes  are  however  counted,  so  that  the  nth 
and  1 2th  above  are  styled  the  13th  and  14th. 

5.  Such  is  the  basis  on  which  the  arrangement 
of  the  whole  body  of  Ritual  music  of  the  Western 
Churches,  including  the  Reformed  Church  of 
England  —  and  probably  that  of  the  Eastern 
Chorchea  also — ^is  founded.  The  'Accents'  for 
Collects^  the  Verses  and  Responses,  Psalm  and 
Canticle  tones,  Introits,  Antiphomi,  Kyries, 
Sancius,  Gloria  in  Exoelsis,  Agnus,  Osanna, 
Benedictus,  Communio,  Siursum  corda,  Proses 
or  Sequences,  Prefaces,  Office-hymns,  the  Nicene 
Creed,  and  special  Offices  and  Services  as  printed 
by  authority  in  the  various  Antiphonals,  Proces- 
rioualB,  Hymnals,  Graduals,  and  Rituals  in  Latin, 
and  in  the  English  Book  of  Conmion  Prayer 
Hoted,  all  belong  to  this  species  of  sacred  music. 
[{See  M00B8,  Plainsomo,  Tonbs.]  L^'H.] 

GRESHAM  MUSICAL  PROFESSORSHIP. 
In  the  will  of  Sir  Thomas  Greeham,  the  founder 
of  the  college  bearing  his  name  in  the  city  of 
London,  provision  was  made  for  several  professor- 
dupe,  and  for  the  'sallarie'  of  a  person  'mete  to 
rede  the  lecture  of  musicke'  in  tne  college.  Sir 
Thomas  died  on  Nov.  21,  1579,  '^^  ^  widow 
on  Nov.  3,  1596,  upon  which  the  provision  for 
the  lectures  took  effect,  the  civic  authorities 
requesting  the  Universities  of  Oxford  and  Cam- 
bridge to  nominate  persons  properly  qualified  as 
professors.  Dr.  John  Bull  was  appointed  the 
first  Professor  of  Music  by  the  special  recom- 
mendation of  Queen  Elizabeth.  The  ordinance 
adopted  concerning  the  music  lecture,  according 
to  Stowe  (Strype's  edition),  ran  as  follows  :-^— 
^The  eolenm  music  lecture  is  to  be  read  twice 
every  week  in  manner  following :  viz. — ^e  theo- 
rique  part  for  half  an  hour,  and  the  practique, 
by  concert  of  voice  or  instruments,  for  the  rest 
of  the  hour ;  whereof  the  first  lecture  to  be  in 
the  Latin  tongue  and  the  second  in  the  English 
tongue.  The  days  appointed  for  the  solemn 
lectures  of  music  are  Thursday  and  Saturday  in 
the  afternoon  between  the  hours  of  three  and  four ; 
and  because  at  this  time  Dr.  Bull  is  recommended 
to  the  place  by  the  Queen's  most  excellent 
Majesty  being  not  able  to  speak  Xiatin,  his 
lectures  are  permitted  to  be  altogether  in  English 
so  long  as  he  shall  continue  the  place  of  the 
music  lecturer  there.'  At  first  the  Professors 
were  given  apartments  in  the  college  and  a 
stipend  of  £50  a  year,  but  in  the  8th  of  Geo.  Ill 
an  Act  was  passed  enabling  the  lecturers  to 
marry,  any  restriction  in  Sir  Tbomas  Gresham*s 
will  notwithstanding,  and  also  giving  them  £50 
a  year  in  lieu  of  their  apartments.    For  many 


ctretrt; 


627^ 


years  ihe  ^Professors  had  no  knowlec^  of  music, 
and  were  utterly  unqualified  to  lecture  upon  it. 
The  following  is  a  list  of  the  professors,  with  the 
date  of  their  appointments:  —  (i)  John  Bull, 
Mus.  Doc.,  1590  (resigned  on  his  marriage); 
(a)  Thomas  Clayton,  Doctor  of  Medicine,  ITO7 ; 
(3)  Rev.  John  Tavemer,  M.A.,  1610,  elected  at 
the  age  of  a  6,  subsequently  Rector  of  Stoke 
Newington ;  (4)  Dr.  Richard  Knight,  physiciao, 
1638 ;  (5)  Sir  W.  Petty,  Doctor  of  Medicine, 
1650;  (6)  Sir  Thomas  Baynes,  Dootor  of  Medi- 
cine, 1660,  ejected  firom  offioe  by  a  vote  of  the 
committee;  (7)  Rev.  John  Newey,  M.A.,  in- 
cumbent of  Itching  Abbotts  and  Avington,  Hants, 
1696;  (8)  Rev.  Dr.  R.  Shippen,  Principal  of 
Brasenoee  CoUege,  Oxford,  and  Rector  of  White- 
chapel,  1 705 ;  (9)  Edward  Shippen,  Doctor  of 
Medicine,  1710;  (10)  John  Gordon,  barrister  at 
law  of  Gray^s  Inn,  1733 ;  (11)  Thomas  Browne, 
M.A.,  Fellow  of  lenity  College,  Cambridge, 
1739,  elected  by  an  equality  of  votes,  and  tiie- 
conmiittee  proceeded  to  a  second  election;  (la) 
Charles  Gardner,  1739;  (13)  Thomas  Griffin,. 
1763  ;  (14)  Theodore  Aylward,  assistant  director, 
of  the  Handel  Commemoration  and  organist  of; 
St.  George's,  Windsor;  (15)  R.  J.  S.  Steven?,- 
the  composer,  1801 ;  (16)  Edward  Taylor,  1837; 
(17)  Hairy  Wylde,  Mus.  Doc.,  1863.  In  18321 
and  for  some  years  after,  a  medal  was  given  in 
oomntemoration  of  Sir  Thomas  Greshant  for  the 
best  choral  work,  the  judges  being  the  Oxford 
Professor,  Dr.  Crotch ;  the  Gresham  Professor, 
Mr.  Stevens ;  and  Mr.  Hordey ;  and  the  work  was 
sung  at  a  commemoration  service  at  St.  Helen's, 
Bishopsgate,  which  had  been  Sir  Thomas's  parish 
church.  The  Music  Lectures  at  the  CoUege  are 
now  given  in  the  evening,  in  English,  on  days 
announced  in  the  newspapers,  and  the  admission 
to  them  is  free.  For  an  mstance  of  the  manner 
in  which  the  intentions  of  the  founder  were  at  one 
time  set  at  naught  see  GRimv,  Tho8.      [C.  M.] 

GR£TRY,  Andbb  Ebnest  Modbste,  bom 
Feb.  II,  1 741,  at  Li^ge,  on  the  ground-floor  of 
a  small  house  in  the  Rue  des  R^coUets,  now 
No.  a 8.  His  fiftther,  a  poor  vioHnist^  placed  him 
at  6  years  old  in  the  choir  of  St.  Denis  ;  but 
under  the  harsh  treatment  of  his  master  the 
little  chorister  showed  no  aptitude  for  music, 
and  at  II  was  dismissed  as  incapable.  His  next 
master,  Leclerc,  as  gentle  as  the  former  had  been 
cruel,  made  him  a  good  reader;  and  Renekin, 
organist,  taught  him  harmonv.  His  taste  for 
music  was  however  developed  by  listening  to  the 
operas  of  Pergolesi,  Graluppi,  Jomelli,  etc.,  per^V\, 
formed  by  a  company  of  Italian  singers  with  Restiit  ' 
as  conductor.  After  a  year  spent  in  ^s  manner 
an  irresistible  impulse  urged  him  to  compose ; 
in  vain  the  maltre  de  chapelle  tried  to  teach 
him  counterpoint — ^he  longed  to  give  expression 
to  the  thoughts  that  were  burzdng  for  utterance; 
and  as  his  first  attempt,  produced  at  Li^ge 
in  1758  six  small  symphonies,  and  in  1759 
a  'messe  solennelle  *  for  4  vdces,  none  of  wluch 
have  been  published.  These  compoeitioiui  secured 
him  the  protection  of  the  Chanoine  du  Harles* 
who  furnished  him  with  the  means  of  going 

Ss8 


%  9 


628 


GRETRT. 


to  Rome.  Leaving  his  native  city  in  'March 
1759,  he  travelled  on  foot,  with  a  smuggler  for 
his  oompanion  ^  On  his  arrival  at  Rome  he 
was  received  into  the  'Collie  de  Li^ge/  founded 
by  a  Liegeois  named  Darcis  for  the  benefit  of 
his  townsmen,  who  were  permitted  to  reside 
there  for  five  years  while  completing  their  specific 
studies.  His  master  for  coimterpoint  and  com- 
position was  Gasali,  who  dismissed  him  as 
hopelessly  ignorant.  Gr^try  never  did  under- 
stand the  science  of  harmony ;  his  mission  was 
to  enforce  the  expression  of  words  by  melody,  and 
to  compose  operas.  During  his  stay  in  Rome 
he  composed  a  'De  profundis'  and  some  motets^ 
which  have  not  been  published,  and  an  inter- 
mezzo called  'Le  Vendemmianti,*  for  the  Aliberti 
theatre.  Although  the  work  of  a  foreigner  this 
operetta  was  successful,  and  might  have  intro- 
duced him  to  more  important  theatres;  but 
Gr^try  having  read  the  score  of  Monsigny's 
'Rose  et  Colas*  came  to  the  conclusion  that 
French  op^ra-oomique  was  his  vocation.  To 
get  to  Paris  now  became  his  one  idea.  He  left 
Rome  Jan.  I,  1767,  and  having  reached  Geneva 
asked  Voltaire  to  write  him  a  good  libretto 
for  an  op6ra-comique,  a  task  which  Voltaire 
was  incapable  of  performing  and  had  the  tact 
to  decline.  At  Geneva  he  supported  himself 
for  a  year  by  teaching  singing;  and  produced 
*  Isabelle  et  Gertrude,'  a  one^u^  opera  by 
Favart  on  a  subject  suggested  by  Voltaire, 
and  previously  set  to  music  by  Blaise.'  At 
length,  by  the  advice  of  the  owner  of  Femey 
himself,  Grdtry  went  to  Paris,  where  he  obtained 
from  an  amateur  the  libretto  of  '  Les  Manages 
Samnites'  in  three  acts.  This  work  was  not 
performed  at  that  time,  but  its  public  rehearsals 
procured  him  the  patronage  of  Count  de  Creutz 
the  Swedish  Ambassador,  and  as  a  consequence 
of  that,  a  two^act  libretto  by  Marmonte^  '  Le 
Huron,*  successfully  performed  Aug.  20,  1768. 
This  opera  was  followed  by  'Lucile*  (1769), 
which  contains  the  duet '  Oh.  peut-on  £tre  mieux 
qu'au  sein  de  sa  famille,'  which  became  so  popular 
and  played  so  singular  a  part  on  more  than  one 
historical  *  occasion ;  and  by  *  Le  Tableau  parlant, ' 
an  original  and  extremely  comic  piece,  and  one  of 
Gr^tiy*s  very  best.  What  life  and  spirit  there 
are  in  this  refined  jesting  1  How  natural  and 
charming  are  the  melodies,  with  their  skilfully 
varied,  but  always  animated  rhythm!  How  pret- 
tily does  Isabelle  make  fun  of  old  Cassandre  and 
his  antiquated  love-making!  How  appropriate, 
and  how  thoroughly  in  keeping  is  the  action 
'  of  each  individuaJ  on  the  stage !  How  pointed 
and  dramatic  the  duet  between  Pierrot  and 
Columbine  I  Grimm  was  right  in  proclaiming 
'  Le  Tableau  parlant  *  a  real  masterpiece. 

Gretry  now  showed  his  versatility  by  composing 
no  less  than  3  operas,  all  produced  in  1770 — 'Le 
Sylvain,*  of  which  not  even  the  over-rated  duet 

1  TheM  details  an  taken  from  Gr^tiT** '  Mdmolrei.' 

*  An  aotOKraph  'Oonllteor'  for  four  toIobs  and  ordmtra  la  In  the 
library  of  the  FariB  Consenratolre. 

s  Performed  In  Paris  In  1760.  Blaise's  ailettes  an  pcintad  In  the 
•Tbdatre  de  M.  Favart*  (toI  U). 

«  See  the  artkie  OO  rauT-ON  ini  uaux. 


GEEIRY. 

'Dans  le  sein  d*un  p^re'  survives;  'Les  deox 
Avares,'  which  contains  a  good  oomic  duet,  a 
march,  and  a  Janissaries*  chorus,  still  heard  vith 
pleasure ;  and  'L*Amitie  k  T^preuve,*  an  indif- 
ferent comedy  in  two  acts,  reduced  to  one  in 
1775  by  Favart,  without  improving  either  piece 
or  music.  'Zemire  et  Azor'  (Dec  i6,  1771) 
at  once  placed  Gretry  in  the  rank  of  creative 
artists.  His  fertility  in  ideas  was  jnarveUoox, 
and  he  regulariv  supplied  both  the  Commie  Ita- 
lienne  and  the  Th^tre  Favart>  where  he  pr«iuced 
successively  'L'Ami  de  la  maiaon.'  3  acts 
(Fontainebleau  Oct.  1771,  and  Paris  Mandi  14, 
1772);  'Le  Magnifique,*  3  acts  (1773),  the 
overture  of  which  contains  the  air  'Vive  Henri 
IV  *  most  effectively  combined  with  another 
subject ;  '  La  Roei^re  de  Salency '  in  4  acta, 
afterwards  reduced  to  3  (1774)9  which  oontains 
a  remarkable  duet  between  two  jealous  yoong 
women,  and  the  pretty  melody  *Ma  barque 
legh%,'  80  well  arranged  by  Dussek  for  the  piano; 
'  La  fausse  Magie,'  2  acts,  with  the  syllabic  duet 
between  the  two  old  men,  an  excellent  piece; 
'  Les  Manages  Sanmites,*  a  work  which  he  rewrote 
several  times  but  which  never  became  popular, 
though  the  march  supplied  Mosari  with  a 
theme  for  Variations ;  '  Matroco,'  a  burlesque  in 
4  acts  composed  for  the  court-theatre  »t  Fontaine- 
bleau (1777)  and  unsuccessfully  performed  in 
Paris  (1778)  against  the  wish  of  Gretry;  'Le 
Jugement  de  Midas,'  3  acts  (1778),  in  which  be 
satirised  French  music  of  the  old  style,  and 
especially  the  manner  in  which  it  was  rendered 
by  the  singers  of  the  Academic;  'L'Amant 
jaloux,'  3  acts  (1778) — in  the  2nd  act  an  ex- 
quisite serenade;  'Les  Evthiementa  impr^vus' 
(1779),  in  3  acts,  containing  2  airs  once  popular, 
now  forgotten;  'Aucassin  et  Nicolette,'  3  acts 
(1780),  in  which  he  endeavoured  unsnocesfully 
to  imitate  ancient  music ;  'Thalie  au  Nouveau 
Th^tre,'  a  prologue  for  Uie  inauguration  of  the 
Salle  Favart  ( 1 783) ;  '  Theodore  et  Paulin/  lyric 
comedy  in  3  acts,  which  failed  at  first,  and  was 
afterwards  given  in  2  acts  under  the  title  of 
'  L*Epreuve  villageoise '  with  marked  and  well- 
merited  success ;  '  Richard  Cceur  de  Lion,'  3  acts 
(Oct.  21,  1784);  the  finest  of  all  his  works, 
containing  the  air,  'O  Richard,  0  men  roi, 
runivers  t*abandonne,'  which  became  of  historic 
importance  at  Versailles,  Get.  i,  1 789 ;  and  '  Une 
fi^vre  brulante/  on  which  Beethoven  wrote  varia- 
tions. 'Les  M^prises  par  ressemblanoe,'  opera 
in  3  acts  (1786)  now  justly  forgotten;  'Le  Comte 
d' Albert,*  2  acts  (1787),  Uie  success  of  which  was 
secured  by  Mme.  Dugazon;  'La  Suite  du  Comte 
d' Albert,'  i  act  ( 1787)  ;  '  Le  Prisonnier  Anglais,* 
3  acts  (1787),  revived  in  1793  as  'Clarice  et 
Belton,*  without  making  a  more  &vourable  im- 
pression ;  '  Le  Rival  confident,*  opera  in  2  acts, 
which  failed  in  spite  of  a  pleasing  arietta  and 
a  graceful  rondo;  'Raoul  Barbe-Bleue,*  3  acts 
(1789),  a  weak  production  quickly  forgotten; 
'Pierre  le  Grand,'  3  acts  (1790),  in  which  the 
search  after  local  colouring  is  somewhat  too 
apparent;  'Guillaume  Tell,  in  3  acts  (1791)1 
containing  a  round  and  a  quuiet,  long  fikvourites; 


GRETBY. 

'Baale/  i  set  (179a);  'Lea  ddux  Couvents/ 
3  acts  (179a);  'Joseph  Bam,*  i  act  (1794)* 
a  pUee  de  drcoMtanee;  'Callias/  i  act  (1794). 
a  republican  piece,  of  which  the  so-called  Greek 
music  is  justly  foigotten,  though  one  of  Hoff* 
mannas  lines  has  survived'— 

*  Quand  nous  sexons  ionmis,  nom  n'exi>teroii8  idiu  I ' ; 

'Lisbeth/  3  acts  (1797),  which  contains  a 
romanoe  that  has  not  yet  lost  its  charm;  'Le 
Barbier  de  village/  i  act  (1797) ;  and  ^EUsca,* 
3  acts  (i  799),  which  was  a  fiasco. 

Xionc^  as  this  list  is,  it  does  not  include  all 
Gr^try  s  dramatic  workis.  Not  content  with  sup- 
plying pieces  for  the  Op^ra  Comique,  his  ambi- 
tion was  to  distinguish  himself  at  the  Academic 
de   Musique.    Here  he  produced  *C^phale  et 
Procris/  3  acts  (1775),  of  which  the  only  number 
worthy  of  notice  was  the  duet  '  I>onne-la  moi ' ; 
'Les  tras  Ages  de  I'Opi^*  (I77S)>  >  prologue 
received  with  indifference ;  '  Andromaque/  3  acts 
^1780),  the  principal  r6le  of  which  is  accom- 
panied   throughout  by  3  flutes    in   harmony; 
'Emilie*  (*la  Belle  Esclave*  1 781),  unsucceas- 
ftilly  introduced  as  the  5th  act  of  the  ballet 
'La  FSte  de  Mirza';  'La  double  Epreuve,  ou 
Colinette  i^  la  Cour/  3  acts  (1782),  the  finale 
of  the  first  act  full  of  dramatic  truth ;  '  LEm- 
barras  des  richesses,'  3  acts  (1783),  a  complete 
fiulure ;  'La  Caravane  du  Caire/  3  acts  (1784), 
the  words  by  the  Count  de  Provence,  afterwards 
Louis  XVIII — ^as  complete  a  success,  owing  prin- 
cipally to  the  ballets,  and  the  picturesque  scene 
of  the  baaaar;   it  was  performed  no  less  than 
506  times;   'Panurge  dans  Tile  des  Lantemes,' 
3  acts  (17S5),  a  not  very  lively  comic  opera; 

*  Amphitryon,'  3  acts  (1788),  badly  received; 
'  Aspade,'  3  acts  (i  789),  a  partial  success  ; '  Denys 
le  Tyran*  (1794),  i  act,  a  pttce  de  circorutance 
which  the  composer  did  well  not  to  publish ; 
'La  Boeib«  rdpublicaine '  (1794),  i  act,  another 
piece  de  circcntlanee  performed  under  the  title 
*La  Fdte  de  la  raison' — one  of  the  scenes 
represented  a  church  with  an  organ  on  the 
stage  to  accompany  the  sacred  choruses  ;  '  Ana- 
cr^n  chez  Polycrate,'  3  acts  (1797),  containing 
an  air  and  a  trio  long  iavourites ;  '  Le  Casque  et 
les  Colombes,'  i  act  (1801),  performed  only  3 
times;  and  'Delphis  et  Mopsa,'  2  acts  (1803), 
which  met  with  but  little  better  &te. 

The  question  arises,  out  of  all  these  50  operas 
produced  in  Paris,  how  many  are  there  besides 
'Le  Tableau  parlant'  which  deserve  special 
attention  t  '  ZJmire  et  Asor,'  '  L'Amant  jalouz,' 
'LEpppuve  villageoise,'  and  above  all  '  Richard,' 
which  is  still  performed  with  success,  and  of 
which  nearly  evexy  number  deserves  to  be 
specified,  are  those  we  should  select.  In  treating 
subjects  of  a  more  ambitious  stamp,  such  as '  Pierre 
le  Grand'  and  'GuiUaume  Tell,'  Gretry  did 
violoice  to  his  nature.  Broad  and  vigorous 
conceptionB  were  not  within  hifi  range,  because 
they  require  not  only  sustained  effort,  but  a 
thorough  mastery  of  harmony  and  instrumenta- 
tion, and  this  he  did  not  possess.  He  scarcely 
ever  wrote  for  more  than  two  voices,  and  is 


GRETRY. 


62d 


'manifestly  perplexed  by  the  entrance  of  a  thirds 
as  a  glance  at  the  trio-duet  in  *  Z^ire  et  Azor ' 
will  show.  '  You  might  drive  a  coach  and  four 
between  the  bass  and  the  first  fiddle '  was  wit- 
tily said  of  his  thin  harmonies.  But  though  it 
may  be  thought  necessary  at  the  present  day  to 
reinforce  his  meagre  orchestration,  his  basses  are 
so  well  chosen,  and  form  such  good  harmony, 
that  it  is  often  extremely  difficult  to  add  comple- 
mentary parts  to  the  two  in  the  original  score.' 
And  Gr^try's  instrumentation  though  poor  is  not 
wanting  in  colour  when  occasion  serves.  More- 
over he  was  aware  of  his  defects  as  well  as  of 
his  capacities.  ^  In  the  midst  of  popular  applause 
how  dissatisfied  an  artist  often  feels  with  his 
own  work  I '  he  exclaims  at  the  end  of  his  analysis 
of '  Huron.*  Elsewhere  in  speaking  of  his  works 
as  a  whole,  he  puts  the  following  words  into 
Gluck's  mouth,  '  You  received  from  Nature  the 
gift  of  appropriate  m^ody,  but  in  giving  you 
this  talent  she  withheld  that  of  strict  and 
complicated  harmony.'  This  is  true  self-know- 
ledge, and  by  such  remarks  Gretry  has  shortened 
and  simplified  our  task. 

The  qualities  in  his  music  which  roost  excite 
our  admiration  are,  his  perfect  understanding  of 
the  right  proportions  to  be  given  both  to  the 
ensemble,  and  to  each  separate  part  of  an  opera, 
and  his  power  of  connecting  and  evolving  the 
scenes,  faithfully  interpreting  the  words,  and 
tracing  the  lineaments,  so  to  speak,  of  his  charac- 
ters by  means  of  this  fidelity  of  expression  in  the 
music.  While  thus  taking  declamation  as  his 
guide,  and  believing  that  'the  most  skilful 
musician  was  he  who  could  best  metamorphose 
declamation  into  melody,'  Gr^tiy  little  thought 
that  the  day  would  come  when  M^hul  would 
say  of  him  that  'what  he  wrote  was  very 
clever,  but  it  was  not  music'  ('il  faisait  de 
Vesprit  et  non  de  la  musique*).  No  doubt  he 
carried  his  system  too  far;  he  did  not  see 
that  by  trying  to  follow  the  words  too  literally 
a  composer  may  deprive  his  phrases  of  ease 
and  charm,  and  sacrifice  the  general  effect  for 
the  sake  of  obtaining  many  trifling  ones— a  most 
serious  fault.  But  in  spite  of  his  weakness  for 
details — the  defect  of  many  a  painter— Gretry 
is  a  model  one  never  wearies  of  studying.  He 
excelled  in  the  simple  pastoral  style,  in  the 
touching  and  pathetic,  and  in  comic  opera  at 
once  comic  and  not  trivial.  By  means  of  his 
rich  imagination,  thorough  acquaintance  with 
stage  business,  and  love  for  dramatic  truth,  he 
created  a  whole  world  of  characters  drawn  to  the 
life;  and  by  his  great  intelligence,  and  the 
essentially  fVench  l^nt  of  his  genius  he  almost 
deserves  to  be  called  the  '  Molifere  of  music,'  a 
title  as  overwhelming  as  it  is  honourable,  but 
which  his  passionate  admirers  have  not  hesitated 
to  bestow  on  him. 

A  witty  and  brilliant  talker,  and  a  friend  of 
influential  literary  men,  Gretry  possessed  many 
powerful  patrons  at  the  French  court,  and  was 

>  'OnlllannM  Tetl'  wm  nln*tmin«Dted  Iqr  Berton  tmH  Bl^utj 
'  Richard '  by  Adotph«  AdBm :  *^L'EpreuT«  vtUaseotoe '  b7  Anlwr :  and 
*  L»  tease  Vagle '  hj  J£ug«De  PrtfvMt. 


63d 


ORETRr. 


'GRIEa. 


tlie  recipient  of  pensions  and  distinctions  of 
all  kinds.  In  1785  the  municipality  of  Paris 
named  one  of  the  streets  near  the  Commie 
Italienne  after  him,  and  in  the  previous  year 
the  Prince-Bishop  of  I^^  had  made  him  one 
of  his  priry-counoillors.  On  the  foundation  of 
the  Conservatoire  he  was  appointed  an  inspector, 
a  post  which  he  resigned  in  a  year.  When  the 
Institut  was  farmed  at  the  same  time  (1795) 
he  was  chosen  to  fill  one  of  the  three  places 
reserved  for  musical  composers.  Napoleon  made 
him  a  Chevalier  of  the  Legion  of  Honour,  on 
the  institution  of  the  order  in  1802,  and  also 
granted  him  a  pension  to  compensate  for  his  losses 
by  the  Revolution. 

A  career  so  successful  was  likely  to  intoxicate, 
and  it  is  not  to  be  wondered  at  tiiat  Gr^try  had 
a  firm  belief  in  his  own  merits,  and  thought 
himself  almost  infallible.  He  has  left  us  several 
records  of  his  vanity  both  artistic  and  Intel- 
lectual.  The  first  is  his  'M^oires  ou  Essais 
sur  la  musique,*  published  in  i  vol.  in  1789,  and 
reprinted  in  1 797  with  two  additional  vols.,  said 
to  have  been  edited  by  his  friend  Legrand,  a 
professor  of  rhetoric.  The  first  part  only  is 
mteresting,  and  as  has  been  aptly  said,  it  should 
be  called  '  Essais  sur  ma  musique.*  In  1802  he 
brought  out  '  M^thode  simple  pour  apprendre  ^ 
prouder  en  peu  de  temps  avec  toutes  les  res- 
sources  de  Thannonie,'  a  pamphlet  of  95  pages 
with  lithograph  portrait,  m  which  he  exhibits 
both  the  insufficiency  of  his  studies,  and  his  want 
of  natural  talent  fior  harmony.  His  3  vols  'De 
la  y^rit^ :  ce  que  nous  f&mes,  ce  que  nous 
sommes,  ce  que  nous  devrions  6tre'  (1803)  are 
simply  a  pretentious  statement  of  his  political 
and  social  opinions,  with  remarks  on  the  feelings, 
and  the  beet  means  of  exciting  and  expressing 
them  by  music. 

Gr^try  had  bought  TErmitage'  near  Mont* 
merency,  formerly  the  residence  of  Rousseau,  and 
it  was  there  he  died,  Sept.  24, 181 3.  Three  days 
afterwards  (27th)  Paris  honoured  his  remains 
with  a  splendid  funeral ;  touching  and  eloquent 
eulogiums  were  pronounced  over  his  grave  by 
Bouilly  on  behalf  of  the  dramatic  authors,  and 
M^hul  in  the  name  of  the  musicians.  A  year 
later,  at  a  special  meeting  on  Oct.  i,  18 14,  Joa- 
chim de  Breton,  permanent  secretary  of  the 
Academic  des  Beaux-Arts  read  a  *  Notice  sur  la 
vie  et  les  ouvrages  d'Andr^  Ernest  Gretry.*  Since 
then  many  biographies  and  critiques  have  been 
published ;  the  most  important  are — *  Grdtry  en 
famiUe'  (Paris  1815,  i2mo.)  by  A.  J.  Gretry,  his 
nephew ;  *  Recueil  de  lettres  Writes  a  Gretry,  ou 
^  son  sujet,*  by  the  Oomte  de  Livry  (Paris,  1809, 
8vo.);  'Essai  sur  Gretry'  (Li^  1821,  8vo.)  by 
M.  de  Gerlache,  and  F^s's  article.    [See  Fba- 

UKRT.] 

There  are  many  portraits  of  Gretry.  One  of 
the' best  was' drawn  and  engraved  by  'his  friend' 
Moreau  the  younger.  Another  engraving  is  by 
Cathelin  (1785),  from  the  portrait  by  Madame 
Lebrun,  with  the  lines  : 

<Par  de«  pUiaiza  rteli  et  de  bamea  alarmes 
Ce  puinaat  Knohanteor  caline  ou  trouble  nos sans; 


Msis  de  a<m  taaM4  pent-on  goMsr  Vam  ehanftes 
Sans  ^0&ler  au  moius  100  ooaor  a.  tee  talents.* 

Besides  these  there  are  Isabey^s  pcMtrait  en- 
graved by  P.  Simon ;  that  taken  by  the  '  phy- 
donotrace'  and  engraved  by  Qnenedey  in  iN>^  ; 
those  of  Forget  and  P.  Adam ;  and  finally 
Maurin's  lithograph  from  the  portrait  by  Robert 
Lef^vre.  In  hu  youth  he  is  saia  to  have  reeembled 
Pei^gf^esi  both  in  face  and  figure.  Comte  Livry 
had  a  statue  made  of  him  in  marble,  and  placed 
it  at  the  entrance  of  the  old  Th^tre  Feydeau ; 
it  is  not  known  what  has  become  of  it.  The 
'  foyer '  of  the  present  Op^ra  Comiqae,  contains 
only  a  bust  of  him.  In  1842  a  statue  by  Geefii 
was  inaugurated  at  Li^ ;  being  ooloesal  it  is 
not  a  good  representation,  as  Gretry  was  small 
in  stature,  and  of  delicate  health. 

Gretry  had  three  daughters.  The  aeoood, 
LuoiLi,  bom  in  Paris  1773,  was  only  13  when 
her  one-act  opera  *  Le  Mariage  d'Antofnio,'  in* 
strumented  by  her  father,  was  sucoessfally 
performed  at  the  (>p^ra  Gomiqae  (1786).  lo 
1787  she  produced  'Toinette  et  Louis,'  in  2  acts, 
which  was  not  well  received.  This  gified  young 
musician  made  an  unhappy  marriage*  and  died 
in  1793. 

We  may  mention  in  conclusion  that  Gretry 
spent  his  last  years  in  writing  6  vols  of  'R^ 
flexions  sur  Tart,'  which  however  have  not  been 
published.  He  also  left  5  MS.  operas  in  3  actt 
— 'Alcindor  et  Zaide';  *Zim&>';  '  Elect^e^• 
'Diog^neetAlexandre';  'LesMauresd*£spagnie'; 
and  '  Zelmar,  ou  TAsile,*  in  one  act.  [^.C] 

GRIEG,  Edvard,  composer  and  piazdst,  bom 
June  15,  1843,  at  Bergen  in  Norway,  and  now 
conductor  and  teacher  at  Christiania.     He  came 
to  Leipdc  in  1858,  and  remained  at  the  Coofier 
vatorium  for  four  years,  having  Hauptmann  and 
Richter  as  masters  for  harmony  and  counterpoint, 
Rietz  and  Reineoke  forcomposition.  and  Moschelei 
for  pianoforte  playing.     During  the  term  of  hii 
studies  he  lived  mostly  in  the  romantic  worids  of 
Schumann,  Mendelssohn,  and  Chopin,  whose  workt 
then  gave  the  tone  to  the  entire  musical  life  of 
the  town,  and  especially  of  the  Conservatociam. 
He  has  since  become  aware  of  other  older  and 
newer  masters,  without  however  showing  veiy 
distinct  traces  of  their  influence  in  his  ocMnposi* 
tions.  The  characteristic  Scandinavian  featmes  of 
Grieg*s  musical  talent  took  a  tangible  shape  soon 
after  his  return  to  the  north.    Danish,  Swedish, 
and  Norwegian  Volkslieder  and  dances  absorbed 
his   fancy  more  than  the  studv  of  any  great 
composer  s  works ;  and  henceforth  his  tx>mpo6ittons 
are  marked  with  the  stamp  of  a  particular  natioz^ 
ality  more  cloarly  than  that  of  any  man,  except 
perhaps  Chopin. 

Grieg  has  hitherto  published  the  following 
works: — 4  Clavierstiicke  (op.  i) ;  4  Lieder 
(op.  2) ;  Poetische  Tonbilder  (op.  3) ;  6  Lieder 
(op.  4)  ;  '  Melodien  des  Herzens*  —  on  Embb 
Andersen  s  songs  —  (op.  5);  Humoresken  fiii 
Pianoforte  (op.  6);  Senate  fur  Pianoforte  (op. 
7) ;  Senate  fiir  Pianoforte  und  Violin  (op.  8); 
Romanzen  und  Balladen  (op.  9);  Kleine  Bf>' 
manzen  (op.  10);   'Ln  Herbdt,'  PhantMie  for 


PMnaforte,  *k '  quabe  buudb  (op*,  i i) ;  Lyrische  *! 
Stiickohen  fOr  Pianoforte  (op.  12) ;  Sonate  fUr 
Pianoforte  und  Violine  (op.  1.^);  a  Bymphonische 
StUcke  fxir  Pianoforte,  k  qaatre  mahiB  (op.  14) ; 
Konianzen  (op.  15) ;  Concert  for  Pianoforte  und 
Orcheoter  (op.  16);  Korwegiache  VolkB-Iieder 
und  Tsinae  mr  Hanoibrte  behandelt  (op.  17); 
Rormmzen  und  lieder,  a  Uefte  (op.  18) ;  'Bilder 
aus  dem  Vollulebeii,*  neae  Hamoreiken  ftir 
Pianoforte  (op.  19);  ^Vor  SiideiMi  Kloeter/  ffir 
Soli,  I>ajQMnchar  und  Orohester  (op.  ao).  [£.  D.] 

GRXfPENKERL,  Frtrdbioh  C^nbad,  pro- 
fessor at  the  Carolinum  College  in  Branj^wick, 
bom    at  Peine,  near  Hanover,  in  1782;   long 
tutor  in  the  Fellenberg  Institution  at  HofWyl  in 
the  Canton  of  Berne ;  died  at  Bmnawick,  April 
6,   1849.     He  wrote  'Lehrbudi  der  iEsthetik' 
CBranswick  1827),  in  which  he  applied  Herbart's 
philosophical  theory  to  mumc;    and  was    the 
author  of  the  preface  to  the  excellent  edition  of 
J.  S.  Bach*B  instirumental  oompoeitions,  edited  by 
himself  and  Roitech,  and  publiahed  by  Peters  of 
Leipzig.    This  work  has  made  his  name  familiar 
to  many  in  England. 

His  son  Wolfgang  Robbrt,  bom  May  4, 
1 810,  at  Hofwyl,  studied  at  Brunswick  and 
lisipzig,  was  also  an  enthusiastic  amateur,  and 
an  ardent  admirer  of  Meyerbeer's  *  Huguenots' 
and  the  later  works  of  Berlioz.  He  wrote  '  Das 
Musikfest,  oder  die  Beethovener*  (1838  and  41) ; 
' Hitter  Berlioz  in  Braunschweig'  (1843) ;  'Die 
Oper  der  Geeenwart*  (1847) ;  imd  two  dramas, 
' Robespierre  and  'Die  (jirondisten/  to  which 
Xiitolff  composed  overtures.  He  died  at  Bruns- 
>»-ick.  Oct  17,  1868.  [F.G.] 

GBIESBACH»  Johk  Hbnbt,  bom  at  Wind- 
sor, June  ao,  1798,  was  eldest  son  of  Justin 
Christian  Giiesbash,  violonoellist  in  Queen  Char- 
lotte's band,  and  nephew  to  Friedrioh  Giiesbach, 
the  oboe  player.  He  studied  music  under  his 
uncle,  George  Leopold  Jacob  Griesbach,  and  at 
12  years  of  age  was  appointed  violcmcellist  in 
the  Queen's  band.  He  then  studied  for  some 
years  under  Kalkbrenner.  On  the  breaking  up 
of  the  Queen's  band  at  her  death  he  came  to 
Xiondon  and  appeared  at  ooncerts  as  a  pianist. 
In  1 8a a  he  composed  a  symphony  and  a  capriocio 
for  pianoforte  and  orchestra,  and  shortly  after- 
wards a  second  symphony  for  the  Philharmonio 
Society.  Although  he  was  after  this  time  prin- 
cipally engaged  in  tuition  he  found  time  to  pro- 
duce numerous  compositions  of  various  kinds,  and 
also  to  attain  .to  no  mean  skill  in  astronomy, 
painting  in  water  odours,  entomology,  and  ma- 
thematics. His  principal  compositions  were 
'  Belshazzar's  Feast,'  an  oratorio,  writt^i  in  1835 
with  a  view  to  stage  representation,  but  such 
performances  being  interdicted  he  some  years 
afterwards  remodelled  the  work,  and  it  was  per- 
formed, under  the  title  of '  Daniel,'  by  the  Sacred 
Harmonic  Society  on  June  30,  1854;  Overture 
and  Music  to  Shakspere's  'Tempest';  'James 
the  First,  or,  The  Royal  Captive.'  operetta ; '  The 
Goldsmith  of  West  Ciheap,'  opera ;  '  Eblis,'  opera 
^unfinished);    'Baby  Buins^'   munoal  drama; 


GRIFFIN. 


tSl 


several  orertures  and  other  instrnmantal  pieceB» 
anthems,  songs,  cantatas,  Ac.  He  also  wrote 
'An  Analysis  of  Musical  Sounds'  (published), 
and  'The  fondaroental  elements  of  Counter* 
point,'  'The  Acoustic  Laws  of  Harmony,'  and 
'  Tables  shewing  the  variations  of  musical  pitch 
from  the  time  of  Handel  to  1859 '  (unpublished >« 
He  was  14  times  a  director  of  the  Pliilharmonio 
Sodety.    He  died  Jan.  9,  1875.  [W.  H.  H.] 

GRIESINGER,  Georo  August,  deserves  a 
word  of  grateful  mention  for  his  charming  little 
work  on  Haydn — '  Biographische  Notizen  ftber 
Joseph  Haydn'  (i  36  pages) — which  was  originally 
communicated  to  the  Allg.  Musik.  Zeitung  from 
July  to  Sept.  1809,  and  then  published  by 
Breitkopf  &  Hiirtel  in  1810.  Griesinger  was  a 
'  Legations-Rath  *  of  the  Saxon  government,  and 
possibly  attached  to  the  embassy  at  Vienna.  At 
any  rate  he  was  on  intimate  terms  with  Haydn 
lior  the  last  ten  years  of  the  life  of  the  latter,  and 
he  claims  to  report  directly  frvAn  his  lips,  oflen 
in  his-  very  words.  His  work  was  used  by 
Framery  for  his  'Notice  sur  Haydn*  (Paris,  iSio\ 
but  Griesinger  complains  that  his  statements  have 
often  been  widely  departed  from,  and  in  one  case 
an  absolute  invention  introduced. 

Whether  he  was  the  same  Griesinger  who 
founded  singing  societies  and  public  concerts  i^ 
Stuttgart  10  or  I  a  years  after  Haydn's  death,  is 
not  apparent.    He  died  April  a 7,  i8a8.        [G.] 

GRIFFIN,  Gbobob  Edoeke,  pianist  and  com- 
poser, was  bom  Jan.  8,  1781.  At  sixteen  years 
of  age  made  his  first  appearance  as  a  composer 
by  the  production  of  a  concerto  for  pianoforte 
and  orchestra,  in  which  the  melody  of '  The  Blue 
Bell  of  Scotland*  was  introduced.  He  next 
published  a  P.  F.  sonata,  with  ad  libitum  violin, 
and  ah  'Ode  to  Charity,*  inscribed  to  th^ 
supporters  of  the  Patriotic  Fund,  and  published 
in  1806.  His  remaining  compositions,  with  the 
exception  of  three  quartets  for  stringed  instru- 
ments, were  all  for  the  pianoforte,  either  alone 
or  in  conjunction  with  ouier  instruments.  They 
comprise  two  concertos  for  P.  F.  and  orchestra ; 
a  quartet  for  pianoforte  and  strings ;  four  sonatas ; 
five  divertimentos;  four  rondos;  six  marches; 
six  airs;  a  capriocio;  an  introduction  to  an 
arrangement  of  the  military  movement  from 
Haydn's  i  ath  symphony ;  and  two  sets  of  quad- 
rilles. Griffin  was  one  of  the  original  members 
of  the  Philharmonic  Society.  One  of  his  stringed 
quartets  was  given  by  that  body  on  Feb.  28, 
1814,  and  his  P.  F.  quartet  on  April  14,  1817, 
he  himself  playing  the  P.  F.  part.  Griffin  was 
stricken  with  mortal  illness  whilst  attending  one 
of  the  Society's  concerts,  and  died  a  few  days 
afterwards  in  May  1863.  His  compositions  were 
formed  upon  classical  models,  and  were  esteemed 
in  their  day,  although  now  forgotten.  [W.H.H.] 

GRIFFIN,  Thomas,  an  organ  builder,  in  1741 
erected  an  organ  in  St.  Helen's,  Bishopsgate,  and 
engaged  '  to  play  himself  or  provide  an  organist.' 
He  is  said  to  have  also  built  organs  in  other  City 
churches.  On  Jan.  ix,  1763  (being  then  a 
Common  Oounoilmfux  for  Langbouni  Ward  and 


682 


GRIFFnT, 


one  of  the  Gfeeham  Committee),  lie  was  appbinted 
■ProfefBor  of  Music  in  Gresham  College  in  the 
room  of  Charles  Gardner,  deceased.  Ue  seems 
to  have  been  totally  incapable  of  performing  the 
duties  of  the  office,  sinoe  we  learn  from  a  con- 
temporary newspaper  that  on  Jan.  29,  1763,  the 
day  appointed  for  his  first  lecture,  John  Potter, 
who  had  acted  as  deputy  to  his  predecessor, 
appeared  to  lecture  for  him,  but  the  audience 
reused  to  hear  him,  and  comp^ed  him  to  retire ; 
that  on  Feb.  1 2  following  Griffin  himself  appeared, 
apologised  for  his  absence  on  Jan.  29,  which  he 
assured  the  audience  was  owing  solely  to  his  not 
having  had  sufficient  time  to  prepare  a  proper 
lecture,  and  then  retired  without  saying  more; 
and  that  he  soon  afterwards  delivered  a  lecture, 
which  lasted  11  minutes,  in  an  almost  inaudible 
tone  of  voice.  He  died  in  1 7  7 1 .  Hawkins  asserts 
him  to  have  been  a  barber.  He  was  more  probably 
of  the  Barber-Surgeons*  C(»npany.       [W.H.H.J 

GRIMALDL*  See  Niooliki. 

GRIMM,  Junros  Otto,  German  pianist  and 
composer  of  some  note ;  bom  1830  at  Pemau  in 
Saxony ;  was  a  pupil  of  the  Conservatorium  o^ 
Leipzig.  When  Grimm  had  finished  the  course 
of  instruction  there,  he  found  employment  at 
Gottingen,  and  was  subsequently  appointed  con- 
ductor of  the  Musikverein  at  Miinster,  where 
he  is  still  living  as  a  teacher  of  singing  and 
pianoforte  playing.  He  has  hitherto  published 
pieces  for  the  pianoforte,  songs,  and  a  few 
orchestral  compositions,  of  which  latter  his '  Suite 
in  canon-form  has  nutde  the  round  of  German 
concert-rooms  successfully,  and  in  point  of  clever 
workmanship  deserves  all  the  praise  it  has  met 
with.  [E.  D.] 

GRISAR,  Albkbt,  bom  at  Antwerp,  Dec.  26, 
x8o8,  was  intended  for  commerce,  ana  with  that 
view  was  placed  in  a  house  of  business  at  Liver- 
pool. The  love  of  music  was  however  too  strong 
for  him,  and  after  a  few  struggles  with  his  family 
he  ran  away  to  Paris,  and  reached  it  only  a 
day  or  two  before  the  Revolution  of  July  1850. 
He  began  to  study  under  Reicha,  but  the  revo- 
lution spread  to  Belgium,  and  Grisar  was  obliged 
to  join  his  family  in  Antwerp.  His  first  public 
success  was  '  Le  Manage  impossible '  at  Brussels 
in  the  spring  of  1833.  It  attracted  the  attention 
of  the  government,  and  procured  him  a  grant 
of  1200  francs  towards  the  completion  of  his 
musical  education.  He  returned  to  Paris  and 
henceforward  gave  himself  up  almost  entirely 
to  the  theatre.  His  first  appearance  there  was 
at  the  Op^ra  Comique  with  'L*an  mil.'  Though 
not  unsuccessful  he  was  dissatisfied  with  himself, 
and  in  1840  or  1841  went  to  Naples  to  study 
composition  under  Mercadante;  and  there  he 
remained  for  several  years.  In  1848  he  was 
again  in  Paris,  and  did  not  leave  it  till  his 
death,  which  took  place  at  Asni^res  on  June 
15,  1869.  Nineteen  of  his  comic  operas  were 
produced  on  the  stage,  and  a  dozen  more  remained 
in  MS.  A  list  will  be  found  in  Pougin^s  sup- 
plement to  F^tis.  He  also  published  more  than 
50   melodies   and   romances.      His   statue,    by 


GRISI. 

Braokeleer,  Is  in  the  vestibule  of  tlie  Antwerp 
Theatre,  and  a  Life  of  him  by  Poogin  has  been 
published  by  Hacfaette.  With  the  Pansians  he 
was  a  great  frbvonrite.  'A  charming  ddieate 
natural  musician,  several  of  whose  woriLs  will 
remain  to  attest  the  rare  ezcellenoe  of  his  taknt* 
*is  the  judgment  of  a  French  critic  in  the  Menes- 
trel.  On  an  Englishman  however — and  one  who 
knew  him  and  liked  him — ^he  made  a  different 
impression ;  'His  music,*  says  Mr.  Charley,  'leavei 
not  the  slightest  trace  on  the  memory.  I  cannot 
recall  from  the  whole  list  a  melody,  a  touch  of 
instrumental  novelty,  an  indication  of  charact^ 
or  local  colour.*  M.  Chouquet  (Musique  Drama- 
tique,  286),  while  prusing  his  fresh  luid  graceful 
melody  and  his  sympathy  with  the  scene  and  the 
situation,  will  not  allow  him  a  place  above  the 
second  rank.  [G.] 

GRISI,  GiULiA.    This  fiunous  operatic  vocal- 
ist, daughter   of   Gaetano  Grisi,  an   officer  ci 
engineers  under  Napoleon,  was  bom  at  Milan  in 
1 81  a;  others  say  18 10,  others  even  1806.    She 
belonged  to  a  family  of  artists.  Her  maternal  aunt 
was  the  celebrated  Grassini;  her  eldest  sister, 
Giuditta  (bom  at  Milan,  July  28,   1805),  was 
a  singer  of  high  merit ;  and  her  cousin,  Carlotta 
Grisi,  originally  educated  as  a  singer,  became,  under 
the  tuition  of  Perrot,  the  most  charming  dancer  of 
her  time.    Probably  her  mother,  like  the  rest  of 
the  family,  had  before  marriage  made  music  her 
profession.    If  so,  with  a  soldier  for  a  &ther  and 
a  singer  for  a  mother,  it  may  be  said  that  the 
future  'dramatic  soprano'  came  indeed  of  suit- 
able parentage.     Her  earliest  instructors  were 
successively  her  sist^  Giuditta:  Filippo  CeUi, 
afterwards  resident  professor  in  London ;  Madame 
Boccabadati ;  and  Guglielmi,  son  of  the  composer 
of  that  name.    At  the  1^  of  seventeen  she  made 
her  first  appearance  in  public  as  Emma  in  Ros- 
sini's 'Zehnira.'     In   1830  Mr.  C.  C.  Greville 
saw  her  at  Florence  with  David  in  *  Riociardo," 
and  says,  *  She  is  like  Pasta  in  face  and  figure, 
but  much  handsomer.     She  is  only  eighteen.' 
Rossini  took  a  great  interest  in  Uie  young  and 
promising  Giulietta,  for  whom  he  jnedicted  a 
brilliant  future.     '  Youth,   uncommon  personal 
attractions,  a  beautiful  voice,   and  indicationa 
already  of  that  stage  talent  afterwards  so  remark- 
ably developed,  combined,'  says  one  who  speaks 
with  authority  on  the  subject,  '  to  obtain  a  re- 
ception for  their  possessor  more  hearty  and  more 
unanimously  favourable  than  often  falls  to  the  lot 
of  a  debutante.'  One  of  Giulia*s  warmest  admirers 
was  Bellini,  who,  composing  at  Milan  the  opera 
of '  Norma*  for  Pasta,  recognised  in  the  young 
artist  all  the  qualifications  for  a  perfect  Adalgisa. 
Strangely   enough,   when  the  opera  was  first 
brought  out,  the  first  act  proved  almost  a  fiasco; 
and  it  was  not  until  the  duet  for  Norma  and 
Adalgisa  in  the  2nd  Act  that  the  audience  began 
to  applaud.     Dissatisfied  with  her  engagement  at 
Milan,  and  unable  to  get  herself  rdeased  firom  it 
'  by  ordinary  means,  the  impulsive  Giulia  took  to 
'  flight,  and  escaping  across  the  frontier  reached 
I  Paris,  where  she  found  her  aunt,  Madame  Gras- 
,  sini,  her  sister  Giuditta,  a(id  Ros^ni,--at  that 


6RISI. 

time  artisdo  direeiar  of  the  Th^tre  dei  Italiens. 
She    bad  no  trouble  in  obtaining  an  engage- 
ment.   .Boesini,  who  had  not  foigotten  her  per- 
formaxioe  in  'Zelmin^*  offered  her  the  part  of 
Semiramide  in  his  own  admirable  opera  of  that 
name;  and  in  1832  Mdlle.  Grisi  made  her  first 
appearance  at  the  Italian  Opora  of  Paris  in  the 
character  of  the  Assyrian  Qaeen,  Mdlle.  Eckerlin 
repTeeenting    Arsace,    and    Signor    Tambarini 
Absut.     Nothing  oould  have  been  more  perfect 
than  Mdlle  Grisi's  success  ;  and  for  sixteen  con- 
secutive  years,   from   183a   to    1849,  ^^  "^^ 
engs^^ed  and  re-engaged   at    the  Th^tre   des 
Italiens.      Mdlle.  Grisi  passed    the  winter  of 
1^33  at  Venice,  where   Bellini  wrote  and  pro- 
duced '  I  Montecchi  ed  I  Capuleti  *  for  the  two 
mstersy  Giuditta  and  Giulia.    She  did  not  visit 
Ixyndon  notil  1834,  where  she  made  her  first 
appearance,  amid  general  admiration,  as  Ninetta 
in   'La  Gazza  Ladra'  (April  8th).     Her  first 
great  London  success,  however,  was  achieved  in 
the  part  of  Anna  Bolena.  The  chief  characters  in 
this  woric — which  Donizetti  had  written  for  Galli, 
Kubini,and  Madame  Pasta — became  identified  in 
London  with  Lablache,  Rubini,  and  Mdlle.  Grisi. 
Strangely  enough,  the  opera  itself,  which  was  at 
one  time  looked  upon  as  its  composer's  master- 

gieoe,  seems  now  all  but  forgotten.  Those 
owever  who  saw  Grisi  in  the  part  of  the  heroine 
will  never  forget  it.  On  the  occasion  of  her 
first  appearance  in  London,  the  'Times'  critic 
described  her  voice  as  a  '  pure,  brilliant,  power- 
ful, flexible  soprano  ....  one  of  the  finest  we 
ever  heard.'  '  As  an  actress,'  added  the  writer, 
*  Mdlle.  Grisi  exhibits  discriminative  powers 
of  no  common  order.'  When  she  undertook 
the  part  of  Semiramide,  at  the  King's  Theatre, 
it  was  said  by  everyone  that  .Pasta  having 
now  retired  her  only  successor  was  Grisi.  In 
the  year  1835  Bellini  wrote  'I  Puritani*  for 
Grisi,  Bubini,  Tamburini,  and  Lablache;  that 
memorable  operatic  quartet  of  which  she  was 
the  last  survivor.  It  is  true  that  after  Rubini 
h»d  been  replaced  by  Mario  the  quartet  was 
still  incomparable;  and  it  was  for  the  new 
combination — Grisi,  Mario,  Tamburini,  and  La- 
blache— ^that  Donizetti,  in  1843,  composed  'Don 
Pasquale.'  '  Don  Pasquale,'  like  'Anna  Bolena,' 
visited  London  and  soon  became  naturalised; 
and  year  after  year  the  Mario  quartet,  like  the 
Rubini  quartet,  spent  the  winter  in  Paris,  the 
summer  in  London.  Fortunately  the  Paris 
season  does  not  interfere  with  our  own.  Indeed, 
owing  to  the  Paris  and  St.  Petersburg  seasons 
taking  place  in  the  winter,  it  is  possible  to  form 
in  London  for  the  summer  an  oneratic  troupe 
Superior  to  that  of  either  St.  Petersourg  or  Paris, 
and  which  shall,  in  fact,  include  the  most  dis- 
tinguished ornaments  of  both  the  great  European 
winter  companies.  But  between  Paris  and  Lon- 
don in  particular  an  entente  cordicUe  had  long 
toisted ;  and  Madame  Grisi,  with  her  attendant 
tenor,  baritone,  and  basso,  must  have  been  as 
much  at  home  in  one  of  these  capitals  as  in  the 
other. 
.   When,  in  1846^  Mr.  L.umley's  company  was 


GRISL 


JSSS 


broken  np  by  the  sudden  departure  of  his  prin- 
cipal  singers,  together  with  Mr.  Costa,  and  neariy 
the  whole  of  the  orchestra,  the  second  of  the  great 
quartets  came  to  an  end.  It  struggled  on  for  a 
time  in  the  reduced  form  of  a  trio :  Grisi,  Mario 
and  Tamburini,  without  Lablache.  Then  the 
trio  became  a  duet;  but  Grisi  and  Mario  still 
sang  the  duo  concertante  which  Donizetti  had 
written  for  them  in  '  Don  Pasquale,'  as  no  other 
singers  could  sing  it.  They  were  still '  the  rose 
and  the  nightingale  *  of  Heine's  Parisian  Letters, 
'the  rose  the  nightingale  among  flowers,  the 
nightingale  the  rose  among  birds.'  Mr.  N.  P. 
Willis  had  heard  Grisi  in  London  in  the  year 
1834,  and,  as  he  tells  us  in  his  'PencUlings  by 
the  ^^f'  did  not  much  like  her.  On  the  other 
hand,  Heine  heard  her  in  Paris  in  the  year  1840, 
and,  as  he  assures  us  in*  his  'Lutetia,'  liked  her 
very  much.  The  unbounded  admiration  of  the 
German  poet  would  probably  have  consoled 
Madame  Grisi,  if  she  had  ever  troubled  herself 
about  the  matter,  for  the  very  limited  admir- 
ation expressed  for  her  by  the  American  prose* 
writer. 

From  the  year  1834,  when  she  made  her  debut 
at  the  King's  Theatre,  lyondon,  until  the  year 
1 86 1,  when  she  retired  from  the  Royal  Italian 
Opera,  Madame  Grisi  only  missed  one  season 
in  London — that  of  1843.  And  it  was  a  rare 
thing  indeed  when  she  was  engaged  that  illness 
or  any  other  cause  prevented  her  from  appearing. 
She  seldom  disappointed  the  public  by  her  ab* 
sence ;  -  and  never,  when  she  was  present,  by 
her  singing.  There  is  some  significance  in  styling 
such  vocalists  'robust,'  for  there  are  robust 
sopranos  as  there  are  robust  tenors.  Indeed  no 
one  who  has  not  really  a  robust  constitution 
could  stand  such  wear  and  tear,  which  are  the 
indispensable  accompaniments — which  form,  one 
might  almost  say,  the  very  substance — of  the  life 
of  a  great  singer.  In  the  vear  1854  she  made 
an  artistic  tour  in  the  United  States,  in  com- 
pany with  Signor  Mario.  In  1859  ^^  accepted 
an  engagement  at  Madrid,  whic^  was  not  suc- 
cessful, and  was  rapidly  broken  off.  In  i86t 
Madame  Grid  signed  an  agreement  with  Mr. 
Gye  binding  her  not  to  appear  again  in  pubUo 
within  a  term  of  five  years.  Mr.  Gye  thought, 
no  doubt,  that  in  this  case  five  years  were  as 
good  as  fifty.  But  he  had  reckoned  without  his 
prima  donna,  who,  in  the  year.  1866,  to  the 
regret  of  her  friends,  and  to  the  astonishment  of 
every  one,  came  out  at  Her  Majesty's  Theatre  in 
her  old  part  of  Lucrezia.  After  that  Madame 
Grisi  still  continiied  from  time  to  time  to  sing  at 
concerts,  and  as  a  concert  singer  gained  much 
Mid  deserved  applause.  She  had  for  years  made 
London  her  head-quarters,  and  on  leaving  it  in 
1869  to  pay  a  visit  to  Berlin  had  no  intention 
of  not  returning  to  the  capital  where  she  had 
obtained  her  greatest  and  most  prolonged  suc^ 
cesses.  She  (Sd  not  however  return.  Inflam- 
mation  of  the  lungs  seized  her,  and  after  a  short 
attack  she  died  at  the  Hotel  du  Nord,  Berlin, 
on  the  a5th  Nov.  1869.  Her  artistic  life  had 
lasted  about  35  years;  and  considering  that  fact. 


ttSi 


.GBISI. 


and  the  vigorous  oonstitution  wbich'siicb  a  fact 
indicates,  it  may  safely  be  infeired  that  but  for 
the  aocident  of  a  severe  cold,  which  appears  to 
have  been  negated,  she  would  have  lived  to 
something  like  the  age  attained  by  so  many 
distingoii^ed  membezs  of  the  prgfession  to  which 
she  belonged,  and  of  which  for  an  unusually  long 
period  she  formed  one  of  the  brightest  ornaments* 
Mdlle.  Grisi  was  married  on  April  24, 1836,  to 
Count  de  Melcy,  but  the  union  was  not  a  happy 
one,  and  was  dissolved  by  law.  Later  on  she 
was  again  married  to  Signor  Mario,  by  whom  she 
had  three  daughters.  [U.  S.  £.] 

OBOgSE  CAISSE  and  GROSSE  TROMMEL 
an  rsspeotively  the  FMooh  and  CUwwau  tenns 
ibr  the  bass-drum.     [Drum,  3.]  [V.deP.] 

'   GROSSI.    SeeSiFA^B. 

.  GFwOSaO.  Italian  for  'great.'  The  'Con- 
certo GrosBO*  of  the  first  half  of  the  1 8th  century, 
said  to  have  been  invented  by  Torelli  in  1700, 
was  a  piece  for  a  combination  of  several  solo 
instruments  with  the  full  band.  Thus  Corelli's 
Concerti  Grossi  (op.  6)  are  described  in  the  title 
p»  'con  due  violini  e  violoncello  di  oonoertino 
obligati,  e  due  altri  violini  e  basso  di  concerto 
groBso,  ad  arbitrio  che  si  potramo  radoppiare.* 
The  same  is  the  case  with  HandeFs  '  i  a  Grand 
Concertos,*  which  are  for  a  solo  violins  and  a 
cello,  accompanied  by  and  alternating  with  a 
band  of  2  violins,  viola,  oellot  and  bass.  The 
piece  contained  4,  5,  or  6  movements  of  different 
tempo,  one  being  usually  a  fugue  and  one  a 
dance,  and  nil  in  the  eame  key. 

The  name  does  not  occur  in  the  works  of  either 
Haydn  or  Mozart.  It  was  probably  last  used  by 
Geminiani,  who,  before  his  death  in  1761,  ar- 
ranged Corelli's  solos  as  Concerti  Grossi.        [G.] 

GROSSVATER.TANZ,  i.e.  grandfiither<lanoe. 
A  curious  old  Gennan  fiunily-danoe  of  the  1 7th 
century,  which  was  greatly  in  vogue  at  weddings. 
Spohr  had  to  introduce  it  into  the  Festival  march 
which  he  wrote  by  command  for  the  marriage  of 
Princess  Marie  of  Hesse  with  the  Buke  of  Saxe 
Meiningen  in  1825  (Selbetbiog.  ii.  165^.  It  con- 
sisted of  three  parts,  the  first  of  which  was  an 
andante  in  triple  time,  sung  to  the  words 

*  Und  als  der  GhrossYater  die  Oroflmnutter  nahm, 
Da  war  der  (ihrowvater  eiu  Braati^am,' 

to  which  succeeded  two  quick  phrases  in  9-4. 

time— 

Andante 


^j^jm 


-r-r 


^R=='m 


Attegro 


^^^^^^ 


^^ 


I 


As  this  dance  usually  concluded  an  evening,  it 
was  also  called  the  'Kehraus'  (clear-out).  Its 
chief  musical  interest  arises  from  the  fact  that 
itisthe  'air  of  the  i  ;^  century,  \which  Schumann 


GRtJl^MAt^HER. 

in  his  'Carnaval^  introduces  in  tiie '  Manih  of  t&e 
Davidsbtindler  against  the  Philistines'  He  also 
uses  it  in  the  finale  of  his '  Papillons,*  op.  2.  [£.  P.] 

GROUND  BASS.  The  most  obvious  and 
easily  realisable  means  of  arriving  at  sym- 
metry and  proportion  in  musical  works  is  by 
repetition,  and  a  lai^  proportion  <^  the  earliest 
attempts  in  this  direction  took  the  safe  side  of 
making  the  symmetry  absolute  by  repeating  the 
same  thing  over  and  over  again  in  the  form  of 
variations ;  and  of  this  order  of  form  a  Ground 
Bass,  which  consisted  of  constant  repetition  of 
a  phrase  in  the  Bass  vrith  varied  figures  and  har- 
monies above  it,  is  a  sub-order.  At  an  essiy 
period  of  Modem  Mnsic  this  was  a  Tcry  popular 
device,  resorted  to  alike  by  Italians,  such  as 
Carissimi  and  Astorga^and  by  our  English  PurceU. 
In  the  works  of  Puroell  there  are  a  great  num- 
ber of  examples,  both  in  his  songs  in  the  Orpheus 
Britannicus,  and  in  his  dramatic  warks*  as  in  the 
Dido  and  JSneas,  in  which,  though  not  a  l^igdiy 
work,  there  are  three  songs  on  a  Ground  Bass; 
the  best  of  which  '  When  I  am  laid  in  earUu* 
has  often  been  pointed  out  as  a  fine  example. 
An  expansion  of  the  idea  was  also  adopted  by 
him  in  the  'Music  before  the  pUy'  of  King 
Arthur,  in  which  the  figiu«  aft^  being  repeated 
many  times  in  the  bass  is  transferred  to  the  upp» 
parts,  and  also  treated  by  inversion.  Bach  and 
Handel  both  made  use  of  the  same  device  ;  the 
former  in  his  Passacaglia  for  Clavier  with  Pedals, 
and  the  'Crucifix us'  of  his  Mass  in  B  minor; 
and  the  latter  in  his  Choruses  '  Envy  eldest-bom 
of  Hell*  in  Saul,  and  '  O  Baal  mcmarch  of  the 
skies*  in  Deborah.  In  modem  times  Brahms 
has  produced  a  fine  example  in  the  Finale  to  the 
Variations  on  a  Theme  of  Haydn  in  Bb  for 
Orchestra. 

At  the  latter  part  of  the  17th  century  Ground 
Basses  were  known  by  the  names  of  their  authon^ 
as  *  Farinell*s  Grround.'  "  Purcell's  Ground,'  etc., 
and  extemporising  on  a  Ground  Bass  was  a  very 
popular  amusement  with  musicians.  Christopher 
Simpsons  'Chelys  Minuritionum,  or  Division 
Vior  (1665),  was  intended  to  ^each  the  practice, 
which  he  describes  as  follows — 'Diminution  or 
division  to  a  Ground  is  the  breaking  either  of 
the  bass  or  of  any  higher  part  that  is  applicable 
thereto.     The  manner  of  expressing  it  is  thus: — 

*  A  Ground,  subject,  or  bass,  call  it  what  you 
please,  is  pricked  down  in  two  several  papers; 
one  for  him  who  is  to  play  the  ground  upcm  an 
organ,  harpsichord,  or  what  other  instrument 
may  be  apt  for  that  purpose  ;  the  other  for  him 
that  plays  upon  the  viol,  who  having  the  said 
ground  befoA  his  eyes  as  his  theme  or  subject, 
plays  such  variety  of  descant  or  division  in  con- 
cordance thereto  as  his  skill  and  present  invention 
do  then  suggest  unto  him.* 

A  long  extract  and  a  specimen  of  a  '  Division, 
on  a  Ground'  are  given  in  Hawkinses  History, 
chap.  149.  [C.H.H.P"] 

GBUTZMACHER,  Fbisdrioh  Wilhblm  Lmv 
wio,  a  distinguished  violoncellist  of  our  day,  son 
of  a  musician,  bom  at  Dessau,  March  i,  1832. 


GlttJTZXTACHXR. 

&iA  tbnsidd  faculty  showed  itielf  vezy  etfrlj,  and 
he   was  thoiroughly  instructod  in  theory  by  F. 
Schneider,  and  in  the  cello  by  I>rechal6r.     In 
1848   he  went  to  Leipsic,  where  he  at  onoe 
attracted   the  notice  of  David*  and  in   1849, 
when  only  1 7,  became  first  cello  and  solo  player 
At  the  Grewandhaas,  and  a  teacher  in  the  Gonser- 
vatorium.   In  60  he  was  called  to  Dresden,  where 
he  still  resides  as '  Elanuner-Virtuoe*  to  the  King 
of  Saxony.    He  has  visited  most  of  the  northern 
capitals  of  Europe^  and  was  in  England  in  67 
and  68,  playing  at  the  Philhaimonio  (May  30, 
1867),  Muidcal  Union,  and  Crystal  Palace.    His 
compositions  embrace  orchestral  and   chamber 
pieces^  songs,  etc.,  besides  concertos  and  other 
compositions  for  the  oeUo.     9is  exercises  and 
studies  are  specially  valuable  ('  Tagliche  Uebun- 
gen*  and  '  Technologic  des  yiolonceUspiels,*  used 
in   the  Leipsic  Gonservatorium).     We  are  also 
indebted  to  him  for  many  careful  editions  of 
standard  works  (Beethoven*s  Sonatas  for  Piano- 
forte andCdlo,  Romberg's  Concertos, .  Bocche- 
rini*s  Sonatas,  etc,  etc.)»  and. for  the  revival  of 
some  forgotten  works  of  oonsideirable  interast. 
As  a  player  he  has  an  extraordinary  command  of 
difficulties,  and  his  style  is  remarkable  alike  for 
vigour,  point,  and  delicacy.    As  a  teacher  he 
is   greatly  and   deservedly  esteemed,  and   has 
formed  a  number  ofline  playen  of  all  the  nations 
of  Europe.    Amongst  them  his  brother  Lkopold, 
bom  Sept.  4,  1835,  and  now  (78)  first  cello  in 
the  Duke  of  Meiningen's  band,  is  one  of  the 
most  renurkable.  [T.  P.  H.] 

GUADAGNI,  Gaktano,  one  of  the  most 
famous  male  oontraiti  of  the  last  century,  was 
bom  at  Lodi^  about  1725  (F^tis)  or,  perhaps, 
later.  Nothing  is  known  of  his  early  history. 
In  1747  he  was  singing  at  Parma:  in  48  he 
came,  very  young,  to  London  as  'serious  man* 
in  a  burletta  troupe,  with  Pertid,  Laschi,  Frasi, 
etc.  'His  voice  attracted  the  notice  of  Han- 
del, who  assigned  him  the  parts  In  the  Messiah 
and  Samson,  which  had  been  originally  composed 
for  Mrs.  Gibber.*  in  the  studying  which  parts,' 
says  Bumey,  'he  applied  to  me  for  assistance. 
During  his  first  residence  in  England,  which  was 
four  or  five  years,  he  was  more  noticed  in 
singing  English  than  Italian.  He  quitted  London 
about  1753.'  A  year  later  he  sang  at  Paris  and 
VersaiUes,  after  which  he  went  to  Lisbon  to 
sing  under  Gizziello,  and  in  1755  narrowly 
ercaped  destruction  during  the  earthquake.  To 
Gizziello  he  owed  much  of  his  improvement  and 
refinement  of  singing.  His  idcHS  of  acting  were 
derived  much  earlier  fit>m  Garrick,  who  took  as 
much  pleasure  in  forming  him  as  an  actor  (for 
'The  Fairies'  of  Smith\  as  Gizziello  did  after- 
wards in  polishing  his  style  of  vocalisation.  After 
leaving  Portugal,  he  acquired  great  reputation 
in  all  the  principal  theatres  of  Italy.  There  he 
sang  the  part  of  '  Telemaco,'  written  for  him  by 
Gluck,  who  procured  his  engagement  in  1766 
at  Vienna,  as  'Orfeo.*  Havin:;  excited  both 
admiration   and    disturbance   in   that    capital, 

1  OrVIeenaCBiinMjr). 

S  He  Mi«  tlM  1*1  Xiieodoca*  (XWIK 


.GlJADAGKnn. 


«3I 


he  returned  to  London  in  1760.  *  As  on  actor 
he  seems  to  have  had  no  eqiutl  on  any  operatic 
stage  in  Europe :  his  figure  was  unoonunonly 
elegant  and  noble ;  his  countenance  replete  with 
beauty,  intelligence,  and  dignity;  and  his  attitudes 
sad  gestures  were  so  full  of  grace  and  propriety, 
that  they  would  have  been  excellent  rtudies  for 
a  statuary.  But.  though  his  manner  of  singing 
was  perfectly  delicate,  polished,  and  refined,  his 
voice  seemed,  at  fint,  to  disappoint  every  hearer, 
for  he  had  now  changed  it  to  a  sc^praao,  and 
extended  its  compass  from  six  or  seven  notes  to 
fourteen  or  fifteen'  (Bumey).  The  same  writer 
gives  a  curious  criticism  of  his  style,  too  long  to 
quote  here, from  which  it  appears  that  he  produced 
his  beet  effects  by  singing  unaccompanied  and  by 
fining  off  his  notes  to  a  thread.  He  had  strong 
resentments  and  high  notions  of  his  own  import- 
ance, which  made  him  many  enemies.  He  sang 
under  J.  G.  Bach  in  the  Lent  of  1770,  and  later 
in  the  same  year  was  heard  at  Verona  by  the 
Electress  of  Saxe,  who  brought  him  to  Munich, 
where  he  remained  in  great  favour  with  the 
Elector  till  the  death  of  that  prince.  In  1766 
he  sang  at  Potsdam  before  Frederick  II,  who 
gave  him  a  handsome  gold  snuffbox  studded 
with  brilliants, — the  finrat  he  had  ever  given. 
In  1777  he  returned  to  Padua.  There  Lord 
Mount-Edgcumbe  heard  him  (1784)  in  a  riMtetto, 
and  found  his  voice  still  full  and  well-toned, 
and  his  style  excellent.  He  insisted  on  Lord 
Mount-Edgcumbe  going  to  his  house,  where  he 
entertained  him  with  fantoccini^  which  he  ex- 
hibited on  a  little  stage,  and  in  which  he  took 
great  delight.  This  writer  puts  his  death  in  the 
next  year,  1 785 ;  but  F^tis  fixes  it  much  later,  in 
1 797.  He  died  possessed  of  considerable  wealth, 
which  he  spent  liberally  and  charitably.   [J.  M.] 

6UADAGNI,  SiONORA,  the  sister  of  the 
above,  came  to  LonrTon,  as  one  of  a  burletta  com- 
pany, with  Lovattini,  Morigi,  etc.,  in  1 766.  She 
appeared  as  'Cecchina'  in  the  'Buona  Figliuola,* 
a  part  which  she  had  previously  played  m  Italy 
with  great  applause.  She  sang  for  several  seasons 
in  the  'Viaggiatori  ridiodi*  (1768),  and  other 
operas.  Her  husband  was  the  operatic  composer, 
^lice  Atessandri,  of  Borne.  [J.M.] 

GUADAONINI,  a  numerous  fiimily  of  Italian 
violin-makers,  of  the  Gremona  school,  tiiough  pro- 
bably originating  from  Piacenza.  The  first  genera- 
tion consists  of  Lorenzo  and  John-Baftist  :  the 
latter  seems  always  to  have  been  a  family  name. 
Their  exact  kinship  is  uncertain.  They  worked 
from  about  1690  to  1740.  Both  claimed  to 
be  pupils  of  Stradivarius.  The  violins  of  John- 
Baptist  fiilly  justify  this  claim.  They  are  finely 
designed,  and  covered  with  a  rich  dark  red 
varnish,  easily  distinguishable  from  the  glaring 
scarlet  varnish  used  by  the  second  John-Baptist; 
and  are  in  all  respects  worthy  of  the  Stradi»> 
varian  school.  John-Baptist  dated  from  Milan; 
Piacenza,  and  Turin:  he  sometimes  describes 
himself  as  '  Gremonensis,'  sometimes  as  '  Plaoen- 
tinus.'  The  violins  of  Lorenzo  are  of  high  sterling 
merit,  despite  their  divergence  from  &e  Stradh* 


6S$ 


.GUADAGNIOT. 


TKrian  model.  The  design  is  often  bold  to  the 
yerge  of  uncouthness ;  the  comers  are  heavy  and 
obtrusive ;  the  scroll  is  quite  unlike  that  of 
Stradivari  us  :  the  varnish,  though  rich  and  good, 
is  less  brilliant.  Both  of  liiese  makers  are  highly 
esteemed,  and  good  specimens  command  prices 
varying  from  £40  to  £80.  In  the  second  genera- 
tion a  marked  decadence  is  observable.  The 
second  John-Baptist  (probably  a  son  of  Lorenzo) 
made  a  huge  number  of  useful  violins  of  the  com- 
moner sort.    They  are  mostly  of  the  Stradivarian 

.pattern.  The  second  John^Baptist  introduced 
that  unpleasantly  high-coloured  varnish  which  is 
often  supposed  to  be  the  special  characteristic  of 
a  'Guadagnini.'  He  used  excellent  wood,  and  his 
instruments  are  in  good  repute  among  orchestral 
players.  He  usually  dates  from  Piacenza.  To  the 
same  generation  belongs  Joseph  (i  740-1 760), 
who  usually  dates  from  Milan,  and  claims  to  be 
from  Cremona.  He  was  probably  a  brother  of 
the  second  John-Baptist.  His  work  is  massive 
and  full  of  character,  but  distinguished  by  a  cer- 
tain rudeness,  in  which  he  probably  imitated 
Joseph  Guamerius.  His  brownish-yellow  varnish 
contrasts  oddly  with  that  of  his  contemporary 
John-Baptist  and  those  used  in  the  earlier  genera- 
tion. The  third  and  following  generations  of  the 
Guadagnini  family  exhibit  a  lamentable  falling 
off.  Now  and  then  they  did  their  best  to  imitate 
the  work  of  their  predecessors :  more  often  they 
seem  to  have  worked  at  hap-hazard.  The  third 
generation  had  quite  lost  the  art  of  varnishing. 

.  Sometimes  the  varnish  is  a  hard  and  cold  imita- 
tion of  that  of  John-Baptist  the  second :  some- 
times it  is  a  thick,  dull,  opaque  mass,  resembling 
paint :  sometimes  merely  a  thin  albuminous  wash. 
In  the  make  little  often  remains  of  the  Gremonese 
character  at  all.  They  nevertheless  made  a  cer- 
tain number  of  useful  instruments.  Members  of 
the  family  are  believed  to  be  still  engaged  in  the 

^  violin  trade  at  Turin.  [£.  J.  P.] 

GUALANDL    See  Oahpiou. 

GUARDUOCI,  T0MMA88O,  ToscANO,  bom  at 
Montefiascone  about  1 720,  was  afterwards  a  pupil 
of  the  famous  Bemaochi  at  Bologna^  and  became 
one  of  the  best  singers  of  his  time.  He  appeared 
at  most  of  the  chief  theatres  of  Italy  with  success 
from  1745  to  1770.  In  the  autumn  of  1766  he 
was  brought  over  by  Mr.  Gordon,  one  of  the 
managers,  to  the  London  Opera  as  'first  man,' 
with  Grassi.  In  the  spring  of  1 767,  two  serious 
operas,  'Carattaco'  by  J.  C.  Bach  and  Yento's 
'  Conquista  del  Messico,'  were  produced ;  and  in 
these  the  two  new  singers  excited  more  atten- 
tion, and  acquired  more  applause,  than  before. 
Guarduoci  was,  according  to  Bumey,  'tall  and 
awkward  in  figure,  inanimate  as  an  actor,  and  in 
countenance  ill-favoured  and  morbid  ;  but  a  man 
of  great  probity  and  worth  in  his  private  character, 
and  one  of  the  most  correct  singers.  His  voice  was 
clear,  sweet,  and  flexible.  His  shake  and  intona- 
tions were  perfect,  and  by  long  study  and  prao- 
.tice  he  had  vanquished  aU  the  difficulties  of  his 
•art,  and  possessed  himself  of  every  refinement.' 
l^rejudice  at  first  ran  high  against  him,  but 


OUARNIEBI. 

his  merit  made  its  way,  and  his  highly-poliBhed 
style  was  very  much  admired.  He  paid  a  high 
compliment  to  the  then  state  of  taste  in  London, 
by  which  (he  told  Dr.  Bumey)  he  had  profited 
largely,  in  discarding  superfluous  and  ill-eelected 
ornaments  from  his  singing.  He  was,  perhaps, 
the  simplest  of  all  the  fint  class  of  singers.  All 
his  efiects  were  produced  by  expression  and  high 
finish.  He  sang  in  the  English  oratorios  at 
short  notice,  wi&  very  little  knowledge  of  our 
language.  He  received,  however,  £600  for  twelve 
oratorios,  a  larger  sum  than  was  ever  given  on 
a  like  occasion  until  the  time  of  Miss  Linley. 
In  1 771  he  retired,  and  lived  with  his  family, 
passing  the  winter  at  Florence  and  the  eommer 
at  Montefiascone,  where  he  had  a  handsome 
oountiy-house.  [J.  M.] 

GUAKNIERT  or  GUARNERIUa  a  cele- 
brated family  of  violin -makers  of  Cremona. 
Their  pedigree  is  as  follows : — 


1.  AndreftB, 


iJowch.'flUus 
AiKimB.' 
worked 

law-i-nxn 

I.  Peter  of  V«nle^ 
worked  ITSO-infil 


8.  Peter  of 

Cremona. 

worked 


Oiam-Batttrta. 
Bot  a  *toliiMBkker. 

tk  JOOtPB  *  ML  GBR,' 
b.lfl8Skd.I74& 


1.  Andreas  Guarntebt,  the  first  of  the  frunily. 
worked  with  Stradivari  in  the  workshop  of 
Nicholas  Amati,  and  like  Stradivari  developed 
out  of  his  master^s  model  an  entirdy  origuial 
style.  Excellent  instruments  of  his  make,  not 
very  highly  finished,  but  covered  with  fine  orai^ 
varnish,  are  dated  from  the  sign  of '  St.  Theresa,' 
in  Cremona,  where  he  was  succeeded  by  his  son, 

2.  Joseph,  *  filids  Andrew,'  who  so  described 
himself  to  distinguish  himself  from  his  cousdn. 
At  first  he  followed  his  father's  pattern ;  but  he 
soon  developed  a  style  of  his  own,  in  which 
the  narrow  and  rapidly -widening  waist,  the 
peculiar  set  of  the  soundholes,  and  a  more 
brilliant  varnish,  are  prominent  features.  Good 
specimens  command  prices  varying  firom  £30  to 
£So.  Some  points  first  traceable  in  his  work 
were  adopted  by  his  cousin.    His  brother, 

3.  Peter  Guarniebi,  commonly  called  *  Peter 
OF  Cremona  * — from  his  describing  himself  in  his 
tickets  as  '  Cremonensis,'  i.e.  ffvm  Cremona— 
emigrated  from  Cremona  to  Mantua,  where  he 
also  worked  'sub  signo  Sanctte  Teresse.'  The 
originality  of  the  Guamieri  knew  no  limits: 
Peter  of  Cremona  has  scarcely  a  point  in  common 
with  his  fother  or  brother.  'There  is,'  says 
Mr.  Hart,  in  his  work  on  the  violin,  '  increased 
breadth  between  the  sound-holes :  the  sound-hole 
is  rounder  and  more  perpendicular ;  the  middle 
bouts  are  more  contracted,  and  the  model  is 
more  raised.'  His  varnish  is  often  equal  to  that 
of  his  brother.  The  instruments  of  Peter  of 
Cremona  are  valued  by  connoisseurs,  but  in  a 
less  degree  than  those  of  his  nephew, 

4.  Peter  of  Yeniob,  son  of  Joseph  filius  An- 
dreaa,  who  adopted  his  uncle's  method,  and 
carried  the  *  Petrine  *  make  to  perfection.  Un- 
like the  rest  of  his  family,  Peter  of  Venice  had 


GUABNIERL 


GUEST. 


687 


ihe  advantage  of  that  splendid  Venetian'  yarnish 
which  astonishes  the  beholder  in  the  work  of 
Montagrnana.  His  violins,  though  of  high  model, 
have  a  fine  rich  tone,  and  are  in  their  way  com- 
plete masterpieces.  But  all  the  Guamieri  fiunily 
yield  in  fame  to  the  celebrated 

5.  Joseph  del  Gesd,    bo   called   from    the 
I.M.S.  which  is  added  to  his  name  on  his  tickets. 
Sametimes  eironeously  said  to  have  been  a  pupil 
of  Stradivari,  with  whom  his  work  has  nothing 
in   oonmion,   he  was  probably  a  pupil  of  his 
coQsin  and  namesake.    His  attention  seems  to 
have  been  early  diverted  from  the  school  of  the 
Amati,  in  which  all  his  relatives,  and  Sfcradivari 
himself,  imbibed  their  first  ideas.    He  fixed  on 
the  ^rorks  which  the  early  Brescian  makers  had 
produced  before  the  Amati  fiunily  brought  into 
fashion  geometrical  curves,  extreme  fineness  of 
finish,  and  softness  of  tone.    Whoever  may  have 
been  the  instructor  of  Joseph  Guamerius,  his  real 
master  was  Graspar  di  Salo.    He  revived  the 
bold  and  rugged  outline,  and  the  masterly  care* 
lessness,  and  with  it  the  massive   build   and 
powerful  tone,  of  the  earlier  school.     Perfection 
of  form  and  style  had  been  attained  by  others : 
tone  was  the  main  quality  sought  by  Joseph, 
and  the  endless  variety  of  his  work,  in  size,  in 
saodel,  and  in  cutting  of  sound-holes,  probably 
merely  indicates  the  many  ways  in  which  he 
aoo^ht  it.    He  was  sedulous  in  the  selection  of 
Bonoroiis  wood.  He  is  supposed  to  have  obtained 
a  piece  of  pine  of  vast  size,  possessing  extraor- 
dinary acoustic  propei-ties,  from  which  he  made 
most  of  his  bellies.    The  bellies  made  from  this 
wood  have  a  stain  or  sap-mark  running  parallel 
with  the  finger-board  on  either  side.    This  great 
block  of  wood,  says  Mr.  Hart,  *  he  regarded  as  a 
mine  of  wealth.'    He  often  finished  an  instru- 
ment more  carefully,  perhaps  to  special  order: 
the  finer  examples  are  well  characterised  by  Mr. 
Hart  as  'a  strange  mixture  of  grace  and  bold- 
ness.*   These  finer  examples  predominate  in  what 
has  been  termed  the  *  second  epoch '  of  Ms  life  : 
but  the  truth  is  that  throughout  his  career  he 
worked  with  no  uniformity  as  to  design,  size, 
appearance,  or  degree  of  finish,  and  without  any 
guide  but  his  own  genius,  and  the  scientific 
principles  he  had  wrought  out  by  experiment. 
The  stoiy  of  Joseph  Guamerius  making  rude 
instruments   while    in    prison   out    of   chance 
pieces  of  wood  provided  by  the  daughter  of  his 
gaoler,  who  'sold  them  for  what  they  would 
fetch,  in  order  to  alleviate  the  misery  of  his  con- 
finement,' rests  upon  no  satisfactory  evidence. 
Joseph  Guamerius  made  instruments  often  of 
very  rude  appearance,  and  he  may  or  may  not 
have  been  at  some  time  imprisoned:  but  the 
stoiy  of  the  '  prison  Josephs '  has  probably  been 
invented  to  explain  the  hosts  of  spurious  instru- 
ments which  have  found  their  way  all  over  Europe 
since  the  middle  of  the  last  century.    The  great 
tone-producing  powers  of  the  '  Joseph  *  were  thus 
early  very  well  known ;  but  the  softer  quality 
of  tibe  Amati  and  the  Stradivarius  violin  was 
usually  preferred  by  amateurs  until  the  present 
century,  when  Paganini*8  extraordinary  perform- 


'  auoes  on  an  nnusally  fine  '  Joseph*  sent  them  up 
at  once  three-fold  in  the  market.  The  value  6f 
a  g^ood  'Joseph  *  now  varies  from  £150  to  £400, 
according  to  size,  power  of  tone,  finisb,  and 
condition.  Only  extraordinary  specimens  fetch 
higher  prices. 

No  contemporary  copyist  imitated  Joseph 
Guamerius  with  much  success.  Landolfi  was  tne 
best :  the  productions  of  the  Testores  and  of 
Lorenzo  Storioni  could  never  be  mistaken  for 
their  original.  No  violoncello  of  Joseph  Guar« 
nerius  has  ever  been  known  to  exist.      [£.  J.  P.] 

GUERREKO,  Fbancisco,  one  of  the  chief 
representatives  of  the  early  Spanish  school  of 
composers,  was  bom  at  Seville  in  1528,  and  re- 
ceived his  education  first  from  an  elder  brother, 
and  then  from  the  great  Morales.  At  the  age 
of  18  he  was  made  chapel-master  at  Jaen,  a  few 
years  afterwards  obtained  a  similar  position  at 
Malaga  ;  and  finally  succeeded  Fernandez  in  the 
cathedral  at  Seville.  At  the  age  of  60  he  under- 
took a  pilgrimage  to  Palestine,  an  account  of 
which  was  afterwards  published  with  the  title  'El 
viage  de  Jerusalem  que  hizo  Francisco  Guerrero,* 
etc.  (Alcala  1611).  Guerrero  died  in  1599  at 
the  advanced  age  of  81.  His  most  important 
works  were  published  under  the  title,  'Liber 
primus  Missarum  F.  Guerero  Hispalensis  Odei 
phonasco  autore  *  (Paris,  Du  Chemin  1566). 
This  contains  4  masses  in  5  parts,  viz.  'Sancta 
et  immaculata  * ;  '  In  te  Domine  speravi  * ;  '  Con- 
gratulamini  mihi*;  'Super  flumina  Babylonis.* 
5  masses  in  4  parts,  viz.  '  De  B.  Virgine* ;  '  Dor- 
mendo  un  giomo' ;  'Inter  vestibulum* ;  'Beata 
Mater*;  and  'Pro  Defunctis.*  Also  the  motets 
'Ave  virgo  sanctissim^*  (5  parts),  'XJsquequo 
Domine*  (6  parts),  and  'Pater  Noster'  (8  parts). 

There  is  a  copy  of  the  book  in  the  Imperial 
Library  at  Vienna.  Sandoval,  in  his  life  of 
Charles  V,  tells  us  that  Guerrero  presented  this 
volume  to  the  Emperor,  and  that  monarch*8 
musical  reputation  chiefly  rests  on  the  fact  that, 
after  hearing  one  of  these  compositions,  he  called 
Guerrero  'a  thief  and  a  pli^e^arist,  while  his 
singers  stood  astonished,  as  none  of  them  had 
discovered  these  thefts  till  they  were  pointed  out 
by  the  Emperor.*  But  they  may  possibly  have 
discovered,  notwithstanding  their  respectful  as- 
tonishment, that  Guerrero  was  guilty  of  nothing 
more  than  using  the  ordinary  mannerisms  of  a 
particular  school. 

The  Vienna  library  also  possesses  a  collection 
of  Magnificats  by  Guerrero,  printed  at  Louvain, 
by  Phalesius  in  1563.  Eslava  has  printed  in 
his  '  Lira-sacro-Hispana '  the  Passion  according 
to  St.  Matthew  for  4  voices,  for  Palm  Sunday, 
and  that  according  to  St.  John  (5  voices)  for 
Good  Friday.  Also  3  motets  for  5  voices  and 
a  4-part  mass,  'Simile  est  regnum  coBlorum.* 
[ESLAVA.]  [J.E.S.B.] 

GUEST,  Ralph,  was  bom  in  1742  at  Basely, 

Shropshire.    At  a  very  early  age  he  became  a 

member  of  the  choir  in  the  <murch  of  his  native 

I  place.     On  attaining  his  majority  he  came  to 

'  London  and  engaged  in  commercial  pursuits; 


IS8 


GUEST. 


bat  the  love  of  mmio  induced  hHn  to  enter  in 
addition  the  choir  of  PortUnd  ChapeU  After 
five  years  he  removed  to  Bury  St.  Edmunde,  and 
entered  into  busincMi  on  his  own  account.  From 
Ford,  oi^ganist  of  St.  J»meB*8  Church,  Bury,  he 
learned  organ-playing,  and  in  1805  was  appointed 
ehoir-master  at  St.  Mary*«  there,  and  later,  on 
the  erection  of  an  o^gan  there,  its  organist.  He 
then  devoted  himself  entirely  to  the  profession 
of  music.  He  published  '  Tbe  Psalms  of  David,' 
ananged  for  every  day  in  the  month,  retaining 
many  of  the  old  psalm  tunes  and  adding  about 
sixty  new  ones.  He  subsequently  published  a 
supplement  under  the  title  of  '  Hymns  and 
Psalms,*  with  music  composed  and  adapted  by 
him.  He  also  compoeed  many  songs.  He  resigned 
his  appointment  as  oiganist  in  18a a,  and  died,  at 
the  advanced  age  of  88  yeans,  in  June  1830. 

His  son,  Georoe,  was  bom  at  Buiy  St.  fld- 
munds  in  1771.  He  was  initiated  in  music  by 
his  ftkther,  and  subsequently  became  a  chorister 
of  the  Chapel  Boyal  under  Dr.  Nares  and  Dr. 
Ayrton.  On  the  breaking  of  his  voice  he  obtained 
in  1787  the  appointment  of  organist  at  Eye, 
Suffolk,  but  gave  it  up  in  1789  for  that  at 
Wisbech,  Cambridgeshire,  which  he  held  during 
the  remainder  of  his  life.  His  compositions  in> 
dude  anthems,  hymns,  glees,  duets,  songs,  oigan 
pieces,  and  pieces  for  a  military  band.  He  died 
at  Wisbech,  Sept.  10,  1831.  [W.H.H.] 

GUGLIELMI,  PiKTBO.  bom  »t  Massa  Carrara 
in  1737.  His  father  was  an  accomplished 
musician  and  Maestro  di  Capella  to  the  Duke 
of  Modena.  At  the  age  of  16  he  was  sent  to 
supplement  his  home  training  at  the  Neapolitan 
Conservatorio,  where  he  had  the  advantage  of 
the  tutorship  of  Durante.  Volatili^  of  temper- 
ament rather  than  stupidKy  hindered  his  progress 
in  harmony,  and  it  only  required  a  single  incident, 
sufficiently  exciting  to  induce  twenty-four  hours 
of  self-concentration,  to  make  htm  at  once  evince 
his  superiority  to  aU  his  class-feUows.  As  soon 
as  he  left  the  Conservatorio  he  started  on  a  tour 
throu^  the  principal  cities  of  Italy,  beginning 
with  Turin,  where  he  brought  out  his  earliest 
opera  (i  755).  Everywhere  his  genius  was  cordi* 
ally  acknowledged,  and  his  best  works  met  with 
general  applause.  He  is  known  however  to  have 
made  a  great  number  of  failures,  which  were 
probably  the  result  of  that  careless  workman- 
ship to  which  artists  of  his  self-indulgent  and 
pleasure-loving  habits  are  prone.  From  Italy  he 
went  to  Dresden,  Brunswick,  and  finally  to  London, 
whither  his  wife  appears  to  have  accompanied  him, 
and  where  his  success  seems  to  have  been  checked 
by  the  intrigues  of  a  musical  cabal.  In  1 777  he 
returned  to  Naples  to  find  that  Cimarosa  and 
Paisiello,  each  in  the  height  of  his  fame,  had 
eclipsed  between  them  a  reputation  which  his 
own  fifteen  years  of  absence  had  allowed  to 
wane.  It  is  to  his  credit  that  the  necessity  of 
struggling  against  these  two  younger  rivals 
qiuxred  Guglielmi  to  unwonted  effort,  and  that 
tiie  decade  during  which  he  divided  with  them 
the  favour  of  the  Neapolitan  public  was  the 
culminating  epoch  of  his  mental  activity.  Wearied 


GUT0C2IABDL 

of  Ihe  stage,  Guglielmi  finally  in  1793  aorapted 
the  poet  of  Maestro  at  the  Vatican,  and  died  in 
harness  at  Rome  in  1804. 

He  was  a  spendthrift  and  a  debauchee :  a  bad 
husband,  and  a  worse  fiither.  He  abandoned  a 
faithful  wife,  neglected  his  promising^  children, 
and  squandered  on  a  snaoeeaion  of  worthkie 
mistresses,  most  of  whom  were  picked  up  in  the 
green  room,  a  fortune  which  it  was  hie  cme  traut 
of  worldly  wisdom  to  have  known  how  to  amaM. 
But  he  stands  high  among  oomposetv  of  the 
second  order,  and  he  had  the  fecimdity  as  well 
as  the  versatility  of  genius.  His  operas  were 
numerous  and  weir  style  was  varied,  and  he 
composed  masses,  motets,  hynms,  and  psa]mn, 
for  the  church,  besides  a  great  deal  of  impoaftant 
chamber-music  for  the  clavecin,  violin,  and 
violoncello.  F^tis  gives  a  list  of  79  of  hie  operas, 
and  assumes  that  this  number  is  inoooipiete 
owing  to  the  habit  then  prevalent  in  Italy  of  piv- 
serving  only  the  scores  of  such  works  as  bad  been 
furly  snocessful.  Of  these  by  far  the  greater 
number  would  be  uninteresting  now-a*dayB,  but 
his  ' I  due  Gemelli,'  ' La  Serva  innamorata.*  'La 
Pastorella  NobUe,*  *  La  Didone,* '  Enea  e  Lstvinia.' 
*Debora  e  Sisera,*  'I  Viaggiatori,*  and  '  La  Bella 
Pescatrioe,"  will  always  hold  a  oonaaderable  place 
in  the  history  of  music.  A  bravura  air  of  Gog- 
lielmi's,  *Gr»tias  agimus,*  for  high  soprano,  with 
clarinet  obligate,  was  long  a  favourite  in  English 
oonoert  programmes.  [£.H.F.] 

GUGLIELMI,  SiOKORA,  sang  in  London  in 
Lent,  1770,  in  Italian  oratorios,  under  J.  C. 
Baoh,  with  Grassi  and  Guadagai.  She  remained 
for  another  season  or  two,  singing  (1772)  in  Pic* 
cini's  *  Schiava*  and  the  '  Virtuosa'  of  Guglielmi. 
She  was,  periiaps,  the  wife  of  the  latter  eompoeer, 
who  was  In  England  at  the  time,  having  oome  to 
London  in  1 768.  [J.  M.] 

GUICCIARDI.  GiuHetta  or  Julie,  Countess 
(Griifin)  Guiociardi— bora  Nov.  34,  1784,  mar* 
ried  Count  Gallenberg,  Nov.  3,  1803,  died  March 
2  a,  1655 — was  aVienneselady,  to  whom  Beethoven 
dedicated  his  'Sonata  quasi  fimtasia*  in  Cf  minor 
(Op.  37,  No.  3),  published  in  the  beginning  of 
March  180a.  She  was  his  pupil,  and  in  a  cob' 
versation  with  Otto  Jahn  in  the  year  1853  (re- 
ported by  Thayer,  Life,  iL  171),  uie  stated  that 
he  had  given  her  the  Rondo  in  G  (Op.  51  No.  3), 
but  that  he  withdrew  it,  and  dedicated  it  to 
Countess  Lichnowsky,  and  then  dedicated  the 
Sonata  to  her  instead.  The  Countess  Guieciardi 
has,  on  the  authority  of  Schindler,  been  believed 
to  be  the  person  to  whom  Beethoven  addressed  the 
passionate  letters  so  often  printed  (see  Moadides's 
Schindler,  i.  101-106).  They  were  found  after  his 
death  in  the  secret  drawer  of  his  writing-desk,  with 
his  treasured  bank-shares.  They  are  all  written 
with  pencil  on  one  piece  of  paper,  and  the  accu- 
rate dates  are  as  follow :  '  am  6  Jidi  Morgends ' ; 
'Abends  Montags  am  6  Juli';  'Guten  Moigen  am 
7  Juli ' — ^no  year  named  in  either,  though  Schind* 
ler  adds  iSoiS  to  each.  In  his  later  editions  fas 
adopts  1803  as  the  year.  Thayer  however,  after 
an  elaborate  investigation  (Life.  ii.  173-180 :  and 
Appendix  .to  vol.  iii.  in  Musical  World  for  1878, 


G^ICCIABM. 


CfUTTAK. 


e8» 


BOB.  8  and  ii),  comes  to  the  oondusion  that  the 
letters  ivere  not  written  in  any  year  ht»n  1800 
to  1803  induaive,  and  that  the  Counteaa  Guic- 
cmrdi  -was  not  the  object  of  them  \  Beethoven 
however  had  been  deeply  in  love  with  her,  and 
believed  that  his  passion  was  returned.  At  least 
BQch  ivas  his  impression  in  Feb.  1823,  when  he 
wrote  in  a  conversation- book  preserved  in  the 
Berlin  Ijibrary,  '  tTetois  bien  aim^  d'elle  et  plus 
que  jamais  son  epoux.'  A  few  lines  further  on 
be  states  that  he  had  seen  her  again  after  her 
marria^ — '  mais  je  la  meprisois.*  [G«] 

GrUIDETTI,  GiovANKi,  bom  at  Bologna  in 
153a  ;    according  to  Baini  came  to  Bome,  and 
was    a   pupil  of  Palestrina.      Palestrina  being 
oommiasianed  by  Gregory  XIII  to  revise  the 
servioes  of  the  Roman  Church,  associated  his 
pupil  with  him  in  the  task,  as  having  an  inti- 
mate knowledge  of  the  MSS.  both  in  St.  Peter^s 
and  in  the  other  principal  diurdies  of  Borne. 
Thus   the  real  labour  of  the  work,  which  he 
himself  styles  'opus  nullius  ingenii«  multarum 
tamen  vigUiarum,'  fell  upon  him.    It  was  begun 
in  1576,  and  occupied  him  till  1581.    The  work 
was  published  in  1582 — 'Directorium  chori  .  .  . 
Opera  Joannis  Guidetti  Bononiensis,*  etc.,  and 
Gaidetti  had  the  right  of  sale  for  ten  years. 
His  preface  makes  the  respective  shares  of  the 
labour  of  himself  and  Palestrina  dear.    He  had 
the   drudgeiy,  while  Palestrina  had  the  final 
revision  and  completion  of  all  portions  requiring 
it.      It   is   quite  consistent   with    Palestrina's 
character  that  he  should  have  thus  given  Gui- 
detti his  fuU  credit.     The  'Direotorium'  went 
through  many  subsequent  editions  dow^  to  1 737* 
and   was   succeeded   by   'Gantus  ecclesiasticus 
passionis,'   etc.   (1586);    'Cantus  ecclesiasticus 
offidi  majoris,*  etc.  (1587);   and  '  Praefationes 
in  cantu  firmo,*  etc.   (1588),  all  published  in 
Borne.    The  aim  of  these  works  was  to  revive 
Gregorian  singing  in  its  pristine   purity,  and 
free  it  from  the  arbitrary  additions  and  alt<aations 
then  in  vogue.   Guidetti  was  a  priest,  and  died  at 
Borne  Nov.  30, 1593.  L^-^0 

GUIGNON,  Jean-Pierbe,  the  last  man  who 
bore  ihe  title  of  'Boi  des  violons.'  Bom  at 
Turin  la  170a,  he  was  still  veiy  young  when  he 
went  to  Paris  and  began  to  study  the  violoncello, 
which  however  he  soon  exchanged  for  the  violin. 
He  is  said  to  have  excelled  by  a  fine  tone  and 
great  facility  of  bowing,  and  to  have  been  a 
formidable  rival  of  Leclair.  In  1733  he  entered 
the  King's  service,  was  appointed  musical  in- 
structor of  the  Dauphin,  and  obtained  the  revival 
in  Ins  fiivour  of  the  antique  title  of  '  Boi  des 
violons  et  m^n^triers.*  He  further  endeavoured 
to  revive  certain  obsolete  regulations  by  whidi 
all  professional  musicians  in  France  were  com- 
pelled to  become  members  of  the  guild  of  min- 
streb  (confrdrie  des  mdn^triers)  on  payment  of 
a  fee  to  him.  This  however  raised  universal 
opposition  ;  and  the  case  was  brought  before  the 
Parlemmt,  and  decided  against  fdm.    On  this 


1  If  Beethowa  ted 
tbeyemr. 


1ti«  diy  of  the  month,  VM  nicbt  he 


Gttigiioii  dipped  his  unprofitable  tille  and  re- 
tired from  public  life.  He  published  several 
books  of  Concertos,  Sonatas,  and  Duos.      [P.  D.] 

GUILLAUME  TELL.  Bossinrs  37th  and 
last  opera ;  in  4  acts,  libretto  by  Bis  and  Jouy. 
Produced  at  the  Academic  Aug.  3,  1829;  in 
London,  in  English,  as  *  Hofer  the  Tell  of  the 
Tyrol,*  *  arranged*  by  Bishop,  words  by  Planch^, 
Drury  Lane,  May  i,  1830,  and  as  Guillaume 
Tell  at  the  same  house,  Deo.  3,  38 ;  in  Italian,* 
as  Guglielmo  Tell  at  Her  Majesty's,  July  11,  39. 
It  is  usually  much  curtailed,  but  in  1856  was 
performed  entire  in  Paris,  and  lasted  frt>m  7  till  i. 

GUILMANT,  Felix  Alexandre,  son  of  an' 
organist  of  Boulogne,  and  bom  there  March  1 2, 
1837.  He  took  to  the  oigan  at  an  early  age,  and 
before  he  was  sixteen  was  made  organist  of 
S.  Joseph,  in  1857  Mattre  de  Ghapelle  of  S. 
Nicolas,  and  shortly  after  professor  of  solfeggio 
in  the  local  Ecole  communale.  In  i860  he  be- 
came for  some  months  a  pupil  of  Lemmens,  who 
heard  him  play  and  was  struck  by  his  ability. 
In  1 87 1  he  removed  iroia  Boulogne  to  Paris,  and 
was  appointed  organist  of  the  church  of  the 
Trinity,  a  poet  which  he  still  fills.  He  is  one  of 
the  leading  organ  players  of  France,  and  has  con- 
siderable extempore  power.  For  his  instrument 
he  has  published  a  sonata  and  two  collections  of 
arrangements — *  Pieces'  de  diffi^rents  styles,'  and 
'L'Oxganiste  pratique';  also  various  masses, 
motets,  and  airs,  arrangements  and  original  pieces 
for  the  harmonium.  U-uilmant  is  no  stranger  to 
England,  having  played  at  the  Crystal  Palace,' 
at  Sheffield,  and  dsewhere.  [G.] 

GUIMBABDE.  A  French  name,  of  unknown 
derivation,  for  the  Jjew's-Harp.  [V.  de  P.") 

GUIBAUD,  Ernest,  son  of  a  French  musiciaoy 
was  bom  at  New  Orleans,  June  23, 1837,  brought 
up  amongst  music,  and  saw  his  first  opera  '  Boi 
David'  on  the  stage  when  only  15.  He  then 
came  to  Europe  and  entered  the  Ck>nservatoire, 
where  he  obtained  various  distinctions,  ending,  as 
his  father  had  done  before  him,  with  the  Grand 
Prix  de  Bome  in  1859.  ^^  ^^  appearance 
before  the  public  was  made  with  a  pne-act  opera^ 
'Sylvie,'  which  he  wrote  while  in  Bome,  and 
which  was  lirought  out  at  the  Op^ra  Ooxnique 
May  II,  1864.  This  was  followed  after  a  long 
interval  by  '  En  Prison,*  also  in  one  act  (Theatre 
Lyrique,  March  5,  1869),  and  *  Le  Kobold'  (July 
2,  1870).  M.  Guiraud  served  during  the  war, 
and  was  in  the  engagements  of  Champigny  and 
Montretout.  His  other  operas  have  been  Madame 
Turlupin  (1873),  Piccolino  (1876),  Gretna  Green, 
a  ballet  (1873).  He  has  also  composed  two 
Suites  for  Orchestra,  the  second  of  which  was- 
performed  at  the  Concerts  populaires,  January 
28,.  1872.  In  November  1876  M.  Guiraud  was 
chosen  professor  of  harmony  and  aocompant- 
ment  at  the  Conservatoire,  in  room  of  Baptiste, 
deceased.  [G.] 

GUITAR  (Fr.  QuUart,  obsolete  Oniteme ;  Ital.^ 
Chitarra ;  Gcarm.  GuUarre,  obsolete  Gittem,  Gkit-^ 
tem^  and  GyUwm ;  %an.  Omtarra). 

The  Spanish  guitar   is    the  most  g«nerally 


410 


GUITAIt. 


knovn  modem  rsprsHiutatirB  of  the  numeroul 

family  which  includes  »Ik>  the  lutea  and  cithen. 

The   idenUty    of  the 

luiine  wich  Uie  Oreek 

mtapa   it  not  to   b« 

nuBiAken,     but     the 

leeembUuww    of   ths 

gpaaioh  and  ancient 

Greek  imtrnmenla  ia 

too  remote  to  imply 

derivation.  The  guitar 

ie  at  once  known  by 

ile  flat  back,  the  >idei 

curving  inwards  after 

the  pattern  of  violioa 

and  other  bow  ingtru- 

mente,   and   auggeat- 

Ing  ita  descent  &om 


cording  to  bshim  or 

the     'iuuy    of     the 

maker.     Tlie   woodg   I 

Dommiiuly    used    for  \ 

the    sides    and    back  ^ 

ace  maple,   ash,  ser-  ~ 

not  unfrequently  ad- 

omed  with  inlays  of  rasewood  or  fancy  wooda. 
Old  instruments  of  the  seventeeatfa  century  aie 
often  highly  ornamented  with  ivory,  ebony, 
tortoisecheU,  and  mother  of  pearl.  The  sound- 
board or  face  is  of  pine,  and  has  a  soundhole.  whidi 
^ares  in  the  gRnersJ  decoration.  Hard  woods. 
•och  as  ebony,  beech,  or  pear-tree,  are  employed 
fcr  the  neck  and  fingerboard.  The  brid;^  should 
be  of  ebony,  and  hag  an  ivory  or  metal  '  nut ' 
•buve  the  faiiteningi  of  the  strings,  similar  to  the 
nut  of  the  fingerboard,  the  open  gtringii  vibrstinj; 
between.  Modem  guitars  have  aix  strings,  three 
of  gut  and  three  of  silli  spun  over  with  silver 
wire,  tuned  aa  {a) 

a_P) 


1^ 


¥* 


The  lowest   is  said  to   have  been  a  Gemuu 

addition  dating  about  1790.  The  written  nota- 
tion is  an  octave  higher,  as  (6).  Metal  wrewa 
are  now  used  for  tuning,  instead  of  the  ebony 
peg!  of  the  true  Spanish  ioBtrument.  The  in- 
tervals are  marked  off  by  metal  frets  upon  the 
fingerboard,  and  transposition  to  the  more  remote 
keys  is  effected  by  a  capo  tasto  or  d'astro.  [See 
FuBra ;  Capo  Tasio.]  Old  instruments  had 
often  ten,  twelve,  or  more  strings,  arranged 

sets  of  two,  tuned  in  unison.    The  Spanish  gui 

Is  alwayi.  pkyed  with  the  fingers.  The  deepest 
strings  are  made  to  sound  by  the  thumb,  the  three 
highest  by  the  first,  lecond,  and  third  fingers,  the 
Uttle  finger  resting  upon  the  soundboard. 

The  guitar  and  its  kindred  were  derived  from 
theEast.   In  the  famousGate  of  Gloiy  of  Master 


GUITAR. 

Hateo,  to  the  church  of  Santiago  da  Comportella 
in  ^>ain,  a  cast  of  wbioh  is  in  South  K^isiiigiai] 
Museum,  among  several  musical  instmineBts  may 
be  seen  one  guitarshaped.  which  may  be  aasumtd 
to  represent  the  original  Yibuela.  the  old  ^nnish 
viol  or  guitar.  The  sides  are  curved,  bnt  thaw  is 
no  bow  held  by  the  player;  stJU  this  ia  no  proof 
that  a  bow  was  not  used,  since  the  sculptor  may 
have  omitted  it.  The  date  of  this  mastopiefe 
(A.u.  tiSS)  is  perhaps  not  mors  than  a  hundred 
yean  sabsisquent  to  the  introduction  of  the  in- 
strument by  the  Moots  into  Spain,  Mr.  Kngel 
tolls  us  (Musical  Instrumcmts,  etc,  1S74,  p.  11;) 
that  a  hundred  yean  later  than  this  date,  there 
were  secaral  kinds  of  vihuela,  to  some  of  whtrh 
the  bow  was  certainly  not  used.  Heiv  were 
initruments  for  the  bow,  the  plectrum,  and  the 
finger^  all  in  u«e 
at  the  epoch  of  the 
outburst  of  rmnantic 
•ong  in  Southern 
Europe.  At  the  cIok 
of  the  last  century 
and  beginning  of  thii, 
the  Spanish  guitar 
became  a  fashionable 
instrument  on  the 
continent.  Ferdinaivl 
Sot,  a  Spaniard,  Bfl«r 
the  Peninsular  War, 
brought  it  into  great 
notice     in    England, 


withsu 


or  CStra  (EV.  Catre: 
ItaL  Cttera;  Germ. 
Ziiker).  This  was  sn 
,  instrument  of  differ- 


^^  "j^      strung  (JiTBBB,  with 

^        all   i^ien   note^  two 

being  single  spun  strings,  and  four  of  iron  wire 

in   pairs  tuned  in   unison.     The  scale   of  the 

English  Guitar  thus  strung  was  written 


in  r«al  pitch  an  octave  lower.  The  f  erAnfjae  of  the 
instrument  was  of  the  simplest,  the  thumb  and  Gnt 
finger  only  being  employed,  if  not  a  plectrum. 

Mauro  Giuliani,  who  composed  a  concerto  with 
band  accompaniment  for  the  '  Terr  dutaira'  or 
Third-guitar,  an  instrument  with  a  shorter  neck, 
tuned  a  minor  third  iiigher.  This  concerto,  pub- 
lished by  Diabelli,  Vienna,  was  transcribed  by 
Hunund  for  the  pianoforte.  Other  pi^ular  cotn- 
poeers  were  L^noni,  Kreutier,  NU^e^  iiegoDiU. 
and  that  wayward  genius  Leonard  Bchnli. 
Berliox  and  Paganini  were  both  guitarists. 

There  is   also   an   octave  gaitar.   the  little 
Portuguese  Maohstk,  with  four  strings,  tuned 

ffl)  I  i    &i  "^  by  guitar-playcis  often  jjferT^**- ■ 


GUITAR. 

In  Madeira,  after  work  in  the  Tineyardfl  is  done  ' 
for  the  day,  the  country  people  retom  playing 
the  Machete,  perhaps  twenty  together,  with  ooca- 
faionally  a  larger  fivestringed  one  accompanying. 
There  is  an  English  Guitar  Tutor  by  Mme. 
Sidney  Pratten  (Boosey,  London),  but  those 
who  "wish  to  know  more  about  the  instrument 
technically  are  referred  to  'Learning  the  Guitar 
simplified,'  by  the  same  authoress.  The  price 
of  a  good  guitar  of  French  make,  the  best  for 
playing,  is  from  £5  to  £10.  [A.J.H.] 

GUNG'L,  Joseph,  popular  composer  of  dance 
muBic,   bom  at  Zskmb^k  in  Hungary  Dec.  i, 
1810;  son  of  a  stocking-weaver;  began  life  as 
a  schoolmaster.     He  received  his  first  instruction 
in   music   from   Semann  in  Buda,  and  having 
enlisted  in  the  Austrian  army,  was  first  oboist 
and    then  bandmaster  to  the  4th  regiment  of 
artillery.     His  Hungarian  March,  op.  i,  was  the 
first  of  a  long  series  of  marches  and  dance  music. 
Up  to  1 843  Gung*l  made  concert-tours  with  his 
regimental  band  to  Munich,  Augsburg,  Nurem- 
bcorg,    Wiirzburg,    and    Frankfurt,    performing 
chiefly    his  own  pieces,   but  in   that    year  he 
estabUahed  a  band  of  his  own  at  Berlin,  and  his 
publishers.   Bote  and  Bock,  are  said  to  have 
made  lai^ge  sums  by  his  music.     On  his  return 
from  America  in  1849,  he  was  appointed  musik- 
director  to  the  King  of  Prussia;   and  in  1858 
Capellmeister  to  the  Emperor  of  Austria.     In 
the   meantime  he  and   his   band   had   visited 
nearly  every  capital  on  the  continent.     Gungl 
has  been  stationary  at  Munich  since  1864.     His 
works  ore  very  numerous.     It  is  stated  that 
down  to  the  end  of  1873  he  had  composed  300 
dances  and  marches,  for  the  most  part  distin- 
guished by  charming  melody  and  marked  rhythm. 
His  daughter  Virginia,  an  opera-singer  of 
merit,  made  her  first  appearance  at  Munich  in 
187 1,  and  is  now  engaged  at  Schwerin. 

His  nephew  Johann,  alao  well  known  as  a 
composer  of  dance  music,  was  bom,  like  his 
uncle,  at  Zskmb^k  in  181 9,  and,  like  him,  made 
professional  tours  to  every  capital  in  Europe. 
He  retired  in  i86a,  and  lives  at  Funfkirchen  in 
Hungary.  [F.G.] 

GUNK,  Babvabas,  noted  for  his  extempore 
playing,  was  organist  of  St.  Phihp's,  Birmingham, 
which  he  quitted  in  1730  to  succeed  Hine  as  or^ 
ganist  of  Gloucester  CathedraL  A  Te  Deum  and 
JubiUte  in  D  of  his  composition  are  extant  in  MS. 
He  published  *  Sonatas  for  the  Harpnchord,'  and 
in  1736,  at  Gloucester,  a  thin  4to.  volume  con- 
taining 'Two  Cantatas  and  Six  Songs,'  the  music 
printed  on  one  side  of  the  leaf  only,  and  prefaced 
by  a  poetical  address  *  To  all  Lovers  of  Musick,* 
and  a  remarkable  list  of  464  subscribers  (including 
Handel  and  most  of  the  principal  musicians  of  the 
day),  subscribing  for  61 7  copies.  He  died  in  1 743. 

Barkabt  Gunn,  probably  a  relation  of  the 
above,  was  organist  of  Chelsea  Hospital  from 
April  16,  1730,  until  early  in  1753.     [W.H.H.] 

QUNN,  John,  bom  in  Edinburgh  about  1765, 
in  1 790  established  himself  in  London  as  professor 
of  the  violoncello  and  flute,  and  whilst  there 


GUSTAVE  IIL 


641 


published  'Forty  Scotch  Airs  arranged  as  trios 
for  flute,  violin,  and  vicdoncello';  'The  theory 
and  practice  of  fingering  the  Violoncello,'  1 793, 
with  a  dissertation  on  stringed  instruments ;  and 
'  The  Art  of  pUying  the  German  Flute  on  new 
principles.'  In  1795  he  returned  to  Edinburgh. 
In  1801  he  published  an  'Essay  theoretical 
and  practical,  on  the  application  of  Harmony, 
Thorough-bass,  and  Modulation  to  the  Violon- 
cello.' In  1 807  he  brought  out  his  most  important 
work,  viz.  'An  Historical  Inquiry  respecting  the 
performance  on  the  Harp  in  the  Highlands  of 
Scotland  from  the  earliest  times  until  it  was 
discontinued  about  the  year  1 754,'  written  at  the 
request  of  the  National  Society  of  Scotland.  His 
wife,  Anne,  before  her  marriage  Anne  Young, 
was  an  eminent  pianist.  She  was  the  authoress 
of  a  work  entitled  'An  Introduction  to  Music  .  .  . 
illustrated  by  musical  games  and  apparatus  and 
fully  an^  familiarly  explained'  (Edinburgh  about 
1815).  xhe  games  and  apparatus  were  of  her 
invention.  A  second  edition  appeared  in  1820^ 
and  a  third  (posthumous)  in  1827.       [W.H.H.] 

GUSIKOW,  MiCHAKL  Joseph,  an  artist  of 
rare  musical  faculty — 'a  true  genius*  says 
Mendelssohn — bom  of  poor  Jewish  parents  and 
of  a  family  which  had  produced  musicians  for 
more  than  a  century,  at  Sklow  in  Poland,  Sept. 
a,  1806.  He  first  played  the  flute  and  tympa- 
non,  a  kind  of  dulcuner.  At  the  age  of  1 7  he 
married,  and  a  few  years  after  discovered  that 
weakness  of  the  chest  would  not  allow  him 
to  continue  playing  the  flute.  He  thereupon 
took  up  the  Strolifiedd,  an  instrument  of  the 
dulcimer  kind,  composed  of  strips  of  fir  on  a 
framework  of  straws,  which  he  improved  and 
increased  in  compass.  Upon  this  he  attained 
extraordinary  fiicility  and  power.  In  1832  he 
and  four  of  his  relatives  began  a  long  tour, 
through  Odessa — where  he  was  heard  by  Lamar- 
tine ;  Kiew — where  he  was  much  encouraged  by 
Lipinski;  Moscow,  and  thence  to  south  and 
north  Germany,  Paris,  and  Brussels.  He  tra- 
velled in  the  dress  and  guise  of  a  Polish  Jew — 
long  beard,  thin,  pale,  smI,  expressive  features-* 
and  excited  the  greatest  applause  by  his  astonish- 
ing execution  and  the  expression  which  he  threw 
into  his  unlikely  instrument.  Mendelssohn  heard 
him  at  Leipzig,  and  called  him '  a  real  phenomenon, 
a  killing  fellow  (Mordkerl) ;  who  is  inferior  to  no 
player  on  earth  in  style  and  execution,  and  de- 
lights me  more  on  his  odd  instrument  than  many 
do  on  their  pianos,  just  because  it  is  so  thankless 

I  have  not  enjoyed  a  concert  so  much 

for  a  longtime'  (and  see  the  rest— Letter  Feb.  18, 
1836).  But  it  wore  him  out ;  he  was  laid  up  at 
Brussels  for  long,  and  died  at  Aix  la  Chapelle,  Oct^ 
31,  1837,  adding  another  to  the  list  of  geniuses 
who  have  died  shortly  after  thirty.  (See  F^tis, 
who  saw  much  of  him.)  [G.] 

GUSTAVE  III,  ou  LE  Bal  masque,  opera  in 
5  acts ;  words  by  Scribe,  music  by  Auber.  Pro« 
duced  at  the  Academic  Feb.  2  7, 1 83 3 ;  in  London, 
as  Gustavus  the  Third,  at  Covent  Garden,  Nov. 
i.^»  33;  i»  French  (as  above)  at  Her  Majesty's, 
March  29,  1851.  [G.] 

Tt 


642 


GUZLA. 


6UZLA.    A  kindof  rebab,  a  bow  instrument  ^ 
with  one  string  oaly,  used  in  lUyria.     The  name  I 
WHS  adopted  by  Proeper  Merim^  as  the  title  of 
hiB  Servian  poems.  [G.] 

GY£,  Fbedkeick.   [See  Rotal  Ital.  Opeba.] 

GYMNASE  DE  MUSIQUE  MILITAIRE. 
A  school  for  educating  musicians  for  the  French 
military  bands,  founded  in  1836  under  *the  di- 
rectorship of  F.  Berr,  who  died  Sept.  24,  1838. 
Finding  nimself  unable  to  carry  out  his  views  in 
the  new  school,  he  detailed  them  in  a  pamphlet, 
*  De  la  n^oessite  de  reconstituer  sur  de  nouvelles 
bases  le  Gymnase  de  musique  militaire'  (Paris 
1832).  Carafift  succeeded  Berr,  and  under  him 
the  Gymnase  moved  to  the  Hue  Blanche,  and 
attained  to  considerable  dimensions,  giving  a 
complete  musical  education  from  solfeggio  to 
counterpoint  to  nearly  300  pupils.     It  was  sup- 

Sressed  in  i8e6,  but  it  was  agreed  between  the 
iinistres  d'&tat  and  de  la  Guerre  that  50 
military  pupils  should  be  taught  at  the  Con- 
servatoire ;  and  for  these  the  masters  of  the  Gym- 
nase were  retained.  This  arrangement  has  since 
terminated,  but  the  examinations  for  conductors 
and  Bubconductors  of  regimental  bands  are  still 
held  at  the  Conservatoire.  [G.C.] 

GYROWETZ,  ADAI.BEBT,  prolific  composer, 
bom  Feb.  19, 1763,  at  Budweis  in  Bohemia.  Mis 
father  was  a  choir-master,  and  taught  him  music 
at  an  early  age ;  and  on  leaving  school  he 
studied  law  at  Prague,  though  still  working  hard 
at  music  and  composing  much.  A  long  illness 
left  him  destitute,  and  compelled  him  to  take 
the  post  of  private  secretary  to  Count  Franz  von 
Funfkirchen.  The  Count  insisted  on  all  his 
household  being  musical,  so  Gyrowetz  had  abun- 
dant opportunity  not  only  of  composing,  but  of 
having  his  compositions  performed.  The  reoep- 
tion  they  met  with  induced  him  to  visit  Italy,  and 
complete  his  education  there.  Passing  through 
Vienna  he  made  the  acquaintance  of  Mozart,  who 
had  one  of  his  symphonies  performed,  and  him- 
self Hd  Gyrowetz  before  the  applauding  audience. 
In  Naples  he  studied  for  two  years  under  Sala, 
maintaining  himself  by  his  compositions,  among 
which  were  a  number  of  concerted  pieces  for  the 
lyre,  written  for  the  king,  with  whom  it  was  a 
fiivourite  instrument.  He  next  went  to  Paris, 
and  established  his  claim  to  the  authorship  of  se- 
veral symphonies,  hitherto  performed  as  Haydn's. 
In  consequence  the  publishers  bought  his  other 
compositions  at  high  prices.  The  Revolution  was 
rapidly  approaching,  and  Gyrowetz  went  on  to 
London,  arriving  in  Oct.  1 789.  His  reception  was 
an  honourable  one;  both  the  Prince  of  Wales  and 
the  Duke  of  Cumberland  paid  him  marked  atten- 
tion ;  the  Professional  Concerts  and  Salomon  placed 
his  name  in  their  programmes,  and  the  latter 
engaged  him  as  composer  at  the  same  time  with 
Haydn.  He  wrote  industriously  and  met  with 
liberal  publishers ;  but  he  was  most  pleased  by 
the  arrival  of  Haydn,  whom  he  warmly  welcomed. 
Gyrowete  was  also  engaged  to  write  an  opera,  in 
which  Mme.  Mara  and  Paodiierotti  were  to 
have  sung  at  the  Pantheon,  then  recently  turned 


GYROWETZ. 

into  an  opera-house  during  the  rebuilding  of  the 
King's  Tneatre.  After  2  (ht  3  rehearsals  however 
the  Pantheon  was  burnt  down  (Jan.  13th,  1792), 
and  the  score  of  *  Semiramis  *  periaiied  in  ttie 
flames.     On  the  9th  of  February  he  gave  a 
benefit  concert  at  the  Hanover  Square  Rooms, 
which  was  brilliantly  attended ;  but  the  climate 
disagreed  with  him,  and  he  shortly  after  left 
London  for  Vienna.    On  his  return,  after  7  yean, 
he  received  an  appointment  in  the  War  Depart* 
ment.     In  1804  Baron  Braun,  Intendant  of  the 
two  court  theatres,  offered  him  the  Capellmeista'- 
ship,  which  he  retained  till  1831,  producing  a 
great  number  of  operas,  Singspiele,  and  operettas, 
besides  music  for  melodramas  and  ballets.    Gyro- 
wetz was  wonderfully  industrious  in  all  branches 
of  composition,  and  his  works,  though  now  for- 
gotten, were  long  popular.     His  symphonies  and 
quartets  were  successful  imitations  of  Haydn's, 
but  still  they  were  Imitations,  and  were  therefore 
bound  to  disappear.  In  1 843  his  artist  firienda,  pity- 
ing the  poverty  to  which  he  was  reduced — iar  his 
pension  afforded  him  a  bare  subsistence — ^arranged 
a  concert  for  his  benefit^  at  which  his  'Durf- 
schule*  was  played  by  Staudigl  and  the  <^oristers. 
This  really  comic  cantata  wae  repeated  with 
great  success  in  the  following  year  at  the  last 
concert  he  himself  ever  arranged.    Shortly  before 
his  death  he  published  his  autobiography,  an  in- 
teresting book  in  many  respects  (Vienna,  1S47). 
Gyrowetz  composed  about  30  operas  lai^  and 
small,  operettas,  and  Singspiele ;  and  more  than 
40  ballets.    -His  first  opera  was  'Selico'  (1804^ 
The  most  successful  have  been  'Agnee  Sorel' 
(1806);  'DerAugenarzt'CiSii);  ' Die Priifung' 
( 1 8 1 3),  approved  by  Beethoven  himself ;  '  Helene* 
(1816),  and  *Felix  und  Adele'  (1831).    Of  his 
operettas  and  Singspiele,  generally  in  one  act, 
'Die  Junggesellen  Wirthschaft,*  'Der  Sammt- 
rock,'  'Aladin,*  and  *Das  SUindchen'  were  long 
favourites;  of  the  melodramas  'Mirina*  (1S06) 
was  most  liked.     Besides  'Semiramis,*  he  wrote 
four  grand  Italian  operas  for  Vienna  and  Milan, 
of  which  'Federica  e  Adolfo*  (Vienna  181 2)  was 
especially  well  received.      '  Die  Hochzeit  der 
Thetis*  was  his  most  successful  ballet.     He  com- 
posed cantatas,  choruses  for  women*B  and  bovs* 
voices,  Italian  and  Grerman  canzonets,  and  several 
songs  for  one  and  more  voices.     He  wrote  his 
19th  mass  at  the  age  of  84.     Of  his  instrumental 
music  there  are  over  60  symphonies,  a  quantity 
of   serenades,   overtures,  marches,  dance-inosic 
(for  the   Redoutensaal) ;    quintets ;   and  about 
60  strii^-quartets,  most  of  them'  published  in 
Vienna,  Augsburg,  Offenbach,  Paris  or  London. 
For  the  pianoforte  he  wrote  about  40  sonatas, 
30  books  of  trios,   12  Nocturnes,  much  dance- 
music,  and  many  smaller    pieces    of  different 
kinds.     It  is  sad  to  think  of  so  much  labour, 
energy,  and  talent,  and  so  little  Lasting  fruit; 
but  Gyrowetz  possessed  that  fatal  gift  of  facility 
which  so  often  implies  the  want  of  permanence. 
None  of  his  works,  either  for  the  concert-room  or 
the  stage  have  survived.     '  Der  Augenarzt '  kept 
the  bofu^ls  longer  than  the  others.     He  died  at 
Vienna  March  19, 1850,  aged  87.  [C.F.P] 


H. 


HCprononnced  Ha^  is  the  German  name  for 
B  natural,  B  flat  being  called  by  them  B. 
It  was  OTiginnUy  'B  quadratum/  or  hi  a 
letter  which  woidd  easily  slip  by  degrees  into  ff 
or  h.  [See  Accidentals,  19  a.]  In  solfiung  it 
28  8i. 

H  major  is  a  key  rarely  used.  Beethoven's 
principal  movement  in  it  is  the  Adagio  of  the 
P.  F.  concerto  in  £  flat.  H  minor  b  the  key  of 
Schubert's  very  fine  unfinished  Symphony,  and 
of  his  equally  fine  Entracte  in  Rosamunde ;  of 
Mendelssohn  s  Capriocio  brilliant;  and  of  Chopin's 
1st  Scherzo.  In  a  sketch-book  of  181 5-1 6,  in  the 
margin  of  a  passage  intended  for  the  finale  of  the 
C<2llo  Sonata  op.  loa.  No.  2,  Beethoven  has  writ- 
ten '  h  moll  ichtcarze  TonarC  [G.] 

HABENECK,  FBAN901S  Artotne,  bom  at 
Mezih^ea,  Jan.  22,  1781,  eldest  of  three  brothers 
(Joseph  and  Corentin),  violinists,  sons  of  a  Ger- 
man  musician  in  a  French  regimental  band.     He 
was  a  pupil  of  Baillot,  obtained  the  first  violin 
prize  at  the  Conservatoire  in  1804,  and  soon 
showed  remarkable  aptitude  as  a  conductor — ^his 
real  vocation.  He  was  successively  appointed  assis- 
tant professor  at  the  Conservatoire  (1808-16), 
solo  violin  at  the  Op4ra  (1815),  director  of  the 
'  Acad^mie  de  Musique'  (1821-24),  conductor  of 
the  theatre  de  I'opera,.  conjointly  with  Valentino 
fromi824  to3i,andalonefrom3i  t0  47.   In  1825 
a  special  violin  class  was  formed  for  him  at  the 
Conservatoire,  which  he  retained  till  Oct.  1848. 
Among  his  pupils  may  be  mentioned  GuviUon, 
A  lard,  Clapisson,  and  L^nard.     Habeneck  has 
the  merit  of  having  founded  (182S)  and  con- 
ducted for  20  years  the  '  Soci^t^  des  C/onoerts  du 
Conservatoire.*   He  was  also  the  first  to  introduce 
Beethoven's  symphonies  in  France,  steadily  per- 
severing against  all  opposition,  and  at  length 
executing  them  with  a  force,   sentiment,   and 
delicacy,  which  are  not  likely  to  be  soon  surpassed. 
As  a  oonductor  he  was  exacting,  and  unmerciful 
to  singers  who  did  not  keep  strict  time.     Out 
of  respect  to  CSherubini  he  never  exercised  his 
office    of   'Inspecteur    gdn^ral    des    classes  du 
CJonservatoire,*  bat  he  was  an  energetic  director 
of  Louis  Philippe's  concerts  at  the  Tuileries. 
He  composed  violin  music,  sevenil  pieces  for 
'Aladin'   (1822),  and  a  ballet   'Le  Page  in- 
constant* (1823).    This  distinguished  musician 
and  conductor   died   in   Paris,    Feb.   8,    1849. 
He  received  the  Legion  of  Honour  in   1822. 
For  many  curious  anecdotes  of  Habeneck,  see 
the  '  Memoires '  of  Berlioz.  [G.  C] 

HAESER,  August  Ferdinand,  bom  at  Leip- 
sg,  Oct.  15,  1779  •  ^'^  educated  at  the  Thomas- 
scliule,  and  in   1797   appointed  professor   and 


cantor  at  Lezngo.  From  t  8&6  to  18 1  ^  he  passed 
in  Italy,  then  returned  to  Grermany,  and  settled 
in  181 7  at  Weimar,  where  he  was  music-master 
in  the  Duke's  family,,  and  taught  mathematics 
and  Italian  at  the  gymnasium.  He  was  also 
chorus-master  at  the  theatre,  and  director  of 
music  at  the  principal  church  (1829).  He  com- 
posed an  oratorio,  *  Der  Glaub^'  to  Ellopetock's 
words ;  masses,  motets,  and  other  church  music  ; 
an  opera,  'Die  Mohren';  overtures;  P.F.  music 
for  2  and  4  hands  ;  and  18  songs.  Two  motets, 
in  plain  counterpoint  throughout,  melodious  and 
finely  harmonized  though  somewhat  chromatic, 
are  included  in  Mr.  HuUah's  Vocal  Scores.  He 
pubUsbed  '  Versuch  einer  systematischen  TJeber- 
sicht  der  Gtesanglehre '  (Bk-eitkopf  &  Hartel, 
1820);  and  *Lehrbuch  des  Gesanges'  (Schott, 
1 831),  translated  into  French  by  Jelensperger ; 
and  contributed  to  various  musical  periodicals. 
He  died  at  Weimar,  Nov.  1844.  [M.C.C.] 

HAUSEB»  JoHANN.  Eenst,  bom  at  Qued- 
linburg  1803,  deserves  mention  as  author  of 
'Musikalisches  Lexicon'  (Meissen,  1828;  2nd 
ed.  enlarged,  1833),  a  useful  work  in  two  small 
volumes.  His  otlier  works  are  'Der  musikal- 
ische  Gesellschafber  *  (Meissen,  1830),  a  col- 
lection of  anecdotes ;  'Neue  Pianoforte  Schule* 
(Halberstadt,  1832  ;  2nd.  ed.  Quedlinbuig,  1836) ; 
'  Musikalisches  Jahrbttchlein '  (Quedlinburg  and 
Leipzig,  1833) ;  and  'Geschichte  des . . .  Kirohen- 
gesanges,  und  der  Kirchenmusik '  (Quedlinburg 
and  I^ipzig,  1834)^  >  ^<^  ^^^  examples,  said  to 
be  a  good  book.  [M.  C.  C:] 

HAFNER.  A  name  sometimes  given  to  Mo- 
zart's Symphony  in  D  (Kochel,  No.  385}, 


AU»eonipirUo.   ^ 


m 

•J  unU. 


t:^ 


£- 


tr 


to  distinguish  it  from  his  T3  others  in  the  same 
key.  It  was  composed  at  the  end  of  July  and 
beginning  of  Aug.  1782,  for  the  wedding  of  a 
daughter  of  the  Hafners  at  Salzburg,  one  of  the 
great  merchant  families  of  Germany.  On  July 
21, 1 776,  another  daughter  of  the  same  house  had 
been  married,  and  for  that  occasion  Mozart  fur- 
nished a  March  and  Serenade  (KiicheU  Noe.  249, 
250)  for  Orchestra,  also  in  the  key  of  D.  [G*] 

HAGUE,  Charles^  Mus..  Doc.,  was  bora  at 
Tadcaster  in  1769.  He  waa  taught  music  and 
the  violin  by  an  elder  brother.  In  1779  he 
removed  with  his  brother  to  Cambridge,  where 
he  was  placed  under  Manini  for  the  violin,  and 
Hellendaal,  sen.,  for  thorough  bass  and  compo- 
sition.   On  the  death  of  Manini  in  1785,  Hague 

Tt2 


644 


HAGUE. 


HALEVY. 


removed  to  London  and  became  a  pupil  of  Salo- 
mon and  Dr.  Cooke.  A  few  years  afterwards  he 
returned  to  Cambridge,  and  in  1794  took  the 
degree  of  Mus.  Bac.,  composing  as  his  exercise 
an  anthem  with  orchestral  accompaniments,  '  By 
the  waters  of  Babylon,'  which  he  soon  afterwards 
published  in  score.  In  17991  on  the  death  of 
Dr.  Randall,  he  was  elected  professor  of  music  in 
the  University.  In  1801  he  proceeded  doctor 
of  music.  At  the  installation  of  the  Duke  of 
Gloucester  as  Chancellor  of  the  University,  June 
29,  181 1.  Hague  produced  an  ode  written  by 
'Prof.  William  Smyth,  which  was  greatly  admired. 
His  other  compositions  were  two  collections  of 
glees,  rounds  and  canons,  some  songs,  and  ar-> 
rangements  of  Haydn^s  twelve  grand  symphonies 
as  quintets.  Dr.  Hague  died  at  Cambndge  June 
i8, 1821.  His  eldest  daughter,  Harriet,  was  an 
accomplished  pianist,  and  the  composer  of  a  col- 
lection of  '  Six  Songs  with  aa  accompaniment  for 
the  pianoforte,'  published  in  18 14.  She  died  in 
i8i6,  aged  23.  [W.H.H.] 

HAIGH,  Thomas,  bom  in  1769,  violinist, 
pianist,  and  composer;  studied  composition  under 
Haydn  in  1791  and  1792.  He  shortly  after- 
wards went  to  reside  at  Manchester,  but  early 
in  the  present  century  returned  to  London. 
His  compositions  comprise  a  concerto  for  the 
violin,  sonatas  and  other  pieces  for  the  piano, 
and  a  few  songs.  His  arrangements  of  Haydn's 
symphonies,  and  music  by  other  composers,  are 
very  numerous.  [W.  H.  H.] 

HAINL,  Georges,  bom  at  Issoire,  Nov.  19, 
1807,  died  in  Paris,  June  2,  1873;  gained  the 
first  cello  prize  at  the  Conservatoire  in  1830; 
became  in  1840  conductor  of  the  large  theatre 
at  Lyons,  where  he  remained  till  his  appointment 
in  1863  as  conductor  of  the  'Academie  de 
Musique,*  Paris.  From  January  1864  to  1873 
he  also  conducted  the  *  Soci^t^  des  Concerts '  at 
the  Conservatoire.  He  was  no  great  musician, 
but  as  a  conductor  he  had  fire,  a  firm  hand  and 
a  quick  eye,  and  possessed  in  an  eminent 
degree  the  art  of  controlling  large  masses  of 
performers.  Hainl  composed  some  fantasias  for 
the  violoncello.  He  was  a  generous  man,  jind 
bequeathed  an  annual  sum  of  1000  firancs  to 
the  winner  of  the  first  violoncello  prize  at  the 
Conservatoire.  [G.C.] 

HAITZINGER,  Antow,  bora  in  1796  at 
Wilfersdorf,  Lichtenstein,  Austria,  was  sent  at 
the  age  of  1 4  to  the  college  of  Cornenbuig,  whence 
he  returned  with  the  degree  of  licentiate;  and 
soon  after  found  a  professor  s  place  at  Vienna.  He 
continued  to  study  music,  and  took  lessons  in 
harmon}*  from  Wolkert;  while  his  tenor  voice 
was  daily  developing  and  improving.  Having 
received  some  instructions  from  Mozzati,  the 
master  of  Mme.  Schrdder-Devrient,  he  decided 
to  give  up  his  profession  for  that  of  a  public 
singer.  He  was  first  engaged  at  the  Aji-der- 
Wien  Theatre  in  182 1  as  primo  tenore,  and  made 
triumphant  dSbtits  as  Gianetto  (*  Gazza  Ladra '), 
Don  Ottavio (Don  Giovanni),  and  Lindoro  (*  L'lta-  ' 
liana  in  Algieri ').    His  studies  were  continued  1 


under  Salieri.  His  reputation  becoming  genenl, 
several  new  rdles  were  written  for  him,  among 
others  that  of  Adolar  in  '  Euiyanthe* ;  and  he 
paid  successful  visits  to  Prague,  Presbvig,  Frank- 
fort, Carlsruhe,  etc.  The  last-named  place  became 
his  head-quarters  until  his  retirement. 

In  1831  and  32  he  created  a  deep  impiesaon 
at  Paris  with  Mme.  Schroder-Devrient,  in  'H- 
delio,*  *Oberon,*  and  'Euryanthe.'  In  1832  be 
appeared  in  London,  with  the  German  company 
conducted  by  M.  Chelard.  His  voice,  described 
by  Lord  Mount- Edgcumbe  as  'very  beautiful, 
and  almost  equal  to  Tramezzani*8,*  seemed 
'  throaty  and  disagreeable  *  to  Mr.  Cborley.  The 
latter  describes  him  as  *a  meritorious  musiciaa 
with  an  ungainly  presence ;  an  actor  whose 
strenuousness  in  representing  the  hunger  of  the 
imprisoned  captive  in  the  dungeon  trenchel 
closely  on  burlesque.*  (See  Mos^elea*  life,  i. 
270  etc.)  Haitzinger  sang  here  again  in  1833 
and  also  in  1841,  and  in  1835  ^^  S^*  Petersboig. 
He  died  at  CarUruhe  Dee.  31,  1869. 

Owing  to  the  late  beginning  of  hia  vocal  studies, 
he  never  quite  succeeded  in  uniting  the  r^^isten 
of  his  voice ;  but  his  energy  and  intelligenoe  atoned 
for  some  deficiency  of  this  kind.  There  is  a  song 
by  him, '  Vergiss  mein  nicht,'  published  by  Fischer 
of  Frankfort.  He  married  Mme.  Neomami, 
'an  actress  of  reputation,*  at  Carlsruhe;  and 
established  a  school  of  dramatic  singing  there, 
from  which  some  good  pupils  came  forth,  iDcliz* 
ding  his  daughter.  [J.  M.] 

HALfiVY,   Jacques  Francois  Fbouxxtal 
Elias,  a  Jew,  whose  real  name  was  Litvj,  bom  in 
Paris  May  27, 1799  >   centered  the  Conservatoire 
1809,  gained  a  prize  in  solfeggio  1810,  and  the 
second  prize  for  harmony  1811.    From  Berton's 
class  he  passed  to  that  of  Cherubini,  who  pot  him 
through  a  severe  course  of  counterpoint,  fugue, 
and  composition.     In  1 816  he  competed  for  the 
'  Grand  Prix  de  Rome,'  and  gained  the  second  prize 
for  his  cantata  *Le8  derniers  moments  du  Tasse"; 
in  the  following  year  the  second  Grand  Prix  for 
'La  Mort  d*Adonis,'  and  in  1819  his  '  Hermiuie* 
carried  off  the  '  Grand  Prix  *  itself.    Before  leav- 
ing for  Rome,  he  composed  a  funeral  march  and 
'  De  Profundis '  in  Hebrew,  on  the  death  of  the 
Due  de  Berry  (Feb.  14,  1820),  for  3  voices  and 
orchestra,  with  an  Italian  translation;   it  was 
dedicated  to  Cherubini,  performed   March  24, 
1820,  at  the  synagogue  in  the  Rue  St.  Avoye, 
and  published.    During  his  stay  in  Italy  Halevy 
studied  hard,  and  in  addition  not  oidy  wrote 
an  opera,  and  some  sacred  works,  still  in  MS., 
but  found  time  to  learn  Italian.    On  his  return 
to  France  he  encountered  the  usual  difficulties 
in    obtaining  a  hearing.      'Les   Boh^miennes' 
and  '  Pygmalion,'  which  he  offered  to  the  Grand 
Opera,  and  '  Les  deux  Pavilions,'  opera  comique, 
remained  on  his  hands  in  spite  of  all  his  efforts; 
but  in  1827  'L' Artisan,'  which  contains  some 
pretty  couplets  and  an  interesting  chorus,  ww 
produced  at  the  Theatre  Feydeau.     This  was 
followed  in  1828  by  <Le  Boi  et  le  Batelier,'  s 
little  piece  de  cireontianct,  composed  conjointly 
with  his  friend  Rififtut  for  the  fdte  of  Charles  X. 


HALEVY. 


HALEVY. 


645 


A  montli  later,  Dec.  9,  i8aS  (not  1829^  lie  pro- 
duced '  Clari/  3  acts,  at  the  Theatre  Italien,  with 
Malibran  in  the  principal  part.   It  contains  some 
remarkable  music.     'Le  Dilettante  d' Avignon* 
(Nov.  7,  1829),  ft  deter  satire  on  the  poverty  of 
Italian  librettos,  was  very  successful,  and  the 
chorus    *  Vive,   vive   V  Italic  *   speedily  became 
popular.     'La  Langue  musicale'  w»s  less  well 
received,  owing  to  its  poor  libretto,  but  the  ballet 
*Manoii  Lescaut'   (May  3,  1830)   had  a  well- 
merited  success  at  the  Opi^ra,  and  was  published 
for  the  Piano.    'La  Tentation*  (June  20,  1832^ 
a  ballet-opera  in  5  acts,  written  conjointly  with 
Casiniir  Gide  ( 1 804- 1 868 )  contains  2  fine  choruses, 
which  were  well  received.     In  spite  of  so  many 
proofs  of  talent,  Hal<^vy  still  accepted  any  work 
likely  to  bring  him  into  notice ;  and  on  March  4, 
i^33f  brought  out  *Les  Souvenirs  de  Lafleur,'  a 
one  act  comic  opera   written  for   the  farewell 
appearances  of  Martin  the  baritone ;  and  on  May 
1 6  of  the  same  year  '  Ludovic/  a  lyric  drama  in 
3  acts  which  had  been  begun  by  Harold.     At 
length  however  his  opportunity  arrived.   To  pro- 
duce successfully  within  the  space  of  10  months 
two  ivorks  of  such  ability  and  in  such  opposite 
styles  as  'La  Juive'  (Feb.  23),  and  'L'Eclair' 
(Dec.  16,  1 835),  the  one  a  grand  opera  in  5  acts, 
and  the  other  a  musical  comedy  without  choruses, 
for  2  tenors  and  2  sopranos  only,  was  indeed  a 
marvellous  feat,  and  one  that  betokened  a  great 
master.     They  procured  him  an  entrance  into 
the  Institut.  where  he  succeeded  Reicha  (1836), 
and  w^re  followed  by  a  large  number  of  dramatic 
works,  of  which  the  following  is  a  complete  list : — 


*  Gnldo  «t  OlDem.'  B  acta  (March 
B,  \Kii<).  '  Les  1  reize/  S  acts  (April 
is«.  u>d  '  La  Sti^rif.'  3  acts  (Sept. '.'. 
l'<9).  '  Le  Draplir.' S  acta  (Jan.  6. 
l^lOi.  ']>tiultarrero.'S  acta  (Jan. 
•n ).  and  '  La  ReiM  de  rhypre/  n 
acta  (D«e.  22.  IMl).  'Charles  VI.' 
S  acta  iMarch  IS.  1843).  'LeLazza- 
mne.* .:  acts  (March  29. 1844).  '  Les 
MouMiuetaires  de  la  Reine,'  S  acts 
( >  I'b. :«,  I  H4fl).  •  Le  Val  d' Andorre.' 
S  acta  (Sow.  11. 1M8).  Incidental 
ma^ic  for  'Proin^th^«  enchaln<<' 
(March  Ifl).  a  translation  by  L^ktn 
Hal^  of  the  tratredy  of  .Aschrla^ ; 
aad '  La  Fte  anz  Buses,' S  acta  I  Oct. 


1.  1M9).  *La  Tempesta.'  3  acta, 
Italian  opera,!  produced  at  ller 
Majesty's  Theatre.  London,  June  8. 
!<'«).  and  In  Paris.  Keb.  28,  1«51. 
'  La  Dame  de  Pique.*  S  acta  (Dec. 
t».  1S50I.  'Le  Julf  errant.'  A  acta 
(April  23.  ISM).  *  Le  yabab.'B  acta 
Sept.  1.  ltf«).  'Jaguarlta  I'lndl- 
enne,'  3  acta  'May  14.  It&U  '  Va- 
lontinA  d'Aubigny.'  3  acta  (IfVfi). 
'La  Maglcienne.'  A  acta  (March  17, 
iMnM<.  "Soi.'  an  opera  in  A  acta, 
left  unfinished;  'Les  Pla(r«s  du 
Nil.'  a  cantAt*  with  orchestra  and 
chorus;  many  voeal  pleoea,  and 
some  piano  music. 


By  devoting  his  life  to  the  production  of  such 
varied  and  important  works,  Hal<lvy  proved  his 
versatility ;  but  the  fact  remains  that  throughout 
his  long  and  meritorious  career,  he  wrote'  nothing 
finer  than  'La  Juive*  or  more  charming  than 
*L*Eclair.'  He  was  unfortunately  too  easily 
influenced,  and  the  immense  success  of  'The 
Huguenots*  (Feb.  29,  1836)  had  an  undue  effect 
upon  him.  Instead  of  following  in  the  direction 
of  Harold,  giving  his  imagination  full  play,  hus- 
banding his  resources,  and  accepting  none  but 
interesting  and  poetic  dramas,  he  over-exhausted 
himself,  took  any  libretto  offered  him,  no  matter 
how  melancholy  and  tedious,  wrote  in  a  hurry 
and  carelessly,  and  assimilated  his  style  to  that 
of  Meyerbeer.     It  must  be  acknowledged  also 

>  The  book  of  thia  opera  waa  adapted  by  Scribe  fh>m  Phakspeare. 
oritrlnally  ftir  MendeLwohn.  Ita  reception  was  extraordinarily  fisvour- 
able,  but  it  is  said  that  the  melody  on  which  Hai<Svy  wu  most  con 
rntulated  by  the  artlns.  and  which  everybody  was  to  be  heard 
humming,  wa*  that  of  '  Whfre  the  bsa  sucks,'  by  Ame,  whlcl»  he  bad 
introduced  into  the  part  of  ArieL 


that  in  'Guide  et  Ginevra,*  'La  Heine  de  Chy- 
pre/  and  '  Charles  YI,'  side  by  side  with  scenes 
of  ideal  beauty,  there  are  passages  so  obscure 
that  they  seem  impenetrable  to  light  or  air.  His 
chief  defects  are — the  abuse  of  the  minor  mode ; 
the  too  frequent  employment  of  sustained  low 
notes  in  the  orchestra  previous  to  a  sudden 
explosion  on  the  upper  registers;  too  constant 
repetition  of  the  contrast  between  darkness  and 
brillancy ;  vague  melodic  strains  instead  of  defi- 
nite rhythmical  airs;  and  moreeaux.  d^ensemble 
rendered  monotonous  by  the  same  phrase  being 
put  into  the  mouths  of  characters  widely  opposed 
in  sentiment.  In  spite  however  of  such  mis- 
takes, and  of  much  inexcusable  negligence,  even 
in  his  most  important  works,-  his  music  as  a 
whole  compels  our  admiration,  and  impresses 
us  with  a  very  high  idea  of  his  powers.  Every- 
where we  see  traces  of  a  superior  intellect,  almost 
oriental  in  character.  He  excelled  in  stage 
pageantry — the  entrance  of  a  cort^.  or  the 
march  of  a  procession;  and  in  the  midst  of 
this  stage  pomp  his  characters  are  always 
sharply  defined.  We  are  indebted  to  him  for 
a  perfect  gallery  of  portraits,  drawn  to  the  life 
and  never  to  be  forgotten.  The  man  who 
created  such  a  variety  of  such  typical  cha- 
racters, and  succeeded  in  giving  expression  to  such 
opposite  sentiments,  and  portraying  so  many 
shades  of  passion,  must  have  been  a  true  poet. 
His  countrymen  have  never  done  him  justice, 
but  the  many  touching  melodies  he  wrote  be- 
speak him  a  man  of  heart,  and  enlist  our  warm- 
eet  sympathies.  Besides  all  this,  he  is  by  turns 
tender  and  persuasive,  grand  and  solemn,  grace- 
ful and  refined,  intellectual  and  witty,  and  in- 
variably distinguished.  We  admit  that  his  horror 
of  vulgarity  sometimes  prevented  his  being  suffi- 
ciently spontaneous,  but  we  can  pardon  a  few 
awkward  or  tedious  phrases,  a  few  spun-out  pas- 
sages, in  one  who  possessed  such  a  mastery  of  , 
melancholy,  and  had  equally  within  his  grasp 
lofty  and  pathetic  tragedy,  and  sparkling  comedy 
thoroughly  in  harmony  with  French  taste. 

Not  content  with  supplying  the  repertoires  of 
three  great  lyric  theatres,  Hal^vy  also  found 
time  to  become  one  of  the  first  professors  at 
the  Conservatoire.  As  early  as  1816  he  was 
teaching  solfeggio,  while  completing  his  own 
studies ;  and  in  27  was  appointed  professor  of 
harmony,  while  filling  at  the  same  time  the  post 
of  '  Maestro  al  cembalo '  at  the  Italian  Op^ra,  a 
post  he  left  two  years  later  in  order  to  become  'chef  • 
du  chant*  at  the  Acad^ie  de  Musique.  In  1833 
he  was  appointed  professor  of  counterpoint  and 
fugue,  and  in  40,  professor  of  composition.  His 
lessons  were  learned  and  interesting,  but  he 
wanted  method.  Among  his  pupils  may  be  men- 
tioned Gounod,  Victor  Mass^,  Bazin.  Deldevez, 
Eugene  Gautier,  Deff^s,  Henri  Duvemoy,  Ba- 
zille,  Ch.  Delioux,  A  Hignard,  Gastinel,  Mathias, 
Samuel  David,  and  the  lamented  George  Bizet, 
who  married  his  daughter.  With  Cherubini  he 
maintained  to  the  last  an  intimate  and  affec- 
tionate friendship  which  does  credit  to  both, 
though  sometimes  put  rudely  to  the  proof.    See 


646 


HALEVY. 


a  good  story  in  Hiller*8*Cherubini*  (MacmiUan's 
Magazine,  July  1875).  Hal^vy's  only  didactic 
work  was  an  elementary  book  called  *  Lofons  de 
lectore  nusicale*  (Paris,  L^n  Esendier.  1857^. 
This  book,  revised  and  completed  after  his  death, 
is  still  the  standard  work  for  teaching  solfeggio  in 
the  primary  schools  q£  Paris. 

We  have  mentioned  Hal^vy's  entrance  into  the 
Institut  in  1836;  in  54  he  was  elected  penna- 
nent  secretary  of  the  Academic  des  Beaux  Arts, 
and  im  this  capacity  had  to  pronounce  eulogiums, 
which  he  publisherl  with  some  musical  critiques 
in  a  volume  entitled  'Souvenirs  et  Portraits, 
Etudes  sur  lee  beaux  arts*  (1861).  These  criti- 
cal and  biographical  essays  are  pleasant  reading ; 
they  secured  Hal^vy  reputation  as  a  writer,  which 
however  he  did  not  long  enjoy,  as  he  died  of  oca* 
sumption  at  Nice,  March  1 7, 1862.  His  remains 
were  brought  to  Paris,  and  interred  with  great 
solemnity  on  the  24th  of  the  same  month.  [G.C.] 

HALF-CLOSE  or  Semi-cadence.  An  equiva- 
lent term  for  Imperfect  Cadence,  and  the  better  of 
the  two.  [See  Impebfect  Cadence,  p. 76  7  a.]  [G.] 

HALL,  Henrt,  son  of  Capt.  Henry  Hall  of 
Windsor,  where  he  was  bom  about  1655,  was  a 
chorister  of  the  Chapel  Royal  under  Capt.  Cooke. 
He  is  said  to  have  studied  under  Dr.  Blow,  but 
this  is  doubtful.  Li  1674  he  succeeded  Theodore 
Coleby  as  organist  of  Exeter  Cathedral,  an  ap- 
pointment which  he  resigned  on  becoming  or- 
ganist and  vicar  choral  of  Hereford  Cathedral. 
It  is  said  that  about  1696  Hall  took  deacon's 
orders  to  qualify  himself  for  some  preferment  in 
the  gift  of  the  Dean  and  Chapter  of  Hereford. 
He  composed  a  Te  Deum  in  £  flat,  a  Benedicite 
in  C  minor,  and  a  Cantate  Domino  and  Deus 
Misereatur  in  B  flat,  all  which,  together  with 
5  anthems,  are  included  in  the  Tudway  CoUec- 
tiun  (HarL  MS8.  7340  and  734a),  and  other 
anthems  of  considerable  merit.  The  Te  Deum 
has  been  printed  with  a  Jubilate  by  William 
Hine,  and  an  Evening  Service  by  Dr.  W.  Hayes. 
Some  songs  and  duets  by  Hall  are  included  in 
'Thesaurus  Musicus,*  1693,  and  'Delicise  Mu- 
sics,' 1695,  and  some  catches  in  'The  Monthly 
Masks  of  Vocal  Music'  for  1704  and  1707. 
Hall  cultivated  poetry  as  well  as  music ;  com- 
mendatory verses  of  some  merit  by  him  are  pre- 
fixed to  both  books  of  Purcell's  'Orpheus  Bri- 
tannicus,'  1698  and  170  a,  and  to  Blow's  '  Am- 
phion  Anglicus,'  1700.  He  died  March  30, 
1 707,  and  was  buried  in  the  cloister  of  the  vicars 
choral  at  Hereford. 

His  son,  Henbt  Hall,  the  younger,  succeeded 
hit  father  as  organist  and  vicar  choral  of  Hereford. 
He  does  not  appear  to  have  been  a  composer,  but 
in  poetical  ability  he  excelled  his  father.  Many 
of  his  poems,  among  them  a  once  well-known 
ballad,  *  All  in  the  land  of  cyder,"  are  included 
in  'The  Grove,'  1721.  He  died  Jan.  22,  1713, 
and  ^9A  buried  near  his  father.  [W.  H.H.] 

HALL,  William,  a  member  of  the  king's 
band  in  the  latter  part  of  the  17th  oentury, 
composed  some  airs  which  were  published  in 
the  collection  called  'Tripla  Cuncordia.'     He 


HALLELUJAH. 

died  in  1 700,  and  was  buried  in  the  cl&tirchyard 
of  Richmond,  Surrey,  being  styled  ooi  his  grave- 
stone, '  a  superior  vioUn.'  [IV.  H.  H.] 

HALLE,  Chablbs  (originaHy  Carl),  bnrn 
April  II,  1 819,  at  Ha^n,  near  Elberfeldty  where 
his  father  was  Capellmeister.  Began  to  play 
very  early ;  in  •1835  studied  under  Hink  at 
Darmstadt.  In  the  latter  part  of  1836  went  to 
Paris,  and  remained  there  for  i  a  years  in  constant 
intercourse  with  Cherubini,  Chopin,  Liszt,  Bertoa, 
Kalkbrenner,  and  other  musicians.  In  1841  he 
married.  In  1846  he,  xUard,  and  Franchonune, 
started  chamber  concerts  in  the  small  room  of 
the  Conservatoire.  These,  though  very  suoces^ul, 
were  rudely  iaterrupted  by  the  revolution  of  Feb. 
1848,  which  burst  out  after  the  second  concert 
of  the  third  series.  Halle  left  for  England,  and 
has  ever  since  been  permanently  settled  here. 
His  first  appearance  was  at  the  orchestral  Con- 
certs at  Covent  Garden  (May  la,  48)  in  the  Eb 
concerto  of  Beethoven.  He  played  that  season 
and  several  subsequent  ones  at  the  Musical  Union; 
and  at  the  Philharmonic  made  the  first  of  many 
appearances  March  15,  52.  His  connexion  with 
Manchester  began  soon  after  his  arrival  here, 
and  in  1857  ^^  started  his  orchestral  subacription 
concerts  there,  which  are  now  so  justly  fiuned. 

In  London  Mr.  Halle  has  been  closely  attached 
to  the  Monday  and  Saturday  Popular  Concerts 
since  their  origin.  He  is  ijsu  well  known  far 
his  annual  series  of  Recitals  at  St.  James's  Hall, 
which  began  in  1861  with  a  performance  of  the 
whole  of  Beethoven's  sonatas  spread  over  eight 
mating.  The  programmes  were  illustrated  by 
an  analysis  of  the  sonatas  with  quotations,  from 
the  pen  of  Mr.  J.  W.  Davison,  which  were  as 
welcome  a  novelty  us  the  performances  themselves. 
The  same  programmes  were  repeated  for  2  years, 
and  have  since  been  annually  varied  through 
a  very  large  repertoire  of  classical  compositions, 
including  many  of  the  most  recent  works.  Nut- 
withstanding  his  many  public  duties  Mr.  Halle 
has  as  a  teacher  a  very  laige  clienUU,  both  in 
London  and  the  North.  [G.] 

HALLELUJAH.  A  Hebrew  term  {hafMa- 
Jah,  '  praise  Jehovah')  which,  like  Amen,  SeUh, 
Hosanna.  etc.,  has  been  preserved  untranslated 
in  our  Bibles.  In  the  Latin  Church  the  Alleluia 
is  sung  in  the  ordinary  service,  except  during 
Lent.  It  is  omitted  from  the  Anglican  Liturgy 
and  Conmiunion  Service,  but  has  revenged  itstrif 
by  keeping  a  place  in  the  popular  Easter  hymn 
'Jesus  Christ  is  risen  today,'  which  the  writer 
remembers  to  have  heard  sun?  at  Vespers  by 
the  French  nuns  at  the  Trinita  de'  Monti. 

The  Hallelujah  Chorus  in  the  Messiah  is 
known  to  every  one.  Handel  is  reported  to  hare 
said  that  when  he  wrote  it '  he  thought  he  saw 
Heaven  opened,  and  the  great  God  Himiself.' 
The  phrase  'For  the  Lord  Grod  omnipotent 
reigneth '  is  almost  identical  with  that  to '  I  wi  1 
sing  .  .  .  unto  the  Lord'  in  Israel  in  Eg>'{>t. 
He  has  written  other  Hallelujahs  or  AUelu jab- 
though  none  to  compare  with  this— in  Judas 
Maccabeus,  the  Occasional  Oratorio,  and  the 


HALLELUJAH. 

Coronation  Anthems — one  of  which  was  after- 
'Wards  employed  in  Deborah.  For  the  custom 
of  standing  during  the  performance  of  the  Halle- 
lujah. Chorus  see  Handel,  p.  651  h. 

In.  Ills  1 14th  Psalm  Mendelssohn  has  accented 


HANDEL. 


647 


P 


3P:^ 


^ 


jTJT^j.  4-^ 


Bal-lo 


la 


Hal-le 


la 


Ja! 


the  Sallelajah  in  a  manner  not  justified  by  the 
quantity  of  the  Hebrew  word.  [G.] 

SAM  BOYS,  or  HANBO YS,  John,  Mus.  Doc., 
a  distinguished  musician,  flourished  about  1470. 
Se   'was  author  of  a  Latin  treatise,  *Summa 
super  Musicam  Continuam  et  Discretam,'  pre- 
served   in  the    British  Museum   (Add.   MSS. 
S866),  and  printed  in  Coussemaker^s  'Scripto- 
rum  de  Musica  Medii  ^vi/  i.  416.    Another 
MS.   treatise  'Quatuor  principalia  totius  artis 
masicae,'  contained  in  the  same  volume  as  the 
above,  and  of  which  there  is  another  MS.  in 
the  Bodleian  Library,  has  been  ascribed  to  Ham- 
boys,  but  is  believed  to  be  the  work  of  Simon 
Tunstede.     It  has  been  supposed  that  Hamboys 
'Was  the  first  person   on   whom  the  degree  of 
doctor  of  music  was  conferred  in  this  country, 
but  there  is  no  evidence  to  support  it.  [W.  H.  H.] 

HAMERTON,  William  Henry,  bom  at 
Nottingham  1 795 ;  was  placed  as  a  chorister  at 
Christ  Church  Cathedral,  Dublin.  In  1S12  he 
came  to  London  and  studied  singing  under 
Thomas  Vaughan.  In  1814  he  returned  to 
Dublin  and  established  himself  as  a  teacher. 
In  18 1 5,  on  the  resignation  of  John  Elliott,  he 
was  appointed  master  of  the  choristers  of  Christ 
Church  Cathedral,  and  in  1823  Gentleman  of  the 
Chapel  Koyal,  Dublin.  In  1839  he  resigned  his 
appointments  and  went  to  Calcutta,  where  he  re- 
sided until  his  death.  Hamerton's  compositions 
comprise  some  anthems  and  chants ;  an  opera, 
entitled  'St.  Alban,*  performed  at  Dublin  in 
1827,  and  a  few  songs  and  diiets.  He  was  also 
author  of  an  elementary  work  published  in  1 824, 
entitled  *  Vocal  Instructions,  combined  with  the 
Theory  and  Practice  of  Pianoforte  Accompani- 
ment.'^ [W.H.H.] 

HAMILTON,  James  Alexander,  bom  in 
London  in  1 785,  was  the  son  of  a  dealer  in  old 
books,  and  self-edncated.  Music  became  his  par- 
ticular study — the  theory  rather  than  the  practice. 
He  wrote  many  elementary  works,  including  a 
long  series  of  useful  catechisms  on  musical  in- 
struments and  subjects,  many  of  which  have 
passed  through  numerous  editions,  and  a  list  of 
which  will  be  found  in  the  catalogue  of  R.  Cocks 
&  Co.  He  also  translated  and  edited  Cherubini's 
Counterpoint  and  Fugue,  Baillot's  Method  for 
the  Violin,  and  other  important  treatises.  He 
died  Aug.  2, 1845.  [W.H.H.] 

HAMLET.  Grand  opera  in  5  acts ;  words  by 
Barbier  and  Carr^  after  Shakspeare;  music  by 
Amb.  Thomas.  Produced  at  the  Acadt^mie,  March 
9,  1868;  in  London,  in  Italian,  as  Amleto,  at 
Covent  Garden,  June  19,  69  (Nilsson  and  Sant- 
ley).  [G.] 


HAMMER  (Fr.  Marteau;  Ital.  Martello; 
Germ.  Hammer),  The  sound  of  a  pianoforte  is 
produced  by  hammers.  In  this  the  pianoforte 
resembles  the  dulcimer,  firom  which  we  may 
regard  it  as  developed  by  contrivance  of  keys 
and  intermediate  mechanism,  rendering  the 
pianoforte  a  sensitive  instrument  of  touch,  instead 
of  one  of  mere  percussion,  incapable  of  refinement 
or  expression.  The  pianoforte  hammer  consists 
of  h^A  and  shank  like  any  other  hammer ;  the 
shank  is  either  glued  into  a  butt  that  forms  its 
axis,  or  is  widened  out  and  centred  or  hingod 
with  the  same  intention ;  and  the  blow  is  given 
and  controlled  by  leverage  more  or  less  ins^enious, 
and  varying  with  the  shape  of  the  instrument 
and  the  ideas  of  the  makers. 

Both  head  and  shank  must  be  elastic :  English 
makers  use  mahogany  for  the  former,  on  which 
are  glued  thicknesses  of  sole  or  bufilalo  leather 
and  specially  prepared  felt.  Of  late  years  single 
coverings  of  very  thick  felt  have  been  success- 
fully employed.  For  the  shanks  most  English 
makers  prefer  cedar,  on  account  of  its  peculiar 
elasticity  and  freedom  from  warping ;  on  the  con- 
tinent, peartree,  birch,  hickory,  and  other  woods 
are  in  use.  The  luunmers  gradually  diminish  in 
size  and  weight  from  bass  to  treble.       [A.  J.  H.] 

HAMMERKLAVIER,  i.e.  Pianoforte.  Bee- 
tiioven*s  Sonata,  op.  106,  composed  181 6-7,  was 
superscribed  by  him  'Grosse  Senate  fiir  das 
Hammerklavier.*  So  is  op.  101,  only  at  that 
time  the  German  fit  was  not  so  strongly  on 
Beethoven,  and  he  gives  the  Italian  name  as 
well.  By  op.  109  he  has  returned  to  the  Italian 
name  alone.  [G.] 

HANCOCK,  organ  builder.     [Cbakg  &  Han- 

COCK.] 

HAND  BELLS  for  purposes  of  tune-playing 
or  practising  Change-Ringing  can  be  obtained  of 
all  bell  founders,  tuned  either  chromatically  or 
simply  in  the  diatonic  scale. 

There  are  many  bands  of  tune -players  on 
hand  bells  in  England,  consisting  of  five  or  six 
men,  who  manipidate  between  them  as  many  as 
sixty  bells,  and  produce  extremely  pretty  music. 
Hand  bells  are  also  used  by  Change-Ringers  for 
practising  the  methods  by  which  changes  are 
produced,  before  performing  them  on  the  tower 
bells,  much  noise  and  annoyance  being  thus  pre- 
vented;  they  are  almost  indispensable  for  this 
purpose.  [C.A.W.T.] 

HANDEL  S  Geobge  Fbedebiok,  one  of  the 
greatest  composers  the  world  has  ever  seen,  was 
bom  at 'Halle,  Lower  Saxony,  February  23, 1685. 
His  father,  a  surgeon,  who  was  sixty-three  years 
of  age  when  this  son  was  bom,  knew  nothing  of 
Art,  and  regarded  it  as  a  degrading  pursuit,  or, 
at  best^  as  an  idle  amusement.    Determined  to 

>  The  name  b  alwaji  spelt  BMndd  bjr  GermaD  writen.  It  ymt 
ipelt  at  flnt.  In  Engiand.  H^mtUl.  The  fkmlly-nanM  had  been  iprlt 
namhi.  BsHdO,  HauMtr,  MOmdeUr.  and  Hnullier.  but  most  corrcrilf 
BBmM  (Fdntenuuin,  Q.  F.  HaakU^s  Btamutbamu,  fol.  Leipzig,  18M, 
very  Incorrectly  quoted  by  F^tls). 

>  A  wuodcat  of  the  house,  No.  4  Groaaer  Pehlamme.  from  a  photo« 
graph  by  Klinflemann.  Hendehaohn'a  friend,  waff  given  in  the  JIIua- 
trated  London  Kem  for  June^5.1^n9.  and  aaalxuatlspieoe  tu  the  Book 
of  Words  of  the  Haadal  Festival.  1877. 


648 


HANDEL. 


raise  his  son  in  the  social  scale,  he  thought  to  do 
80  by  making  him  a  lawyer,  and  to  this  end  he 
strove  in  every  way  to  stifle  the  alarming  symp- 
toms of  musical  genius  which  appeared  almost  in 
infancy,  while  he  refused  even  to  send  the  child 
to  school,  lest  there,  among  other  things,  he  should 
also  learn  his  notes.  In  spite  of  this,  some 
friendly  hand  contrived  to  convey  into  the  house 
a  dumb  spinet  (a  little  instrument  in  which  the 
strings,  to  deaden  their  sound,  were  bound  with 
strips  of  cloth) ; — it  wa«  concealed  in  a  garret, 
where,  without  being  discovered,  the  boy  taught 
himself  to  play. 

When  he  was  seven  years  old,  his  &ther  set 
out  on  a  journey  to  visit  a  son  by  a  former 
marriage,  who  was  vcUet-de-chambre  to  the  Duke 
of  Saxe  WeissenfelB.  G  eorge  begged  to  be  allowed 
to  go  too;  his  request  wa8  denied,  but,  with  the 
persistence  of  purpose  which  characterised  him 
through  life,  he  determined  to  follow  the  carriage 
on  foot,  and  actually  did  so  for  a  considerable 
distance,  a  proceeding  which  resulted  in  his 
getting  his  way.  At  Weissenfels  he  was  not  long 
in  making  friends  among  the  musicians  of  the 
Duke's  chapel,  who  gave  him  opportunities  of 
trying  his  hand  on  the  organ.  One  day,  after 
the  service,  he  was  lifted  on  to  the  organ  stool, 
and  played  in  such  a  manner  as  to  surprise  every 
one,  and  to  attract  the  attention  of  the  Duke, 
who,  on  making  enquiries,  found  out  the  state  of 
the  case,  and  sent  for  both  father  and  son.  He 
spoke  kindly  to  the  latter ;  to  the  former  he  repre- 
sented that  such  genius  as  that  of  his  son  should 
be  encouraged.  The  reluctant  surgeon  yielded 
to  these  arguments,  and  from  that  time  the  little 
Handel  was  emancipated. 

He  now  became  a  pupil  of  Zachau,  organist  of 
the  cathedral  at  Halle,  under  whom  he  studied 
comp<Msition,  in  the  forms  of  canon,  counterpoint, 
and  fugue,  and  practised  on  the  organ,  the 
harpsichord,  the  violin,  and  the  hautboy,  for  which 
last  instrument  he  had  a  special  predilection. 
After  three  years,  during  which  time  he  com- 
posed a  sacred  motet  each  week  as  an  exercise, 
his  master  confessed  that  the  pupil  knew  more 
than  himself,  and  Handel  was  sent  to  Berlin. 
Here  he  made  the  acquaintance  of  the  two  com- 
posers, Buononcini  and  Attilio  Arioeti,  whom  in 
after  years  he  was  to  meet  again  in  London. 
Ariosti  received  him  kindly,  and  warmly  admired 
his  talents;  but  Buononcini,  whose  disposition 
wa^  sombre  and  harsh,  treated  him  at  first  with 
scorn  and  then  with  jealous  dislike.  Handel's 
wonderful  powers  of  improvisation  on  both  organ 
and  harpsichord  caused  him  to  be  regarded  here 
as  a  prodigy.  The  Elector  wished  to  attach 
him  to  his  Court,  and  to  send  him  to  Italy ; 
but  Handel's  father  thought  this  undesirable, 
and  the  boy  was,  therefore,  brought  back 
to  Halle,  where  he  set  to  work  again  with 
Zachau,  *  copying  and  composing  large  quantities 
of  music  .  .  .  .  ,  and  working  constantly  to  ac- 
quire the  most  solid  knowledge  of  the  science.* 
At  this  time  he  lost  his  father,  and  it  became 
necessary  for  him  to  work  for  his  own  subsistence 
and  the  support  of  his  mother.     He  went,  there- 


HANDEL. 

fore,  to  Hambui*g,  where  the  German  Operarliouse^ 
under  the  direction   of  the  &moua    composer, 
Keinhard   Reiser,  enjoyed  a  great   reputation. 
Young  Handel  entered  the  orchestra  as  '  violino 
di  ripieno,*  and  amused  himself  by  affectii^  to 
be  an  ignoramus,  'a  man  who  oould  not  count 
five.*     But  it  happened  that  Keiser  was  involved 
by  his  partner  in  some  unsuccessful  speculations, 
and  was  forced   to  hide  for  a  time    from  hiii 
creditors.     During  his  Hbsenoe,  Handel  took  his 
place  at  the  harpsichord  in  the  orchestra^  and, 
his  real  powers  being  made  manifest,  he  reniained 
there  permanently.    He  made  here  the  aoqnaint- 
ance  of  the  composer  Telemann,  and  of  Mattheson, 
a  very  clever  young  musician,  a  few  years  older 
tlian   himself,  who  also    had  been   an    'infant 
prodigy,*  and  was   chiefly  remarkable   for  the 
versatility  of  his  powers.     It  is  as  a  writer  on 
music   and   kindred    subjects   that    he  is   best 
remembered,    and    especially   for   his    valuable 
reminiscences  of  Handel.     Among  other  anec- 
dotes, hd  tells  us  that  in  1703  he  and  Handel 
went  to  LUbeck  to  compete  for  the  vacant  post 
of  oiganist.    They  found,  however,  that  it  was 
necessary  that  the  successful  candidate  should 
marry  the  daughter   of  the  retiring   organist, 
lliis  condition  seemed  to  them  {ux^hibitory,  and 
the  two  young  men  thought  it  best  to  return  to 
Hamburg.      The    friendship   between    the  two 
young  composers  was,  at  one  time,  very  nearly 
brought  to  a  sudden  and  tragical   conclusion. 
While  Handel  was  acting  as  conductor  at  the 
Opera-house,  it  happened  that  there  was  given 
Mattheson's  opera  of   'Cleopatra*   (1704),   in 
which  the  composer  himself  played  the  part  of 
Antony.    After  that  point  in  the  play  where  the 
hero  dies,  it  had  been  Mattheson  s  custom  to 
return  to  the  clavecin  and  to  conduct  the  re- 
mainder of  the  opera.   To  this  Keiser  seems  not 
to  have  objected,  but  Handel  was  more  obsti- 
nate, and  refused  to  abdicate  his  place  in  &vour 
of  the  resuscitated   Antony.     Mattheson  was 
indignant,  a  dispute  ensued,  and  a  duel,  in  wliieh 
Handel's  life  was  only  saved,  and  the  loss  to  the 
world    of   this    mighty    master    only   averted, 
by  the  accidental  circumstance  that  the  point 
of  Mattheson's  sword  was  turned  aside  by  com- 
ing into  contact  with  a  brass  button  on  his  antago- 
nist's coat.  At  Hamburg,  in  Jan.  1 705,  was  pro-^ 
duoed  Handel's  first  opera,  *  Almira,*  followed  in 
the  same  year  by  *  Nero.*    These  were  perfonned 
in  the  barbarous  manner  universal  at  that  time, 
partly  in  German  and  pnrtly  in  Italian.    The 
success  of '  Almira'  seems,  however,  to  have  been 
great  enough  to  excite  some  jealousy  in  Keiser 
and  other  musicians.   Mattheson  says  that^  when 
Handel  came  to  Hambui^,.  he  compoeed  'long 
airs  and  interminable  cantatas,*  more  scholastic 
than  melodious  or  graceful ;  and  he  claims  to  have 
contributed  not  a  little  to  the  young  composer's 
improvement.  It  is  probable,  at  any  rate,  that  the 
genius  of  Keiser,  whose  numerous  compositions 
are  full  of  a  melody  and  charm  till  then  unknown, 
did  go  far  to  counteract  the  influence  of  the 
crabbed  teaching  of  Zachau.    In  'Almira'  is  a 
iSarabandc,  consisting  of  the  same  air  which 


HANDlfiL. 


HANDEL. 


649 


Hftndel  afterwards  used  for  the  beautifal  song 
in  *Rmaldo/  'Ijascia  ch'io  pianga.*  His  other 
works  at  this  time  were  the  operas  'Daphne* 
and  '  Florinda,*  and  a  German  Cantata  on  the 
Passion, 

In  1 706  he  set  off  on  a  journey  to  Italy.  He 
went  to  Florence,  Venice.  Kome,  and  Naples, 
producing  during  this  time  both  operas  and 
sacred  music,  and  always  with  the  greatest 
BuocesB.  Among  these  works  may  be  mentioned 
two  Latin  Psalms,  '  Dixit  Dominas  *  and  '  Lau- 
date  Pueri ; '  two  Operas,  *  Rodrigo*  and  'Agrip- 
pina ;  *  two  Oratorios,  '  Resurrezione '  and  '  II 
Trionfo  del  Tempo;'  and  the  serenata  *Aci, 
Galatea,  e  Polifemo,'  produoed  at  Naples,  and 
quite  distinct  from  the  subsequent  English  work 
of  a  similar  name.  This  serenata  is  remarkable 
for  an  jur,  written  for  some  Bass  singer  whose 
name  has  remained  unknown,  but  whose  voice 
must  have  been  extraordinary,  for  this  song  re- 
quires a  compass  of  no  less  than  two  octaves  and 
a  fifth!  [Bass.] 

In  1709  Handel  returned  to  Germany,  where 
the  Elector  of  Hanover  (afterwards  George  I  of 
Ei^land)  offered  him  the  post  of  Capellmeister, 
held  till  then  by  the  Abb^  Steffani,  who  himself 
designated  Handel  as  his  successor.  The  latter 
had  already  received  pressing  invitations  from 
England,  and  he  only  accepted  the  Capellmeister- 
ship  on  the  condition  that  he  should  be  allowed 
to  viait  this  country,  whither  he  came  at  the  end 
of  1 7 10. 

Italian  music  had  recently  become  the  fashion 
in  London;  operas  'on  the  Italian  model,*  that 
is,  with  the  dialogue  in  recitative,  having  been 
liwt  given  in  1705,  at  l^rury  Lane,  and  after- 
wards at  the  King^B  Theatre.  The  opera  of 
'RinaldOy'  written  by  Handel  in  foiurteen  days, 
was  first  performed  on  February  24,  171 1.  It 
was  mounted  with  a  magnificence  then  quite 
unusual;  and,  amoDg  other  iDnovations,  the 
gardens  of  Armida  were  filled  with  living  birds, 
a  piece  of  realism  hardly  outdone  in  these  days. 
The  music  was  enthufdastically  received,  and  it 
at  once  established  its  oompoeer  s  reputation.  He 
was  obliged,  at  the  end  of  six  months,  to  return 
to  his  post  in  Hanover;  but  he  had  found  in 
London  a  fitter  field  for  the  exercise  of  his  genius ; 
and  in  January,  1712,  he  was  here  again,  nor 
had  he  yet  made  up  hip  mind  to  leave  England 
for  Hanover,  when  the  Elector  of  that  State 
succeeded  to  the  English  throne.  It  was  not  to 
be  expected  that  the  new  king  should  look  with 
favourable  ^es  on  his  truant  Capellmeister,  who, 
for  his  part,  kept  carefully  out  of  the  way.  Peace 
was,  however.  Drought  about  by  the  good  offices 
of  the  Hanoverian  Baron  Kilmanseck,  who  re- 
quested Handel  to  compose  some  music  for  the 
occasion  of  an  aquatic  fite  given  by  the  king. 
The  result  was  the  series  of  twenty-five  pieces, 
known  as  the  '  Water  Music*  These,  performed 
under  HandeFs  direction  by  an  orchestra  in  a 
barge  which  followed  the  Idng^s  boat,  had  the 
effect  of  softening  the  royal  resentment,  and 
Handel's  pardon  was  sealed  not  I6ng  after  by  a 
grant  to  the  composer  of  an  annuity  of  ^200. 


In  1 716  he  accompanied  the  king  to  Hanover, 
where  he  remained  till  171S,  producing  while 
there  his  one  German  oratorio,  the  *  Passion.' 
This  work  contains  great  beauties,  but  it  is  very 
different  in  style  from  his  subsequent  compositions 
of  a  similar  kind,  still  strongly  suggesting  the 
infiuence  of  Keiser  and  of  Steffani. 

On  Handel's  return  to  England,  he  accepted 
the  post  of  chapel-master  to  the  Duke  of  Chandos. 
This  nobleman, — who  from  the  magnificence  of 
his  style  of  living  was  sometimes  call^  the  Grand 
Duke,  had  a  palace  named  Cannons,  near  Edge- 
ware,  and  a  chapel  furnished  like  the  churches 
of  Italy.  His  first  chapel-master  was  Dr. 
Pepusch,  his  countryman,  who  retired  grace- 
fully in  &vour  of  the  younger  master.  Here 
Handel  remained  for  three  years,  with  an  or- 
chestra and  singers  at  his  disposal ;  and  pro- 
duced the  two  '  Chandos*  Te  Deums,  the  twelve 
*  Chandos'  Anthems,  the  English  serenata  '  Acis 
and  Galatea,'  and  'Esther,'  his  first  English 
oratorio.  He  also  taught  the  daughters  of  the 
Prince  of  Wales,  for  whom  he  wrote  his  '  Suites 
de  pieces  pour  le  Clavecin '  (vol.  i).  Be- 
sides all  this,  he,  in  1720,  undertook  to  direct 
the  Italian  Opera  for  the  society  called  the  Royal 
Academy  of  Music.  He  engaged  a  company  of 
Italian  singers,  including  Durastanti  and  the 
celebrated  sopranist.  Senesino ;  and  with  these  he 
produced  '  Radamisto.'  The  success  of  this  opera 
was  complete ;  but  a  party,  jealous  of  Handel's 
ascendancy,  was  forming  in  opposition  to  him. 
Buononcini  and  Ariosti  had  also  been  attracted 
to  London  by  the  Royal  Academy  of  Music,  and 
each  of  these  composers  had  a  following  unong 
the  supporters  of  the  Opera.^    It  was,  perhaps, 

J  BTJONONCIN'I  or  BONONCINT,  a  famny  of  mmtrlans  In  the  17th 
and  18th  centuries  whoM  name,  barinx  been  omitted  in  its  proper 
place,  is  added  here.  The  ftitber.  Giovanki  Maria,  was  bom  at 
Modcna  about  1940,  and  wan  chief  muslciatt  to  the  Duke,  Maestro  dl 
C'apella  of  the  Church  of  San  Giovanni  in  Monte  there.  atKl  a  member 
of  the  Acoademia  del  Fllarmonlcf  of  Bologna.  He  waa  a  enmpetcnt 
and  productive  arti«t.  who  left  compoflitioiu  in  many  classes,  vocal 
and  lustnimental.  and  a  trcatl;«  on  'Musko  prattlco'  iBolopna  1613, 
168S ,  which  was  translated  Into  German,  and  is  a  clear  and  sensible 
work,  still  of  use  to  the  student.  He  died  Nov.  19,  1678.  His  ion 
ANTOKlo.  or  Maro  Aktokio.  was  bom  at  Modena  167rt.  He  appears  t« 
Iiave  travelled  much,  and  to  have  been  for  mme  yean  in  Germany— 
though  thb  may  be  merely  a  confusion  with  his  brother.  In  1714  he 
was  at  Rome,  in  ITil  Maestro  di  Capella  to  the  Duke  of  Modena.  where 
he  died  July  ^  1798.  7  operas  of  his  are  mentioned  as  remaining  In 
M8.  His  Camilla,  which  has  been  published,  had  an  extraordinary 
popularity  abroad :  and  in  England  ran  64  nights  in  4  years  (Pumey 
iv.  'ilO).  He  was  apparency  the  best  of  the  family,  though  his  light  U 
oonstderably  obscured  by  his  brother  Giovanni  BATTii<T\.  on  whom, 
rightly  or  wrongly,  the  fame  of  the  family  rests.  He  was  bora  at 
Modena  16T2.  and  instnieted  by  his  Ikther  and  by  Colokna.  He  waa 
a  rouoirlan  of  undoubted  merit,  tliongh  not  of  marked  originality 
who  suffered  from  too  clwe  comparison  with  Handel— as  talent  must 
always  suffer  when  brought  into  oollision  with  genius— and  from  a 
proud  and  diOicult  disposition  very  damaeiug  to  hi«  Interests.  His 
first  entrance  Into  the  musical  world  was  as  a  violoncellist,  in  which 
capacity  he  was  attached  to  the  Court  of  Vienna  at  or  about  1692.  HLs 
earliest  opera,  Camilla  (if  Indeed  that  wa»  not  his  brother'*),  was  given 
at  Vienna  about  the  same  data :  his  next, '  Tullo  O^tlllo "  and  *  Serse.* 
at  Rome  16M.  In  1696  we  find  him  and  Ariosti  at  ihe  Court  of  Berlin, 
when  Handel,  then  a  lad  of  12.  was  there  too  for  a  time  (ChryMUider'a 
HIndel.  i.  BSD.  At  Berlin  he  was  court  composer  from  ITte  to  ITOft,  and  a 
very  prominent  personage :  butftrom  1706  to  IT20  his  time  seenu  to  have 
be«?n  divided  between  Vienna  and  lUly.  In  th«  latter  year  he  received 
a  call  to  London.  A  great  Impulse  had  recently  been  given  to  Italian 
oprra  by  the  establishment  of  the  Royal  Academy  of  Music.  Handel 
was  director,  and  Buononcini  and  Ario<ti  were  invited  over  to  place  the 
new  institution  on  the  broadest  possible  basis.  Buononcini  was  received 
with  extraordinary  favour,  and  there  are  periiap^  few  sub«crlpt1on-list» 
so  remarkable  as  that  to  his  'Cantate  e  Duettl*  (1721).  for  the  large 
number  of  copies  taken  by  individuals  of  rank.  In  England  at  that 
time  f  vf  rythUig  wa*  more  or  ies*  political,  and  while  Handel  was  sup- 
ported by  the  Hanoverian  King.  Buononcini  wa*  taken  up  by  the  great 
hunses  of  Buibuid,  QueeubenTi  fcuuderiaud,  and  Marlborough.  From 


650 


HANDEL. 


with  l^he  object  of  reconciling  all  partiesp  that  it 
was  i^anged  to  produce  'Muzio  Sc;evola,'  an 
opera'wof  which  the  lint  act  was  written  by 
Ariosti  (or,  according  to  Chiyaander,  by  a  certain 
Mattel,  alias  Pippo),  the  second  by  Buononcini, 
and  the  third  by  Handel.  Poor  Ariosti  had  no 
chance  in  this  formidable  competition.  With 
Buononcini,  a  man  of  distinguished  talent,  and 
able  in  some  measure  to  support  the  rivalry  with 
Handel,  the  case  was  different.  Handel  s  act, 
however,  was  universally  declared  to  be  the  best ; 
but  his  victory  only  excited  the  enmity  of  his 
opponents  more  than  ever.  His  stubborn  pride 
and  independence  of  character  were  ill  suited  to 
conciliate  the  nobility,  in  those  days  the  chief 
supporters  of  the  Opera ;  and  all  those  whom  he 
had  personally  offended  joined  the  Buononcini- 
£Eu;tion.  This  fashionable  excitement  about  the 
rival  claims  of  two  composers,  like  that  which 
raged  in  Paris  when  the  whole  of  society  was 
divided  into  'Gluckists*  and  *  Piccinnists,'  gave 
rise  to  many  squibs  and  lampoons,  the  best  of 
which,  perhaps,  has  been  more  often  incorrectly 
quoted  and  erroneously  attributed  than  any 
similar  jea  d' esprit.  The  epigram,  usually  as- 
cribed to  Dean  Swift,  and  actually  printed  in 
some  collections  of  his  works,  is  undoubtedly  tho 
work  of  John  Byrom,  the  Lancashire  poet,  and 
inventor  of  a  system  of  shorthand.  He  speaks 
in  his  diary  \  under  date  June  f;,  1725,  of  *  my 
epigram    upon   Handel   and   Bononcini    being 

the  Mwlborough  fitmny  h«  enjoyed  for  many  yean  aa  Income  of  BCOL, 
aiid  a  borne  aitd  an  aAreeable  podtloD  In  their  hoa*«.  UIa  conDexion 
w(th  the  Academy  coutluued  for  7  or  R  yearv,  duriiis  which  he  cum- 
puMd  the  uperv  of  A«Urto  i  ITitX^,  Crlspo  <  I79S).  Knulula  il723),  FaniAce 
i.\T&),  Oalfuntia  aT24>,  AHyaiuu  {MZl .  and  Uriaelda  il7i2)  — though 
thai  b  suspected  to  be  really  his  brother's.  All  these  pieces  were  welt 
recelred,  and  A^tarto  ran  for  90  nights.  An  epiwde  of  bU  opemtic 
career  was  the  Joint  compa«ltlun  of  the  S  acts  of  Muzio  Scevola,  In 
ITil.  by  Ariustl— or  aeeoniinff  to  Chry5aiider  til.  06)  FiHppo  Mattel,  or 
Plppo— Buuuoncitil.  and  Uandel.  Buunnuclui's  act  was  superior  to 
Kattei's,  but  the  Judionent  of  the  public  was  so  unmlstakeably  in 
favour  of  Handel's  as  to  allow  of  oo  appeal.  On  the  death  of  Marl- 
borough, June  16.  1722,  BuononcinI  was  commissioned  to  write  the 
•othem  for  hU  funeral  In  Heniy  Vll's  Chapel  (Aug.  9).  to  the  words 
*  When  Gaul  was  king  over  u\'  It  was  afterwards  published  in  wore, 
•od  has  flue  portion*,  though  very  unequal.  About  the  year  1731 
the  discovery  that  a  madrigal  to  the  words  *  In  uita  slepe  ombrow.' 
which  had  been  submitted  to  the  Academy  some  yean  prerlDusly  as 
his  oompo'^itlon.  was  a  mere  transcript  of  one  by  Lottl.  led  to  a  long 
corre^poudeiice,  and  caused  a  great  deal  of  excitement  and  much 
Irriutlon  against  Buouuncinl,  and  was  the  first  step  in  his  1411.  It  U 
diftlcuit  to  understand  why  a  man  of  his  abilities,  whovi  own  madrigals 
were  well  knuwn  and  highly  thought  of  (see  Hawkins's  testiaiony) 
ihould  hava  bat  rowed  from  a  oompowr  whose  equal  he  certainly 
waa^  tf  hirfeed  he  dM  borrow  Lottt's  music  at  all— which  Is  by  no  means 
certain  (Hawkins,  cli.  L^S}.  lYie  pride  and  haughty  temper  of  the  man. 
which  closed  hl«  lips  during  the  whole  contest,  was  probably  a  chief 
reason  for  the  feeling  against  hfan.  It  Is  cerUIn  that  it  led  to  the 
severanoe  of  his  connexion  with  the  Marlborough  family,  which  took 
place  shortly  after  this  aiUr.  He  then  attached  himself  to  a  certain 
Count  t'ghi.  who  professed  to  have  the  secret  of  making  guid,  went  to 
Prance,  and  remahied  therp  for  some  years.  Iliere  we  catch  sight  of 
him  once  more,  playing  the  cello  to  a  motet  of  his  own  In  the  riiapel 
of  Louis  XV.  In  1748  he  was  sent  for  to  Vienna  to  compose  the  music 
for  the  Peace  of  Aix  la  Chapelle  (Oct.  7),  and  soon  after  left  Vienna  to 
be  composer  to  the  Opera  at  Venice,  where  we  leave  him. 

Besides  the  operas  ascribed  to  him— 82  in  all— and  the  other  works 
mentioned  above,  before  leaving  Bologna  he  publbhcd  4  symphonies. 
2  masses  for  8  voices  each. duett!  dl  camera,  and  an  oratorio '  II  Glosue.' 
Another  oratorio.  *  Intcrek>,'  a  Te  Deum.  etc.  eta.  remain  In  H8.  at 
Vienna  and  elsewhere.  A  third  oratorio.  '  8.  NIooIa  dl  Bari.'  and  a 
IValm. '  Laudate  puerl.'are  hi  the  Bacred  Harmonic  Society's  Library. 
The  FUxwIlliam  Collection.  Cambridge,  contalas  an  opera. '  Etearoo.' 
Madrigals,  and  Motets,  a  Ham,  sine  nomine,  i  8.  and  many  Cantatas. 
Duets,  and  I>ivertiraentl.  Novello.  In  his  '  Fluwlillam  Music'  has 
published  4  movements  (see  p.  tao\  of  which  ihe  fauctus  and  I  lent 
■out,  from  a  mass,  are  the  finest,  and  they  are  very  fiue.  [ti.j 

i  Printed  ft>r  the  Chctbam  Society.  UM,  roL  I  pt.UO. 


HANDEL. 

in  the  papers.*    It  mns,  correctly,  as  pablixihed 

in  Byrom  s  '  Miscellaneous  Poems/  as  follows : — 

*  Some  flay,  oompar'd  to  Bonondni, 
That  Mynheer  Handera  bat  a  Ninsy; 
Others  aver,  that  he  to  Handel 
Is  scarcelv  fit  to  hold  a  Candle: 
Strange  ail  this  DifTerenoe  shoold  be, 
Twixt  Tweedlft-diim  and  Tweedle^ee  !* 

Handel  worked  on,  unmoved,  amid  the  general 
strife,  and  in  1729  entered  into  parintr^hip 
with  Heidegger,  proprietor  of  the  King's  *J'he&u^ 
He  produced  opera  after  opera;  but,  owing  to 
the  ever-increasing  oppoidtiou,  his  later  picc«:« 
met  with  less  success  than  hia  earlier  works. 
On  the  other  hand,  the  oratorio  of  *  Esth^,*  and 
'Acis  and  Oalatea,*  composed  at  Cannons,  were 
now  given  in  public  for  the  first  time ;  they  w^'e 
performed  on  the  stage,  with  scoiic  effects,  bjt 
without  action,  and  were  very  well  received. 
Several  of  Handel's  instromental  works  were 
written  at  this  epoch.  On  the  occasion  of  the 
performance  of  'Deborah/  an  oratorio,  in  1733. 
the  raised  prices  of  seats  at  the  theatre  added 
to  the  rancour  of  the  composer's  enemies ;  and, 
to  crown  all,  he  quarrelled  with  Senesino,  wfao«« 
engagement  was,  therefore,  broken  off^.  Sene- 
sino  was  the  spoiled  child  of  the  public;  his 
cause  was  hotly  espoused  by  all  the  particaiu 
of  Buononcini,  and  even  those  influential  per- 
sonages who  had  remained  faithful  to  Handel 
insisted  that  their  favourite  should  be  retained 
at  the  theatre.  Handel  thought  this  condi- 
tion incompatible  with  his  dignity ;  he  refused, 
and  his  friends  deserted  him  for  the  enemy's 
camp.  At  this  juncture,  a  chai^  was  brou<:ht 
against  Buononcini,  that  he  had  presented  as 
his  own  to  the  Academy  of  Music  a  Madri^^, 
in  reality  the  work  of  Lotti,  the  Venetian. 
This  was  very  strange,  as  Buononcini  might 
have  been  expected  to  compose  almost  an 
good  a  madrigsd  as  Lotti :  he  quitted  England, 
however,  without  defence  or  reply,  and  his  pany 
had  to  make  Senesino  their  raUying-point. 

Handel's  partnership  with  Heid^Q;er  ended 
in  1 734.  and  the  King's  Theatre  was  given  up 
to  the  rival  company.  He  now  became  an  im- 
presario on  lus  own  account,  and  fiiat  took  tbe 
theatre  in  Lincoln's-Inn-Fields,  but  soon  left  it 
for  Covent  Guxien,  w^here,  besides  several  operas, 
he  produced  the  music  to  Dryden's  Ode  '  Alex- 
ander s  Feast,  or  the  Power  of  Musia*  ^HIa 
undertaking  proved,  commercially,  a  failure ; 
and  in  1 737  ne  became  bankrupt.  It  speaks 
volumes  for  the  low  state  of  musical  tac^te  at  the 
period,  that  at  this  time  the  rival  house  was  also 
forced  to  close  its  doors  for  want,  of  support ; 
although  its  company  included,  besides  Cuzzoni 
and  Senesino,  the  wonderful  Farinelli,  who  soon 
quitted  England  in  disgust.  Handel's  health 
succumbed  to  his  labours  and  anxieties ;  he  had 
an  attack  of  paralysis,  which  forced  him  to  go 
to  Aix  la  Chapelle.  He  retiimed,  scarcely  j 
recovered,  in  November,  and,  between  the  15th 
of  that  month  and  the  34th  of  December,  wrote 
the  op^ra  of  'Faramondo*  and  the  Funeral 
Anthem  Kor  the  death  of  Queen  Caroline.  '  Fara- 
moudo'  wifcs  a  failure ;  so  were  also  the  pasticcio 


HANDEL. 


HANDEL. 


651 


*  Alexander  Sevems*  and  the  opera  of  Xerxes/ 
perfomaed  in  the  spring  of  1 738.     He  had,  how- 
ever, a  number  of  faithful  fnends  who  remained 
loyal  to  him  in  his  adversity.    They  persuaded 
him  to  give  a  concert  for  his  own  benefit ;  and 
this  -was  a  complete  success.    It  shows  what,  in 
ispite  of  his  unpopularity  with  the  great,  was  the 
public  appreciation  of  his  genius  and  high  cha- 
racter, that  a  statue  of  him,  by  Roubiliiac,  was 
erected  in  Vauxhall  Gardens ;  the  only  instance 
on  record  of  such  an  honour  being  paid  to  an 
artist   during  his  lifetime.    From  1739  he  did 
little  in  the  way  of  opera-composing.     With  the 
exception  of  '  Imeneo  in  1 740,  and  of '  Deidamia' 
in  1 741,  he  thenceforward  treated  only  oratorio, 
(»  similar  subjects.    He  said  that  '  sacred  music 
was  best  suited  to  a  man  descending  in  the  vale 
of  years;'  but  it  was  with  r^^t,  and  only  after 
reiterated  failures,  that  he  quitted  the  stormy 
sea  of  operatic  enterprise.    The  world  has  no 
reason  to  be  sorry  that  he  did  so.  for  there  is  no 
doubt  that  in  Oratorio  he  found  his  real  field, 
for  which  Nature  and  education  had  equally  and 
specially  fitted  him.  >C 

The  series  of  works  which  have  immortalised 
Handel's  name  only  began  now,  when  he  was 
fifty-five  years  old.  Li  1 740  were  composed  and 
performed  'Saul'  and  '  Israel  in  Egypt.'  *  Saul' 
(says  Chrysander)  '  fulfils  in  the  hignest  degree 
every  condition  of  a  perfect  historical  picture; 
reflecting,  as  it  does,  the  historical  object  at  once 
fitithfully  and  in  its  noblest  aspect.'  It  was 
BuccesafuL  *  Israel,'  which  contains  some  of  the 
most  colossal  choruses  that  Handel  ever  wrote, 
was  so  ill-received  that,  at  the  second  perform- 
ance, it  was  thought  necessary  to  lighten  the 
work  by  the  introduction  of  operatic  sonffs  be- 
tween tiie  choruses.  After  the  third  performance, 
it  was  withdrawn.  -  '  I>raer  was  followed  by  the 
music  to  Dr>'den's  'Ode  on  St.  Cecilia's  Day.' 
and  that  to  *  L' Allegro '  and  '  II  Penseroso '  of 
Milton,  and  to  '  II  Moderato,'  which  was  a  third 
part  added  by  Charles  Jennens,  who  afterwards 
compiled  the  words  of  the  '  Messiah.' 

In  1 741  Handel  received  from  the  Duke  of 
Devonshire,  then  Lord  Lieutenant  of  Ireland,  a 
pressing  invitation  to  vibit  that  country.  Accord- 
ingly, in  the  month  of  November  he  went  there, 
ani^jwas  warmly  received,  his  principal  works 
(nm  operatic)  being  performed  in  Dublin  and 
enthusiastically  applauded.  On  April  18,  1742, 
for  the  benefit  of  a  charitable  society,  he  pro- 
duced the  *  Messiah,'  his  greatest  oratorio,, and 
that  which  has  obtained  the  firmest  and  most 
enduring  hold  on  public  favour.  Signora  Avoglio 
and  Mrs.  Cibber  were  the  principal  singers  on 
the  occasion  of  its  first  performance.  After  a 
sojourn  in  Ireland  of  nine  months,  during  which 
he  met  with  worthy  appreciation  and  also  some- 
what repaired  his  broken  fortunes,  he  returned  to 
Lond(tt;  and  the  'Messiah'  was  performed  for 
the  first  time  there  on  March  23,  1749.  It  is 
related  that,  on  this  occasion,  the  audience  was 
exceedingly  struck  and  affected  by  the  music  in 
general,^ut  that  when  that  part  of  the  Hallelujah 
Chorus  b^an,  'For  the  Lord  God  omnipotent 


reigneth,*  they  were  so  transported  that  they  all, 
with  the  king,  who  was  present,  started  at  once 
to  their  feet,  and  remamed  standing  till  the 
chorus  ended.  The  custom  of  rising  during  the 
performance  of  the  'Hallelujah  Chorus '  originated 
from  this  incident. 

The  ' Messiah'  was  followed  by  'Samson,'  and 
the  2'e  Deam  and  anthem  written  to  celebrate  the 
victory  of  Dettingen  ;  by  'Joseph,'  'Semele,'  'Bel- 
shazzar,*  and  'Hercules.'  But  the  hostility  of 
the  aristocratic  party  which  he  hfl;d  provoked  by 
refusing  to  compose  music  for  Senesino,  was  still 
as  virulent  as  ever.  They  worked  against  him 
persistently,  so  that  at  the  end  of  the  season 
1744-5  he  was  again  bankrupt,  and  seems  to 
have  been,  for  the  time,  overwhelmed  by  his 
fihilure,  for  during  a  year  and  a  half  he  wrote 
scarcely  anything.  He  began  again  in  1 746  with 
the  'Occasional  Oratorio,'  and  'Judas  Macca- 
bieus;'  and  these  were  followed  by  'Joshua,* 
'Solomon'  (which  contains  an  unrivalled  series 
of  descriptive  choruses),  'Susanna,'  'Theodora' 
and  the  '  Choice  of  Hercules.'  His  last  oratorio 
was  'Jephtha,'  composed  in  February,  1752. 
It  was  while  engaged  on  it  that  he  was  first 
attacked  by  the  disease  which  finally  deprived 
him  of  sight.  Three  times  he  was  couched  for 
cataract,  but  without  success;  and  for  the  re- 
mainder of  his  life  he  was  almost,  if  not  entirely 
blind.  He  was  at  first  profoundly  depressed  by 
his  afiliction ;  but  after  a  time,  with  indomitable 
strength,  he  rose  superior  to  it.  His  energy, 
though  lessened,  was  not  paralysed.  He  actually 
continued  to  preside  at  the  organ  during  the  per- 
formance of  his  own  oratorios,  and  even  to  play 
organ-concertos.  In  1757,  cme  more  work  was 
produced  at  Covent  Garden,  the  'Triumph  of 
Time  and  Truth,'  an  augmented  version,  in 
English,  of  the  Italian  oratorio  of  1708,  'II 
Trionfo  del  Tempo  e  del  Disinganno.'  Of  the 
numerous  additions  in  the  later  veraon  many 
were  new,  some  taken  from  former  works.  His 
fame  and  popularity  steadily  increased  during 
these  last  years,  and  much  of  the  old  animosity 
against  him  died  away.  On  April  6,  1759,  he 
attended  a  performance  of  the  'Messiah'  at 
Covent  Garden :  it  was  his  last  effort.  On 
Saturday  the  ^  14th  of  April,  he  died,  at  his  house 
in  ^  Brook  Street.  He  was  buried  in  the  South 
Transept  of  Westminster  Abbey,  where  a  menu* 
ment  by  Roubiliiac  was  erected  to  his  memory 
in  1762.  His  gravestone,  with  his  coat  of  arms, 
his  name,  and  the  two  dates  'Born  y*  23  Feb- 
ruary 1684,  Died  y*  14th  of  April  175Q,*  is  below 
the  monument.  It  was  engraved  as  a  frontispiece 
to  the  Book  of  Words  of  the  HanJel  Festival, 
1862. 

Handel  has  left  behind  him  in  his  adopted 
country  a  name  and  a  popularity  which  never 

1  This  data  U  supported  by  th«  entry  in  the  Westminster  Abbey 

Fumtrai  Book,  by  ttio  letter  of  Jamea  Smyth,  the  perfumer,  Uamlel's 

I  most  intimate  friend,  by  all  the  contemporary  JuurnaU  and  maga- 

I  zlnc<i,  and  by  the  date  on  the  tombstone.    Dr.  Buniey  Is  alone  in 

!  stating,  on  quite  in<iufl9cient  evidence,  the  date  as  the  13th ;  and  It  Is 

a  plij  that  be  should  have  altered  the  inscription  of  the  tombstone 

in  cuDylng  It  fur  bis  book,  so  a.i  to  support  his  statement. 

>  Fonu'riy  No.  67,  now  No.  23,  on  tbe  south  sido,  fuur  doors  from 

[  Sen  Bond  Street, 


\ 


] 


652 


HANDEL. 


HANDEL. 


has  been,  and  probably  never  will  be,  rivalled  by 
that  of  any  other  composer.  He  became  a  natur- 
alised British  subject  {in  1726) ;  but  to  claim  him 
as  an  EngUfkman  is  as  gratuitous  as  it  would 
be  to  deny  that  the  whole  tone  of  his  mind  and 
genius  were  singularly  attuned  to  the  be^t  fea- 
tures of  the  English  character,  llie  stubborn 
independence,  the  fearless  truth  and  loyalty  of 
that  character,  the  deep,  genuine  feeling  which, 
in  its  horror  of  pretence  or  false  sentiment, 
hides  itself  behind  bluntness  of  expression,  the 
practicalness  of  mind  which  seeks  to  derive  its 
ideas  from  facts,  and  not  its  facts  from  ideas, — 
these  found  their  artistic  expression  in  the  works 
of  Handel ;  beside  which  he  was,  beyond  all  doubt, 
intimately  acquainted  with  the  works  of  England's 
greatest  composer,  Henry  Purcell :  and  no  native 
composer  could  in  these  days  be  as  truly  English 
as  he  was,  for  in  an  age  of  rapid  travelling  and 
constiuit  interchange  of  ideas,  men  and  thought 
become  cosmopolitan.  Grandeur  and  simplicity, 
the  majestic  scale  on  which  his  compositions  are 
conceived,  the  clear  definiteness  of  his  ideas  and 
the  directnera  of  the  means  employed  in  carrying 
them  out,  pathetic  feeling  expressed  with  a  grave 
seriousness  equally  removed  from  the  sensuous 
and  the  abstract, — these  are  the  distinguishing 
qualities  of  Handel's  music. 

Handel  was  a  man  of  honour  and  integrity, 
and  of  an  uncompromising  independence  of  char 
racter.  *  In  an  age  when  artists  used  to  live  in 
a  sort  of  domesticity  to  the  rich  and  powerful, 
he  refused  to  be  the  dependent  of  any  one,  and 
preserved  his  dignity  with  a  jealous  care.'  This, 
no  doubt,  irritated  those  great  people  whose 
vanity  was  gratified  when  men  of  genius  lived 
by  their  patronage;  but,  on  the  other  hand, 
it  must  be  admitted  that  his  temper  was  natu- 
rally irascible  and  even  violent,  and  his  fits  of 
passion,  while  they  lasted,  quite  ungovernable. 
Even  when  he  was  conducting  concerts  for  the 
Prince  of  Wales,  if  the  ladies  of  the  Court 
talked  instead  of  listening,  'his  rage  was  un- 
controllable, and  sometimes  carried  him  to  the 

length  of  swearing   and    calling   names 

whereupon  the  gentle  Princess  would  say  to  the 
offenders,  "  Hush,  hush  !  Handel  is  angry."  \  It 
is  to  the  credit  of  the  prince  and  princess  that 
they  respected  the  real  worth  of  the  master  too 
much  to  be  seriously  offended  by  his  manners. 

Handel  never  married,  nor  did  he  ever  show 
any  inclination  for  the  cares  and  joys  of  domestic 
life.  He  was  a  good  son  and  a  good  brother; 
but  he  lived  wholly  for  his  art,  his  only  other 
taste  being  for  pictures,  of  which  he  was  a 
connoisseur.  He  seldom  left  his  house,  except 
to  go  to  the  theatre,  or  to  some  picture-FAle. 
His  tastes  were  simple,  though  he  ate  enor- 
mously; having  a  large,  if  not  an  unhealthy, 
appetite  to  satisfy.  His  charitableness  and 
liberality  were  unbounded;  he  was  one  of  the 
founders  of  the  Soc'ety  for  the  benefit  of  dis- 
tressed musicians,  and  one  of  the  chief  bene- 
factors of  the  Foundling  Hospital. 

He  was  74  years  old  when  he  died ;  but, 
when  we  contemplate  the  amount  of  work  he 


accomplished,  his  life  seems  short  in  comparison. 
Nor  did  he  live  in  seclusion,  where  he  could 
command  all  his  time.  Gifted  with  abnormal 
bodily  strength,  and  with  an  industry  truly  cha- 
racteristic of  that  nation  '  which'  (as  says  Chry- 
sander)  'has  laboured  more  than  any  other  to 
turn  into  a  blessing  the  curse  of  Adun,  In  the 
sweat  of  thy  brow  thou  shalt  eat  bread,'  he  ex- 
celled in  every  branch  of  his  art;  but,  beiside 
this,  he  was  a  teacher,  a  chapel-master,  an  opera- 
director,  and  an  impmario.  He  was,  with  the 
exception  of  J.  S.  Bach,  the  greatest  organi^re 
and  harpsichordist  of  his  age.  He  never  devoted 
much  time  to  the  violin;  but,  when  it  suited 
him  to  play,  his  tone  was  such  that  avowed  pnn 
fessors  of  the  instrument  might  have  taken  him 
as  a  model.  He  had  but  little  voice,  yet  he  was 
an  excellent  singer  of  such  songs  as  required  an 
expressive  delivery  rather  than  florid  execution. 
With  his  singers  he  was  sometimes  tyrannical, 
and  amusing  stories  are  told  of  his  passages  of 
arms  with  recalcitrant  prime  donnt ;  but  he  knew 
how  to  conciliate  them,  and  how  to  preserve  their 
respect ;  he  would  take  any  trouble,  and  go  any 
distance,  to  teach  them  their  songs  ;  and  all  the 
principal  artists  renident  in  London,  whom  he 
employed,  remained  permanently  with  him  to 
the  end  of  his  life. 

The  rapidity  with  which  he  composed  was  as 
wonderful  as  his  industry;  he  may  be  said  to 
have  improvised  many  of  his  works  on  paper. 
'Rinaldo'  was  written  in  14  days;  the  'Mes- 
siah* in  24!  From  his  earliest  years  he  was 
remarkable  for  tiiis  great  readiness  in  extem- 
porising ;  he  was  alwnys  teeming  with  ideas,  to 
which  his  perfect  command  of  all  the  resources 
of  counterpoint  enabled  him  to  give  instanta- 
neous and  fluent  expression.  It  was  his  cuKtom 
to  play  organ  concertos  between  the  acts  or  the 
pieces  of  hia  oratorios;  but  these  written  com- 
positions were  only  of  service  to  him  when  he 
felt  that  he  was  not  in  the  vein ;  otherwise,  he 
gave  himself  up  to  the  inspirations  of  his  genius. 
This,  indeed,  was  almost  always  the  case  after  he 
became  blind,  when  all  that  was  given  to  the  or- 
chestra was  a  sort  of  rUomely  between  the  recur- 
rences of  which  Handel  improvised  away  as  long 
as  it  pleased  him,  the  band  waiting  until  a  pause  or 
a  trill  gave  them  the  signal  for  recommencement 
His  instrumented  compositions  have,  in  many  re- 
spects, such  as  their  lucid  simplicity  and  a  cer- 
tain unexpectedness  in  the  modulations  and  the 
entries  of  the  various  subjects,  the  character  of 
improvisations.  He  seems  to  have  regarded 
these  works  as  a  storehouse  for  his  ideas,  on 
which  he  often  drew  for  his  more  important 
compositions. 

It  must  not,  however,  be  supposed  that  the 
speed  with  which  he  worked  argues  any  want  of 
care  in  the  workmanship,  nor  that  he  was  content 
always  to  leave  his  ideas  in  the  form  in  which 
they  first  occurred  to  him.  The  shortness  of 
time  occupied  in  the  completion  of  his  great 
masterpieces  is  to  be  explained,  not  merely  hj 
the  ever-readiness  of  his  inspiration,  jut  aliio 
by   the  laboriousness  and  wouderful  power  of 


HANDEL. 

concentration  which  enabled  him  actually  to 
get  through  more  work  in  a  given  time  than  is 
accomplished  by  ordinary  men.  Those  original 
sketches  of  his  works  that  are  extant,  while 
bearing  in  their  penmanship  the  traces  of  im- 
pc;tuous  speed,  yet  abound  in  erasures,  correc- 
tiunis  and  afterthoughts,  showing  that  he  bnjught 
Bound  judgment  and  stem  criticism  to  bear  on 
his  own  creations. 

In  gratitude  for  the  pension  allowed  him  by 
the  king  after  Handel's  death,  Smith,  his  amanu- 
ensis, to  whom  Handel  had  left  his  MSS.,  pre- 
sented them  all  to  George  III.  They  remain 
still  in  the  Musical  Library  of  Buckingham 
Palace,  and  are  as  follows: — Operas,  32  vols.; 
Oratorios,  ai  vols.;  Odes  and  Serenatas,  7  vols.; 
Sacred  Music,  12  vols.;  Cantatas  and  Sketches, 
1 1  vols. ;  and  Instrumental  Music,  5  vols.  Be- 
side these,  there  is  a  collection  of  copies  by  Smith 
(the  elder),  forming  a  continuation  to  the  original 
MSS.,  in  1 7  vols.  There  is  also  a  collection  of 
copies,  partly  in  the  hand  of  Smith  (the  elder) 
and  partly  in  another  hand/  chiefly  of  the  Ora- 
torios, in  24  vols,  laige  folio,  in  the  same  Library. 
Another,  smaller  collection  of  original  MSS. 
is  to  be  found  in  the  Fitzwilliam  Museum,  Cam- 
bridge, consisting  of  7  vols,  of  the  greatest  inte- 
rest, containing  rough  draughts,  notes,  and 
sketches  for  various  works,  and  one  of  the 
ChandoB  Anthems,  entire,  '  0  Praise  the  Lord 
with  one  consent.* 

Very  few  compositions  in  Handel's  writing  are 
in  priva^  collections. 

The  original  MS.  score  of  the  work  alluded 
to  above  as  achieved  in^  24  days,  the  '  Messiah,' 
— the  greatest,  and  also  the  most  universally 
known  of  all  Handel's  oratorios, — has  been  fac- 
similed in  photo-lithography,  and  so  placed  with-  i 


HANDEL. 


658 


in  the  reach  of  all  who  may  wish  to  become 
familiar  with  Handel's  mode  of  working.  Here 
it  can  be  seen  how  much  the  work  differed  in  its 
first  form  from  what  it  finally  became, — the  work 
as  we  know  it.  Some  alterations  are  of  compara- 
tively slight  importance,  such  as  the  substitution 
of  one  kind  of  choral  voice  for  another  in  the 
'  lead  *  of  a  fugue-subject, — the  alteration  of  the 
form  of  a  violin- figure,  and  so  on.  But  in  other 
cases  there  are  actually  two,  and  sometimes  even 
three,  different  settings  of  the  same  words,  show- 
ing that  Handel  himself  failed  occasionally  in  at 
once  grasping  the  true  realisation  of  his  own 
conceptions.  Among  many  instances  of  change 
of  purpose  which  might  be  given,  it  will  be 
sufficient  to  quote  two.  In  the  *  Nativity  music' 
there  are  two  settings  of  the  words  '  And  lo  i  the 
angel  of  the  Lord  came  upon  them,'  the  first  of 
which  is  that  now  used,  and  the  second  an 
Andante  in  F  major,  which  bears  the  traces  of 
a  good  deal  of  labour,  but  which  was  finally  re* 
jected  by  the  composer. 

The  second  case  is  that  of  the  air  '  How  beau- 
tiful are  the  feet,'  and  the  subsequent  chorus 
'  Their  sound  is  gone  out.'  At  first  the  air  was 
written  as  it  now  stands,  but  afterwards  its  theme 
was,  taken  as  a  duet  in  F  minor  for  Alto  voices 
(appendix),  to  which  is  added  a  chorus  on  the 
words,  '  Break  forth  into  joy,'  after  which  the 
duet  is  resumed.  As  to  'Their  sound  is  gone 
out,'  these  words  were  originally  set  as  a  second 
strophe  to  '  How  beautiful  are  the  feet '  (in  its 
first  form  as  an  air) ;  they  were  then  set  as  a 
tenor  solo  (appendix),  which  opens  with  the 
same  theme  as  that  of  the  chorus  which  after- 
wards took  its  place,  and  which  was  ultimately 
embodied  in  the  work.  We  give  a  fao-simile  of 
Handel's  signature  at  the  end  of  this  MS.^ 


fi  -'^'M^- 


His  orchestration  sounds,  of  course,  scanty  to 
modem  ears.  The  balsmce  of  the  ordiestra  was 
very  different,  in  his  time,  from  what  it  is  now ; 
some  wind-instruments,  such  as  the  clarionet,  not 
being  yet  in  use,  while  others  were  then  employed 
in  greater  numbers ;  and  some  stringed  instru- 
ments were  included  that  are  now  obsolete.  The 
wind-instruments  were  certainly  more  prominent 
in  the  band  than  they  now  are ;  he  used  the  haut- 
bois  freely,  seeming  to  have  a  particular  affection 
for  them,  and  sometimes  employed  them  in  large 
numbers,  as  a  '  wind-band,'  in  '  The  Fireworks 
Music,'  etc.  He  made,  in  fact,  abundant  use 
of  all  the  materials  at  his  command,  and,  in  his 
own  day,  was  regarded  as  noisy  and  even  sensa- 
tional. He  was  said  to  sigh  for  a  cannon 
(worthy,  this,  of  Berlioz  in  later  times);  and 
there  is  extant  a  caricature  of  him,  by  GJoupy, 
representing  him  at  the  organ,  with  a  boar's  head 


and  enormous  tusks  (alluding  to  his  passionate 
temper)  ;  the  room  is  strewn  with  horns,  trum* 
pets,  and  kettle-drums;  further  off  are  visible 
a  donkey  braying,  and  a  battery  of  artillery, 
which  is  fired  by  the  blazing  music  of  the 
organist ! '  Mozart  reinstrumented  much  of  the 
'Messiah,'  to  suit  the  more  modem  orchestra; 
and  he,  as  well  as  Mendelssohn  and  other  mu- 
sicians, have  virritten  similar  additional  accom- 
paniments to  several  of  the  other  Oratorios  and 
Ci^tatas.   [See  Additional  Accompaniments.] 

*  Th«  flgoTe  which  Immediately  preeedss  the  date  If  tiie  old 
utroloffical  or  ebemlcaJ  ligii  for  Satuni.  denoting  Saturday. 
Handel  wai  In  the  frequent  habit  of  Introducing  theae  slgni  Into  hb 
dates. 

>  cannons  irera  oaed  at  the  Crystal  Palace,  on  one  occasion,  iHth  no 
bad  oflTect,  and  also  at  the  Festival  at  Boston,  U.  8.  On  one  occasion, 
Handel  Is  said  to  have  exclaimed,  during  the  performance  of  one  of  his 
choruses, '  Oh  that  I  bad  a  cannon  I '  Sheridan,  in  an  early  burletta, 
'  Jupiter,'  makes  one  of  his  characters  say.  when  a  pistol  has  been  fired 
by  way  ol  eHiect,  *  This  hint  1  took  from  Handel '  (Tewnaend). 


654 


SLVNDEL. 


HAKDEL. 


It  is  as  a  vocal  and,  above  all,  as  a  choral 
writer,  that  Handel  is  supreme.  No  one  ever 
developed  the  resources  of  the  chorus  as  he  did  ; 
and  his  compositions  of  this  class  remain  to  this 
day  unapproachable.  No  one,  before  or  since, 
has  so  well  understood  how  to  extract  from  a 
body  of  voices  such  grand  results  by  such  art- 
fully-simple means  as  those  he  used.  As  an 
example  of  the  union  of  broad  effect  with  science, 
the  chorus '  £nvy  1  eldest- bom  of  hell !  *  in  '  Saul* 
may  be  mentioned.  On  the  unskilled  hearer  this 
produces  the  impression  of  a  free  composition  in 
the  rondo-form,  with  a  strongly-contrasted  second 
stram,  and  a  very  remarkable  and  telling  accom- 
paniment. Each  phrase  seems  sugs^ested  by  the 
words  that  are  sung;  while,  in  iact,  the  voices 
move,  in  strict  canonic  imitation,  on  a  ground- 
bass  which,  itself  one  bar  in  len^h,  recurs,  at 
the  outset,  sixteen  times  without  intermission. 
As  specimens  of  descriptive  choral  writing,  the 
grand  chains  of  choruses  in  *  Israel'  and  in  *  Solo- 
mon* are  unmatched. 

Handel's  songs,  though  conventional  in  form, 
are  so  varied  in  idea,  so  melodious,  and  so  vocally- 
expressive,  that  it  is  hard  to  believe  Mattheaon's 
statement,  that  in  his  early  years,  though  un- 
rivalled as  a  contrapuntist,  he  was  deficient  in 
melody.  The  vein  must  always  have  been  present 
in  him ;  but  it  is  not  unlikely  that  the  influence 
of  Reiser  and,  subsequently,  of  Steffani,  gave  a 
powerful  and  a  happy  impetus  to  his  genius  in 
this  direction.  It  is  nearly  certain,  too,  that  his 
experience  of  Italian  music  and  singers,  and  his 
long  career  as  an  operatic  composer,  had  the 
eflect  of  influencing  his  subsequent  treatment  of 
sacred  subjects,  leading  him  to  give  to  the  words 
their  natural  dramatic  expression,  and  to  over- 
step the  bounds  of  stiff  conventional  formality. 

We  have  remarked  that  he  ofVen  drew  themes 
for  his  choruses  from  his  instrumental  pieces; 
beside  this,  he  used  portions  of  his  earlier  vocal 
compositions  in  writing  his  later  works.  Thus, 
four  choruses  in  the  '  Messiah*  were  taken  from 
the  '  Chamber  Duets' ;  so  was  the  second  part 
of  the  chorus  'Wretched  lovers  1*  in  *Acis*; 
the  '  Magnificat,*  ^  furnished  subjects  for  several 
choruses  in  'Israel.'  It  is,  however,  an  undeniable 
fact  that,  besidia  repeating  himself,  he  drew 
largely  and  unhesitatingly  on  the  resources  of 

1  It  has  been  douMad  whether  this  'MagnlflcAt'  was  mlly  the  ori- 
ginal work  of  MandeU  on  the  tfround  of  a  M8.  copy  (Tciy  Incurrect)  in 
the  iibrarr  of  the  Sacred  Harmonic  Society,  having  the  words '  del  U' 
Sig'.ErIm'  at  the  head  of  the  first  pfl«fl.  This  US.,  however,  is  by 
an  English  hand ;  '  del '  does  not  imply  necea^arlly  the  authorship  of 
Krba,as '  dal '  wonld  have  done ;  and  the  MS.  is  on  English  (Whatman) 
paper,  and  later  in  date  than  the  MS.  of  the  same  work,  in  Handel's 
auUigraph,  which  bin  Buckingham  Palace.  The  latter  is  not,  as  M. 
BchcDlcber  thought,  on  the  thick  paper  used  by  Handel  in  Italy,  but  on 
Kngllsh  paper  and  in  the  hand  he  wrote  about  the  time  of  the  com- 
position of  the  '  Messiah.'  It  is  almost  inconceivable  that  he,  having  an 
amanuensis,  should,  at  that  time,  copy  entire  the  unknovm  work  of  an 
almost  unknown  compoMr,  though  we  may  admit  that  he  would  have 
condescended  to  borrow  firom  It.  The  work  Is  among  a  number  of 
sketches  and  rough  draughts  of  Handel's  own.  ideas  noted  and  com- 
pof  Itloas  projected  by  him,  some  of  which  have,  others  have  not,  been 
carried  out  to  completion. 

There  are  but  two  persons  of  the  name  of  Erba.DlonIsloan(l  Giorgio, 
mentioned  by  the  biographers  of  musicians.  The  former,  a  Milan- 
ese, flourished  about  l(i90:  but  few  of  his  compositions  have  been 
thought  worthy  of  being  chronicled.  The  latter,  a  violinist  of  Milan, 
according  to  some  writers,  or  of  Borne,  according  to  others,  was  the 
anthor  of  some  pieces  for  his  own  instmm<int.  It  Is  doubtful  whether 
either  uf  these  artists  deserved,  as  au  ecelesla4tlc.  the  title  of '  BA.' 


his  predecessors  and  contemporaries.    And  yet 
his  own  powers  of  invention  were  such  as  ma»t 
preclude  the  supposition  tluit  he  was   driven 
by  lack  of  ideas  to  steal  those  of  other  people. 
In  those  days  there  were  many  forms  of  borrowing 
which  were  not  regarded  as  thefts.     Wlien  we 
find,  for  instance,  that  the  chorus  just  mentionefl, 
'  Wretched  lovers/  has  for  its  first  theme  the 
subject  of  a  fiigue  of  Bach's,  that  one  of  the 
most  charming  of  the  Chamber  Duets  was  taken 
from  a  similar  duet  by  Steffani,  that  the  subject 
of  the  clavier-fugue  in  Bb  (afterwards  used  for 
the  third  movement  of  the  second  Hautbois- 
ooncerto)  was  borrowed  note  for  note   from  a 
canon  by  Turini,  that,  among  the  subjects  which 
form  the  groundwork  of  many  of  his  choruses, 
them^  are  to  be  found,  taken  firom  the  works  of 
Leo,  Carissimi,  Peigolesi,  Graun,   Muffat,  Cal- 
dara,  and  'others, — it  can  only  be  urged  that  in 
an  age  of  conventionality,  when  musical  training 
consisted  solely  of  exercise  in  the   contrapuntal 
treatment  of  given   themes,  originality  of  idea 
did  not  hold  the  place  it  holds  now.     Snch 
themes  became  common  property ;  some  of  them 
might  even  have  been  given    to    Handel   by 
Zachau,  in  the  days  when  his  weekly  exercise 
consisted  of  a  sacred  motet,  and  he  would  have 
regarded  them  as  a  preacher  would  regard  a 
text) — merely  as  a  p^  on  which  he  or  any  c^er 
man  might  hang  a  homily.      But  Handel  did 
not  stop  here.     He  seems  to  have  looked  upon 
his  own  work  as  the  embodiment,  as  well  as  the 
culmination,  of  all  existing  music,  and  therefore 
to   have    employed    without    scruple   all    such 
existing  material  as  he  thought  worthy  to  serve 
his  purpose.     '  It  is  certain  *  (to  quote  a  dis- 
tinguished writer  of  our  own  day)  *  that  many  of 
the  musical  forms  of  expression  which  the  un- 
technical   man   keara   and   admires    in   a   per- 
fiinnance  of  one  of  the  works  of  Handd,  the 
technical  man  may  see  in  the  written  sooi^es  of 
his  predece({sors ;  and  that  innumerable  subjects, 
harmonic  progressions,  points  of  imitation,  se- 
quences, etc.,  which  the  unlearned  are  accus- 
tomed to  admire  (and  with  reaaon)  in  Handel, 
are  no  more  the  invention  of  that  master  than 
they  are  of  Auber  or  Rossini.*     In  some  cases, 
passages  of  considerable  length,  and  even  entire 
movements,  were  appropriated  more  or  less  un- 
altered by  Handel.     Two  compositions  we  may 
quote  especially,   as  having  been  largely  laid 
under  contribution  for  some  of  his  best-known 
works.  One  is  the  Te  Deum  by  Francesco  Antonio 
Uria  or  Urio.     No  less  than  nine  movements  in 
the  'Dettingen  Te  Deum  *  and  six  in  the  oratorio 
'Saul'  are  founded  wholly  or  in  part  on  themes, 
and  contain  long  passages,  taken  firom  this  work. 
The  other  is  a  very  curious  piece  by  Alessandro 
Stradella,  unpublished,  and  therefore  inaccessible 
to  musicians  in  general.     It  is  a  serenade,  in 
the  dramatic  form,  for  three  voices  and  a  double 
orchestra  (of  strings).    This  has  been  largely 
used  by  Handel  for  more  than  one  of  his  w<M'kB, 
but  chiefly   for   '  Israd    in    Egypt,*   in   which 
instances  occur  of  large  portions  (in  one  instance 

3  Bee  Dr.  Crotch's  LeeturBS.  p.  ISa, 


V 


!}^ 


HANDEL. 

as  much  as  27  bora)  bemg  transferred 
bodily  to  his  score  K  *  Israel  in  I^fjpt '  contains 
another  still  more  flag^rant  appropriation,  the 
transfer  of  an  Oigan  Canzooa  by  Jobann  Caspar 
Kerl  to  the  Chorus  '  Egypt  was  glad/  the  only 
change  being  that  of  the  key,  from  D  minor 
to  £  minor.  The  Canzona  is  printed  by  Sir 
John  Hawkins  (ohap.  124),  so  that  any  reader 
may  jndge  for  himself. 

That  such  wholesale  pilfering  as  this  should 
have  been  poBsible  or  even  conceivable,  in  a  fact 
which  points  to  a  very  different  standard  of 
artistic  morality  from  that  of  the  present  day. 
Might,  in  fact,  was  right.  After  acknowledging 
this,  it  is,  at  first,  hard  to  see  why  so  great  an  out- 
cry should  have  be«i  made  against  Buononcini 
for  his  theft.  The  difference  seems  to  be  that 
the  latter  thought  it  sufficient  to  copy  another 
man^s  work,  without  even  attempting  to  set  it  in 
any  framework  of  his  own.  In  Handers  case,  the 
greater  pcurt  of  the  music  he  '  adopted  *  was,  no 
doubt,  saved  from  oblivion  by  the  fact  of  its 
inclusion  in  his  works.  The  oxdy  possible  justifi- 
cation of  the  proceeding  is  afforded  by  success. 

Among  the  minor  instances  of  appropriation 
by  Handel  of  other  men's  themes,  it  has  been 
alleged  that  the  popular  air  known  as  'The' 
Harmonious  Blacksmith,'  which  figures  (with 
variations)  in  Handel's  'Suites  de  Pieces,*  was 
the  composition  of  Wagenseil,  or  of  some  still 
older  and  less  known  composer.  There  was 
republished  at  Paris  a  version  of  it,  adapted  to 
words  by  Clement  Marot,  which  was  said  to  be 
its  original  form  ;  but  no  copy  of  the  air,  in  any 
form,  is  extant  of  an  earlier  date  than  the  set  of 
'  Suites  de  Piuses '  in  which  it  appears ;  there  is, 
therefore,  absolutely  nothing  to  show  that  it  is 
not  the  work  of  Handel. 

In  any  case,  musical  plagiarism  is  hard  to  define. 
The  gamut  is  limited ;  similarity  of  thought  is 
frequent,  and  coincidence  of  expression  must  be 
sometimes  inevitable  between  composers  of  the 
same  period.  Justification  can  only  be  afforded 
by  success.  We  are  irresistibly  reminded  of  the 
passage  in  which  Heine  speaks  of  the  philo> 
Bopher  Schelling,  who  complained  that  Hegel 
had  stolen  his  ideas :  '  He  was  like  a  shoemaker 
accusing  another  shoemaker  of  having  taken  his 

leather  and  made  hoots  with  it Nothing  is 

more  absurd  than  the  assumed  right  of  property 
in  ideas.  H^el  certainly  used  many  of  Schel- 
ling's  ideas  in  his  philosophy,  but  Schelling  him- 
self never  could  have  done  anything  with  them.* 
One  man  there  was, — J.  S.  Bach, — whose  fer- 
tility was  so  inexhaustible  that  he  invented  his 
own  fugal  subjects,  and  did  not  draw  on  the 
common  stock.  In  this  he  was, — with  all  his 
severe  science  and  seeming  formality, — the  true 
precursor  of  Beethoven  and  the  modem  romantic 
school  of  instrumental  music ;  while  Handel,  in 
Bpite  of  his  breadth  and  flow  of  melody,  and  the 
picturesqueness  of  his  grand  yet  simple  concep* 
tions,  was  the  glorified  apotheosis  of  the  purely 
contrapuntal,  vocal  music. 

>  See  two  puprni  by  Mr.  S.  Froat  in  the  Moothlr  Mosieal  Beoord  for 
Not.  and  Dec  1S7L 


HANDEL. 


655 


No  biographer  of  Bach  or  of  Handel  can  re- 
frain from  drawing  a  parallel  between  these  two 
gigantic,  contemporary  masters,  who  never  met,  ! 
but  who,  in  their  respective  spheres,  united  in  t 
their  own  persons  all  the  influences  and  tenden- 
cies of  modem  thought,  which  brought  about  the 
revolution  from  the  art  of  Palestrina  to  the  art 
of  Beethoven. 

Handel*s  influence  over  the  men  who  were  his 
contemporaries  was  great ;  yet  he  founded  no 
school.  All  his  works  were  performed  as  soon  as 
they  were  written ;  and,  thanks  to  the  constant 
opportunity  thus  afforded  to  him  of  comparing 
lus  conceptions  with  their  realisation,  his  growth 
of  mind  was  such  that  he  surpassed  himself  more 
rapidly  than  he  influenced  others.  That  which 
is  imitable  in  his  work  is  simply  the  result  of 
certain  forms  of  expression  that  he  used  because 
he  found  them  ready  to  his  hand ;  that  which  is 
his  own  is  inimitable.  His  oratorios  are,  in  their 
own  style,  as  unapproached  now  as  ever;  he 
Fcems  to  have  exhausted  what  art  can  do  in  this 
direction ;  but  he  has  not  swayed  the  minds  of 
modem  composers  as  Bach  has  done. 

Bach  lived  and  wrote  in  retirement ;  a  small 
proportion  only  of  his  works  was  published  in 
his  lifetime,  nor  did  he  take  into  account  their 
effect  on  the  public  mind,  or  feel  the  public 
pulse,  as  Handel  did.  It  is  strange  that  he  in 
his  seclopion  should  have  preserved  a  keen  in- 
terest in  the  music  of  other  men,  whereas  Han- 
del's shell  of  artistic  egotism  seemed  hardened 
by  the  rough  contact  of  the  world  and  society ; 
music  for  him  existed  only  in  his  own  works. 
Bach  was  very  anxious  to  make  the  acquaintance 
of  his  famous  oontempomry ;  and,  on  two  occa- 
sions, when  the  latter  visited  Halle,  made  efforts 
to  meet  him,  but  without  success.  When  Handel 
went  thither  the  third  time,  Bach  was  dead. 

Bach's  influence  began « to  be  felt  some  fifty 
years  after  his  death,  when  the  treasures  he  had 
left  behind  him  were  first  brought  to  light.  He 
was  a  thinker  who  traced  ideas  to  their  source, 
an  idealist  who  worshipped  abstract  truth  for  its 
own  sake.  His  works  are  close  chains  of  thought 
and  reasoning,  prompted  by  profound  feeling,  and 
infinitely  snggestive ;  from  the  various  sta^ng- 
points  which  they  offer,  we  go  on  arguing  to  this  • 
day;  but  they  appeal  chiefly  to  the  reflective 
mind.  They  are  no  less  complete  as  wholes  than 
the  worksof  Handel,  butthey  arefiir  morecomplez; 
and  to  perceive  their  unity  requires  a  broad  scope 
of  judgment,  not  possessed  by  every  hearer. 

Handel's  works  appeal  to  all  alike.  He  WM 
a  man  of  action;  what  he  felt  and  what  he 
saw  he  painted,  but  did  not  analyse.  The  dif- 
ference is  the  same  as  that  which  lies  between  a 
great  philosopher  and  a  great  epic  poet, — be- 
tween Plato  and  Homer.  Who  shall  say  whether 
is  greater?  For  traces  of  the  influence  of  the 
one  we  must  seek  deeper  and  look  farther,  but 
the  power  of  the  other  is  more  consciously  felt 
and  more  universally  recognised. 

'The  figure  of  Handel,'  says  Bumey,  who 
knew  him  well,  'was  laige,  and  he  was  somewhat 
unwieldy  in  his  actions ;  but  his  countenance  was 


656 


HANDEL. 


full  of  fire  and  dignitj.  Eii  genenl  look  va» 
touiewhat  heavy  and  sour,  but  when  he  did 
■mile  it  wis  the  sun  bun^Dg  out  of  a  black 
cloud.  There  wse  a  auddea  fla>ih  of  intelligence, 
wit.Bndgoodhumour.  be&mint^in  his  countenuice 
which  I  hardly  ever  ww  in  any  other,"  '  Hi> 
smile  waa  like  heaven.'  To  this  Hawkini  adds 
that  'hiB  gait  wu  ever  uuntering,  with  lome- 
what  of  a  rocking  motion.' 

Of  portrait*  of  Handel  there  is  a  multitude. 
Several  were  executed  in  marble  by  Boubilliac; 
one,  a  bust,  presented  to  George  III,  n-ith  the 
original  MSS.  and  Handel 'b  harpuchord,'  by 
Smith;  another,  also  a  bust  (1738),  bought  by 
Banleman  at  the  Bale  of  the  properticfl  at  Vaui- 
hall,  and  bought  at  his  sale  again  by  Mr.  Vot- 
luck,  who  presented  it  to  the  Foundling  Hospital ; 
another,  a  hust.  in  the  collection  of  Mr.  Allied 
HorriBoni  fourthly,  the  Vuuxhall  statue  (1758), 
now  the  property  of  the  Saered  Harmonic  Society, 
Roubilliac's  first  work,  id  which  the  aModalion 
of  the  commonplace  dress  uf  the  ti);ure  with  the 
lyre  and  naked  Cu]jid  is  very  ludicrous  1  and 
lastly,  the  sUtue  in  the  monument  io  West- 
niiDBter  Abliey.  which,  in  spite  of  the  French 
affectation  of  the  pc«e,  is  one  of  the  beat  portraits 
of  the  master,  the  head  having  been  taken  &otn 
a  mould  of  his  bee  taken  after  death  by  Rou- 
billiac,  and  said  to  have  been  afterwards  touched 
upon  by  him.  the  eyes  opened,  etc.  A  repro- 
ductJon  of  this  occurs  in  'The  Mirror'  for  July 
19,  1S34,  &om  whiuh  it  is  here  en(,'raved. 


Of  pictures,  the  one  by  Denner,  a  vei^  nnsatis- 
factory  portrait,  was  given  by  Lady  Rivers  to 
the  Sacred  Harmonic  Society:  another,  bardlj 
more  trustworthy,  by  Q.  A.  Wolffgang,  is  in  the 
ooUection  of  Mr.  Snoxell.  Two  by  Hudson  are  in 
the  possession  of  the  Royal  Society  of  Musiciaiu, 
while  another,  said  to  be  the  original,  waa  de- 
scribed by  Forstemann  (1844)  as  belonging  to 
the  granddaughters  of  Handel's  niece,  Joharma 
Friderica  Florchen,  at  Halle.  It  is  doubtful  if 
this  latter  exists.  There  Is,  however,  an  un- 
doubted original  by  Hudson,  signed.  1756.  at 
Gopsall,  and  a  duplicate  of  it,  slightly  different, 
In  Buckingham  Palace.    Another,  a  capital  little 


HANDEL. 

head  by  Grafoni,  is  in  the  EltzwiOiam  Unteam 
at  Cambridge,  to  which  it  was  presenCed  bj 
the  Rev.  E.  Ward.  A  pwtrait  by  ThornhiU  is  also 
in  that  Museum,  and  another  by  the  same  ( 1 7  jo), 
represenljnx  Handel  at  the  organ,  said  to  have 
been  painted  for  the  Doke  of  Chando^  was  in 
the  possession  of  the  late  Mr.  EUetton.  lAiXij, 
a  little  picture,  signed  'F.  Kyte,  1 741,' which  be- 
longed formerly  to  Mr.  Keith  Milnes,  who  gave  it 
to  Mr.  Rolfe,  &om  whose  heirs  it  pained  into  the 
possessiim  of  the  writer,  was  the  original  of 
Houbraken's  engraving,  and  probaMy  also  of 
that  by  Schmidt,  which  is  very  rare.  It  is 
re[iroduced  by  Hawkins,  who  pronoances  it  to 
be  '  the  ordy  good  one,  but  that  the  fcatum  are 
ti>o  prominent,' 

The  Vauxhall  statne  was  copied  by  Bsrtolcoi 
for  Dr.  Arnold's  edition  of  Handel's  works,  for 
which  Heath  engraved  an  apotheosis  for  which  the 

Krtrait  was  taken  &-om  another  picture  (swd  tebe) 
Hudtvin  in  Dr.  Arnold's  poasenion.  The  l>iul 
was  copied  by  Chambars  for  Mainw^ring's  '  lik 
of  Handel ; '  and  the  monument,  by  EMaltre.  Tor 
Bumey'a  'Couimemoration.'  Dsnoer's  picture 
was  engraved  by  E.  Harding  Ibr  the  '  Anecdotes 
of  G.  F.  Handel  and  J.  C.  Smith.'  HudKm'i 
portrait  at  Gopsall  was  copied  in  menotint.  and 
very  badly,  for  Dr.  Arnold's  edition,  and  again  eu- 
graved  by  Thompson,  and  others ;  the  picture 
belonging  to  the  Koyal  Society  of  Musidana  wu 
copied  in  mezzotint  by  J.  Faberin  1748,  andsgiin 
in  T  749,  the  first  being  now  very  tars.  This  wu 
copied  by  MiUer  (of  Dublin)  and  Hard;,  and  in 
line  hy  W.  Bromley.  Sichting,  and  ahoetof  minor 
artiste.  Ad  engraved  portrait  published  by 
Breitkopf  and  Hitrtel  is  also  scarce.  The  pictun 
by  G.  A.  Wolffgang  was  engraved  by  J.  G. 
Wolirpang  at  Balin,  the  name  being  ^«ll«i 
(in  the  Gnt  Btate)  IIENDEL.    A  good  )m>6K 


not  improbably  from  Mr.  Moiriaan' 
attached  to  the  word-books  of  the  '^~ 
of  1784,  of  which  the 
faithful  copy,  slightly  reduced,     n  c 
probaUy,   untrostwoitliy   lithogr^ 


HANDEL. 


HANDEL  COMMEMORATION.     657 


tithed  atYienna  byKOnike,  repreflenting  Handel 
without  a  wig.  There  is  an  unfinished  plate, 
sappoeed  to  be  unlqae,  whidi  repreeenta  him 
holding  a  scroll  of  music,  and  has  a  likeness  to 
the  portrait  by  Denner;  and  another,  almost 
uniquey  '£tch*d  by  D.  C.  Read  from  a  Picture 
by  Hogarth  in  Us  possession/  which  is  con- 
temptible as  a  portrait  and  as  a  work  of  art. 

Beside  these,  a  picture  said  to  be  by  Hogarth 
and  to  represent  Handel,  has  been  copied  in 
mezzotint  by  0.  Turner,  which  has  no  claim 
to  consideration  on  either  of  those  grounds. 

The  best  are  the  two  prints  by  Faber  and 
Houbraken. 

The  fcdlowing  is  a  list  of  his  works '  :— 


•^  lullaa  OraSorios ;  *  II  Trionfo  del 

Tempo  e  dal  dblncMiuo  *  (1707^), 
and  *  Ia  BMarreilonK'  aTOej. 
-  1  O-iTwrnn  •  Fusion '  0717-18). 
^T»  Ei^Udi  OratoriM :  '  Bather '  * 
ilTID).  *  Deborah '  *  (1733). '  Atba- 
lfs*«c  a72BX'Baur*n7SB).-I»- 
nel '  4E  aiao. '  XeMlah '  *  a7«l). 
'Sftmaon'*  a74U  'Jowph'* 
a7«;.  'HensolM'*  ai*i),  'Bel- 
shaxzAT ' « (1744). '  Oocwlonal '  * 
<  I746>,  *  Judas  UaoeabaBua ' « 
aT40i.  'AlAzaoderBalus'*  0747). 
'Joshua'*  (1747). 'SolonoD'* 
(1748). '  BoMona '  *  (1748>. '  Theo- 
dora «  a74»>.'Jephtha'4c  (1751). 
'  Trlumiih  of  Time  tod  Truth ' 
a757). 

BTe  DettOM:  Ttreoht'*  QTIS). 
3  'Cliandos'«  (171R^).  Queen 
I'aroUne'ii*  (71737),  'Defttlng^ 
en'9»<1748). 

(Pmma;  'PIztt  Domlaiu'*  et 
'Gloria' QTD?).  'Iattdate'*el 
'Gloria*  mm.  'Laadate'  et 
Ok>c1a'a7OT-«).  'Nisi  Domlnns' 
(1707-*).  Utredit  'Jubilate' 
(1713).  Anaasement  of  Utrecht 
'jQb«ateV?1727). 

»  Anthems:  19  'Chandos  '(*  10) 
(1711^90).  4  'Coronation'  *  0787). 
1  'Weddtaf'  (performed  17S8>, 
1  'Fumiral'*  (1787).  1  'Oettli- 
flen*  (174a).  1  '7enDdni«  Boe- 
pttara74»). 

Arraniementfl  of  4  of  the  'Chan- 
doe'  Anibems  for  the  Chapel 
Bo5al(?IT27>. 

Some  Bedts.  In  a  Weddlnr  An- 
them (pastlodo)  for  the  Marrlsce 
of  the  PrloeesH  Anne,  taken  from 
Athalia.  and  ttom  the  serenth 
Chandos  Anthem  0734). 

1 1fotet:  'SDete. Tentl* «  OTO?.*). 

Hisoellaneoos  aaeied :  a '  Gloria '  * 
«17OT-»), '  Kyite  •  0707-fl). '  Ksgnl- 
fieat '  (?  ITOr-O) ;  8  Hymns,  '  The 
Innutkm.*  '  DctlrUig  to  lore.' 
and  on '  The  Besnneetlon'  0742). 

S  German  Operss ; '  Almira '  (17M). 
'liero*  (performed  17«|),  'rio- 
rlndo  and  Daphne '  0708). 

88  Italian  Operu;   'Boderigo'* 
QTOS). '  A«rfpplna**07OT).'  Mlla' 
(170rr-8).  "JBa^tL'  ( 1711). '  Pastor 
(IrH^^Teeeo 


IMo' 


0712). 
COrlsna*  a  Ham- 
burs)  (71710).  'Badamisto'* 
(*  ZanoUa  'at  HembufR)  (?  1730). 
' M luio  Sewrola'  *  (iTU). '  Ftori- 
dante '  t^.jOlTZl).  *  Ottone'  * 
(ITW. 'Flavlo'*  OTJJX'CluHo 
C»mn'*irm^  'Tai^rlano'* 
(1794).  'Xodellnda'*  0785>, 
'  Seiptone  *  *  0788).  '  Aleawn- 
dfo'«    (or    'Boiana')    0728). 


'Admeto*  (?17m  *Bleeardo 
1«.**  (1727).  'SIroe'*  (1798). 
'Tolomeo'*  0798).  'Lotarlo'* 
C Judith'  at  HambnrB)  07V). 
'I'artenope'*  (1790X  'Foro'« 
CCteoflda'  at  Hamburg)  07S1X 
'Xrio'«  (71781).  '  Bosarme'* 
0732),  'Oriando'*  (1732).  'Arl- 
anna'«  (1733).  'Ariodaote'* 
0734),  'Alofaia'*  07SS).  Ata^ 
lantt'*  (1738),  'Glustlno'  * 
0738). '  Armlnio '  *  (1798), '  Bere- 
nice'* (1787),  'Faramondo'* 
0737),  *  Serae '  *  (1738).  Airs  In 
'Jupiter  In  Arfos*  (pastkxlo) 
0798).  'Imeneo'*  (173840), 
*Deldamla'*(1740). 

Fregmeots  of  'Flarlo  Ollbrlo^*  an 
opera  which  Handel  abandoned 
after  the  beginning.  'Ludo 
Vero '  was  a  mare  pastlodo  (1747) 
eontalntaig  not  one  note  of  new 
music. 

Frscmantsof 'Titus* (71731):  Be- 
dts.  to  'Semlramide,'  'Arbace,' 
and  'Oalo  Fabrizio'  (pastiod. 
1733-4) ;  S  pieces  and  an  OYertura 
to  'Orestes'  (pastlodo.  1734); 
Orertore  to '  Alessandro  Serero ' 
(pesUodo,  1738):  and  fregments 
of  en  Opera  without  name  or 


1  Kngllsh  Opera,  'Alcestes'  0749) 
called  'Aleldes'  by  Dr.  Arnold, 
partly  used  In  'The  Choice  of 
Hercules.' 

2  lUUaa  Serenatas;  'Ad.  Galatea, 
e  FoUfemo' «  (1708).  13  Aln  and 
Choruses  for  'Punasso  in  Festa ' 
(performed  1734), 

9  Kngllsh  Serenatas;  *Ads  and 
Galatea'*  0721),  *Semele** 
0743). 

1  Snfllsh  Interhide.  'The  Oholoe 
ofaerailee'*O780X 

1  Italian  Intermeuo,'  Tnpdehofe* 
(performed.  1734). 

4  Odes;  Queen  Anne's  'Birthday 
Ode'*  0712).  'Alexander's 
Feast'*  0738),  'Diyden's Ode.' 
on  'St  Cedlto's  Day'*  (1739). 
'L'Allegro.  n  Fenseroeob  ed  U 
Moderate'*  0740). 

2 (Hiamber  Trios :  *Se  tu  non  lasd 
amore,' '  ()uel  flor  ehe  all*  alba 
ride '0706). 

24  Chamber  Duets;  ISeaned'Hao- 
over  Duets '  (1711) :  2,  *  QmX  Sor,' 
'Mo.  dl  Yol*  0741):  3.  'Beato  In 
Ter.'  *Nob  dl  vol,'  'Fronda  legw 
glera'  0742);  1,  'Qual  saria' 
0746) :  &, '  Oiii  nel  Tartarri.' '  Caro 
antor'  O).  'Caro  antor'  (t),  'Ah. 
nella  sorte,'  'Spero  Indamo* 
(n.  dO. 

1  Italieik  Duet,  'L'amore  inmw 


1  Where  the  date  of  composition  is  not  eren  approximately  known, 
that  of  pubHeatlon  has  been  given.  An  asterisk  is  added  to  the 
aames  of  the  works  the  autographs  of  which  are  prcmrred  In  Buck- 
ingham Faiaoe.  Some  of  the  volumes  In  that  collection  contain 
Antheme.  Duets,  Sketches.  Fragments.  Sonatas,  Ac,  Impoislble  to 
dnlgnate  with  an  asterisk  In  the  above  abort  list,  The  writer  desires 
tn  mxnnm  hta  obllgatkin  to  M.  Behcelcher  for  the  first  draft  of  this 
UNf ul  catakiguie. 


eente.'  unpublished  and  lost 
(performed  March  28. 179S). 

94  Cantatas;  1,  'Favion,'  German 
0704):  12.  called  'Hanover' 
0711);  79  wfttten  In  Ittly.  on- 
published  0706-12):  2.  'Cedlla, 
Tolgi.' '  Bd  del  cielo '  0736>. 

7  French  Songs  (1707-9). 

19  English  Songs  (v.dj,  found  se- 
parate or  tn  various  Bong-books 
071l»-17&6). 

1  English  Air.  unpublished.  'For 
ever  let  his  sacred  raptures' 
(n.  d.). 

16  Italian  Ain  and  Canzonets,  on- 
published  (n.  d.). 

IN8TBUMENTAL 
6  Sonatas  (Trios  >.  lost,  0894). 
12  Sonatas  (Boloe).    Op.  1  (pub- 
lished 1732). 
6Ponatas(Trio9X  Op.  2  (published 
1782). 

6  CkNiorrtos  (Hoboy).  Op.  8  (pub- 
lished 1734). 

1st  Set.  6  Organ  Omoerto«*  (7 
parts).    Op.  4  (published  1734). 

7  Sonatas  (Trtos).  Op.  6  (published 
1736). 

12  Grand  Concertos.*  Op.  6  0739. 

PublUhed  1739). 
tad  Set.  60f|an  OoDoartos*  CI 


with  7  Instrumental  parts)  (pub- 
lished 1741).  The  Instrumental 
paru  to  these  (published  1780). 
3rd  Set.  8  Organ  (Concertos*  (7 
Instiumen;tal  parte).  Op.  7  (1740- 
M.    Published  1701). 

3  Organ  Oonoertoe  (7  Instrumental 
parts)  (published  17B7)  (Arnold). 

(3oncertante  In  9>  parts  (1738), 
'  Water  Muslck '  in  7  parte  (1715). 

Tunes  in  the  'Alchymlst'  0732), 
'Forest  Music'  (1741'2),  'Fire- 
works Music'  *  0749).  Hornpipe 
O740X  Sonata  for  2  YloUns  0788). 
Sonata  In  6  parte  0738) ;  Sonata 
for  VioUn,  Sonata  for  Uoboy, 
Ylolln.  and  Vtola.  and  an  Over- 
ture (n.d.). 

MUSIC  FOB  HABP8I0H0BD. 

4  Pieces,  in  Holland  (71710). 
1st  Bet.  Suites  dePttees  (published 

1790). 

4  Mlnuete  and  a  Mardi  (published 
1720). 

2nd  Set.  Suttee  de  PIfaes  (published 
1738). 

8  Pieces  (published  1TB8).  4  Ptoces 
(published  18B0  by  the  German 
Handel  Society).  Six  Fugues  for 
Onntn  or  Harpsidiocd*  0720 
FttbUsbed  vnsi,         r J  M  1 

HANDEL,  COMMEMORATION  OF.  Early 
in  1 783  three  musical  amateurs.  Viscount  Fit^ 
William,  Sir  Watkin  Williams  Wynn,  and  Joah 
Bates,  conceived  the  idea  of  celebrating  the 
centenaiy  of  the  birth  of  Handel  (1684-5)  by 
perfonning  some  of  his  works  on  a  scale  then 
unprecedented  in  England.  The  sdieme  being 
supported  by  the  leat&ng  musical  professors  and 
the  Directors  of  the  Concert  of  Ancient  Music 
(who  undertook  the  airangement  of  the  per- 
formanoes),  and  warmly  entered  into  by  the 
King,  it  was  determined  to  cany  it  into  effect 
by  giving  two  performances  in  Westminster 
Abbey  (where  Handel  was  buried),  and  one  at 
the  Pantheon.  The  first  performance  was  given 
in  the  Abbey  on  Wednesday  morning,  May  a6, 
1784 ;  it  consisted  of  <  The  Dettingen  Te  Deum,* 
one  of  the  Coronation  Anthems,  one  of  the 
Chandos  Anthems,  part  of  the  Funeral  Anthem, 
and  a  few  other  fragments.  The  second  was  on 
Thursday  evening,  May  27,  at  the  Fantheon, 
and  comprised  various  songs  and  choruses,  sacred 
and  secular,  four  concertos  and  an  overture. 
The  third  was  at  the  Abbey  on  Saturday  morn- 
ing. May  29,  when  'Messiali'  was  given.  These 
performances  were  so  attractive  as  to  lead  to  a 
repetition  of  the  first  day's  musjc,  with  some 
little  variations,  at  the  Abbey,  on  Thursday 
morning,  June  3,  and  of  '  Messiah,'  at  the  same 
place,  on  Saturday  morning,  June  5.  The  or- 
chestob  (erected  at  the  west  end  of  the  nave,  and 
surmounted  by  an  oigan  built  for  the  occasion 
by  Qieen)  contained  525  performers,  viz.  59 
sopranos,  48  altos,  83  tenors,  and  84  basses; 
48  iirst  and  47  second  violins,  26  violas,  21 
violonoelloB,  15  double  basses,  6  flutes,  26  oboes^ 
26  bassoons,  i  double  bassoon,  12  trumpets, 
12  horns,  6  trombones,  4  drums,  and  the  con- 
ductor (at  the  organ),  Joah  Bates.  The  prin* 
dpal  vocalists,  who  are  included  in  the  above 
enumeration,  were  Madame  Mara,  Miss  Har- 
wood,  Miss  Cantelo,  Miss  Abrams,  Miss  The- 
odoeia  Abrams,  and  Signer  Bartolini ;  Rev.  Mr. 
Clerk,    Dyne,  and  Knyvett,  altos;    Harrison, 

Uu 


658     HANDEL  COMMEMORATION^. 


HlND£L«ES£LI£CHAFr. 


Norris,  and  Corfe,  tenon ;  BeUamy,  Ohunpnegs, 
Reinhold,  Matthews,  and  Tasca,  baases.  The 
orchestra  at  the  Pantheon  oonauted  of  200 
performers  selected  from  thoee  at  the  Abbey, 
and  also  included  Bignor  Pacchierotti  among  the 
principal  sopranos.  The  total  receipts  were 
£12,736  I2S.  lod.,  and  the  total  expenses  £5,450 
6«.  4d.,  leaving  a  surplus  of  £7,286  6*.  6d., 
whidi,  aft^  retaining  £286  68.  6d.  to  meet 
subsequent  demands,  was  divided  between  the 
Society  of  Musicians  (^£6,000),  and  the  West- 
minster Hospital  (£1,000).  A  mural  tablet 
recording  the  event  was  placed  in  the  Abbey 
above  Handel's  monument.  In  1 785  Dr.  Bumey 
published  a  quarto  volume  containing  an  Account 
of  the  Commemoration,  with  a  Sketch  of  the 
Life  of  Handel,  and  plates,  one  of  which  repre- 
■ent<  his  monument.  In  this  the  inscription  is 
altered  to  support  the  assertion  in  the  Life 
(made  upon  the  alleged  authority  of  Dr.  Warren, 
who  is  asserted  to  have  attended  Handel  in  his 
last  illness),  that  Handel  died  on  Good  Friday, 
April  13,  and  not  on  Saturday,  April  14,  175^- 
Assuming  Bumey  to  have  bdieved  tiie  unsup- 
ported statement  of  Dr.  Warren,  made  25  yean 
after  the  event,  in  preference  to  the  unanimous 
oontemporary  testimony  to  the  contrary,  stiU 
he  could  not  but  have  been  oonsoious  that  in 

Sutting  forth  that  engraving  of  the  monument 
e  was  circulating  a  misrepresentation.  The 
matter  is  important,  as  Bumey^s  date  has  been 
generally  accepted,  but  it  is  too  lengthy  to  be 
further  entered  upon  here.  The  evidence  proving 
Saturday,  April  14,  to  be  the  true  date  may  be 
seen  stated  in  the  Introduction  to  the  Word 
Book  of  the  Handel  Festival,  1862,  and  Notes 
and  Queries,  5rd  Series,  iii.  421. 

The  Commemoration  of  1 784  was  followed  by 
similar  meetings  at  the  Abbey,  with  more  per- 
formen,  in  1785,  86,  87,  and  91.  In  the  latter 
year  the  performen  are  said  to  have  numbered 
1068,  but  that  number  was  probably  made  up 
by  inserting  the  names  of  persons  who  perfiirmed 
alternately  with  othen,  so  that  the  numben  en- 
gaged in  any  one  performance  did  not  much 
exceed  those  on  the  former  occasions.  [W.  H.  H.] 

HANDEL  FESTIVAL.  In  1856  Mr.  R.  K. 
BowLBY  [see  that  name]  conceived  the  idea  of 
commemorating  the  genius  of  Handel  on  the 
centenary  (in  1859)  ^^  ^^b  death  by  performing 
some  of  his  works  on  a  scale  of  unprecedented 
magnitude.  On  Sept.  i,  1856,  he  communicated 
his  idea  to  the  Committee  of  the  Sacred  Har- 
monic Society,  by  whom  it  was  favourably  re- 
ceived. No  building  in  London  being  large 
enough  to  contain  the  necessary  orchestra,  the 
attention  of  the  Society  was  directed  towards  the 
Central  Transept  of  the  Crystal  Palace  (of  which 
they  had  already  had  experience  in  the  per- 
formance of  the  music  at  the  opening  of  the 
Palace,  May  10,  1854')  as  the  most  likely  place 
to  answer  the  desired  end.  The  Directon  of 
the  Crystal  Palace  Company  entered  warmly  into 
the  project,  and  it  was  determined  to  hold  a 
preliminary  festival  in  1857.  A  large  orchestra 
was  accordingly  erected,  with  a  grand  organ, 


built  by  Gray  and  Davison  ezprassly  for  the 
occasion.  With  the  choros  of  the  Society  as  a 
nucleus,  a  choir  of  apwaids  of  1 200  picked  idngen 
was  formed  4n  London,  which  was  supploBieated 
by  othen  finim  the  principal  towns  in  toe  United 
Kingdom  until  the  whdie  nnmberod  2000.  The 
band,  similarly  constituted,  nnmbered  3^.  The 
meeting,  under  the  title  of  *  The  Great  Handel 
Festivfd,*  was  held  on  Monday,  Wednesday,  and 
Friday,  15th,  17U1,  and  19th  June,  1857,  with 
a  pubUc  reheanal  on  the  preceding  Satorday. 
The  sole  direction  of  the  musical  sRaagemeDts 
was  committed  to  the  Society,  the  Company 
taking  charge  of  the  other  airangementa.  The 
oratorios  of  'Messiah,'  'Judas  Maocabeas,*  sad 
'  Israel  in  Egypt^'  were  performed,  the  psindpal 
singen  including  Clara  Novello,  Mias  Dolby, 
Mr.  Sims  Reeves  and  Herr  Formes,  and  the  con- 
ductor being  Mr.  (now  Sir  Michael)  Casts^  as 
conductor  of  the  Society. 

This  festival  having  established  the  fisct  that 
the  Central  Transept  of  the  Palace  migfat  be 
made  a  fitting  locality  for  the  Commanoratum  in 
1859,  it  took  place  under  the  same  management, 
on  the  20th.  22nd,  and  24th  June,  'Messiah* 
and  '  Israel  in  Egypt*  again  occupying  the  first 
and  third  days,  the  second  being  devoted  to  'The 
Dettingen  Te  Deum*  and  a  selection  from  various 
works.  The  band  was  augmented  to  460,  and 
the  chorus  to  upwards  of  2,700  performen ;  Mr. 
Costa  was  conductor,  and  the  principal  singers 
included  Clara  Novello,  Sims  Reeves,  and  Si^Kw 
BeUetti.  The  orchestra  was  improved  by  inclosing 
it  with  wooden  screens,  and  covering  it  in  with  an 
enormous  awning  of  oiled  and  hardened  canvas. 
The  three  performances  and  the  public  zehearsal 
were  remarkably  successful,  and  attracted  81,319 
visiton. 

This  snooesB  led  to  the  determination  that 
similar  festivals    should    be    held  periodically 
under  the  name  of  the  Triennial  Hanitel  Festival. 
Six  have  been  held,  viz.  in  1862,  1865,  1868, 
1871,  1874,  and  1877.    The  first  and  third  days 
have  invariably  been  occupied  by  *  Messiah'  and 
'  Israel,'  the  intermediate  days  beiqg  devoted  to 
varied  selections,  including  'The  Dettingen  Te 
Deum*  in  1871 ;  the  Coronation  Anthems, '  Zadok 
the  Priest*  (1865),  and  'The  kmg  shall  leioioe' 
(1877) ;  and  the  First,  Fourth,  and  Second  Organ 
Concertos  respectively  in  1871,  1874,  and  1877. 
The   singen  who  appeared  at   these  festivals 
were  the  most  eminent  then  before  the  public. 
The  Sacred  Harmonic  Society  has  been  solely 
responsible  for  the  peribrmances,  which  have 
been  all  conducted  by  Sir  M.  Costa  as  the  con- 
ductor of  the  Sodety.    The  band  was  augmented 
in  1865  to  495  pexformen.  and  the  charus  in 
1874  to  nearly   3,200.     The   sonority  of  the 
orchestra  was  increased  by  the  erection  in  1862 
of  a  boarded  roof  covering  in  the  whole  space 
occupied  by  the  performers,  and  exten<]Uiig  24 
feet  beyond  the  front.  [W.H.H.] 

HANDEL-GESELLSCHAFT.  Asode^for 
the  publicatiou  of  a  critiod  and  uniform  editioa 
of  the  whole  of  Handers  works  in  full  score, 
with  pianoforte  arrangement  and  German  tcaas* 


HlNDEL^ESELLSCHAFT. 

Udcm  Off  tbe  -text.  The  Prospeotus  is  dated  15 
Aug.  1856,  and  has  35  names  appended  to  it, 
imdacUng  thoae  of  Ohiyntader,  Dehn,  Franz,  Grer- 
vinnsy  Hauptmann,  Hiller,  Jahn,  Liszt,  Meyer- 
beer, Moscheles,  Neilkomm,  Kietz.  A  second 
Prospectus  announcing  the  first  year's  issue  is 
dated  Leipsig,  i  June  1859,  and  signed  by  the 
DireetoHumf  yiz.  Rietz,  Hauptmann,  Chrysander, 
GcrvinuB,  Breitkopf  A  Hartel.  For  the  editing — 
which  is  of  the  most  thcnrough  character,  and 
baaed  in  every  possible  case  on  the  autograph 
M3S.  —  Dr.  Gfaiysander  is  understood  to  be 
responsible ;  and  the  execution  is  all  that  might 
be  expected  firom  tiie  well-known  effioienoe  and 
taste  of  the  firm  of  Breitkopf  &,  Hartel,  by  whom 
the  volumes  are  issued.  The  annual  subsoription 
is  10  thalers,  or  30s. 

The  following  works  have  been  published,  and 
it  is  intended  to  complete  the  whole  by  1885,  the 
second  centenary  of  Handel's  birth.  (Those 
marked  with  a  *  are  published  for  the  first 
time.) 

L  UHL  1.  BntniMh.  1  Bupikiiord  norin,  8  flaltet  de  FUflM  ate. 

S.  Aota. 
2.  UBOl   a.  Hereulaa.      6.  Athallah.     flL  Allegro,  Tvomnao,  And 

Hedentow 
Jl  IMO.   7.  Beowie.   8.  Tkeodon.   A.  4cFMrioD(SlJobn). 
4.  10SL   VX  ftiwwn.   11.  FuoeraJ  Anthem.   12.  Alexander's  Feftst. 
fik  1MB.   18l  ShiL   14.  Coronttkm  Anihenu.   15.  *Ptnion  (Srodcei). 
e.  UtS.   M.  lameL    17.  Joihii*.   1&  Cboice  of  Hereolet. 
7.  1864.   IS.  BebliMttr.   SD.  Time  and  Truth.    8L  Oboe  Oonoertoe. 

a  ISGBw  n.  JudM.  &  Odefor  8.Caeina'iDar.  91  4cn Tftaodb del 

Tempo.   i&  Dcttliicen  Te  Dcum. 
V.  UWL   9BL  SolomoB.  87.  Aldna.   28L 13  OTfan  Conoeiiot. 
M.  ll«7.   sat  Debomb.  80.  ISOrudOoiMertoib   81.  UtreebtTeDeui 

tad  Jubnata. 
n.  ISHb   82.  Otaunber  DaeH    flBL  AlexsDder  Baliu.    81  ChaadM 

Antbeau. 
12. 1860.   as.  Chandot  AnfbMna.   86.  8  Veddlng  Anthama,  DetUngen 

da,  ete. 
IS.  vsn.  87.  Cbaadoa  Te  Deun,  and  t  ibort  do.   88.  4(lAttn  IValma 

and  Motets.   K.  «Almira.   M.  «Bodrigo.    Appendix  to 

TiBM  and  Tnrtb.  and  to  Deborah. 
H  U7L   m.  Agrlpptaia.    8B.  *Hinaldo.    M.  Teno.    tt.  «AaHdlcl. 

61  4(Muxlo  Soefola. 
ISl  vn,   «L  *Bina.  88.  *Badami9(a  87.  *navtow  Ok  OlaHoOeHtra. 
U.  ua,   «&  ^Floridanta.    7a  ♦Boddlnda.   88.  4(Paator  Fldo.   «». 

^Tamerlano. 
17.  WH.   7L  *8dvlone.  71  ♦AViimln).  n.  4(Admeto.   ft.  *Bio- 

cMdo. 
Vk  Uf!S.   881  ikBesurrexhma.    01  4tramaM0  In  fnUm,    70L  it^BlnM. 

TV.  4cTolomeo. 

Many  thinffs,  even  in  the  well-known  works, 
have  been  here  published,  and  indeed  revealed, 
for  the  first  time — such  as  the  trombone  parts  in 
Israel  in  Egypt  and  Saul,  the  organ  part  in  Saul, 
the  resooring,  in  D,  for  Samson,  of  the  Bead 
March  in  Saul,  the  final  chorus  in  Belshazzar, 
etc.  etc.  [G.] 

HANDEL  SOCIETr,  THE.  A  society 
formed  in  1843  '  for  the  production  of  a  superior 
and  standard  edition  of  the  works  of  Handel.*  It 
was  suggested  by  Mr.  Macfarren,  senior,  who 
however  died  on  the  24th  April,  immediately 
after  the  first  meeting  convened  by  him.  The 
Prospectus  was  signed  by  George  A.  Macfanen 
as  Secretary,  on  &half  of  the  Council,  and  was 
issued  firom  his  residence  73  Bemers  Street,  June 
16, 1843.  The  Council  for  tibe  first  year  consisted 
of  B.  Addison,  Trecuurer ;  W.  Stemdide  Bennett ; 
Sir  H.  B.  Bishop ;  Br.  Crotch ;  J.  W.  Davison ; 
£.  J.  Hopkins ;  G.  A.  Mac&nen,  Secretary ;  I.  Mos- 
chelea ;  T.  M.  Mudie;  £.  F.  Rimbault :  Sir  George 
Smart,  and  HeniySmart.  The  annual  subscriptioa 


HANDEL  AND  HAYDN  SOdEnrr.    659 

was  a  guinea,  and  the  Society  commenced  opera* 
tions  with  icoo  members.  The  publications — in 
large  folio,  full  score,  each  with  P.  F.  arrangement 
and  editor's  preface — were  issued  by  Cramer, 
Addison,  and  Beale,  as  follows  :— 

I8A^  4  Coronation  Anthems,  edited  by  Dr.  Crotch ;  and  L'ADegro,  H 
Frasieroao.  ed  U  Uodeiato,  by  1.  KoHebelea. 

18(4<«.  Xsther.  by  Charles  Lucas:  and  Ode  for  8.  CedHa's  Daj.  by 
T.  H.  Modle. 

1S4»4.  Israel  In  Bcypl  by  MendelsKbn. 

U46-7.  Ads  and  Galatea,  by  W.  Btemdale  Bennett;  and  Dettlasen  T« 
Doum.  by  Sir  O.  Smart. 

1M7-8.  Belshamr.  Fart  1.  by  G.  A.  Kadhctni. 

1S48-9.       Do.       Parts,  by  Do. 

18B0.    lleB»lah.byDr.lHmbanlt. 

URL    IS  Chamber  Dvets  and  3  TifloibfHatiiySaHXt. 

1882.    Samson,  by  Dr.  Blmbault 

MB,    Jodafl  Maecabaeus,  by  G.  A.  VadSarm. 

1851    Sanl.  by  Dr.  Blmbautt 

180&    JepbthAh.  by  O.  A.  Xadbrren. 

The  Society  was  dissolved  in  Jan.  1848,  owing  fo 
a  lack  of  subscribers ;  but  the  publication  of  the 
works  was  continued  by  Cramer  &  Co.  tiU  1858, 
when  the  last  volume  (for  1855)  was  issued.  [G.] 

HANDEL  ANB  HAYBN  SOCIETY,  THE, 
Boston,  Massachusetts,  is  the  largest,  and,  with 
one  'exception,  the  oldest  living  musical  or- 
ganisation in  the  United  States.  It  dates  fraaa. 
March  30,  1815,  when  sixteen  gentlemen  met  in 
answer  to  an  invitation  dated  six  days  before, 
signed  by  Gottlieb  Granpner,  Thomas  Smith 
Webb,  and  Asa  Peabody,  to  consider  *  the  expe- 
diency of  forming  a  society  for  cultivating  and 
improving  a  oonect  taste  in  the  performance  of 
saored  music,  and  alse  to  introduce  into  more 
general  practice  the  works  of  BEandel,  Haydn, 
and  other  eminent  composers. '  A  t  a  second  meet- 
ing a  fortnight  later,  a  set  of  rules  was  adopted, 
and  Matthew  S.  Parker  was  elected  Secr^ary. 
The  first  board  of  government  was  completed  at 
the  third  meeting,  April  20, 181 5,  by  the  election 
of  Thomas  SmiUi  Webb  as  president,  Amasa 
Winchester  vice-president,  and  Nathaniel  Tucker 
treasurer,  and  nine  others  as  trustees. 

The  state  of  music  in  Boston  was  at  this  time 
very  low.  The  '  Massachusetts  Musical  Society,' 
formed  in  1807,  was  extinct.  The  Philo- 
harmonic  Sooiety — for  orchestral  music  only — 
was  still  in  existenoe;  but  of  professional 
musicians  there  were  probably  not  a  score  in  the 
town.  The  society's  first  musical  utterances  were 
from  the  '  Lock  Hospital '  and  other  collections  of 
hymn  tunes  then  in  general  use  in  New  England. 
By  degrees,  and  as  its  numbers  grew,  music  of 
a  higher  order  was  rehearsed.  Early  in  Sep- 
teml^,  18 1 5,  the  project  of  a  'public  exhibition' 
assumed  importance.  And  on  the  night  of  the 
following  Christmas,  at  the  Stone  Chapel,  in  the 
presence  of  a  thousand  auditors,  the  society  gave 
to  the  public  the  first  taste  of  its  quality.  The 
chorus  numbered  about  a  hundred,  of  which 
perhaps  ten  were  ladies;  an-  orchestra  of  less 
than  a  dozen  and  an  oigau  f  usnished  the  accom- 
paniments ;  the  programme- was  long  and  varied, 
and  included  selections  firom  '-The  Creation'  and 
'  The  MessiaJi,'  and  other  works  bv  Handel.  An 
enthusiastic  journalist  dedared  that  there  was 

>  n*  BUmgklam  JViwfeal  Stettly,  fbnned  Nor.  7. 1781  Stonghton  la 
an  Inland  town  abont  tiranty  miles  from  Boston.  The  Bodaty's 
artistic  Importanea  has  been  aauob  lass  than  that  of  tba  salject 
of  lUs  artkto. 

Ua2 


eeO    HANDEL  AND  HAYDN  SOCIETY. 


HANDEL  AND  HAYDN  SOCIETY. 


'  nothing  io  compare  with  it,"  and  that  the  society 
was  '  now  the  wonder  of  the  nation/  The  concert 
was  repeated  on  the  i8th  January  following. 

The  State  legislature  having  granted,  Feb.  9, 
1 816,  a  special  charter,  wherein  the  purpose  of 
the  society  'to  extend  the  knowledge  and  im* 
prove  the  style  of  church  musick'  was  rec<^- 
nised,  a  new  code  of  rules  was  framed,  and  other 
means  adopted  to  strengthen  the  efficiency  of  the 
oi^ganisation.  The  records  of  the  first  decade 
furnish  abundant  evidence  of  the  poverty  of  the 
musical  resources  of  Boston.  With  the  hope  of 
securing  better  oiganists  than  were  available  at 
home,  fiberal  offers  were  made  to  musiciuis  in 
New  York  and  Philadelphia.  Om  one  occasion 
there  was  an  undisguised  fear  that  a  certain  con- 
cert must  be  postponed  '  in  consequence  of  the 
want  of  an  organist.'  In  the  early  concerts  the 
solos  were  sung  by  members  of  the  choir.  The 
first  CDgagement  of  a  professional  vocalist  was 
that  of  Mr.  Thomas  Phillips,  in  April,  1818,  to 
whom  was  paid  the  extraordinary  sum  of  400 
dollars  for  two  concerts.  The  following  list  pre- 
sents the  names  of  eminent  artists  who  have  ap> 
peared  at  the  society's  concerts :  English — Mmes. 
Anna  Bishop,  Patey,  Parepa-Rou,  Catherine 
Hayes,  and  Edith  Wynne;  Messrs.  Braham,  Cum- 
mings,  Hatton«  Indedon,  Patey,  Henry  Phillips, 
and  Santley ;  Continental — Mmes.  Alboni,  Cara- 
dori-Allan,  Grisi,  Nilsson,  Rudersdorf,  Sontag, 
and  Tietjens  (whose  last  appearance  in  America 
was  at  a  concert  by  the  society) ;  Messrs.  Formes, 
Stigelli,  Mario,  etc.;  American — Mmes.  Clara 
Louise  Kellogg,  Antoinette  Sterling,  etc. ;  Messrs. 
Charles  R.  Adams,  Thomas  Ball  (the  eminent 
sculptor),  Myron  W.  Whitney — and  many  others. 

It  was  not  until  the  17th  concert,  Dec.  25, 
18 1 8,  that  a  complete  oratorio  was  performed. 
This  was  *  The  Jiessiah.'  Liberal  selections  from 
the  work  had  however  been  given  at  the  pre- 
vious concerts.  The  following  list  of  works, 
with  the  year  of  first  performance,  oontainB  the 
most  important  choral  compositions  produced  in 
the  course  of  the  63  seasons  which  have  passed 
(181 5-1 878),  comprising  610  concerts.  Of  the 
compositions  named  few  had  been  heard  in 
Boston,  or  even  in  America^  before  their  per- 
formance by  the  socieiry. 

HAnd«lSlfe»lfth(tfUQ.Dettbic-t  Bennett's    Woman    of    SunArU 


en  1e  Doom  (18I9X  Buoion  OMA), 
JuilM  (1847).  BoIomoD  (1MJ6).  Israel 
0800).  St.  Cecilia  (IMS).  Jephthah 
(1W7).  iiMtvokOXm):  Haydn'tCiea- 
tloo  (1819).  Mast  in  Bb  (U29), 
Beaioni  (imS):  Baeh't  Fanlon 
(1874).  Chrlttmaa  Oratorio.  Farta 


(UTl):  Costa's  KII  OMT).  Naaman 
aM0):  Verdi's  Requiem  0878):  be- 
sides woriis  by  Maroello.  Neakomm, 
Bombetv.  HiUer.  Donliettl.  St. 
Sa«fu.  Bubler.  and  Kkulai;  by 
-Dudl^  Buck,  Falne.  and  Parker, 
among  American,  and  Horn  and 


1  and  2  (1877):  Moiart's  Mass  in  0  {U.  P.  King  amongst  EngUith  com- 
(1829),  Bequlem  (18B7):  Beethurvn's  posers— <47  works  In  all.  Of  these 
Mount  of  cures  08BS).  Ninth  |  the  Messiah  has  been  performed 
Sjmphonr  (UB3):  Spohr's  jAst  68  times,  the  Creation  60.  Ken- 
Judgment  O84S0:  Mendelssohn's  komm's  DaridCT,  Moms  in  Egypt 
St.  Paul  (IMS).  lUJah  6848).  4A.  KliJah 43,  Samson  S3.  Lobgesant 
Lobgesang  (1808).  Fsialm  xlil.  (1806).  ]2.  bt.  Paul  10,  the  Ninth  Symphony 
do.  xcT.  OHI^,  Hear  my  Prayer  0.  Israel  In  Egypt  8^  Moiart's 
(1974),  Ohrisius  (IK74I:  Bomlnl's  Requiem 9,  etc  eta 
Stabat  0843).  Moses  !n  Egypt  (1816) : 

Excluded  from  this  •enumeration  are  those 
occasions  when  selections  only  were  sung;  as 
well  as  numerous  concerts  at  which  the  society 
formed  only  a  part  of  the  choir,  or  which  were 
not  given  under  its  own  direction;   the  most 


important  of  these  have  been  ceremonies  of 
public  rejoicing  or  mourning,  dedicatory  ezennM». 
musical  festivals  at  New  York,  and  the  Peace 
Jubilees  at  Boston  in  1869  and  72.  The  number 
of  concerts  given  during  a  season  has  varied  in 
aooordanoe  with  the  public  demand :  it  has  been 
as  low  as  one  and  as  high  as  twenty-three.  Very 
rarely  during  the  past  twenty-five  yean  has  a 
ooncOTt  been  omitted  at  Easter-tide;  and  moie 
rarely  still  has  Christmas  passed  without  a  per- 
formance of  'The  Messiah.'  The  sapport  of  the 
society  is  nearly  all  derived  from  the  profits  of 
its  concerts.  New  members  pay  an  initiatiaa 
fee  of  five  dollars,  and  it  has  sometimes  been 
necessary  to  levy  a  special  assessment  to  pay  off 
outstanding  debts.  There  is  a  permanent  trust 
fund,  the  nucleus  of  which  was  farmed  from 
the  earnings  of  the  festival  of  1865,  and  which, 
by  subsequent  earnings,  interest,  bequests  and 
donations,  now  (1878)  amoimts  to  ia,ooodoilarB ; 
the.  income  is. available  at  the  discretian  of  the 
board  of  groYemment. 

Six  festivals,  modelled  on  those  of  Birming- 
ham, have  been  held.  The  first  occurred  in  1857. 
The  fiftieth  anniversary  was  celebrated  in  May 
1865,  by  a  week's  performances.  Triennial  festi- 
vals have  since  been  regularly  held,  beginning 
in  1868.  On  each  of  these  occasions,  excepting 
tiie  last  (1877),  a  guarantee  fund  has  been  sub- 
scribed by  the  friends  of  the  society. 

In  pursuance  of  its  avowed  purpose  to  improve 
the  style  of  church-music,  the  society,  in  its 
earlier  days,  published  several  volumes  of 
anthems  and  hymn-tunes,  established  lecture  on 
musical  topics,  and  formed  singing  daases.  The 
publicaticms  quickly  became  standard,  and  large 
profits  were  realised  from  their  sale.  Oratorios 
were  also  published  under  its  supervisioo.  By 
these  means,  and  by  the  generally  high  standard 
of  its  concerts,  the  society  has  largely  contributed 
to  the  elevation  of  musical  taste  in  Boston,  and 
has  prompted  the  formation  of  similar  asso- 
ciations all  over  the  Union. 

The  number  of  members,  active  and  retired 
(the  latter  a  voluntaiy  condition,  after  twenty 
years'  service),  at  present  is  about  300.  The 
active  choral  force  is  600  strong,  ^e  female 
choristers  have  never  been  members,  technicallyi 
the  system  of  annually  inviting  the  aid  of  their 
voices  having  obtained  ab  initio.  Mr.  Chas.  E. 
Horn  was  Uie  first  regularly  chosen  musi<xl 
director  (1847),  the  president  having  until  then 
performed  the  (luties  of  a  conductor,  in  aooordanoe 
with  a  provision  in  the  by-laws.  In  1850,  Mr. 
Charles  C.  Perkins,  being  president,  assumed  the 
baton.  Since  then,  a  conductor  has  been  ap- 
pointed by  the  boud  of  government  as  faUows: 
J.  £.  Goodson,  1851;  G.  J.Webb,  185a;  Cazl 
Bergmann,  1852 ;  Carl  Zerrahn,  the  present 
(1878)  conductor,  Aug.  24,  1854.  ThefbUowing 
have  been  appointed  oiganists:  Samuel  Stock- 
well  ;  S.  P.  Taylor ;  S.  A.  Cooper ;  J.  B.  Taylor; 
Miss  Sarah  Hewitt;  Charles  Zeuner;  A.  U. 
Hayter ;  G.  F.  Hayter ;  F.  F.  Mueller ;  J.  C.  D. 
Parker.  The  position  is  now  held  by  Mr.  £.  J* 
Lang,  elected  September  15,  1859. 


HANDEL  AND  HAYDN  SOCIETY. 

ReheawalB  are  regularly  held  on  Sunday  nights 
during  the  season  (October  to  April  inclusiTe), 
and  the  majority  of  the  concerts  also  occur  on 
Sandays.  The  annual  election  of  officers  is 
held  in  May.  The  following  gentlemen  now 
constitute  the  board  of  government: — C.  C.  Per- 
kins, president ;  G.  H.  Chickering,  vioe-pxesident ; 
G.  W.  Palmer,  treasurer ;  A.  P.  Browne,  secre- 
txrj ;  J.  H.  Stickney,  librarian,  and  eight  others, 
directors.  [F.H.J.] 

HANDL,  Jacob,  also  Hiindl  and  Hahnel,  an 
old  Grerman  ma<rter  of  the  first  class  (1550-1 591), 
whose  name,  after  the  punning  fashion  of  those 
days,  was  latinised  into  Gallus,  under  which 
heftd  he  is  noticed  in  this  work.  Handel  has 
done  him  the  fitvour  to  transfer  a  very  character- 
istic and  evidently  fitvourite  passage  which  winds 
tip  both  portions  of  his  motet  'Ecce  quomodo 
moritur  Justus/  to  the  same  position  in  his 
' Funeral  Anthem*  ('  But  their  name  *).         [G.] 

HANNIBALI.    See  Annibali. 

HANOVER  SQUARE  ROOMS.  In  1773 
a  piece  of  ground  on  the  east  side  of  Hanover 
Square  at  the  north-west  comer  of  Hanover 
Street,  formerly  part  of  a  field  called  the  Mill 
Field,  alias  Kirkham  Close,  and  described  as 
•containing  in  breadth  from  north  to  south  in 
the  front  next  the  Square  as  well  as  in  the  rear 
40  feet  of  assize,  more  or  less,  and  in  depth  from 
west  to  east  on  the  north  side  as  well  as  on  the 
soiith,  135  feet  more  or  less,*  was  occupied  by  a 
house,  garden,  and  office,  then  in  the  occupation 
of  liord  Dillon.  The  freehold  belonged  to  the 
Karl  of  Plymouth.  On  June  a8,  1774,  Iiord 
Plymouth  sold  the  freehold  for  £5000^  to  Vis- 
count Wenman,  who  pn  the  same  day  conveyed 
the  whole  to  Giovanni  Andrea  'Gallini,  John 
Christian  Bach,  and  Charles  Frederick  Abel. 
Gallini  owned  one-half,  and  the  others  each  one 
fourth.  They  erected  on  the  site  of  the  garden 
and  office,  and  joining  on  to  the  house,  rooms  for 
the  purposes  of  concerts,  assemblies,  etc.,  consist- 
ing of  a  princi|)al  room,  95  ft.  by  35,  on  the  level 
of  the  fint  floor ;  a  small  room  on  the  north  side,, 
originally  used  as  a  tea«room;  and  one  on  the 
ground  floor  beneath  the  principal  room.  The 
ceiling  of  the  principal  room  was  arched,  and 
decorated  with  paintings  by  Cipriani.  The 
orchestra  stood  at  the  east  end.  The  rooms 
were  opened  on  Feb.  i,  1775,  with  one  of  Bach 
and  Abel's  Subscription  Concerts,  established 
by  them  in  1763:  later  in  the  month  Sub- 
scription 'Festinos'  were  announced;  on  May  4, 
'Mr.  Gallini's  Annual  Ball,*  and  on  Mav  a  a, 
the  first  'Grand  Subscription  Masquerade.  On 
Nov.  12,  1776,  Gallini  purchased  the  shares  of 
Bach  and  Abel,  and  became  sole  proprietor. 
Bach  and  Abel's  concerts  continued  to-  be  held 
there  until  1782,  when  the  withdrawal  by  Lord 
Abingdon  of  the  pecuniary  aid  he  had  thereto- 
fore given,  led  to  their  discontinuance.    There- 

1  Being  ai  ibe  rtte  otytrj  nearly  17.  per  miaan  foot  ofgronnd. 

*  (JftlUol  was  a  Bwitt  of  lUltan  eztractkm,  who  had  tausbt  th« 
children  of  Oeoife  III  to  dance,  and  ama^aed  a  fortune,  became 
inaiiaser  of  the  Opera-house  (iTTKi.  was  knichted  m  Sir  Joha  Gallini. 
airf  married  a  dMtbter  of  tb*  Earl  of  AbixiidoD. 


HANSLICK. 


661 


upon  some  professors  of  music  estabtished  similar 
concerts  under  the  name  of  'The  Professional 
Concert,*  which  were  given  in  the  room  from 
1783  to  1793.  In  1786  Salomon,  the  violinist, 
piqued  at  being  len  out  of  the  Professional 
Concert,  establi&ed  concerts  here,  at  which  in 
1791  and  1792,  and  again  in  1794  and  1795, 
Haydn  directed  the  performance  of  his  la 
'grand'  symphonies.  At  the  8th  concert  in 
179a,  'Master  Hummel*  played  a  concerto  on 
the  pianoforte,  and  in  1796  John  Braham  was 
introduced  to  the  public  as  a  tenor  singer. 
In  1804  the  Concert  of  Ancient  Music  was 
removed  to  these  rooms,  the  Directors  having 
taken  a  lease  from  Gallini  at  a  rental  of  £1000 
per  annum,  and  they  continued,  to  be  held  here 
until  184S,  the  last  year  of  their  existence. 
The  Directors  made  considerable  alterations; 
the  orchestra  was  removed  to  the  west  end, 
three  boxes  were  erected  across  the  east  end 
for  the  royal  family  and  their  attendants,  and 
the  rooms  were  newly  fitted-  up  in  a  splen- 
did manner.  On  the  death  of  Gallini  (Jan.  5, 
1805),  the  freehold  passed  to  his  two  nieoes, 
who  leased  the  rooms  to  Wallace  and  Martin, 
and  Martin  and  Sen  successively.  In  December 
193a  alterations  were  made  in  the  great  room 
by  the  enlargement  of  the  windows  so  as  to 
render  it  available  for  morning  concerts;  and 
many  mirrors  were  introduced.  The  concerts 
of  the  Yocal  Society  were  given  im  these  rooms 
from  its  fbundation  in  1833  to  its  dissolution 
in  1837.  A  new  Vocal  Socfety  gave  concerts 
here  in  1838,  but  its  existence  was  of  very  brief 
duration.  In  1833  the  concerts  of  the  Philhar- 
monic Sociefcy,  were  removed'  here  from  the 
Concert  Room  of  the  King's  Theatre,  and  con- 
tinued here  until  their  departure  to  St.  James's 
Hall  in  1866.  Both  the  Misses  Gallini  dying 
in  1845,  the  freehold  was  sold  by  auction  to 
Robert  Cocks,  the  music  publisher,  under  whom 
the  younger  Martin  held  it  by  lease  until  De- 
cember 1 86 1.  Extensive  alterations  and  deco- 
rations  were  then  made  in  the  rooms,  which 
were  re-opened  Jan.  8,  i86a,  by  Mr.  Henry 
Leslie's  Choir;  the  concerts  of  the  Royal  Aca- 
demy of  Music  were  also  removed  there.  The 
annual  performance  of  Handel's  '  Messiah  *  for 
the  benefit  of  the  Royal  Society  of  Musicians 
was  given  there  ficom  1785  to  1848,  after  which 
it  was  given  finstat  Exeter  Hall,  and  afterwards 
at  St.  James's  Hall.  In  1874  the  premises  were 
let  on  lease  for  the  purpose  of  being  converted 
into  a  club  house.  The  last  concert  was  given 
in  the  rooms  on  Saturday,  Dec.  19,  1874,  and  the 
building,,  after  undergoing  ai^  entire  transform- 
ation, was  opened  early  in  1876  as  '  The  Hanover 
Square  Club..'  It  must  not  be  omitted  to  be  men- 
tioned that  the  great  room  was  remarkable  for 
its  excellent  acoustic  properties.  [W.H.H.] 

HANSLICK,  Eduabd,  musical  critic  and 
writer  on  ssthetics,  bom  at  Prague  Sept.  11,1835, 
son  of  a  well-known  bibliographer,  studied  law 
and  philosophy  in  Prague  and  in  Vienna,  where 
he  took  the  degree  of  Doctor.  In  1856  he  was' 
appointed  tutor  of  awthetics  and  musical  histoiy 


099 


HANSLICX. 


M  the  unlvenlty ;  in  6i  profeMW  axtnordiD>^.  | 
Mkd  in  70  ragulv  pn>raaKir.  Hia  lo*e  of  miuio  1 
liad  been  fiMtored  at  home,  and  under  Tonuwcliek  j 
be  became  an  excellent  pimnist.  In  V  jeona  he 
had  amplfi  opportimitiefl  of  becoming  a  critic  of  , 
nn  ordinar;  merit,  and  his  keen  ioii^t  and  | 
cogent  logic,  and  the  el^onoe  and  vereatilitj  of 
hiji  Kyle,  make  hii  litovy  productioni  of  laiting 
value.  A»  a  joror  for  the  miuical  department 
oftheEihibitionaofParia  (1867),  Vienna  (1873), 
and  Parii  (187S),  ha  did  everything  in  hii  power 
to  further  the  intereste  of  the  mitucal  inatrument 
maken  of  Aiutria,  In  :S76  he  waa  appoinUd 
a  member  of  the  Imperial  Council,  baving  tome 
tinte  before  received  the  ordar  of  the  Iron  Crown. 
During  the  jean  1859-63  he  gave  public  lecture! 
on  the  hiitiuy  of  oiuaic  in  Vienna,  aod  occaaion- 
ally  in  Prague,  Cologne,  etc.  He  ha>  been  muai- 
cal  critia  suooeadTely  to  the  ■  Wiener  Zeitung,* 
1848-49,  the  'PreaM,'  1S55-64,  and  the  -Neue 
freie  Preaae.'  Haoalick  hu  publiabed  the  fol- 
lowing book*; — 'Vom  muaikaliacb -Scbonen" 
(Laipiig,  1854,  5th  ed.  1876,  abo  translated  into 
French),  a  work  which  marks  an  epoch  1  'Ge- 
dchichte  dee  Coucertweaeiu  in  Wiea'  (Vienna, 
1869)  ;  'Aua  dem'  Conoartaaal '  (Vienna,  [870^; 
'DiemodemeOper'  (Berlin.  1875.  and  ed.1876, 
•equel  1877I ;  and  haa  written  the  text  for  the 'Ga- 
lei^  deutacber  Tondiobtar'  (Munich,  1873),  and 
the  'Galerie  (ranx.  und  ttal.  Tondicbter'  iBerlio, 
1874).  In  muaic  Hanalick  ia  a  Conaervative. 
Hii  raaiatanoe  to  the  Liail-Wagner  movement  ii 
well  known.  On  the  other  hand  he  wu  an  earlj 
aupporter  of  g^>nnn»wn  and  ia  a  atrong  adherent 
ofUrahmi.  [C.F.P.] 

HARMONICA.  The  power  of  producing 
musiciJ  sounda  frtnn  ^^aaa  baaona  or  drinking 
gliaees  by  the  application  of  the  moistened  lingur, 
and  of  hiniog  them  ao  as  to  obtain  conoorda  from 
two  at  once,  waa  known  as  early  an  the  middle  of 
the  1 7th  ceotuiy,  ainoe  it  ia  alluded  to  in  Hare- 
diirfer'a  '  Mathematitcbe  und  philosophiache  tilr- 
quiekungea,'ii.  147  (Nmemberg,  1677I.  Gluck, 
the  great  compoe«',  when  in  Sngland,  t^yed  '  at 
the  Little  Theatre  in  the  Haymarket,'  April  13, 
1746 — 'a  ooDcerto  00  16  drinking  glaaaea  tuned 
With  spring  water,  accompanied  with  the  whole 
band,  being  a  new  inatrument  of  his  own  inven- 
tion; upon  which  he  perkcma  whatever  may  be 
dime  on  a  violin  or  '  harpeichonl.'  I^us  or  some 
other  circumstance  made  the  instrument  bshion- 
able,  for  15  years  later,  in  1761,  Goldsmith's 
Hne  ladies  in  the  Vicar  of  Wakefield,  who  con- 
Rnsd  their  conversstian  to  the  moat  bshionable 
topics,  'would  talk  of  nothing  but  high  life  and 
high  lived  company  .  .  .  piotures,  taato,  Shak- 
■peare,  and  the  mutieal  glaua.'  That  they  oc- 
cupied the  attention  of  better  persons  than  lady 
Blarney  and  the  Hon.  Carolina  WiUlmina  Amelia 
Rkfggs  is  evident  &om  the  teatimony  of  Franklin. 
He  came  to  London  in  1757,  and  writing  on 
July  13,  176],  to  Padre  Beccaria  at  Turin,  be 


HARMONICA. 

telb  Mm  of  the  attempts  of  Mr.  Pnduridge  amd 
of  Mr.  DeUval,  F.R.S.  who  fxed  tlwir  glaKS 
in  ordo'  on  a  table,  tuned  them  by  patting  iiK 
more  or  leea  water,  and  played  thetn  by  pawDS 
^B  finger  round  the  brinu.  Franklin's  ps»cticml 
mind  aaw  that  thia  mi^ht  be  greatly  improved, 
and  he  accerdingly  coostnicted  an  instrument  in 
which  tha  bells  or  baaona  of  glaas  were  rmD<;e*) 
or  strung  on  an  iron  apindle,  the  largest  anil 
deepest-toned  one*  on  the  lirft,  and  gradually 
mountii^  in  pitch  aooording  to  the  ussal  mosic&l 
scale.  The  lower  edge  of  £e  baaons  dipped  into 
a  trough  of  water.  The  q>indle  was  made  to 
revolve  by  a  treadle.  It  carried  the  basuoa 
round  with  it,  and  aa  implying  a  finger  to  their 
wel  edges  the  aoimd  waa  pKidt^ed.  The  foUow- 
ing  cut  is  reduced  fnmi  the  engnring  in  Frank- 
lin's letter  (i^parka's  ed.  *i  345). 


The  eBentlal  difTerenee  between  this  instm- 
ment  and  the  framer  ones  was  (1 )  that  the  pitch 
of  the  tone  was  produced  by  the  siie  of  the 
gtaaaea.  and  not  by  their  containing  more  or  liwa 
water;  and  (3)  that  chorda  could  be  produced 
of  as  many  not«e  aa  the  lingers  oonld  reach  «I 
onoe.  Franklin  calls  it  the  'Arraonica,'  but  it 
seems  to  have  bren  generally  known  as  '  Hiu^ 
monica.'  The  first  great  player  on  the  new  in- 
strument was  Miaa  MariaDoe  Davies,  who  had  a 
European  fame,  and  played  music  composed  for 
herl^  Uasse.  Another  celebralad  performer  waa 
Marionna  Kirchgusnor,  a  blind  musician.  She 
visited  Vienna  in  1791.  and  interested  Mozart  mi 
muoh  that  he  wrote  an  Adsgio  and  Rondo  in  C 
for  harmonica,  Sute.  oboe,  viola,  and  ocllo,  which 
ahe  played  at  her  concert  on  June  19  (Kochel, 
No.  617).  Sketchnof  his  for  another  Quintet  in 
the  aamekeyare  aleo  in  eiistance.  KirchgiiaEner 
waa  in  London  in  1794,  and  a  new  harmonica 
ia  said  to  have  been  built  for  her  bj  Frijacbel 
a  German  mechanician.  In  England  the  in- 
strument appears  to  have  been  £ttlo  if  at  all 
used  during  the  present  century.  In  Saxony  and 
Thnringia  nowever  it  waa  widely  popular;  at 
Dresden,  Naumann  played  it,  and  wrote  t  sorulas 
for  it.  At  Darmstadt  a  harmonica  forme-I  a 
part  of  the  Court  orchestra ;  Uie  Princess  Loui^, 
afterwards  Grand  Ducheas,  was  a  pTatkaent  upon 
it,  and  C.  F.  Pohl,  sen.,  the  Frinoeis'i  maate.*. 


HARMONICA. 


HAKMGNICS. 


663 


QBgaged  exckdvely  far  the  inatrtunent  as 
l&te  as  1818. 

A^ttempts  have  been  made  to  improve  or  modify 
i2>e  luumonica  by  ftubetitutixig  a  violin  bow  for 
the  liand,  or  by  redacing  the  peculiarly  pene- 
trating and  exciting  tone  which  is  said  to  be  so 
prejudicial  to  the  nerves  of  players — ^but  without 
Buooees.  An  account  of  these  and  of  much  more 
tfaaii  can  be  included  in  this  short  statement  will 
be  found  in  G.  F.  Pohl's  'Zur  Gescbichte  der 
G-laeharmonica*  (Vienna,  1862).  One  Method 
only  exists  fur  tliis  instrument,  that  of  J.  C. 
Miiller,  Leipzig,  1788.  A  specimen  of  the  har- 
inomca,  built  by  Emanuel  Pohl  of  Kreibitz, 
Sobemia,  is  in  the  South  Kensington  Museum. 

The  following  little  piece  for  the  Harmonica 
-was  composed  by  Beethoven  for  the  *  Leonora 
Prohaska*  of  his  friend  Duncker  in  1814  or  15. 
Tbe  autograph  is. preserved  in  the  Library  of  the 
Geaellschaft  der  Musikfreonde  at  Vienna,  and 
not  before  been  published. 


rHeHieh  dock  nieht  ichleppend. 


P 


S 


^— -f 


^=^ 


:^=t 


t^4^ 


? 


Du  dem  sle 
getruudBD 


;=^ 


'  If  nr  ^1^ '  ^1^  H-^^-^^ 


^m. 


qp^ 


m. 


Abiahen  drin  zwel 

Blnmen  fOr  Uebe 

und  Traiu 


^ 


■:W=^ 


I     »*(» 


^^ 


J«tEt  kAon  Ich  nur 

Todteublumeu 

dlr  wethn 


■:W^ 


H^\^^      If^Pp 


Doeh  wachMQ 

an  meinem 

lalGhentein 


die  LUI«  irod 
BoMuf'sneoe. 


\a/ 


N*/ 


/fl\ 


ypfp  J'J-t4 


^ 


^ 


i 


1?- 

The  name  Harmonica  is  now  tised  for  a  toy- 
instrument  of  plates  of  glaas  hung  on  two  tapes 
and  struck  with  hammers.  [Gr.] 

HABMONICHOKD.  A  keyed  instrument 
invented  in  1810  by  Friedxich  Kaufinwm,  the 


'  celebrated  musical  instrument  maker  of  Dresden. 
Li  its  form  it  resembled  a  small  square  piano ; 
but  the  sound  was  obtained  not  by  striking  the 
wires  with  hammersi  but  by  the  friction  against 
them  of  a  revolving  cylinder  (as  in  the  ordinary 
hurdy-gurdy),  covered  with  leather,  and  rosined. 
This  cylinder,  which  in  the  effect  it  produced 
somewhat  resembled  the  bow  of  a  violin,  was  set 
in  motion  by  a  pedal  worked  by  the  foot  of  the 
player.  All  gradations  of  tone,  as  well  as  the 
power  of  sweUing  or  diminJHhing  the  sound  upon 
a  sustained  note  were  produced  by  the  pressure 
of  the  finger.  For  this  instrument  Weber  com- 
posed in  ^e  year  181 1  a  very  interesting  adagio 
and  rondo,  with  orchestral  accompaniment^  which 
is  published  by  Peters,  of  Leipzig.  Web^  wrote 
concerning  this  composition — '  It  was  an  infernal 
piece  of  work  to  wnte  for  an  instrument  whose 
tone  is  so  peculiar  and  strange  that  one  has  to 
call  to  one  s  aid  the  liveliest  imagination  to  bring 
it  suitably  forward  in  combination  with  other  in- 
struments. It  is  a  cousin  of  the  harmonica,  and 
has  this  peculiarity,  that  with  every  sustained  note 
its  octave  is  prominently  heard.*  On  the  printed 
title-page  it  is  said  to  be  'for  Harmonichord  or 
Harmonitan,^    This,  however,  is  an  addition  of 

,  the  publisher ;  as  not  only  are  the  two  instru- 
ments totally  distinct,  but  the  physharmonica,  the 
predecessor  of  the  harmoniuoi,  was  not  invented 
till  about  fifteen  years  later.  [£.  P.] 

HARMONICON,  Thk,  a  monthly  musical 
periodical  edited  by  W.  Ayrton,  commenced 
January  1823,  and  continued  until  September 
1833.  It  contained  ably  written  memoirs  of 
eminent  musicians,  some  of  the  earlier  being  ac- 
companied by  engraved  portraits*  eways,  reviews 
of  new  music,  correspondence,  criticisms  of  musi- 
cal performances  of  all  kinds,  foreign  musical 
news,  information  on  all  subjects  interesting  to 
musicians,  and  original  and  selected  vocal  and 
instrumental  music.  It  was  of  quarto  size,  in 
21  vols.,  and  is  the  bestmudcal  periodical  ever 
published  in  England.  *  [W.  H.  H.] 

HARMONICS,  tones  of  higher  pitch  which 
accompany  every  perfect  musical  sound  in  a 
regular  series.  As  they  ascend  they  diminish  in 
intensity,  and  approximate  in  pitch.  If  tho 
piano  be  opened  and  a  note— say  D  in  the  bass- 
be  struck  smartly  and  kept  down,  on  listening 
attentively  a  succession  of  faint  sounds  will  be 
heard,  apparently  rising  out  of  the  principal 
sound  and  floating  round  it.  These  are  the 
harmonics.  They  are  really  constituents  of  the 
main  musical  tone,  and  are  produced  by  the 
concurrent  vibration  of  the  aliquot  parts  of  the 
string.  Hence  Helmholtz  proposes  to  call  them 
'partial  tones*  {Partialtdne).  This  term  is  no 
doubt  more  appropriate,  inasmuch  as  above  the 
tenth  d^rree  most  of  these  notes  form  intervals 
dissonant  from  tiie  prime  note  and  also  from  each 
other,  and  thus  become  perceptibly  inharmonic. 
On  the  best  musical  instruments,  however,  these 
high  inharmonic  tones  are  not  reached,  the 
vibratory  impulse  being  exhausted  on  the  prime 
note  and  the  lower  harmonics,  which  are  consonant 


60i 


HARMONICS. 


both  witli  the  prime  note  and  unong  themaelyeB. 
At  the  same  time  the  nnaller  the  aliquot  parts 
become  in  the  ascending  series,  the  less  easily 
are  they  set  in  a  state  of  separate  vibration. 
Gohsequently  these  high  dissonant  harmonics  are 
distinctly  audible  only  on  highly  resonant  metallic 
instruments,  such  as  the  cymbals,  bell,  and 
triangle,  and  for  practical  purposes  the  old  term 
harmonic  answers  as  well  as  the  term  '  partiaL' 

A  few  instruments,  such  ss  the  tuning-fork 
and  the  wide  stopped  organ  pipe,  practically 
vield  no  harmonics.  The  human  voioe,  the 
harmonium,  and  all  orchestral  instruments,  are 
rich  in  them — the  human  roice  probably  the 
richest  of  all;  but  nature  has  so  admirably 
compounded  them  that  it  is  very  difficult  to 
analyse  them  scientifically.  Rameau  distinguished 
harmonics  in  the  human  voice  ss  early  ss  the 
begimiing  of  the  last  century. 

Harmonics  naturallv  reinforce  the  fundamental 
sound,  in  which  case  their  extent  and  diBtribution 
largely  influence  the  intensity  and  the  quality  of 
the  sound.  They  may,  however,  in  many  instances, 
be  produced  singly  by  mechanically  checking  the 
vibration  of  the  fundamental  note.  In  this 
relation  they  constitute  an  important  practical 
department  in  most  orchestral  instruments. 

Law  of  Harmonia.  A  sonorous  body  not 
only  vibrates  as  a  whole  but  in  each  of  its 
several  fractions  or  aliquot  parts,  -^^-f,  -^t  -^i  ^, 
f,  and  BO  on  at  the  same  time;  and  each  of 
these  parts  gives  a  separate  note,  the  ^  yield- 
ing the  octave,  the  ^  the  fifth,  the  ^  the  double 
octave,  the  ^'ih»  third  above  the  double  octave, 
and  so  on.  The  following  scheme  or  diagram, 
taken  from  Momigny,  shows  the  harmonics  of 
the  open  string  G  on  the  violoncello  up  to  thir- 
teen places:— 


i 


»  ^  •  ^  • 


-•-I-* 


•■■I  »■ 


•      •      •     # 


m 


— • — •- 
■    ■ 


Here  the  bottom  6  is  produced  by  the  vibra- 
tion of  the  whole  string.  The  two  Gs  next 
above  are  produced  by  de  vibration  of  the  two 
halves.  The  three  Ds  next  above  by  the  vibra- 
tion of  the  three  thirds ;  and  so  on.  Thus  the 
diagram  represents  the  whole  of  the  notes  pro- 
duced by  the  vibrations  of  the  whole  string  and 
its  various  sections  up  to  its  one-fourteenth  part. 

In  this  scheme  the  first  F  (counting  upwards), 
the  G  a  fifth  above  it,  and  the  topmost  notes  £ 
and  F,  are  more  or  less  &ulty.  In  practically 
deducing  the  diatonic  scale  from  this  scheme, 
these  intervals  have  to  be  corrected  by  the  ear. 
By  inspection  of  this  scheme  we  discover  the 
intervals  of  the  diatonic  scale  in  the  following 
order: — 


i 


m 


F^m  this  scale  may  obviously  be  deduced  the 
chords  of  the  third,  fifth,  seventh^  and  ninth. 


HARMONICS. 

By  oombining  and  tranapodng  these  notes  into 
one  octave  we  get  the  following  scale : — 

etc 


$ 


f 


^ 


^^ 


T 

which  is  the  scale  of  C  major  ascending  frnm 
dominant  to  dominant.  As  the  same  thing 
happens  in  other  keys,  we  have  thus  proved  the 
law  that  the  intervnls  of  each  scale  are  generated 
by  its  dominant.  The  dominant,  not  the  tonic, 
is  therefore  the  true  root  of  the  whole  scale. 

Practical  effect  of  Harmonics  heard  gimul- 
taneously  with  tJie  funiamenial  note.  The  har- 
monics not  only  determine  the  diatonic  intervals, 
but  to  some  extent  the  intcntity  and,  as  has  been 
lately  proved  by  Helmholtz,  the  quality  of  musical 
tones.  On  applying  the  ear  to  the  soundhole  of 
a  violin  during  a  long  crescendo  on  one  note,  the 
reinforcement  of  the  tone  by  the  gradual  addition 
of  the  higher  and  more  piercing  harmonics  is 
distinctly  perceptible.  The  principle  and  the 
effect  are  precisely  the  same  in  a  crescendo 
produced  by  the  addition  of  the  mixture  stops 
on  an  oigan.  The  loudest  musical  instromenta, 
cateriM  paribus^  are  those  in  which  the  highest 
harmonics  predominate,  e.g.  the  cymbalsi,  triangle, 
bell,  and  gong. 

The  effect  of  harmonics  on  the  qnality  of 
musical  sounds  is  easily  tested  by  carefully  com- 
paring the  tones  of  an  old  and  a  new  violin.    In 
the  former  the  strong  vibrations  of  the  funda- 
mental note  and  the  lower  harmonics  leave  but 
little  force  to  be  expended  on  the  higher  and 
noisier  harmonics :  in  the  latter  the  fundamental 
note  and  lower  harmonics  are  capable  of  absorb- 
ing less  of  the  force,  which  is  transmitted  to  the 
upper  harmonics,  and  produces  a  harsh  quality  of 
sound.    When  the  fundamental  note  and  lowest 
harmonics  predominate  in  the  tone,  the  quality  is 
soft  and  flute-likS ;  when  the  combination  is  well 
balanced  by  the  addition  of  the  intermediate  har- 
monics up  to  the  sixth,  the  quality  is  rich  and 
sonorous;  when  the  highest  harmonios,  above 
the  sixth  and  seventh,  predominate,  the  quality 
is  harsh  and  screaming.    When  the  high  disso- 
nant harmonics  are  produced  in  a  tolerably  even 
and  continuous  stream  of  sound,  the  quiJity  is 
said  to  be  'metallic*     If  an  instrument  is  ill- 
strung  or  out  of  order  the  harmonic  scale  is 
disturbed  ;  and  the  harsh,  uncertain,  and  irregular 
tones  which  it  yields  consist  of  harmonics  out  of 
their  true  place.  Less  varied  comparisons  may  be 
obtained  on  the  stops  of  an  organ.    Wide  pipes, 
vielding  a  dull,  heavy  tone,  have  virtually  no 
narmonics.     In  the  tone  of  narrower  (^>en  pipes 
the  harmonics  up  to  the  sixth  can  be  detected 
by  the  aid  of  Helmholts's  resonators.     Pipes 
conically  narrowed  at  the  upper  end,  such  as 
compose  the  stops  called  Gemshom,  Saliciond, 
and  Spitz-flute,  yield  strong  intermediate  har- 
monics, which  render  the  tone  bright^  though 
perceptibly  thin.     The  Bohr -flute  is  so  con- 
structed as  greatly  to  reinforce  the  fifth  harmonic 
(2^  octaves  above  the  prime  note).    The  na«a] 
quality  of  sound,  such'  as  is  yielded  by  the  softer 


HARMONICS. 

Teefi-«top8y  by  violiiii  of  a  certain  buHd,  and  by 
the  clarinet,  bassooiiy  etc.,  is  produced  by  the 
predominance  of  the  aneTen  hannoaics  (^,  ^,  f , 
etc  ).  On  the  harmoniam  these  uneven  har- 
monics are  stronger  than  the  even  ones.  The 
peculiar  tinkling  tones  of  the  zither  arise  from 
the  high  uneven  harmonics  yielded  by  its  oom> 
paratively  thick  metal  strings. 

If  a  singer  produces  a  low  note  erefeendo 
ag&inst  a  reflecting  surface,  the  harmonics  become 
distinctly  audible.  If  the  note  is  produced  partly 
^irou^  the  nose,  the  uneven  harmonics  per- 
ceptibly predonrinate.  The  number  of  upper 
harmonics  in  the  human  voice  is  very  great: 
and  they  are,  according  to  Helmholtz,  distinct 
and  powerful  in  their  whole  range. 

J*ractical  uu  of  tingle  Hnrmonie  tone$  on 
ftringed  inttramenU.  Harmonics  may  be  singly 
produced  (i)  by  varying  the  point  of  contact 
with  the  bow,  or  (a)  by  slightly  pressing  the 
string  at  the  nodes,  or  divisions  of  its  aliquot 
parts  (^,  ^,  ^,  etc.).  (i)  In  the  first  case,  ad- 
vancing the  bow  from  the  usual  plaeo  where 
the  fundamental  note  is  produced,  towards  the 
bridge,  the  whole  scale  of  harmonics  may  be 
produced  in  succession,  on  an  old  and  highly 
resonant  instrument.  The  employment  of  this 
means  produces  the  effect  oallea  '  sul  ponticello.' 
[See  Ponticello.')  (2)  The  production  of  har- 
monics by  the  slight  pressure  of  the  finger  on 
the  open  string  is  more  useful.  When  produced 
by  pressing  slightly  on  the  various  nodes  of  the 
open  strings  they  are  called  '  Natural  harmonics.* 
In  the  following  example  the  lower  notes  repre- 
sent the  fingering,  the  upper  ones  the  effect  :— 


Scotch  Air. 


Third  PatUUm 


Vaiural  Harmonies, 


Natural  harmonics  are  occasionally  employed 
piizioato  on  the  violin  and  violoncello,  and  are  an 
important  resource  in  harp  music.  Accurate 
violinists  are  disinclined  to  use  them,  because 
t)ie  player  has  no  oontrol  over  their  exact  in- 
tonation, which  is  rigidly  determined  by  that 
of  the  open  string;  and  the  tones  of  the  open 
strings,  which  are  tuned  by  perfect  fifths,  are  in 
certain  scales  slightly  dissonant.  In  the  key  of 
O.  for  instance,  the  harmonics  of  the  first  or  £ 
string  are  slightly  dissonant,  though  they  are 
perfect  in  the  key  of  A. 

Artificial  harmonics  are  produced  by  stopping 
the  string  with  the  first  or  second  finger,  and 
thus  making  an  artificial  *  nut,'  and  then  slightly 
pressing  the  node  with  the  fourth  finger.  By 
this  means  hannonics  in  perfect  intonation  can 
be  produced  in  all  scales.    Example — 


HARMONIC  STOPS. 
Camavdl  de  Veniae. 


665 


^ J"  =  "^ J J^Tj^  ikr^-, J:J    ^ 


eio. 


Art^Mai  Harmania, 
4th  string. 

For  the  entire  theory  of  artificial  harmonics  in 
single  and  double  scales  see  '  L*Art  de  Jouer  du 
Violon  de  Paganini'  by  Guhr.  They  can  how- 
ever only  be  produced  by  using  thin  strings,  and 
are  little  employed  by  the  best  writers.  In 
modem  music  thoy  are  designated  by  an  open 
note  of  this  ^  form.  (See  the  Andante  of 
Joachim's  Concerto,  etc.) 

Practical  tue  of  single  harmonic  tones  on  wind 
instruments.  As  in  the  case  of  stringed  in- 
struments, the  hannonics  of  wind  instruments 
naturally  reinforce  the  prime  note,  but  are 
separable  from  it  by  artificial  means.  In  wind 
instruments  this  is  done  by  varying  the  intensity 
or  the  direction  of  the  air  current  from  the 
mouth,  which  sets  in  vibration  the  air-column  in 
the  tube,  so  as  to  throw  the  air-column  into 
vibrating  portions  of  different  lengths,  as  in  the 
case  of  the  aliquot  parts  of  a  string.  The  falsetto 
voice  consists  of  harmonic  octaves  of  the  natural 
voice.  All  the  notes  of  the  flute  above  the  lowest 
octave  are  harmonic  octaves,  twelfths,  and  double 
octaves  of  the  lower  notes.  Like  the  corre- 
sponding hannonics  on  the  oboe  and  clarinet, 
these  tones  are  produced  by  overblowing.  Brass 
instruments  are  richest  in  the  practical  employ- 
ment of  harmonics.  Any  brass  instrument,  such 
as  the  hunting  horn  or  military  bugle,  yielding 
one  fundamental  note,  yields  ihe  familiar  har- 
monic scale 


t 


rJJ  Prrrtfrf! 


Violinists  are  well  aware  that  the  longer  the 
string  in  proportion  to  its  thickness,  the  greater 
the  number  of  upper  harmonics  it  can  be  made 
to  yield.  Similarly,  the  longer  the  tube  of  a  brass 
instrument,  the  higher  does  the  series  of  its 
practicable  harmonic  tones  ascend.  The  old 
French  horn  consists  simply  of  a  conical  tube  of 
great  length,  which  readily  yields  the  scale  of 
harmonic  intorvak.  They  are  produced  by  gently 
varying  the  degree  and  direction  of  the  current 
of  air.  The  dissonant  notes  (f ,  -ff,  ^,  '^)  in 
the  scale  are  feo  some  extent  corrected,  and  some 
of  the  missing  tones  are  supplied  by  introducing 
the  hand  into  the  bell.  Mechanical  appliances 
have  been  contrived  for  the  same  purposes.  On 
the  trumpet  the  tube  is  extended  for  the  same 
purposes  by  means  of  a  slide.  [See  Horn, 
Thdmpet,  etc.]  [E.J. P.] 

HAKMONIC  INSTITUTION.  [SeeABGYLL 
Booms.] 

HARMONIC  STOPS  are  organ  stops,  the 
upper  pipes  of  which  do  not  produce  the  sound 
that  would  be  expected,  having  regard  to  their 


666 


HARMONIC  STOPS. 


length,  but  the  octave  to  that  Bound.  They  have 
been  known  in  Germany  for  nearly  two  hundred 
yean.  Tke  *  violoncello^  S  feet  pitch '  on  the 
Fedal  organ  at  Weingarten,  naade  in  the  first 
half  of  Utst  oenturv,  is  in  reality  i6  feet  in 
length,  of  tin«  and  3)  inches  in  diameter. 

Harmonic  stops  have  la  recent  years  come 
into  great  favour,  in  the  first  instance  through 
the  careful  and  sucoesfiful  experiments  of  the 
eminent  French  builder,  M.  Cavaiil^-OoU,  of  Paris. 
Guided  by  the  fiu;t  that  performers  upon  wind 
instruments  eKerctse  a  greater  pressure  of  wind 
for  the  production  of  the  higher  notes  than 
the  lower,  the  above  ingenious  builders  applied 
the  same  principle  to  some  of  their  organ  regit' 
ters,  with  the  most  excellent  result.  In  this 
manner  they  produced  the  stops — ^most  of  which 
have  been  naturalised  in  £ngland--called  'Flute 
Harmonique,  8  pieds/  *  Flute  Octaviante,  4  pieds,' 
'Trompette  Harmonique,  8  pieds,*  etc.  At  first 
only  a  few  experimental  pipes  were  made  to 
test  the  soundness  of  the  tneory,  for  the  re- 
sistance presented  to  the  finger  by  the  highly 
compressed  air  was  so  excessive  as  to  prevent 
their  adoption  in  practice ;  but  the  invention  of 
the  Pneumatic  lever  removed  this  objection,  and 
Harmonic  Stops  and  the  Pneumatic  attachment 
were  introduced  together  for  the  first  time,  in 
Cavaill^^s  fine  organ  in  the  abbey  church  of 
St.  Denis,  near  Paris,  finished  in  1841.  Very 
efTeotive  Harmonic  Flutes,  though  naturally  lees 
powerful,  are  frequently  voiced  upon  a  wind  of 
the  ordinary  strength  when  there  is  a  copious 
supply  of  it.  [E.J.H.] 

HARMONIC  UNION,  THE.  A  society  based 
on  subscriptions,  'for  the  performance  of  sacred 
and  secular  music  both  of  the  Ancient  and 
Modem  Schools/  and  particularly  of  living  com- 
posers, with  Solos,  Chorus  and  Orchestra.  The 
first  proposal  was  issued  in  July,  185a,  Mr. 
Benedict  waa  chosen  conductor,  and  Mr.  Bla^ove 
leader;  the  concerts  took  place  at  Exeter  Hall, 
and  the  subscription  was  £3  3  per  head.  The 
first  was  held  on  Dec.  17,  185a,  the  programme 
being  Motet  No.  6,  J.  S.  Bach,  and  Uie  oratorio 
of  Joseph  by  C.  £.  Horsley.  Others  followed 
at  about  a  month's  interval  until  Feb.  23,  1854, 
which  appears  to  have  been  the  date  of  the  last. 
Many  new  works  were  brought  forward,  such  as 
HoEsley's  Joseph :  Macfarren*s  Lenora ;  Hereon 's 
Jerusalem;  F.  Mori's  Fridolin;  Symphony  (G 
minor)  by  0.  £.  Stephens — besides  the  Messiah, 
Acis  and  Galatea  (with  Mozart's  accompani- 
ments), Alexander's  Feast,  Ruins  of  Athens, 
Elijah,  Walpurgisnight,  Midsummer  Night's 
Dream,  etc.  [G.] 

HARMONIE,  the  French  and  German  word 
tor  the  wind  instruments  of  the  orchestra.  Mu- 
tique  d  'harmonis  or  Harmome  munk  is  music 
written  for  wind-band  alone,  such  as  Mendels- 
sohn's overture  in  C,  op.  34.  Meyerbeer's  Fackel- 
tanze,  etc.  The  origin  of  the  term  ia  not 
known.  [G.] 

HARMONIUM  (French,  also  0>^iM«i7>r(sn/). 
A  w«lKknowi}  popular  keyed  Instrument,  the  tonos 


HARMONIUM, 

of  whibh  are  prodoced  by  thin  tonguei  of  bnas  or 
steel,  set  in  periodic  motion  by  preasore  of  air, 
and  called  'vibrators.*      They  are  known  al^o 
as  '  fno  reeds* ;  reeds,  becauae  their  principle  is 
that  of  the  shepherd's  pipe ;  free,  because  thej 
do  not  entirely  close  the  openings  in  which  they 
vibrate  at  any  period  of  their  movement^  while 
those  generally  used  in  the  organ«  known  as 
'beating  or  striking  reeds,'  dose  the  orifice  at 
each  pulsation.     It  is  not  however  the  vibra- 
tion of  the  tongue  itself  that  we  hear  aa  the 
tone :  according  to  HelmhoUc  this  ia  due  to  the 
escape  of  the  air  in  puffs  near  its  point,  the 
rapidity  of  alternation  of  the  puffs  determining 
the  pitolu    The  timbre  of  the  note  ia  conditioned 
in  the  first  place  by  this  opening,  and  then  by  the 
size  and  form  of  the  channel  above  tiie  tcmgce 
and  its  pallet  hole,  through  which  the  air  im- 
mediately passes.    The  Hannonium  is  the  mo«t 
modem  of  keyed  instruments,  if  we  include  the 
neariy  related  American  Oroav,  in  which  the 
vibrator  is  set  in  motion  by  reverse  power,  that 
is   by  drawing  in  the  air;  for  if  we  go  back 
to  the  earliest  attempts  to  make  instruments  of 
the  kind  we  are  stiU  within  the  19th  oentuxy. 
The  usefulness  and  convenience  of  the  harmo- 
nium have  gone  fiw  to  establish  it»  almost  as  a 
rival,  in  a  commercial  sense,  to  the  pianoforte. 
It  has  been  too  much  the  practice  to  regard  the 
harmonium  only  as  a  handy  substitute  for  tlie 
organ,  and  this  has  been  fostered  by  interested 
persons  to  the  detriment  of  its  individuality  and 
the  loss  of  the  perception  that  it  has  reason  to 
exist  from  Its  own  merits  as  a  musical  instni- 
ment.     It  ia  true  that  like  the  oi^gan  the  tones 
of  the  harmonium  may  be  sustained  at  one  power 
so  long  as  the  keys  are  kept  down,  and  variety 
of  timbre  is  obtuned  by  using  the  stops;  bat 
when  the  Expression  stop  is  used,  by  which  the 
air  reservoir  ia  cut  off  and  the  pressure  made 
to  depend  entirely  upon  the  management  of  the 
bellows,  the  harmonium  gains  the  power  of  in- 
crease and  decrease  of  tone  under  the  control  of 
the  player,  who  by  the  treadles  can  graduate  the 
condensation  of  the  wind  almost  as  a  violin- 
player,  manages  his  tone  by  the  bow.     To  ue 
this  power  artistically  the  harmoni«m  -  player 
must  have  skill ;  and  few  take  to  this  instru- 
ment with  anything  like  the  high  tsohnical  sim 
with  which  the  pianoforte  and  violin  ajne  studiei 
There  is  however  no  reason  that  there  should 
not  be  a  school  of  composers  and  players  com- 
petent  to   realise  and  develop  the  individual 
character  of  the  instrument. 

The  history  of  the  harmonium  is  intimatelj 
connected  with  that  of  the  different  w^d  har- 
monicas which  from  the  musical  fruit  and  baby 
trumpets  of  Nuremberg,  to  accordions  and  oon* 
certinas,  have  during  the  past  fifty  yean  had 
such  extensive  popularity.  Unlike  as  the  wboU 
tribe  of  reed  organs  have  been  to  any  notion  of 
music  that  pertained  to  ancient  Greece,  it  ia  sot 
a  little  surprising  that  a  large  vocabulaiy  of 
Greek  names  shotUd  have  been  adopted  to  de- 
scribe them.  The  first  name,  and  one  still  In 
use,  that  of  Oigue  expressi^  was  due  to  •  French* 


HABMOKIUM. 

man,  Graii^,  who,  according  to  F^tis  (Fabrica- 
te on  dm  Instnunents  de  Musiqae,  Paris  1855), 
very  early  in  this  century  imagined  the  oonatruc- 
tioa  of  a  keyboard  instnxment,  which,  by  tongues 
of  metal  vibrating  under  variaUe  premures  of 
*ttno0phere,  should  give  nuances,  or  varying  in- 
tensitiea  of  sound.    His  tongues  were  not '  beat- 
ing'   but    'free*  reeds,   having  an  alternative 
movement,  the  energy  depending  upon  the  den- 
sity of  the  air-current  affecting  theuL     It  was 
not  a  novel  principle,  for  the  Chinese  eheng  might 
have  suggested  the  employment  of  it;  but  be 
this   as  it  may,  F^tis  informs  us  that  Greni^ 
never  assumed  that  he  was  the  invent<nr  of  it. 
The  experiments  of  Sebastian  Erard  with  free 
reecb.  of  which  Gi^try  thought  so  much,  were 
already  known.    A  few  years  later  than  theeOr 
about  1 8 14  some  say,  and  quite  independently, 
£schenbach  of  Koenigshoven  in  Bavaria  invented 
a  keyboard  instrument  with  vibrators,  which  he 
named  '  Organo-vioHne.'    Then  began  the  Greek 
era.    In  1 8 1 6  Schlimbach  of  Ohrdruff,  improving 
upon  Eschenbach,  produced  the  ^oline.     The 
next  st^  was  an  apparatus  for  continuous  wind, 
by  Voit  of  Schweinfurt,  who  called  his  instru- 
ment .^olodioon.     In  1818   Anton  Hackel  of 
Vienna  constructed  a  diminutive  soline  as  an 
instrument  to  be  used  with  a  pianoforte,  twing- 
ing it  out  as  Physharmonica.'    This  bellows- 
harmonica  Professor  Payer  took  with  him  to  Paris 
in  1823,  and  several  imitations  were  made  of  it, 
one  of  which,  the  Aerophone  of  Christian  Dietz, 
was  described  by  him  in  the  6th  volume  of  the 
Kevue  Mnsioale  (Paris   1829).    Returning  to 
Germany,  Reich  of  Fttrth,  near  Nuremberg,  pro- 
duced at  Munich  in  1820  timbre  registers  imi- 
tating the  clarinet  and  bassoon.    The  16-foot  or 
octave-deeper  raster  F^tis  attributes  to  Four- 
neaux  p^re  of  Paris,    1836.     The  Melophone 
came  out  at  the  Paris  Exhibition  of  1834,  and 
was  probably  made  by  Jacquet,  whom  the  same 
authority  quotes  as  the  only  maker  of  melo- 
phones  in  1855.    Elsewhere  we  read  of  an  Mo- 
ludicon  with  bent  tongues,  and  of  a  Terpodion 
with  tongues  of  wood;  of  an  .^k>lophone,  an 
Adelphone,  an  Adiaphonon,   an  Harmonikon, 
and  a  Hazmonine ;  of  Melodiums,  i£olians,  and 
Panorgues ;  of  the  Poikilorgue  of  M.  Cavailld- 
Coll,   etc.      In  England  keyboard  harmonicas 
with  bellows  were  known  by  the  name  of  Sera* 
phine,  which  was  not  a  harmonium,  for  it  had 
ho  channels  for  the  tongues.    The  oldest  English 
patent  for  a  seraphine  is  that  of  Myers  and 
iStorer,  dated  July  20,  1839. 

It  must  be  remembered  that  nearly  all  these 
instruments  had  but  one  complete  set  of  vibrators 
to  a  keyboard.  The  Organico,  a  tentative  is- 
Btrtunent  of  Alexandre  Debain  (bom  1809,  died 
1877),  had  two  notes  an  octave  apart  on  each 
key.  To  this  renmrkable  mechanician  was  due 
the  gathering  up  the  work  of  all  his  predecessors 
and  unittns^  four  stops  on  one  keyboard  to  pro- 
duce the  Harmonium.    His  first  patent  for  this 


HARMONIUM. 


eer 


.»TMs 
tremolo 
oUi«rk 


bitQt  retained  for  a  ftc«-raed  etop  In  the  orpui,  with 
Bud!  box  of  Ito  own,  hr  Walcker  of  Ludwigtbtttg  and 


instrument,  in  Paris,  is  dated  Aug.  9,  1840- 
(Notability  de  la  Facture  Instrumentale,  Paris 
1857).  Inventor  or  improver,  Debain  had  the 
great  merit  of  opening  the  path  to  contrasts  in 
colour  of  free-reed  tone,  by  means  of  various  rized 
channels  to  the  vibrators,  submitted  in  different, 
r^^isters,  to  one  keyboard.  It  was  however  un- 
fortunate that  in  the  defence  of  his  rights  he  was 
induced  to  secure  to  himself  the  sole  privilege 
of  using  the  name  Harmonium  in  France,  thus 
forcing  other  makers  to  use  tiie  name  Organ, 
and  thus  to  add  another  stone  to  the  cairn  of 
confusion  in  musical  instrument  nomenclature. 
Of  late  the  name  Reed-organ  has  been  used  to 
express  both  the  harmonium  and  the  American 
oigan,  and  is  perhaps  the  best  way  out  of  a 
difficulty.  The  next  great  invention  after  Debain 
—attributed  by  F^tis  to  the  Alexandres,  father 
and  son — was  the  Expression,  already  mentioned, 
the  creation  of  a  new  and  sesthetically  more 
valuable  harmonium.  Another  major  invention 
was  that  of  Martin,  who  gave  the  harmonium, 
to  use  a  technical  term,  '  quicker  speech,'  t.  e. 
made  the  sound  more  quickly  follow  the  descent 
of  the  key.  The  invention  is  known  as  *  per- 
cussion,' and  is  an  adaptation  of  the  pianoforte 
escapement,  by  which  a  little  hammer  strikes 
the  tongue  at  the  same  moment  that  it  receives 
the  impact  of  the  wind.  Another  invention  of 
Martins,  termed  *prolongeinent,'  enables  the 
player  to  prolong  certain  notes  after  the  fingers 
have  quitted  the  keys.  Martin  governed  this 
by  knee  pedals,  but  it  is  now  usually  effected 
by  a  stop,  and  knocked  off  at  will  by  a  little  heel 
movement.  The  'melody-attachment'  of  William 
Dawes,  patented  in  Loudon  1864,  has  the  effect 
of  making  the  melody-note,  or  air,  when  in  the 
highest  part,  predominate,  by  a  contrivance  that 
shuts  off  all  notes  below  the  highest  in  certain 
registers  of  a  combination.  In  the  *pedal- 
snbstitute*  of  Dawes  and  Ramsden  this  is 
reversed,  and  the  lowest  notes  can  be  made  to 
predominate  over  the  other  notes  of  a  left  hand 
chord.  An  important  invention,  and  curious  aSi 
bringing  the  pianoforte  touch  to  a  certain  extent 
upon  the  harmonium  keyboard,  is  the  'double 
touch,*  invented  by  an  English  musician,  Mr. 
Augustus  L.  Tamplin,  before  1855,  and  now 
introduced  systematioally  in  the  fiimous  harmo- 
niums of  Mustel  of  Paris,  and  of  Mr.  Gilbert  L. 
Bauer,  an  artistic  London  maker,  and  producing 
emphasised  or  strengthened  tones  by  a  greater 
depression  of  the  key.  Another  important  in- 
vention  of  the  greattwi  delicacy  is  Mustel^s 
'pneumatic  balance*  (French  Double  £xpre»' 
sion) — valves  of  delicate  construction  acting  in 
the  wind  reservoir,  and  keeping  the  pressure  of 
air  in  it  practically  equal,  so  that  it  cannot 
possibly  be  overblown. 

Proceeding  now  to  the  structure  of  the  harmo- 
nium it  is  sufiioient  to  notice  externally  the 
keyboard  and  treadles  as  prominent  features. 
The  latter  (a),  moved  by  the  feet  of  the  player, 
feed  the  bellows  (b) ;  the  air  is  by  them  fovced 
up  the  wind- trunk  (g)  into  the  wind-chest  (t), 
and  from  thence,  while  the  expression-stop  is  not 


HARMONICH. 


HABUOKIUU; 


drawn,  into  Uie  i«- 
MTvoir  (/).  in  a, 
Continuoiuuid  eq  tul 
Ktream,  eicen  in 
which  is  obviated  b; 
k  <Ii  acharge  pallet  («) 
tctiug  as  a  aatety 
valve.  But  when 
the  eipreasion  ■  itop 
ii  drawn  and  the 
eipreuioD -hole  (A) 
to  the  reeervoir  is 
ooneequently  closed, 
the  ur  acta  directly 
upon  the  vibraCon 
or  tonguea  (m),  from 
the  feedera  (o).  The 


diffe 


jtatvi 


■truoh  by  the  ham- 
mer and  aansted  to 
move  at  the  moment 
the  wind  ia  admitted. 


haa  a  keTboaid  of 
five  octavea  at  8-fI. 
pitch.      ThB     baa 


Bbnpa  ranse  np  to 
and  ioclaiu  tberoa 
the  fint  line  of  the 
treble  stave  -,  aad  llie 
treble  alou  range 
from  the  /  upwards 
— 31)  and  31  notes  re- 
■peotively — a  wider 
oompan  than  an; 
other  wind  inunt- 
rnsnt.  In  an  ordin- 
ary harmoaiom  (be 
registers  or  iT>we  of 
vilnraton  are  Ibur  in 
number,  divided,  u 
ju3t  stated,  into  baa 
and  treble,  and  agvn 
into  front  and  bacii 
organs  aa  the;  ira 
technically  called. 
The  front  cargin  has 
the  foundation  and 
fuller  toned  stops, 
the  back  organ  Ibe 


bratoTB  or  reed  com- 
partments, aa  the 
■tops  (0  may  be 
dmwn.  Above  the 
bellows-board  is  the 
'pan'  (2),  Komedmea 
enoneously  called 
the  anundbiiaTd,  a 
board  of  graduated 
thickness  in  which 
are  the  channels  (n) 
— sepsrate  chambers 
of  air  to  each  vibra- 
tor, determining,  a* 
aaid  before,  the  dif- 
ferent (i  mi  rca.    The 

EroportioQBofthechannelsand  DM  of  the  pallet-  |  reedy  rtops.    Thos,  adding  the  French  names  as 
oles  are  found  empirieally.     The  air  within  the     they  are  Ireonsntlj  to  be  met  with— 
channels,  set  in  vibration  by  the  tonguea.iBhighly        Front.    No.  1.  Diapason  bass  and  Diapason 
compreasad.     Sometime*,  to  gain  space  and  a  1  beble — Cor  Anglak  and  Fl^te.    S-ft  pitch. 
different  quality,  the  channels  No.  3.    Bourdon  bass  and 

with  their  tonguea  are  placed 
upright.  A  atop  (I)  being 
drawn  andakeytjldepreBsed, 
wind  ia  admitted  by  the  ac- 
tion to  the  tongue  or  vibrator, 
and  escapes  by  the  pallet-hole 
(0) — at  a  oomparatively  even 
pressure  if  it  comes  from  the 
reservoir,  or  at  a  varying 
pressure  if,  aa  atrsady  ex- 
plained, the  eipreaaion-Btop 
ia  drawn  and  the  wind  cornea 
from  the  feeders  direct. 

Wo  give  a  cut  of  the  per- 
cuBsion  action  already  alluded 
to.  Here  q  ia  the  key,  which 
on  beinj  depressed  senda 
down  a  '  plunger'  {a),  which 
acta  upon  a  little  escapement 
aetioD,  with  lever  1,6),  ham- 
mer l,c),  and aelroff  i_d);mi» 


ft.pitoh. 

Back.  No.  3.  Clarion  bsst 
and  Principal  treble — Clam* 
and  h'i/re.    4-ft.  pitch. 

No.  4.  Bassoon  bass  anil 
Oboe  treble  —  Batvat  and 
Bmdtmii.     8-ft.  pitch. 

M.  Murtel  retuu  tbii  ar- 
rangement of  the  foundslioD 
atopa  in  all  harmoninnu ;  Mr. 
Bauer  in  large  hannoniDmi 
has  doubled  them.  In  the 
large  Mustal  instninienli 
other  atopa  of  great  beauty 
are  added,  ibe  iodispotabU 
introduction  of  tbur  ingeni- 


Rar 


Bw>. 


l-fl.   pitch.     Two  ranka  ii 


HABMONIUM. 


HARMONY. 


661^ 


Tibrators,  out  of  tune,  the  one  a  beat  sharp,  the 
other  a  beat  flat,  producing  a  tremuloua  effect. 
Musette.  Treble.    i6-ft.  pitoh.  Nasal  quality. 
Voix   Celeste.     Treble.      16-ft.  pitch.      Two 
ranks  with  soft  quality. 

Barytcn,  Treble.   33-ft.  pitch.   Nasal  quality 
like  the  Musette,  but  broader. 

The  'full  organ*  (grand  jeu)  is  a  drawstop 
giving  instantly  the  full  power  of  the  harmonium 
without  ibe  ont-of-tune  ranks.    The  'percussion* 
has  to  do  with  the  diapason  only,  and  not  with 
all  four  rows,  as  originally  appUed  by  Martin. 
Two  mechanical  stops — the  TVemolo,  which  sets 
the  wind  in  motion  before  it  reaches  the  vibra- 
tors, and  the  Sourdine,  which  shuts  off  a  portion 
of  the  wind  that  would  reach  them,  may  be 
regarded  now  as  discarded  in  all  harmoniums 
of    good  manufacture.     The   Swell   {reeit)   is 
like  the  Venetian  swell  in  the  organ.    It  is 
usually  placed  over  the  back  organ,  and  is  con- 
trolled by  the  '  Pneumatic  Fortes,'  set  in  motion 
by  knee  pedals,  which  opens  the  louvres  by  extra 
pressure  of  wind  acting  upon  pneumatic  levers. 
The  front  organ  in  foreign  narmoniums  is  usually 
subdued  by  a  thin  bourd  the  under  surfisce  of 
which  is  covered  with  swansdown  or  other  soft 
material ;    this  is  replaced   in  England  by  a 
covering  of  brown  sheepskin  or  basil,  also  lined 
with  swansdown.     The  tongues  are  not  made 
of  ordinary  sheet-rolled  brass;   but  of  a  metal 
prepared  expressly,  and  with  some  secrecy.    The 
best  is  believed  to  be  from  hammered  wire  re- 
duced by  continued  hammering  to  the  thickness 
required.    A  broader  tongue  is  found  to  give  a 
bolder  tone,  but  sacrifices  quickness  of  speech ; 
a  narrower  tongue  is  shriller.    The  tongues  are 
bent  in  various  ways,  longitudinally  and  late- 
rally, to  gain  sweetness,  but  the  speech  suffers. 
Tuning  is  efiected  by  scraping  near  the  shoulder 
to  flatten  the  tongue,  or  near  the  point  to  shaTX>en 
it.     The  air  pressure  somewhat  affects  the  tuning 
of  the  larger  vibrators,  but  it  is  a  merit  in  the 
harmonium  that  it  alters  little  in  comparison 
with  the  pianoforte  or  flue- work  of  an  organ. 
Double  touch  is  produced  by  causing  the  back 
organ  to  speak  first,  and  is  divided  technically 
into  the  'upper'  and  'deep*  touches.    The  har- 
monium has  been  combined  in  construction  with 
the  pianoforte  by  Debain  and  other  makers.  The 
tinibrei  and  nature  of  the  two  instruments  are 
so  dissimilar,  not  to  say  anti^nistic,  that  no 
real  benefit  is  to  be  gained  by  yoking  them 
together.  [A.J.H.] 

HARMONY.  The  practice  of  combining 
sounds  of  different  pitch,  which  is  called  Har- 
mony, belongs  exclusively  to  the  music  of  the 
most  civilised  nations  of  modem  times.  It  seems 
to  be  sufficiently  proved  that  the  ancient  Greeks, 
though  they  knew  the  combinations  which  we 
call  chords  and  categorised  them,  did  not  make 
use  of  them  in  musical  performance.  This  reti- 
cence probably  arose  from  the  nature  of  their 
scales,  which  were  well  adapted  for  the  develop- 
ment of  the  effective  resources  of  melody,  but 
were  evidently  inadequate  for  the  purposes  of 
harmony.    In  lookiug  back  over  the  history  of 


music  it  becomes  clear  that  a  scale  adapted  for 
any  kind  of  elaboration  of  harmony  could  only 
be  arrived  at  by  centuries  of  labour  and  thought. 
In  the  search  after  such  a  scale  experiment  has 
succeeded  experiment,  those  which  were  success- 
ful serving  as  the  basis  for  further  experiments 
by  fresh  generations  of  musicians  till  the  scale 
we  now  use  was  arrived  at.  The  ecclesLsstical 
scales,  out  of  which  our  modem  system  was  gradu- 
ally developed,  were  the  descendants  of  the  Greek 
scales,  and  like  them  only  adapted  for  melody, 
which  in  the  dark  ages  was  of  a  sufficiently  rude 
description.  The  people*s  songs  of  various  nations 
also  indicate  characteristic  s<»le8,  but  these  were 
equally  unfit  for  purposes  of  combination,  unless 
it  were  with  a  drone  bass,  which  must  have 
been .  a  very  early  discovery.  In  point  of  fact 
the  drone  bass  can  hardly  be. taken  as  repre- 
senting any  idea  of  harmony  proper ;  it  is  very 
likely  that  it  originated  in  the  instruments  of 
peroussion  or  any  other  form  of  noise-making 
invention  which  served  to  mark  the  rhythms  or 
divisions  in  H^Tunng  or  singing ;  and  as  this  would 
in  most  cases  (especially  in  barbarous  ages)  be 
only  one  note,  repeated  at  whatever  pitch  the 
melodv  might  be,  the  idea  of  using  a  continuous 
note  m  place  of  a  rhjrthmic  one  would  seem 
naturally  to  follow ;  but  this  d6es  not  necessarily 
imply  a  feeling  for  harmony,  though  the  prin- 
ciple had  certain  issues  in  the  development  of 
harmonic  combinations,  which  will  presently  be 
noticed.  It  would  be  impossible  to  enter  here 
into  the  question  of  the  construction  and  gradual 
modification  of  the  scales.  It  must  suffice  to 
point  out  that  the  ecclesiastical  scales  are  tolerably 
well  represented  by  the  white  notes  of  our  keyed 
instruments,  the  different  ones  conunencing  upon 
each  white  note  successively,  that  commencing  on 
D  being  the  one  which  was  more  commonly  used 
than  the  others.  In  these  scales  there  were  only 
two  which  had  a  leading  note  or  major  seventh 
from  the  tonic.  Of  these  the  one  beginning  on 
F  (the  ecdesiastical  Lydian)  was  vitiated  by 
having  an  augmented  fourth  from  the  Tonio, 
and  the  one  commencing  on  C  (the  ecclesiastical 
Ionic,  or  Grdek  Lydian)  was  looked  upon  with 
disfavour  as  the  'modus  lascivus.'  These  cir- 
cumstances affected  very  materially  the  early  ideas 
of  harmony;  and  it  wiU  be  seen  that,  conversely, 
the  gradual  growth  of  the  perception  of  harmoniu 
relationsmo<&fied  these  ecclesiastical  scales  by  very 
slow  degrees,  by  the  introduction  of  accidentals, 
so  that  the  various  modes  were  by  degrees  fused 
iuto  our  modem  major  and  minor  scales. 

The  earliest  attempts  at  harm<my  of  which 
there  are  any  examples  or  any  description,  was 
the  Diaphony  or  Organum  which  is  described  by 
Hucbald,  a  Flemish  monk  of  the  tenth  century, 
in  a  book  called  '  Enchiridion  MusicsB.*  These 
consist  for  the  most  part  of  successions  of  fourths 
or  fifths,  and  octaves.  Bumey  gives  an  example 
from  the  work,  and  translates  it  as  follows : — 


i 


is: 


•  ^    <p    ^    ^»    ^^ 


23: 


_    a    Bf    sf    &f 

Tu     pft  •  till  Mmp  - 1  -  tar 


■85" 


JBl 


I 


mis    m     fl  -  11  • 


670 


HARMONY. 


HARMONY. 


The  pr»ctice  of  adding  extra  parts  to  a  Canto 
fermo  at  the  distance  of  a  foaith  or  fifth,  with 
an  octave  to  make  it  complete,  ieems  to  have 
been  common  for  lome  time,  and  was  expressed 
by  such  terras  as  '  diatessaronare/  -or  in  French 
*quintoier.'  This  however  was  not  the  only 
style  of  combination  known  to  Hncbald«  for  in 
another  example  which  oonsists  chiefly  of  suc' 
esssions  of  fifths  and  octaves  the  parallelism  is 
interrupted  at  the  close,  and  the  last  chord  but 
one  contains  a  major  sixth.  Further  than  this, 
Bumey  gives  an  example  in  which  the  influenoe 
of  a  drone  bass  or  holding  note  is  apparent^ 
whereby  the  origin  of  passdng  notes  is  indicated, 
as  will  be  observed  in  the  use  of  a  ninth  tran- 
sitionally  between  the  combinations  of  the  octave 
and  the  tenth  in  the  following  example  at*. 


m 


:az=^sa: 


zss: 


JOO 


zr 


z 


etc 


T« 


htt  •   mi 


ma 


11 


The  use  of  tenths  in  this  example  is  remarkable, 
and  evidently  unosual,  for  Guide  of  Arexao,  who 
lived  full  a  century  later,  ipeaks  of  the  'sym* 
phonia  vocum  *  in  his  Antiphonariom,  and  men- 
tions only  fourths,  fifths,  and  octaves.  This 
mi^t  be  through  Hucbald's  notions  of  com- 
bination  being  more  vague  than  those  of  Guide, 
and  his  attempts  at  hannony  more  experimental; 
for,  as  far  as  can  be  gathered  from  the  documents, 
the  time  which  elapsed  between  them  was  a 
period  of  gradual  rudisation  of  the  qualities  of 
intervals,  and  not  of  progress  towards  the  use  of 
fresh  ones.  Guidons  aescription  of  the  Organum 
is  essentially  the  same  as  the  succession  of  foinths 
and  fifths  given  by  Hucbald ;  he  does  not  how- 
ever consider  it  very  satisfactory,  and  gives  an 
example  of  what  was  more  musical  according  to 
his  notions ;  but  as  this  is  not  in  any  degree 
superior  to  the  second  example  quoted  fixim  Uuo- 
bsid  above,  it  is  clear  that  Guide's  views  on  the 
subject  of  Hannony  do  not  demand  lengthy  con- 
sideration  here.  It  b  only  necessary  to  point  out 
that  he  seems  to  have  more  defined  notions  as  to 
what  is  desirable  and  what  not,  and  he  is  re* 
markable  also  for  having  proposed  a  definition  of 
Harmony  in  his  Antipfaonarium  in  the  following 
terms — 'Armenia  est  diversarum  Toeum  apta 
ooadunatio.* 

The  Diaphony  or  Organum  above  described 
was  succeeded,  perhaps  about  Guidons  time,  by 
the  more  elaborate  system  called  Discantus. 
Tliis  consisted  at  first  of  manipulation  of  two 
different  tunes  so  as  to  make  them  tolerably 
endurable  when  sung  together.  Helmholtz  sug- 
gests that  '  such  examples  could  scarcely  have 
been  intended  for  more  than  musical  tricks  to 
amuse  social  meetings.  It  was  a  new  and 
amusing  discovery  that  two  totally  independent 
melodies  might  be  sung  together  and  yet  sound 
well.*  The  principle  was  however  early  adc^ted 
for  ecclesiastical  purposes,  and  is  described  under 
the  name  Discantus  b)'  Franco  of  Cologne,  who 
lived  but  littie  after  Guide  in  the  eleventh 
century.     From  this  Discantus  sprang  counter- 


point and  that  whole  genns  of  polyphonic  music, 
which  was  developed  to  such  a  high  pitch  of 
perfection  between  the  J4th  and  tbe  17th 
oenturies;  a  period  in  whidi  the  uindB  of  suc- 
cessive generations  of  musioians  wore  beoomiiig 
unconsciously  habituated  to  haimonic  combina- 
tions of  greater  and  greater  eomplexity,  ready  for 
the  final  realisation  Sf  harmony  in  «nd  for  itaelf^ 
which,  as  will  be  seen  presently,  appean  to  have 
been  achieved  aboat  the  year  1600.  Franco  of 
Cologne,  who  as  above  stated  describes  tbe  first 
fomis  of  this  Descant,  is  also  sooMwhat  in  ad- 
vance of  Guido  in  his  views  of  hannony.  He 
classifies  concords  into  perfect^  middle,  and 
imperfect  consonances,  the  first  being  the  ooiaTes 
the  second  the  fourths  and  fiftiis,  and  the  third 
the  major  and  minor  thirds.  He  puts  the  sixths 
among  the  disoords,  but  admits  of  their  use  in 
Descant  as  less  disagreeaUe  than  flat  seoxids  or 
sharp  fourths,  fifths,  and  sevenths.  He  is  also 
remarkable  for  giving  the  first  indication  of  a 
revulsion  of  feeling  against  the  system  of  *  Or- 
ganising* in  fifths  and  fourths,  and  a  tendency 
towards  the  modem  dogma  against  consecutive 
fifths  and  octaves,  as  he  says  that  it  is  best  to 
mix  imperfect  oonoonuB  with  pesnct  oonoords 
instead  of  having  soooassions  of  imperfect  or 
perfect. 

It  is  unfortunate  that  there  is  a  deficiency  of 
examples  of  the  secular  music  of  these  eariy 
times,  as  it  must  inevitably  have  been  among 
the  unsophisticated  geniuses  of  the  laity  that  the 
most  daring  experiments  at  innovation  were 
made ;  and  it  would  be  very  interesting  to  txace 
the  process  of  selection  which  must  have  onoon- 
seioosly  played  an  important  part  in  the  survival 
of  what  was  fit  in  these  experiments,  and  the 
non-survival  of  what  was  untit.  An  indication 
of  tills  progress  is  given  in  a  work  by  Marbhetto 
of  Padua^  who  lived  in  the  13th  century,  in 
which  it  appean  that  secular  music  was  much 
cultivated  in  Italy  in  his  time,  and  examples  of 
the  chromatic  progressions  which  were  osed  are 
given ;  as  for  instance — 

..    J  t^  n^  ^  -  ^  ^  h^  J-- 


r 


Marchetto  qieaks  also  of  the  resolutions  of  Dis- 
cords, among  which  he  ciassos  fourths,  and 
explains  that  the  part  whsdi  offends  the  ear  by 
one  of  these  disoords  must  make  amends  by 
passing  to  a  oonoord,  while  th6  other  part  stands 
still.  This  dassification  of  the  fourth  among 
discords,  which  here  appears  for  the  first  time, 
marks  a  decided  advance  in  refinement  of  feeling 
for  harmcmy,  and  a  boldness  in  accepting  that 
feeling  as  a  guide  in  preference  to  theory.  As 
far  as  the  ratios  of  the  vibratioDal  numbers  of 
the  limiting  sounds  are  concerned,  the  fourth 
stands  next  to  the  fifth  in  excellence,  and  above 
the  third;  and  theoretically  this  was  all  that 
the  mediseval  musicians  luid  to  guide  them. 
But  they  were  instinctively  dioosing  those  con- 
sonances which  are  represented  in  the  compound 


HARMONY. 

tone  of  the  lower  note,  that  is  in  the  seiiee  of 
harmonics  of  "which  it  is  the  prime  tone,  or 
*  generator/  and  among  these  the  fourth  does  not 
occur;  and  they  had  not  yet  learnt  to  feel  the 
significance  of  inversions  of  given  intervals ;  and 
therefcA^  the  development  of  their  perception  of 
luuvoonies,  dealing  as  yet  only  with  combinations 
of  t^vo  different  notes  at  a  time,  would  lead  them 
to  reject  the  fourth,  and  put  it  in  the  category  of 
disoordant  intervals,  in  which  it  has  ever  since 
renruuned  as  far  as  contrapuntal  music  is  con- 
cerned, while  even  in  harmonic  music  it  cannot 
be  said  to  he  at  all  on  an  equality  with  other 
consonances. 

The  next  writer  on  music  of  any  prominent 
importance  after  Marchetto  was  Jean  de  Muris, 
wlio  Hired  in  the  T4th  century.     In  his  'Ars 
Ccmtrapuncti '  he  systematisee  concords,  as  the 
previouB  writers  had  done,  into  perfect  and  im- 
perfect ;  but  his  distribution  is  different  from 
Franco's,  and  indicates  advance.    He  calls  the 
octAve  and  the  fifth  the  perfect,  and  the  major 
and  minor  thirds  and  major  sixths  the  imperfect 
concords.      The  minor  sixth  he  still  excludes. 
Similarly  to  Franco  he  gives  directions  for  inter- 
mingling the  perfect  and  imperfect  concords,  and 
further  states  that  parts  should  not  ascend  or 
descend  in  perfect  concords,  but  that  they  may 
in  imperfect.    It  is  clear  that  individual  caprice 
was  playing  a  considerable  part  in  the  develop- 
ment of  musical  resources  in  de  Muris's  time,  as 
he  speaks  with  great  bitterness  of  extempore  dee- 
canters.  He  says  of  this  new  mode  of  descantiDg, 
in  which  they  professed  to  use  new  consonances, 
'O  magnns  abusus,  magna  ruditas,  magna  be- 
stialitas,  nt  asinus  sumatur  pro  homine,  capra 
pro  leone,*  and  so  on,  concluding,  'sic  enim  con- 
cordie  confunduntur  cum  discordiis  ut  nullatenus 
una  distingnatur  ab  aliA.'    Such  wildness  may 
be  aggravating  to  a  theorist,  but  in  early  stages 
of  art  it  must  be  looked  upon  with  satis&ction 
by  the  student  who  sees  therein  the  elements  of 
progren.    Fortunately,  after  de  Muiis's  time, 
original  examples  b^n   to   multiply,  and   it 
becomes  less  necessary  to  refer  to  reporters  for 
evidence,    as   the   facts   remain   to  speak   for 
themselves.     Kiesewetter  gives  an  example  of 
four-part  counterpoint  by  Dufay,  a  Netherlander, 
who  was  bom  about  1360.    This  is  supposed  to 
be  the  earliest  example  of  its  kind  extant,  and 
is  a  very,  considerable  advance  on  anything  of 
which  there  is  any  previous  account  or  existing 
examples,  as  there  appears  in  it  a  frequent  use 
of  what  we  call  the  complete  common  chord 
with  the  third  in  it,  and  also  its  first  inversion ; 
and  in  tedmical  construction  especially  it  shows 
great    advance   in    comparison    with    previous 
examples,  and  approaches  much  nearer  to  what 
we  should  call  real  music.     It  requires  to  be 
noted  moreover  that  this  improvement  in  techni- 
cal construction  is  the  most  striking  feature  of 
the  progress  of  music  in  the  next  two  centuries^ 
rather  than  any  large  extension  of  the  actual 
harmonic  combinations. 

The  works  of  Ookeghem,  who  lived  in  the  next 
century  to  Dufey,  do  not  seem  to  present  much  J 


HARMONY. 


m 


that  IS  worthy' of  remark  as  compariBd  with  him. 
He  occasionally  uses  suspended  discords  in  chords 
of  more  than  two  parts» 

A 


m 


t 


r^rFT 


from  a  canon  quoted  by  Bumey ;  but  discords  are 
of  rare  occurrence  in  his  works,  as  they  are  also 
in  those  of  his  great  pupil  Josquin  de  Ftes.  For 
instance,  in  the  first  part  of  the  Stabat  Mater  by 
the  latter  (in  the  Raccolta  Generate  delle  Opere 
Classiche,  edited  by  Choron),  there  are  only  ten 
examples  of  such  discords  in  the  whole  eighty 
eight  bars,  and  it  is  probable  that  this  was  a 
liberal  supply  for  the  time  when  it  was  written. 

AmbroH  says  that  Josquin  was  the  first  to  use 
accidentals  to  indicate  the  modifications  of  notes, 
which  we  are  tolerably  certain  must  have  been 
modified  according  to  fixed  rules  before  his  time 
without  actual  indication  in  the  copies.  Jos- 
quin certainly  made  use  of  them  also  to  obtain 
effects  which  could  not  have  been  derived  from 
the  ordinary  principles  of  rendering  the  music, 
and  thus  took  an  important  step  in  the  direction 
of  assimilating  the  ecclesiastical  scales  in  the 
manner  which  gradually  resulted  in  the  musical 

rm  we  now  use.  A  remarkable  instance  of 
is  his  use  more  than  once  of  a  concluding 
chord  with  a  major  third  in  it,  the  major  third 
being  indicated  by  an  accidental.  Prior  to  him 
the  concluding  chord  had  contained  only  a  bare 
fifth  at  most,  and  of  this  there  are  examples  in 
his  works  also,  as— 


$ 


-ts^ 


^^ 


*= 


=^ 


I 


^ 


-19- 


** 


I 


from  the  Benedictus  of  the  Mass  '  Faysans  re- 
grets* quoted  by  Bumey  (iL  500) — in  which  pro- 
gression the  use  of  the  £b  is  worthy  of  notice ; 
but  his  use  of  the  major  third  shows  a  remarkable 
advance,  especially  in  the  direction  of  feeling  for 
tonality,  which  is  one  of  the  essential  features  of 
modem  music. 

This  use  of  the  major  third  in  the  final  chord 
of  a  piece  in  a  minor  key  became  at  a  later 
time  almost  univerBal,  the  only  alternative  being 
a  bare  fifth,  as  in  the  last  example;  and  the 
practice  was  continued  far  on  into  modem  music; 
as  by  Bach  and  Handel,  in  the  former  of  whose 
works  it  is  very  common  even  in  instrumental 
music.  And  still  later  we  find  it  in  Mozart, 
as  at  the  end  of  the  *  Quam  olim  Abrahae*  in  the 
Requiem  Mass.  On  the  other  hand,  at  the  con- 
clusion of  the  Chorus  'Dies  Ine*  of  the  same 
mass  the  final  chord  appears,  as  fer  as  the  voices 
are  concerned,  with  only  a  fiftii  in  it,  as  in  the 
example  from  Josquin  above.  However  with 
composers  of  the  hiurmonic  period  such  as  these 
it  has  not  been  at  all  a  recognized  rule  to  avoid 
the  minor  third  in  the  final  chord,  its  employment 
or  avoidance  being  rather  the  result  of  charac- 


672 


HAKMONY. 


HARMONY. 


teristic  .qualities  of  the  piece  which  it  oonoludet. 
But  with  oompoeen  of  the  prehaimomc  period 
it  was  clearly  a  rule;  and  its  origin  depended 
on  the  same  feeling  as  that  which  caused  them 
to  put  the  fourth  in  the  category  of  the  dis- 
cords ;  for  like  the  fourth,  the  minor  third  does 
not  exist  as  a  part  of  the  compound  tone  of  the 
lower  note,  and  its  quality  is  veiled  and  unde- 
fined ;  and  it  was  not  till  a  totally  new  way  of 
looking  at  music  came  into  force  that  it  could 
stand  on  its  own  basis  as  final;  for  among 
other  considerationB,  the  very  vagueness  of  tona- 
lity which  characterised  the  old  polyphonic 
school  necessitated  absolute  freedom  from  any- 
thing approaching  to  ambiguity  or  vagueness  m 
the  concluding  combination  of  sounds.  In  mo- 
dem music  the  passage  preceding  the  final  ca- 
dence is  likely  to  be  all  so  consistently  and 
clearly  in  one  key.  that  the  conclusion  could 
hardly  suffer  in  definition  by  the  use  of  the  veiled 
third ;  but  if  the  following  beautiful  passage 
from  the  conclusion  of  Joequin*s  '  Deploration  de 
Jehan  Okenheim*  be  attempted  with  a  minor 
third  instead  of  his  major  third  for  the  conclusian, 
the  truth  of  these  views  will  be  more  strongly 
felt  than  after  any  possible  argument : — 


2z: 


=^ 


-js. 


SL 


H-^f 


S 


S 


=^;^ 


■X 


^^?== 


In  this  case  it  is  quite  dear  that  a  minor 
third  would  not  seem  like  any  conclusion  at 
all ;  even  the  bare  fifth  would  be  better,  since  at 
least  the  harmonic  major  third  of  the  three  A's 
would  sound  unembarajsed  by  a  conUguons  semi- 
tone, for  each  of  the  A's  in  the  chord  would  have 
a  tolerably  strong  harmonic  Of,  with  which  the 
presence  of  a  C  h  would  conflict.  But  the  mijor 
third  has  in  this  place  a  remarkable  finality, 
without  which  the  preceding  progressions,  so  en- 
tirely alien  to  modem  theories  of  tonality,  would 
be  incomplete,  and,  as  it  were,  wanting  a  bound- 
ary line  to  define  them. 

This  vagueness  of  tonality,  as  it  is  called, 
which  is  so  happily  exemplified  in  the  above 
example,  especially  in  the  'Amen,*  is  one  of  the 
strongest  points  of  external  difliorenoe  between 
the  mediaeval  and  modem  musical  systems.  The 
vagueness  is  to  a  great  extent  owing  to  the  con- 
struction of  the  eodesiasdcal  scales,  which  gives 
rise  to  such  peculiarities  as  the  use  of  a  common 
chord  on  the  minor  seventh  of  the  key,  as  in  the 
following  example  from  Bird's  Antiiem^  'Bow 


thine  ear,*  where  at  *  there  is  a  oomnoD  chord 
on  Eb  in  a  passage  which  in  other  respects  is  all 
in  the  key  of  F  major. 


i 


:?= 


ft  I  -  ft 


on. 


g 


^ 


-^ 


r 

«iiT     a 


»<       "'    trg 


^ 


-<»- 


^m 


But  the  actual  and  vital  difference  between 
the  two  systems  lay  in  the  &ct  that  the  okl 
musicians  regarded  music  as  it  were  horizon- 
tally, whereas  the  modems  regard  it  perpen- 
dicularly. The  former  looked  upon  it  and  taught 
it  in  the  sense  of  combined  voice  parts,  the  W^ 
monic  result  of  which  was  more  or  less  a  matter 
of  indifference ;  but  the  latter  r^;ard  the  series 
of  harmonies  as  primary,  and  base  whole  move- 
ments  upon  their  interdependent  connection,  ob- 
taining unity  chiefly  by  the  distribution  of  the 
keys  which  throws  those  harmonies  into  groups. 
In  the  entire  absence  of  any  idea  of  such  prin- 
ciples of  construction,  the  medisevalists  had  to 
seek  elsewhere  their  bond  of  oonnecticm,  sod 
found  it  in  Canonic  imitation,  or  Fugue,  though 
it  must  be  remembered  that  their  idea  of  Fugue 
was  not  of  the  elaborate  nature  denoted  by  the 
term  at  the  present  day.    As  an  example  of  this 
Canonic  form,  the  frimous  secular  song,  *  Sumer 
is  icumen  in,*  will  serve  very  well ;  and  as  it  is 
printed  in  score  in  both  Bumey*s  and  Hawkinses 
Histories,  it  will  be  unnecessary  to  dwell  upon 
it  here,  since  its  harmonic  construction  does  not 
demand  special  notice.     In  all  such  devices  of 
Canon  and  Fugue  the  great  early  masteiBwers 
proficients,  but  the  greatest  of  them  were  not 
merely  proficient  in  such  technicalities,  but  wars 
feeling  forward  towards  things  which  w^e  of 
great^  importance,  namely,  pure  harmonic  efiecta. 
This  is  noticeable  even  as  early  as  Josquin,  but 
by  Palestrina's  time  it  becomes  dear  and  indu- 
bitable. On  the  one  hand,  the  use  of  note  against 
note  counterpoint^  which  so  frequently  oocnrs  in 
Palestrina's  works,  brings  forward  promiiiently 
the  qualities  of  chords ;  and  on  the  other,  even 
in  his  polyphony  it  is  not  uncommon  to  meet 
with  passages  which  are  as  clearly  founded  on  a 
simple  succession  of  chords  as  anything  in  modem 
music  could  be.  Thus  the  following  example  from 
the  motet, '  Hsdc  dies  quam  fedt  Dominos' — 


AABMOKY. 


HARMONY, 


678 


ZE 


I 
1 

^ 


A^l^  A 


=~T 


ri^ 


•la. 


^m 


32: 


is  simply  an  eUboration  of  the  progreBsion  :— 


■^ 


^ 


d^ 


-9- 


' 85 «* 

In  ftot,  Palestrina^B  saccees  in  the  attempt  to 
revivify  Church  Musio  lay  chiefly  in  the  recog- 
nition of  harmonic  principles ;  and  in  many  cases 
this  recognition  amounts  to  the  use  of  Bimple 
•Qcoessions  of  chords  in  note  against  note  coun- 
terpoint,  as  a  contrast  to  the  portion  of  the  work 
which  is  polyphonic  His  Bucoess  also  depended 
to  a  great  degree  on  a  very  highly  developed 
sense  forqualities  of  tone  in  chords  arising  Irom 
the  distribution  of  the  notes  of  which  they  are 
composed.  He  uses  discords  more  frequently 
than  his  predecessorB,  but  still  with  £Eur  greater 
reticence  than  a  modem  would  do ;  and  in  order 
to  obtain  the  necessary  effects  df  contrast,  he 
uses  chords  in  various  positions,  such  as  give 
a  variety  of  qualities  of  softness  or  roughness. 
This  question,  which  shows  to  what  a  high  de- 
gree of  perfection  the  art  was  carried,  is  unfor- 
tunately too  complicated  to  be  discussed  here, 
and  the  reader  must  be  referred  to  part  ii. 
chap.  12  of  Heknholtz's  work  on  the  'Sensa- 
tions of  Tone  as  a  physiological  basis  for  the 
theory  of  Music,*  where  it  is  completely  in- 
vestigated. As  an  example  of  the  freedom  with 
which  accidentals  were  used  in  secular  music  in 
Palestrina^s  time  may  be  taken  the  following  pas- 
sage from  a  madrigal  by  Cipriano  Kore,  which  is 
quoted  by  Bumey  (Hist.  iii.  319)  :— 


t 


1^*..  [^\^  r^g 


ete. 


It  will  have  been  remarked  from  the  above 
survey,  that  frt>m  the  dawn  of  any  ideas  of  com- 
bination of  notes,  musicians  were  constantly  ac- 
cepting fresh  facts  of  harmony.  First  perfect 
consonances,  then  imperfect,  and  then  suspended 
di8c<»ds,  which  amounted  to  the  delaying  of  one 
note  in  passing  from  one  concord  to  another; 
then  modifications  of  the  scales  were  made  by 
the  use  of  accidentals,  and  approaches  were  by 
that  means  made  towards  a  scale  which  should 
admit  of  much  more  complex  harmonic  combina- 
tions. But  before  it  could  be  further  modified, 
it  was  necessary  that  a  new  standpoint  should 
be  gained..  The  great  musicians  of  the  i6th 
century  had  carried  the  art  to  as  high  a  pitch 
of  perfection  in  the  pure  polyphonic  style  as 
seems  to  us  possible,  and  men  being  accustomed 
to  hear  in  their  works  the  chords  which  were 
the  result  of  their  polyphony  were  ready  for  the 
first  steps  of  transition  frK>m  that  style  to  the 
harmonic.  Palestrina,  the  hero  of  the  old  order, 
died  in  1592,  and  in  1600  the  first  modem 
opera,  the  "  Euridioe*  of  Giacomo  Peri,  was  per- 


lortoed  at  Florenoe.    It  is  impossible  to  point 
definitely  to  any  particular  time  and  say  '  Here 
the  old  order  ended  and  the  new  began,'  for  in 
point  of  frtct  the  periods  overlap  one  another. 
A  species  of  theatrical  performance  accompanied 
by  music  had  been  attempted  long  before  this, 
and  secular  music  had  long  displayed  very  free 
nse  of  chromaticisms  similar  to  the  modem  style 
of  writing ;  and,  on  the  other  hand,  fine  exam- 
ples of  polyphony   may  be  found  later;   but 
nevertheless  the  appearanoe  of  this  opera  is  a 
very  good  typical  landmark,  since  features  of  the 
modem  school  are  so  clearly  displayed  in  it, 
such  ss  arias  and  recitatives  accompanied  har- 
monically after  the  modem  manner;  moreover 
in  these  the  harmonies  are  indicated  by  figures, 
which  is  a  nuitter  of  considerable  importance,  as 
it  implies  a  total  change  of  position  relative  to 
the  oon8tructi<m  of  the  music.    As  long  ss  har- 
mony was  the  accidental  result  of  tiie   com- 
bination of  different  melodies,  the  idea  of  using 
abbreviations  for  a  &otor  which  was  hardly  a 
recognized  part  of  the  effect  would  not  have 
occurred  to  any  one,  but  as  soon  as  harmony  came 
to  be  recognized  as  a  prominent  &ot,  the  use  of 
signs  to  indicate  the  groujHng  of  notes  into  these 
chords  would  naturally  suggest  itself,  especially 
as  in  the  infimcy  of  these  views  the  diords  were 
of  a  simple  description.     That  the  system  of 
figuring  a  bass  wss  afterwards  largely  employed 
in  works  founded  exclusively  on  l3ie  old  theory 
of  counterpoint  is  no  aignment  against  this  view, 
as  no  one  can  fiiil  to  see  how  entirely  inadequate 
the  figuring  is  to  supply  any  idea  whatever  of 
the  effects  of  contrapuntal  music.    With  Peri 
are  associated  the  names  of  Cavaliere,  Viadana, 
Gaodnl,  and  Monteverde.    To  Caocini  the  in- 
vention of  recitative  is  attributed,  to  Viadana 
that  of  the  '  basso  continue/  and  to  Monteverde 
the  boldest  new  experiment  in  harmony;  and  to 
the  present  question  the  last  of  these  is  the  most 
important.     It  has  already  been  remarked  that 
during  the  previous  century  progress  had  been 
rather  in  technical  expression  and  perfection  of 
detail  than  in  new   harmonies.       Palestrina's 
&me  does  not  rest  upon  elaborate  disoords,  but 
upon  perfect  management  of  a  limited  number 
of  different  combinations.    Monteverde  evidently 
abandoned  this  ideal  refinement,  and  sought  for 
harsher  and   more   violent   forms    of  contrast. 
Thus  in  a  madrigal '  Straoda  me  pur,'  quoted  in 
Bumey  s  Histoxy  (iii.  239),  the  following  douUe 
suspensions  occur :— 


^^ 


^^^n/j 'j  ^ 


But  a  far  more  important  innovation,  which 
there  need  be  no  hesitation  in  attributing  to  him, 
as  he  was  personally  blamed  for  it  by  the  dogma- 
tists  of  his  time,  was  the  use  of  the  minor  seventh, 
which  we  call  the  DcNninant  seventh,  without 
pr^aration.    There  is  more  than  one  example 

Xx 


y 


67i 


HARMONY'. 


of  this  in  his  works,  but  one  which  oocun  in  ft 
mftdrigftl,  '  Cruda  Amarilli/  is  spedftUy  remark- 
able, as  it  is  preceded  by  a  ninth  used  evidently 
as  a  grace-note  in  a  mat^ner  which  for  his  time 
must  have  been  very  daring.    It  is  as  follows : — 

■    J 


-JSL 


T' 


-«»- 


I 


sn 


i 


■3St. 


i 


-9- 


I 


This  independent  manner  of  using  the  Domi- 
nant  seventh  shows  an  appreciation  of  the  princi- 
ple of  the  relation  of  chords  through  a  common 
tonic :  that  is  to  say,  the  connection  and  rela- 
tive importance  of  chords  founded  on  different 
root  notes  of  a  scale  according  to  the  modern 
and  not  the  old  ecclesiastical  principle.  It  is 
true  that  the  very  idea  of  roots  of  chords  did 
not  suggest  itdelf  as  a  realisable  conception  till 
nearly  a  century  later ;  but  as  is  usual  in  these 
cases,  artistic  instinct  was  feeling  its  way  slowly 
and  surely,  and  scientific  demonstration  had 
nothing  to  do  with  the  discovery  till  it  came 
in  to  explain  the  results  when  it  was  all  ac- 
complished. The  development  of  this  principle 
is  the  most  important  fact  to  trace  in  this  period 
of  the  history  of  music.  Under  the  ecclesiastical 
system  one  chord  was  not  more  Important  than 
another,  and  the  very  existence  of  a  Dominant 
seventh  according  to  the  modem  acceptation  of 
the  term  was  precluded  in  most  scales  by  the 
absence  of  a  leading  note  which  would  give  the 
indispensable  major  third.  The  note  immediately 
below  the  Tonic  was  almost  invariably  sharpened 
by  an  accidental  in  the  cadence  in  spite  of  the 
prohibition  of  Pope  John  XXTI,  and  musicians 
were  thereby  gradually  realizing  the  sense  of  the 
dominant  harmony ;  but  apart  trom  the  cadence 
this  note  was  extremely  variable,  and  many 
chords  oocur,  as  in  the  example  already  quoted 
from  Byrd,  which  could  not  occur  in  that  manner 
in  the  modem  scales,  where  the  Dominant  has 
always  a  major  third.  Even  considerably  later 
than  the  period  at  present  under  consideration 
-»as  in  Garissimi  and  his  contemporaries,  who 
represent  verv  distinctly  the  first  definite  harmonic 
period — ^the  habits  of  the  old  ecclesiastical  style 
reappear  in  the  use  of  notes  and  chords  which 
would  not  occur  in  the  same  tonal  relations  in 
modem  music ;  and  the  effect  of  confusion  which 
results  is  all  the  more  remarkable  because  they 
had  lost  the  nobility  and  richness  which  cha- 
racterised the  last  and  greatest  period  of  the 
polyphonic  style.  The  deeply  ingrained  habits 
of  taking  the  chords  wherever  they  lay,  according 
to  the  old  teaching  of  Descant,  retarded  con- 
siderably the  recognition  of  the  Dominant  and 
Tonic  as  the  two  poles  of  the  harmonic  circle  of 
the  key ;  but  Monteverde*s  use  of  the  seventh, 
above  quoted,  shows  a  decided  approach  to  it. 
Moreover  in  works  of  this  time  the  universality 
of  the  harmonic  Cadence .  as  distinguished  from 


HARMONY. 

the  cadences  of  the  eoolesiasiical  modea  becoBoef 
apparent.  The  ecclesiastical  cadenoes  were  no* 
minally  defined  by  the  progressioiia  of  the  indi- 
vidual voices,  and  the  fact  of  their  ooUectivelj 
giving  the  ordinary  Dominant  Cadenoe  in  a  large 
proportion  of  instances  was  not  tbe  result  of 
principle,  but  in  point  of  fact  an  accident.  The 
modem  Dominant  Harmonic  Cadence  ia  the  \iur 
sage  of  the  maw  of  the  harmcmy  of  the  Domi- 
nant into  the  mass  of  the  Tonic,  aad  defines  the 
key  absolutely  by  giving  sucoewively  the  har- 
monies which  represent  the  compound  tone  rf 
the  two  most  important  roots  in  the  acale^  the 
most  important  of  all  coming  last. 

The  following  examples  ^nll  serve  to  illustrate 
the  character  of  the  transition.  The  ooccluaioii 
of  Palestrina's  Motet,  '  O  bone  Jeso,'  is  as 
follows : — 


In  this  a  modem,  regarding  it  in  the  light  of 
masses  of  harmony  with  a  fundamental  baits 
would  find  difficulty  in  recognising  any  parti- 
cular key  which  would  be  essential  to  a  mrxlem 
Cadenoe ;  but  Uie  melodic  progressions  of  the 
voices  according  vrith  the  laws  of  Cadenoe  in 
Descant  are  from  that  point  of  view  sufficient. 

On  the  other  hand,  the  following  conclusioo  of 
a  Canzona  by  Frescobaldi,  which  must  hare 
been  written  within  fifty  years  after  the  death 
of  Palestrina,  fully  illustrates  the  modem  idea, 
marking  first  the  Domiifa^t  with  great  clear- 
ness, and  passing  thence  fimify  to  the  chord  of 
the  Tonic  F :— 


It  is  clear  that  the  recognition  of  this  relation 
between  the  Dominant  and  Tonic  harmony  w 
indispensable  to  the  perfect  establishment  of 
the  modem  system.  Composers  might  wake  to 
the  appreciation  of  the  effects  of  various  chonk 
and  of  successions  of  full  chords  (as  in  the  first 
chorus  of  Carissimi^s  '  Jonah'),  but  inasmuch  as 
the  Dominant  is  indispensable  for  the  definition  c^ 
a  key  (hence  called  *der  herrschende  Ton'),  the 
principle  of  modulation,  which  is  the  most  impor- 
tant secondary  feature  of  modem  music,  could  not 
be  systematiadly  and  clearly  carried  out  till  that 


HARMONY. 

means  of  defining  the  tnuuition  firom  ohe  key  to 
another  liad  been  attained.  Under  the  old  system 
there  was  practically  no  modulation.   The  impres- 
sion of  change  of  key  is  not  unfrequently  produced, 
and  eustaineid  for  some  time  by  the  veiy  scarceness 
of  accidentals ;  since  a  single  accidental,  such  as 
Ff  in  the  prepress  of  a  passage  in  C,  is  enough  to 
give  to    a  modem  musician  the  impression  of 
change  to  6,  and  the  number  of  chords  which  are 
common  to  G  and  C  would  sustain  the  illusion. 
Sufficient  examples  have  already  been  given  to 
show  that  these  impressions  are  illusory,  and 
reference  may  be  made  further  to  the  oommence- 
ment  of  Palestrina's  'Stabat  Mater*  in  8  parts, 
and  his  Motet  '  Hodie  Ghristus  natus  est,*  and 
Gibbons^s  Madrigal  *  Ah,  dear  heart,'  which  will 
also  further  show  that  even  the  use  of  accidentals 
was  not  the  fruit  of  any  idea  of  modulation.  The 
frequent  use  of  the  perfect  Dominant  Cadence  or 
'full    Close,*  must   have  tended   to    accustom 
composers  to  this  important  point  in  modem 
harmony,  and  it  is  inevitable  that  musicians  of 
such   delicate  artistic  sensibility  as   the  great 
oompoeeFs  of  the  latter  part  of  the  i6th  century 
should  have  approached  nearer  and  nearer  to  a 
definite  feeling  for  tonality,  otherwise  it  would 
be  impossible  to  account  for  the  strides  which 
had  been  made  in  that  direction  by  the  time  of 
Carissimi.      For  in  his  works  the  principle  of 
tonality,  or  in  other  words  the  fact  that  a  piece 
of  music  can  be  written  in  a  certain  key  and  can 
pass  from  that  to  others  and  back,,  is  certainly 
displayed,  though  the  succession  of  these  keys  is 
to  modem  ideas  irregular  and  their  individuality 
is  not  well  sustained,  owing  partly  no  doubt  to 
the  lingering  sense  of  a  possible  minor  third  to 
the  Dominant. 

The  supporters  of  the  new  kind  of  music  aa 
opposed  to  the  old  polyphonic  style  had  a  great 
number  of  representative  composers  at  this  time, 
as  may  be  seen  from  the  examples  in  the  fourth 
volume  of  Bumey's  History;  and  among  them  a 
revolutionary  spirit  was  evidently  powerful,  which 
makes  them  more  importantas  innovators  than  as 
great  musicians.  The  discovery  of  harmony  seeros 
to  have  acted  in  their  music  for  a  timeun&vourably 
to  its  quality,  which  is  immensely  inferior  to  that 
of  the  works  of  the  polyphonic  school  they  were 
supplanting.  Their,  harmonic  successions  are  poor, 
and  often  disagreeable,  and  in.  a  large  number 
of  cases  purely  tentative.     The  tendency  was 
for  some  time  in  favour  of  the  development  of 
tunes,  to  which  the  new  conceptions  of  harmony 
supplied  a  fresh  interest.     Tunes  in  the  first 
instance  had  been  homophonio — that  is,  absolutely 
devoid  of  any  sense  of  relation  to  harmony;  and 
the  discoveiy  that  a  new  and  varied  character 
could  be  given  to  melody  by  supplying  a  bar* 
monic  basis  naturally  gave  impetus  to  its  cul- 
tivation.    This  also  was  un&vourable  to  the 
development  of  a  high  order  of  art,  and  it  was 
only  by  the  re-establishment  of  polyphony  upon 
the  basis  of  harmony,  as  we  see  it  cUsp-ayed  to 
perfection  in  the  works  of  Bach,  that  the  art 
could  regain  a  lofty  standard  comparable  to  that 
of  Palestrina,  Lasso,  Byrd,  Gibbons,  and  the 


HARMONY. 


675 


many  great  representatives  of  the  art  at  the 
end  of  the  sixteenth  and  the  beginning  of  the 
seventeenth  centuries.  In  point  of  fact  harmonic 
music  cannot  be  considered  apart  from  the  parts 
or  voices  of  which  it  is  composed*  It  consists  of 
an  alternation  of  discord  and  concord,  and  the 
passage  of  one  to  the  other  cannot  be  conceived 
except  through  the  progression  of  the  parts.  As 
has  be^i  pointed  out  with  respect  to  the  dis- 
coveiy of  harmonic  or  tonal  form  in  musical 
composition  in  the  article  Fobm,  the  effect  of 
the  new  discovery  was  at  first  to  make  com- 
posers lose  sight  of  tiie  important  element  of  pro- 
gression of  parts,  and  to  look  upon  harmony 
as  pre-eminent ;  consequently  the  progressions  of 
parts  in>  the  works  of  the  middle  of  the  1 7th 
century  seem  to  be  dull  and  uninteresting. 
Many  composers  still  went  on  working  in  the 
light  of  the  old  system,  but  they  must  be  re- 
garded in  relation  to  that  system,  and  not  as 
representatives  of  the  new;  it  was  only  when 
men  strong  enough  to  combine  the  principles  of 
both  schools  appeared  that  modem  music  sprang 
into  full  vigour.  The  way  was  prepared  for  the 
two  great  masters  who  were  to  achieve  this  at 
the  beginning  of  the  eighteenth  century  by  the 
constant  labours  and  experiments  of  the  com- 
posers of  the  seventeenth.  It  would  be  impossible 
to  trace  the  appearance  of  fresh  harmonic 
material,  as  the  composers  were  so  numerous, 
and  many  of  their  works,  especially  in  the 
early  period,  are  either  lost  or  unattainable. 
But  in  surveying  the  general  aspect  of  the 
works  which  are  available,  a  gradual  advance, 
is  to  be  remarked  in  all  departments,  and 
from  the  mass  of  experiments  certain  &cts  are 
established.  Thus  cleamess  of  modulation  is 
early  arrived  at  in  occasional  instances ;  for 
example,  in  an  opera  called* '  Orontea*  by  Cesti, 
which  was  performed  at  Venice  as  early  as  1649, 
there  is  a  sort  of  short  Aria,  quoted  by  Bumey 
(iv.  67),  which  is  as  clearly  defined  in  this  respect 
as  any  work  of  the  present  day  would  be.  It 
commences  in-  E  mmor,  and  modulates  in  a 
perfectly  natural  and  modem  way  to  the  relative 
major  G,  and.  makes  a  fuU  close  in  that  key. 
From  thenoe  it  proceeds  to  A  minor,  the  sub- 
dominant  of  the  original  key,  and  makes  another 
full  close,  and  then,  just  touching  G  on  the  way, 
it  passes  back  to  £  minor,  and  closes  fully  in 
that  key.  This  is  all  so  clear  and  regular 
according  to  modern  ideas  that  it  is  difficult  to 
realise  that  Cesti  wrote  within  half  a  century 
of  Palestrina,  and  of  the  first  recognition  of  the 
elements  of  modern,  harmony  1^  Caooini,  Mon- 
teverde,  and  their  fellows.  The  clearness  of 
each  individual  modulation,  and  the  way^  in 
which  the  different  keys  are  rendered  distinct 
from  one  another^  both  by  the  use  of  appropriate 
Dominant  hamuony,.  and  by  avoiding  the  ob- 
scurity which  results  from  the  introduction  of 
foreign  chords,  is  important  to  note,  as  it  indi- 
cates so  strongly  the  feeling  for  tonality  which 
by  constant  attention  and  cultivation  culminated 
in  the  definite  principles  which  we  now  use.  That 
the  instance  was  tentative,  and  that  Cesti  was 

Xx2 


«7« 


HARMOKr. 


guided  by  feeling  and  not  rule,  is  luffleiently 
proved  by  the  fact  that  not  only  contemporary 
musicians,  but  sucoesaiye  generations  up  to  the 
end  of  the  century,  and  even  later,  frequently 
fell  into  the  old  habits,  presenting  examples  of 
successions  of  harmony  which  are  obscure  and 
confused  in  key. 

It  is  not  possible  to  discover  precisely  when 
the  use  of  the  seventh  in  the  Dominant  Cadence 
came  into  use.  It  has  been  already  pointed  out 
that  Monteverde  hazarded  experimentally  the 
use  of  the  Dominant  seventii  without  preparation, 
but  nevertheless  it  does  not  sMm  to  have  been 
used  with  any  obvious  frequency  by  musicians  in 
the  early  part  of  the  1 7th  century ;  but  by  the 
middle  and  latter  part  it  is  found  almost  as  a 
matter  of  course,  as  in  the  works  of  the  dis- 
tingubhed  French  instrumental  composers  Du« 
mont,  Jacques  de  Chambonnitees,  and  Oouperin. 
The  following  is  an  example  fit)m  the  second  of 


E-=f^ 


nJj^J 


fe^J:^ 


which  shows  how  easily  it  might  have  been  in- 
troduced in  the  first  instance  as  a  passing  note 
between  the  root  of  the  first  chord  and  the  third 
of  the  next,  and  its  true  significance  have  been 
seen  afterwards. 

This  use  of  the  seventh  in  tiie  Dominant  chord 
in  the  Cadence  makes  the  whole  effect  of  the 
Cadence  softer  and  less  vigorous,  but  for  the 
purpose  of  defining  the  key  it  makes  the  Cadence 
as  strong  as  possible ;  and  this,  in  consideration 
of  the  ffreat  latitude  of  modulation  and  the 
great  ricnness  and  variety  of  harmony  in  modem 
music,  becomes  of  great  importance.  It  does  this 
in  three  ways,  f&st^  by  simply  adding  anotiier 
note  to  the  positive  representative  notes  of  the 
key  which  are  heard  in  the  Cadence,  in  which 
in  this  form  the  submediant  (as  A  in  the  key  of 
C)  will  be  the  only  note  of  the  scale  which  will 
not  be  heard.  Secondly,  by  giving  a  very  com- 
plete representation  of  the  compound  tone  of  the 
root-notes  as  contained  in  the  Diatonic  scale ;  since 
the  seventh  harmonic,  though  not  absolutely  exact 
with  the  minor  seventh  which  is  used  in  harmony, 
is  so  near  that  they  can  hsjtdly  be  distinguished 
from  one  another,  as  is  admitted  by  Halmholtz. 
And  thirdly,  by  presenting  a  kind  of  additional 
downward-tending  leading-note  to  the  third  in 
the  Tonic  chord,  to  which  it  thereby  directs  the 
more  attention.  In  relation  to  which  it  is  aUo 
to  be  noted  that  the  combination  of  leading  note 
and  subdominant  is  decisive  as  regards  the  key, 
since  they  cannot  occur  in  combination  with  the 
Domuiant  as  an  essential  Diatonic  chord  in 
any  other  key  than  that  which  the  Cadence 
indicates.  The  softness  which  characterises  this 
form  of  the  Cadence  has  led  to  its  avoidance 


HARMONY. 

in  a  noiloeable  degree  in  many  graai  woiks, 
notwithstanding  its  defining  properties — as  in 
both  the  ^rst  and  last  movements  of  Beetho- 
ven's C-minor  Symphony,  the  first  moTement  of 
his  Symphony  in  A,  and  the  Scherzo  of  the 
Ninth  Symphony,    in  such  cases  the  definitiaD 
of  key  is  obtained  by  other  meana,  as  for  ex- 
ample in  the    last  movement  of  ihe  C-minor 
Symphony  by  the  remarkable  reiteratian  both 
of  the  simple  concordant  cadence  and  of  the 
Tonic  chord.    In  the  first  movement  of  the  A 
Symphony  and  the  Scherzo  of  the  Ninth,  the  note 
which  represents  the  seventh,  althoogh  omitted 
in  the  actual  harmony  of  the  Cadence,  appears 
elsewhere  in  the  passage  preceding.     In  respect 
of  definition  of  key  it  will  be  apposite  here  to 
notice  another  form  of  Cadence,  namely  that 
commonly  called  Plagal,  in  which  the  chocd  of 
the  sub-dominant  (as  F  in  the  key  of  C)  precedes 
the  final  Tonic  chord.    This  Cadence  ia  chiefly 
assodated  with  eodeeiastical  muslo,   to  which 
it  was  more  appropriate  than  it  ia  in  more 
elaborate  modem  music    On  the  one  hand  it 
avoided  the  difilculty  of  the  Dominant  chord 
which  resulted  from  the  nature  of  most  of  the 
ecclesiastical  scales,  while  its  want  of  capacity  for 
enforcing  the  key  was  less  observalde  in  reh^on 
to  the  simpler  harmonies  and  absence  of  modula- 
tion of  the  older  style.    This  deficiency  arisei 
from  the  fact  that  the  chord  of  the  Subdominant 
already  contains  the  Tonic  to  which  it  is  finally 
to  pass,  and  its  compoimd  tone  which  also  con- 
tains it  does  not  represent  a  position  so  com- 
pletely in  the  opposite  phase  to  the  Tonic  as  the 
Dominant  does;  whence  the  progression  is  not 
strongly  characteristic.     It  also  omits  the  cha- 
racteristic progression  of  the  leading  note  op  to 
the  Tonic,   and  does  not  represent   so   many 
positive  notes  of  the  scale  as  the   Dominant 
Cadence.     For  these  various  reasons,  though  not 
totally  banished  from  modem  music,  it  is  rare, 
and  when  used  appears  more  as  supplementaiy  to 
the  Dominant  Cadence,  and  serving  to  enforos 
the  Tonic  note,  than  as  standing  on  its  own  baeia 
Moreover,  as  supplementary  to  the  Dcaninant 
Cadence  it  offers  the  advantage  of  giving  the 
extra  note   in  the   scale  which,  as   has  been 
remarked,  is  almost  inevitably  omitted  in  tbe 
Dominant  Cadence.    Qence  an  extended  type  of 
Cadence  is  given  by  some  theorists  as  the  most 
complete,  which,  as  it  were,  combines  the  pro- 
perties of  the  two  Cadences  in  this  form — 


3E 


JSr 


p=«=^ 


^m 


-rarsi 


2=: 


In  this  the  subnlominant  chord  of  the  weaker 
Cadence  comes  fint,  and  a  chord  of  6-4,  as  it  if 
called,  is  inserted  to  connect  it  with  the  Domi- 
nant chord,  (as  otherwise  they  would  have  no 
notes  in  common  and  the  connection  between 
them  harmonically  would  not  be  ostensible,)  and 
then  the  Dominant  chord  passes  into  the  Tonio 


HARMONY, 

after  the  usual  fits hion.  Other  meihodB  of  joining 
the  Subdozninant  chord  to  the  Dominant  chord 
are  plentifully  scattered  in  musical  works,  as  for 
instance  the  use  of  a  suspended  fourth  in  the 
place  of  the  6-4 ;  but  as  a  type  the  above  answers 
very  well,  and  it  must  not  be  taken  as  more 
than  a  type,  since  a  bare  theoretical  fact  in  such 
a  fonn  ia  not  music,  but  only  lifeless  theory.  As 
an  example  of  the  theory  vitalised  in  a  modem 
form  may  be  given  the  conclusion  of  Schumann's 
Toccata  in  C  for  pianoforte  (op.  7),  as  follows : — 


ttABMONY. 


ert 


^titf^ 


^  [i\  fip 


!  fn  the  works  of  Rogers,  will  be  remembered  by 
musicians  apquaint^  with  that  branch  of  the  art 
as  a  proof  that  the  case  is  not  over-stated.  It 
was  no  doubt  necessary  for  the  development  of 
Form  in  musical  works  that  this  phase  should 
be  gone  through,  and  the  part  it  puyed  in  that 
development  is  considered  under  that  head,  and 
therefore  must  not  be  further  dwelt  upon  here. 
The  use  of  imperfect  and  interrupted  Cadences, 
as  above  alluded  to,  appears  in  works  early  in 
the  1 7th  century,  being  used  relatively  to  perfect 
Cadences  as  commss  and  semicolons  are  used  in 
literature  in  relation  to  full  stops.  The  form  of 
the  imperfect  Cadence  or  half-doae  is  generally 
a  progression  towards  a  pause  on  the  Dominant 
of  the  key.  The  two  following  examples  from 
Carissimi  will  illustrate  his  method  of  using 

,  them,— 


In  this  the  weak  progression  of  the  6-4  is  happily 
obviated   by  connecting  the  Subdominant  and 
Dominant  chords  by  the  minor  third  of  the  former 
beooming  the  minor  ninth  of  the  latter ;  and  at  the 
same  time  the  novelty  of  using  this  inversion  of  the 
D»niinant  minor  ninth  as  the  penultimate  chord, 
^nd  its  having  also  a  slight  flavour  of  the  old 
plagal  Cadence,  gives  an  additional  vitality  and 
interest  to  the  whole.     Composers  of  the  early 
harmonic  period  also  saw  the  necessity  of  putting 
recognised  fiicts  in  some  form  which  presented 
novelty  and  individuality,  and  their  efforts  in  that 
direction  will  be  shortly  taken  notice  of.     Mean- 
while, it  must  be  observed  that  the  discovery 
of  the  harmonic  Cadence  as  a  means  of  taking 
breath  or  expressing  a  condufdon  of  a  phrase 
and  binding  it  into  a  definite  thought,  affected 
music  for  a  time  unfavourably  in  respect  of  its 
continuity  and  breadth.    In  Polyphonic  times, 
if  it  was  desirable  to  make  a  break  in  the  pro- 
gress of  a  movement,  the  composers  had  to  devise 
their  own  means  to  that  end,  and  consequently 
a  great  variety  is  observable  in  the  devices  used 
for  that  purpose,  which  being  individual  and 
various  have  most  of  the  elements  of  vitality  in 
them.    But  the  harmonic  Cadence  became  every- 
body's   property;    and   whenever  a  composer's 
ideas    fSftilea  him,  or  his   imagination  became 
feeble,   he   helped   himself  out   by  using   the 
Cadence  as   a  full  stop  and  beginning  again; 
a  proceeding  which  conveys  to  the  mind  of  a 
cultivated  modem  musician  a  feeling  of  weakness 
and  inconsequence,  which  the  softness  and  refine- 
ment of  style  and  a  certain  sense  of  languor  in 
the  works  of  the  eaiiy  Italian  masters  rather 
tend  to  aggravate.     Thus  in  the  first  part  of 
Carissimi's  Cantata  'Deh  contentatevi,'  which 
is  only  74  bars  in  length,  there  are  no  less  than 
10  perfect  Dominant  Cadences  with  the  chords  in 
theur  first  positions,  besides  interrupted  Cadences 
and  impeHect  Cadences  such  as  are  sometimes 
called  half-closes.    This  is  no  doubt  rather  an 
excessive  instance,  but  it  serves  to  illustrate  the 
effect  which  the  discovery  of  the  Cadence  had  on 
music;   and  its  effect  on  English  ecclesiastical 
music  of  a  slightly  later  period,  as  (ot  instance 


in  which  the  key  is  C,  and — 


p^-U=A 


^ 


m 


g~r 


T 

in  which  the  key  is  Eb.  The  form  of  the  In- 
terrupted Cadence  which  is  usually  quoted  as 
typical  is  that  where  the  progression  which 
seems  to  tend  through  the  Dominant  chord  to 
the  concluding  Tonic  chord  is  made  to  diveige 
to  souie  other  position,  such  as  a  chord  <m  the 
submediant  of  the  key,  as  on  A  in  the  key  of  C. 
This  form  also  appears  in  Carissimi,  but  not 
with  any  apparent  definiteness  of  purpose.  In 
fact,  as  a  predetermined  effect  the  Interrupted 
Cadence  belongs  to  a  more  advanced  condition 
of  ideas  in  music  than  that  illustrated  by  Caris- 
simi and  his  followers  and  oontemporaries,  and 
only  demands  a  passing  notice  here  from  the  fact 
that  it  does  oocur,  though  rarely.  Composers  in 
those  times  were  more  in  the  habit  of  concluding 
with  the  Cadence,  and  repeating  part  of  what 
they  had  said  before  over  again  with  another 
Cadence ;  which  answers  the  same  requirements 
of  form  as  most  of  the  uses  of  Interrupted 
Cadences  by  Bach  and  Handel,  but  in  a  much 
less  refined  and  artistically  intelligent  manner. 

In  order  to  see  the  bearings  of  many  of  the 
experiments  which  were  made  by  the  early 
representatives  of  harmonic  music  it  will  be 
necessary  to  return  for  a  short  space  to  their 
predecessors.  The  bssis  which  the  old  contra- 
puntists had  w<N:ked  upon — which  we  express, 
for  brevity's  sake,  in  the  language  which  is  con- 
sistently onlv  applicable  to  harmonic  music,  as 
concords  and  their  first  inversions  and  simple 
discords  of  suspension — ^had  been  varied  and 
enriched  by  them  by  the  use  of  passing  notes. 
In  the  use  of  these  a  great  deal  of  ingenuity  was 


67^ 


HARMONY. 


exercised,  and  the  devices  which  resulted  were 
in  some  instances  looked  upon  as  everybody's 
property,  and  became  quite  characteristic  of  the 
particular  form  of  art.  As  a  type  of  these  may 
be  taken  the  following  from  Di^Eay,  who  lived  in 
the  14th  century,  and  has  already  been  spoken 
of  as  being  quoted  by  Kiesewetler — 


i 


=^;=j 


W: 


&±. 


.a. 


2n: 


In  this  the  F  is  dearly  'taken  as  a  passing  note 
between  G  and  E,  and  a  note  on  the  other  side 
of  the  E  is  interpolated  before  the  legitimate 
passage  of  the  passing  note  is  concluded.  This 
particular  figure  reappears  with  astonishing  fre- 
quency all  through  the  polyphonic  period,  as  in 
Joaquin's  Stabat  Mater,  in  Palestrinas  Missa 
PapoB  Marcelli,  in  Gibbons*s  Hosanna,  and  in 
Byrd's  Mass.  But  what  is  particularly  notice- 
able about  it  is  that  it  gets  so  thoroughly  fixed 
.as  a  figure  in  the  minds  of  musicians  that  ulti- 
mately its  true  significance  is  sometimes  lost 
sight  of,  and  it  actually  appears  in  a  form  in 
which  the  discord  of  the  seventh  made  by  the 
passing  note  is  shorn  of  its  resolution.  As  an 
example  of  this  (which  however  is  rare")  may 
be  taken  the  following  passage  from  the  Credo 
in  Byrd's  Mass —  . 


-9- 


I 


a. 


^i^T^T^ 


in: 


-«s^ 


•t    .t1  -  tam 


▼■n-tu 


ri 


etc. 


m 


e 


szg 


f 

In  this  the  seventh  in  the  treble  and  its  counter- 
part in  the  bass  never  arrive  at  the  Bb  on  which 
they  should  naturally  resolve,  and  musicians  were 
probably  so  accustomed  to  the  phrase  that  they 
did  not  notice  anything  anomalous  in  the  pro- 
gression. It  is  probable,  moreover,  that  the 
device  in  the  first  instance  was  not  the  result  of 
intellectual  calculation — such  as  we  are  forced 
to  assume  in  analysing  the  progression — but 
merely  of  artistic  feeling ;  and  in  point  of  fact 
such  artistic  feeling,  when  it  is  sound,  is  to  all 
appearances  a  complex  intellectual  feat  done 
instinctively  at  a  single  stroke ;  and  we  estimate 
its  soundness  or  unsoundness  by  applying  intel- 
lectual analysis  to  the  result.  The  first  example 
given  above  stands  this  test,  but  the  latter, 
judged  by  the  light  of  the  rules  of  Descant, 
does  not ;  hence  we  must  ft^ard  it  as  an  arbi- 
trary use  of  A  well-known  figure  which  is  j  usti6able 
only  because  it  is  well-known ;  and  the  principle 
will  be  found  to  apply  to  several  peculiar  features 
which  presently  wiU  be  observed  as  making 
their  appearance  in  harmonic  jnusic.  The  early 
harmonists  proceeded  in  a  similar  direction  in 
their  attempt  to  give  richness  to  the  bare  outline 
of  the  harmonic   substructure    by  the   use  of 


HARMONY. 

grace-notes,  appoggiaturas,  anticipatory  notes  and 
the  like,  and  by  certain  processes  of  comdenaatioQ 
or  prolongation  which  they  devised  to  vary  tbe 
monotony  of  uniform  resolution  of  diaoorda.  0( 
these  some  seem  as  arbitmry  as  the  use  of  the 
characteristic  figure  of  the  polypfaonie  times  ]mi 
quoted  from  Byrd,  and  others  were  the  fniic  of 
that  kind  of  spontaneous  generalisation  which  ve 
recognise  as  sound.  It  is  chiefly  important  to 
the  present  question  to  notice  the  prindplis 
which  g^ded  or  seem  to  have  ^^ded  them  in 
that  which  seems  to  us  sound.  As  an  example 
of  insertion  between  a  discord  and  its  rescdatioo, 
the  following  passage  from  a  Canisona  by  Fresco- 
baldi  may  be  taken — 


(«) 


(&) 


±Jt=i 


^?=3i 


hU 


JLA 


etc. 


in  which  the  seventh  {a)  is  not  actually  resolved 
till  {Jb) ;  the  principle  of  the  device  being  the 
same  as  in  the  early  example  quoted  above  frr<m 
Dufay.  Bach  carried  this  principle  to  a  remaik- 
able  pitch,  as  for  instance 


^M 


eic 


from  the  Fugue  in  B  minor.  No.  24  in  the 
*  Wohltemperirte  Clavier.* 

The  simple  form  of  anticipation  which  appear? 
with  so  much  frequency  in  Haudel*B  works  in 
the  following  form — 


$ 


CJ 


Ht 


I 


¥- 


-JSL 


is  found  oommonly  in  the  works  of  the  Italian 
composers  of  the  early  part  of  the  1 7th  century. 
Several  other  forms  also  are  of  firequent  occur- 
rence, but  it  is  likely  that  some  of  them  were  not 
actually  rendered  as  they  stand  on  paper,  since 
it  is  clear  that  there  were  accepted  principles 
of  modification  by  which  singers  and  aocom- 
panyists  were  guided  in  such  things  just  as  they 
are  now  in  rendering  old  recitatives  in  the  tra- 
ditional manner,  and  had  been  previously  in 
sharpening  the  leading  note  of  the  ecclesiastical 
modes.  Hence  it  is  difiicult  to  estimate  the  i^ 
value  of  some  of  the  anticipations  as  they  appear 
in  the  works  themselves,  since  the  traditions  have 
in  many  instances  been  lost.  An  anticipatioo 
relative  melodically  to  the  general  composition 
of  the  tonic  chord,  which  is  also  characteiigtic 
of  modem  music,  occurs  even  as  early  as  Pen, 
from  whose  'Eurydioe'  the  following  example 
is  takfin-^ 


HARMONY. 


HARMomr. 


'679 


i 


-ZSL 


i 


'^p 


3=2: 


-«^ 


gN-r:7- 


^^ 


"sr-r 


This  feature  has  a  singular  counterpart  in  the 
Handelian  recitative,  e.g. — 


#=5=?=^s=^=F= 

1 

I       of  -  fer    np    mr     tow 
^ =r Br p— 

II 

K 

1 1 L — 

« 

"^^ 

i 


I 


The  following  examples  are  more  characteristic 
of  the  1 7th  century. 

v-4.    *^       • 


^^ 


22: 


1: 


± 


^ 


is  quoted  by  Bumey  (iv.  34!  fipom  Peri.  In  Ca- 
risBimi  and  Cesti  are  found  characteristic  closes 
of  recitative  in  this  m«anner^ 


i 


* 


m 


T- 


but  in  this  case  the  actual  rendering  is  par- 
ticularly doubtful,  and  the  passage  was  probably 
modified  after  the  manner  in  which  recitatives 
are  always  rendered,  A  less  doubtful  instance, 
in  which  there  is  a  string  of  anticipations,  is 
from  a  ^gment  quoted  also  by  Bumey  (iv.  147) 
from  a  Cantata  by  Carissimi  as  follows : — 


The  use  of  combinations  which  result  firom  the 
s'multaneous  occurrence  of  passing  notes,  a  prac- 
tice so  characteristic  of  Bach,  cannot  definitely 
be  traced  at  this  early  period.  Indeed,  it  is  not 
certain  that  the  musicians  had  discovered  the 
principle  which  is  most  prolific  in  these  effects — 
namely,  the  use  of  preliminary  notes  a  semitone 
above  or  below  any  note  of  an  essential  chord, 
irrespective  of  what  precedes,  and  at  any  position 
ifelative  to  the  rhythmic  divisions  of  the  music. 


in  which  Bi|.  G|,  and  Db,  which  seem  to  con- 
stitute an  actual  chord,  are  merely  the  result  of  the 


simultaneous  occurrence  of  chromatic  preliminary 
passing  notes  before  the  essential  notes  C,  A, 
and  0  of  the  common  chord  of  F  major.  But 
there  is  a  combination  which  is  very  common  in 
the  music  of  the  17th  century,  wliich  has  all 
the  appearance  of  being  derived  from  some  such 
principle,  and  demands  notice.  It  appears  in 
Cesti's  'Orontea'  (Bumey,  iv.  68)  as  foUows : — 


^■^-  ^  ■>  1  J  ^= 

1 il 

Kb  2 ^  \    \  ^ c-_ 

-H  ^  .  y 

H 

g-^>-i 

and,  however  preceded,  it  always  amounts  to  the 
same  idea — namely,  that  of  using  an  unprepared 
seventh  on  the  subdominant  of  the  key  (major 
or  minor)  preceding  the  Dominant  chord  of 
the  Cadence.  This  may  be  explained  as  a 
passing  note  downwards  towards  Uie  uppermost 
note  of  the  succeeding  concord  on  the  Dominant, 
which  happens  to  coincide  with  the  passing  note 
upwards  between  the  third  of  the  tonic  chord 
and  the  root  of  the  Dominant  chord,  —  as*C 
between  Bb  and  D  in  the  example;  in  which 
case  it  would  be  derived  from  the  principle  above 
explained;  or  on  the  other  hand  the  passage 
may  be  explained  on  the  basis  of  the  old  theory 
of  passing  notes  in  a  way  which  is  highly  illus- 
trative of  the  methods  by  which  novelty  is 
arrived  at  in  music.  Composers  were  accustomed 
to  the  prc^gression  in  which  a  chord  of  6-4  pre- 
ceded the  Dominant  chord,  as — 


f^ 

F^l 

^ 

II 

_^ U 

-3 

II 

'S^"^ 

=^ 

-^ 

==s-J 

and  having  the  particular  melodic  progression 
which  results  from  this  well  fixed  in  their  minds, 
they  inserted  a  passing  note  on  the  strong  beat  of 
the  bar  in  the  bass  without  altering  the  treble, 
as  in  the  example  quoted  above  from  Cesti,  and 
thereby  added  considerably  to  the  vigour  of  the 
passage.  This  particular  feature  seems  to  have 
been  accepted  as  a  musical  fact  by  composers, 
and  appears  constantly,  frx>m  Monteverde  till  the 
end  of  the  century,  among  French  and  Italians 
alike ;  and  it  is  invested  with  the  more  interest 
because  it  is  found  in  Lully  in  an  improved  form, 
which  again  renewed  its  vitality.  It  stands  as 
follows  in  a  Sarabande  by  him — 


:?=■: 


f 


% 


f 


I 


and  this  form  was  adopted  by  Handel,  and  will  be 
easily  recognised  as  familiar  by  those  acquainted 
with  his  works.  Corelli  indicates  the  firm 
hold  which  this  particular  seventh  had  obiaiued 


680 


HABMONT. 


on  the  minds  of  masidana  by  unng  it  in  imme* 
diate  succession  to  a  Dominant  7th,  so  that  the 
two  intervab  succeed  each  other  in  the  following 


ynftnn<^r  :— 


in  the  Sonata  II  of  the  Opera  2nda,  published  in 
Rome,  1685.  These  methods  of  using  passing 
notes,  anticipations,  and  like  devices,  are  extremely 
important,  as  it  is  on  the  lines  thereby  indicated 
that  progress  in  the  harmonic  department  of 
music  is  made.  Many  of  the  most  prolific  sources 
of  variety  of  these  kinds  had  descended  from  the 
contrapuntal  school,  and  of  these  their  immediate 
sacGessors  took  chief  advantage;  at  first  with 
moderation,  but  with  ever  gradually  increasing 
complexity  as  more  insight  was  gained  into  the 
opportunities  they  offered.  Some  devices  do  not 
appear  till  somewhat  later  in  the  century,  and 
of  this  kind  were  the  condensation  of  the  resolution 
of  suspensions,  which  became  very  fruitful  in 
variety  as  music  progressed.  The  old-fiuhioned 
suspensions  were  merely  temporary  retardations 
in  the  progression  of  the  parts  which,  taken 
together  in  their  simplicity,  constituted  a  series 
of  concords.    Thus  the  suooession-^ 


i 


J^J  J-J  ;~f-t. 


^^ 


ZS£. 


I 


r 


b  evidently  only  a  sophisticated  version  of  the 
succession  of  sixths — 


i 


I^        BJ^ 


and  the  principle  which  is  applied  is  analogous 
to  the  other  devices  for  sophisticating  the  sim- 
plicity of  concords  which  nave  been  analysed 
above;  and  the  whole  shewing  how  device  is 
built  upon  device  in  the  progress  of  the  art. 
Sometime  in  the  1 7th  century  a  composer,  whose 
name  is  probably  lost  to  posterity,  hit  upon  the 
happy  idea  of  middng  the  concordant  notes  move 
without  waiting  for  the  resolution  of  the  dis- 
cordant note,  so  that  the  process — 


^^ 


^ 


in  which  there  are  three  steps,  is  condensed  into 
the  following  (firom  Aleasandro  Scarlatti) — 


^X 


^^m 


ft 


k 


in  whioh  there  are  only  two  to  gain  the  same 
end.  This  device  is  very  conmion  at  the  end  of 
the  17th  century,  as  in  Gorelli,  and  it  imme- 
diately bore  fresh  fruit,  as  the  possibility  of  new 


HARMONY. 

successions  of  suspensions  interlaced  witli  ooe 
another  became  apparent,  such 


P 


t^nrn-rv^ 


^ 


etc. 


in  which  each  shift  of  a  note  which  would  be 
considered  as  part  of  the  implied  concord  trcatrt 
a  fresh  suspension.  And  by  this  proOKiS  a  new- 
and  important  element  of  effect  was  obtained,  far 
the  ultimate  resolution  of  discord  into  concovd 
could  be  constantly  postponed  although  the 
harmonies  changed;  whereas  und^*  the  dJ 
system  each  disosrd  must  be  resolved  into  the 
particular  concord  to  which  it  belonged,  atu} 
therefore  the  periods  of  suspense  caused  by  the 
discords  were  necessarily  of  short  duration.  In 
dealing  with  discords  attempts  were  occasionally 
made  to  vary  the  recognised  modes  of  their 
resolutions ;  for  instance,  there  are  early  exampl«!« 
of  attempts  to  make  the  minor  seventh  resolve 
upwards  satisfactorily,  and  both  Carissimi  and 
Purcell  endeavoured  to  make  a  seventh  go 
practically  without  any  resolution  at  all,  in  tliis 
form — 


$- 


X 


T— r 


=F 


m^>=^^ — ^ 


from  Purceirs  'Dido  and  JSneas* — where  the 
resolution  is  only  supplied  by  the  second  violins — 


i 


fef 


g=Bg=f 


± 


T=r 


± 


^s 


^ 


m 


and  from  CSarissimi — in  which  it  is  not  supplied 
at  all,  if  Bumey's  transcription  (iv.  147)  is 
correct.  Another  experiment  which  illustrates  a 
principle,  and  thererore  demands  notice,  is  the 
following  from  Puzoeirs  service  in  Bb,  in  which 
the  analogue  of  a  pedal  in  an  upper  part  is  used 
to  obtain  a  new  harmonic  effect :— > 


W--  ste. 


About  this  time  also  a  chord  which  is  ex- 
tremely characteristic  of  modem  music  makes 
its  appearance,  namely,  the  chord  of  the  di- 
minished seventh.  This  appears  for  example, 
unprepared  in  CoreIli*fl  Sonata  X  of  the  '  Opera 
Terza^  published  in  1689,  as  follows — 


se= 

=s= 

=^ 

=^= 

rfiin>i 

-= — 1 

-f 

—rp — 

is 

1  -J 
-fs-\ 

#= 

=4^ 

1 

a 

Ml 

HI 

=feJ 

-H 

1 

^- 

HI 

HARMONY. 

In  this  and  in  oiher  instances  of  his  use  of  it, 
it  occupies  so  exactly  analogous  a  position  to  the 
£uniliar  rue  of  the  seventh  on  the  subdominant 
which,  has  already  been  commented  upon  at 
lengthy  that  the  inference  is  almost  unavoidable 
that  composers  first  used  the  diminished  seventh 
as  a  modificatiofl  of  that  well-known  device  in  a 
minor  key,  by  sharpening  its  bass  note  to  make 
it  approach  nearer  to  the  dominant^  and  also  to 
soften  its  quality. 

It  wiU  be  necessary  at  this  point  to  turn 
again    for    a  short  space   to   theorists,   for  it 
was    in  relation  to  tiie  standard  of  harmony 
which  characterises  tiie  end  of  the  17th  century 
that  Rameau^s  attempt  was  made  to  put  the 
theory  of  music  on  some  sort  of  philosophical 
basis.      He  called  attention  to  the  fiict  that  a 
tone  consists  not  only  of  the  single  note  which 
everybody  reoc^izes,  which  he  calls  the  prin- 
cipal sound,  bat  also  of  harmonic  sounds  corre- 
sponding to  notes  which  stand  at  certain  de- 
finite  Gustanoes  from  this   lower  note,   among 
which  are  the  twelfth  and  seventeenth,  corre- 
sponding to  the  fifth  and  third ;  that  as  there 
is  a  pedSect  correspondence  between  octave  and 
octave  these  notes  can  be  taken  either  as  the 
major  common  chord  in  its  first  position,  or  its 
inversions;  and  that  judged  from  this  point  of 
view  the  lower  note  is  the  root  or  fundamental 
note  of  the  combination.    This  was  the  basis  of 
his  theory  of  harmony,  and  it  is  generally  con- 
Bidered  to  have  been  the  first  explicit  statement 
of  the  theory  of  chords  in  connection  with  roots  or 
fondamental  notes.    Bameau  declines  to  accept 
the  minOT  seventii  as  part  of  the  compound  tone 
of  the  root,  and  he  does  not  take  his  minor  third 
as  represented  by  the  19th  '  upper  partial/  which 
is  very  remote,  but  justifies  the  minor  chord  on  the 
principle  that  the  minor  third  as  well  as  the  root 
note  generates  the  fifth  (as  both  0  and  £b  would 
generate  G),  and  that  this  community  between 
them  makes  them  prescribed  by  nature.   D*  Alem- 
bert  took  the  part  of  expositor,  and  also  in  some 
dight  particulars  of  modifyer,  of  Rameau*s  prin- 
ciples, in  his  '  Elements  de  Musique.*    It  is  not 
the  place  here  to  enter  into  details  with  respect 
to  the  particulars  resulting  from   the  theory, 
which  was  applied  to  explain  the  construction  of 
Bcale,  temperament,  and  many  other  subordinate 
matters,  and  to  discover  the  prefer  progressions 
of  roots,  and  the  interconnection  between  chords. 
But  a  passage  in  D'Alembert's  book  deserves 
especial  notice  as  illustrating  modem  harmcmio 
as  distinguished  from  the  old  contrapuntal  ideas 
with  respect  to  the  nature  of  discords  ;  since  it 
shows  how  completely  the  old  idea  of  suspen- 
sions as  retardadons  of  the  parts  had  been  lost 
sight  of:  'En  general  la  dissonance  ^tant  un 
ouvrage  de  Tart,  surtout  dans  les  accords  qui  ne 
Bont  point  de  dominant  tonique,  ou  de  sous- 
dominant  ;  le  seul  moyen  d'emp6oher  qu'elle  ne 
deplaise  en  paroissant  trop  etrang^re  k  I'accord, 
c*e»t  qu*elle  soit,  pour  ainsi  dire,  annonc^e  a 
Toreille  en  se  trouvant  dans  racoord  pr^oddent, 
et  qu^elle   serve   par   Ik   a  Her  les  deux  ac- 
cords.'   The  sole  exception  is  in  respect  of  the 


HARMONY. 


681 


dominant  seventh,  which,  apparently  as  a  mere 
matter  of  experience,  does  not  seem  to  require 
this  preparatory  announcement.  Tartini  pub* 
lished  his  theories  about  the  same  time  as  Ra- 
meau,  and  derived  the  effect  of  chords  from  the 
combinational  tones,  of  which  he  is  reputed  to 
have  been  the  discoverer.  Helmholtz  has  lately 
shewn  that  neither  theorr  is  complete  without 
the  other,  and  that  together  they  are  not  com- 
plete without  the  theory  of  beats,  which  really 
afiBords  the  distinction  between  consonance  and 
dissonance ;  and  that  all  of  these  principles  taken 
together  constitute  the  scientific  basis  of  the 
facts  of  harmony.  Both  Rameau  and  Tartini 
were  therefore  working  in  the  right  direction; 
but  for  the  musical  world  Rameau's  principles 
were  the  most  valuable,  and  the  idea  of  sys- 
tematising  chords  according  to  their  roots  or 
fundamental  basses  has  been  since  generally 
adopted. 

By  the  beginning  of  the  i8th  century  the 
practice  of  grouping  the  harmonic  elements  of 
music  or  chords  according  to  the  keys  to  which 
they  belong,  which  is  called  observing  the  laws^ 
of  tonality,  was  tolerably  universal.  Composers 
had  for  the  most  part  moved  sufficiently  tax 
away  from,  the  influence  of  the  old  ecclesiastical 
system  to  be  able  to  realise  the  first  principles  of 
the  new  secular  school.  These  principles  are 
essential  to  instrumental  music,  and  it  is  chiefly 
in  relation  to  that  large  department  of  the  mo- 
dem art  that  they  must  be  considered.  Under 
the  conditions  of  modem  harmony  the  harmonic 
basis  of  any  passage  is  not  intellectually  appro- 
eiable  unless  the  principle  of  the  relations  of  the 
chords  composing  it  to  one  another  through  a 
common  tonic  be  observed.  Thus  if  in  the 
middle  of  a  succession  of  chords  in  G  a  chord 
appears  which  cannot  be  referred  to  that  key, 
the  passa^re  is  inconsistent  and  obscure;  but  if 
this  chord  is  followed  by  others  which  can  with 
it  be  referred  to  a  different  key,  modulation  has 
been  effected,  and  the  succession  is  rendered  in-, 
telligihle  by  its  relation  to  a  fresh  tonic  in  the 
place  of  0.  The  range  of  chords  which  were 
recognized  as  characteristic  of  any  given  key 
was  at  first  veiy  limited,  and  it  was  soon  per- 
ceived that  some  notes  of  the  scale  served  as  the 
bass  to  a  larger  number  and  a  more  important 
class  of  them,  tlje  Dominant  appearing  as  the 
most  important,  as  the  generator  of  the  larger 
number  of  diatonic  chords ;  and  since  it  also  con- 
tains in  its  compound  tone  the  notes  which  are 
most  remote  frt>m  the  chord  of  the  tonic,  the 
artistic  sense  of  musicians  led  them  to  regard 
the  Dominant  and  the  Tonic  as  the  opposite 
poles  of  the  harmonic  circle  of  the  key,  and  no 
progression  was  sufficiently  definable  to  stand  in 
a  position  of  tonal  importance  in  a  movement 
unless  the  two  poles  w^ere  somehow  indicated. 
That  is  to  say,  if  a  movement  is  to  bexaat  upon 
certain  prominent  successions  of  keys  to  which 
other  keys  are  to  be  subsidiary,  those  which  are 
to  stand  prominently  forward  must  be  defined 
by  some  sort  of  contrast  based  on  the  alterna- 
tion of  Tonic  and  Dominant  harmony.     It  ia* 


682 


HARMONY. 


probably  for  this  reason  that  the  key  of  the  [ 
Subdominant  is  unsatisfactory  as  a  balance  or 
complementary  key  of  a  movement,  since  in  pro- 
gressing to  its  Dominant  to  verify  the  tonality, 
the  mind  of  an  intelligent  listener  recognisei  the 
original  Tonic  again,  and  thus  the  force  of  the 
intended  contrast  is  weakened.  This,  as  has 
been  above  indicated,  is  frequently  found  in 
works  of  the  early  harmonic  period,  while  com- 
posers  were  still  searching  for  the  scale  which 
should  give  them  a  major  Dominant  chord,  and 
the  effect  of  such  movements  is  cunously  wan- 
dering and  vague.  The  use  ef  the  Dominant  as 
the  complementary  key  becomes  frequent  in 
works  of  the  latter  portion  of  the  1 7th  century, 
as  in  Corelli ;  and  early  in  the  next,  as  in  Bach 
and  Handel,  it  is  recognised  as  a  matter  of 
course;  in  the  time  of  Haydn  and  Mozart  so 
much  strain  was  put  upon  it  as  a  centre,  that 
it  began  to  assume  the  character  of  a  conven- 
tionaUsm  and  to  lose  its  force.  Beethoven 
consequently  began  very  early  to  enlarge  the 
range  of  harmonic  bases  of  the  key  by  the  use 
of  chords  which  properly  belonged  to  other 
nearly  related  keys,  and  on  his  lines  composers 
have  since  continued  to  work.  The  Tonic  and 
Dominant  centres  are  still  apparently  inevitable, 
but  they  are  supplemented  by  an  enlarged  range 
of  harmonic  roots  giving  chromatic  combina- 
tions which  are  affiliated  on  the  original  Tonic 
through  their  relations  to  the  more  important 
notes  of  the  scale  which  that  Tonic  represents, 
and  can  be  therefore  used  without  obscuring  the 
tonality.  As  examples  of  this  may  be  taken 
the  minor  seventh  on  the  tonic,  which  properly 
belongs  to  the  nearly  allied  key  of  the  subdo- 
minant ;  a  major  concord  on  the  supertonic, 
with  the  minor  seventh  superimposed,  which 
properly  belong  to  the  Dominant  key ;  the 
major  chord  on  the  mediant,  which  properly  be- 
longs to  the  key  of  the  relative  minor  repre- 
sented by  the  chord  of  the  submediant,  and 
80  on. 

Baches  use  of  harmony  was  a  perfect  adapta- 
tion to  it  of  the  principles  of  polyphony.  He 
resumed  the  principle  oiP  making  the  harmony 
ostensibly  the  sum  of  the  independent  parts, 
but  with  this  difference  from  the  old  style,  that 
the  harmonies  really  formed  the  substratum, 
and  that  their  progressions  were  as  intelligible 
as  the  melodies  of  which  they  seemed  to  be  the 
result.  From  such  a  principle  sprang  an  im- 
mense extension  of  the  range  of  harmonic  com- 
binations. The  essential  fundamental  chords 
are  but  few,  and  must  remain  so,  but  the  com- 
binations which  can  be  made  to  represent  tliem 
on  the  polyphonic  principle  are  almost  infinite. 
By  the  use  of  chromatic  passing  and  preliminary 
notes,  by  retardations,  and  by  simple  chromatic 
alterations  of  the  notes  of  chords  according  to 
their  melodic  signifiouioe,  combinations  are  ar- 
rived at  such  as  puzzled  and  do  continue  to 
puzzle  theorists  who  regard  harmony  as  so  many 
unchangeable  lumps  of  chords  which  cannot  be 
admitted  in  music  unless  a  fundamental  bass 
can  be  fovind  for  them.    Thus  the  chord  of  the 


HAEMONY. 

augmented  sixth  is  probably  nothing  more  than 
the  modification  of  a  melodic  progression  of  one 
or  two  parts  at  the  point  where  nataraUy  Uier 
would  be  either  a  major  or  minor  sixth  finam 
one  another,  the  downward  tendency  of  the 
one  and  the  upward  tendency  of  the  other 
causing  them  to  be  respectively  flatt«>ed  and 
sharpened  to  make  them  approach  nearer  to 
the  notes  to  which  they  are  moving.  In  the 
case  of  the  augmented  sixth  on  the  flat  eeoond 
of  the  key,  there  is  only  one  note  to  be 
altered ;  and  as  that  note  is  constantly  altered 
in  this  fashion  in  other  combinations — namely  bj 
substituting  the  flattened  note  for  the  natural 
diatonic  note,  as  Db  for  D  in  the  k^  of  C,  hj 
Carissimi,  Bach,  Beethoven,  Chopin,  in  all  ages  of 
harmonic  music — ^it  seems  superfluous  to  consido' 
whether  or  no  it  is  a  chord  with  a  double  root  as 
theorists  propose,  in  which  one  note  is  the  rainc«r 
ninth  of  one  root,  and  the  other  the  major  third 
of  another.  The  way  in  which  ideas  become 
fixed  by  constant  recurrence  has  alreadj  (p.  6;S) 
been  indicated  in  the  case  of  a  figure  which  was 
very  characteristic  of  the  polyphonic  school,  and 
in  that  of  the  subdominant  seventh  with  the 
early  harmonists ;  in  like  manner  modifications, 
such  as  the  augmented  sixth,  and  the  sharp  fifth 
(which  is  merely  the  straining  upwards  of  iht 
upper  note  of  a  concord  in  its  melodic  progreassion 
to  the  next  diatonic  note),  become  so  fiamiliar  by 
constant  recurrence,  that  they  are  soeepted  as 
facts,  or  rather  as  representatives,  by  association, 
of  the  unmodified  intervals,  and  are  used  to  all 
intents  as  essential  chords  ;  and  moreover  beiiig 
so  recognised,  they  are  made  liable  to  resolu- 
tions and  combinations  with  otAier  notes  which 
would  not  have  been  possible  while  they  were 
in  the  unaltered  condition ;  which  is  not  really 
more  to  be  wondered  at  than  the  &ct  that 
Bach  and  his  contemporaries  and  immediate  fre- 
decessors  habitually  associated  tunes  originally 
CMSt  in  the  old  ecclesiastiGal  modes  with  harmonies 
which  would  have  been  impossible  if  those  modes 
had  not  been  superseded  by  the  modem  system 
of  scales.  The  inversion  of  the  above-mentioned 
augmented  sixth  as  a  diminished  third  is  re- 
markable for  two  reasons.  In  the  first  place, 
because  when  used  with  artistic  purpose  it  is  one 
of  the  most  striking  chords  in  modem  music^ 
owing  to  the  gradual  contraction  towards  the 
resolution — as  is  felt  in  the  employment  of  it 
by  both  Bach  and  Beethoven  to  the  words 
*et  sepultus  est'  in  the  'Crucifixus*  of  their 
masses  in  B  minor  and  D  respec^iyely ;  and 
in  the  second,  because  a  distinguished  modern 
theorist  (whose  work  is  in  many  respects  very 
valuable)  having  discovered  that  the  augmented 
sixth  is  a  double  rooted  chord,  says  that  it 
'  should  not  be  inverted,  because  the  upper  note, 
being  a  secondary  harmonic,  and  capable  of  he- 
longing  only  to  the  secondary  root,  should  not  be 
beneath  the  lower,  which  can  only  belong  to  the 
primary  root.'  It  must  not  be  ^rgotten,  how- 
ever, in  considering  the  opinions  of  theorists  on 
the  origin  of  chords  such  as  these,  that  their 
explanatiozw  are  not  un&equently  given  merelj 


HARMONY. 


HARMONY. 


ess 


for  tl&e  purpose  of  classifying  the  chords,  and  of 
expounding  the  laws  of  their  resolutions  for  the 
benefit  <^  composers  who  might  not  be  able 
otherwise  to  employ  them  correcUj. 

The  actual  number  of  essential  chords  has 
remained  the  same  as  it  was  when  Monteverde 
indicated  the  nature  of  the  Dominant  seventh 
by  using  it  without  preparation,  unless  a  single 
exception  he  made  in  favour  of  the  chord  of  the 
major  ninth  and  its  sister  the  minor  ninth,  botii  of 
w^hich  Hdmholtz  acknowledges  may  be  taken  as 
repreeentatives  of  the  lower  note  or  root ;  and  it 
cannot  be  denied  that  they  are  both  used  with 
remarkable  fireed(»n,  both  in  their  preparation 
and  resolution,  by  the  great  masters.  Haydn, 
for  instance,  who  is  not  usually  held  to  be  guilty 
of  harmonic  extravagance,  uses  the  major  ninth 
on  the  Dominant  &us  in  his  Quartet  in  6, 
Op.  76 — 


and  the  minor  ninth  similarly,  and  with  as  great 
freedom,  as  follows,  in  a  Quartet  in  F  minor 
(Trautwein,  No.  3). 

nil 


/Ts, 


It  is  not  possible  to  enter  here  into  discussion 
of  particular  questions,  such  as  the  nature  of  the 
chord  frequently  called  the  'Added  Sixth,'  to 
which  theorists  have  proposed  almost  as  many 
roots  as  tiie  chord  has  notes ;  Rameau  originally 
suggesting  the  Subdomiuant,  German .  theorists 
the  Supertonic  as  an  inversion  of  a  seventh,  Mr. 
Al&ed  Day  the  Dominant,  as  an  inversion  of  a 
chord  of  the  eleventh,  and  Helmholtz  returning 
to  the  Subdominant  again  in  support  of  Rameau. 
Neither  is  it  necessary  to  enter  into  particulars 
on  the  subject  of  the  diminished  seventh,  which 
modem  composers  have  found  so  useful  for  pur- 
poses of  modulation,  or  into  the  devices  of  en- 
harmonic changes,  which  are  so  fruitful  in  novel 
and  beautiful  effects,  or  into  the  discordance  or 
non-discordance  of  the  fourth.  It  is  necessary 
for  the  sake  of  brevity  to  restrict  ourselves 
as  far  as  possible  to  things  which  illustrate 
general  principles ;  and  of  these  none  are  much 
more  remarkable  than  the  complicated  use  of 
suspensions  and  passing  notes,  which  follow  from 
the  principles  of  Bach  in  polyphony  as  applied 
to  harmony,  and  were  remarked  on  above  as 
laying  the  foundations  of  all  the  advance  that 
has  been  made  in  Harmony  since  his  time.  Sus- 
pensions are  now  taken  in  any  form  and  position 


which  can  in  the  first  place  be  possibly  prepared 
even  by  passing  notes,  or  in  the  second  place  be 
possibly  resolved  even  by  causing  afresh  discord, 
so  long  as  the  ultimate  resolution  into  concord  is 
feasible  in  an  intelligible  manner.  Thus  Wagner's 
Meisterdnger  opens  with  the  phraso— 


E-j^-U2£l 


r 


eta. 


m 


-jsi 


t 


i 


n 


in  which  B  is  a  suspended  passing  note  resolving 
so  as  to  make  a  fresh  discord  with  the  treble, 
which  in  reality  is  resolved  into  another  discord 
made  by  the  appearance  of  a  chromatic  passing 
note,  and  does  not  find  its  way  into  an  essential 
concord  till  three  chords  further  on;  but  the 
example  is  sufficient  to  show  the  application  of 
both  principles  as  above  expressed.  One  of  the 
most  powerful  suspensions  in  existence  is  the 
following  from  Bach's  Organ  Toccata  in  D 
minor — 


Of  strongly  accented  passing  notes  the  following 
are  good  examples — ■ 


H r^-mm 


a>r^qj=qt::»i 


U=^=l 


f 


:it=t 


■d 


etc. 


col.  SvL 
&om  the  Overture  to  the  Messiah;  and 


I 


M 


etc. 


from  Brahms's  Ballade  in  D,  which  is  practically 
the  same  passing  note  as  that  in  the  example  from 
Handel,  but  passing  in  the  opposite  direction. 

A  good  example  of  a  succession  of  combinations 
resulting  from  the  principles  above  enumerated 
with  regard  to  the  modification  of  diatonic  notes, 
and  the  use  of  chromatic  passinsr  notes,  occurs  in 
Bach's  Cantata,  *  Christ  unser  Herr'  (p.  208) — 


t 


zy:::z. 


^^ 


I 


684 


HARMONY. 


HARMONY. 


In  the  and  scene  of  the  and  act  of  '  Tristan 
and  Isolde*  the  combination  given  theoretically 
above  (p.  679  a)  actually  occurs,  and  two  of  the 
preliminary  chix)matic  notes  (*)  are  sustained  as 
a  suspension  into  the  next  chord— 


^W 


etc 


^^^^^^g 


-{^ H" 

In  the  latter  part  of  the  last  Act  of  the  same 
work  are  some  extremely  remarkable  examples 
of  the  adaptation  of  the  polyphonic  principle  to 
harmony,  entailing  very  close  modulations,  for 
which  there  is  not  space  here. 

The  principle  of  persistence  was  early  recog- 
nised in  the  use  of  what  were  called  Diatonic  suc- 
cessions or  sequences.  They  are  defined  by  Prof. 
Macfarren  as  '  the  repetition  of  a  progression  of 
harmony,  upon  other  notes  of  the  scale,  when 
all  the  parts  proceed  by  the  same  degrees  in 
each  repetition  as  in  the  original  progression,* 
irrespective  of  augmented  or  diminished  intervals, 
or  doublings  of  notes  which  in  other  cases  it  is 
not  desirable  to  double.  And  this  may  be  ex- 
panded into  the  more  general  proposition  that 
when  a  figure  has  beien  established,  and  the 
principle  and  manner  of  its  repetition,  it  may 
be  repeated  analogously  without  any  considera- 
tion of  the  resulting  circumstanoes.  Thus  Bee- 
thoven having  established  the  form  of  his  ac- 
companiment—> 

^'^  r7ri'r  = 


goes  through  with  it  in  despite  of  the  consecutive 
fifths  which  result — 


j^-^jT?!  JT^ 


Again,  a  single  note  whose  stationary  character 
has  been  established  in  harmony  of  which  it 
actually  forms  a  part,  can  persist  through  har^ 
monies  which  are  otherwise  alien  to  it,  and 
irrespective  of  any  degree  of  dissonance  which 
results.  This  was  early  seen  in  the  use  of  a 
Pedal,  and  as  that  was  its  earliest  form  (being 
the  immediate  descendant  of  the  Drone  baas 
mentioned  at  the  beginning  of  the  Article)  the 
singular  name  of  an  inverted  Pedal  was  applied 
to  it  when  the  persistent  note  was  in  the  treble, 
as  in  an  often -quoted  instance  from  the  slow 
movement  of  the  C-minor  Symphony  of  Bee- 
thoven, and  a  fine  example  in  the  Fugue  which 
stands  as  Finale  to  Brahms's  set  of  Variations 
on  a  Theme  by  Handel,  and  in  the  example 
quoted  from  Purcell*s  Service  above.  'Bee- 
thoven even  makes  more  than  one  note  persist, 
as  in  the  first  variation  on  the  DiabelU  Yalse 
(op.  121) — 


-Kr-I 


i 


Another  familiar  example  of  persisteDoe  is  per- 
sistence of  direction,  as  it  is  a  well-known  device 
to  make  parts  which  are  progressing  in  opposite 
directions  persist  in  doing  so  irrespective  of  the 
combinations  which  result.  For  the  limitatiQiis 
which  may  be  put  on  these  devices  refiBrenoe 
must  be  made  to  the  regular  text-books,  as  they 
are  many  of  them  principles  of  expediency  and 
custom,  and  many  of  them  depend  on  laws  of 
melodic  pn^pnession,  the  consideratian  of  which  it 
is  necessary  to  leave  to  its  own  particular  head. 

It  appears  then,  finally,  that  the  actual  basts 
of  harmonic  music  is  extremely  limited,  oonsiflting 
of  concords  and  their  inversions,  and  at  best  not 
more  than  a  few  minor  sevenths  and  major  and 
minor  ninths;  and  on  this  basis  the  art  of 
modem  music  is  constructed  by  devices  and 
principles  which  are  either  intellectuallyooiiGei  ved 
or  are  the  firuit  of  highly  developed  musical 
instinct,  which  is  according  to  vulgar  phrase 
'inspired,'  and  thereby  discovers  truths  at  s 
single  leap  which  the  rest  of  the  worid  recognise 
as  evidently  the  result  of  so  complex  a  gene- 
ralisation that  they  are  unable  to  imagine  bow 
it  was  done,  and  therefore  apply  to  it  the  useful 
term  *  inspiration.  *  But  in  every  case,  if  a  novelty 
is  sound,  it  must  answer  to  verification,  and  the 
verification  is  to  be  obtained  only  by  intellectual 
analysis,  which  in  fact  may  not  at  first  be  able 
to  cope  with  it.  Finally,  everything  is  ad- 
missible which  is  intellectually  verifiable^  and 
what  is  inadmissible  is  so  relatively  only.  For 
instance,  in  the  large  majority  of  cases,  the 
simultaneous  occurrence  of  all  the  diatonic  notes 
of  the  scale  would  be  quite  inadmissible,  but 
composers  have  shown  how  it  can  be  done,  and 
there  is  no  reason  why  some  other  composer 
should  not  show  how  all  the  chromatic  notes  can 
be  added  also ;  and  if  the  principles  by  which  he 
arrived  at  the  combination  stand  the  ultimate 
test  of  analysis,  musicians  must  bow  and  ac- 
knowledge his  right  to  the  oombination.  The 
history  of  harmony  is  the  history  of  ever-increas- 
ing richness  of  combination,  from  the  use,  fint, 
of  simple  consonances,  then  of  consonances  super- 
imposed on  one  another,  which  we  call  oommoi 
chords,  and  of  a  few  simple  discordB  simply 
contrived ;  then  of  a  system  of  daasification  of 
these  concords  and  discords  by  key  relationship, 
which  enables  some  of  them  to  be  used  with 
greater  freedom  than  formerly ;  then  of  the  use 
of  combinations  which  were  specially  &miliar  as 
analogues  to  essential  chords ;  then  of  enlargement 
of  the  bounds  of  the  keys,  so  that  a  greater  number 
and  variety  of  chords  could  be  used  in  relation  to 
one  another,  and  finally  of  the  recognition  of  the 
prindple  that  harmony  is  the  result  of  combined 


ha:emo^y. 

melocUes,  through  the  treatment  of  the  pro- 
greBsioDs  of  which  the  Umite  of  combination 
become  practically  oo-extensive  with  the  number 
of  notes  in  the  musical  system.  [O.H.H.P.] 

HABOLD  EN  ITALIE.  The  4th  of  Berlioz's 
5    symphonies,  op.  16,  dedicated  to   Humbert 
Ferrand;  for  full  orchestra  with  sola  viola;  in 
4    movements — (i)    'Harold   auz    montagnes. 
Scenes  de  m^anoolie,  de  bonheur  et  de  joie.* 
Adagio  and  Allegro;  in  G.     (2)  'Marche  de 
P^lerins  chantant  J  a  pri^  du  soir.'   Allegretto ; 
in    £.      (3)    'S^r^nade  d*un   Montagnard  des 
Abbruzes  k  sa  maitresse.*    Allegro  assai ;  in  G. 
(4)  'Orgie  de  Brigands.     Souvenirs  des  Scenes 
pr^^entes.*    Allegro  frenetioo;  in  G-.     It  was 
composed  in  1834,  and  originated  in  a  request 
of  Paganini's  that  Berlios  should  write  a  solo  in 
which  he  could   display  the   qualities  of  his 
Htradivarius  viola.    It  is  needless  to  say  that  it 
did  not  fulfil  that  intention.     The  idea  of  the 
work  is  based  on  Ghilde  Harold.    (See  Berlioz's 
M^moires,  chap.  45.)    It  was  first  performed  at 
the  Conservatoire  Nov.  13,  1834,  but  has  been 
much  altered  since.    Score  and  parts  are  pub- 
lished by  Schlesinger.     It  was  played  for  the 
first  time  in  England  at  the  New  Philharmonic 
Concert^  July  4,  1855.    Berliox  conducted  and 
£mst  played  the  viola  part.  [G.] 

HARP  {YrMarpe ;  Ital.  Arpa ;  Germ.  Sarfe), 
A  musical  instrument  of  great  antiquity ;  in  its 
modem  development,  by  means  of  the  ingenious 
mechanism  of  the  double  action,  distinguished  as 
the  only  instrument  with  fixed  tones  not  formed 
by  the  ear  and  touch  of  the  player,  that  has 
separate  notes  for  sharps,  flato,  and  naturals, 
thus  approaching  written  musio  more  nearly 
than  any  other. 

The  harp  presents  a  triangular  form  of  singular 
beauty,  the  graceful  curve  of  the  neck  a£ling 
to  the  elegance  of  its  appearance.  Although 
-the  outline  has  varied  at  different  epochs  and  in 
difibrent  countries,  the  relation  of  its  proportions 
to  the  musical  scale — ^a  condition  of  symmetiy  in 
musical  instruments — ^is  in  the  harp  very  dose ; 
BO  that  whether  it  be  Egyptian,  Persian,  Medieval, 
or  Keltic,  it  is  always  fashioned  in  beauty  of 
line,  and  often  characteristically  adorned. 

In  looking  at  a  harp  we  recognise  at  once  the 
varied  functions  of  its  structure.  The  resonant 
instrument  is  the  soundboard,  forming  with  its 
body  the  angle  next  the  player.  The  opposite 
angle  is  the  pillar.  Both  support  the  neck,  a 
curved  bracket  between  which  and  the  sound* 
board  the  strings  are  stretched.  In  modem 
harps  the  neck  mcludes  the  'comb'  containing 
the  mechanism  for  raising  the  pitch  of  the  strings 
one  half  tone  by  the  single  action,  or  two  half 
tones  by  the  double  action.  The  pillar  is  hollow 
to  include  the  rods  working  the  mechanism. 
The  pedestal,  where  pillar  and  soundboard  unite, 
is  the  frame  for  the  pedals,  levers  acted  upon  by 
the  feet  and  moving  the  rods  in  the  pillar. 

The  wood  used  in  a  harp  is  chiefly  sycamore, 
but  the  soundboard  is  of  pine,  and  in  old  harps 
was  frequentiy  ornamented  with  painted  devices. 


HABF. 


V85 


The  dimensions  of  soundboard  and  body  increase 
downwards.  Along  the  centre  of  the  soundboard 
b  glued  a  strip  of  beech,  or  other  hard  wood,  in 
which  are  inserted  the  pegs  that  hold  the  lower 
ends  of  the  strings,  the  upper  ends  being  wound 
round  tuning-pins  piercing  the  wrestplank  which 
forms  the  upper  part  of  the  neck.  The  sound- 
board is  ribbed  underneath  by  two  narrow  bars, 
crossing  the  grain  of  the  pine,  their  duty  being 
to  drive  the  soundboard  into  nodes  and  figures 
of  vibration.  The  strings  are  of  catgut,  coloured 
to  facilitate  the  recogmtion  of  Sva, 

the  notes  by  the  player,  the  ^ 

lowest  eight  being  spun  over,   , .  Q   V    •• 

wire  upon  silk  or  wire  upon  ^         fj^        ■ 
wire.  The  compass  of  an  Enird         ^    t/ 
double-action  harp  is  61  octaves.        S»a, 

The  apparently  slight  resistance  oflered  by  the 
bridge  to  the  tension  of  the  strings,  inadequate 
if  their  drawing  power  were  perpendicular,  is 
sufficient  because  they  are  placed  at  an  an^e. 
There  is  also  a  lateral  angle  in  the  position  of 
the  neck  and  strings,  to  allow  for  the  strain  on 
the  side  the  strings  are  attached  to. 

The  origin  of  the  harp  must  be  put  back 
anterior  to  the  earliest  records  of  civilisation. 
It  was  possibly  suggested  by  the  stretched  string 
of  the  bow.  The  addition  of  several  strings 
would  be  analogous  to  binding  several  reeds  or 
whistles  together  to  form  a  syrinx,  both  con- 
trivances apparently  preceding  the  shortening  to 
different  lengths  by  the  finger  of  a  single  vibrating 
string,  as  in  a  lute,  or  the  shortening  of  the 
vibrating  column  of  air  in  a  pipe  by  means  of 
holes  perforated  in  it  to  be  stopped  also  by  the 
fingers.  The  oldest  monuments  of  the  harp  are 
E^mtian.  Those  first  seen  by  Bruce,  painted 
on  uie  wall  of  a  burying-plaoe  at  Thebes,  are 
supposed  to  be  as  old  as  the  1 3th  century  B.o. 
These  ate  very  large  harps,  richly  ornamented, 
and  standing,  to  judge  from  the  players,  more 
than  six  feet  high.  These  instruments,  which 
have  been  often  described,  having  no  front  pil- 
lar, could  have  had  no  great  t^udon,  and  were 
probably  of  a  low  and  sweet  tone.  But  while 
all  Egyptian  harps  wanted  this  imp<Niiant  mem- 
ber for  support,  they  were  not  limited  to  one 
size.  There  seems  to  have  been  a  great  variety 
in  dimensions,  number  of  strings,  and  amount  of 
ornament.  Some,  like  Brace's,  were  placed  upon 
the  ground ;  others  were  upon  rests  or  stools, 
to  admit  of  the  player^s  standing.  Those  held 
by  seated  players  were  more  like  the  Greek 
trigonon,  a  link  between  the  harp  and  lyre. 

The  Assyrian  harps  resembled  the  Egyptian  in 
having  no  frt>nt  pillar,  but  differed  in  the  sound- 
board being  uppermost,  the  lower  angle  being 
a  simple  bar  for  the  attachment  of  the  strings. 
Mr.  Engel  ('  Music  of  the  most  Ancient  Nations,* 
London,  1864)  regards  the  absence  or  presence  of 
the  front  pillar  as  distinguishing  the  Eastern 
harp  from  the  Western,  but  it  may  be  that  the 
distinction  is  rather  that  of  ancient  and  modem, 
foe  the  very  earliest  Western  harp  of  which  a 
representation  exists,  that  in  Bunting*s  '  Ancient 
Music  of  Ireland,*  attributed  by  him  to  an  earlier 


6M 


HAEP. 


date  tlian'  1..D.  830,  has  no  front  pillar.  The 
beautiful  form  of  the  more  modem  Irinh  harp  is 
well  known  from  its  representation  in  the  royal 
coat  of  arms.  Two  specimeni  are  to  be  Men  in 
South  E.enBington  Museum :  one  is  a  cast  of  the 
ancient  harp  m  Trinity  College,  Dublin,  sud  to 
have  belonged  to  Brian  Boiroimhe.  In  these 
the  body  is  perpendicular,  or  nearly  so,  instead 
of  slanting,  as  in  modem  harps ;  the  front  pillar 
being  curved  to  admit  of  this,  and  the  neck — in  the 
Irish  harp  called  the  Harmonic  Curve — descend* 
ing  rather  to  meet  it.  This  form  gives  a  more 
acute  angle  to  the  strings,,  which  were  of  brass, 
two  to  each  note,  the  sounds  being  produced  by 
the  pointed  finger-nails  of  the  player.  The  number 
of  strings  is  uncertain,  but  the  fragments  of  the 
*  Dslway '  harp,  shown  in  the  Special  Exhibition 
at  South  Kensington  in  1872,  inscribed  'Ego 
sum  Begina  Cithararum,*  and  dated  A.l>.  1621, 
justify  our  assuming  the  large  scale  of  fifty-two 
for  this  instrument. 

The  Irish  Gaelic  harp  most  have  been  the 
Scotch  GaeUo  one  also.  According  to  Gunn  (His- 
torical Inquiry,  etc.,  Edinburgh  1807)  a  lady  of 
the  clan  Lament  in  Ai^le  took  a  harp  with  her 
on  her  marriage  in  1640  to  Robertson  of  Lude, 
which  had  for  several  centuries  been  the  harp  of 
a  succession  of  Highland  bards.  Gunn  descrioed 
it  as  then  existing,  38  inches  high  and  16  broad, 
with  30  strings.  Another,  also  then  existing 
ai^d  in  excellent  preservation,  he  stated  to  have 
been  the  gift  of  Queen  Mary  to  Miss  Gardyn  of 
Banchory.  It  was  smaller  than  the  Lude  harp, 
and  could  only  have  carried  twenty-eight  strings. 

The  Welch  Harp  has  Ukewise  a  perpendicular 
body,  but  is  larger  than  the  Iridi.  increasing 
considerably  downwards.  The  neck  ascends,  the 
front  pillar  being  longer.  The  Welch  harp  has 
three  rows  of  gut  strings,  the  outer  rows  being 
unisons  in  diatonic  series,  the  inner  the  chromatic 
semitones.  There  is  one  at  South  Kensington, 
lent  by  Lady  Llanover. 

The  earliest  representation  of  the  portable 
mediieval  harp,  which  so  many  painters  loved 
to  delineate  along  with  lutes  and  viols,  is  perhaps 
that  in  Gerbert*s  '  De  Cantu  et  Musica  Sacra,' 
copied  from  a  MS.  of  the  9th  century  in  the 
Monastery  of  St.  Blaise  in  the  Black  Forest, 
destroyed  by  fire  in  1768.  The  form  of  this 
instrument  is  preserved  in  the  modem  harp,  the 
fr^nt  pillar  only  differing  in  being  straight  in- 
stead of  slightly  curving,  to  admit  of  the  move- 
ment of  the  rods  for  working  the  pedals. 

That  the  Western  harp  belongs  to  Northern 
Europe  in  its  origin  there  seems  to  be  no  doubt. 
Mr.  Max  Miiller  claims  the  name  as  Teu- 
tonic, and  has  contributed  these  historic  and 
dialectic  forms : — Old  High  German,  Harapha ; 
Middle  do.,  Harpfe;  Modem  do.,  Harfe;  Old 
Norse,  Harpa,  From  the  last  were  derived  the 
Spanish  and  Italian  Arpa,  the  Portuguese 
JJarpaf  and  the  French  Harpe — the  aspirate 
showing  the  Teutonic  origin.  The  Anglo-Saxon 
form  was  Bearpe,  The  Basque  and  Sclavonian, 
as  well  as  the  Romance,  took  the  name  with  the 
instrument,  but  there  is  a  remarkable  exception 


HARP. 

in  the  fact  of  the  Keltic  peoples  having  tbci* 
own  names,  and  these  again  divided  aooarding 
to  the  Gaelic  and  Cymbric  branches.  Prince 
Louis  Lucien  Bonaparte  has  supplied  the  fol* 
lowing  illustration: — Irish  Gaelic,  CldirmaA; 
Scotch  do.,  Cldnach ;  Manx,  Claasagk ;  W^^eh, 
Telyn  ;  Cornish,  TeUin ;  Breton,  TOen. 

The  Medieval  harp,  a  simple  diatonic  instru- 
ment, was  sufficient  in  its  time,  but  when  modem 
instrumental  music  arose,  its  limits  were  found 
too  narrow,  and  notwithstanding  its  chann  of 
tone  it  would  have  fSsllen  into  ol^vion.    It  had 
but  one  scale,  and  to  obtain  an  accidental  semi- 
tone the  only  resource  was  to  shorten  the  sFtring 
as  much  as  was  needed  by  firmly  pressing  it  with 
the  finger.    But  this  was  a  poor  expedient,  aa  it 
robbed  the  harpist  for  the  time  of  the  use  ot 
one  hand.    Chromatic  harps  were  attempted  by 
German  makers  in  the  last  century  anid  early 
in  this,  but  it  was  found  impracticable  through 
difficulty  of  execution  to  give  the  harp  thirteen 
strings  in  each  octave,  by  which  each  vould 
have  been  a  sharp  to  its  next  lower  and  a  flat 
to  its  next  higher  string.    The  first  step  towards 
the  reconstruction  of  the  harp  was  due  to  a  Ty- 
rolese,  who  came  upon  the  idea  of  screwing  little 
crooks  of  metal  {crotchets)  into  the  neck,  -which 
when  turned  against  the  string  would  cause  the 
shortening  necessary  for  a  chromatic  intervaL 
Still  the  harpist  lost  the  use  of  one  hand  while 
placing  or  releasing  a  crook,  and  one  stringy  only 
was  modified,  not  its  octaves.    About  the  year 
1730,  one  Hochbrudcer,  a  native  of  Donauworth 
in  Bavaria,  conceived  and  executed  the   fint 
pedal  mechanism,  and  rendered  the  harp  fit  for 
modulation,  by  using  the  foot  to  raise  each  open 
string,  at  will  and  instantaneously,  half  a  tone 
higher,   and  leaving  the  player^s  hands   free. 
This  brought  about  a  very  remarkable  revolution 
in  harp -playing,  giving  the  instrument  eight 
major  scaler  and  five  minor  complete,  besides 
three    minor  scales   descending   only.      Hoch- 
brucker*s  mechanism  acted  upon  crooks  which 
pressed  the  strings  above  nuts  projecting  from 
the  neck.  But  there  were  inconveniences  arising 
from  this  constraction;  each  string  acted  upon 
by  a  crook  was  removed  from  the  plane  of  the 
open  strings,  an  impediment  to  the  fingering, 
and  frequent  cause  of  jarring,  and  the  stopped 
strings  were  less  good  in  tone  than  the  open* 
A  fault  no  less  serious  was  due  to  the  mechanism 
being  adjusted  to  the  wooden  neck,  which  was 
intraotaUe  for  the  curving  required ;  if  too  much 
bent  it  was  liable  to  break,  and  if  not  bent  enough 
the  middle  strings  would  break  when  tuned  op 
from  being  too  long. 

The  first  to  make  harps  without  crooks,  and  yet 
to  stop  half  tones,  were  Frenchmen — the  Cou- 
sineaus,  father  and  son.  They  passed  each  string 
between  two  small  pieces  of  metal  {hequille$) 
placed  beneath  the  bridge-pin.  Then  by  the 
pedal  action  these  metal  pieces  were  made  to  grasp 
the  string,-  and  shorten  it  the  distance  required. 
The  Cousineaus  also  introduced  a  slide  to  raise 
or  lower  the  bridge-pin  regulating  the  l^irth 
of  the  string,  and  placed  each  system  of  levers 


HARP. 

belonging  to  rtringi  of  the  nine  luune  betwead 
metal  pljUea  which  ware  bevelled  to  m&ke  them 
lighter.  ThuB  the  Hack  could  be  curved  at 
pleasure,  >nd  its  toUdity  being  ueured,  the 
proportions  of  the  itringB  could  be  more  accuntely 
eetabliHlied.  About  17S3  they  doobled  the  ped&la 
»n<l  connected  mech&mBm,  and  thus  constructed 
the  fimt  double-action  hup.  The  padsU  were 
arr&oged  in  two  rowa,  and  the  tuning  of  the 
•>)>en  stringl  waa  changed  to  the  scale  of  Ct 
imtead  of  Eb,  a>  ia  the  single  -  action  harps. 
But  it  does  not  appear  tliat  the  CousiueauB  made 
DUUky  double  action  harps;  they  were  still  loo 
imperfect ;  and  the  Revolution  must  have  closed 
their  bnaiiiess,  for  we  hear  no  more  of  them. 

We  DOW  arrive  at  the  perfecting  of  the  harp 
by  that  gieat  meohanicnan  Seliaatiau  Eianl, 
wbose  mesit  it  was  to  leave  this  instrument  as 

1.  C!. 


the  Cremona  school  of  luthien  left 
the  vioUn.  Hie  etuliest  essays  to  improve  the 
hirp  date  about  17S6,  and  were  ooofined  to  the 
■ingle  action.  He  worked  upon  a  new  principle, 
the  fork  mechanism,  and  io  bis  harps  wMch 
were  finished  aboat  1 7S9,  the  arrangement  of 
it  was  chiefly  internal ;  the  studs  that  shorten 
the  strings  ^one  performing  their  functions  ex- 
ternally. He  patented  in  London  in  1794  a 
'  '         '      '        itemal  to  the  plate.    He  made 


HARPER  687 

a  double-action  harp  in  iSoi,  patenling  it  in 
1B09,  but  it  was  not  until  iSlo  that  he  produced 
the  culmination  of  hts  beautiful  contrivance, 
which  has  since  been  the  model  for  all  harp 
makers.  In  this  harp,  as  in  the  single  action  one, 
Erard  maintained  seven  pedals  only,  and  simply 
aagmented  the  extent  of  movement  of  the  cranki 
and  tiiugles  (or  levers)  acted  upon  bj  the  pillar- 
rods,  to  give  sucoeasively  a  pifftion  of  revolution  to 
the  disks  from  which  the  studs  project ;  the  first 
movement  of  the  pedal  serving  to  shorten  stringi 
of  the  same  name,  to  produce  the  first  half  tone, 
the  second  movsment  of  the  pedal  for  the  sooond 
half  tone,  the  ooatrivance  being  so  ingenious 
that  the  position  of  the  upper  wik — the  secoikd 
to  move  but  the  fint  to  act  upon  the  sttingi — ii 
not  changed  when  the  lower  disk  completes  its 
movement  of  revolution  and  acts  upon  tiie  strings 

The  drawing  represents  3  lecttaas  of  the  neck 
of  Erard's  double  action  harp,  and  shows  the 
poeition  of  the  forks  and  external  levers,  (I)  when 
I  the  strings  are  open,  (a)  when  stopped  for  the 
'  first  half  tone,  and  (3)  when  stopped  for  the  I 
second.    Two  strings  are  shewn  for  each  pitcli. 

It  is  not  uscoeaary  to  keep  the  foot  upon  a, 
pedal,  as  it  may  be  fixed  in  a  notch  and  set  &e« 
when  not  required;  spiral  springs  with  two  arms'| 
fixed  beneath  the  pedestal  accelerate  tiie  return ' 
of  the  pedala.  Unlike  the  weighty  expedient  of 
the  Cousineaua,  there  are  but  two  brass  platea.1 
which  form  the  comb  coacealiog  the  greater  par^ 
of  the  action.  lastly,  Erard  made  the  oonvei 
body  bearing  the  soundboard  of  one  piece,  doing 
■way  with  the  old  lute-like  plan  of  building  it 
up  with  staves. 

As  already  stated,  the  doable-action  harp  is 
tuned  in  Cb.  By  t^ing  succesnvely  the  seven 
pedals  ftv  the  half-tone  ti^mspasition,  it  can  be 
played  in  Gb,  Db,  Ab,  Eb,  Bb,  F,  and  Cl|.  By 
the  next  action  of  the  pedals,  oompleting  the  rise 
of  the  whole  tone,  the  haip  is  set  successively  in 
G,  D,  A,  £,  B,  F|,  and  C|.  The  minor  scales 
can  only  be  set  in  their  descending  ibrm,  the 
ascending  reqairing  change  of  pedals.  Changes 
by  traOFposition  constitute  a  formidable  difficulty 
in  playing  keyed  instruments  through  the  altered 
fingering  required.  On  the  harp  passages  may 
be  repeated  in  any  key  with  fingering  absolutely 
the  same.  The  complication  of  scale  fingering, 
so  troublesome  to  pianoforte  playing,  is  with  the 
ha^  practically  unknown. 

The  haimonics  of  the  harp  are  frequently  nsed 
by  solo  players,  and  '  the  sonoroumees  of  theaa 
mysterious  notes  when  used  in  combination  with 
flutes  and  clarinets  in  the  medium'  called  fiirth 
the  admiratian  of  Berlioz.  ('Uodem  Instru- 
mentation,' Novello  1858.) 

In  describing  the  Double  -  action  Harp  of 
Sebastian  Eraid,  the  writer  has  been  much 
helped  by  a  report,  read  before  the  French 
Institute  in  181 J,  and  lent  to  Mm  by  Mr,  Gnorge 
Bruzaud.  [A,J.H.] 

HARPER,  TaoHAS,  bom  at  Wotxxster  May 
3,  1787  ;  when  about  ten  years  of  ^e  came  to 
I«ndon  and  learnt  the  horn  and  trumpet  under 


68S 


fiABPEft, 


Elej,  then  master  of  the  East  Iiulia  Volun^r 
Band.  He  soon  afterwards  became  a  member 
of  the  band  and  a  great  proficient  on  the  trumpet. 
He  continued  in  the  band  neariy  i8  yean,  during 
the  first  7  of  which  he  also  performed  in  the 
orchestras  of  some  of  the  minor  theatres.  About 
1 806  he  was  appointed  principal  trumpet  at  Druiy 
Lane,  and  the  English  Opera  House,  Lyceum. 
In  1820  he  was  engaged  in  the  same  capacity  at 
the  Birmingham  Musical  Festival,  and  in  the 
following  year  succeeded  the  elder  Hyde  at  the 
Concert  of  Ancient  Music,  the  Italian  Opera, 
and  all  the  pricipal  concerts  and  festivals,  a 
position  which  he  retained  for  upwards  of 
a  quarter  of  a  century.  The  East  India  Com- 
pany nominated  him  inspector  of  the  musical 
instruments  supplied  to  their  bands,  an  appoint- 
ment which  he  held  until  his  ^eath.  jkaiper 
played  on  the  slide  trumpet,  and  produced  a 
pure,  brilliant,  and  even  tone,  with  a  command 
of  execution  which  enabled  him  to  surmount 
the  greatest  difficulties  on  his  most  difficult  in- 
strument. He  was  stricken  with  mortal  sickness 
at  a  rehearsal  in  Exeter  Hall  for  a  concert  of 
the  Harmonic  Union,  and  died  in  a  few  hours 
afterwards  on  Jan.  20,  1853.  He  was  author  of 
an  Instruction  Book  for  the  Trumpet.  Harper 
lefl  three  sons,  the  eldest  of  whom,  Thomas, 
succeeded  his  father  in  all  his  appointments  as 
principal  trumpet,  a  position  he  still  holds ;  the 
second,  Charles,  long  filled  the  place  of  prin- 
cipal horn  in  the  ^t  orchestras ;  and  the 
youngest,  Eduund,  also  a  horn  player,  settled  at 
Hillsborough,  Ireland,  as  pianist  and  organist, 
and  died  there.  May  18,  1869.  [W.H.H.] 

HARPSICHORD  (Fr.  Claveein;  Ital.  Clavi- 
eembalo,  GravtcembalOf  not  unfrequently  Cembalo 
only,  also  Harpicordo ;  Germ.  Claviqfmbel,  Kid" 
fiugel^  FlUgel),  The  most  important  of  the  group 
of  keyed  instruments  that  preceded  the  piano- 
forte, holding  during  the  i6th,  17th,  and  i8th 
centuries  a  position  analogous  to  that  now  ac- 
corded to  the  grand  pianoforte.  It  had  a  place 
in  the  orchestra  as  an  accompanying  instrument 
when  the  first  opera  and  the  first  oratorio  were 
performed  (Florence  and  Rome,  about  A.D.  1600), 
and  during  the  time  of  Handel  and  Bach  was 
the  constant  support  to  the  recitaUvo  secco,  its 
weak  bass  notes  being  reinforced  by  large  lutes 
and  viols,  and  ultimately  by  violonceUos  and 
double  basses.  Towards  the  end  of  the  i8th 
century  the  instrument  was  withdrawn',  and 
the  big  fiddles  were  left  by  themselves  to  accom- 
pany the  ordinary  recitative  in  a  fiuhion  more 
peculiar  than  satisfactory. 

The  name  harpsichord  is  the  English  variant 
of  the  original  harpicordo,  which,  Hkc  clavicem- 
balo, davicordo,  spinetto,  and  pianoforte,  betrays 
its  Italian  origin.  The  clavicordo  was  a  table- 
shaped,  five-cornered  harpicordo,  rectangular,  like 
the  Grerman  clavichord,  but  otherwise  quite  dif- 
ferent from  that  instrument,  which  was  made  to 
sound  by  'tangents,'  or  simple  brass  uprights 

1  The  King's  B1rthd«r  Ode  ifu  looompmled  \if  tlie  harpsloliord 
until  June  4th,  1795,  when  a  grand  piano  traa  rataUtatad,  *  b«ipel- 
ciiord  harlug  lic«n  uaed  at  the  reheanftL 


HARPSICHORD. 

from  the  keys.  All  instruments  of  the 
chord,  clavicembalo,  or  spinet  family  were  on 
the  plectrum  principle,  and  thorefiare  were  in- 
capable of  dynamic  modification  of  tone  by 
difference  of  touch.  The  strings  were  set  in 
vibration  by  points  of  quill  or  hard  leather, 
elevated  on  wooden  uprights,  known  aa  jacks,  and 
twitching  or  piuckii^  them  as  the  depressioii 
of  the  keys  caused  the  points  to  pass  upwards. 
[Jack.]  Leather  points  were  probably  used  firsts 
since  we  learn  from  Scaliger,  who  lived  1484- 
1 550  (Poetices,  lib.  i.  cap.  48),  that  crowqmlla  were 
introduced  in  keyed  instruments  subeeqaent  to 
his  boyhood,  and  he  informs  us  that  dmnigh  them 
the  name  'spinet*  (from  9pint^  a  thom  or  point) 
became  applied  to  what  had  been  Luawu  as  the 
*  clavicymbar  and  '  harpichord.'  The  Canon  Paul 
Belisonius,  of  Pavia,  is  said  to  have  intanodnoed 
quills :  the  use  of  leather  is  shown  in  a  harpsi- 
chord by  Baffo,  dated  a.d.  1574.  and  preaeotjy 
to  be  reSferred  to ;  and  in  one  by  the  elder  An- 
dreas Ruckers  of  Antwerp,  dated  AJ>.  1614,  now 
in  the  possession  of  Col.  Hopkinson. 

It  is  the  principle  of  the  plectrum  that  derives 
the  descent  of  the  harpsichord  from  the  psaltery, 
just  as  the  pianoforte  is  derived,  by  analogy  at 
least,  from  the  dulcimer,  and  the  clavichord  from 
the  moveable-bridged  mcmochord ;  the  model  i<x 
the  shape  of  the  long  harpsichord  being  that 
kind  of  psaltery  which  the  common  people  called 
'istromento  di  poroo* — frt>m  a  supposed  re- 
semblance between  the  trapese  form  and  a  pig's 
head.  [See  Psaltebt.]  There  is  an  interesting 
suggestion  of  this  connection  of  the  hupsichord 
with  the  psaltery  preserved  in  the  church  of  the 
Certosa,  near  Pavia,  built  about  aj>.  1475.  King 
David,  who  in  the  Middle  Ages  always  played 
a  psaltery,  is  there  shown  holding  an  'istromento 
di  porco.'  The  body  of  the  psaltery  is  open,  and 
shows  eight  keys,  lying  panJlel  with  the  eight 
strings.  David  touches  the  keys  with  hia  right 
hand,  and  uses  the  left  to  damp  the  strings. 
All  this  may  be  the  sculptor's  fancy,  but  Dr. 
Ambros  (Geechichte  der  Musik,  1864)  regards  it 
as  a  recollection  of  a  real  instrument^  although 
obsolete,  somewhere  seen  by  him. 

The  earliest  mention  of  the  harpsichord  is 
under  the  name  of  davicymbolum,  in  the  rules 
of  the  Minnesingers,  by  Eberhard  Cenme,  a.d. 
1 404.  With  it  occur  the  clavichord,  the  mono- 
chord  and  other  musical  instruments  in  nae  at 
that  time.  [See  Clavichobd.]  The  abeence 
of  any  prior  mention  or  illustration  of  keyed 
stringed  instruments  is  negative  evidoioe  only, 
but  it  may  be  assumed  to  prove  their  inveoitioa 
to  have*  been  shortly  before  that  date — say  ia 
the  latter  half  of  the  14th  century,  especially  ss 
Jean  de  Muris,  writing  in  a.d.  1523  (Musics 
speculativa),  and  enumerating  musical  instru- 
ments, makes  no  referonce  to  either  davicem* 
bale  or  davichord,  but  describes  the  monochord 
(recommending  four  strings  however)  as  in  use 
for  measuring  intervals  at  that  time.  Moreover 
there  was  no  music  wire  before  thos  epoch ;  the 
earliest  reoord  of  wire  drawing  being  a.d.  1351, 
at  Augsburg.    It  may  occur  to  the  reader— why 


HARPSICHORD. 


HARPSICHORD. 


639 


were  hammen  not  sooner  introdaoed  after  the 
natand  suggestion  of  the  Dulcimer,  instead  of 
the  field  being  so  long  occupied  by  the  leas 
effective  jack  and  tangent  contrivances?  The 
chasm  untraversable  by  all  forgotten  Cristoforis 
and  Schroters  was  the  gap  between  wrestplank 
and  soundboard,  for  the  passage  of  the  hammers, 
which  weakened  the  frame  and  prohibited  the 
introduction  of  thicker  strings  strong  enough  to 
withstand  the  impact  of  hammers.  It  took  more 
than  three  hundred  years  to  bridge  this  chasm 
by  btronger  framing,  and  thus  render  hammers 
}>osidble. 

As  pianofortes  have  been  made  in  three  quits 
different  shapes,  the  grand,  the  square,  and  the 
upright,  there  were  as  many  varieties  of  the 
jack  instruments — to  wit,  the  harpsiehord  proper 
(clavicembalo,   clavecin,    or   fliigel)   of   trapeze 
fonn ;   the  clavicordo,  of  oblong  or  pentangular 
form,  frequently  called  spinet  or  virginal;  and 
the  upright  harpbichord,  or  clavicytherium.     It 
must  be  remembered  that  the  long  harpsichords 
were  often  described  as  spinet  or  virginal,  from 
their  plectra  or  their  use  by  young  ladies ;  but 
the  table-shaped  ones  known  commonly  by  the 
latter  names  were   never   called    harpsichords. 
No  specimen  of  the  upright  harpsichord  seems 
to  exist,  yet  the  instrument  has  been  made  in  a 
comparatively  recent  period,  since  a  rec^pt  for 
one,  dated  1 753,  and  signed  by  the  maker,  Samuel 
Blumer, '  Harpsichord  and  Spinet  Maker  in  Great 
Poultney  Street,  near  Grolden  Square,  London. 
N.  B.  Late  foreman  to  Mr.  Shudi,  is  in  the  pos- 
session of  Messrs.  Broadwood. 

We  are  spared  the  necessity  of  reconstructing 
the   older  harpsichords  from  the  obscure  and 
often  inaccurate  allusions  of  the  older  writers, 
such  as  Virdung  and  Kircher,  by  the  valuable 
collection  now  in  South  Kensington  Museum, 
that  includes  instruments  of  this  family  dating 
from  A.D.  1555  to  Pascal  Taskin,  a.d.  1786.     In 
private  hands,  but  accessible  to  the  enquirer,  are 
large  harpsichords  by  Tschudi  and  by  Kirkman, 
still  playable.    The  oldest  harpsichord  in  the 
Museum  is  a  Venetian  clavicembalo,  signed  and 
dated  'Joanes  Antonius  Baffo,  Venetus,  1574.' 
It  has  a  compass  of  4^  octaves, 
from  0  to  F,  the  extreme  limits 
of  the  human  voice.    Raising  the 
top  and  looking  inside,   we  ob- 
serve the  harp-like  disposition  of 
the  strings  as  in  a  modem  grand  piano,  which 
led  Galilei,  the  father  of  the  astronomer  Galileo, 
to  infer  the  direct  derivation  of  the  harpsichord 
from  the  harp.   In  front,  immediately  over  the 
keys,  is  the  wrestplank,  with  the  tuning-pins 
inserted,  round   which  are  wound  the  nearer 
ends  of  the  strings — in  this  instrument  two  to 
each  note— the  further  ends  being  attached  to 
hitchpins,  driven   into   the   soundboard   itself, 
and  following  the  angle  of  the  bent  side  of  the 
case  to  the   narrow   end,   where   the    longest 
Btriogs  are  stretched.    There  is  a  straight  bridge 
along  the  edge  of  the  wrestplank,  and  a  curved 
bridge  npon  the  soundboard.    The  strings  pass 
over  these  bridges,  between  which  they  vibrate, 


W 


and  the  impulse  of  their  vibrations  is  commu- 
nicated by  the  curved  bridge  to  the  soundboard. 
The  plectra  or  jacks,  with  the  exception  that 
they  carry  points  of  leather  instead  of  quill,  are 
the  same  as  in  later  instruments.  [See  Jack.] 
This  Venetian  harpsichord  has  a  separate  case, 
from  which  it  could  be  withdrawn  for  perform- 
ance, a  contrivance  usual  in  Italy,  the  outer 
case  being  frequently  adorned  with  painting. 
The  rais^  blocks  on  each  side  the  keys,  by 
which  the  instrument  was  drawn  out  of  the 
case,  survived  long  after,  when  there  was  no 
outer  case.  Lastly,  the  natural  keys  are  white 
and  the  sharps  black,  the  rule  in  Italian  keyed 
instruments,  the  Grerman  practice  having  been 
the  reverse. 

Reference  to  the  oblong  'clavicordi,'  in  which 
South  Kensington  Museum  is  rich,  will  be  found 
under  Spinet.  The  actual  workmanship  of  all 
these  Italian  keyed  instruments  was  indifferent ; 
we  must  turn  to  the  Netherlands  for  that  care 
in  manipulation  and  choice  of  materials  which, 
united  with  constructive  ingenuity  equalling  that 
of  the  best  Italian  artists,  culminated  in  the 
Double  Harpsichords  of  the  Ruckers  £Bunily  of 
Antwerp.^    [See  Rcckkrs.] 

Of  this  family  there  were  four  members  living 
and  working  between  1579  '^^  ^^5^  ^^  later, 
who  achieved  great  reputation.  Their  instru- 
ments are  known  by  their  signatures;  and  by 
the  monograms  forming  the  ornamental  rosette 
orsoundhole  in  the  soundboard — a  survival  from 
the  psaltery.  The  great  improvement  of  the 
harpsichord  is  attributed  to  Hans,  the  eldest, 
who,  by  adding  to  the  two  unison  strings  of 
each  note  a  third  of  shorter  length  and  finer  wire 
tuned  an  octave  higher,  increased  the  power  and 
brilliancy  of  the  tone.  To  employ  this  addition 
at  will,  alone,  or  with  one  or  both  the  unison 
strings,  he  contrived,  after  the  example  of  the 
organ,  a  second  keyboard,  and  stops  to  be  moved 
by  the  hand,  for  Uie  control  of  the  registers  or 
slides  of  jacks  acting  upon  the  strii^.  By 
these  expedients  all  we  legitimate  variety  ever 
given  to  the  instrument  was  secured.  The 
Ruckers  harpsichord  given  by  Messrs.  Broadwood 
to  South  Kensington  Museum,  signed  and  dated 
'Andreas  Ruckers  me  fecit  Antverpim  165 1*  (see 
next  page),  said  to  have  been  left  by  Handel  to 
Christopher  Smith,  shows  these  additions  to  the 
construction,  and  was,  in  the  writer's  remem- 
brance, before  the  soundboard  gave  way,  of  deli- 
ciously  soft  and  delicately  reedy  Hmhre,  Tha 
tension  being  oomparativciy  small,  these  harpsd* 
chords  lasted  much  longer  than  our  modem 
pianofortes,  even  of  the  liest  construction.  James 
Shudi  Broadwood  ('Notes,'  1838)  states  that 
many  Ruckers  harpsichords  were  in  existence  and 
good  condition  until  nearly  the  end  of  the  last 
century,  and  fetched  high  prices;  one  having 
sold  in  1 770  for  3000  francs  (£1 20). 

When  the  Ruckers  fEunily  passed  away  we  hear 
no  more  of  Antwerp  as  the  dty  of  harpsichord 

1  Tba  okksC  timo*  In  tti«  Kctberknd*  of  the  hvpslcliord  or  Ataveeln 
b  Uiftt  A  honM  to  Antwerp.  In  the  pwrbh  of  Notre  Dnme.  Iwro  la 
UB2tb«ttUM«f'd«ClaTlatanM«.'  _ 


090 


HARPSICHORD. 


HARPSICHORD. 


makera ;  Londoo  and  Paris  took  up  the  tale.  Bnt 
all  them  Antwerp  workmen  beloi^ed  of  right  to 
the  Guild  of  St.  Luke,  the  artist's  corporation,  to 
which  they  were  in  the  first  instance  introduced 
by  the  practice  of  ornamenting  their  instruments 
with  painting  and  carving.  In  1557  ten  of  the 
Antwerp  hai^ichord  makers  petitioned  the  deans 
and  masters  of  the  guild  to  be  admitted  without 
submitting  masterpieces,  and  the  chiefs  of  the 
oommune  consenting,  in  the  next  year  they  were 
received.  The  responsibility  of  signing  their  work 
was  perhaps  the  foundation  of  the  great  reputation 
afterwards  enjoyed  by  Antwerp  lor  harpsichords 
and  similar  musical  instruments.  ( '  Kecherches/ 
etc.,  L^n  de  Burbure,  Brussels,  1863.) 

The  earliest  historical  mention  of  the  harptd- 
diord  in  EngUnd  oooun  under  the  name  of 


Glarieymball,  aj>.  i  503.  The  late  Dr.  RimbaaH 
('The  Pianoforte,'  London  i860)  coUeeted  this 
and  other  references  to  oM  keyed  insftrunteotf 
from  records  of  Privy  Purse  expenses  and  frtm 
contemporary  poets.  The  house  -  proveibe  of 
Leckingfield,  the  residence  of  Algonon  Percy 
in  the  time  of  Henry  VII,  preserved  ifor  the 
hou^e  was  burnt)  in  a  MS.  in  the  Brilish  Ma- 
seum,  named  it  '  clarisymbalis.*  For  a  long 
while  after  this,  if  the  instrument  existed,  it  was 
known  under  a  general  name,  as  *  viiginaUs.'  It 
was  the  school  of  Ruckers,  transferred  to  this 
ccmntry  by  a  Fleming  named  Tabel,  that  was  the 
real  basis  of  harpsichord  making  as  a  distinct 
business  in  this  country,  separating  it  firam  <xgui 
building  with  which  it  had  been,  as  in  Fland- 
ers, often  combined.    Tabel^s  pupils,  Boikhard 


TMhudi  (anpJici  Shudi)  and  Jacob  Kircfamann 
{anglid  Kir'kman),  became  famous  in  the  last 
century,  developing  the  harpsichord  in  the  di- 
rection of  power  and  majesty  of  tone  to  the 
farthest  limit.  The  difference  in  length  between 
a  Ruckers  and  a  Shudi  or  Kirkman  harpsichord, 
•^viz.  from  6  or  7^  feet  to  nearly  9  feet,  is 
in  direct  proportion  to  this  increase  of  power. 
Stronger  framing  and  thicker  stringing  helped 
in  the  production  of  their  pompous,  rushing^ 
sounding  instruments.  Perhaps  Shudi's  were 
the  longest,  as  he  carried  his  later  instruments 
down  to  C  in  the  bass,  while  Kirkman  remained 
at  F  ;  but  the  latter  set  up  one  row    ^\.  


of  jacks  wij;h  leather  instead  of 
quills,  and  with  due  increase  in 
the  forte  combination.  Shudi,  in 
his  last  years  ^a.d.  i  769),  patented  a  Venetian 


8va. 


Stu. 


Swell,  an  alaptation  from  the  organ  to  the 
harpMchord.  Kirkman  added  a  pedal  to  rsiw 
a  portion  of  the  top  or  cover.  Both  used  two 
pedals ;  the  one  for  the  swell,  the  other  by  an 
external  lever  apparatus  to  shut  off  the  oetave 
and  one  of  the  unison  rei^sters,  leaving  the 
player  with  both  hands  free,  an  invention  of 
John  Hayward's,  described  in  Mace's  *  Musicic's 
Monument,'  a.d.  1676.  p.  255. 

In  these  18th-century  harpsichards,  the  FlemiBh 
practice  of  ornamenting  with  painting — often  the 
cause  of  an  instrument  being  broken  up  when  no 
longer  efiScient — was  done  away  with;  also  the 
laudable  old  custom  of  mottoes  to  remind  the 
player  of  the  analogous  brevity  of  life  and  sound, 
of  the  divine  nature  of  the  gift  of  music,  or  of 
dead  wood  reviving  as  living  tone.  But  it  vm 
when  tho  instrument  went  out  altogether  that 


HARPSICHORD. 

this    eiunchment  of  picture    galleries   by   the 

demolition  of  harpfliclutfdfl  was  moet  effected. 

The  number  of  Rucken  however  known  to  exist 

hB»  been  extended  byresearch  to  upwardsof  thirty. 

Still  tliere  was  great  care  in  the  artistic  chotce 

of  wood  and  in  the  cabinet-work  of  Techudi's 

beautiful  instruments.    One  in  the  possession  of 

Her   Majesty  the  Queen,   and   long  preserved 

in  Kew  Palace,  is  quite  a  masterpiece  in  these 

respecifl.     It  bears  Tschudi*s   name,   spelt,   as 

was  usual,  Shudi ;   the  date  1 740  and  makerV 

number  94  are  inside.    The  compass  is  as  in  the 

South  Kensington  Rockers,  6  to  F,  without  ther 

lowest  G|.    Two,  of  1758  (probably)  and>i766, 

are  in  the  New  Palace  at  Potsdam,  and  were- 

Frederick  the  Creates.    Messrs.  Broadwood  have 

one  dated  1771,  with  five  and  a  half  octaves, 

C  to  F,  Venetian  Swell  and  five  stops,  comprising 

the  two  unisons  and  octave  of  the  Ruckers,  with 

a  slide  of  jacks  striking  the  strings  much  nearer 

to  the  bridge  (also  a  Ruokers  contrivance),,  and 

producing  a  more  twanging  quality  of  tone,  the 

so-called  'lute*-stop  and  a  'buff*-stop  of  small 

pieces  of  leather,  brought  into  contact  with  the 

striugB,  damping  the  tone  and  thus  giving  a  kind  of 

pizzicaio  effect.    This  fine  instrument  was  used 

by  Moscheles  in  his  Historical  Concerts  in  18^, 

and  by  Mr.  Pauer  in  similar  performances  in 

1862,   63,  and  67.    There  is  sdso  one  inr  the 

Musik  Yerein  at  Vienna  of  similar  construction. 

made  by  '  Burkat  Shudi  et  Johannes  Broadwood,' 

and    dated    1775,    which    belonged  to  Joseph 

Haydn.    This  was  the  young  Shudi  v  it  is  very 

doubtful    if   another    harpsichord   exists    wiUi 

Broadwood's  name  upon  it. 

The  variety  of  stops  and  combinations  intro- 
duced by  different  makers  here  and  abroad  at  last 
became  legion,  and  were  as  w<»ihless  as  they  were 
numerous.  Pascal  Tasking  a  native  of  Theux 
in  lAhge,  and  a  famous  Parisian  harpsichord 
maker,  is  credited  with  tiie  reintroduction  of 
leather  as  an  alternative  to  quills ;  his  Clavecin 
'  en  peau  de  buffle''made  in  1 768  was  pronounced 
superior  to  the  pianoforte  (De  la  Borde,  '  Essai 
sur  la  musique,  1773\  Taskin's  were  smaller 
scale  harpsichords  than  those  in  vogue  in  England, 
and  had  ebony  naturals  and  ivoiy  sharps,  and 
a  Japanese  fttshion  of  external  ornamentation. 
There  is  one  at  South  Kensington,  dated  1 786. 
In  the  Lieeo  Communale  di  Musica  at  Bologna 
there  is  a  harpsichord  with  four  rows  of  keys, 
called  an  '  Arcmioembalo.'  This  instrument,  ac- 
cording to  Mr.  Engel,  was  made  by  a  Venetian, 
Vito  'Krasuntino,  after  the  invention  of  Nicolo 
Vioentino,  who  described  it  in  his  work  '  L' Antica 
Musica  ridotto  alia  modema  prattica'  (Rome 
1555).  The  compass  comprises  only  four  octaves, 
but  in  each  octave  are  thirty -one  keys.  A  *  Tetra- 
cordo*  was  made  to  facilitate  the  tuning  of  these 
minute  intervals.  Thus  early  were  attempts  made 
to  arrive  at  purity  of  intonation  by  multiplying  the 
number  of  keys  within  the  bounds  of  the  octave. 
Another  of  the  curiosities  of  harpsichord  making 
was  the  'Transponidavicymbel*  described  by 
Praetorius  (161 4-1 8).  By  shifting  the  keyboard 
the  player  could  trani^K)se  two  tones  higher  or 


HARRIS. 


691 


lower,  paBsing  at  pleasure  through  the  inter- 
mediate half  tones.  Arnold  SchUck,  however, 
had  achieved  a  similar  transposition  with  the 
organ  as  early  as  1512  (Monatshefte  fur  Musik' 
Gedchichte,  Berlin,  1869).  A  harpsichord  peda- 
lier — Clavicymbelpedal — aooording  to  Dr.  Oscar 
Paul,  an  independent  instrument  with  two  octaves 
ef  pedals,  was  used  by  J.  S.  Bach,  notably  in  his 
Tnos  and  the  fSunous  *  Passacaille' ;  and  in  his 
transcriptions  of  Vivaldi's  Concertos.  Lastly  a 
'  Lautenwerke'  must  be  noticed,  a  gut-string 
harpsichord,  an  instrument  not  worth  remem- 
bering had  not  Bach  himself  directed  the  making 
ef  one  by  Zacharias  Hildebrand  of  Leipsic.  It 
was  shorter  than  the  usual  harpsichord,  had  two 
unisons  of  gut  strings,  and  an  octave  register  of 
brass  wire,  and  was  praised  as  capable,  if  heard 
concealed,  of  deceiving  a  lute-player  by  pro- 
fession (Paul,  Gesch.  des  Claviers,  Leipsic  1868). 
[See  CLAYiCHOBDy  Ruokxrs,  SPIir£T,  VlBGI- 
VAL.]  [A.J.H.] 

HARINGTON,  HByRT.  M.D.,  bom  in  1727 
at  Kelston.  Somersetshire ;  in  1745  entered  at 
Queen's  College,  Oxford,  with  the  view  of  taking 
orders.  He  used  to  pass  his  vacations  with  his 
uncle,  William,  vicar  of  Kingston,  Wilts,  from 
whom  he  imbibed  a  taste  for  music  and  poetry. 
He  resided  there  during  8  years,  and  wrote 
some  unimportant  pieces  of  music  and  poetry. 
In  1748  he  took  his  B.A.  degree,  abandoned  his 
intention  of  taking  orders,  and  commenced  the 
study  of  medicine.  He  remained  at  Oxford 
until  he  took'  his  M.A.  and  M.D.  degrees. 
Whilst  there  he  joined  an  amateur  musical 
society  established  by  Dr.  W.  Hayes,  to  which 
those  only  were  admitted  who  were  able  to 
play  and  sing  at  sight.  On  leaving  Oxford  he 
established  himself  as  a  physicinn  at  Bath,  de- 
voted his  leisure  to  composititm,  and  founded 
the  Harmonic  Society  of  Bath.  In  1 797  he  pub- 
lished a  volume  of  glees,  catches,  etc.,  and  after- 
wards joined  Edmund  Broderip,  organist  of 
Wells,  and  Rev.  William.  Leeves,  composer  of 
'Auld  Robin  Gray,*  in  the  publication  of  a 
similar  volume.  In  1800  he  published  'Eloi! 
Eloi !  or,  The  Death  of  ehrist.*  a  sacred  dirge 
for  Passion  Week.  Harington  was  an  alderman 
of  Bath,  and  served  the  office  of  mayor  with 
credit.  He  died  Jan<.i5^  1816,  and  was  buried 
in  Bath  Abbey.  His  ooaipo|fitions  are  '  distin- 
guished for  originality,  .correct  harmony  and 
tenderness,  and  he  was-  remarkably  successful 
in  some  humorous  productions'  {Harmonicon). 
His  round  '  How  greatris  the  pleasure*  used  to 
be  well  knowni  [W.H.  H.] 

HARRIS,  JoflBFB  JoHK,  bom  in  London  in 
1799,  was  chorister  in  the  Chapel  Royal  under 
John  Stafford  Smith.  In  1823  he  was  appointed 
organist  of  St.  Olave'a  Church,  Southwark.  In 
1827  he  published  *A  Selection  of  Psalm  and 
Hymn  Tunes,  adapted  to  the  psalms  and  hymns 
used  in  the  churcH>  of  St.  (Jlave,  Southwark.' 
In  Feb.  i8a8  he  quitted  Southwark  to  become 
oi^anist  of  Bladcbum,  Lancashire;  in  1831 
was  made  'lay  precentor,'  or  choir  master  at 
the  collegiate  ohoroh  (now  the  cathedral)  at 

yy2 


692 


HARRIS. 


Manchester,  deputy  organist,  and  on  March  25, 
1 848,  organist.  Harris  composed  some  cathedral 
music  and  a  few  gle  a,  songs,  etc.  He  died  at 
Manchester,  Feb.  10,  1869.       .  [W.H.H.] 

HARRIS,  Joseph  Mactmnald,  was  bom  in 
1 789,  and  at  an  early  age  became  a  chorister  of 
Westminster  Abbey  under  Richard  Guise.  On 
quitting  the  choir  on  the  breaking  of  his  voice, 
he  be(»me  a  pupil  of  Robert  Cooke,  then  or- 
ganist of  the  Abbey.  Harris  was  employed  as  a 
teacher,  and  oocasional  conductor  at  minor  con- 
certs. His  oompositions  are  songs,  duets,  trios, 
and  pianoforte  pieces.  He  died  in  May  i860, 
aged  71.  [W.H.H.] 

HARRIS^  Rene,  or  Renatus,  is  the  most 
celebrated  member  of  this  family  of  English 
organ  builders.  His  grandfather  had  built  an 
organ  for  Magdalen  College.  Oxford ;  but  his 
f.ither,  Thomas,  appears  to  have  emigrated  to 
France,  for  Dr.  Bumey  says  that  Renatus  came 
to  England  ;with  his  father  a  few  months  after 
Father  Smith's  arrival  (1660).  To  Smith,  Rena- 
tus Harris  became  a  formidable  rival,  especially 
in  the  competition  for  building  an  organ  in  the 
Temple  Church.     [ScBiriDT,  Bernard.] 

Thomas  B arris  of  New  Sarum  in  1666  con- 
tracted to  build  an  organ  for  Worcester  Cathedral. 
Renatus  Harris  in  1690  agreed  to  improve  and 
enlarge  his  grandfather's  organ  in  Magdalen 
College,  Oxford.  Dr.  Rimbault  gives  a  list  of 
39  oi^QS  bqilt  by  this  eminent  Artist.  He  had 
two  sons — BXNATUS,  jun«,  who  built  an  organ 
lor  St.  Dionis  Baokchurch,  London,  in  1724,  and 
John,  who  built  most  of  his  organs  in  conjunction 
with  his  son-tB-law,  John  Byiield. 

The  firm  of  Harris  (John)  &  Btfield  (John) 
carried  on  business  .in  Red  Lion  St.,  Holbom. 
in  1729  they  built  an  organ  for  Shrewsbury, 
and  in  1740  one  for  Doncaster,  which  cost 
^£525,  besides  several  others.  (^V.^eP.j 

HARRISON,  Samcel,  bom  at  Belper,  Der- 
byshire, Sept.  8,  1 760^  He  received  hu  musical 
education  from  Burton,  a  welL-known  bass  chorus 
singer,  probably  the  same  whose  nervous  system 
was  so  powerfully  affected  by  the  music  on  the 
first  day  of  the  Commemoration  of  Handel,  in 
1784,  as  to  occasion  his  death  in  the  course  of 
a  tew  hours.  On  the  establishment  of  the  Con- 
cert of  Ancient  Music  in  1776,  Harrison  ap- 
{leared  as  a  solo  koprano  singer,  and.  con  tinned 
so  lor  two  years  afterwards.  But  in  1778,  being 
ecga^^ed  to  sing  at  Gloucester,  his  voice  suddenly 
failed  him.  After  an  interval  of  tax  years, 
during  which  he  most  assiduously  cultivated  his 
voice  and  style.  Greorge  111.  hesjxl  him  sing  at 
one  of  Queen  Charlotte's  musical  parties,  and 
caused  Min  to  be  engaged  for  the  Commemoration 
of  Handel  in  1784,  ac  which  he  sang  *  Rend'  U 
sereno  al  ciglio  from  '  Sosarme,'  and  the  opening 
recitative  and  air  in  '  Messiah.'  He  was  next 
engaged  as  principal  tenor  at  the  Concert  of 
Ancient  Music,  and  from  that  time  took  his* 
place  at  the  head  of  his  profession  as  a  concert 
ainger.  Harrison's  voice  had  a  compass  of  two 
ocuvet  (A  to  A).    It  was  remarkably  sweet, 


HART. 

pure  and  even  in  tone,  bnt  deficient  in  power. 
His  taste  and  judgment  were  of  a  high  order, 
and  in  the  cantabile  style  he  had  no  eqaaL 
Compelled  by  the  exigences  of  hia  engag^emeDt** 
to  sing  songs  which  demanded  greater  phj»ica^l 
power  than  he  possessed,  he  always  oang  theia 
reluctantly.  On  Dec.  6,  1 790,  Harrison  marriei 
Miss  Cantelo,  for  some  years  principal  second 
soprano  at  all  the  best  concerts,  etc.  In  1791 
he  and  Knyvett  established  the  Vocal  Concerts, 
which  were  carried  on  to  the  end  of  1794*  asti 
revived  in  180 1.  Harrison's  last  appearance  in 
public  was  at  his  benefit  concert.  May  8,  181 3, 
when  he  sans  Pepusch's  '  Alexis,*  and  Handers 
'Gentle  airs.  On  June  25  following,  a  aodd^i 
inflammation  carried  him  off .  He  was  borieii  in 
the  graveyard  of  the  old  church  of  St.  Pancrae. 
The  inscription  on  his  tombstone  indndea  an 
extract  from  an  elegiac  ode  on  Hairison,  written 
by  Rev.  Thomas  Beaumont,  and  set  to  music  by 
William  Horsley,  but  the  lines  are  so  inaocuratclT 
given  as  completely  to  mar  the  allusion  to  the 
song,  *■  Grentle  airs.'  Mrs.  Harrison  survived  h«r 
husband  1 9  years.  [W.  H .  H] 

HARRISON,  William,  bom  in  Marylebone 
parish,  I  Si  3.  Being  gifted  with  a  tenor  voict; 
of  remarkable  purity  and  sweetness,  he  appeared 
in  public  as  an  amateur  concert  singer  early  in 
1836.  He  then  entered  as  a  pupil  at  the  Royal 
Aoulemy  of  Music,  and  in  1837  appeared  as 
a  prolessional  singer  at  the  concerts  of  the  Aca- 
demy, and  sulisequently  at  the  Sacred  Harmonic 
Society.  On  Thursday,  May  2,  1839,  he  made 
his  first  appearance  on  the  stage  at  Covent  Gar- 
den, in  Rooke's  opera,  '  Henrique.*  A  few  years 
later  he  was  engaged  at  Drury  Lane,  where  be 
sustained  the  principal  tenor  parts  in  Balfe'a 

*  Bohemian  Girl,*  Wallace*s  'Maritana,'  and 
Benedict's  *  Brides  of  Venice,'  and  'Cruaadere,' 
on  their  first  production.  In  1 851  he  performed 
at  the  Haymarket  Theatre,  in  Mendelssohn's 
'  Son  and  Stranger,'  and  other  operas.  In  1856, 
in  conjunction  with  Miss  Louisa  Pyne,  he  esta- 
blished an  English  Opera  Company,  and  for 
several  years  gave  perrormances  at  the  Lyceum, 
Drury  Lane,  and  Covent  Garden  lliefltres. 
During  their  management  the  following  new 
operas  were  produced  :  Balfe's  *  Rose  of  Castille ' 
1857,  'SataneUa'  1858,  'Bianca,  the  Bravo's 
Bride'  18O0;  'Puritan*s  Daughter'  1861,  and 
'Armourer  of  Nantes,'  1863 ;  Wallace's  'Lurline,* 
i860,  and  'Love's  Triumph'  1862;   Benedicts 

•  Lily  of  Killamey '  1862  ;  Mellon's  '  Victorine ' 
1859  ;  and  Howard  Glover's  *Ruy  Bias'  1861. 
In  the  winter  of  1864  Harrison  opened  Her 
Majesty's  Theatre  for  the  performance  of  £ng* 
lish  operas.  He  translated  Mass^'s  operetta* 
'Les  Noces  de  Jeannette,'  and  produced  it  at 
Covent  Grarden  Theatre  in  Nov.  i860,  under 
the  title  of  *  Georgette's  Wedding.*  Harrison, 
in  addition  to  his  vocal  qualifications,  was  an. 
excellent  jsctor.  He  died  at  his  residence  in 
Kentish  Town,  Nov.  9,  18O8.  tW.H.H] 

HART,  Charles,  bom  May  19,  1797,  pupil 
of  the  Royal  Academy  of  Music  under  Crotch. 


HAKT. 

From  1H29  to  1833  organigt  to  St.  Dunstan'd, 
Stepney,  and  subsequently  to  the  church  in 
Tredegar  Square,  Mile  End,  and  St.  George's, 
Beckemliaxn.  In  1830  he  published  •  Three  An- 
thems,' and  in  1832  a  *Te  Deum  and  Jubilate/ 
the  latter  of  which  had  gained  the  Gresham 
Prize  Id^edal  in  1831.  In  April  1 839  he  produced 
an  or&toiio  entitled  'Omnipotence.*  He  was 
author  of  a  motet  which  gained  a  premium  at 
Crosby  Hall,  *  Sacred  Harmony/  and  other  com- 
positions. He  died  March  29,  1859.   [W.H.  H.] 

'H.ASRTf  Joseph,  bom  in  London  in  1 794,  be- 
came  in    1801   a  chorister* of  St.  Paul's  under 
John  Sale.    Wliilst  in  the  choir  he  was  taught 
the    organ   by  Samuel    Wesley   and   Matthew 
Cooke,  and  the  piano  by  J.  B.  Cramer.    At  1 1 
he   acted  as  deputy  for  Attwood  at  St.  PauVs. 
Me  remained  in  the  choir  nearly  9  years,  and  on 
(luitting  it   became  organist  of  Walthamstow, 
and   private  organist  to  the  Earl  of  Uxbridge. 
He    left  Walthamstow  to  become  organist  of 
Tottenham.     At  the  termination  of  the  war  in 
1 S I  5,  when  quadrille  dancing  came  into  vogue, 
Hart  became  an  arranger  of  dance  music,  and 
his   'Lancers*  Quadrille*  has  continued  in  use 
ever  since.     From  1818  to  1820  he  was  chorus 
master  and  pianist  at  the  English  Opera  House, 
Lyceum.     He  composed  the  music  for  *  Ama^ 
teurs  and  Actors,'  1818  ;  'A  Walk  for  a  Wager,' 
aud  'The  Bull's  Head/  1819,  all  musical  farces; 
and  'The  Vampire,*  melodrama,  1820.    In  1829 
he   removed  to  Hastings,  commenced  business 
as  a  music  seller,  and  was  appointed  organist  of 
St.  Mary's  Chapel.     Hart  produced  48  sets  of 
quadrilles,  waltzes  and  galopades,  and  '  An  Easy 
Mode  of  teaching  Thorough-bass  and  Compo- 
sition.' He  died  in  December,  1844.  [W.H.H.] 

HART,  Philtp  (conjectured  by  Hawkins  to 
be  the  son  of  James  Hart),  bass  singer  at 
York  Minster  until  1670,  and  thereafter  to  his 
death.  May  8,  1718,  a  Gentleman  of  the  Chapel 
Royal,  and  lay  vicar  of  Westminster  Abbey,  was 
the  composer  of  several  songs  published  in 
*  Choice  Ayres,  Songs  and  Dialogues,'  1676-84  ; 
*The  Theater  of  Musick/  1685-87  ;  *The  Ban- 
quet ofMusick,'  1688-92,  and  other  collections 
of  that  period.  Philip  Hart  was  organist  of  St. 
Andrew  Undershaft,  and  St.  Michael,  Comhill. 
lu  1703  he  composed  the  music  for  Hughes's 
'Ode  in  Praise  of  Musick/  performed  at  Sta- 
tinners'  Hall  on  St.  Cediia's  day,  1703.  On 
May  28,  1724,  he  was  appointed  the  first  or- 
ganist of  St.  Dionis  Backchurch,  at  a  salary  of 
3o{.  In  1729  he  published  his  music  to  *The 
Morning  Hymn  from  the  Fifth  Book  of  Milton's 
Paradise  Lost.'  He  also  published  a  Collection 
of  Fugues  for  the  Organ.  Two  anthems  by  him 
are  included  in  the  Tudway  Collection  (Harl. 
MS.  7341).  From  Hawkins's  account  of  him 
(chap.  175)  he  appears  to  have  been  a  sound 
and  very  conservative  musician,  and  a  highly 
respectable  m&a.  Sir  Jolm  elsewhere  mentions 
his  excessive  use  of  the  shake  in  his  organ 
playing.  Hart  died,  at  a  very  advanced  age, 
in  or  about  1 749.  [W.  H.  H.] 


HASLINGER. 


693 


HARVARD  MUSICAL  ASSOCIATION, 
THE,  Boston,  U.S.A.,  sprang  in  1837  from  a  half 
social,  half  musical  club  formed  in  1808  among 
the  undergraduates  in  Harvard  University,  and 
known  as  the  'Pierian  Sodality.'  Besides 
strengthening  the  ties  of  friendship,  it  was  the 
hope  nf  the  founders  to  raise  the  standard  of 
musical  taste  in  the  college ;  to  prepare  the  way 
for  a  musical  professorship  there ;  and  to  collect 
a  library  which  should  contain  both  music  and 
musical  literature  in  all  its  branches.  These 
hopes  have  all  been  fulfilled.  Furthermore,  by 
means  of  its  public  concerts,  the  taste  of  music- 
lovers  in  Boston  has  been  elevated,  and  a  marked 
influence  exercised  on  the  composition  of  concert- 
programmes  throughout  a  large  part  of  the 
Union.  Fourteen  series  of  concerts,  of  from  six 
to  ten  each,  have  been  given,  beginning  in  1865, 
all,  with  a  few  exceptions,  under  the  direction  of 
Mr.  Carl  Zerrahn.  The  programmes  have  included 
the  standard  orchestral  compositions  of  the  great 
masters,  varied  by  instrumental  and  vocal  solos 
and  choral  performances.  The  library  of  the 
Association,  selected  with  great  care,  and  with 
special  attention  to  the  collection  of  ccanplete  sets, 
in  the  best  editions,  of  the  works  of  the  greatest 
composers,  now  numbers  about  2,500  volumes. 
Of  the  orii^nal  members  but  three  survive — 
Mr.  John  S.  Dwight,  president ;  Mr.  Henry  W. 
Pickering,  ez-president ;  and  Mr.  Henry  Gassett. 
Among  its  members  have  been  included  many 
distinguished  graduates  from  the  University  to 
which  it  owes  its  name  and  origin^  as  well  as 
numerous  musical  professors  and  amateurs  who 
have  not  walked  in  the  academic  groves.  The 
head*quarter&  of  the  Association  are  at  1 2,  Pem- 
berton  Square,  Boston,  and  the  Concerts  are  held 
at  the  Music  HaU.  [F. H.  J.] 

HASLINGEB.  A  well-known  music  firm  in 
Vienna,  originally  the  *  Bureau  des  arts  et  d'in- 
dustrie,'  next  S.  A.  Steiner  &  Co.,  and  since  1826 
Tobias  Haslinger.  Tobias,  bom  March  i,  1787, 
at  Zell,  in  Upper  Austria,  wm  an  enei^tic 
intelligent  man  of  business,  on  intimate  terms 
with  the  best  musicians  of  Vienna.  Beethoven 
and  he  were  in  constant  conmiunication,  and  the 
numerous  letters  to  him  from  the  great  composer, 
which  have  been  preserved  (probably  only  a 
small  proportion  of  those  which  were  written), 
each  with  its  queer  yoke  or  nickname,  show  the 
footing  they  were  on — Adjutant,  or  Adjutanterl, 
or  Bestes  kleines  Kerlchen,  or  Tobiasserl,  or  To- 
bias Peter  Philipp,  or  Monsieur  de  Haslinger, 
G^n^ral  Musicien  et  G^n^ral  Lieutenant— such 
are  the  various  queer  modes  in  which  Beethoven 
addresses  him.  In  a  letter  to  Schott  (Nohl,  No. 
328)  he  sketches  a  oomic  biography  of  his  friend, 
with  illustrative  canons.  Another  canon,  'O 
Tobias  Dominus  Haslinger.'  occurs  in  a  letter 
of  Sept.  10,  1821 ;  and  one  of  his  very  last  notes 
contains  a  flourish  on  his  name,  added,  with  the 
signature,  by  tlie  hand  of  the  master : — 

tr 


^^^tjTg-E^^^N^ 


Seller    Xo 


694 


HASLINGEB. 


Haslinger  prepared  a  complete  copy  of  Bee- 
thoven*8  oompontions  in  full  Kore,  beautifully 
written  by  a  dngle  copyist.  This  was  purchased 
by  the  Archduke  Rudolph,  and  bequeathed  by 
him  to  the  Gesellschah  der  Musikfreunde,  in 
whose  library  it  now  is.  He  was  one  of  the  36  ! 
torch-bearers  who  surrounded  the  bier  of  his  great 
friend,  and  it  fell  to  his  lot  to  hand  the  three 
laurel  wreaths  to  Hunimd,  by  whom  they  were 
placed  on  the  coffin  before  the  closing  of  the 
grave.  He  died  at  Viemm,  June  18,  1843,  and 
the  business  came  into  the  hands  of  his  son 
Kaal,  a  pupil  of  Czemy  and  Seyfried,  a  remark- 
able pianoforte-player,  and  an  industrious  com- 
poser. His  soirees  were  well  known  and  much 
frequented,  and  many  a  young  musician  has 
made  his  first  i^pearanoe  there.  He  died  Dec. 
26,  1868,  leaving  as  many  as  100  published 
works  of  all  classes  and  dimensions.  The  con- 
cern was  carried  on  by  his  widow  till  Jan.  1875, 
when  it  was  bought  by  the  firm  of  Schlesinger  of 
Berlin,  by  whom  it  is  maintained  under  the  style 
of  *Carl  Haslinger,  quoncUtm  Tobias*"  Among 
the  works  published  by  this  establishment  may  be 
named  Schubert's  'Winterreise*  and  'Schwanen- 
gesang  * ;  Beethoven's  Symphonies  3,  3,  4,  7, 
8,  Overtures  to  Coriolan,  Kuins  of  Atheno,  op. 
115,  King  Stephen,  Leonora '  No.  1/  Violin  Con- 
certo, Battle  Symphony,  P.  F.  Concertos  i ,  3,  4,  5, 
Trio  in  Bb,  Sonatas  and  Variations,  Liederkreis, 
etc.;  Spohr*s  Symphonies  4  (^Weihe  der  Tune) 
and  5  ;  Liszt's  Concerto  in  £b ;  Moscheles'  ditto 
3>  3»  5r  ^f  7  <  Hummels  ditto  in  C,  G,  A  minor, 
and  Ab,  4  Sonatns,  etc.  The  dance  music  of 
Lannor  and  the  Strausses  forms  an  important 
part  of  the  repertoire  of  the  firm,  which  under 
the  new  proprietorship  has  received  a  great 
impube.  [C.F.P.] 

H ASSE,  JoHAXN  Adolph,  who  for  a  third  part 
of  the  1 8th  century  was  the  most  popular  dramatic 
composer  in  Europe,  was  bom  on  March  25, 
1699,  at  'Bergedorf,  Hamburg,  where  his  fiither 
was  organist  and  schoolmaster.  At  18  years 
of  age  he  went  to  Hamburg,  where  his  munical 
talent  and  fine  tenor  voice  attracted  the  notice 
of  Ulrich  Konig,  a  German  poet  attached  to  the 
Polish  court,  through  whose  recommendation  he 
was  engaged  as  tenor  singer  by  Keiiier,  director 
of  the  Hamburg  Opera,  and  the  most  famous 
dramatic  composer  of  the  day.  At  the  end  of 
four  years  Konig  procured  for  Hasse  a  like  en- 
gagement at  the  Brunswick  theatre,  where,  a 
year  later,  was  produced  his  first  opera,  '  Anti- 
gonuB.'  This  ^the  only  opera  he  ever  composed 
to  a  German  libretto)  was  very  well  received, 
but  as,  while  evincing  great  natural  facility  in 
composition,  it  also  betrayed  a  profound  ignor- 
ance of  the  grammar  of  his  art,  it  was  decided 
that  he  must  go  to  Italy,  then  the  musical 
centre  of  Europe,  for  the  purpose  of  serious 
study.  Accordingly,  in  1724,  he  repaired  to 
Naples,  and  became  the  pupil  of  Porpora,  for 
whom,  however,  he  had  neither  liking  nor  sym- 
pathy, and  whom  he  soon  deserted  for  the  veteran 

1  Kow  the  residence  of  Dr.  Chiraaiidar. 


Alessandro  Scarlatti.    In  1735  he  recmved  tlie 
commission  to  compose  a  serenade  for  two  voices. 
In  this  work,  which  had  the  advantage  of  being 
performed  by  two  great  singers,  Farinelli  and 
Signora  Tesi,  Hasse  acquitted  himself  so  well 
that  he  was  entrusted  with  the  composition  of 
the  new  opera  for  the  next  year.      This  was 
'  Sesostrato,'  performed  at  Naples  in  1726.  and 
which  extended  its  composers  fame  over  the 
whole  of  Italy.      In  1727  he  went  to  Venice, 
where  he  was  appointed  professor  at  the  ifenola 
d^r  Incurabili,  for  which  he  wrote  a  '  Miserere* 
for  two  soprani  and  two  contralti,  with  accom- 
paniment of  stringed  instruments,  a  piece  which 
long  enjoyed  a  great  oelebri^.    He  was  now  the 
most  popular  composer  of  the  day.     His  fine  per- 
son and  agreeable  manners,  his  beautiful  voice 
and  great  proficiency  on  the  clavecin  caused  him 
to  be  much  sought  after  in  society,  and  he  was 
known  throughout  Italy  by  the  name  of  J I  earo 
Sastone.   In  1 728  he  produced,  at  Naples,  another 
opera,  '  Attalo,  re  di  Bitinia,*  as  successful  at  its 
predecessor.      In  1729  he  returned  to  Venice, 
where  he  met  with  the  famous  omtatrice,  Faustina 
Bordoni  (see  next  article),  then  at  the  zenith  of 
her  powers  and  her  charms,  who  shortly  after- 
waros  became  Idn  wife.     For  her  he  composed 
the  operas  *Dalisa*  and  '  Artaserse*  (No.  1),  ihe 
latter  of  which  is  one  of  his  best  works. 

In  17.^1  this  celebrated  couple  were  summoned 
to  Dresden,  where  August  II.  reigned  ovi^  s 
brilliant  court.  Hasse  was  appointed  Capell- 
meister  and  Director  of  the  Op^«.  His  first 
opera  produced  in  Dresden,  'Alessandro  nelT 
Indie,'  had  an  unprecedented  suocet^-s,  owing  not 
only  to  its  own  merits,  but  to  the  splendid 
performance  by  Faustina  of  the  prindpal  part. 
Hasse^s  position,  however,  as  the  husband  of  the 
most  fascinating  piima  donna  of  the  day,  was, 
at  this  time,  far  from  being  an  easy  one.  Hi« 
life  was  embittered  also  by  his  enmity  to  his  oki 
master,  Porpora,  whom  he  found  established  in 
Dresden,  and  patronised  by  some  members  of  the 
royal  family,  and  by  jealousy  of  Purpora's  pupil, 
R^ina  Mingotti.  Ihis  excellent  singer  was  a 
dangerous  rival  to  Faii&tina,  and  Hasse  neglected 
no  opportunity  of  manifesting  his  spite  against 
her.  In  *Demofoonte'  he  introduced  into  her 
part  an  air  written  entirely  in  what  he  thought 
a  defective  part  of  her  voice,  while  the  aocompani- 
ment  was  artfully  contrived  to  destroy  all  effect 
while  giving  no  support.  Mingotti  was  obliged 
to  sing  it,  but  like  the  great  artist  that  she  5i^as 
she  acquitted  herself  in  such  a  manner  as  to 
disappoint  Hasse,  and  this  very  air  became  one 
of  her  most  successful  show-pieces.  This  com- 
bination of  causes  seems  to  have  made  Has-e's 
footing  in  Dresdifn  uncertain,  and  up  to  1740  he 
absented  himself  as  much  as  possible,  while 
Faustina  remained  behind.  He  revisited  Venice, 
Milan,  and  Naples,  and  also  went  to  London, 
where  he  was  pressed  to  undertake  the  dir&Hi>ia 
of  the  opera  estnblished  in  opposition  to  HandeL 
His  '  Artaserse '  met  with  a  brilliant  reception, 
but  he  had  no  wish  to  support  the  rivalry  with 
Handel ;  besides  which  he  disliked  England,  ani 


HASSE. 

BooQ  quitted  the  country.  He  returned,  in  1739. 
to  Draden,  where  he  wu  no  longer  vexed  by 
the  presence  of  Porpora,  and  where  August  III. 
h.'Ml  suoceeded  his  father.  Here,  with  the  ex- 
ception of  a  short  sojourn  in  Venice  in  1740, 
he  and  Faustina  remained  till  1763.  In  1745, 
on  the  very  evening  of  Frederiok  the  Greats 
entry  into  Dresden  after  the  battle  of  Kessels- 
dorf,  Hasse's  opera  '  Anninio  *  whs  performed  by 
command  of  the  conqueror,  who  graciously  com- 
mended the  work  and  its  performance,  especially 
the  part  of  Faustina.  During  Frederick's  nine 
days  stay  in  the  Saxon  capital  Hasse  had  to 
attend  at  oourt  every  evening  and  saperintend 
the  musiciil  performances,  and  was  rewarded  by 
the  present  of  a  roagniiicent  diamond  ring  and 
1000  thalen  for  distribution  among  the  mun- 
cians  of  the  orchestra.  In  1760  occurred  the 
aiege  of  Dresden,  in  which  Hssse  lost  most  of 
his  property,  and  during  which  his  colleoted 
MSS.,  prepsnd  for  a  complete  edition  of  his 
works,  to  be  published  at  the  expense  of  the 
Kii^  of  Poland,  were  nearly  aU  destroyed. 
At  tile  end  of  the  war  the  king  was  obliged, 
from  motives  of  economy,  to  suppress  both  opera 
and  chamber  music.  The  Capellmeister  and  his 
wife  were  pensioned,  and  retired  to  Vienna, 
where  Hasse,  in  conjunction  with  the  poet  Metas- 
tasio,  was  soon  en^^iged  in  active  opposition  to  a 
more  formidable  rival  than  Porpora,  viz.  Ghristoph 
Gluck.  Although  he  was  64  years  old,  he  now 
composed  several  new  operas.  His  last  dramatic 
work,  'Ruggiero,'  was  produced  at  Milan  in 
1774  for  Uie  marriage  of  the  Archduke  Fer- 
dinand. On  this  same  occasion  was  performed 
a  dramatic  serenade,  '  Ascanio  in  Alba,  the  work 
of  Wolfgang  Mozart,  then  13  years  of  age. 
After  hearing  it,  old  Hasse  is  said  to  have  ex- 
claimed, 'This  boy  will  throw  us  all  into  the 
shade,'  a  prediction  which  was  verified  within  a 
few  years  of  its  utterance.  The  remainder  of 
Has8e*s  life  was  pai^sed  at  Venice,  where  he  died 
at  the  age  of  85,  on  Dec.  16,  1783. 

Owing  to  the  destruction  of  Hasse's  works  at 
I>re8den,  his  autograph  scores  are  exceedingly 
rare;  scarcely  a  M8.  or  even  a  letter  of  his 
being  found  in  any  collection,  public  or  private ; 
though  contemporary  copies  are  common  enough. 
The  following  compositions  of  Hasse's  are  the 
chief  of  those  which  are  published,  and  accessible 
at  the  present  day  : — 

I.  'Miserere'  for  2  Soprani  and  2  Alti  (Ber- 
lin, Trautwein). 

3.  '113th  Psalm*;  for  Baas  solo  and  Chorus, 
with  orchestra  (Elberfeld,  Arnolds. 

3.  '  Alcide  al  Bivio,*  opera,  P.  F.  score  (Leip- 
zig, Breitkopf  ). 

4.  Te  Deum  in  D  for  Soli  and  Chorus,  with 
Orchestra  and  Organ  (Leipzig,  Peters^. 

5.  ' Die  Pilgrimme  auf  Golgatha'  ^'Pellegrini 
al  Sepolcro,*  German  translation).  Oratorio,  P.F. 
score  (Leipzig.  Schwickert). 

6.  Quintet,  from  the  above,  a  Sopr..  2  Altos, 
and  Bass  (Berlin,  Damkohler;  Breslau,  Leuo- 
kard). 

7.  Air  for  Alto,  from  Oratorio '  Die  Bekehrung 


HASSS. 


695 


des  heiligen  AugustinB'  (Berlin,  Damkohler,  & 
Schlesinger). 

8.  Portions  of  a  Te  Deum  and  a  Miserere,  and 
two  other  pieces  in  Rochlitz's  Sammlung,  vol.  iv. 

9.  A  vocal  fugue,  'Christe,'  No.  19  in  the 
'  Auswahl  vorstigl.  Musikwerke*  (TrautweinV 

10.  A  Sonata  in  D,  in  Pauer's  Alte  Qavier- 
musick  (Part  44). 

There  is  a  fine  portrait  of  Haoe,  oval,  in  folio, 
engraved  by  L.  Zucchi  at  Dresden  from  a  picture 
by  C.  P.  Botavi,  representing  him  as  a  middle 
aged  man,  with  pleasing  features  and  expression. 

Hasse's  facility  in  composition  was  astonishing. 
He  wrote  more  than  a  hundred  operas,  besides 
oratorios,  msssos,  cantatas,  psalms,  symphonies, 
sonatas,  ooiioertoB,  and  a  host  of  smaller  com- 
positions. He  set  to  music  the  whole  of  Metas- 
tasio's  dramatic  works,  several  of  them  three 
or  lour  times  over.  His  career  was  one  long 
success :  few  composers  have  enjoyed  during 
their  lifetime  such  world-wide  celebrity  as  he; 
of  those  few  none  are  more  completely  forgotten 
now.  Great  as  was  his  personal  popularity,  it  is 
insufficient  to  account  for  the  universal  accept* 
ance  of  his  music.  The  secret  probably  lay  in 
the  receptivity  of  his  nature,  which,  joined  to  the 
gift  of  facile  expression,  caused  some  of  the  most 
genial,  though  not  the  deepest,  influences  of  his 
time  to  find  in  him  a  frithful  echo.  First  among 
these  was  the  spreading  fascination  of  modem 
Italian  melody.  It  is  as  an  Italian,  not  a  Ger- 
man composer  that  Hasse  must  take  rank, 
although,  innocent  as  he  was  of  contrapuntal 
science,  he  has  nothing  in  common  with  the  ma- 
jesty, profound  in  its  simplicity,  of  the  early 
Italian  writers.  He  began  life  as  a  singer,  in  an 
age  of  great  singers,  and  must  be  classed  among 
the  first  representatives  of  that  modem  Italian 
school  which  was  called  into  existence  by  the 
worship  of  vocal  art  for  its  own  sake.  His  har- 
monies, though  always  agreeable,  sound  poor  to 
ears  accustomed  to  the  richer  combinations  of 
the  German  composers  who  were  his  contem- 
poraries and  immediate  successors.  Yet  even  as 
a  harmonist  he  is  linked  to  modem  times  by  his 
fond  and  frequent  use  of  the  diminished  seventh 
and  its  inversion,  as  an  interval  both  of  melody 
and  of  harmony ;  while  his  smooth  and  somewhat 
cloying  suocessions  of  thirds  and  sixths  may  have 
afforded  delight  to  hearers  inured  to  the  stern 
severities  of  counterpoint.  He  had  an  inexhaust- 
ible flow  of  pleasing  melody,  which,  if  it  is  never 
Sand  or  sublime,  is  never  crabbed  or  ugly« 
any  of  his  best  airs  are  charming  even  now, 
and,  if  in  some  respects  they  appear  trite,  it 
should  be  remembered  that  we  have  become 
familiar  with  the  type  of  which  they  are  ex- 
amples through  the  medium  of  compositions 
which,  in  virtue  of  other  qualities  than  his,  are 
longer-lived  than  Hasse's,  though  written  at 
a  later  date.  A  few  have  been  republished  in 
our  own  day,  among  which  we  may  quote  '  Ri- 
tomerai  fra  poco,'  from  a  Cantata  (to  be  found 
in  the  series  called  'Gremme  d'Antichitk,*  pub- 
lished by  Lonsdale"^,  which  has  real  beauty.  As 
a  fair  specimen  of  his  style,  exhibiting  all  the 


696 


HASSE. 


TTAStflT.ieTt, 


qualitieB  wliich  made  him  popular,  we  will 
mention  the  opening  symphony  and  the  first 
air  in  the  oratorio  *  I  Pellegrini  al  Sepolcro/ 
written  for  the  Electoral  Chapel  at  Dresden. 
To  appreciate  the  deficiencies  which  have  caused 
him  to  be  forgotten,  we  have  only  to  proceed 
a  little  further  in  this  or  any  other  of  his 
works.  They  are  inexpressibly  monotonous.  In 
the  matter  of  form  he  attempted  nothing  new. 
All  his  airs  are  in  two  parts,  with  the  inevitable 
JJa  Capo,  or  repetition  of  the  first  strain.  All  his 
operas  consist  of  such  airs,  varied  by  occasional 
duets,  more  rarely  a  trio,  or  a  simple  chorus,  all 
cast  in  the  same  mould.  His  orchestra  consists 
merely  of  the  string  quartet,  sometiiues  of  a 
string  trio  only;  if  now  and  then  he  adds 
hautboys,  flutes,  bassoons,  or  horns,  there  is 
nothing  distinctive  in  his  writing  for  these  wind 
instruments,  and  their  part  mi^t  equally  well 
be  played  by  the  violins.  Nor  is  there  any- 
thing distinctive  in  his  writing  of  Church  music, 
which  presents  in  all  respects  the  same  charac- 
teristics as  his  operas.  His  Symphonies  are  for 
three,  or  at  the  most  four,  instruments.  The 
harmonic  basis  of  his  airs  is  of  the  very  slightest, 
his  modulations  the  most  simple  and  obvious, 
and  these  are  repeated  with  little  variety  in  all 
his  songs.  The  charm  of  these  songs  consists  in 
the  elegance  of  the  melodic  superstructure  and 
its  sympathetic  adaptation  to  the  requirements 
of  the  voice.  Sin^fers  found  in  them  the  most 
congenial  exercise  ifbr  their  powers,  and  the  most 
perfect  vehicle  for  expression  and  display.  For 
ten  years  Farinelli  charmed  away  the  melancholy 
of  Philip  v.  of  Spain  by  singing  to  him  every 
evening  the  same  two  airs  of  Hawse  (from  a  second 
opera,  '  Artaserse '),  'Pallido  h  il  sole*  and  *Per 
questo  dolce  amplesso.* 

The  source  of  Hasse*s  inspiration  lay,  not  in 
intuition,  but  in  his  susceptibility  to  external 
impressions.  In  Art,  the  universslly  pleasing  is 
the  already  familiar;  so  long  as  nothing  is  re- 
cognised, nothing  is  understood.  Recognition 
may  come  as  revelation ;  but,  for  a  great  original 
work  to  find  acceptance,  the  truth  of  which  it  is 
the  first  expression  must  be  latent  in  the  minds 
of  those  who  have  to  receive  it.  Hasse  was  no 
prophet,  but  in  his  works  his  contemporaries 
found  fluent  utterance  given  to  their  own  feelings. 
Such  men  please  all,  while  they  offend  none ;  but 
when  the  spirit  and  the  time  of  which  they  are 
at  once  the  embodiment  and  the  reflection  passes 
away,  so,  with  it,  must  they  and  their  work  pass 
away  and  be  forgotten.  [F.  A.M.] 

HASSE,  Faustina  Bordoni,  the  wife  of  the 
foregoing,  was  bom  at  Venice,  1 700,  of  a  noble 
family,  formerly  one  of  the  governing  families  of 
the  republic.  Her  first  instruction  was  derived 
from  Gasparini,  who  helped  her  to  develop 
a  beautiful  and  flexible  voice  to  the  greatest 
advantage.  In  1716  Bordoni  made  her  {febnt 
in  *  Ariodante  *  by  C.  F.  Pollarolo,  achieved  at 
once  a  reputation  as  a  great  singer,  and  was 
soon  known  as  the  'New  Syren.'  In  1719  she 
sang  again  at  Venice  with  Cuzzoni  and  Bemacchi, 
whose  florid  style  her  own  resembled.    In  1723 


she  sang  at  Naples,  and  at  Florence  a  medal 
struck  in  her  honour.  She  vinted  Vienna  in 
I734»  and  was  engaged  for  the  Court  Tfaestre  at 
a  salary  of  15,000  florins.  Here  she  was  found 
by  Handel,  who  inmiediately  secured  her  for 
London,  where  she  made  her  dilbut  May  5,  1726, 
in  his  '  Alessandro.*  Her  salary  was  fixed  at 
£2000.  'She,  in  a  manner,'  says  Bumey,  'in- 
vented a  new  kind  of  singing,  by  running  divi* 
sions  with  a  neatnera  and  velocity  which  astoa- 
ished  all  who  heard  her.  She  had  the  art  of 
sustaining  a  note  longer,  in  the  opinion  d  the 
public,  than  any  other  singer,  by  taking  her 
breath  imperceptibly.  Her  beats  aind  trills  were 
strong  and  rapid;  her  intonation  perfect;  and 
her  professional  perfections  were  enhanced  by  a 
beautiful  face,  a  symmetric  figure,  thoogh  of 
small  stature,  and  a  countenance  and  gestare  an. 
the  stage,  which  indicated  an  entire  intelligeooe 
of  her  part.*  Apostolo  Zeno,  in  speaking  of  her 
departiure  from  Vienna,  says — 'But,  whaievex 
good  fortune  she  meets  with,  she  merits  it  all 
by  her  courteous  and  polite  manners,  as  w^  as 
talents,  with  which  she  has  enchanted  and  gsincid 
the  esteem  and  affection  of  the  whole  Court*. 

In  London  she  stayed  but  two  seasons,  and 
then  returned  to  Venice,  where  she  was  married 
to  Hasse.  In  1751  she  went  to  Dresden,  and 
remaint*d  there  till  1756.  During  the  war,  she 
and  her  hubband  went  to  Vienna,  and  resided 
there  until  1775,  when  they  retired  to  Venice, 
where  they  ended  their  days,  she  in  1 783  at  the 
age  of  90,  and  Hasse  not  long  after,  at  nearly 
the  same  age. 

Faustina  has  seldom  been  equalled  in  agility 
of  voice ;  '  a  matchless  facility  and  rapidity  in 
her  execution ;  dexterity  in  taking  breaUi.  exqui- 
site shake,  new  and  brilliant  passages  of  embel- 
lishment, and  a  thousand  oUi«:  qualities  oontri* 
buted  to  inscribe  her  name  among  the  first  singers 
in  Europe*  (Stef.  Arteaga).  In  London  she  di- 
vided the  popular  favour  with  Cuzsoni.  *  When 
the  admirers  of  the  one  b^an  to  applaud,  those 
of  the  other  were  sure  to  hiss ;  on  which  account 
operas  ceased  for  some  time  in  London*  (Quantz  i. 
In  a  libretto  of  'Admeto,*  Lady  Cowper,  the 
orif^nol  possessor,  has  written  oppofdte  to  Faus- 
tina's name,  '  she  is  the  devil  of  a  singer.* 

F^tis  mentions  her  portrait  In  Hawkins's  His- 
tory; but  he  seems  not  to  have  known  the  fine 
print,  engraved  by  L.  Zucchi  after  S.  Torelli, 
which  is  a  companion  to  that  of  Hsswe  by  the 
same  engraver,  and  represents  Faustina  as  an 
elderly  person,  handsomely  dressed,  and  with  a 
sweet  and  intelligent  countenance.  This  portrait  ^ 
is  uncommon.  [J.M.] 

HASSLEB  or  HASLER,  Hans  Leovhard, 
eldest  of  the  3  sons  of  Isaac  Hassler — a  musician 
of  the  Joachimsthal  who  settled  in  Nurembei]g — 
and  the  ablest  of  the  three.  Of  his  life  little  is 
known.  He  is  said  to  have  been  bom  in  1564 : 
he  received  his  instruction  from  his  father  and 
firom  A.  Gabrieli,  with  whom  he  remained  in 
Venice  for  a  year,  after  which  he  found  a  home 
in  the  house  of  the  Fuggers  at  Augsburg.  There 
he  oomposed  his  famous  *xxiv  Canzonetti  a  4 


HASSLEB. 


HAUPTMANN. 


697 


voci' 


(Norimbeigs,  1590)  and  his  'Csntiones 
sacne  de  festis  procipuis  (otitis  saud  4,  5,  8  et 
plurium  vocum'  (Augsburg,  15QI) — '38  Latin 
motets.  These  were  followed  by  his  *  Concentus 
ecclesiastici'  (Augsburg,  1596);  *  Neue  teutsche 
Geeaeng*  (1596) ;  'Mikirigali*  (ibid.),  and  *Gan- 
tionee  nivne*  (1597).  The  statement  so  often 
repeated  by  the  Lexicons  that  Hassler  entered 
the  Imperuil  chapel  at  Vienna  in  160T  is  in- 
aocuTate,  and  arises  from  the  fact  that  a  cer- 
tain Jacob  Hasler  joined  that  establishment  on 
July  I,  1603.  (See  Kochel  'Kais.  Hofkapelle,' 
p.  53.)  At  a  later  time  Hassler  entered  the  ser- 
▼ice  of  Christian  II.  of  Saxony,  and  died  probably 
on  June  5,  161  a. 

Besides  the  works  already  named  there  ex'st 
8  Masses  of  his  (1599);  four-part  Psalms  and 
Geeftnge  (Nuremberg  1607,  republished  by 
Breitkopls  in  score,  1777) ;  and  five  collections 
of  German  and  Latin  secular  songs.  Many 
single  pieces  are  given  in  Bodenschatz^s  *Flo- 
rilegium  *  and  in  Schadaeus's  *  Promptuarium 
Musicum.'  (See  Eitner^s  Bibliographie  of  his 
confipositions  in  the  *  Monat«hefte  fiir  Musik- 
gelehrte/  1871.)  Proske  (Musica  Pifina)  gives 
3  Masses  and  7  other  pieces  of  his,  and  says  of 
his  style  that  '  it  unites  all  the  greatest  beauty 
and  d^rnity  that  can  be  found  in  both  the  Italian 
and  German  art  of  that  day,*  Rochlitz  includes 
a  Pater  Noster  for  7  voices  in  his  '  Sammlung,* 
vol.  3.  The  well-known  chorale '  Herzlich  thut 
mich  verlangen  *  or  '  Befiehl  du  deine  Wege,'  so 
much  used  by  Bach  in  the  Passion,  was  originally 
a  love  song,  *Mein  Gemuth.is  mir  verwirret,*  in 
his  *  Lustgarten  deutscher  Gesange*  (1601). 

His  younger  brother,  Jacob,  a  meritorious 
church  composer,  is  probably  the  Hasler  already 
mentioned  as  having  joined  the  Chapel  at  Vienna : 
it  is  at  least  certain  that  he  was  oi^anist  to  Graf 
Eytel  Friedrich  von  Hohenzollem  Herbingen  in 
1 60 1 .  The  third  brother,  Caspar,  bom  probably 
1570,  acquired  a  reputation  for  playing  the  organ 
and  davier,  and  was  one  of  the  musicians  appointed 
to  try  the  oi^gan  at  Groningen,  near  Halberstadt. 
Some  of  his  vocal  pieces  are  found  in  *  Symphonias 
sacrae'  (Nuremberg,  1598-1600).  [P-Cr.] 

HATTON,  John  Liphot,  bom  in  Liverpool 
1809,  received  in  his  youth  a  small  rudimentary 
instruction  in  music,  but  was  otherwise  entirely 
self-taught.  He  settled  in  London  in  1832, 
and  soon  became  known  as  a  composer.  In  1842 
he  was  engaged  at  Drury  Laue  Theatre,  at 
which  house,  in  1844.  he  produced  an  operetta 
called  *The  Queen  of  the  Thames.'  In  the 
same  year  he  went  to  Vienna  and  brought  out 
his  opera,  'Pascal  Bruno.'  On  his  return  to 
England  he  published,  under  the  pseudonym  of 
*  Czapek,'  several  songs  which  met  with  consider- 
able success.  In  1848  he  visited  America.  Hatton 
was  for  some  years  director  of  the  music  at  the 
Princesses  Theatre  under  Chas.  Kean,  and  whilst 
there  composed  music  for  'Macbeth*  and  'Sar- 
danapalus,*  1853  ;  'Faust  and  Marguerite,*  over- 
ture and  entr'actes,  54;  'King  Henry  VIII,* 
55 ;  '  Pizarro,'  56  ;  'King  Richard  II,'  57;  and 
*king  Lear/    'The  Merchant  of  Venice/  and 


'Much  Ado  about  Nothing,*  58.  He  has  also  com- 
posed two  Cathedral  services ;  several  anthems ; 
'  Rose,  or,  Love's  Ransom,'  opera,  Covent  Garden, 
1864 ;  '  Robin  Hood,'  cantata,  Bradford  Musical 
Festival,  1 856 ;  several  books  of  part  songs,  and 
upwards  of  150  songs  ('Good  bye,  sweetheart,' 
etc.).  One  of  his  latest  achievements  was  the 
'sacred  drama*  of  'Hezekiah/  produced  at  the 
Crystal  Palace.  Dec.  15,  1877.  [W.H.H.] 

HAUCK.  Minnie,  bom  (of  a  German  &ther) 
at  New  York  Nov.  16,  1852,  made  her  first 
appearance  at  a  concert  at  New  Orleans  about 
1865.  She  was  then  placed  under  the  care  of 
Signer  Errani  in  New  York^  and  made  her  debut 
on  the  stage  of  that  city  as  Amina  in  18^. 
After  a  successful  tour  in  the  States  with  a  large 
rt^erioire  of  characters  she  came  to  London,  and 
appeared  at  Covent  Garden  as  Anuna  (Oct.  26, 
1868)  and  Margherita.  IniS69  she  was  engaged 
by  the  Grand  Opera,  Vienna,  and  sang  there 
and  at  Moscow,  Berlin,  Paris,  and  Brussels,  with 
great  success  for  several  years  in  a  large  range 
of  parts.  On  April  27,  1878,  Bhe  reappeared 
here  at  Her  Majesty's  as  Violetta  in  the  Traviata. 
She  sustained  the  part  of  Carmen  in  Bizet's 
opera  of  that  name  at  Brussels,  and  on  its  pro- 
duction in  London  by  Mr.  Mapleson  at  Her 
Majesty's  on  June  22,  thus  nutking  the  success 
of  the  piece,  which  had  not  pleased  in  Paris,  and 
showing  herself  to  be  not  only  a  high -class 
singer,  but  also  possessed  of  no  ordinary  dramatic 
power.  Her  voice  is  a  mezzo  soprano  of  great 
force  and  richness,  and  she  is  said  to  sing 
Italian,  German,  French  and  Hungarian  with 
equal  facility.  [G.] 

HAUPT,  Cabl,  a  very  distinguished  Grerman 
orgaiiist,  bom  Aug.  25, 1810,  at  Cunau  in  Silesia ; 
pupil  of  A.  W.  Bach,  Klein,  and  Dehn,  and  at 
a  later  date  of  the  two  S.;hneiders.  In  1832  he 
obtained  his  first  post  at  the  French  oonvent  in 
Berlin,  from  which  he  gradually  rose  to  the 
parish  church  of  the  city,  where  he  succeeded 
Thiele  in  1849.  ^^^  reputation  spread  far  beyond 
his  native  country,  and  in  1854  he  was  consulted 
by  Professors  Donaldson,  Ouseley,  and  Willis,  the 
committee  appointed  to  draw  up  a  scheme  for  a 
gigantic  organ  at  the  Crystal  Palace.  In  1870 
he  succeeded  his  old  master  Bach  as  Director  of 
the  Kunigliche  Kirchenmusik  Institut  at  Berlin, 
over  which  he  still  continues  (1878)  to  preside. 
Haupt  is  remarkable  for  his  fine  extempore 
variations  in  the  style  of  J.  S.  Bach — close  and 
scientific,  and  increasing  in  elaboration  with  each 
fresh  treatment  of  the  theme;  and  in  that  master's 
organ  music  he  is  probably  unsurpassed.       [G.] 

HAUPT,  Lkopold,  a  clergyman  of  Gorlitz, 
author  of  '  Volkslieder  der  Wenden '  (Grinune, 
1 841),  a  collection  of  the  melodies  sung  in  the 
district  round  Dantzig,  the  ancient  seat  of  the 
Wends.  [M.C.C.] 

HAUPTMANN,  Mobitz,  Doctor  of  Philoso- 
phy, German  composer  and  eminent  theorist,  and 
Cantor  of  the  Thomas  School  at  Leipdo,  bom 
at  Dresden  Oct.  13.  179a.  His  education  was 
conducted  mainly  with  a  view  to  his  father's 


G98 


HAUPTMANX. 


profenfon  of  ftrchitectare ;  but  he  waa  also  well 
grounded  in  music  at  an  eariy  age.  He  studied 
the  violin  under  Scholz,  and  harmony  and  com- 
position under  various  masters,  concluding  with 
Morlaochi  As  Hauptmann  grew  up  he  deter- 
mined to  adopt  music  as  a  profession.  To  perfect 
himself  in  the  violin  and  composition,  he  went  in 
1 8i  I  to  Gotha,  where  Spohr  was  oonoert-meister, 
and  the  two  then  contracted  a  life-long  friendvlup. 
He  was  for  a  short  time  violinist  in  the  court 
band  at  Dresden  (i8i3\  and  soon  afterwards 
entered  the  household  of  Prince  Repnin,  Russian 
Governor  of  Dresden,  with  whom  he  went  to 
Russia  for  four  years  in  1815.  On  his  return  to 
Germany  he  became  violinist  (1822)  in  Spohr's 
band  at  Cassel,  and  here  gave  the  first  indications 
of  his  remarkable  faculty  for  teaching  the  theory 
of  music.  F.  David,  Curschmann,  Burgmiiller, 
Kufferath  and  Kiel,  are  among  the  long  list  of 
his  pupils  at  that  time.  In  1843,  on  Mendels- 
sohn's reoommenflation,  he  was  appointed  Cantor 
and  Musik-director  of  the  Thoiiias-Schule,  and 
prafeasor  of  counterpoint  and  oompoaitian  at  the 
new  Conservatorium  at  I^edpsic,  where  ha  thenoe- 
forward  redded.  Here  he  became  the  most  cele- 
brated tiieorist  and  most  valued  teacher  of  his 
day.  Not  only  are  there  very  few  of  the  fore- 
most musicians  in  Germany  at  the  present  mo- 
ment who  do  not  look  back  with  gratitude  to 
his  instructions,  but  pupils  flocked  to  him  from 
England,  America  and  Russia.  Among  his  pupils 
will  be  found  such  names  as  Joachim,  von  Bulow, 
Cosemann,  the  Baches,  Sullivan,  Cowen,  etc.  etc. 
(See  the  list  at  the  end  of  his  letters  to  Hauser.) 
He  died  at  Leiosic  Jan.  3,  1868,  loaded  with 
decorations  and  diplomas^ 

In  teaching,  Hauptmann  laid  great  stress  on 
the  two  fundamental  eesthetical  requirements 
in  all  works  of  art,  unity  of  idea  and  symmetry 
of  form,  and  his  compositions  are  admirable 
examples  of  both.  With  such  views  he  naturally 
had  Uttle  sympathy  with  the  new  destructive 
school,  but  he  was  always  courteous  to  thone 
who  differed  from  him.  His  respect  for  classical 
forms  never  trammelled  him ;  and  this  very  in- 
dependence kept  him  free  from  |  arty  spirit  and 
personal  animosity.  Altogether  he  offers  a  beau- 
tiful example  of  a  life  and  work  the  value  of 
which  was  acknowledged  even  by  his  bitterest 
controversial  opponents.  Nothing  but  a  life  of 
single  devotion  to  the  cause  of  art»  could  have 
exacted  such  universal  homage.  His  works 
are  characterised  by  deep  thought,  philosophic 
treatment,  imagination,  and  much  sense  of  humour. 
His  chief  work  is  '  Die  Natur  der  Harmonik  und 
Metrik*  (1853,  2nd  ed.  18  3^  His  mathemati- 
cal and  philosophical  studies  had  given  a  strictly 
logical  turn  to  his  mind,  and  in  this  book  he 
applies  HegeFs  dialectic  method  to  the  study 
of  music.  Gifted  with  an  ear  of  unusual  delicacy, 
he  speculated  deeply  on  the  nature  of  sound, 
applying  to  the  subject  Hegel's  formulas  of 
proposition,  counter  propositi  on,  and  the  ultimate 
unity  of  the  two.  The  book  is  not  intended  for 
practical  instruction,  and  is  indeed  placed  beyond 
the  reach  of  ordinary  musicians  by  its  difficult 


HAWES. 

terminology.    Bat  by  those  who  have  maatoed 
it,  it  is  ki^ly  appreciated,  and  its  inflnenoe  <« 
later  theoretical  works  is  undeniable.     Hie  ob- 
vious endeavour  of  recent  aath<M8  to  treat  the 
theory  of  music  on  a  reaUy  scientific  basiB,  is 
mainly  to  be  attributed  to  the  impetoa  given  by 
Hauptmann.    His  other  works  are — an  '  EtIau- 
terung  zu  der  Kunst  der  Foge  von  J.  S.  Badi* ; 
various  articles    on  acoustics    in  ChzTaattder^s 
'  J  ahrbdcher ' ;  '  Die  Lehre  von  der  Harmonik,*  a 
posthumous  supplement  to  the  '  Harmonik  nnd 
Metrik,*  editea  by  his  pupil  Dr.  Oacsr  F^ol; 
*  Opuscula,"  a  small  collection  of  artidiea  mwical 
and  philosophical,  edited  by  his  son;    and  his 
'Letters,*  of  whidi  a  vols.  (1871)  are  addxessed 
to  Hauser,  late  director  of  the  Manich  Gon- 
servatooe,  and  the  third,  edited  by  H]Uerli876), 
to  Spehr  and  others.     Uanptaaann   pofaliahed 
some  60  istmspomiima,  mainly  Ittlmaffiing  from 
the  charaeteristie  hannflay  betwoaa,  Ab  whxAe 
and  its  parts,  which  pervades  them.    Idea  aad 
execntion  are  idike  oomplete ;  the  .JlNWigiit  is 
claHV  the  elgrla  eooeet;  rriaS^  tiieir  ^janieUy 
of  fimB  -aad  pwn^  of  oxpniasioa  flndke  tlicm 
true  weriu  of  art  and  perfect  reflectiona  of  the 
faaxmoniofis  graceful  nature  of  their  aothor.    In 
early  life  he  wrote  chiefly  inetrumeatal  nuaie— 
Sooatas  for  P.  F.  and  violin  (op.  5,  23) ;  Duos 
for  a  violins  (op.  2,  16,  17)  etc,  which  betray 
the  influence  of  Spohr.    During  the  latter  haU 
o(  his  life  he  wrote  exclusively  for  the  voice. 
Among  his  vocal  compositions,  more  important 
as  weU  as  more  original  than  the  instrnmental— » 
may  be  named,  a  Mass  (op.  1 8) ;  a  Mass  with  oreii. 
(op.  43> ;  Choruses  for  mixed  voices  (op.  35,  32, 
47\  perfect  examples  of  this  style  of  writing; 
a-part  songs  (op.  46) ;  and  3-part  oinons  (op.  50). 
Op.  33,  six  sacred  songs,  were  published  in  Eng- 
lish by  Ewer  ft;  Oo.     Early  in  life  he  oompo^ed 
an  opera,  '  Mathilde,*  which  was  repeatedly  per- 
formed at  Cassel.     His  part-songs  are  eminently 
vocal,  and  widely  popular,  and  iire  stock -pieces 
with   all   the   Associations   and   church -choirs 
throughout  Germany.  [A.M.] 

HAUTBOY.  The  English  transference  of 
the  French  Haut'bois,  i.  e.  a  vooden  instrument 
with  a  high  tone.  The  word  is  used  by  Shak- 
speare.  In  Handel's  time  it  was  phoneticised 
into  Hoboy.  The  Italians  spell  it  Oboe,  which 
form  (occasionally,  as  by  Schuniann,  Hoboe)  is  now 
adopted  in  Germany  and  England.  Under  that 
head  the  instrument  is  described.   [Oboe.]    [G.] 

HAWES,  William,  bom  in  London  in  1785, 
from  1793  to  1 80 1  a  chorister  of  the  Obipel 
Koyal.  In  1803  he  was  engaged  as  a  violinist 
in  the  band  of  (Movent  Garden,  and  about  the 
same  time  began  to  teach  singing.  In  1803  he 
ofBciated  as  deputy  lay  vicar  at  We:$tmin6ter 
Abbey.  On  July  15,  1805.  he  was  appointed 
gentleman  of  the  CHiapel  Royal,  and  on  the  form- 
ation of  the  Philharmonic  Society  in  1813  was 
elected  an  associate.  la  18 14  he  was  appointed 
almoner,  master  of  the  choristers  and  vicnr-choral 
of  St.  PauVs,  and  in  181 7  master  of  the  children 
and  lutenist  of  the  Cliapel  Boyal.    In  the  same 


HAWES. 

year  lie  became  lay  vicar  of  Westnniuier  Abbey, 
but  resignecl  his  appointmeDt  in  1820.    He  wu 
the  first  promoter  of  the  Harmonio  Institution 
I^BfCe  Argyll  Booms],  and  after  the  breaking  up 
of  that  establishment  carried  on  for  some  years 
the  business  of  a  music  publisher  in  the  Strand. 
He  was  for  several  yean  director  of  the  mus'c 
at  the  English  Opera,  Lyceum ;  and  it  was  at 
his  instance  that  Weber's  '  I>er  FreischUte  *  was 
first  performed  in  England,  July  34,  1824,  an 
event   which  forms  an  era  in  the  history  of 
the  opera  in  this  oountiy.    Hawes  did  not  at 
first  venture  to  perform  the  entire  work,  the 
finale  being  omitted  and  ballads  for  the  soprano 
snd  tenor  interpolated,  but  he  had  «oon  the 
satisfaction  of  discovering  that  the  opera  would 
be   accepted  without  curtailment.      The  great 
success  of  the  work  induced  him  subsequently 
to  adapt  the  following  operas  to  the  English 
stage :— Salieri's  '  Tairare,'  1835 ;  Winter's  *  Das 
Unterbrochne  Opferfest '  {f  The  Oracle,  or,  The 
Interrupted  Sacrifice'),  1836;   Paers  *I  Fuo- 
ruaciti*  (*  The  Freebooters'),  1827;    Mozart's 
•Cosl  fan  tutte'  ('Tit  for  Tat'),  1828;  Riee* 
«  Die  Railberbraut'  ('  The  Bobber  s  Bride  *),  and 
Marschner's  '  Der  Vampyr,'  >83p.    Hawes  com- 
posed or  compiled  music  for  the  following  pieces: 
— 'Broken  Promisee'  (compiled),  1825;   'The 
SUter  of  Charity,'  1829;  'I'he  Irish  Girl.'  1830; 
'  Comfortable  Lodgings,'  *The  Piloek  Gathezer,^ 
and  'The  Climbing  Boy,'  1832  ;  '  The  Mummy,' 
'The  Quartette.'  and  'The  Yeoman s  Daughter,' 
1833;    »ntl    'The    Muleteer's    Vow*    (partly 
selected),  1835.    He  was  the  composer  of  *A 
Collection  of  five  Glees  and  one  Madrigal,'  and 
'  Six  Glees  for  three  and  four  voiees  * ;  and  the 
arranger  of  *  Six  Scotch  Songs,  haimonized  as 
Glees.'     His  glee,  '  The  boe,the  golden  daughter 
of  the  spring,'  gained  the  prize  given  by  the 
Glee  Club  on  its  50th  anniversary  in  April  1836. 
He  edited  the  publication   in  score  of  '  The 
Triumphs  of  Oriana ' ;  of  a  collection  of  madrigals 
by  compoeers  of  the  16th  and  17th  centuries; 
a   collection  of  the  then  unpublished  glees  of 
Reginald  SpofPorth ;  and  a  collection  of  CHiantS) 
Sanctuses,  and  Responses  to  the  Commandments. 
In  1830  be  gave  oratorio  performances  in  Lent 
at  both  the  patent  theatres,  but  with  heavy  ha  s. 
He  was  for  many  years  conductor  of  the  Madrigal 
Society,  and  organist  of  the  German  Lutheran 
Church  in  the  ^voy.  Hawes  died  Feb.  18, 1846. 
Hiu  daughter,  Maria  Billinqton  Hawes,  after- 
wards Mrs.  Merest,  for  some  years  occupied  a 
high  position  as  a  contralto  singer,  and  was  the 
composer  of  several  pleasing  ballads.   [W.H.H.] 

HAWKINS,  James,  Mus.  Bac.,  was  a  cho- 
rister of  St.  John's  College,  Cambridge,  and 
afterwards  organist  of  Ely  Cathedral  from  1683 
until  his  death  in  1729.  He  was  a  voluminous 
composer  of  church  music,  and  17  services  and 
75  anthems  by  him  are  preserved  (more  or  less 
complete)  in  MS.  in  the  library  of  Ely  Cathedral. 
Two  services  and  9  anthems  (part  of  those)  are 
also  included  in  the  Tudway  collection  (Harl. 
MSS.  7341,  7343).  Hawkins  transcribed  and 
presented  to  the  libraiy  of  Ely  Cathedral  many 


HAWKINS. 


«99 


volumes  of  cathedral  music.  He  took  his  degree 
at  Cambridge  in  1 7 1 9.  He  was  a  nonj uror,  as  ap- 
pears by  an  autograph  copy  of  one  of  his  anthems 
in  the  library  of  the  Saored  Harmonic  Society 
(No.  1719),  the  words  of  which  are  applicable 
to  party  purposes,  and  which  has  a  manuscript 
dedication  '  to  the  Very  Rev^^^^  Mr.  Tomkinson 
and  the  rest  of  the  Great,  Good,  and  Just  Non- 
juron  of  St.  John's  College  in  Cambridye.' 

James  Hawkjns,  his  son,  was  organist  of 
Peterborough  Cathedral  from  1714  (when  he 
was  appointed  at  a  salary  of  £20  per  annum)  to 
1759.  ^®  composed  some  church  music.  One 
of  his  anthems  is  included  in  the  Tudway  col- 
lection (Harl.  MSS.  7342).  [W.H.H.] 

HAWKINS,  Sib  Johw,  Knight,  bom  Mar.  30, 
1 719,  originally  intended  for  the  profession  of  his 
father,  an  architect  and  surveyor,  but  eventually 
articled  to  an  attorney.  Be  was  duly  admitted 
to  the  practioe  of  his  profession,  devoting  his 
leisure  hours  to  the  cultivation  of  literature  and 
music.  On  the  formation  of  the  Madrigal  Society 
(1741),  Hawkins,  at  the  instance  of  Immyns, 
its  founder,  a  brother  attorney,  became  one  of 
the  original  members.  About  the  same  time  he 
became  a  member  of  the  Academy  of  Antient 
Music.  Hawkins  wrote  the  words  of  Six  Can- 
tatas, which  were  set  to  music  for  a  voice  and 
instruments,  by  John  Stanley,  and  published  at 
their  joint  risk  in  1743.  These  succeeded  so 
well  that  the  authors  were  induced  to  publish, 
A  few  months  afterwards,  a  nmilar  set,  which 
met  with  equal  success.  Hawkins  was  also  a 
frequent  contributor  to  the  ^  Gentleman's  Mag- 
azine' and  other  periodicals.  In  174Q  he  was 
invited  by  Samuel  Johnson  to  be  one  of  the  nine 
members  vtho  formed  his  Thursday  evening  club 
in  Ivy  Lane.  In  1753  he  married  Miss  Sidney 
Storer,  with  whom  he  received  a  considerable 
fortune,  which  was  greatly  increased  on  the 
death  of  her  brother  in  1759.  Hawkins  then 
purchased  a  house  at  Twickenham,  to  which 
he  retired.  In  1 760  he  published  an  edition  of 
Walton  and  Cotton's  *  Complete  Angler,'  with  a 
life  of  Walton  and  notes  by  him.self,  and  a  life 
of  CHotton  by  William  Oldys.  The  publication 
involved  him  in  a  dispute  with  Moses  Browne, 
who  had  shortly  before  put  forth  an  edition  of 
the  '  Angler.'  Hawkinn's  edition  was  thrice  re- 
produced by  him  in  his  lifetime,  and  again  by 
his  son,  John  Sidney  Hawkins,  after  his  death. 
He  was  an  active  magistrate,  and  in  1 765  became 
Chairn)an  of  the  Middlesex  Quarter  Sessions. 
In  1770,  with  a  view  of  assisting  the  Academy, 
he  wrote  and  published  anonymously  a  pamphlet 
entitled,  *  An  Account  of  the  institution  and  pro- 
gress of  the  Academy  of  Ancient  Mu^ic*  In 
1772,  on  Oct.  23,  he  was  knighted.  In  1776 
he  gave  to  the  world  the  work  on  which  his  fame 
rests — his  '  General  History  of  the  Science  and 
Practice  of  Music,'  in  5  vols.  4to.,  on  which  he 
had  been  engaged  for  16  years.  In  the  same 
year  Dr.  Bumey  published  the  first  volimie  of 
his  '  General  History  of  Music ' ;  the  other  three 
appearing  at  intervals  between  that  date  and 
1 789.  Contemporary  j udgment  awarded  the  palm 


700 


HAWKINS. 


HAYDN. 


of  superiority  to  Bumey.and  neglected  Hawkins. 

Evidence  of  the  feeling  is  found  in  a  catch  which 

was  formerly  better  known  than  it  is  now  : — 

*Have  you  Sir  John  Hawkins*  History? 
8orae  folks  think  it  qnite  a  mastery. 
MuHick  flU'd  his  wondrons  brain. 
How  d'ye  like  him  ?  is  it  plain  T 
Both  I've  read  and  must  agree, 
That  Barney's  history  pleasea  me.* 

Which  in  performance  is  made  to  sound  :— 

*Sir  John  Hawkins  { 
Bum  his  history! 
How  d'ye  like  him  ? 
Bum  his  history! 
Burney's  history  pleaees  mcr.' 

Posterity,  however,  has  reversed  the  decision 
of  the  wits  ;  Hawkins'  History  has  been  re- 
printed (Novello,  1875,  2  vols.  8vo.),  but  Bur- 
ney*s  never  reached  a  second  edition.  The  truth 
lies  between  the  extremes.  Bumey,  possesEed 
of  far  greater  musical  knowledge  than  Hawkins, 
better  judgment,  and  a  better  ptvle,  frequently 
wrote  about  thinjs  which  he  kad  not  suffi- 
ciently examined ;  Hawkins,  on  the  other  hand, 
more  industrious  and  painstaking  than  Bumey, 
was  deficient  in  technical  skilly  and  often  in- 
accurate. In  1784  Dr.  Johnson  appointed  Sir 
John  Hawkins  one  of  his  executors,  and  left 
to  him  the  care  of  his  fame.  Sir  John  ful- 
filled this  trust  by  writing  a  life  of  Johnson, 
and  publishing  an  edition  of  his  works  in  1 1  vols. 
8vo.  in  1787.  Whilst  engaged  on  the  work  the 
library  at  his  house  in  Queen  Square.  West- 
minster, was  destroyed  by  fire.  Fortunately  he 
had,  soon  after  the  publication  of  his  History, 
presented  the  fine  collection  of  theoretical  trea- 
tises and  other  works  formed  by  Dr.  Pepusch, 
and  which  he  had  acquired,  to  the  British 
Museum,  so  that  the  loss,  although  severe,  wfu 
much  less  than  it  might  have  been.  On  May 
1 4,  1789,  Hawkins  was  attacked  by  paralysis, 
from  the  effects  of  which  he  died  on  2i8t  of  the 
same  month.  He  was  buried  in  the  cloisters  of 
Westminster  Abbey,  under  a  stone  on  which 
was  inscribed,  pursuant  to  his  own  wish,  only 
the  initials  of  his  name,  tbe  date  of  his  death, 
and  his  age. 

The  following  pieces  are  printed  by  Hawkins 
in  his  History.  The  reference  is  to  the  chapter, 
in  the  Appendix  to  the  No. 


AUwoode.    A  Voluntary.  App.  11. 
Antlniu,  Uutdo.    (^nUleua,  6S. 
Bach.  J.  8.    Arte,lKL 
Baiuar.    Allenwnde.  142. 
Bwihter,  J.    '  Uedire  lane'  App.  28. 
Batawn.    Tour  itiinios  eyes.  103. 
'  Bellamira,'  App.  23. 
Bell  tuoe.  100. 
Bennet,  J.   '  fe  restleu  thooghts,' 

106. 
Fevlo.    Canon.  108. 
'  Black  ^aiictus.'  App.  ?. 
Blltheman.    A  Ueane.  App.  9. 
BunoiicUtl.    '  In  rain  b  delay.'  I'TS. 

Do.  'DehlttMta.'lHe. 
Bradley,  B.    i^moklng  eatch,  108. 
BaU.    Caoous.  C7. 
Byrd.  W.    I'anno. '  O  Lux/ eO. 

Da  Mlwrere.  M. 

Do.  L'aiioa.  67. 

Do.  •Vcrilte.-9«. 

Do.  'DlllseVM. 

Do.  The  eagle's  foroe,  App.  S. 
Birds,  souga  of.  1. 
Canon.  5  In  2i 
Canons,  various.  IIS. 
Canto  flgurato.  SI. 
CarlulmL    '  Dtte  o  deli.' 16C 


Cebell.  theold.    App.  S2. 
Cesti,  M.A.    'Cara.  cara.'124. 
Ciaytun.  Thos.   Overture  to  BoM- 

niuiid.  171. 
Cleownii  noD  Tapa.    Canmi,  06. 
'CockLorrel.'    App.9li. 
'  Gold  and  raw.'   App.  20. 
'  (^ooie  follow  me.'  Canon,  67. 
'  Conditur  alnte.'   67. 
Contrapunctus,     '  Simplex     and 

Diminutus,'  SI. 
CorelU.    Solo  In  A.  196. 
Comy9he,W.  'Ahbeshrewyou.'TB. 

Do.  '  Uoyday.'  !>'. 
Cttupertn.    '  Les  Gouts  reunls.'  182. 
Croft.  Dr.   *  My  time.  O  ye  muses,' 

ICT. 
Dorian,  motet  In,  70. 
Dr^hi.    The  old  CebeH,  App.  22, 
Drum,  voluntary  and  march,  fil. 
Dunstable.    '  Nrsdens  virKo.  61 
Drgun,  J.    '  Ad  lapldiii,'  76. 
Eccles.  J.    '  A  soldier  and  a  sailor.' 

164. 
Eccles  J,    A  lope  dance,  App.  84. 
I  ccles.  Sol.    '  Pellamira.'  .\pp.  2S. 
Kdwards.     R.      'Where     griping 

grief,'  App.  4. 


KdwantsL  B.  By  painted  imds. 

App.  ft. 
Do.  '  In  going  to.'  A;p.7. 
'  Kxaudi.'  eamm.  119. 
Fa-burden,  itl. 
Fandango.  App.  SS. 
Farlntsl's  ground,  App.  M. 
Farmer.  'You  pretty  flowers.*  105. 
Fayrfax,  Dr.    '  Ave  sunme  *  Tb, 
FrssoobaldL   Canzoaa.l30i 
Galliard.   *  Ye  that  in  waters,' 177. 
(Jnnhilani     8ol«.  161. 
Uoesvb.a.   'Ne  leterls,' 7L 
'  Ureen  sleeves.'  App.  21. 
Greene,  Dr.    '  By  the  screams*'  191. 
iif«gortan  Tones.  27. 28. 
Barriiigton.   'Black  mnetus,' App. 

2, 

Briym.   'Tn«lonefty.*174. 
Ledge  T  aiie.'  App.  96. 
Henry  VIII.    '  Quam  pnlera,' 77. 
'  Hey  boys,'  App.  81. 
'  Hold  thy  peace.'  canon.  67. 
'  How  should  we  slug?'  canon.  97. 
Humfrey.  P.  '  I  pass  aH  my  hours,' 

App.  S2. 
'  In  te.'  oanon.  118. 
Isaac.  H.   '  OanoeptSo.' 70. 
Isham.  J.    ■  Bury  delights.' !». 
'John.  ODHM  kiss  me.'  App.  1& 
'John  Dory.'  App.2K. 
'Johnny,  cock  thy  beaver,*  App. 

Johiunn.   'Deiyied  la  my  name,' 

App.  1. 
JoMiuin.    Klna:*s  Canoa;  TOi 

Do.  'OJesnflll.'72. 
Krrl.  J.  C.    Organ  canzona,  ML 
L«Mii,  O.    'Od'amartMime.*74. 

Do.  'Quand  mon  mary.'  86. 
I.aw<t».  H.    '  Fweet  echo.'  1«1. 
Louis  XIII.    •  Tu  crols,' 138. 
Lully.    ■Roland.' 186. 
Mace.  Lemon,  12^1. 
Marbeck.  '  A  vliglne  and  liiother.' 

94 

Do.  Our  Father,  etc  112. 11\ 
Marcello.  '  Dalt' Tribunal.' IM). 
Marenzk).  L.  *  DIsM  a  I  'amata,*  88. 
Milton.  'O  had  I  wings.' 102. 
Ml*erere.  cmnon,  119. 
'Miserere  noatri.'  Tallls,9fi. 
Monte.  F.  de.  '  Da  bet  rami.'  74. 
Menteverde.  'Ferch'  a'  (Orfej). 
108. 

Do.  Moresea  (do.).  108. 
Moriey^T.  *  Bealde  a  fountain.' loa 


Mooton.  *8i]vei 

Mttsica  Seta.  86. 

Ockcghem.    Fugs  la  EpUiapcBle. 

78. 
'  Old  Efmoa  the  king.'  App.  1€. 
'  O  my  fearful  dreams.'  caooa.  C7. 
'  Ora  ei  labora,'  canon.  119l 
Paiestrina.    'Sicnt  eerros.*  88. 

Da  'Credo  gentfl,'  88. 
'  Panhenla,'  Ifie. 
'  Paul's  steeple.*  App.  ISi 
PhlUtpe,  Peter.    'YolvoMe.'SL 
Porta.  Cost..  8. 
Purceil.  H.    '  JEolns,' ISB^ 

Do.  ■  GoUen  wxkaia.'  US. 
'  Quioquid.'  canon.  Ut. 
Ravenscruft.    Hornpipe,  184. 
^tedford.    *  Be}olae.'  App.  8. 
'  Roger  of  Coverley.*  App.  19. 
Rogers.  B.     *Te  Dctun   pUfaa," 

App.  13. 
Rore.Clpriano.  'AncoreheoeL*?  . 
Rossi.  Emliio.    Caoun,  87. 
ScacchL    'Vobbdotnmcst.*lS!L 
'  Sellenger's  Round.'  98. 
'  8Iiakli«  of  tbe  .ihc«cs,'  App.  13. 
Bhephard.J.   'Slev'nflrst,*  7L 

Do.  A  pohtt.  A|^  10. 
81oth.  cry  of  tbe.  1. 
Bteflkai.    '  Forma  an  mare.' 140l 
Stemhold  A  Bopkiua.    8  realms, 

117. 
Strtggio.A.   'All*ae4iia.'6«. 
Bubligny's  minuet.  App.  Xi. 
Burner  is  1  cumeii  in.  4Sw 
8ymp«on.  Chr.    Divtekn,  1891 
TUlla.    'Absteig«.'96. 
Do.  '  Miserere.' »fik 
Do.  'LikeasthedolcfeL'App.8. 
T^vemer.  J.   '  O  sp<«iid<ir.'  TSi. 
Tlieobald  of  NaTarre.    Sons.  41. 
'  There  lies  a  pudding.'  llf^ 
T1tome.J.   '  Stella  ccall.' 77. 
*  Toilet's  ground.'  App.  17. 
Tre.    *  It  eltanced  in  Iconliuit,*  90L 
'  Uxor  mea.'  App.  29. 
Yaleutlnl.    Canon.  87. 
Yenosa,  Prince  of.  'BaclaMTl.*90. 
Ykentino.    'Allelnia.*  Madxlgate. 

etcB. 
'  We  be  soldiers  three.*  nSk. 
Weelkoi.    '  Aye  me ! '  lOL 
WeldoD.  *  From  grave  kMOBS.' 144. 
Whitelocke.   Coranto.  ISL 
WUbye.    'Lady,  vhea  I  belidd.' 

104. 
WlUaertiA.   Qoem  dienni,  ^ 

LW.H.H-l 

HA YD£E  OU  LE  SECRET.  Op^racomiqae 
in  3  acts;  words  by  Scribe,  music  by  Auber. 
Produced  at  the  Op^ra  Comique  Dec.  28,  1847. 
It  was  produced  in  English  (same  titled  at  the 
Strand  Theatre  April  3, 4i8,  and  at  CoYent  Garden 
(Pyne  and  Harrison)  Noy.  4,  48  (ist  appearance 
of  Miss  Lucombe).  [G.] 

HAYDEN,  George,  organist  of  St.  Mary 
Magdalen,  Bermondsey,  in  the  earlier  part  of  the 
1 8th  century.  About  1723  he  published  Three 
Cantatas,  which  displayed  considerable  ability. 
He  also  composed  a  song  called  '  New  Mad  Toin,^ 
commencing  '  In  my  triumphant  chariot  hurrd,' 
which  was  afterwards  tacked  on  to  the  former 
part  of  the  older  song  '  Forth  from  my  dark  and 
dismal  cell,*  instead  of  the  latter  Yeraes  begin- 
ning 'Last  night  I  heard  the  dog- star  bark,* 
and  was  often  sung  with  it.  His  two-p«urt  song, 
*Ar  I  saw  fair  C-lora  walk  alone^'  was  long  a 
favourite.  [W.H.H.] 

HAYDN,  JoHAKN  Michael,  bom,  like  liis 
brother  Joseph,  at  Rohrau,  Sept.  14,  1737;  was 
grounded  in  music  by  the  village  schoolmaster, 
and  at  eight  became  chorister  at  St.  Stephen's, 
Vienna.  His  voice  was  a  pure  soprano  of  great 
compass,  and  his  style  so  good  that,  as  soon  as 


HAYDN. 


HAYDN. 


701 


Joeepb*8  voice  began  to  change  Michael  took  all 
the  principal  parts.    He  played  the  violin  and 
organ,   and  was   soon  able   to   act   as   deputy 
organist  at  St.  {Stephen's.    He  was  fond  of  his- 
tory, geography,  and  the  classics.     In  music  he 
aimed  at  origrinality  from  the  first,  and  formed 
a  sort  of  society  among  his  school-fellows  for 
detecting  plagiarisms.     Like  his  brother  he  had 
no  regular  instruction  in  composition,  but  taught 
himself  from  h  ux's  '  Gradus,'  which  he  copied  ^ 
entire  in  1757.    His  first  known  mass  is  dated 
Temesvar,   1754;   other  works  were  composed 
at  Warasdin  and  Belenyes;   but  how  he  came 
to  be  in  Hungary  is  not  known.    In  1757  he 
was  Capellmeister  at  Grosswardein  to  the  bishop 
Count  illrmian,  whose  uncle  Arehbishop  Sigis- 
mund  of  Salzburg  appointed  him,  in  1 762,  his 
director  and  concertmeister.     In  1777   he  also 
became  organist  at  the  churches  of  Holy  Trinity 
and  St.  Peter.     On  the  17th  of  August,  1768, 
he  married  Maria  Magdalena  Lipp,   daughter 
of  the  cathedral  organist,  and  a  singer  at  the 
archbishop^s  court,  who  took  the  principal  parts 
in  several  of  Muzart's  juvenile  operas,  and  is 
mentioned  by  him  as  leading  a  peculiarly  strict 
life.  They  had  one  child,  a  £iughter,  bom  1770, 
died  the  following  year.    The  wife  lived  to  be 
82,  and  died  in  June  1827.    MichaeFs  salary, 
at  first  500  florins  (£24)  with  board  and  lodging, 
was  afterwards  doubled ;  and  this  modest  pittance 
was  sufficient  to  retain  him  for  the  whole  of  his 
life  at  Salzburg.     His  attachment  to  the  place 
was  extraordinary,  one  attraction  being  the  proxi- 
mity of  his  great  iriend,  a  cleigyman  named 
Kettensteiner.    In   1783  the  then  archbishop, 
Hieronymus  Count  GoUoredo,  commissioned  him 
to  compose  some  vocal  pieces  to  be  used  instead 
of  the  instrumental  music  between  the  Gloria  and 
Credo  at  high  mass.    Michael  selected  words 
from  the  Ronukn  Miasal,  and  his  first  Graduale— 
first  of  1 14 — was  performed  on  Dec.  24.     In  1 798 
he  visited  Vienna,  and  was  cordially  received  by 
his  brother,  and  by  Eybler,  Sussmayer,  Henne- 
berg.   Hummel,   and  von  Reich  the  amateur, 
who  pressed  him  to  settle  among  them,  but  in 
vain.    In  Dec.  1800  he  lost  his  property  through 
the  taking  of  Salzbuig  by  tbe  French,  but  Ms 
brother  and  friends  came  liberally  to  his  assis- 
tance.   The  Empress  Maria  Theresa'  hearing  of 
his  losses  oommissioned  him  to  compose  a  mass, 
which  he  presented  to  her  in  person.    The  per- 
formance took  place  at  Laxenburg,  Oct.  4,  1801, 
under  his  own  direction ;  the  Empress  sang  the 
soprano  solos,  rewarded  him  munificently,  and 
commanded  another  mass  for  the  Emperor  and  a 
requiem.     Accompanied  by  his  friend  Ketten- 
steiner he  visited  Eisenstadt,  where  for  the  first 
and  only  time  in  their  lives  the  three  Haydns 
spent  some  happy  days  together.    Michael  much 
enjoyed  the  canons  which  decorated  the  walls  of 
Joseph's  study  in  Vienna,  and  asked  leave  to  copy 
some  of  them,  but  Joseph  replied,  *  Get  away  with 
your  copies ;  you  can  compose  much  better  for 

t  T^bi  MS.  oorr.  Hke  tbe  ftutocntpb  of  fait  flnt  bmm,  17M,  Is  in  tbe 
HofblblKHliek. 
>  Hwuud  wlfB  of  Franeb  U. 


younelf.'  Michael  however  carried  his  point,  and 
even  added  a  fourth  part  to  '  Die  Mutter  an  ihr 
Kind.'  Prince  Esterhazy  commissioned  Michael 
to  compdse  a  mass  and  vefspers,  and  ofiered  him 
the  vice-capellmeistership  of  his  chapel,  but  he 
twice  refused,  in  the  hope  that  the  chapel  at  Salz- 
burg would  be  reorganised  and  his  salary  raieed. 
His  hopes  were  deceived,  but  meantime  the  post 
at  Eisenstadt  had  been  filled  'up,  and  he  wrote 
to  his  brother  complaining  bitterly  of  the  disap- 
pointment. Joseph  thought  Michael  too  straight- 
tbrward  for  Eisenstadt:  *Ours  is  a  court  life,' 
said  he,  '  but  a  very  different  one  from  yours  at 
Salzburg;  it  is  uncommonly  hard  to  do  what 
you  want.*  At  this  time  Michael  was  elected  a 
member  of  the  Academy  at  Stockholm,  and  sent 
in  exchange  for  his  diploma  a  Missa  Hispanica 
for  two  choirs  (comp.  1786),  and  other  church 
works.  In  Dec.  1805  he  finished  his  last  mass, 
for  two  sopranos  and  alto,  written  for  hiscboristers. 
He  made  some  progress  with  the  requiem  for  the 
Empress,  but  was  unable  to  finish  it.  While  on 
his  deathbed  his  beautiful  'Lauda  Sion'  was 
sung  at  his  request  in  the  next  room,  and  soon 
after,  on  August  10,  1806,  he  expired.  The 
requiem  was  completed  by  portions  from  his  earlier 
one  in  C  minor,  and  performed  at  his  funeral. 
He  lies  in  a  side  chapel  of  St.  Peter's  Church. 
A  well-designed  monument  was  erected  in  1821, 
and  over  it  is  an  urn  containing  his  skull.  In 
the  tavern  of  St.  Peter's  monastery  is  still  jshown 
the  '  Haydn-Stlibchen,*  his  almost  daily  resort. 
His  widow  received  from  the  Empress  600  florins 
for  the  score  of  the  requiem;  from  Prince 
Esterhazy  30  ducats  for  the  opera  *  Andromeda 
and  Perseus,'  and  an  annuity  of  36  gold  ducats 
for  all  his  MS.  compositions.  His  brother  several 
times  sent  him  money,  and  in  his  first  will  (i8ox) 
left  4000  florins  to  him,  and  in  his  second  (i^^) 
1000  to  the  widow.  His  likeness,  with  regular, 
steady  features,  exists  in  many  oil-portraits, 
engravings,  lithographs,  and  drawings. 

In  character  Michael  was  upright,  good-tem- 
pered, and  modest;  a  little  rough  in  manners^ 
and  in  later  life  given  to  drink.  His  letters 
show  him  to  have  been  a  warm-hearted  friend, 
and  that  he  was  devout  may  be  inferred  from 
y s  habit  of  initialling  all  his  MSS.  with  <  O.  a. 
M.  D.  Gl.*  {Omnia  ad  Majorem  Dei  Ohriam). 
As  a  compcser  he  was  overshadowed  by  the  fame 
of  his  brother.  His  own  words  *Give  me  good 
librettos,  and  the  same  patronage  as  my  brother, 
and  I  should  not  be  behind  him,'  could  scarcely 
have  been  fulfilled,  since  he  failed  in  the  very 
qualities  which  ensured  his  brothers  success. 
On  the  other  hand,  Joseph  professed  that  Michaels 
church  compositions  were  superior  to  his  own  in 
earnestness,  severity  of  style,  and  sustained  power. 
They  are  however  very  unequal ;  many  aite  anti- 
quated from  the  monotony  of  the  accompani- 
ment, while  others — the  Mass  in  D  minor,  tbe 
Graduale  '  Tres  sunt,'  the  '  Lauda  Sion.'  the  well- 
known  *Tenebrae'  in  Eb,  etc. — are  still  highly 

>  The  Vlce^Gapellmebtenihlp  wm  bentowed  on  Jobsim  FQ^^9 
TiolinM  in  the  ebapel,  mmI  uicnmnls  Hajdu's  auooenor.  Be  died 
Uet.  29.1830. 


702 


HAYDN. 


esteemed.  Leopold  Mncart,  a  num  wlio  disliked 
his  manners,  wrote  to  his  son  '  Herr  Haydn  is 
a  man  whose  merit  you  will  be  ibroed  to  acknow- 
ledge.' This  refers  to  his  sacred  works,  several 
of  which  Wolfgang  scored  for  practice ;  he  also 
sent  for  them  to  Vienna,  and  endeavooivd  to 
make  them  better  known,  especially  introducing 
them  to  Van  Swieten.  In  1 78.^1,  when  Michael  was 
laid  aside  by  illness,  Mozart  composed  two  strii^ 
duets  for 'him.  Franz  Schubert  visited  Michael's 
grave  in  1825,  and  thus  records  his  impressions: 
*  The  good  Haydn  !  It  almost  seemed  as  if  his 
clear  ^m  spirit  were  hovering  over  me.  I  may 
be  neither  calm  nor  clear,  but  no  man  living 
reverences  him  more  than  I  do.  My  eyes  filled 
with  tears  as  we  came  away.*  Ferdinand  Schu- 
bert composed  a  striking  chorus  to  w(Mrds  in  praise 
of  Michael  Haydn.  Among  his  numerous  pupils 
we  may  mention  C.  M.  von  Weber,  Neukomn^ 
Wold,  and  Reicha.  There  exists  '  Biographische 
8kizze,'  a  very  warm-hearted  pamphlet  written 
by  Schinn  and  Otter  (Salzburg.  1808). 

Of  his  compositions  comparatively  few  have 
been  printed.  His  modesty  was  excessive,  and 
prevented  his  ever  availing  himself  of  the  offers 
of  Breitkopf  &  HarteL  The  foUowing  list  of  his 
worics  is  complete. 


InsitrutBenUl— flO  short  oiSM 
pi«G«s  fur  begiiwen,  eututetlng  uf 
preluitai.  etc  In  all  the  8  Church 
tiiues  (publt«h«d  at  Uni);  SUaym- 
phontM.  >and  FMiiten,  1  acxMt,  S 
SquinteU.  lereiiaxles,  marches,  li 


mhiueu  tiv  ftiU  orchestra  (Aii«>-  soiiss  (Vk>ni»,  Edefr  1799:   Sali- 


biirK>  GoBxbartj,  1  vlulhi  eoiioeito, 
etc 

Vocal— about  900  compotdtlons 
ftir  the  Church.  taicladinB  2  re- 
qnlenvi,*  94  maiweii.  4  German 
niames.^  114  'graduates,  tn  olfcr- 
tolres.  8 f  litanies.  It  vespers, 5 fiaWe 
Kesina,  B  Besponsorlen.  S  Tene- 
bne,  Beglua  CceU.  etc  etc ;  and 


seTeral  Oermaii  Mcred  aonis.  A 
vreat  many  oraterio**.  cantatas, 
opefM  (Inclodint  'Andromeda  e 
I'eneas.*  iTKi,  mythotogicml  oper- 
ettas, a  *  pastoral  'Die  Uoehtelt 
auf  dar  Alas.'  2  collections  of  4-part 


burK'  Hacker.  VKO);  several  single 
ones. 'Karl  dertield,  ErcherzogTon 
Oesrterreich.'  etc ;  6  canons  in  4  and 
6  parts  (Balcbufv.  Meyer.  IMO), 

Theoretical  — '  Partitur-  Funda- 
ment.' 10  edited  bj  Martin  BischuCi- 
relter.  In  the  Imperial  Library 
is  an  Antiphonarlum  romanam 
with  flgured  bais.  finished  tn  1792. 

[C.  F.  P.] 


Hungary.  He  was  the  second  child  of  Mathias 
Haydn,  a  master  wheelwright,  by  his  marriage 
(Nov.  34,  1738)  with  Maria  KoIIer,  daughter  of 
the  '  Marktrichter '  and  cook  in  Count  Harrach*s 
household.  Haydn's  ancestors  came  originally 
from  Hainburg,  a  town  close  to  the  Danube, 
about  4  leagues  from  Rohrau.  His  great-grand- 
father Kaspar  was  a  servant  in  the  hill-castle 

1  Afterwards  published  In  Mootft's  name.    (Kochel's  Oatalocne 
Utis.  -i'JS  and  4'M.) 
>  Artaria  pabilshed  three 
s  One  in  0  was  printed  under  Joseph's  name  as  op.  tt. 

*  The  second.  In  Bb.  Is  unfinished.  (KflhoelJ 

•  His  first  High  Mass  (German),  'Hler  liegt  Tor  delner  Majvtfit,' 
In  0  (HasUng^r ,  is  very  popular. 

«  48  In  Mure  (l-W  and  4I-«2)  in  the '  Koclesiastleon.'  (Spina.) 
f  'Litania  de  venerabili  saoramentn.'  (Breitkopf  A  Ufirtel.) 

*  The  oratorios  performed  In  Lent  were  generally  Jolnt-oompoal- 
tions  tv  various  authors;  for  instance.  'EHe  Schuldigkett  des  enten 
U4>botes '  (1706)  of  which  Moiart  laged  10)  wrote  the  fint  part,  Mlcliae. 
Haydn  the  second,  and  Adlgasier.  (Jourt-orEanlst,  the  third. 

•  Vocal  score.  Falter  A  8on.Manlch  IMS;  often  ascribed  to  Joseph. 
10  Beprlnted  by  Ober  of  f'alzbunr  IKKL   The  soora  la  amoi*  tb" 

M68.  uf  the  tiesellschaft  der  Mosikfreundab 


HAYDN* 

there,  one  of  the  few  who  escaped  maisafjc  when 
it  was  stormed  W  the  Turks  on  July  ii,  1683. 
Kaspar's  eon  Thomas,  a  master  wheelwright 
and  member  of  the  town  council,  had  7  sons,  of 
whom  Mathias,  the  father  of  our  Haydn,  bom 
Jan  31,  1699,  was  youngest  but  one.  Thoma&i's 
widow  married  a  joumeymaii  wheelwrigbt, 
Mathias  Seefranz  (died  May  a,  1762,  aged 
89),  who  thus  became  Haydn*s  step-grandfather; 
and  cue  of  their  children,  Julie  Roune,  married 
a  schoolmaster  named  Frankh»  afUsrwards 
Haydn's  first  teacher.  The  sons  nearly  all 
learnt  the  wheelwright*s  trade,  and  then  set 
out  on  their  travels;  after  which  Mathias 
settled  in  Rohrau,  and  built  himself  the 
little  house  at  the  end  of  the  market-place, 
where  Haydn  was  bom,  and  which  though  twice 
rebuilt  is  still  standing  in  its  original  form. 
Maria  Haydn  (bom  Nov.  10,  1707;  bore  her 
husband  la  children,  of  whom  the  sixth  was 
Johann  Michael,  the  church  composer ;  and  the 
eleventh  Johann  Evangelist,  an  unimportant 
tenor  singer,  who  was  admitted  to  the  cllapel  uf 
Prince  Esterhazy  on  his  brother  Joseph's  re* 
commendation.  After  Maria's  death  (Feb.  23. 
1754)  Mathias  married  again«  and  had  five 
more  children,  who  died  young.  He  himself 
departed  Sept.  la,  1763. 

Haydn's  parents  were  honest,  indoBtrious 
people,  who  instilled  into  their  children  a  love 
for  work,  method,  cleanliness,  and,  above  all, 
religion.  In  his  old  age  Haydn  gratefully  ac- 
knowledged his  obligations  to  their  care.  Both 
were  fond  of  music,  and  both  sang.  The  father 
had  a  fair  temn*  voice,  and  accompanied  himself 
on  the  harp,  though  without  knowing  a  note. 
The  child  soon  beg^  to  siug  their  simple  songs, 
astonitihing  them  by  the  correctness  of  his  ear 
and  the  beauty  of  his  voice.  But  he  did  not  stop 
there.  Having  seen  the  schoolmaster  play  the 
violin,  he  would  sit  on  the  stove-bench  and 
accompany  his  parents  as  they  sang,  precisely 
imitating  the  schoolmaster's  handling  of  the 
bow,  and  keeping  strict  time,  with  two  pieces 
of  wood  as  his  instrument.     He  was  one  day 


HAYDN,  JosKPR,  or,  according  to  the  bap- 
tismal register,  Franz  Joseph,  the  father  of 
the  symphony  and  the  quartet,  was  bom   in 
the  night  between  March  31  and  April  i,  1733, 
at   Rohrau,   a  small  Austrian   village   on   the 

Leitha,  which  there  divides  Lower  Austria  aiuL4-8urprised,  when  thus  engaged,  by  his  relati#6 

Frankh,  from  Hainbui^.  Thinking  that  he  saw 
in  him  the  making  of  a  musician.  Frankh  per- 
suaded the  parents  to  commit  their  little  boy  to 
his  care.  The  mother  would  have  preferred  his 
entering  the  priesthood,  or  becoming  a  school- 
master, and  it  required  all  the  father's  authority 
to  make  her  consent;  but  he  felt  that  he  had 
himself  been  capable  of  better  things,  and  looked 
forward  to  seeing  his  son  a  Ghor-regent  or 
Capellmeister,  as  a  compensation  for  his  own  lot. 
At  the  age  of  six,  then,  the  little  Joseph — in  the 
Austrian  dialect  'Sepperl' — was  taken  by  his 
father  to  school  at  Hainburg. 

Johann  Mathias  Frankh,  Haydn's  distant  re- 
lative (he  called  him  simply  'cousin'),  was  sn 
excellent  teacher,  very  strict,  and  eminently 
practical.  Haydn  not  only  became  a  first-rate 
singer,  but  also  learned  something  of  the  instru- 
ments most  in  use,  and  spent  nearly  all  his  time 
in  church  or  in  school.     Learning  came  easily  to 


HAYDN. 

him,  and  if  he  bad  any  difficulty,  his  master^B 
8eT«rity  soon  overcame  it.    In  his  old  age  he 
spoke  with  thankfahiees  of  this  hard  probation, 
aod  of  hia  cousin's  discipline.     '  I  shall  be  }2T&te- 
fnl  to  that  man  as  long  as  I  live/  said  he  to 
(rriesinger,   '  for  keeping  me  so  hard  at  work, 
though  I  used  to  get  more  flogging  than  food.* 
On    another    occasion,    when    speaking  in   his 
modest  way  of  his  own  talents  and  indostry, 
he  added,    'Almighty  God,  to  whom  I  render 
thanks  for  all  His  unnumbered  mercies,  gave  me 
such  facility  in  music,  that  by  the  time  I  was  6 
I  stood  up  like  a  man  and  gang  masses  in  the 
church  choir,    and  could  play  a  little  on  the 
c'avier  and  the  vicdin.'   But  the  lad  sadly  missed 
his  mother^B  care.     He  was  n^lected  both  iu 
clothee  and  person  (he  already  wore  a  wig,  *  for 
the  sake  of  cleanliness'),  and  the  results  of  this 
neglect  dlBtresaed  him  long  and  sorely.     When 
quite  an  old  man  he  said  to  Dies  the  painter — 
who,  like  Griesinger,  visited  him  frequently  with 
a  view  to  hia  biography — '  I  could  not  help  per- 
ceiving, much  to  my  distreas,  that  I  was  grad- 
ually getting  Tery  dirty,  and  though  I  thought  a 
good  deal  of  my  little  person,  was  not  always 
able  to  avoid  spots  of  dirt  on  my  clothes,  of 
which  I  was   dreadfully  ashamed  —  in  fact,  I 
was  a  regular  little  urchin.'     Dies  has  preserved 
another  anecdote  of  this  period,  in  which  Haydn 
figures.     A  drummer  was  wanted  for  a  proces- 
sion, and  his  master  thrust  him  into  the  vacant 
office,  first  showing  him  how  to  make  the  stroke. 
The  efiect  must  have  been  comical,  as  he  was  so 
small  that  the  instrument  had  to  be  carried  before 
him  on  the  back  of  a  dblleague  of  equal  height, 
who  happened  to  be  a  hunchback.    Haydn  re- 
tained his  liking  for  the  drum,  and  prided  him- 
self on  his  skill,  with  which  indeed  he  once 
astonished  Salomon's  orchestra  during  his  stay  in 
London.     The  drums  on  which  he  perfomned  at 
HainbuTff  on   the  occasion  just  named  are  stiU 
preserved  in  the  choir  of  the  church. 

At  the  end  of  two  years  a  decisive  change 

took  place  in  his  life.     George  Reutter,  H^- 

conipositor  and  Capellmeister  at  St.  Stephen's, 

Vienna,  was    on  a  visit  to  his   friend  Anton 

Johann  Pahnb,  pastor  of  Hainburg,  and  having 

heard  Haydn*s  '  weak,  sweet  voice'  (as  he  himself 

called  it\  pat  him  through  an  examination,  and 

offered  him  &  place  as  chorister  at  St.  Stephen's. 

To  go  to  Vienna  seemed  to  the  boy  an  almost 

incredible  piece  of  good  fortune.     His  parents 

gave  their  consent;   and  with  a  joyful  heart  he 

bade  farewell  to  Hainburg.      His  grandmother 

had  died  just  before — May  17,  1739;  Frankh 

lived  to  be  75,  and  died  May  10,  1 783,  his  wife 

Julie   Rosine  (who   did   not  do  her  duty  by 

Haydn)  having  preceded  him  in  Jan.  1760.    Of 

their  two  daughters,  Anna  Rosalia,  bom  1752, 

married  Philipp  Schimpel,  usher  of  the  school, 

and  afterwards  Chor>regent.    Haydn  showed  his 

gratitude  to  the .  family  by  leaving  the  latter 

couple  a  sum  of  money  and   his   portrait   of 

Frankh,  *  my  first  instructor  in  music.'     They 

both,  however,  died  before  him,  in  1805,  and 

the  portrait  has  disappeared. 


HAYDN. 


703 


It  was  in  1740  that  Haydn  entered  the  Can- 
torei  of  St.  Stephen*s,  where  he  was  to  pass  his 
remaining  years  of  study.  The  house  was  one 
of  a  row  which  came  close  up  to  the  principal 
entrance  of  the  cathedral,  and  from  his  window 
he  looked  straight  on  the  glorious  spire.  He 
tells  us  that,  '  besides  the  regular  studies,  he 
learned  singing,  the  clavier,  and  the  violin  from 
good  masters."  The  *  regular  studies'  included 
religion,  a  little  Latin,  vmting,  and  ciphering. 
His  singing-masters  are  said  to  have  been  Ge- 
genbauer  and  Finsterbusch ;  the  former,  sub- 
cantor  and  violinist  at  St.  Stephen's,  probably 
taught  him  the  violin  as  well ;  the  latter  was 
a  tenor  in  the  court  chapel.  No  instruction 
seems  to  have  been  given  in  harmony  and 
composition  at  the  Cantorei;  but  this  did  not 
trouble  Yon  Reutter  (ennobled  in  1 740).  Haydn 
could  only  remember  having  had  two  lessons 
from  him  all  the  time  he  was  there.  But  the 
instinct  for  composition  made  him  cover  every 
blank  sheet  of  music-paper  on  which  he  could 
lay  his  hands — *  it  must  be  all  right  if  the  paper 
was  nice  and  fulL'  Reutter  surprised  him  once 
sketching  a  'Salve  Regina'  for  12  voices,  and 
told  him  sharply  he  had  better  try  it  first  in  two 
parts — Aow,  he  did  not  take  the  pains  to  show — 
and  further  advised  him  to  write  variations  on 
the  motets  and  vespers  he  heard  in  church.  In 
this  way  he  was  thrown  back  upon  himself.  *  I 
certainly  had  the  gift,'  he  says,  '  and  by  dint  oif 
hard  work  I  managed  to  get  on.'  An  anecdote 
of  this  time  shows  that  as  a  boy  he  was  not 
behind  his  conurades  in  fun  and  mischief.  The 
choristers  were  frequently  required  to  sin^  with 
the  imperial  chapel — which  explainM  Haydn's 
stntement  that  he  had  sung  with  great  success 
both  at  oourt  and  in  St.  Stephen's.  This  gen- 
erally happened  when  the  oourt  was  at  Schon- 
brunn.  The  palace  had  only  just  been  com- 
pleted, and  the  scaffolding  was  still  standing — an 
irresistible  temptation  to  boys.  The  Empress 
Maria  Theresa  had  caught  them  climbing  it  many 
a  time,  but  her  threats  and  prohibitions  had  no 
effect.  One  day  when  Haydn  was  balancing 
himself  aloft,  &t  above  his  schoolfellows,  the 
Empress  saw  him  from  the  windows,  and  re- 
quested her  Hofcompositor  to  take  care  that 
'  that  fair*haired  blockhead '  (blonder  Dickkopf ), 
the  ringleader  of  them  all,  got  'einen  reoenten 
Schilling'  (slang  for  a  'good  hiding').  When 
he  was  Capellmeister  to  Prinoe  Esterfaazy,  '  the 
fair-haired  blockhead'  had  |tn  opportunity,  at 
EsterhiCz,  of  thanking  the  Empress  for  this  mark 
of  imperial  &vour. 

In  the  autumn  of  1 745  Haydn  had  the  plei^ 
sure  of  welcoming  his  broths  Michael  as  a 
fellow- chorister  at  the  Cantorei,  and  of  helping 
him  in  his  work.  Michael  made  rapid  progress, 
but  a  cloud  came  over  poor  Joseph  s  prospects. 
His  voice  began  to  break,  and  the  Empress, 
who  had  before  taken  particular  pleasure  in  his 
singing,  remarked  jocosely  to  her  Yice-Capell- 
meister^  that  young  Haydn's  singing  was  more 
like  the  crowing  of  a  cock  than  anything  else. 

*  Von  Reutter  wu  advuiced  to  Uils  post  la  TTntt, 


ro4 


HAYDN. 


Reutter  took  the  hint,  and  on  the  festival  of 
St.  Leopold  (Nov.  15),  1748,  celebrated  at  the 
monastery  of  Klostemeuburg,  near  Vienna,  gave 
the  'Salve  Begina*  to  Michael,  who  sang  it 
so  beautifully  as  to  charm  both  Emperor  and 
Empress,  from  whom  he  received  24  ducats  in 
gold. 

Joseph  was  thus  completely  supplanted  by  his 
brother.  His  voice  had  lost  all  its  power,  and 
he  was  oppressed  with  grief  and  anxiety.  In 
the  midst  of  his  trouble  Reutter  suggested  a 
means  by  which  his  voice  might  be  jpreserved, 
and  even  improved;  and  referred  him  to  the 
court  chapel,  which  contained  at  least  a  dozen 
'castrati.*  Haydn*B  father  however,  having 
probably  heard  of  the  proposal,  came  in  all 
baste  to  Vienna,  and  saved  his  son. 

His  days  at  the  Cantorei  were  now  numbered. 
He  was  of  no  use  as  a  singer,  and  it  does  not 
seem  to  have  occurred  to  any  one  that  he  might 
be  employed  as  a  violinist.  Reutter  did  not  con- 
sider himself  in  the  least  bound  to  look  after  his 
future,  and  was  only  waiting  for  an  opportunity 
to  get  rid  of  him.  This  occurred  soon  enough, 
and  Haydn  himself  furnished  the  pretext.  Al- 
ways full  of  fun,  and  inclined  to  practical  jokes, 
he  one  day  tried  a  new  pair  of  scissors  on  the 
pigtail  of  a  schoolfellow.  The  pigtail  fell,  but 
the  culprit  was  condemned  to  a  caning  on  the 
hand.  In  vain  he  begged  to  be  let  off,  declaring 
he  would  rather  leave  than  submit  to  the  in- 
dignity. That  he  might  do,  Reutter  said,  but 
he  must  first  be  caned  and  then  dismissed. 

Haydn  was  thus  thrown  upon  the  world,  with 
an  empty  purse,  a  keen  appetite,  and  no  firiends. 
The  first  person  to  help  him  was  Spangler,  a  cho- 
rister of  St.  Michaers.  He  offered  him  shelter ; 
a  few  pupils  presented  themselves,  and  a  good 
Viennese  lent  him  150  florins,  which  enabled 
him  to  rent  an  attic  in  the  old  Michaelerhaus, 
attached  to  the  college  of  St.  Barnabas,  in  the 
Kohlmarkt.  Here  he  abandoned  himself  to  the 
study  of  composition,  and  made  acquaintance  with 
the  master  who  more  than  any  oUier  became  his 
model— Emmanuel  Bach.  Having  acquired  his 
first  6  Clavier-Sonatas,  he  pored  over  them  at  his 
little  worm-eaten  clavier — and  how  thoroughly 
he  mastered  their  style  his  compositions  show. 
Indeed  Bach  afterwards  sent  him  word,  that  he 
alone  fully  understood  his  writings,  and  knew 
how  to  use  them.  Besides  the  clavier,  he  dili- 
gently practised  the  violin,  so  that  '  ^though,' 
as  he  said,  '  no  conjurer  on  any  instrument,  he 
was  able  to  play  a  concerto.*  About  this  time 
U  7.^1-52,  not  174a  as  is  always  said)  he  com- 
posed his  first  Mass,  in  F  (No.  11  in  Novello's 
edition).  It  bears  unmistakable  evidences  of 
undeveloped  and  unaided  talent.  Hajrdn  had 
forgotten  its  very  (xistenoe  when,  to  his  great 
delight,  he  discovetei  it  in  his  old  age,  and 
insei-ted  additional  wind  parts. 

Having  accidentally  become  acquainted  with 
Felix  Kurz,  a  favourite  comic  actor  at  the 
Stadttheater,  Haydn  was  asked  to  set  his  comic 
opera,  *Der  neue  krumme  Teufel,*  a  kind  of 
magic  farce,  interspersed  with  songs  and  a  few 


HAYDN. 

instrumental  pieces;  and  received  for  it  a  con- 
siderable sum.  It  was  produced  at  the  Stadt- 
theater in  the  spring  of  1752,  and  freqaentlv 
repeated  in  Vienna,  Prague,  Berlin,  Saxony,  and 
the  Breisgau.  The  libretto  has  been  preserved, 
but  the  music  la  lost.  MetaBtasno  was  then 
living  in  the  same  house  with  Haydn.  He 
shared  tlie  apartments  of  a  Spanish  fiunily  to 
whom  he  was  much  attained,  and  snperintend'd 
the  education  of  the  two  daughters.  The  musical 
training  of  the  elder,  Marianne  de  Martines,  wm 
confided  to  Haydn,  who  in  this  way  became  ac- 

auainted  with  Porpora,  then  teaching  singing  to 
le  mistress  of  Correr,  the  Venetian  ambaesador. 
Porpora  proposed  that  Haydn  should  aet  us  his 
aocompanyist,  tiius  giving  hiin  an  opportunity  of 
learning  his  method.  He  took  him  to  the  baths 
of  Mannersdorf,  on  the  confines  of  Hungary', 
where  they  remained  for  some  months,  and,  in 
return  indeed  for  various  menial  offices,  gave  him 
instruction  in  composition.  At  Mannearadorf,  at 
the  soirees  of  Prince  Hildborghausen,  Haydn 
met  Bonno,  Wagenseil,  Gluck,  and  Ditt^sdorf, 
to  the  last  of  whom  he  became  much  attached. 
Gluck  advised  his  going  to  Italy.  Bumey  heard 
his  quartets  finely  played  at  Gluck^s  house  in 
1773..  One  by  one  he  procured  all  the  knows 
theoretical  works,  and  thoroughly  mastered  their 
contents,  especially  Fux*s  'Gradus,'  which  he 
afterwards  used  as  the  foundation  of  his  own 
teaching.  He  had  had,  as  we  have  seen,  no  r^iular 
musical  training;  but  by  industry,  careful  ob- 
servation, and  reiterated  attempts,  he  graduallj 
attained  that  independence  which  gave  the  im- 
press of  originality  to  all  his  works. 

Haydn  now  made  the  irn]x>rtant  acquaintance 
of  Karl  Joseph  Edlen  von  FUmberg,  a  wealthy 
proprietor  and  enthusiastio  amateur,  who  passed 
the  greater  pari  of  the  year  at  Weinzirl,  near 
the  monastery  of  Melk.  Here  he  had  oonstant 
performances  of  string  trios  and  quartets ;  he  in- 
vited Haydn  to  stay  with  him,  and  encouraged 
him  to  comp«>se  his  first  quartet  (1755,  hith^to 
misdated  1750)— 

Pretto  ^ 


m 


T- 


^ 


aczjc 


:»: 


« 


which  was  soon  followed  by  others,  to  the  nnm-, 
ber  of  18  in  all  (1755-56;  Trautwein,  Nos.  fS- 
75).  Ftlmberg  was  thus  the  first  to  direct 
Haydn*s  attention  to  a  branch  of  oompontion 
in  which  alone  he  did  enough  to  immortalise  hii 
name. 

His  pecuniary  condition  now  began  to  amend : 
he  sang  and  played  in  several  churches,  and 
raised  his  terms  for  lessons  from  2  florins  a  month 
to  5.  Among  his  pupils  at  this  period  was  the 
Countess  Thun  (a  name  we  also  encounter  in 
connection  with  Mozart,  Gluck,.  and  Beethoven), 
who  first  heard  of  him  through  one  of  his  clavier 
sonatas,  then  circulated  in  MS.  This  highlj- 
cultivated  lady  took  both  harpsichord  and  singing 
lessons  fixon  him,  and  pail  him  well  for  his  com- 
positions.    In  1 759  *  -mI  fortune  to 


HAYDN. 

be  appointed  Musikdireotor  and  Eanuneroom- 
pofiitor  to  the  Bohemian  Count  Ferdinand 
MaTJTniliftn  Morzin,  who  had  a  small  well-chosen 
orchestra  at  his  country  house  at  Lukavec,  near 
Pilsen.  f  timberg  had  recommended  him  for  the 
post,  and  it  was  thus  again  through  him  that 
Haydn  entered  upon  the  second  most  important 
part  of  his  career.  Here,  in  1759,  he  wrote  his 
first  Symphony  :— 

PrtBto 


HAYDN. 


705 


It  is  a  small  work,  in  three  movements,  for  a 
-violins,  -viola,  bass,  2  oboes,  and  a  horns;  and 
in  its  cheerful  unpretending  character  gives  de- 
cided indications  of  what  the  composer  was 
destined  to  become.  His  salary  now  amounted 
to  aoo  florins  (say  j£ao),  with  board  and  lodging. 
Small  as  this  was,  it  induced  him  to  think  of 
taking  a  companion  for  life,  although  the  Count 
never  kept  a  married  man  in  his  employ.  His 
choico  fell  on  the  daughter  of  Keller,  a  wig- 
maker,  to  whose  house  he  had  been  introduced 
by  her  brother,  who  was  violinist  at  St.  Stephen's 
when  Haydn  was  a  chorister.  He  gave  music- 
lessons  to  the  two  daughters,  and  fell  in  love 
with  the  youngest.  She  however  took  the  veil, 
and  the  father,  anxious  to  keep  him  in  the 
£unily,  persuaded  him<  to  marry  the  other, 
Maria  Anna,  3  years  his  senior.  The  wedding 
took  place  at  St.  Stephen's,  Nov.  26,  1760 — a 
bad  day  for  Haydn,  and  the  foundation  of  un- 
utterable domestic  misery.  His  wife  was  a  regu- 
lar Xantippe — heartless,  unsociable,  quairdsome, 
extravagant  and  bigoted,  who,  as  her  husband 
said,  cared  not  a  straw  whether  he  was  an 
artist  or  a  shoemaker.  They  had  no  children, 
and  it  can  scarcely  be  wondered  at  if  in  time 
Haydn  sought  elsewhere  the  consolations  which 
were  denied  him  at  home,  or  even  showed 
himself  susceptible  to  the  attractions  of  other 
women.  His  wife  spent  the  last  years  of  her 
life  at  Baden,  near  Vienna,  and  died  March 
20,  1800. 

Soon  after  the  marriage.  Count  Morzin  was 
compelled  to  dismiss  his  band  and  its  director; 
but  Haydn  was  not  long  unemployed.  Paul  Anton 
Esterhazv,  the  then  reigning  Prince,  who  had 
heard  his  symphonies  when  visiting  Morzin, 
hastened  to  secure  the  young  composer  as  his 
second  Capellmeister,  under  Werner,  who  was 
growing  old.  He  was  appointed  May  i,  1761, 
and  immediately  set  out  for  Eisenstadt,  in  Hun- 
gary, the  country  seat  of  tho  new  master  in 
whose  service  he  was  destined  to  remain  to  the 
end  of  his  life.  The  Esterhazy  family  had  been 
musical  amateurs  and  performers  since  the  days 
of  Paul,  first  Prince  of  the  name  (i 635-1 713), 
who  established  a  private  chapel,  small  at  first  but 
gradually  increasing.  The  orchestra,  chorus, 
and  solo  singers  took  part  both  in  the  church 
service  and  in  concerts,  and  in  time  even  per- 
formed operas.  When  Haydn  entered  upon  his 
duties  there  were  only  16  members  in  all,  but  the 


ezoeUence  of  their  playing  acted  as  a  powerful 
stimulus  to  his  invention.  His  arrival  gave  a 
great  impulse  to  the  concerts,  Werner,  a  first-rate 
master  of  counterpoint,  having  concentrated  all  his 
energies  on  the  Church  service.  [See  Webnbb.] 
To  a  man  with  Werner's  notions  of  music  Haydn 
must  have  been  a  constant  vexation;  and  he 
always  spoke  of  him  as  '  a  mere  fop,'  and  a  *  scrib- 
bler of  songs.*  Haydn,  on  the  contrary,  had  a 
high  respect  for  Werner,  as  he  proved  late  in  life 
by  arranging  six  of  his  fugues  as  string-quartets, 
and  publishing  them,  through  Artaria,  '  out  of 
sincere  esteem  for  that  celebrated  master.' 

Prince  Paul  Anton  died  March  18,  1762,  and 
was  succeeded  by  his  brother  Nicolaus,  who  was 
passionately  fond  of  art  and  science,  generous, 
and  truly  kind-hearted.  The  love  of  pomp  and 
display,  of  which  his  weQ-known  diamond-covered 
uniform  was  an  example,  earned  him  the  soubri- 
quet of  '  der  Prachtige,'  or  the  Magnificent. 
He  loved  music,  and  played  well  on  the  bary- 
ton,  or  viola  di  bardone,  for  which  instrument 
Haydn  was  constantly  required  to  furnish  him 
with  new  pieces.  In  the  hope  of  pleasing  his 
master  Haydn  himself  learned  the  instrument; 
but  on  making  his  d^ut  was  disappoihted  to  find 
that  the  Prince  did  not  approve  of  such  rivalry ; 
on  which  he  at  once  relinquished  it  for  ever. 
The  relations  between  the  Prince  and  his  new 
Capellmeister,  who  found  his  time  fully  occupied, 
were  genial  and  hearty.  Haydn's  salary  was 
raised  from  400  florins  a  year  to  600,  and  then 
to  78  a  (^78),  new  miisicians  were  engaged,  and 
rehearsals— orchestra],  chamber,  and  dramatic 
— took  place  every  day.  The  principal  members 
of  the  chapel  at  the  time  were,  Luigi  Tomasini 
(violin)  ;  Joseph  Weigl  (cello)  ;  two  excellent 
French  horn-players,  Thaddaus  Steinmuller  and 
Karl  Franz  (the  latter  also  playing  the  baryton) ; 
Anna  Maria  SchefiBstos  (soprano),  who  after- 
wards married  Weigl ;  and  Karl  Friberth  (tenor). 
The  wind  music,  formerly  played  by  the  band  of 
the  regiment,  was  now  given  to  good  players 
(including  the  two  just  named)  regularly  ap- 
pointed. On  March  5,  1 766,  Werner  died,  and 
Haydn  became  sole  Ciapellmeister.  His  com- 
positions were  already  known  far  outside  of 
Austria;  in  Leii^ag,  Paris,  Amsterdam  and 
London  his  symphonies  and  cassations,  trios, 
and  quartets,  were  to  be  had  in  print  or  MS. 
Even  the  official  gazette,  the  *  Wiener  Dia- 
rium,*  for  1766,  speaks  of  him  as  'our  national 
favourite'  (der  Liebling  unserer  Nation),  and 
draws  a  parallel  between  him  and  the  poet 
Gellert,  at  that  time  the  highest  possible  compli- 
ment. 

His  works  composed  up  to  this  time  at  Eisen- 
stadt comprise  about  30  symphonies  (including 
♦Le  Matin,' ^  *Le  Midi,'  and  'Le  Sour,'  1761) 
and  cassations ;  a  few  divertimenti  in  5  parts ; 
six  string-trios;  a  piece  for  4  violins  and  a 
colli,  called  'Echo* ;  a  concerto  for  the  French 
horn  (1762);  13  minuets  for  orchestra;  con- 
certos, trios,  sonatas,  and  variations  for  clavier. 
In  vocal  music — a  Salve  Kegina  for  soprano  and 
I  8<wtbetlieiiie8,p.?2l,78IL 

Za 


1 


706 


HAYDN. 


alto,  a  violins,  and  organ;  a  Te  Demn  (1764); 
4  Italian  Operettas  (176a)  ;  a  pastoral,  '  Acide 
e  Galatea*  (the  action  identical  with  that  of 
HandeFs  cantata),  performed  Jan.  11,  1763,  on 
the  marriage  of  Count  Anton,  eldest  son  of 
Prince  Nioolaos ;  and  a  grand  cantata,  in  honour 
of  the  Prince's  retom  from  the  coronation  of  the 
Archduke  Joseph  as  King  of  the  Romans  (1764). 

Soon  after  Werner's  death  an  event  took 
place,  which  greatly  affected  the  music,  viz.  the 
establishment  of  a  new  palace  near  Sttttor,  at 
the  southern  end  of  the  Neusiedler^See,  where 
the  Prince  rebuilt  an  old  hunting-place,  turned 
it  into  a  splendid  summer  residence,  and  gave 
it  the  name  of  Esterhl^  Here  tha  chapel 
(except  a  small  portion  left  to  carry  on  the 
church  service  at  Eisenstadt)  were  located  for 
the  greater  part  of  the  year,  during  which  they 
were  expected  to  redouble  their  exertions. 

EsterniK — described  by  a  French  traveller 
as  'having  no  place  but  Versailles  to  compare 
to  it  for  magnificence  * — stands  in  the  middle 
of  an  unhealtiiy  marsh,  quite  out  of  the  world. 
The  erection  of  such  a  building  in  such  a  neigh- 
bourhood, at  a  cost  amounting  it  is  said  to 
11,000,000  gulden,  was  one  of  the  caprices  of 
Prince  Nicolaus.  The  canals  and  dykes  he 
constructed  were,  however,  substantial  improve- 
ments to  the  neighbourhood.  The  dense  wood 
behind  the  castle  was  turned  into  a  delightful 
grove,  containing  a  deer-park,  flower-gsrdens 
and  hot-houses,  elaborately  furnished  summer- 
houses,  grottoes,  hermitages,  and  temples.  Near 
the  casUe  stood  an  elegant  theatre,  for  operas, 
dramas,  and  comedies;  also  a  second  theatre, 
brilliantly  ornamented,  and  furnished  with 
artistic  marionettes,  excellent  scenery  and  ap] 
anoes.  The  orchestra  of  the  opera  was  formed  of 
members  of  the  chapel,  under  baydn*s  direction; 
the  singers  were  Italian  for  the  most  part, 
engaged  for  one,  two,  or  more  years,  and  the 
books  of  the  words  were  printed.  Numerous 
strolling  companies  were  engaged  for  shorter 
terms ;  travelling  virtuosi  oft^  played  with  the 
members  of  the  band ;  special  days  and  hours 
were  fixed  for  chamber-music  and  for  orchestral 
works;  and  in  the  intervals  the  singers,  musi- 
cians, and  actors  met  at  the  caf^,  and  formed, 
so  to  speak,  one  family.  The  castle  itself  was 
fitted  up  in  exquisite  taste,  and  stored  with 
numerous  and  costly  collections  of  works  of  art. 
Royal  and  noble  i>erBonages,  home  and  foreign, 
formed  a  constant  stream  of  guests;  at  whose 
disposal  the  Prince  placed  his  beautifud  carriages, 
and  to  whom  he  proved  the  most  attentive  and 
charming  of  hosts.  He  became  so  much  attached 
to  this  place  of  his  own  creation,  as  often  to  stay 
there  till  quite  the  end  of  autunm,  and  return 
with  the  first  days  of  spring.  Eisenstadt  he 
visited  very  rarely,  and  Vienna  he  disliked  more 
and  more,  often  cutting  short  his  visits  in  the 
most  abrupt  manner.  Hence  his  singers  and 
musicians  were  increasingly  tied  to  this  one  spot 
•^a  &te  all  the  harder,  since  very  few  were 
allowed  to  bring  their  wives  and  families.  Here 
Haydn  compost  nearly  all  his  operas,  most  of 


HAYDN. 

his  arias  and  songs,  the  music  for  tlie  niarionetto 

theatre — of  which  he  was  particularly  fond — 

.  and    the  greater   part   of  his   orcheeknd   and 

chamber  works.    He  was  satisfied  with  his  poei- 

I  tion,  and  though  he  sometimes  complained  of  the 

diFsdvantages  of  such  a  sedunon,  and  often  ex- 

.  pressed  his  wish  to  visit  Italy,  he  also  acknow- 

!  lodged  its  compensating  advantages.    In  his  own 

I  words :   '  My  Prince  was  always  satisfied  with 

;  my  works ;  I  not  only  had  the  enoooragement 

of  constant  i4>proval,  but  as  conductor  of  an 

orchestra  I  could   make   experimenta,  obserr« 

what  produced  an  effect  and  what  weakened  it, 

and  was  thus  in  a  position  to  improve,  alter, 

make  additions  or  omissions,  and  be  as  hM  as  I 

pleased ;  I  was  cut  off  from  the  world,  there  was 

no  one  to  confuse  or  torment  me^  and  I  wss 

forced  to  become  original* 

With  the  band  and  singers  Haydn  was  on 
the  best  of  teims.  They  vied  with  each  other 
in  carrying  out  his  intentions,  simply  to  show 
their  gratitude  and  afiection  for  him.  He 
was  constantly  endeavouring  to  improve  their 
lot,  was  invariably  a  wann  advocate  with  the 
Prince  on  their  bdialf,  and  they  all  loved  him 
like  a  &ther.  The  Prince  gave  nnnsnally  high 
salaries,  and  several  of  the  muncians  played  two 
instruments — generally  the  violin  and  a  wind 
instrument.  A  good  many  of  them  afterwards 
entered  the  Imperial  chapeL 

The  principal  and  best-paid  memben  of  the 
chapel  during  the  period  spoken  of  (1767-90) 
were :~  female  singers,  Weigl,  Cellim,  Jermoli, 
Rippamonti, '  Valdiesturl%  Taveochia^  Maria  and 
Matilda  Bolpgnia,  Raimondi,  Nenciniy  Benve- 
nnti ;  male  singers — Friberth,  Bianchi,  Ghersrdi, 
Jermoli,  Moratti,  Mordli,  Totti  (a),  Peschi; 
violins — ^Tomasini,  Rosetti,  Rippamonta,  Mes- 
trino,  Mraw;  cellists — ^Weigl,  Kttffel,  Marteao, 
Kraft ;  flute — Hirsch ;  darraets  Griesbacher 
(a);  oboi — Columbaaso  (a),  Poachwa,  (^er- 
wenka ;  bassoons — Schiringer,  Peczival ;  horns^ 
Steinmiiller,  Kari  Franz  (also  played  the  barvton) 
Stamitz,  Oliva,  Pauer,  Lendway.  Besides  Frazu 
there  was  another  performer  on  the  princess  own 
instrument,  the  baryton — Andreas  Lidl  ( 1 769-7  4) 
who  played  in  London  soon  after  leaving  the 
band.  J.  B.  Krumpholtz  the  harpist  was  en- 
gaged from  1773-76. 

In  March,  1 769,  the  whole  musical  establish- 
ment visited  Vienna  for  the  first  time;  and, 
under  Haydn's  direction,  gave  a  performance 
of  his  opera,  'Lo-  Spexiale'  (oomp.  1768),  at 
the  house  of  FVeiherr  von  Sommerau;  and  a 
repetition  in  the  form  of  a  concert.  On  their 
second  visit,  in  the  summer  of  1777,  they  per- 
formed at  ^^onbrunn  an  opera  and  a  marionette- 
opera  of  Haydn's,  and  also  played  during  the  Em- 
press's dinner.  The  Prince  would  cAen  take 
them  to  Presburg  durii^  the  sitting  of  the 
Hungarian  diet,  or  for  the  festival  of  Coust 
Grassaloovich,  and  in  1773  Haydn  conducted 
the  Count's  own  orchestra  even  at  a  ball. 
In  1 771  Haydn  composed  a  'Stabat  Mater* 

1  Aftenruds  married  to  Sdildit,  Owtor  of  the  TboaM»«d»iile  at 
Uiptls. 


HAYDK. 

and  a  '  Salve  Begma/  In  1 775  fdldlred  his  firtt 
oratorio,  'B  Ritomo  di  Tobia,*  which  waa  per- 
fonned  in  Vienna  by  the  TonkllnsUer  Sodetat, 
with  solo-ringen  from  Esterhiz,  and  repeated  in 
1784  with  two  additional  choruaee.^  To  this 
period  belong  4  Maaeee  (a  small  ones  of  an  early 
date  have  been  loet)-^in  G  (177a) ;  in  C,  'Cad- 
lienmesse*;  in  £b,  with  organ  obbligato ;  and  in 
Bb,  with  ovgao  ado  (Nob.  7,  $,  la,  and  8  in 
Kovello*8  edition).  The  last  is  a  mnall  but  par- 
ticalsffly  diaiminff  work,  and,  like  the  first,  is 
still  often  heard ;  but  that  in  £b  is  dd-£EtfihioDed. 
The  'Caeilienmesse*  has  many  fugues,  and  is 
sddom  performed  on  aooount  of  its  length.  (Ko- 
yello*8  edition  is  taken  hom  Brdtkoprs  cor- 
tailod  ecoie.) 

In  1773  the  Empress  Maria  Theresa  yidted 
Esterh^  from  Sept.  i  to  3,  and  was  enter- 
tained with  performances  of  a  new  symphony  of 
Haydn's^now  known  by  her  nanie  (p.  7ai  &)-— 
his  opera  'Llnfeddtk  delusa,'  and  'Philemon 
und  Bauds,'  a  marionette  piece,  which  espe- 
dally  pleased  her.  One  song  and  the  overture, — 
or  'symphony '-~ in  a  movements,  have  survived. 
Similar  festivities  took  plaoe  on  various  coca- 
dons— a  vidt  from  one  of  the  Imperial  fomily, 
or  an  event  in  the  Prince's  own  oirde.  Even 
Eisenstadt  gave  a  ^iimpse  of  its  old  splendour 
when  the  Prince  de  Kohan,  French  Ambassador, 
stayed  there  in  177a. 

In  1 776  Haydn  oompoeed  '  La  vera  Gostanza,* 
for  the  court-tiieatre  of  Vienna.  The  intrigues 
agunst  it  were  however  too  strong,  and  event- 
ually Anfosd*8  opera  of  the  same  name  was 
preferred.  Haydn  withdrew  his  score,  and  pro- 
duced it  at  Esterhi^B.  It  was  revived  in  1790 
at  the  theatre  then  in  the  Landstrasse  suburb  of 
Vienna,  and  Artaria  engraved  six  of  the  airs  and 
a  duet.  In  1778  the  TonkanstlerSodetat  offered 
Haydn  a  strange  affront.  He  wished  to  join  the 
sodety,  and  had  already  paid  his  depodt^  when 
he  was  asked  to  sign  an  agreement  binding 
him  to  furnish  oompodtious  of  importance  when- 
ever so  required.  He  naturally  declined,  and 
withdrew  lus  money.  No  reparation  was  made  for 
this  indignity  till  after  his  return  from  London 
in  1797,  when  he  was  introduced  at  a  special 
meeting  by  Counts  Kufstein  and  Johann  Ester- 
hazy,  and,  amid  general  acclamation,  appointed 
'Assessor  senior*  for  life.  This  compliment  he 
acknowledged  by  presenting  the  society  with  the 
*  Creation '  and  the  '  Seasons,'  to  which  gifts  its 
prosperity  is  mainly  owing.  *  L'Isola  disabitata,,* 
one  of  his  best  operas,  composed  in  1779  to  a 
libretto  by  Metastadoy  procured  Haydn's  nomi- 
nation as  a  member  of  the  Aocademia  Filarmonica 
at  Modena.  He  sent  the  score  to  the  King  of 
Spain,  and  reodved  in  return  a  gold  snuff-box 
set  in  brilliants.  The  opera  was  performed  at 
the  court-theatre  in  Vienna,  at  a  concert  given 
by  Willmann  the  cellist  in  1 785. 

On  Nov.  18,  1779,  the  theatre  at  Esterh^ 
was  burnt  down,  and  during  the  rebuilding  the 
Prince  went  to  Paris.     Tlds  interval  will  en- 

I  'Tobto*  HM  TMnrnntad  br  ffmkaDm  Id  UOS,  md  p«rfoniwd  tl 
tiM  Tookikmtler  8od«at  oonottru. 


HAYDN; 


707: 


able  ns  to  mention  the  origin  of  the  fianous 
'  Farewell  Symphonv.'  It  has  been  often  asserted 
that  Haydn  intended  it  as  an  appeal  to  the 
Prince  against  the  dismissal  of  the  chapd,  but 
this  is  incorrect ;  the  real  object  was  te^persnade 
him  to  shorten  his  stay  at  Esterh^  and  so 
enable  the  mudcians  to  rejoin  their  wives 
and  fiunilies.  As  one  after  another  stopped 
playing  and  left  the  orchestratr  until  only  two 
violins  were  left  (Tomasini,  the  Prince's  fibvourite, . 
being  one),  the  hint  was  unmistakable.  'If  all  go/ 
said  the  Prince,  'we  toaj  as  well  go  too' ;  and 
Haydn  knew  that  his  object  waa  attained.  * 

This  seems  also  the  place  tb  speak  of  a  sub- 
ject dosdy  affecting  Haydn's  private  life.    In. 

1779  <^  couple  named  PolceUi  were  admitted 
into  the  chapel — the  husband,  Anton,  bdng  an. 
indifferent  violinist,  and  the  wife,  Luigia>  by 
birth  a  Roman  of  the  name  of  Moreschi,  a 
second-rate  singer.  For  the  latter  Haydn  oon- 
oeived  a  violent  affection,  which  she  returned 
by  shamefully  abudng  his  kindness  and  con- 
tinually importuning  him  for  money,  and  even 
extracting  mmi  him  a  written  promise  that  if 
his  wife  died  he  would  marry  no  one  but  her.. 
This  paper  he  afterwards  repudiated,  but  he 
left  her  a  small  annuity  in  his  will.  Before  hi» 
death  she  had  been  married  a  second  timei,  to 
an  Italian  mngee,  and«  died  at  Kaschau  in  183a.' 
Mme.  Polzelli  had  two  sons,  of  whom  the  dder 
died  in  1796,  while  the  younger  entered  the 
chapel,  and  eventually  became  its  mudc-director. 
He  was  a  pupil'  of  Haydn's,  and  was  popularly- 
supposed  to  be  his  son,  but  tiie  feet  is  doubtfuL 
Haydn  was  certainlv  very  fond  of  him;  but  he 
left  him  only  a  smau  sum  in  his  first  will,  and 
revoked  it  in  the  second.^ 

On  Oct.  15,  1780,.  the  beautiful  sew  theatre 
at  Esterh^  was  opened  with  '  La  Feddtk  pre-, 
mlata.'  This  opera  was  twice  represented  in. 
Vienna  in  1784,  once  in  the  presence  of  the  Em- 
peror Joseph,  Haydn  himself  conducting.    From 

1 780  dates  his  acquaintance  with  Artaria — the 
commencement  of  a  business  connexion  of  many 
years'  duration.  The  first  works  which  Artaria 
pubUahed  for  him  were  6  Clavier  sonatas  (op.  30), 
his  first  I  a  Lieder,  6  Quartets  ('  die  Russischen'), 
6  Divertissements  in  8  parts  (op.  31),  and  6  Sym- 
phonies (op.  51  and  5a).  In  1 781-^3  the  Emperor 
Joseph  reodved  two  vidts  from  the  Grand  Duke 
Paul  and  his  wife,  (jceat  entertainments  were 
given  in  their  honour,  consisting  chiefly  of  mu- 
sical perfonoances,  for  which  the  Grand  Duchess 
had  a  great  taste.^  Gluck's  operas  were  given 
at  the  theatre,  and  some  of  Haydn's  quartets 
played  at  her  own  house,  so  muoh  to  her  satis- 
feotion,  that  she  gave  him  a  diamond  snuff-box, 
and  took  lessons  from  him.  Ha^dn  seems  to 
have  retained  a  pleasant  recollection  of  her,  for 

>  Hm  Symphony  wu  pabUshad  In  pvU  by  Sletar (No.  IB);  a  new 
•dltton  by  Btmrock  (37);  in  Kore  by  Le  Duo  (9);  ftnd  for  4  hands 
Tiftutweln  (SBi.  Andre's  edition  Is  the  llnala  only,  tnasposed  Into 
X  minor. 

*  F^tis  layi  that  her  death,  XTBOtlndnead  Haydn  partlealarty  to  |0 
to  London! 
«  I'olaUrs  tm  danghten  are  stlU  Uving  at  Pesth. 

>  She  was  present  as  the  well-known  oompetliloa  between  dementi 

Zc2 


708 


HAYDIT. 


ao  years  later — in  i8oa,  when  she  waa  Dowager- 
Empress — he  sent  her  his  fine  part^ongs  for  3 
and  4  voices.  He  also  dedicated  the  6  *  Russian ' 
quartets  just  mentioned  to  the  Grand  Duke.  The 
Duke  and  Duchess  had  intended  aooompanying 
the  Emperor  to  Eisenstadt^  and  Havdn  was 
hastily  composing  an  opera,  but  their  departure 
was  hurried,  and  the  visit  did  not  take  plaoe. 

About  tlds  time  Haydn  entered  into  oorre- 
•pondence  with  William  Fonter,  the  well-known 
violin-maker  in  London,  to  whom  he  sold  the 
English  copyright  of  a  series  of  o(MnpoBitions. 
From  first  to  last  (the  first  receipt  is  dated 
Aug.  a  a,  1 781)  Forster  and  Son  published  ia9 
of  Us  works,  including  8  a  symphonies.  Almost 
simultaneously  he  received .  a  letter  from  Le 
Gros,  conductor  of  the  'Concerts  SpirituelB,' 
saying  that  his  '  Stabat  Mater '  had  been  per- 
form^ four  times  with  the  greatest  success,  and, 
in  the  name  of  the  members,  asking  permission 
to  print  it.  They  also  invited  him  to  come  to 
Paris,  and  proposed  to  have  all  his  future  com- 
positions engraved  there  for  his  own  benefit. 
Gherubini's  veneration  for  Haydn  is  said  to  have 
dated  from  his  hearing  one  of  the  six  symphonies 
(op.  51  and  53)  wMch  he  composed  for  the 
*  Concerts  de  la  Loge  Olympique.  Besides  the 
publishers  already  luuned,  he  had  satisfactory 
dealings  with  Nadennann,  Willmann,  Imbault, 
Le  Due,  and  espedally  with  Sieber. 

The  opera  which  he  composed  for  the  expected 
visit  of  the  Grand  Duke  and  Duchess  was 
'Orlando  Paladino'  (given  at  Esterhiz  in  the 
autumn  of  1782),  which  in  its  German  form  as 
'  Bitter  Boland*  has  been  more  frequently  per- 
formed than  any  of  his  other  operas.  It  was 
.  followed  by  'Annida^  (composed  in  1783,  per- 
formed in  1784^  and  again  in  1797  at  Schick- 
aneder's  theatre  in  Vienna),  the  autograph^  score 
of  which  he  sent  to  London,  in  oompensation  for 
the  non-completion  of  'Orfeo.*  In  judging  of 
his  operas  we  may  be  guided  by  an  expression 
of  his  own  when  refusing  an  invitation  to  pro* 
duce  one  in  Prague :  -'  My  operas  are  calculated 
exclusively  for  our  own  company,  and  would 
not  produce  their  effect  elsewhere.*  The  over- 
tures to  six  of  them  were  published  by  Artaria 
as  'symphonies,'  though  under  protest  from 
Haydn.  To  178a  also  belongs  the  well-known 
'  Mariazeller-Messe '  (in  C,  Novello,  No.  15), 
so  called  frt>m  the  plaoe  of  that  name  in  Styria. 
It  was  bespoken  by  a  certain  Heir  Liebe  de 
Exeutxner,  and  Haydn  is  said  to  have  taken  par- 
ticular pleasure  in  its  composition,  not  impose 
sibly  because  it  reminded  him  of  a  visit  to 
Mariazell  when  a  young  man  without  experience, 
friends,  or  means  of  any  kind.  This  was  his 
eighth  Mass,  and  he  wrote  no  more  till  1796, 
between  which  year  and  1803  his  best  and 
most  important  works  of  the  kind  were  com- 
posed. 

Between  1 780  and  1 790  he  met  a  number  of 
u*tists  in  Vienna  whom  he  was  destined  to 
meet  again  in  London,  such  as  Mara,  Banti, 

1  In  the  posaeadoQ  of  the  Eacred  HannoDle  Bocletj  of  London, 
cauiugue  Hot.  ISHSw 


HAYDK. 

Storaoe,  and  her  brother  Stephen,  Aitwood,  Jaoie- 
wics,  and  Jamowidc.  In  1 784  he  met  Paisielio, 
Sarti,  and  Signora  Strinasaccfai,  the  violinist,  at 
Michael  Kelly^s  lodgings  ,*  the  latter  paid  him 
a  visit  at  Esterh&i  with  Biida,  an  enthuBiastie 
amateur.* 

The  chief  event  of  1785  was  the  caarpam^aao. 
of  the  'Seven  Words  of  our  Saviour  on  the  Ooas' 
for  the  cathedral  of  Cadix,  in  oompUaiioe  with  a 
request  from  the  chapter  for  appropriate  instru- 
mental music  for  Good  Friday.  The  work  was 
published  simultaneously  by  Artaria  and  Fonter, 
and  in  this  form  Haydn  produced  it  as  '  Paanone 
instrumentale' in 'London.  He  afterwards  added 
choruses  and  solos,  and  divided  it  into  two  parts 
by  the  introduction  of  a  Lazgo  for  wind  instru- 
ments. In  this  new  form  it  was  produced  for 
the  first  time  at  Eisenstadt  in  Oct.  1797,  and 
published  by  Breitkopf  &  Hi&rtel  (1801),  with 
a  preface  by  the  oompoeer.  It  may  seem  sur- 
prising that  the  ehi^ter  of  Cadiz  uicNild  have 
appli^  to  Haydn;  but  in  iact  he  was  well 
known  in  Spain  to  others  besides  the  king,  wiio 
had  been  in  communication  with  him. long  be- 
fore, as  we  have  seen.  Thus  Boocherini  wrote 
to  him  from  Madrid  expressing  the  pleasure  he 
received  from  his  works,  and  Yriarte  oeleisated 
him  with  enthusiasm  in  his  poem  of '  La  Musica* 
(Madrid,  1779). — In  Jan.  1785  Haydn  acquired 
two  inteoresting  pupils — Fritz  and  Edmund  von 
Weber.  They  were  brought  to  him  by  their 
&ther  Franz  Anton,  who  had  just  remarried  in 
Vienna.  His  desire  to  see  one  of  his  children 
develop  into  «  great  musician,  afterwards  so 
gloriously  fulfilled  in  the  composer  of  the  '  Frei- 
schutz,^  was,  to  •  certain  extent,  granted  in 
Edmund.  In  the  same  year  Mozart  dedicated 
the  well-knowli  six  quartets  to  Haydn,  in  terms 
of  almost  filial  affection.  It  was  after  listening 
to  a  performance  of  one  of  these  that  Haydn 
said  to  Mozart's  father,  in  his  open-hearted  way, 
'  I  declare  to  you  on  my  honour  that  I  oonsider 
your  son  the  greatest  composer  I  have  ever 
heard ;  he  has  taste,  and  possesses  the  most  con- 
summate knowledge  of  the  art  of  composition.* 
He  spoke  <of  him  still  more  warmly  in  a  letter  to 
Prague  in  1787.  The  relation  in  which  these 
two  great  men  stood  to  each  other  does  credit 
to  them  both,  and  leads  us  to  fonn  a  high  esti- 
mate of  their  characters.  It  would  be  difficult 
to  find  a  parallel  instance. 

In  1787  Haydn  received  a  pressing  invitation 
to  London,  from  W.  Cramer,  the  vi^inist,  who 
wrote  offering  to  engage  him  at  any  cost  for 
the  Professional  Concerts.  Gallini  also  wrote 
asking  his  terms  for  an  opera.  Nothing  came 
of  either  at  the  time,  but  Salomon  detennined 
to  try  what  personal  influence  would  do,  and 
despatched  Bland,  the  music-publisher,  to 
Vienna,  where  he  arrived  in  November,  and 
finding  Haydn  still  at  Esterh^,  fidlowed  him 
there.  He  did  not  attain  his  main  object,  but 
Haydn  gave  him  the  copyright  of  sevend  of  his 

>  Kelly,  BftmlnlMenoeA.  1. 221.  calk  It  Eb^nstodt  by  mistakii. 

*  Though  often  locludcd  ubodb  his  quartets,  it  lias  notbioff  to  do 
with  them.  It  waa  first  published  alone  by  Artaria.  but  wis  alCer- 
imrdi  omittad  from  bis  aatboziaod  aeries  of  Haydn's  qnarteta. 


HAYBN. 

compofiitionf,  among  othen  'Ariadne,'  a  cantata 
for  a  single  yoioe  (oompoeed  in  1782).  An  anec- 
dote of  Bland*8  visit  is  often  told.  When  he 
was  a<]initted»  Haydn  was  in  the  act  of  sharing, 
and  gmmbling  over  the  bluntness  of  his  rasor. 
Bland  caught  the  exclamation,  '  I  would  give 
my  best  quartet  for  a  good  rasor/  and,  rushing 
off  to  his  lodging,  fetched  his  own  pair,  which 
he  presented  to  Haydn,  and  received  in  ez- 
chaage  his  newest  quartet,  which  is  often  called 
the  *  BamrmesBer*  (raaor)  quartet  (Trautwein, 
No.  a). 

On  Sept.  38,  1790,  Prinoe  Nicolaus  diedh-' 
a  great  loss  for  Haydn,  who  really  loved  him. 
He  left  his  CapeUmeister,  on  condition  of  his 
retaining  the  title,  an  amiual  pension  of  1000 
florins,  as  a  mark  of  esteem  and  affection.  To* 
this  sum  his  successor,  Prinoe  Anton,  addiad 
another  400  florins,  but  deprived  Haydn  of  his 
occupation  by  dinuissing  the  whole  ohapel,  except 
the  few  members  necessary  to  keep  up  the  ser- 
vices in  church.  Haydn  now  fixea  his  abode  in 
Vienna^  but  had  hardly  done  so  before  Salomon 
appeared  on  the  scene.  He  had  heaid  of  the 
Pnnoe*s  death  at  Cologne,  on  his  way  to  Eng^ 
land,  and  inmiediately  returned,  hoping„now  that 
Haydn  was  firee^  to  persuade  him  to  visit  London. 
Haydn  could  no  longer  plead  the  old  excuse  of 
unwiUiognesB  to  leave  his  master,  so  he  gave 
way,  and  began  to  make  preparations  for  the 
journey.  While  thus  occupied  he  was  informed 
that  J^erdinand  lY,  King  of  Naples,  then  in 
Vieima  for  the  marriage  of  his  two  daughters, 
wished  to  see  him.  Haydn  had  thought  of  visit- 
ing Naples  in  1787,  and  the  King  was  well 
acquainted  with  his  music  He  had  even  com- 
missioned him  to  compose  several  concerted 
pieces  for  his  &vourite  instrument,  the  lyre. 
Nevertheless  the  audience  was  put  off  several 
times,  and  when  it  did  take  place,  and  Haydn 
presented  his  compositions,  the  King  said:  'The 
day  after  to-morrow  we  will  try  them.*  Haydn 
replied  that  he  was  to  start  for  Ihigland  on  that 
day.  'Whatl'  exclaimed  the  King,  *and  you 
promised  to  come  to  Naples  1  *  He  then  indig- 
nantly left  the  room,  but  returned  in  an  hour, 
and,  having  recovered  his  temper,  made  Haydn 
promise  to  visit  Naples  on  his  return  frcMn  Lon- 
don, gave  him  a  letter  of  recommendation  to  his 
ambassador,  Prinoe  Gastelcioala,  and  sent  after 
him  a  valuable  tabati^re.  And  thus  Haydn  got 
over  a  great  turning-point  in  his  life.  Among 
those  of  whom  he  took  leave  was  his  old  and 
dear  friend  Madame  Genzinger.  [See  Karajan.] 
His  last  hours  in  Vienna  were  enlivened  by  the 
company  of  Moseart,  who  had  come  to  see  him 
off.  He  too  had  been  invited  to  London  in 
1786,  and  had  ouly  declined  in  deference  to 
his  fkther*s  wishee.  His  father  was  now  dead, 
and  Salomon  promised  him  a  speedy  oppor- 
tunity of  making  up  for  lost  time.  Too  late 
again — in  less  than  a  year  Moasart's  eyes  were 
cloeed  in  death. 

To  the  compositions  of  the  period  1767-90, 
already  mentioned,  must  be  tAded  the  follow- 
ing;— 


HAYBN. 


709 


InilnniMiita)  nraitc-HtlMot  !«]  19-16,  4.  B,  la  17.  8.  19:  dneti  for 
•rmphoolM,   incIudlDg    *  U   Dto-  clavier  and  rlolio.  Noi.  8-6  beluic 


tnitto'  (for  a  playX  'La  CbaMO.* 
'  Tha  Schoolmatter.' '  LaadoD,'  the 
Toj-^nopbODj.  and  i  the  *  Oxford ' ; 
'Feld-partien'  for  wind  Initni- 
mants;  mlnneto  aad  allemande  for 
(tell  ordieftra«  and  for  2  tIoUds 
and  haas;  ttrlnf^aarteta,  6  eonn- 
pOMd  176B :  6  ditto  comp.  1771 ; 
6  ditto  oomp.  1774;  f  ditto 
oompw  ITn.  dedicated  f  the 
GntDd  Duke  of  Buaala;  •  ditto 
comp.  1786.  dedicated  to  the  Kloc 
of  Pnuda ;  6  ditto  comp.  ITS,  and 
6  ditto  coBpt  ITMt  ded.  to  Mr. 
Toet  (JToe.  »42;  44-49:  OT-tt.  In 
Heekel'B  More-edltlon  and  In  Pe- 
ten'B  XdltkM.of  the  Parti) ;  ■afng- 
trka  of  Tarlooi  klndi,  adi^tted 
from  the  baiTtoB  piceeat  6  dveta 
ft>r  TloUn  and  >vkda:  pleeea  fer 
flata,  harp,  and  Inte;  176  oom- 
poelticm  for  the  baiyton,  Tk.  6 
dnetw  for  8  bairtou,  12  noataa  for 
baiTton  and  oelk\  IS  dlTerlinicntl 
tar  8  baiytons  and  haaa.  186  dl- 
Terttmentl  for  baiTton,  viola,  and 
haai,  17  oaaatloiiB,  and  3  eonoertoi 
for  baryton,  8  TtolhH.  and  BaMs 
coooartos  far  atilnc*  and  wind  tn- 
rtnmenta,  vk.  vfoUn  9^  eallo  <,> 
doaMe  tNaLlyn  6,  Ante  8,  bora  4. 
Clavier  ninte  In  cbwnologleal 
■cquenee,  edition  Breitko^  * 
Hartel  r-trloe  wlth-rloUn  and  cello. 
Hoa,  96,  86  (raallr  by  lllehaal 
BajpduX  87.  JB^  89^  SI,  88. 9. 17. 8, 10. 
n,  84. 99^  801  81,  the  three  last  for 
Sate  aad  cdb  r  aonataa  Noa.  II,  IS. 
19.89^8(^81,88-88.80.8.88.6-6,18, 


original,  the  reet  arrangements; 
■mailer  pleoes :  variations  Mos.  6. 4, 
Oapricdo,  Mo.  8;  Fantasia,  Ko.  8; 
'DUforentes  petltes  pMces'  (Arta- 
rla,  op.  46):  'U  Maestro  e  lo  8oo- 
lare,*  variations  for  4  hands,  his 
only  composition  of  the  kind,  except 
some  early  attempts.  Of  his  many 
elavler-ooocertos  and  dlvertimentl 
4  only  are  Indttded  In  Haydn's  own 
eatokgue.  the  best.  In  D  (Artarla 
1788),  not  befog  amongst  the  num- 
ber.* 

Tocal  compostttons— 12  lieder.  18 
ditto  (Artaria).  several  shigle  Lie- 
der:  alis  for  various  operas :  operas 

La  Oantarlna,'  opera  bnflk  07610 ; 

Lo  8peilale,*  dramma  glocoia 
0768) ; '  Le  Pceeatriel.'  ditto  0710) ; 
'L'InfedelMdeluM,'  burlettaa778): 
'L'lnooDtro  improvlso,'  dramma 
gioooaanrre):  'H  Monda  delta  lona,' 
ditto  (1777):  'La  vera  Oostanxa,' 
ditto  (comp.  1777,  perf.  1779); 
'L'laoladlaabltata,'  ailooe  tcatiale 
a779):  "La  Vedelti  ptemia*a.'dram- 
ma  giocosa  0790):  'L'InfedeltA 
fedele'  0780?):  'Orlando  Paladl- 
no,*  dramma  eroieomlea  0782); 
'Annlda,'  dramma  erolca  0784); 
Incidental  mnsle  to  the  following 
playa,  *  Der  SentientB.* '  Die  Fen- 
erabranst.'  'Hamlet.'  'OUU  von 
BerUehlngen,'  'Kimig  Lear.'  'Das 
abgabiannte  Bans.'  Lastly,  ma- 
rionette operas— *  Der  OIHterrath  * 
(prelnde  to  'Philemon  nnd 
da').  'Der  Hexenaebabbas»' 
novcnrfh,'  part  41  Dido,eto. 


Leaviag  Vienna  on  Wednesday,  Dec.  15, 1790, 
Qaydn  and  Salomon  travelled  by  Munich,  Bonn, 
and  Brussels  to  Calais,  crossed  the  Channel  in 
nine  hours  on  New  Year*s  Bay,  I79if  and  from 
Dover  proceeded  straight  to  London.  Haydn  first 
put  up  at  the  house  of  Bland,  the  musio-sellerf  45 
Holbom,  but  soon  removed  to  rooms  prepared 
for  him  at  Salomon's,  18  Great  Pulteney  Street. 
Here  he  found  himself  the  object  of  every  spe- 
cies of  attention;  ambassadors  and  noblemen 
sailed  OB  him,  invitations  poured  in  from  all 

Suarters,  and  he  was  surrounded  by  a  drde  of 
lie  most  distinguished  artists,  conspicuous  among 
whom  were  hb  young  countryman  Gyrowetz^ 
and  Dr.  Bumey,  who  had  been  for  some  time  in 
oorreqpondence  with  him,  and  now  welcomed 
him  with  a  poetical  effiision  K  The  Anaoreontio 
Society,  the  Ladies*  Concerts,  the  New  Musical 
Fund,  the  Professional  Concerts,  and  all  the 
other  musical  societies  eagerly  desired  his  pre- 
sence at  their  meetings.  His  qusrtets  and  sym- 
phonies were  performed,  Pacc^erotti  sang  his 
cantata  'Ariamie  a  Naxos,'  and  he  was  enthu- 
dastically  noticed  in  all  the  newspapers.  Before 
leaving  Vienna  Salomon  had  announced  his  sub- 
scription concerts  in  the  Morning  Chronide,  lor 
which  Haydn  was  engaged  to  compose  six  sym- 
phonies, and  conduct  them  at  the  pianoforte.  The 
first  of  the  series  took  place  on  March  11, 1791, 
in  the  Hanover  Square  Rooms.  The  orohes^ 
led  by  Salomon,  consiBted  of  35  or  40  performers, 
and  was  placed  at  the  end  opposite  to  that  which 

1  In  O:  known  In  the  Library  of  the  Fbflhannonle  Society  as 
*  Letter  Q.'  recentiy  pnbilshed  In  score  and  parts  by  Bleter'BledanDaBn. 

*  First  circulated  in  MB.  In  1776,  afterwards  prtaited  by  Artaria,  now 
reprinted  by  Andr^ 

>  Andr<  has  late^  repnbHshed  a  tne  one  In  D,  ITBl. 

*  It  has  been  reprinted  by  Andrd  for  solo^  anA  with  orehestfa,  and 
leeently  arranged  for  4  hamti  by  Bialep*BlBdenBaBik 

»  '  Verses  on  the  arrival  of  the  Gnat  Mualoiui  Haydn  la  lB«l6Dd.« 


.    710 


HAyDN". 


it  oocnpied  Utterly.  The  Symphony  (Salomoii, 
No.  a)  was  the  first  piece  in  the  aeoond  part,  the 
position  stipulated  for  by  Haydn,  and  the  Adagio 
was  floored — 'a  very  rare  oooorrenoe.'  ^e 
Morning  Chronicle  gives  an  animated  description 
of  the  concert,  the  success  of  which  was  most 
brilliant,  and  ensured  that  of  the  whole  series. 
Haydn's  benefit  was  on  May  i6;   £aoo  was 

Saranteed,  but  the  receipts  amounted  to  £350. 
eantime  Gallini,  manager  of  the  King's  The- 
atre, was  trying  in  vain  to  obtain  a  licence  for 
the  performance  of  operaik  Two  parties  were  at 
Issue  on  the  question.  The  Prince  of  Wales 
espoused  the  cause  of  the  King's  Tlieatre,  while 
the  King  publicly  declared  his  adhesion  to  the 
Pantheon,  and  pronounced  two  Italian  opera- 
houses  undesirable.  At  length  Grallini  was  dever 
enough  to  obtain  a  license  for  *  Entertainments 
of  Music  and  Dancing,*  with  which  he  opened 
the  theatre  on  March  a6,  with  Pavid  as  tenor, 
Vestris  as  ballet-master,  Haydn  as  composer, 
Federici  as  composer  and  conductor,  and  Salo- 
mon as  leader — and  with  these  he  performed 
various  works  of  Haydn's,  including  q^nphonies 
and  qliartets,  his  Chorus  'The  Storm'  (the 
words  by  Peter  Pindar,  'Hark  the  wild  uproar 
of  the  waves'),  an  Italian  catch  for  7  voices, 
and  a  cantata  composed  for  David.  His  opera 
•'  Orfeo  ed  Euridice,'  though  paid  for  and  ni^y 
iwmpleted,  was  not  performed,  owing  to  the 
fiulure  of  the  undertaking.  During  the  time 
he  was  composing  it,  Haydn  lived  in  Lisson 
Grove — ^then  absolutely  in  the  country — where 
one  of  his  most  firequent  visitors  was  J.  B. 
Cramer,  then  ao  years  old.  His  second  benefit 
was  on  May  30,  at  the  request  of  some  ama- 
teurs of  high  position.  Haydn  gave  a  concert 
at  the  Hanover  Square  Rooms,  where  he  con- 
ducted two  of  his  symphonies,  and,  for  the  first 
time,  the  'Seven  Words'  (La  Passione  instru- 
mentale),  afterwards  repeated  at  the  concert 
«f  Clement,  the  boy-violinist,  and  elsewhere. 
About  this  time  he  was  invited  to  the  annual 
dinner  of  the  Boyal  Society  of  Musicians,  and 
composed  for  the  occasion  a  march  for  orchestra, 
the  autograph  of  which  is  still  preserved  by  the 
society.  He  also  attended  the  Handel  Com- 
memoration in  Westminster  Abbey.  He  had  a 
good  place  near  the  King's  box,  and  never  having 
heard  any  perfonnance  on  so  grand  a  scale,  was 
immensely  impressed.  When  the  EEallelujah 
Chorus  rang  through  the  nave^  and  the  whole 
if^udienoe  rose  to  their  feet,  he  wept  like  a  child, 
'exclaiming,  *  He  is  the  master  of  us  all.' 

In  the  first  week  of  July  he  went  to  the  Ox- 
'ford  Commemoration,  for  the  honorary  denee  of 
-Doctor  of  Music,  oonferred  at  Dr.  Bumejrs  sug- 
gestion. Three  grand  concerts  formed  an  im* 
portant  feature  of  the  entertainments ;  at  the 
second  of  these  the '  Oxford '  symf^ony  *  was  per- 
formed, Haydn  giving  the  tempi  at  the  or&sn ;  and 
at  the  third  he  appeared  in  his  Doctors  gown, 
amid  enthusiastic  applause.  The  *  Catalogue  of  all 


1  B»  had 

Q.irstor8) 


tek«n  ft  DBw  Brmphwirivltti  him.  but  that  In  O  CUtter 
nbitllattd,  oirtag  to  thftUoM  being  too  ihortiorM- 


HAYDN. 

Graduates*  contains  the  entry,  'HaTdn,  Joeepli, 
Composer  to  His  Serene  Highness  the  Prince  d 
Bsterhasy,  or.  Doctor  of  Music,  Julj  8,  1791.* 
He  sent  the  University  as  his  *  exercise '  the  f« J- ' 
lowing  composition' — ^afterwards  used  for  thefii^t 
of  the  '  Ten  Commandments,'  the  whole  of  whick 
he  set  to  canons  during  his  stay  in  London*. 


Canon  catimzaiis,  a  ire. 


1 


i 


3|E 


[>r|rpf|ri|(g=^ 


s 


^ 


-*<-«• 


TlvTolea,0      Bar-mo  -  ny,     ia      di 


Jk 


^"\r^'\^^''\r  f'l"  ij^ 


'9Q\k  -IP      •!   *In  •  om  -  JOH 


ff 


H  .l-'jJi.i  JlnlJjjJ 


On  his  return  he  made  several  excursioos  in 
the  neighbouriiood  of  London,  and  stayed  five 
weeks  with  Mr.  Brassey  (of  71  Lombard  Street)' 
at  his  country  house  x  2  miles  fi:t>m  town,  where 
he  gave  lessons  to  Miss  Brassey,  and  enjoyed 
the  repose  of  country  life  in  the  midst  of  a  fomOj 
cirde  all  cordially  attached  to  him.  MeanLime 
a  new  contract  was  entered  into  with  Salomoii, 
which  prevented  his  obeying  a  pressing  summons 
firom  F^noe  Esterhasy  to  a  great  fiSte  tor  tl^  Em- 
peror. In  November  he  was  a  guest  at  two  Guild- 
hjJl  banquets — that  of  the  outgoing  Lord  Major 
(Sir  John  Boydell)  on  the  5  th,  and  that  of  the  new 
one  (John  Hopkins)  on  the  9th.  Of  these  entei^ 
tainments  he  left  a  curious  account  in  his  diary.* 
In  the  same  month  he  visited  the  marionnettea 
at  the  Fantoccini  theatre  in  Savile  Row,  in 
which  he  took  a  great  interest  from  cdd  aasoci^- 
tions  with  Esterhi^.  On  the  25th,  on  an  invi- 
tation from  the  Prince  of  Wales,  he  went  tn 
Oatliinds,  to  visit  the  Duke  of  York,  who  had 
married  the  Princess  of  Prussia  two  days  before. 
'-Die  liebe  kleine' — she  was  but  17— quite  won 
Haydn's  heart ;  she  sang,  played  the  piano,  sat 
by  his  side  during  his  symphony  (one  she  had 
often  heard  at  home),  and  hummed  all  the  ain 
as  it  went  on.  The  Prinoe  of  Wales  played  the 
violoncello,  and  all  the  music  was  of  Haydn's 
composition.  They  even  made  him  sing  his 
own  songs.  During  the  visit,  which  lasted  three 
days,  Hoppner  painted  his  portrait,  by  the  Prinoe'i 
command;  it  was  engraved  in  1807  by  Facins, 
and  is  now  at  Hampton  Court  (Ante-room,  No. 
Q2o).  Engravings  were-also  published  in  London 
by  Schiavonetti  and  Bartoiozzi  from  portraits 
by  Guttenbrunn  and  Ott,  and  by  Hanly  &ian 
his  own  oil-painting.  Haydn  next  went  to 
Cambridge  to  see  the  University,  thence  to  Sir 
Patrick  Blake's  at  Langham,  and  afterwards  to 
the  bouse  of  a  Mr.  Shaw,  where  he  was  received 


*  Tba  antosraph,  tho  gift  of  Griadnsor.l*  . 
of  the  OaiieUMliaft  der  Mustkfieando  tn  VteoDft. 

•  An  anoator  of  the  prMeufTboaas-BmBMir, 


In  tba 
[..M.P. 


HAYDN; 

^Fitih  evezy  poasible  mark  of  respect  and  atten- 
tion.    He  says  in  his  diary,  '  Mrs.  Shaw  is  the 
most  beautiful  woman  I  ever  saw';  and  when 
quit«$  an  old  man  still  preserved  a  ribbon  which 
idle    had  worn  durine  his  visit,  and  on  which 
his  name  was  embroidered  in  gold. 
^^  Tlie   directors  of  the   Professional  Concerts 
^liad  been  for  some  time  endeavouring  to  make 
JSaydn  break  his  engagements  with  Salomon  and 
Gallini.    Not  succeedmg,  they  invited  his  pupil 
Ignas  Pleyel,  from  Strassburg,  to  conduct  their 
concerts;  but  fiur  frtnn  showing  any  symptoms 
of   rivaliT'  or  hostility,  master  and  pupil  con- 
tinned  the  best  of  friends,  and  took  every  op- 
portunity of  displaying  their  attachment.    The 
^Professionals  were  nrst  in  the  field,  as  their  open- 
ing concert  took  place  on  Feb.  15,  1792,  while 
Salomon's  series  did  not  beffin  till  Uie  17th. 
Gyrowetz  was  associated  with  Haydn  as  com- 
poeer  for  the  year,  and  his  works  were  as  much 
appreciated  here  as  in  Paris.    At  these  concerts 
Haydn  produced  symphonies,  divertimenti  for 
ooncerted  instruments,  a  nottumo  for  the  same, 
string  quartets,  a  clavier  trio,  airs,  a  cantata, 
and    the   'Storm'  chorus  already  mentioned.^ 
Se  was  also  in  great  request  at  concerts,  and 
conducted  those  of  Barthelemon  (with  whom 
lie  formed  a  close  friendship),  Haesler  the  pianist, 
Mme.  Mara  (who  sang    at  his    benefit),  and 
many  others.     Besides  his  own  annual  benefit 
Salomon  gave  '  by  desire '  an  extra  concert  on 
June  6,  when  he  played  several   violin  solos, 
and  when  Haydn*s  favourite  compositions  were 
'  received  with  an  extasy  of  admiration.'  '  Thus,* 
to  quote  the  Morning  Chronicle, '  Salomon  finished 
his  season  on  Wednesday  night  with  the  greatest 
^lat.'    The  concerts  over,  he  made  excursions  to 
Windsor  Castle,  Ascot  Races,  and  Slough,  where 
he  stayed  with  Herschel,  of  whose  domestic  life 
he  gives  a  particular  description  in  his  diary. 
The  only  son,  afterwards  Sir  tFohn  Herschel,  was 
then  a  few  months  old.     He  went  also  to  the 
meeting  of  the  Cllharity  Children  in  St.  Paul  s 
Cathedral,  and  was  deeply  moved  by  the  singing. 
*.  I  was  more  touched,*  says  he  in  his  diary,  *  by 
this  innocent  and  reverent  music  than  by  any  I 
ever  heard  in  my  life.'    The  somewhat  conmion- 
place  double  chant  by  Jones  the  organist,  is 
quoted  in  his  diary.    [See  Jones.] 

Amongst  Haydn's  mtimate  associates  in  this 
year  were  Bartolozzi  the  engraver,  to  whose  wife 
he  dedicated  3  Clavier  trios  and  a  sonata '  in  C, 
and  John  Hunter  the  surgeon  (who  begged  in 
vain  to  be  allowed  to  remove  a  polypus  in  the 
nose  which  he  had  inherited  from  his.  mother), 
and  whose  wife  wrote  the  words  for  most  of  his 
12  English  canzonets — the  first  set  dedicated 
to  her;  the  second  to  Lady  Charlotte  Bertie. 
But  the  dearest  of  all  his  friends  was  Mrs. 
Schroeter,  a  lady  of  good  birth,  and  widow  of 
the  Queen's  music-master,  John  Samuel  Schroe- 
ter, who  died  Nov.  i,  1788.     She  took  lessons 

1  Thit.  his  first  oompoiltion  to  EnglUh  words,  became  very  popular  u 
anOflfertorium  In  churches.  Score  and  parts.  Br«itkop&,  Blmhxsk.  etc. 

>  This  sonata,  published  bj  H.  Caulfield.  has  nerer  been  printed  In 
OennaDT.  Haydn's  remark  on  It  ivas. '  Kot  jet  to  be  printed.'  The 
Adagfo  onlj,  in  V.  Is  often  P>prfnU!d  leparatelr,  by  HoUe,  Peters,  etc. 
It  to  glToi  eatire  by  Btemdale  Bennett  in  his '  Glasskal  PneUoe.' 


HAYDN. 


711 


from  him  on  the  pianoforte,  and  a  warm  feeling 
of  esteem  and  respect  sprang  up  between  them, 
which  on  her  side  ripened  into  a  passionate 
attachment.  Haydn*s  afifections  must  also  have 
been  involved,  for  in  his  old  age  he  said  once, 
pointing  to  a  packet  of  her  letters,  'Those  are 
from  an  English  widow  who  fell  in  love  with 
me.  She  was  a  very  attractive  woman  and  still 
handsome,  though  over  sixty;  and  had  I  been 
free  I  should  certainly  have  married  her.*  Haydn 
dedicated  to  Mrs.  Schroeter  three  Clavier-lrios 
(Breitkopf  &  Hartel,  Nos.  i,  a,  6).  In  the  2nd 
(F|  minor)  he  adapted  the  Adagio  from  the 
Salomon-symphony,  No.  9  (B  b),  probably  a  fa- 
vourite of  the  lady*s.  A  second  of  his  London 
admirers  deserves  mention.  Among  his  papers 
is  a  short  piece  with  a  note  saying  that  it  was 
'by  Mrs.  Hodges,  the  loveliest  woman  I  ever 
saw,  and  a  great  pianoforte  player.  Both  words 
and  music  are  hers,*  and  then  follows  a  P.S.  in 
the  trembling  hand  of  his  latest  life, '  Bequiescat 
in  pace !    J.  Haydn.* ' 

During  his  absence  his  wife  had  had  the  offer 
of  a  small  house  and  garden  in  the  suburbs  of 
'^^enna  (Windmuhle,  73  kleine  Steingasse,  now 
19  Haydngasse,  then  a  retired  spot  in  the  4th 
district  of  the  Mariahilf  suburb),  and  she  wrote 
asking  him  to  send  her  the  money  for  it,  as  it 
would  be  just  the  house  for  her  when  she  be- 
came a  widow.  He  did  not  send  the  money, 
but  on  his  return  to  Yieima  bought  it,  added 
a  storey,  and  lived  there  fr^m  Jan.  1797  till 
his  death. 

Haydn  left  London  towards  the  end  of  June 
1792,  and  travelling  by  way  of  Bonn — where 
Beethoven  asked  his  opinion  of  a  cantata,  and 
Frankfort — where  he  met  Prince  Anton  at  the 
coronation  of  the.  Emperor  Francis  II,  reached 
Vienna  at  the  end  of  July.  His  reception  was 
enthusiastic,  and  all  were  eager  to  hear  his 
London  svmphonies.  In  Deo.  1792  Beethoven^ 
came  to  nim  for  instruction,  and  continued  to 
take  lessons  imtil  Haydn*s  second  journey  to  Eng- 
land. The  relations  of  these  two  great  men  have 
been  much  misrepresented.  That  Haydn  had 
not  in  any  way  forieited  Beethoven*s  respect  is 
evident,  as  he  spoke  highly  of  him  whenever 
opportunity  offered,  usually  chose  one  of  Haydn*8 
themes  when  improvising  in  public,  scored  one  of 
his  *  quartets  for  his  own  use,  and  carefully  pre- 
served the  autograph  of  one  of  the  English 
symphonies.^  But  whatever  Beethoven*s  early, 
feeling  may  have  been^  all  doubts  as  to  his  latest 
sentiments  are  set  at  rest  by  his  exclamation  on 
his  death-bed  on  seeing  a  view  of  Haydn*8 
birthplace,  sent  to  him  by  Diabelli — *To  think' 
that  so  great  a.  man  should  have  been  bom  in 
a  common  peasant's  cottage  1  *  [See  Beethovsk, 
p.  1996.] 

Again  invited  by  Salomon,  under  special  sti- 
pulation, to  compose  6  new  symphonies,  Haydn 
started    on   his    second   journey   on   Jan.   19, 

*  Bee  Fohi's  *  Hajdn  hi  London.*  218-2SS. 

*  Traatwoin,  soore  No.  20;  Beethoven's  MS.  Is  In  the  possession  of 
Artaria.  See  the  aOe  Catalogae.  Na  112,  given  In  Thajer, '  Ohnmo- 
lovlMhes  Verzetchnbw,'  i>.  177. 

*  lhi.4,BbtMldaiaoaf  fie«th0Tan'traQiala»-8ale0fttak8ae,H0blBBL 


na 


HAYDN. 


1794.  Prince  Anton  took  a  reluctant  leave  of 
him,  and  died  three  davB  after  he  left.  This 
time  Haydn  went  down  tke  Rhine,  accompanied 
by  his  fftithful  copyist  and  servant,  Johann 
Elasler*  and  arrived  in  London  on  Feb.  4.  He 
took  lodgings  at  No.  i  Bury  Street,  St.  James's, 
probably  to  be  near  Mrs.  Schroeter,  who  lived 
in  James  Street,  Buckingham  Gate.  Nothing 
is  known  of  their  relations  at  this  time ;  Elssler 
could  have  given  information  on  this  and  many 
other  points,  but  unlike  Handel's  Smith  he  was 
a  mere  tiopyist,  and  none  of  Haydn's  biographers 
seem  to  have  thought  of  applying  to  him  for 
particulars  about  his  master,  though  he  lived 
till  1843. — Haydn's  engagement  with  Salomon 
bound  &m  to  compose  and  conduct  six  fi^esh 
symphonies ;  and  besides  these,  the  former  set, 
including  the  'Surprise/  was  repeated.  Some 
new  quartets  are  also  mentioned,  and  a  quintet 
in  C  (known  as  op.  88),  which  however  was 
his  brother  Michael  s.  The  first  concert  was  on 
Feb.  10,  and  the  last  on  May  la.  At  one  of  the 
rehearsals  Haydn  sarprised  the  orchestra  by 
showing  young  Smart  (afterwards  Sir  George) 
the  proper  way  to  play  the  drums.  At  Haydn's 
benefit  (May  2)  the  'Military*  Symphony  was 
produced  for  the  first  time,  and  Dussek  and 
Viotti  played  concertos,  llie  latter  was  also 
leader  at  Salomon's  benefit — a  proof  of  the  good 
understanding  between  the  two  violinists. 

During  his  second  visit  Haydn  had  ample 
opportunities  of  becoming  acquamted  with  Han- 
del^s  music.  Regular  performances  of  his  ora- 
torios took  place  in  Lent  both  at  Govent  Garden 
and  Drury  Lane ;  and  in  1 795  concerts  of  sacred 
music,  interspersed  with  some  of  Haydn's  sym- 
phonies, were  given  at  the  King's  Theatre. 
Haydn  also  conducted  performances  of  his  sym- 
phonies at  the  New  Musical  Fund  concerts. 
Among  his  new  acquaintances  we  find  Dragonetti, 
who  had  accompanied  Banti  to  London  in  1 794, 
and  a  lasting  friendship  sprang  up  between 
Haydn  and  that  good-natared  artist.  For  Banti 
Hajdn  composed  an  air '  Non  partir,'  in  £  (the 
recitative  b^^,  'Berenice *),  which  she  sang  at 
his  benefit. 


<  This  DUM  iBcloMly  utodatfd  with  that  of  Baydn  from  ITW,  the 
dMo  of  JoNph  Slttlorli  marriase  at  Ibenttadt,  at  iihleh  Haydn  a»> 
tivted.  Joaeph  waa  a  native  of  SUeaia.  and  muato  eoprlit  to  Piinoe 
Esterhazy.  Hb  ebUdren  mre  taken  Into  the  '  diapel '  on  Hardn'i 
reeommeniUtlon,  an4  the  iceond  aon.  Johannefl  (bom  at  Ebenstadt 
TOti.  lived  the  whole  of  hii  life  with  him.  flnt  aa  copflat  and  then  as 
general  terrant  and  bctotum.  He  accompanied  ^ijrdn  on  his  second 
Joucnej  to  London,  and  tended  him  in  his  last  yaazs  wttb  the  traatest 
care.  Despite  the  proTerb  that '  no  man  is  a  hero  to  his  valet,'  Uardn 
was  to  Klasler  a  constant  snb)eet  of  veneration,  which  he  carried  so 
far  that  when  he  thought  himself  anobaerved  he  woidd  stop  with  the 
oeiaer  before  his  master's  portrait,  as  If  it  were  the  altar. 

Elssler  copied  a  large  amount  of  Haydn's  music,  partly  In  score, 
partly  in  separate  parts,  much  of  which  is  now  treasured  as  the 
autograph  of  Haydn,  though  the  handwriting  of  the  two  are  essentially 
different.  He  surrived  his  master  S«  years  and  died  at  Vienna  June 
IS,  I849L  in  the  eiOoyment  of  6000  florins  which  Haydn  bequeathed  to 
him  as  a '  true  and  honest  servant.'  Hb  elder  brother  Josipb.  oboe 
at  Esterhax,  died  at  Vienna,  also  hi  IMS.  Johann  married  Therese 
Prinster.  whose  brothers  Anton  and  Michael  were  horn-players,  and 
the  pride  of  the  E5terha9  orchestra.  From  this  union  came  CD 
JOHANN,  bom  lt«2,  died  (as  chorus-master  at  the  Berlin  Theatre  Royal) 
1973;  (2)  THRRB8K.  bom  April  ^  1806,  and  (8)FaANBraKA,  bom  June  IB, 
1810-aU  natives  of  Vienna.  Both  daughters  were  danseuses.  Therese 
was  made  Frau  von  Bamim  by  the  King  of  Pnusla.  msrried  Prince 
Adalbert,  and  died  at  Meran.  Nov.  90. 19711 ;  frhile  Ftanslska.  better 
known  aa  Fannt  ELsaLCB,  was  one  of  the  greatest  daaeer*  of  bar 
time.  She  Is  still  Uvhig  In  eomp'.ete  seduakm  at  Vienna  QSTB). 


HAYDN. 

Among  the  nnmerons  violinists  then  in  I/on- 
don  —  Jamowick,   Janiewicz,  Cramer,   Vicili, 
Clement,  Bridgetower,  ete. — we  must  not  omit 
Giardini.    Though  nearly  80  years  of  age  he 
produced  an  oratorio, '  Ruth/  at  Ranelagfa,  and 
even  played  a  concerto.    His  temper  was  frighi- 
fuly    and  he  showed  a  particalar  spite  against 
Haydn,  even   remarking  within   Ids   hearing, 
when  urged  to  call  upon  him,  '  I  don't  want  to 
see  the  (jrerman  dog.*  Haydn  retorted  by  writing 
in  his  diazy,  after  hearing  him  play,  'Giardini 
played  like  a  pig.'    After  the  exertions  of  the 
season  Haydn  sought  refreshment  in  the  oonntry, 
first  staying  at  Sir  Cbailes  lUch's  house  near 
Waveriey  Abbey,  in  Surrey.    In  September  he 
went  with  Dr.  Bumey  to  see  Ranagnni  at  Bath, 
where  he  passed  three  pleasant  days,  and  wrote 
a  canon  to  the  inscription  which  Bauzzini  had 
put  on  a  monument  m  his  garden  to  *his  best 
friend' — *Turk  was  a  faithful  dpg,  and  not  a 
man.*    He  also  went  to  Taplow  with  Shi^d« 
and  with  Lord  Abingdon  visited  Lord  Aston  at 
Preet<m.     An  anecdote  of  this  time  shows  the 
humour  which  was  so  native  to  Haydn,  and  so 
often  pervades  his  compositions.     He  ocmposed 
an  apparently  easy  sonata  fiir  pianoforte  and 
violin,  called  it  'Jacob's  Dream,'  and  sent  it 
anonymously  to  an  amateur  who  professed  him- 
self addicted  to  the  extreme  upper  notes  of  the 
violin.  The  unfortunate  performer  was  delighted 
with  the  opening;  here  was  a  composer  who 
thoroughly  understood  the  instrument  t  but  as 
he  found  himself  compelled  to  mount  the  ladder 
higher  and  higher  witnout  any  chance  of  coming 
down  aeain,  tiie  perspiration  burst  out  upon  his 
forehead,  and  he  exclaimed,  '  What  sort  of  com- 
position do  you  call  this  f  the  man  knows  nothing 
whatever  of  the  violin.' 

In  1 795  Salomon  announced  his  oonoerts  under 
a  new  name  and  plaoe«  the  'National  School 
of  Music,'  in  the  &ing*s  Conoert-room,  recently 
added  to  the  King's  Theatre.  Haydn  was  again 
engaged  as  composer  and  conductor  of  his  own 
symphonies,  and  Salomon  had  collected  an  un- 
precedented assemblage  of  talent.  Hie  music 
was  chiefly  operatic,  but  one  or  even  two  of 
Haydn's  symphonies  were  giren  regularly,  the 
'Surprise'  being  a  special  fiivourite.  With 
regard  to  this  symphony  Haydn  confiassed  to 
Gyrowetz,  who  lu^pened  to  oUl  when  he  was 
composing  the  Anaante,  that  he  intended  to 
startle  the  audience.  '  There  all  the  women  will 
scream,'  he  said  with  a  laugh,  pointing  to  the 
well-known  explosion  of  the  drums.  l*he  first 
concert  was  on  Feb.  2,  and  two  extra  onts 
were  given  on  May  21  and  June  i,  the  latter 
being  Haydn's  last  appearance  before  an  Englith 
audience.'  His  last  benefit  was  on  May  4,  when 
the  programme  consisted  entirely  of  his  works, 
except  the  concertos  of  Viotti  and  of  Ferlendis 
the  oboist.  Banti  sang  his  aria  for  the  first 
time,  but  according  to  his  diary  '  she  sang  very 
scanty.*  He  was  greatly  pleased  with  the  success 

« 

s  Tin  1790.  when  the  undertaking  fifled,  Salomon  eontlnoed  to 
perform  Hajdn's  ^Bpbaalea,  with  bis  permtaaioa.  at  tfaeae  opeia 
oonoexti. 


HAYDN. 


HAYDN. 


718 


of  ihi8  oonoert ;  the  audience  was  a  diBtingaished 
one,  and  the  net  receipts  amounted  to  £400.  '  It 
is  only  in  England  that  one  can  make  suoh  sums,* 
he  remarked.  J.  B.  Cramer  and  Mme.  Dussek 
gave  concerts  soon  after,  at  which  Haydn  con* 
ducted  his  own  symphonies. 

During  the  latter  months  of  his  stay  In  Lon* 
don  Haydn  was  much  distinguished  by  the 
Court.  At  a  concert  at  York  House  the  pro- 
gramme consisted  entirely  of  his  compositions, 
he  presided  at  the  piamoforte,  and  Salomon  was 
leader.  The  King  and  Queen,  the  Princesses, 
the  Prince  of  Wales,  and  the  Dukes  of  Clarence 
and  Gloucester  were  present,  and  the  Prince  of 
Wales  presented  Haydn  to  the  King,  who,  in 
spite  of  his  almost  exdusive  preference  for 
Handel,  expressed  great  interest  in  the  music, 
and  presented  the  composer  to  the  Queen,  who 
begged  him  to  sing  some  of  his  own  songs.  He 
was  also  repeatedly  invited  to  the  Queen's  con- 
certs at  Buckinghun  House ;  and  both  King  and 
Queen  expressed  a  wish  that  he  should  remain 
in  England,  and  spend  the  summer  at  Windsor. 
Haydn  repHed  that  he  felt  bound  not  to  desert 
Prince  Esterhaxy,  and  was  not  inclined  entirely 
to  forsake  his  own  countiy.  As  a  particular 
mark  of  esteem  the  Queen  presented  hmi  with  a 
copy  of  the  score  of  Handel's  Passion-music  to 
Brockes's  words.  He  was  frequently  at  Carlton 
House,  where  the  Prince  of  Wales  (a  pupil  of 
Croedill*s  on  the  cello,  and  fond  of  taking  the 
bass  in  catches  and  glees),  had  a  regular  concert- 
room,  and  often  played  his  part  in  the  orchestra 
with  the  Dukes  of  Cumberland  (viola)  and  Glou* 
cester  (violin).  In  1795  he  gave  many  musical 
parties,  and  at  one  which  took  place  soon  after 
iiis  marriage  (April  8)  the  Princess  of  Wales 
played  the  pianoforte  and  sang  with  Haydn, 
who  not  only  conducted  but  sang  some  of  his 
own  songs.  He  attended  at  Carlten  House  36 
times  in  all,  but  like  other  musicians  found  much 
difficulty  in  getting  paid.  After  waiting  long  in 
vain  he  sent  in  a  bill  for  100  guineas  m>m 
Vienna^  which  was  immediately  disohazged  by 
Parliament.  It  must  be  admitted  that  the  de- 
mand was  moderate. 

Encouraged  by  the  success  of  the  'Storm,* 
Haydn  undertook  to  compose  a  larger  work  to 
English  words.  Lord  Abingdon  suggested  Need- 
ham's  'Invocation  of  Neptune,'  an  adaptation  of 
some  poor  verses  prefixed  to  Selden  s  '  Mare 
Clausum,*  but  he  made  little  pro^press,  probablv 
finding  his  acquaintance  with  English  too  limited. 
The  only  finished  numbers  are,  a  bass  solo, '  Nor 
can  I  tMnk  my  suit  is  vain/  and  a  chorus, '  Thy 
great  endeavours  to  increase.*  The  autograph  is 
in  the  British  Museum.  Haydn  received  parting 
gifts  firom  dementi,  TattersaU,  and  many  others, 
one  being  a  talking  parrot,  which  realised  1400 
florins  after  his  death.  In  1 804  he  received  fifom 
Gardiner  of  Leicester  six  pairs  of  cotton  stockings, 
into  which  were  worked  favourite  themes  from 
his  music. — ^His  return  was  now  inevitable,  as 
Prince  Esterhazy  had  written  some  time  before 
that  he  wished  his  chapel  reconstituted,  with 
Haydn  again  as  ito  oondactor. 


The  second  visit  to  London  was  a  brilliant 
success.  He  returned  from  it  with  increased 
powers,  unlimited  fame,  and  a  competence  for 
life.  By  concerts,  lessons,  and  symphonies,  not 
counting  his  other  compositions,  he  had  again — as 
before — made  £1 200,  enough  to  relieve  lum  from 
all  anxiety  for  the  future.  He  often  said  after- 
wards that  it  was  not  till  he  had  been  in  England 
that  he  became  famous  in  Germany,  by  which  he 
meant  that  though  his  reputation  was  high  at 
home,  the  English  were  the  first  to  give  him  public 
homage  and  liberal  remuneration.  His  diary  con- 
tains a  list  of  the  works  composed  in  London.  To 
those  already  mentioned  we  must  add — 


4  hrmiu  for  Ttttenall**  *  Paro- 
ehkl  Pialmod J ' ;  wi«i  for  GalHnl 
Mid  other* ;  8  Lleder^-ooe  wltli 
ordiostiml  Bceompaniment :  arias 


Ablbgdon ;  harmonta  and  aeeom- 
panlmaQta  to  IM  8oot«h  mxot*  for 
Mapier  the  iiablMMr:  a  tgrn- 
phonle-ooncertante  hi  Bb;  a  not* 


for  David,  Slgnora  fiaatl,  aad  MlasitamD:  SdlTerthnenti;  a&orerture 


Poole,  aad  another  with  ordiestral 
aeeompantanait ; '  O  tnnefU  Tolce,* 
MBB.  oompoeed  for  a  dlfUnguithed 
Isdjr:  'Lines  ftom  the  Battle  of 
the  KOe,'  words  "by  Mn.  Knight,  a 


for  aUomon's  *  Wbidsor  CaMle' 
(Corent  Garden);  4  marches;  94 
minuets  and  alfemands;  6  oontre- 
danim;  6  quartets  (ftnlahed  In  Vi- 
enna in  1798,  known  as  op.  73  and 


gland  air;    *The  spirit's  sang'|74,  dedicated  to  Coonft  Apponyl. 

(Shakespeare's words). thelte Com-  Iiondoa  and  Paris  editions.  No*. 

09-74);  and  10  pianoforte  sonatas 
for  Broderlp,  Preston,  Mbs  Janson. 
eto.  In  the  Interval  between 
Haydn's  first  and  second  Tislts  to 
London  he  composed  the  Andante 
in  F  minor  with  variations,  one  of 
his  finest  works,  dedicated  to  M1I«. 
Ployer,  19  Redouten  Vlnuets  aad 
19  Teutsche  T&nse  for  the  benefit 
of  the  ArtisU' Widows' Fmid.  Tte 
Salomon  ivmphony  tn  S9  (No.  10> 
was  wiUten  tix  Vleana  In  179$. 


mandmenta  set  to  oanons;  one 
canon  In  an  album:  6  Xng^Ush 
songs;  12  Canionets  (Ist  set:  Mer- 
maldt  song:  La  memoria;  Pas^ 
tonle;  De^wlr;  Pleasing  pain; 
Fidelltj.  2nd  set:  Sailor's  song: 
The  Wanderer;  Sympathy;  She 
never  loM  her  love;  Piercing  ayes; 
(Content) ;  *  Dr.  Earrlngton's  Cota- 
pUment,*  song  with  pianb  aocom- 
paniment.  In  reply  to  verses  and 
music  addressed  to  Haydn  by  Dr. 
Barlngton;  12  ballads  for  Lord 

Haydn  left  London  August  15,  1795.  and  tn^ 
veiled  by  way  of  Hamburg,  BerHn,  and  Dresden. 
Soon  aftor  his  return  a  pleasant  surprise  awaited 
him.  He  was  taken  by  Count  Harrach  and  a 
genial  party  of  noblemen  and  gentleman,  first  to 
a  small  peninsula  formed  by  the  Leitha  in  a  park 
near  Bohrau,  where  he  found  a  monument  and 
bust  of  himself,  and  next  to  his  birthplace.  Over> 
come  by  his  feeUngs,  on  entering  the  humble 
abode.  Haydn  stoop^  down  and  kissed  the  thres- 
hold, and  then  pointing  to  the  stove,  told  the  com- 
pany Uiat  it  was  on  that  very  spot  that  his  career 
as  a  musician  began.  On  the  18th  December  he 
gave  a  concert  in  the  small  Redoutensaal,  at  which 
three  of  his  London  symphonies  were  performed, 
and  Beethoven  played  either  his  first  or  second 
davier-concerto.  At  this  time  he  lived  in  the 
Heumarkt  (now  No.  a)  which  he  left  in  Jan. 
1797  for  his  own  house  in  the  suburbs.  He 
now  only  went  to  Eisenstadt  for  the  summer 
and  autumn.  Down  to  1 80  2  he  always  had  a  new 
mass  readv  for  Princess  Esterhazy  s  name-day, 
in  September.  (Novello,  Nos.  a,  1,  3,  16,  4,  6.)* 
To  these  years  bdong  several  other  compositions — 
A  cantata,  'Die  Erwahlung  eines  Kapellmeisters,* 
composed  for  a  club  meeting  regularly  in  the 
evenings  at  the  tavern  '  zum  Schwanen,*  in  the 
Neumarkt.'    Incidental  music  for  'Alfred,*  a 

1  No.  2  was  oompoeed  17W. ' /»  l*mpor«  MM,*  and  called  the  'Fan- 
kenmesse,'  because  In  the  Agnus  the  dnmis  are  Introduced.  No.  S 
was  composed  1797:  known  in  Snglaod  as  the  Imperial  Mass.  but  in 
Germany  as  'Die  Nelsonmesse,'  because  it  is  said  to  have  been  per- 
formed during  Nelson's  visit  to  Elwnstadt  tn  WOO;  he  asked  Hajfdn 
for  bis  pen,  and  gave  him  his  own  gold  watch  to  exchange. 

s  Hnch  frequented  in  later  years  by  Beethoven  (see  his  letters  to 
Zmenkall).  It  was  the  scene  of  the  adventure  with  Uw  waltfW  vBlei, 
p.  121). 


7U 


HAYDN* 


tragedy  adapted  from  the  Englieh  of  Cowmeadow, 
and  performed  once  in  1795  at  Schickaneders 
Theatre  in  *■  Vienna ;  a  fine  chorus  in  the  old 
Italian  style, '  Non  nobis  '  Bomine/  perhaps  sug- 
gested by  Byrd's  canon  which  he  heard  so  often 
in  London ;  a  grand  *Te '  Deum,'  composed  1800 ; 
and  the  *  Seven  Words/  rewritten  for  voices,  and 
first  performed  at  Eisenstadt,  Oct.  1 797.  Instru- 
mental muuic — Clavier-trios,  Breitkopf  &  Hartel. 
Nos.  18,  19,  ao.  dedicated  to  Princess  Marie 
Esterhazy ;  i,  3,  6,  to  Mrs.  Schroeter ;  3, 4\  5,  to 
Bartolozzi ;  12,  15^  to  Mile.  Madelaine  de  Kurz- 
beck :  when  requested  by  Prince  Esterhazy  in  1 803 
to  compose  a  sonata  for  the  wife  of  Mar^chiJ 
Moreau,  Haydn  arranged  this  trio  as  a  duet 
for  clavier  and  violin ;  and  in  that  form  it  was 
published  years  after  as  his  'derniere  Senate.' 
Clavier  sonata  (Breitk.  &  Hartel,  No.  i ),  defiicated 
to  Mile.  Kurzbeck ;  6  string-quartets,  known  as 
Cfp.  75  and  76,  dedicated  to  Count  Erdody ;  and 
2  ditto,  op.  77,  dedicated  to  Prince  Lobkowitz. 

During  his  visits  Haydn  had  often  envied 
the  English  their  *God  save  the  King,'  and  the 
war  with  France  having  quickened  his  desire  to 
provide  the  people  with  an  adequate  expression 
of  their  fidelity  to  the  throne,  he  determined  to 
compose  a  national  anthem  for  Austria.  Hence 
arose  *  Gk>tt  erhalte  Franz  den  Kaiser/  the  most 
popular  of  all  his  Lieder.  Haydn's  friend, 
Freiherr  van  Swieten,  suggested  the  idea  to  the 
Prime  Minister,  Graf  von  Saurau,  and  the  poet 
Hauschka  wa^  Qommissioned  to  write  the  words, 
which  Haydn  set  in  January  1797.  On  the 
Emperor's  birthday,  Feb.  la,  the  air  was  sung 
simultaneously  at  the  national  theatre  in  Vienna, 
and  at  all  the  principal  theatres  in  the  provinces. 
[See  Empebor's  Htmn.]  This  strain,  almost 
sublime  in  its  simplicity,  and  so  devotional  in 
its  character  that  it  is  used  as  a  hymn-tune, 
faithfully  reflects  Haydn's  feelings  towards  his 
sovereign.  It  was  his  &vourite  work,  and  to- 
wards the  close  of  his  life  he  often  consoled  him- 
self bv  playing  it  with  great  expression.  He  also 
introauced  a  set  of  masterly  variations  on  it  into 
the  so-called  '  Kaiserquartett '  (No.  77). 

High  as  his  reputation  already  was,  it  had  not 
reached  its  culminating  point.  This  was  attained 
by  two  works  of  his  old  fge,  the  *  Creation '  and 
the  *  Seasons.'  Shortly  before  his  departure  from 
London,  Salomon  offered  him  a  poem  for  music, 
which  had  been  compiled  by  ladley  frona  Milton's 
*  Paradise  Lost  *  before  the  death  of  Handel,  but 
not  used.  Haydn  took  it  to  Vienna,  and  when 
fVeiherr  van  Swieten  suggested  his  composing  an 
oratorio,  he  handed  him  the  poem.  Van  Swieten 
translated  it  with  considerable  alterations,  and 
a  sum  of  500  ducats  was  guaranteed  by  twelve 
of  the  principal  nobility.  Haydn  set  to  work 
with  the  greatest  ardour.      *  Never  was   1  so 

*  The  music  wai  re-oompoted  In  17D6  but  never  lued.  and  the  'Chor 
der  DAuen,'  for  men't  voices,  U  Uie  oolj  number  publUhed  (Breitkopf. 
1810). 

>  Score  and  parts  In  Bteter-Biedermann's  newedlttoo. 

>  First  published  in  loore  hf  Breltltc^f  *  HSrtrl. 

«  See  Mendelawhn's  letter  to  Rebecca  DIrichlet  (Feb  IfSUi.  'First 
we  played  Haydn's  trio  In  0.  and  set  CTerybodj  wondering  that  any- 
thing so  flne  was  in  exixtenoe :  and  yet  BrelUcopf  4  Birtel  printed  it 
long  aito  \ ' 

>  First  pnblisbad  by  Traeg. 


HAYDN. 

pious,*  he  says, '  ai  when  composuig  the  Creatioo.. 
I  knelt  down  every  day  and  prayed  God  to 
strengthen  me  for  my  work.'  It  was  first  given 
in  private  at  the  Schwarzenbeiig  palace,  on  the 
39tn  and  30th  of  April,  1798;  and  in  public 
on  Haydn's  name-day,  March  19,  1799,  "^^  ^^^ 
Natioxial  Theatre.  The  noblemen  previously 
mentioned  paid  the  expenses,  and  handed  over 
to  Haydn  the  entire  proceeds,  amounting  to 
^,000  florins  (£330).  The  impreeeion  it  pro- 
duced was  extraordinary ;  the  whole  audience  was 
deeply  moved,  and  Haydn  oonfesaed  that  he 
could  not  describe  his  sensations.  'One  mo- 
ment,' he  said,  '  I  was  as  cold  as  ice,  the  next 
I  seemed  on  fire.  More  than  once  I  was  afraid 
I  should  have  a  stroke.'  The  next  performance 
was  given  by  the  Tonkunstler  Societat,  Haydn 
conducting.  Once  only  he  conducted  it  outfeidQ 
Vienna — March  9,  1800,  at  a  grand  performance 
in  the  palace  at  Ofen  before  the  Archduke  Pala- 
tine Joeeph  of  Hungary.  No  sooner  was  the  aoote 
engraved  (1800),  than  the  'Creation'  was  per- 
formed everywhere.  Choral  societies  were  founded 
for  the  express  purpose,  and  its  popularity  was 
for  long  equalled  only  by  that  of  the  '  Messiah.' 
In  London  Ashley  and  Salomon  gave  rival  per- 
formances, the  former  on  March  28,  1800,  at 
Govent  Garden,  the  latter  on  April  21,  in  the 
C(mcert-room  of  the  K.ing*s  Theatre,  with  Mara 
and  DuEsek  in  the  principal  parts,  and  a  concerto 
on  the  organ  by  Samuel  Wesley.  In  the  English 
provinces  it  was  first  performed  by  the  Three 
Choirs — ^at  Worcester  in  1800,  Hereford  in  iSoi» 
and  Gloucester  in  1802. — In  1799  Haydn  en- 
tered into.relations  with  Breitkopf  &  Hartel,  and 
edited  the  12  vols,  in  red  covers  which  formed 
for  long  the  only  collection  of  his  works  for  cla- 
vier and  for  voice. 

As  soon  as  the  'Creation'  was  finished.  Van 
Swieten  persuaded  Haydn  to  begin  another 
oratorio,  which  he  had  adapted  fixnn  Thomson's 
Seasons.  He  consented  to  the  proposition  with 
reluctance,  on  the  ground  that  his  powers  were 
failing;  but  he  bc^n,  and  in  spite  of  his  ob- 
jections to  certain  passages  as  unauited  to  music 
(a  point  over  whidi  he  and  Van  Swieten  nearly 
quarrelled\  the  work  as  a  whole  interested  him 
much,  and  was  speedily  completed.  The  finst 
performances  took  place  April  24  and  27,  and 
May  I,  at  the  Schwarzenberg  palace.  On  May  39 
he  conducted  it  for  his  own  benefit  in  the  large 
Redoutensaal,  and  in  December  handed  over  the 
score,  as  he  had  that  of  the  'Creation,*  to  the 
Tonkunstler  Societat,  which  has  derived  a  per* 
manent  income  fi:t>m  both  works.  Opinions 
are  nuw  divided  as  to  the  respective  value  of 
the  two,  but  at  the  time  the  success  of  the 
'  Seasons  *  fully  equalled  that  of  the  '  Creation,' 
and  even  now  the  youthful  fi:^eshness  which  cha- 
racterises it  is  very  striking.  The  strain  how- 
ever was  too  great ;  as  he  often  said  afterwardt, 
'  The  Seasons  gave  me  the  finishing  stroke.*  On 
Dec.  26,  1S03,  he  conducted  the  'Seven  Words' 
for  the  hospital  fimd  at  the  Redoutensaal,  but 
it  was  his  last  public  exertion.  In  the  fi)llow- 
ing  year  he  was  asked  to  conduct  the  '  Creation* 


HAYDN. 

*t  KifeoDstadty  but  declined  on  the  score  ofweak- 
neos  ;  and  indeed  he  was  failing  rapidly.  His 
works  composed  after  the  '  S^tfons'  are  very  few, 
the  chief  being  some  vocal  quartet*,  on  which 
he  set  a  high  value.  In  these  hia  devotional 
feeling  comes  out  stron^y,  in  '  Herr  der  du  mir 
das  Leben,'  'Du  bist's  dem  Ruhm  und  Ehre 
ffebiihret,'  and  'Der  Greis'— *  Hin  ist  alle  meine 
Krmft.*  In  i8oa  and  3  he  harmonised  and  wrote 
Qooompaniments  for  a  number  of  Scotch  songs, 
for  which  he  received  500  florins  from  Whyte  of 
Sdinbuigh.  This  pleased  him  so  much  that  he  is 


HAYDN. 


ns* 


said  to  have  expressed  his  pride  in  the  work  as 
one  which  would  long  preserve  his  memory  in 
Scotland.  He  also  arranged  Welsh  airs  (Prestou ; 
41  Nos.  in  3  voln.)  and  Irish  airs,  but  the  latter 
he  did  not  complete,  and  they  were  undertaken 
by  Beethoven.  One.  of  his  last  string- quartets 
(Trautwein  83)  has  two  movements  complete,  the 
'Aadante*  and  the  'Minuet';  in  despair  oc 
finishing  it,  in  1806, -he  added  the  first  few  bars 
of  '  Der  Greis '  as  a  conclusion.*  He  had  these 
same  bars  printed  as  a  card  in  answer  to  friends 
who  enquired  after  him." 


Molto  Adagio 


nl  Him       ittttl-U  meku  Krvfi 


X 


^ 


3^=^ 


£ 


-^==. 


i 


0^       wnd  tekwach      binich. 


Joseph  Haydn. 


Haydn's  last  years  were  passed  in  a  continual 
struggle  with  the  infirmities  of  age,  relieved  by 
occasional  gleams  of  sunshine.  When  in  a 
happy  mood  he  would  unlock  his  cabinet,  and 
exhibit  to  his  intimate  friends  the  souvenirs, 
diplomas,  and  valuables  of  all  kinds  which  it 
contained.  This  often  led  him  to  speak  of  the 
events  of  his  life,  and  in  this  way  Griesinger, 
Dies,  Berttch,  Carpani,  and  Neukomm,  beciune 
acquainted  with  many  details.  Haydn  also 
received  other  visitors  who  cannot  have  failed  to 
give  him  pleasure;  sii^h  were  Cherubini.  the 
Abb^  Vogler,  the  Weber  family,  Baillot,  Mine. 
Bigot  the  pianist,  Pleyel,  Bierey,  Gansbacher, 
Hummel,  Nisle,  Tomaschek,  Beichardt,  Iffland ; 
his  fiuthful  friends  Mmes.  Aumhammer,  Kurz- 
beck,  and  Spielmann,  the  Princess  Esterhazy  with 
her  son  Paul — who  all  came  to  render  homage 
to  the  old  man.  Mozart's  widow  did  not  forget 
her  husband's  best  friend,  and  her  son  Wolfgang, 
then  14,  begged  his  blessing  at  his  first  public 
concert,  in  the  Theatre  an-der-Wien,  on  April  8, 
1805,  fbr  which  he  had  composed  a  cantata,  in 
honour  of  Haydn's  73rd  birthday. 

After  a  long  seclusion  Haydn  appeared  in 
pubUo  for  the  last  time  at  a  remarkable  per- 
formance of  the  'Creati(m'  at  the  University  on 
March  27,  1808.  He  was  carried  in  his  arm- 
chair to  a  place  among  the  first  ladies  of  the 
land,  and  received  with  the  warmest  demonstra- 
tions of  welcome.     Salieri  oonduoted.    At  the 


words '  And  there  was  light,'  Haydn  was  quite 
overcome,  and  pointing  upwards  exclaimed,  '  It 
came  from  thence.'  As  the  performance  went 
on  his  agitation  became  extreme,  and  it  was 
thought,  better  to  take  him  home  after  the  first, 
part.  As  hfi  was  carried  out  people  of  the 
highest  rank  thronged  to  take  leave  olf  him,  and 
Beethoven  fervently  kissed  his  hand  and  fore- 
head. At  the  dgor  he  paused,  and  turning  round 
lifted  up  his  hands  as  if  in  the  act  of  blessing. 

In  1797  Prince  Nicolaus  had  augmented  his 
salary  by  300  florins,  and  in  1806  added  another 
600— making  his  whole  emolument  3,.^oo  florins 
(£200) — besides  paying  his  doctor's  bills.  This 
increase  in  income  was  a  great  satisfaction  to 
Haydn,  as  he  had  long  earnestly  desired  to  help 
his  many  poor  relations  during  his  life,  and  to 
leave  them  something  after  his  death. 

To  one  who  loved  his  country  so  deeply,  it  was 
a  sore  trial  to  see  Vienna  twice  occupied  by  the 
enemy — in  1805  and  1809.  The  second  time  the 
city  was  bombarded,  and  the  first  shot  fell  not  fiur- 
from  his  residence.  In  his  infirm  condition  this 
alarmed  him  greatly,  but  he,  called  out  to  his 

>  Dediottod  to  Coant  Ibarlee  da  Frlas.    HAydn  gftve  It  to  Orle- 
■tnger  nj liig..'It  U  017  lut  child,  and  not  unliki: ; 

>  'Fled  for  erer  b  my  utreDgtb ; 

Old  and  weak  ami!' 
AbM  Sladler  made  a  canoa  oat  of  theM  Uoet  by  addbis  two  ] 
'Doch  wa$  9le  enchnf  blelbt  Bteti. 

Swig  Ut  d«in  Buhm.' 
'But  what  thoQ  hast  aehteTad  staads  fcst; 

LMting  !•  thy  fiuM.' 


I 


71« 


HAYDN. 


tervanti,  'CIinilreii,i)on't  be  &igbt«ned;  no  h»nn 
oui  happeD  to  yon  while  Haydn  is  by.'  The  last 
vi<U  be  reoeived  on  his  death-bed  (the  dty  beiikg; 
then  in  the  oocupation  of  the  Freocb)  wu  from 
a  Frencb  officer,  who  wng  '  In  native  worth ' 
with  a  depth  of  eipresaion  doubtleaa  inipired  b; 
the  oocaaion.  Haydn  vaa  tnach  moved,  uid 
einbrsced  him  wiu-nily  at  puting.  On  May  16, 
..  1809,  he  called  hie  eervanta  round  him  for  the 
laet  time,  and  baving  been  earned  to  tlie  piano 
solemnly  played  the  Emperor's  Hymn  three 
times  over.  Five  davfl  nfterwarda,  at  <me 
o'dook  fn  the  morning  of  the  3ltt,  be  expired. 

On  Jone  15  Mozart's  Kequiem  was  peilbrmed 
In  hie  honour  at  the  Schottenkiiche.  Amongit 
the  moomere  were  many  Frencb  offioen  of  high 
rank  ;  and  the  guard  of  honour  round  the  cata- 
falque wu  oompo«ed  of  French  eoldiera,  and  a 
detachment  of  the  BUrgerwehr.  He  waa  buried 
in  Uie  Hundathunn  ohujrchyard,  ootiide  the  linea. 


o  the  luburb 


lived,  b 


Bihumed  bj  oommand  of  Prince 
'  Eaterhazy,  and  aolemnly  re-interred  in  the  upper 
parishchurchat  EiwmatadtouNov.  7,  1810.  A 
simple  atone  with  a  Latin  inacrip^on  is  ineertad 
in  the  waU  over  the  vault — to  inform  the  passer- 
by that  a  great  man  rests  below. 

It  is  a  wcU-known  tmct  that  when  the  coffin 
was  opened  for  identification  before  the  removal, 
the  skull  was  miasing:  it  had  been  stolen  two 
.  days  after  the  funeral.  The  one  which  was 
afterwards  sent  to  the  Frinoe  anonymously  as 
Haydn's,  was  buried  with  the  other  remains ; 
but  the  real  one  was  retained  and  is  at  present 
In  the  poaaearion  of  the  family  of  a  celebrated 


phyaidan.  The  grave  at  Vienna  remained  atao- 
tutely  undistinguiahed  for  5  jeaie  after  Haydn's 
death,  till  1814.  when  bla  pupil  Neukonun  erected 
a  atone  bearing  the  fbltuwing  imcription,  wbieb 
coataius  a  £-part  Canon  for  solution, 

HATDN 


-r-f- 


r  r  >t' 


DUcip.  ^n«  Nenkoin  Vindob.  Redox. 


This  atone  was   renewed  by  Graf  Ton  Stock- 
hammer  in  1843. 

As  soon  as  Haydn's  deatb  was  known,  faneral 
aerrices  were  held  in  all  the  principal  cities  of 
Europe.  In  Poria  was  performed  a  sacred 
cantata  for  three  voioee'  and  orchestra  (Breit- 
kopf  &  Etirtel)  composed  by  Cherubim  on  a  false 
mport  of  his  death  in  1805,  It  was  also  given 
«l«eirhere. 


HAYDH. 

During  his  latter  years  Haydn  wsa  made  u 
honorary  member  Ol  many  institutjoas  —  tha 
Academy  of  Arts  and  Saencea,  Stocltbolm 
(1798)1  the  Philhannonie  Sode^  at  Layhach 
(1800);  the  Academy  of  Arts,  Amatailam 
(1801):  thelnstitut  (iSai),  the  ' Conaarvaloire 
de  Musique'  (1S05),  and  the  'Suci^t^  acad^m- 
Ique  des  en&na  d'Apollon'  of  Paris  (1807).  He 
alao  reoeived  gold  medals  from  the  muaicians  who 

Krformed  the  Creation  at  tbe  open  in  Fari^ 
to.  34,  1800,  and  &om  the  Inatitnt  (iSoi); 
Ae  'ZwolHache  Burgennedaille.' Vienna  (1S03); 
from  the  professors  of  the  'Concert  des  Ajuiateun' 
(1803),  the  Conaervatobe  (1805),  the  'En&ns 
d'Apollon'(i8o7),allofFaria;  and  the  Philhar- 
monic Society  of  St.  Petersburg  ( 1 S08).  He  wu 
alsonominatedbonorary  oitiien  of  Vienna  (1804I. 
Poems  without  end  were  written  in  his  pruse; 
and  equally  aamerous  were  the  portraits,  ia  cbalk 
CO-  oili,  engraved,  and  modelled  in  wax.  Of  the 
many  busts  the  beet  is  that  by  his  fiiend  Otacn'. 
Tbe  silhouette  here  ennared  for  the  first  tims 
hung  forlong  at  the  head  ofHaydn'sbed  and  was 
authenticated  by  Iflseler  as  strikingly  lik«. 


— BobMt 

who  learnt  from  him  as  early  as  1753:  Countess 
Thun;  the  Brdody  &mily;  Ignaz  Pleyel ;  Nie- 
meci,  a  monk  ;  Krumpholz,  Ant.  Kraf^  and  Bo- 
setti,  memben  of  tbe  Fsterhozy  Chapel ;  Diatler, 
violinist ;  Ferrumdi,  organiat ;  D&nar,  composer ; 
HoiRnann of  Livonia;  Krani  of  Stuttgart ;  n*ni 
Tomiach;  Fd.  Ton  Weber;  Ant.  Wranitiliy; 
Baigh,  Grae?,  and  Callcott,  of  London;  Niile; 
Frani  de  PauU  Roeer ;  tbe  Poliellis ;  J.  G.  Fuel* 
afterwarda  vice-Capellmeister  of  tbe  chapel,  tsit 
Haydn's  auceeaaor;  Struck ;  Bartsch ;  Leaed; 
Neukomm  g  Honael ;  Seyfn'ed.  and  Dcstoucbei. 
Haydn  used  to  call  Fleyel,  Neukonon,  and  Letac! 
hla  fitvourite  and  most  grateful  pupila.    Most  of 


HAYBN. 

those  named  dedicated  to  him  their  first  pub- 
lished work — generally  a  piece  of  chamber  mama 
A   few  remarks    on   Haydn's    personal  and 
mental  characteristics,  and  on  his  position  in 
the  history  of  art,  will  conclude  our  task.     We 
learn  from  his  contemporaries  that  he  was  below 
the  middle  height^  with  legs  disproportionately 
short ;  his  build  substantial,  but  deficient  in 
muscle .  His  features  were  tolerably  regular ;  his 
expressiany  slightly  stem  in  repose,  invariably 
softened  in  conversation.      His  aquiline   nose 
was  latterly  much  disfigured  by  a  polypus ;  and 
his  &oe  deeply  pitted  by  smaU-pox.    His  com- 
plexion was  very  dark.    His  oark  gray  eyes 
beamed  with  benevolence ;  and  he  used  to  say 
himself,  'Any  one  can  see  by  the  look  of  me 
that  I  am  a  good-natured  sort  of  fellow.*    The 
impression  given  by  his  countenance  and  bearing 
was  that  of  an  earnest  dignified  man,  perhaps  a 
little  over-precise.     Though  fond  of  a  joke,  he 
never  indulged  in  immoderate  laughter.     His 
broad  and  well-formed  forehead  was  partly  con- 
cealed by  a  wig  with  side  curls  and  a  pigtail,  which 
he  wore  to  Uie  end  of  his  davs.    A  prominent 
and  slightly  coarse  under-lip,  with  a  massive  jaw, 
completed  this  singular  union  of  so  much  that 
was  attractive  and  repelling,  intellectual  and 
vulgar.^     He  always  considered  himself  an  ugly 
man,  and  could  not  understand  how  so  many 
handsome  women  fell  in  love  with  him;  *At 
any  rate,'  he  used  to  sav,  '  they  were  not  tempted 
by  my  beauty,'  though  hie  admitted  that  he  liked 
looking  at  a  pretty  woman,  and  was  never  at  a 
loss  for  a  compliment.   He  habitually  spoke  in  the 
broad  Austrian  dialect,  but  could  express  him- 
self fluently  in  Italian,  and  with  some  difficulty 
in  French.  He  studied  English  when  in  London, 
and  in  the  country  would  often  take  his  gram- 
mar into  the  woods.    He  was  also  fond  of  intro- 
ducing English  phrases  into  his  diary.  He  knew 
enough  Latin  to  read  Fux's  '  Gradus,'  and  to  set 
the  Church  services.    Though  he  lived  so  long 
in  Hungary  he  never  learned  the  vernacular, 
which  was  only  used  by  the  servants  among 
themselves,  the  Esterhazy  family  always  speak- 
ing German.     His  love  of  fun  sometimes  carried 
him  away;  as  he  remarked  to  Dies,  'A  mis- 
chievous fit  comes  over  one  sometimes  that  is 
perfectly  beyond  control.'    At  the  same  time  he 
was  sensitive,  and  when  provoked  by  a  bad  return 
for  his  kindness  could  be  very  sarcastic.    With 
all  his  modesty  he  was  aware  of  his  own  merits, 
and  liked  to  be  appreciated,  but  flattery  he  never 
permitted.    Like  a  true  man  of  genius  he  en- 
joyed honour  and  fame,  but  carefully  avoided 
ambition.     He  has  often  been  reproached  with 
cringing  to  his  superiors,  but  it  should  not  be 
forgotten  that  a  man  who  was  in  daily  intercourse 
widi  people  of  the  highest  rank  would  have  no 
difficulty  in  drawing  the  line  between  respect 
and  subservience.    That  he  was  quite  capable 
of  defending  his  dignity  as  an  artist  is  proved 
by  the  following  occurrence.    Prince  Nicolaus 
(the  second  of  the  name)  being  present  at  a 

>  lATAter  nuulfl  taaub  oi  Us  most  ehaneteilstlo  ranarki  on  reoelTlsg 
a  >ilb(»nttB  of  iUTdn. 


HAYDN. 


717 


rehearsal,  and  expressing  disapprobation,  Haydn 
at  once  interposed — '  Your  Highness,  all  that  is 
my  business.'  He  was  very  fond  of  children, 
and  they  in  return  loved  '  Papa  Haydn '  with  all 
their  hearts.  He  never  forgot  a  benefit,  though 
his  kindness  to  his  many  needy  relations  often 
met  with  a  poor  return.  The  'chapel'  looked 
up  to  him  as  a  fi&ther,  and  when  occasion  arose 
he  was  an  unwearied  intercessor  on  their  behalf 
with  the  Prince.  Young  men  of  talent  found  in 
him  a  generous  friend,  always  ready  to  aid  them 
with  advice  and  substantial  help.  To  this  fact 
Eybler,  A.  Romberg,  Seyfried,  Weigl,  and  others 
have  borne  ample  testimony.  His  intercourse 
with  Mozart  was  a  striking  example  of  his 
readiness  to  acknowledge  the  merits  of  others. 
Throughout  life  he  was  Sstinguished  by  industry 
and  method ;  he  maintained  a  strict  daily  routine, 
and  never  sat  down  to  work  or  received  a  visit 
until  he  was  fully  dressed.  This  custom  he  kept 
up  long  after  he  was  too  old  to  leave  the  house. 
His  uniform,  which  the  Prince  was  continually 
changing  both  in  colour  and  style,  he  never  wore 
unless  actually  at  his  post. 

One  of  his  most  marked  characteristics  was 
his  constant  aim  at  perfection  in  his  art.  He 
once  said  regretfully  to  Kalkbrenner,  'I  have 
only  just  learned  in  my  old  age  how  to  use  the 
wind-instruments,  and  now  that  I  do  understand 
them  I  must  leave  the  world.'  And  to  Griesinger 
he  said  that  he  had  by  no  means  come  to  the  end 
of  his  powers ;  that  ideas  were  often  floating  in 
his  mind,  by  which  he  could  have  carried  the  art 
far  beyond  anything  it  had  yet  attained,  had  his 
physical  powers  been  equal  to  the  task. 

He  was  a  devout  Christian,  and  attended 
strictly  to  his  religious  duties ;  but  he  saw  no 
incondstency  in  becoming  a  Freemason — prob- 
ably at  the  instigation  of  Leopold  Mozart,  when 
in  Vienna  in  1785.  His  genius  he  looked  on  as 
a  gift  from  above,  for  which  he  was  bound  to  be 
thankful.  This  feeling  dictated  the  inscriptions 
on  all  his  scores  large  and  small ;  '  In  nomine 
Domini,'  at  the  beginning,  and  *Lau8  Deo*  at 
the  end;  with  the  occasional  addition  of  <et 


B.  V.  Mffi.  et  om*  Si«.*  (Beatae  Yiigini  Mariae 
et  omnibus  Sanctis).  His  writing  is  extremely 
neat  and  uniform,  with  remarkably  few  correc- 
tions :  *  Because/  said  he^ '  I  never  put  anything 


718 


fiAYDir. 


HAYDN. 


down  till  I  have  quite  made  up  my  mind  about 
it.*  When  intending  to  write  something  superior 
he  liked  to  wear  the  ring  given  him  by  the  King 
of  Prussia. 

The  immense  quantitv  of  his  compositions 
would  lead  to  the  belief  that  he  worked  with 
unusual  rapidity,  but  this  was  by  no  means  the 
case.  '  I  never  was  a  quiok  writer/  he  assures 
us  himself,  'and  always  composed  with  care  and 
deliberation ;  that  alone  is  the  way  to  compose 
works  that  will  last,  and  a  real  connoisseur  can 
see  at  a  glance  wheUier  a  score  has  been  written 
in  undue  haste  or  not.*  He  sketched  all  his  com- 
positions at  the  piano — a  dangerous  proceeding, 
often  leading  to  fragmoitarineaB  of  style.  The 
condition  of  the  instrument  had  its  effect  upon 
him,  for  we  find  him  writing  to  Artaria  in  1 788, 
'  I  was  obliged  to  buy  a  new  fortepiano,  that  I 
might  oompora  your  Clavier-sonatas  particularly 
wdl.'  When  an  idea  struck  him  he  sketched  it 
out  in  a  few  notes  and  figures  :  this  would  be  his 
morning's  work ;  in  the  afternoon  he  would  en- 
large this  sketch,  elaborating  it  according  to  rule, 
but  taking  pains  to  preserve  the  unity  of  the  idea. 
'  That  is  where  so  many  young  composers  &il,'  he 
says;  'they  string  together  a  number  of  frag- 
ments; they  break  off  almost  as  soon  as  they 
have  begun;  and  so  at  the  end  the  listener 
carries  away  no  definite  impression.*  He  also  ob- 
jected to  composers  not  learning  to  sing, '  Singing 
is  almost  one  of  the  forgotten  arts,  and  that  is  why 
the  instruments  are  allowed  to  overpower  the 
voices.*  The  subject  of  melody  he  r^^iurded  very 
seriously.  '  It  ia  the  air  whidi  is  the  charm  of 
music,'  he  said  to  Michael  Kelly,'  *  and  it  is  that 
which  is  most  difficult  to  produce.  The  inven- 
tion of  a  fine  melody  is  a  work  of  genius.* 

like  many  other  creative  artists,  Haydn  dis- 
liked sestheticism,  and  all  mere  talk  about  Art. 
He  had  always  a  bad  word  for  the  critics  with 
their  'sharp-pointed  pens*  ('spitziffen  und  wit- 
zigen  Fedem  ),  especially  those  of  Berlin,  who 
used  him  very  badly  in  early  life.  His  words  to 
Breitkopf,  when  sending  hun  the  Creation,  are 
very  touching,  as  coming  from  a  man  of  his  esta- 
tablished  reputation, — '  My  one  hope  and  prayer 
is.  and  I  think  at  my  age  it  may  well  be  granted, 
that  the  critics  will  not  be  too  hard  on  my  Crea- 
tion, and  thus  do  it  real  harm.'  He  had  of 
course  plenty  of  detractors,  among  others  Koze- 
luch  and  Kreibig,  who  represented  him  to  the 
Emperor  Joseph  II.  as  a  mere  moimtebank.  Even 
after  he  had  met  with  due  recognition  abroad,  he 
was  accused  of  trying  to  found  a  new  school, 
though  his  compositions  were  at  the  same  time 
condemned  as  for  the  most  part  hasty,  .trivial, 
and  eztravngant.  He  sums  up  his  own  opinion 
of  his  works  in  these  words,  'Swnt  mala  mixta 
honU ;  some  of  my  children  are  well-bred,  some 
ill-bred,  and  here  and  there  there  is  a  changeling 
among  them.*  He  was  perfectly  aware  of  how 
much  he  had  done  for  tne  progress  of  art;  'I 
know,*  he  said,  '  that  God  has  bestowed  a  talent 


upon  me,  and  I  thank  Him  for  it;   I  think  I 


>' BamlnkMiMai.*  London  I8B6,  L  ISO. 


have  done  my  duty,  and  been  of  use  in  my  gene* 
ration  by  my  works ;  let  others  do  the  same? 

He  was  no  pedant  with  regard  to  roles,  and 
would  acknowledge  no  restrictions  on  genius.  '  If 
Mozart  wrote  thus,  he  must  have  had  a  good 
reason  tar  it,*  was  his  answer  when  his  attentioa 
was  drawn  to  an  unusual  passage  in  one  of  Mo- 
sarf  s  quartets.  With  regard  to  Albrachtsbeiger'a 
condemnation  of  consecutive  fourths  in  sirict 
composition  he  remarked, '  What  is  the  good  of 
such  rules  f  Art  is  free,  and  should  be  uttered 
by  no  such  mechanical  regulations.  The  eda- 
cated  ear  is  the  sole  auUiority  on  all  these 
questions,  and  I  think  I  have  as  much  right  to 
lay  down  the  law  as  any  one.  Such  trifimg  is 
absurd ;  I  wish  instead  that  some  one  would  try 
to  compose  a  really  new  'minuet.'  And  again 
to  Dies,  '  Supposing  an  idea  struck  me  as  good, 
and  thorouglkly  satis&ctory  both  to  the  ear  and 
the  heart,  I  would  far  nther  pass  over  some 
slight  grammatical  error,  than  sacrifice  what 
seemed  to  me  beautiful  to  any  mere  pedantic 
trifling.'  Even  during  Haydn's  lifetime  nia  com- 
positions became  the  subject  <^  a  real  wonhip. 
Many  distinguished  men,  such  as  Exner  of 
Zittau,  Von  Mastiaux  of  Bonn,  Grerber,  Bossier, 
Count  Fuchs,  Baron  du  Baine,  and  Kees  the  Court 
Secretary  of  Vienna,  corresponded  with  him  with 
a  view  to  procuring  as  many  of  his  works  aa  poa- 
sible  for  their  libnries.  There  is  great  signifi- 
cance in  the  sobriquet  of  '  Papa  Haydn,'  whidi 
is  still  in  general  use,  as  if  musicians  of  aU 
countries  claimed  descent  from  Inm.  One  writer 
declares  that  after  listening  to  Haydn*s  composi- 
tions he  always  felt  impelled  to  do  some  good 
work ;  and  Zelter  said  they  had  a  similar  effect 
upon  him. 

Haydn's  position  in  the  histoi7  of  music  is  of 
the  first  importance.  When  we  consider  the  poor 
condition  in  which  he  found  certain  important 
departments  of  music,  and,  on  the  other  hand, 
the  vast  fields  which  he  opened  to  his  sucoeason^ 
it  is  impossible  to  over-rate  his  creative  powers. 
Justly  called  the  &ther  of  instrumental  mwac, 
there  is  scarcely  a  department  throughout  its 
whole  range  in  which  he  did  not  make  his  in- 
fluence felt.  Starting  from  Emmanuel  Bach,  he 
seems,  if  we  may  use  the  expression,  foroed  in 
between  Mocart  and  Beethoven.  AU  his  works  x 
are  characterised  by  lucidity,  perfect  finish, 
studied  modeiation,  avoidance  of  meaningless 
phrases,  firmness  of  design,  and  richness  of  dev^- 
opment.  The  subjects  principal  and  secondary, 
down  to  the  smallest  episodes,  are  thoroughly 
connected,  and  the  whole  conveys  the  impressicA 
of  being  cast  in  one  mould.  We  admire  his  in- 
exhaustible invention  as  shown  in  the  originality 
of  his  themes  and  melodies ;  the  life  and  spon- 
taneity of  the  ideas ;  the  deamess  which  makes 
his  compositions  as  interesting  to  the  amateur 
as  to  the  artist ;  the  child-like  cheerfulness  and 
drollerv  which  charm  away  trouble  and  care. 

Of  the  Symphony  he  may  be  said  with  truth 
to  have  enlarged  its  sphere^  stereotyped  its  form. 


*WMtUl 

50.1? 


baCoN  or  aftar  tiM  ftppaaniiMof  BMlliovwi't  SraviMMV 


BAYDK. 


HAYDN. 


710 


enriched  ftnd  deyeloped  its  capaoiiieB  with  the 
versatility  of  true  genius.  like  those  which 
Mozart  wrote  after  Btudying  the  orchestraB  of 
Munich,  Mannheim,  and  Paris,  Haydn*8  later 
symphonies  are  the  most  copious  in  ideas,  the 
most  animated,  and  the  most  delicate  in  coostmc- 
tion.  They  have  in  fact  completely  banished 
those  of  his  predecessors. 

The  Quartet  he  also  brought  to  its  greatest 
perfection.  'It  is  not  often,  says  Otto  Jahn, 
'  that  a  composer  hits  so  exactly  upon  the  form 
suited  to  his  conceptions ;  the  quartet  was 
Haydn's  natural  mode  of  expressing  his  feeUngs.* 
The  life  and  freshness,  the  cheerfulness  and 
geniality  which  give  the  peculiar  stamp  to  these 
compositions  at  once  secured  their  universal  ac- 
ceptance. It  is  true  that  scientific  musicians  at 
first  regarded  this  new  element  in  music  with 
suspicion  and  even  contempt,  but  they  gradually 
came  to  the  conclusion  that  it  was  compatible  not 
only  with  artistic  treatment,  but  with  earnest- 
ness and  sentiment.  '  It  was  from  Haydn/  said 
Mozart,  'that  I  first  learned  the  true  way  to 
compose  quartets.*  His  symphonies  encouraged 
the  formation  of  numerous  amateiur  orchestras ; 
while  his  quartets  became  an  ifufailing  source  of 
elevated  pleasure  in  fiunily  circles,  and  thus  raised 
the  general  standard  of  musical  cultivation. 

I^couraged  partly  by  the  progress  made  by 
Emmanuel  Bach  on  the  original  foundation  of 
Kuhnau  and  Domenico  Scarlatti,  Haydn  also 
left  his  mark  on  the  Sonata.  His  compositions 
of  this  kind  exhibit  the  same  vitality,  and  the 
same  individual  treatment;  indeed  in  some  of 
them  he  seems  to  step  beyond  Mozart  into  the 
Beethoven  period.  Hia  clavier-trios  also,  though 
no  longer  valuable  from  a  technical  point  of 
view,  are  still  models  of  composition.  On  the 
other  hand,  his  accompanied  divertimenti,  and 
his  concertos,  with  a  single  exception,  were  far 
surpassed  by  those  of  Mozart,  and  have  long 
since  disappeared. 

His  first  collections  of  Songs  were  written  to 
trivial  words,  and  can  only  be  used  for  social 
amusement;  but  the  later  series,  especially  the 
canzonets,  rank  'far  higher,  and  many  of  them 
have  survived,  and  are  still  heard  with  delight, 
in  spite  of  the  progress  in  this  particular  branch 
of  composition  since  his  day.  The  airs  and  duets 
composed  for  insertion  in  various  operas  were 
essentially  ephemeral  productions.  His  canons — 
some  senous  and  dignified,  others  overflowing 
with  fun — strikingly  exhibit  his  power  of  com- 
bination. His  three-part  and  four-part  songs — 
like  the  canons,  especiikl  favourites  with  the  com- 
poser— are  excellent  compositions,  and  still  retain 
their  power  of  arousing  either  devotional  feeling 
or  mirth. 

His  Isfgiar  Masses  are  a  series  of  masterpieces, 
admirable  for  freshness  of  in?ention,  breadth  of 
dengn,  and  richness  of  development,  both  in  the 
voice-parts  and  the  intruments.  The  cheerfulness 
which  pervades  them  does  not  arise  from  frivolity, 
but  rather  finom  the  joy  of  a  heart  devoted  to  God, 
and  trusting  all  things  to  a  Father  s  care.  He 
told  Carpani  that  '  at  the  thought  of  God,  his 


heart  leaped  for  joy,  and  he  could  not  help  his 
music  doing  the  same.*  And  to  this  day,  difii- 
cult  as  it  may  seem  to  reconcile  the  fact  with  the 
true  dignity  of  church  music,  Haydn*s  mnnnfifl 
and  offertories  are  executed  more  frequently  than .' 
any  others  in  the  Catholic  churches  of  Germany. 

Frequent  performances  of  his  celebrated  OrsU 
tones  have  familiarised  every  one  with  the 
charm  and  freshness  of  his  melody,  and  his  com- 
pressive treatment  of  the  voices,  which  are  invjt* 
riably  supported  without  being  overpowered  oy 
refined  and  brilliant  orchestration.  In  these  points^ 
none  of  his  predecessors  approached  him.  With 
regard  to  his  operas  composed  for  Esterh&z,  we 
have  already  quoted  his  own  opinion ;  they  at- 
tained their  end.  Had  his  project  of  visiting 
Italy  been  fulfilled,  and  his  Acuities  been  stimu- 
lated in  this  direction  by  fresh  scenes  and  a 
larger  sphere^  we  might  have  gained  some  fine 
operas,  but  we  should  certainly  have  lost  the 
Haydn  we  all  so  deariy  love. 

When  we  consider  what  Haydn  did  for  music, 
and  what  his  feelinffs  with  regard  to  it  were — 
the  willing  service  he  render^  to  art,  and  his 
delight  in  ministering  to  the  happiness  of  others 
— we  can  but  express  our  love  and  veneration, 
and  exclaim  with  gratitude,  'Heaven  endowed 
him  with  genius — ^he  is  one  of  the  immortals.' 


The  Haydn  literature  contains  the  following 
books  and  pamphlets : — 


Blognphkml  Bketehas,  by  him-, 
Mir  aTM).  made  UM  of  bjr  De  Luoa 
In '  Dugelehrte  OMterratch'  (1778  >. ; 
Aho  in  Forkel't  'lliulkAUacher; 
Alnuuuich  for  DeotiehlAnd'  a7t0), 
the  'Sutopeftn  Itasufne'  (Lon-| 
don  ITIM):  Burner'*  'Ulstory  of 
Music'  Tol.  Ir.  a7»);  Gerber'* 
'Lexicon'  (1790).  with  nddltlon&l 
particulars  in  the  2nd  edition  0812): 
*  Moslk-Correspondenz  der  teut- 
■chen  FUarm.  Oetellacfaaft'  for  vm, 
Nos.  17  and  18  by  Oerber :  '  Journal 
des  Iiuxus  und  der  Koden '  (Wei- 
mar 1«0&).  artlole  by  Bertueh: 
Kayer*!  'BroTl  nottiie  istgricba 
della  ▼lta...di  O.Haydn'  (Ber- 
gamo 180D):  Klnker's  'Der  Na«e- 
dachtenls  van  J.  Uaydn '  ( Amster- 
dam 1810);  Oriesiuger's  'Blogra- 
phlsebe  Notlzen'  (Leipzig  1810): 
Dies'  *  Biographlacbe  Nachrlchten ' 
(Vienna  1810):  obituary  in  the 
'  Vaterlftnd.  Bl&tter  fOr  den  Iht. 
Kaiserstaat'  (Vienna  1809);  Ar- 
nold's 'Joseph  Haydn.'  etc.  (Ertart 
1810.2nd  edition  182B).  and '  Mocart 
und  Haydn'  (Brfurt  1810);  Fra- 
mery's '  Notice  sur  J.  Hijdn,'  etc 
(Paris  1810);  Le  Breton's  'Kotice 
htstorlque  sur  la  Tie  et  lee  ourrages 
de  Haydn'  (Paris  1810)-flrst  ap- 
peared in  the '  Monlteur.'  then  as 
a  pamphlet  reprinted  in  the  'Bib- 
n<igmphle  musloale'  (Paris  1822). 
translated  into  Portuguese  with 
additions  by  SlWa-Lisboa  (Bio 
Janeiro  "USD);  'Sssai  historique 
sur  la  Tie  de  J.  Haydn '  (Btrass- 
bourg  1812):  Carpani's  *Le  Hay- 
dbie.'  etc  (Milan  1812,  Snd  edition 
enlaiged.  Padua  188S):  'Lettres 
deritas  de  Vienne  an  Antriehe,  etc' 


L.  A.  0.  Bombet  (Paris  1814),  re- 
published as  'Vie  de  Haydn,  Mo- 
zart, et  Mf  taitase,'  par  Stendhal  > 
(Paris  1817) :  Grosaer's '  Blogr.  NoU- 
zen '  (HIrschberg  1896) ;  Xneh  und 
Omber's  *Allg.  Xncyelopttdie  der 
Wisaenschaften  und  Kfinste  Sofl 
section.  Srd  part*  (Leipzig  IftS). 
with  a  biographical  sketch  bj 
FrOhllch:  the  article  in  F^tli* 
'BiogTaphle  unlT.  des  Mustdens*; 
'  Allg.  Wiener  Musikzeltung'  OMS) ; 

*  J.  Uaydn  in  Loudon  1791  and  1792.' 
▼on  Karsjan  (Vienna  1861): '  JoMph 
Haydn  und  seln  firuder  MichaeV 
Wunbach  (Vienna  1861) ;  Ludwig^s 
'Joseph  Haydn'  (NordhausenMD: 
0.  F.  Pohl's  'Mozart  und  Haydn 
in  London'  (Vienna  1867);  0.  F. 
Pohl's  'Joseph  Haydn '  (iVom  the  aN 
ehlYes  at  Xlsenatadt  and  Forditen- 
Btefn,  and  other  new  and  authentic 
sources),  toI.  L  &  a  H.  1876.-'Crl<> 
tiqaes :— by  Triest  hi  the '  Lelpzlger 
al^.  mns.  Zeitung'  1801;  Schnbart's 

*  Ideen  zu  dner  Aetthetik  der  Ton- 
kunst'  (Vienna  1806);  Reidiardt'a 
'  Vertrante  Briefe '  (Amsterdam 
1810);  NigeU's'Vorlesungeu  dber 
Muslk'  (Stuttgart  and  Tttbingen 
1826) ;  Mnslk.  Briefe . . .  von  einem 
Wohlbekannten  (Lobe)  (Leipzig 
1892).  Letter  28:  Biehl't  'MuslkaL 
CbarakterkOpfe'  (Stuttgart  1868): 
'Joseph  Haydn  und  seine  fBrst- 
lichen  Mieenc'  by  Dr.  Loronz,  in 
the  'Deutsche  Musikzeltung'  for 
1862;  'Brief  Haydn's  an  die  Ton- 
kOnstler-Soclet&t'  (SIgnaJe  1866); 
'  Musikerbctefe.'  by  Nohl  (Lefpslg 
1867):  annals  of  the  *  Wlaner  Di- 
arlum'  (aftenrardt  the  'Wiener 
Zeltong'). 


1  Bombet  and  mendhal  are  peendonynu  of  Henil  Beyle  who  itoto 
freely  from  CarpanL  The  int  of  the«e  pamphlets  was  translated  Into 
Ki^lsh  (by  Qardlner), '  The  Life  of  Haydn  in  a  series  of  letters.*  ete. 
(London,  John  Murray.  1817.  Boston  18W).  Mondo's  Freneh  tranlatlOD 
of  Caipaol't  laiger  work  appeared  In  Paris  1887. 


720 


HAYDN. 


HAYDN. 


The  following  is  a  list  of  Haydn's  oompositfons 
—printed,  copied,  and  autograph— with  others 
mentioned  in  yarious  catalogaes. 

I.  lutninMikUL  1  BjmphoDles.  rarknu  other  plajt ;  S  •In.  moitly 
IndodJug  otertores  to  operu  uwl  Injerted    In   operM ;    *  Atteuft  A 

.  ptors,  196;   'Tho   Beren   Words  Nmkm."  osntatA  fnr  ilDcIa  Toloa 

\  from  tha  sCroM ' :  varfcHU  oooa-l sad  P.F. ;  DeutsdilAnd'i  Ktace  auf 
.poaitlODS  for   wind   and  itrloci.idea  Tbd  FriadrfefaB  das  Groaseii.' 

Isepftntaly  aad  oomblnad,  M.  In-  oant&ta  br  ft  slnfle  Toloe  with 
)pliidiBg  diTertlnentt.  eoooerted  bftrjrton  fteoompftnlniaDt.  Boogs^ 
niaoas,etc^7Dottumosfortbal7ra.|i2  Oaroiftn  LMar.  1TR2:  IS  ditto. 
«tecauftdas,7Bifttchas,6Kliarzftndos.  17K4:  IS  slogla  onas  (•  unpub- 
1  MStat.tavcTBlqulnteU.l'Keho'.iishad):  6  'Orlglnftl  cftnioDatt.* 
idr  4  Tioltos  and  9  oettoa,  '  Fald-l London  1798:  <  ditto;  'Tha  Spirit 
IVftrtlaa'  for  wtud  Instraments,  and 

/arrancemants  from  barytoo  pieces  ; 


/ 


Bont.'  Bbalupeare.  F  minor ;  '  O 
tunafbl  Votoe,'  tb,  eomposad  for 
an  English  ladj  of  position,  botii 
publlshadt  S  English  lODgs  in  MS.; 
Sduata:  8  9-part  and  10  4-part 
aoi^ :  8  choruses.  MS. ;  1  ditto 
from 'Alfnd '  (BreitkopT  *  Hlrtai); 
tha  Austrian  national  anthem,  for 
In  4  parts:  4S 
more  parU;  S 


12  ooUaetlons  of  minuaU  and  alle- 
nuutdas ;  31  eonoertoaH)  rlolln.  6 
oello.  Idonble  bass.  6  lyre.  8  barjton. 

8  flute,  3  hom.l  for  2  horns,  1  cisr 
rlno  (1796).  Banrton  *  pieces.  17ft. 
1  duet  for  S  lutes:  8  trios  for  lute. 
TioUn  and  cello ;  1  sonata  for  harp.|  tingle  roloe 
with  flute  and  bass ;  sereral  pieces,  canons  In  8  _ 
for  a  musical  clock :  a  sulo  for  har^;  ditto :  '  Tha  Ten  Commandments, 
monloa.  Duets— 6  for  violin  soloi  Mt  to  canons ;  the  same,  with 
with  rlola  aeoumpaolmeut.*  Ttlos,  difllerant  words,  under  Che  title 
SO :  90  are  for  8  vfollns  and  ba« :  •  Die  cehn  Uesetze  der  Kanst' ;  '  A 
1  for  Tiolln  solo,  rlola  ooncert-'  Belectlon  of  original  Scots  songs  In 
ante,  and  bass :  8  Cor  flute,  TtoUn,  3  paru,  tha  harmony  by  Dr.  J. 
and  bass:  8  for  8  flutes:  1  for  Haydn.'  with  Tlolin  and  bass  ao- 
eomo  dl  oaoda,  riolln.  and  oello.i  oompanlments  and  symphonies ; " 
QnarteU  for  8  riolias.  Tiola.  and  '  a  select  CoUedlon  of  Original 
caUo,  77:  the  flrst  18  were  puh-  Welsh  Airs  in  3  parts.' u 
llshedlnSserles.theneitisinllS..  Supposititious  and  doubtfhl 
then  one  printed  separately.  64  In'  works.      Instrumental  —  ScTeral 

9  series  of  6  Mas.  each,  2  more.  and.  symidionles  and  concerted  pieces : 
the  last*  ClaTler— 20  <  concertos  the  '  Kunstquartet.'  with  dUTereut 
and  dlvertimenti;  88  *  trios— 36' moTements.  by  Andr^.  entitled 
with  Tbdln  and  cello,  8  with  flute  •  polssonsd'ATril ' :  the  >«'  Och^n- 
and cello ;  63 sonatas •  and  divertl-i  menuett ' ;  'Bel  qnartettl.  Open 
menu ;  4  sonatas  •  for  clavier  and'  xil ' (Paris.  Dnrieu) ; '  Bel qulntettl, 
violin:  9 smaller  pieces,  lneluding|  opera iiir(Farls.LeChevardl«re). 
5  Noa.  of  variations,  a  eaprioclo.  a  1  string  quintet  in  C,  published  as 
fHiiask.2  adagios,  and '  DUKntntesI  op.  88  (by  Michael  Baydn);  1  Cla- 
petites  pUtoes ' ;  Iduet  (variations).'  virr^trio  in  C  <M.  Haydn) ;  Sooata, 

IL  VocaL  Church  music  — 14|up.96.Mo.2(byCamblni): 'Sonates 
Masses:  1  BUbat  Mater;  2  Te  i  quatre  mains,'  op.  77.  81,  86. 
Deoms:  18  i«  offertolres,  and  4  merely  arrangementsfnnBvmpho- 
moteU:  1  Tantum  ergo;  4  Balve'  nl««.  Yocal^  Requiems ;  4  Masses 
Beglnas ;  1  Beglna  ocbII  :  8  Are  OoTello  9.  10.  IS.  14) :  '  Bcbul- 
Beginas;  Besponsoria  de  Yenera^  melstermcsse ':  seveial MB. Masses; 
bill :    1   Cantilena    pro  Adveniul  Te  Deum  In  C,  9A  tempo  (by  M. 


(German  words) ;  6  lacred  arias :  2 
duets.  Oratorios  and  cantatas— 
'The  Creatkm':  'The  Seasons': 
'  n  BItomo  dl  Tobia ' ;  '  The  Seven 
Words ' :  '  Invocation  of  Neptune ': 
'  Applausus  musicus '  (for  the  festi- 
val of  a  prelate.  1768) ;  cantau  fur 
the  blrthdar  of  Prince  NIeoIaus. 
a763) :  '  Die  Erwthlung  elnes  Ka- 
pellnielsien,'  a  cantata.  Operas— 
1  German,  or  more  oorrectly, 
Slngsplel :  4  Italian  comedies ;  14 
ditto,  buffs ;  6  marionette  operas ; 
musle  fSor  '  Alfred.'  a  tragedy,  and 
I  »4  are  published  In  parts,  40 


Hsydn):  Miserere  In  6  minor;  8 
Llberas;  MS.  Oimtorio.  'Abramo 
ed  liaeco'  (by  MUUwecxek) :  2  *  Pa»- 
slons-Oratorien.'  MS.;  1 '  Applausus 
musicus.'  1763.  and '  Aria  de  St.  Jo- 
anne de  Nepomuk.'  1763  (both  MS., 
by  Albrechtoberger).  CaoUta»- 
'An  die  Freude.'  found  recently; 
•  Das  Emdtefeftt':  Des  DIchten  Oe- 
burtsfest':  '  Hler  llegt  Constantla.' 
Operas  — 'Alessandro  II  Grande.' 
17f».  pasticcio  from  Haydn  and 
other  composers; '  lAorette,*  op^ra 
comiqua  (Paris  1791).  a  pasticcio : 
In  score ;  99  remain  In  MB.  P.  F. 
arrat«emenU  for  2  hands  about  40.  for  4  about  80.  for  8  about  VL 

>  Originally  for  orcbeUra ;  arranged  flist  for  8  violins,  viola,  and 
baas,  then  for  soli,  chorus,  and  orehMtra. 

■  Arrangements  were  published  of  several  of  those  In  8  parts,  with 
violte  (for  which  the  flute  U  occasionally  subatltttted),  vfola,  or  caUo  as 
principal. 

«  The  numerous  printed  duets  for  8  violins  an  oaly  anaofameDts 
from  his  other  works. 

>  The  arrangement  of  tha  '  Sevan  Words*  is  wrongly  Indaded  hi 
the  collections. 

•  Onaoonoerto  Is  wHh  principal  vlotln ;  two  only.  G  and  D,  hare  been 
printed ;  the  last  alone  survives. 

f  Only  2)1  are  printed. 

>  Only  36  are  printed ;  the  one  In  C.  containing  tha  Adagio  In  F,  la- 
doded  In  all  the  collections  of  smaller  pieces,  only  In  London. 

•  8  are  published,  but  4  of  these  are  arrangements. 

10  10  of  the  13  are  taken  ttum  other  oompositiaiiB,  with  Lathi  text 
added. 

11  Published  by  SImroek  with  orchestral  aoeompantanent  by  Schnei- 
der (?).  and  with  etavler  accompaniment,  and  Italian,  German,  and 
Frmch  words. 

n  London:  printed  for  W.  NM>lar.  Dedicated  by  permission  to 
H.B.H.  the  DucheM  of  York.  Yol.  1.  contains  100.  YoL  II.  100 
Yol.  TIL  47.  Haydn's  own  catalogue  mentions  964,  some  of  which 
vfere  published  by  Thomson  A  Whyte  of  Edinburgh. 

i>  Printed  by  Preston,  vol.  L  SO,  voL  U.  17,  voL  Uh  4. 

i*  The  Ox's  minuet— the  title  of  a  Singsplel  founded  on  the  well- 
known  anecdote,  sat  to  a  pasticcio  from  Haydn's  eompositloiis,  and 
long  popular. 


*  U  oafttlar»  Mmm,*  (by  Walgl> : 

*  Dla  Bochaalt  auf  dar  Aim  (M. 
Hajnfln):  'Der  Apfeldlab,'  Sfaig- 
aplal  (by  TBit.'alao  set  by  Blerray) : 

*  Der  Freybclaf.'  partially  adapted 
from  Haydn's  'La  Fadeltft  pr»- 
mlala,'  by  FridoUn  Weber  (C.  M. 
von  Weber  afterwards  added  **  two 
nvmben) ;  *  Die  BaadifongkehrBr .' 
hr  Sallari;  'La  W4%  Uigdla'  (by 


Plcy«  aim  aal  br  Amtm  aal 
Sdlmlz.  Tenet  for  men's  votes, 
*Llcbar..%older, 
(by  Bchlekaneiler) ; 


(by  Gaasmaim): 
Herran.  kaat  vasJetiiclBe  Biaftiu 
anfltthren*:  provcrbafor  4  votes, 
by  Aadrd : '  Die  11iailni«  der  Iris,' 
a  bam  song  hr  Boaar  CDIateOU. 


In  the  impossibility  of  giving  a  complete 
thematic  list  of  Haydn's  125  SYmphonieB,  some 
partictdaza  regarding  a  few  id  thorn  may  be 
tueful. 

I.  The  1 2  Symphonies  which  he  ocmposed  for 
Salomon*8  concerts,  numbered  in  the  order  of 
their  occurrence  in  the  Catal()gue  of  the  Philhsi^ 
monic  Society  of  London. 

N.B. — The  dates  given  in  inyerted  oonmiu— 
as  'Londini,  1791* — are  those  on  the  aat()grsph 
scores.  Those  in  brackets,  [i  793],  are  conjectazaL 

The  numbers  in  brackets,  [8],  are  those  of 
Breitkopf  &  H&rtel*8  edition. 

The  titles  in  inverted  oommas  are  those  ususl 
in  England;  those  in  brackets  are  accepted  in 
Germany. 


X0.I.  [7.]  Adagh, 


a»-.] 


if.af^'-IJvggJlJ.J^ft^l^ 


NaZ.  [5.]  Adoifio, 


*L0DdiiiI.1791.' 


m 


^^ 


rrJlJllA'' 


*  The  Bnrpriee.'    [Biik  <lem  Piinkengphhg.] 

No.  8.  [«.]  Adoffio,  *im: 

§: 


f^ffi^c-^i^^m 


No.  4.  [8.]  Adag{o. 


[179t] 


i'''ljJd.lUl!)l^ 


r^ 


Na5.  [9.]  AUpmodertUo. 


•17W.' 


^/„;^r7r.|...j 


ff 


Nee.  [U.]  Adagio. 


^= 


•179L» 


i[,'-!IMi.ffl\f%^fc 


ff 

No.  7.1*  M  Adagio 


'LoodinLlTVS.' 


«'    #—    ■  "  fir  fsTi^ 


u  See  Jflhns's  Cfttalogne  Not.  18,  79l 

M  Haydn  has  headed  tha  MS. ' Blnfenla In D,  the ISOiwhkh  I hvt 

comptiaad  In  Inglaiid*' 


HAYDN. 

[Mit  dam  Paukenwirbd.? 
Xa  8.  Cl.]  Adagio.  [1796.] 

fc^'[Jp-lr7rU-^rlr"^rir 


HATBN. 
*  Letter  R/ 


721 

[1788.] 


Adagio,  ^  ,      *  Letter  R/  [1788.] 


*  Letter  T/ 


[1787,  for  Parto.] 


No.  9,  Ciaj  I'oargo, 


^ 


'Sinfonia  in  B  fit.  1796.' 


Xo.10.1  [8.]  -<4Avto. 


^S 


«nf;oa  > 


179S.' 


i 


£f±p 


No.ll.  [4.]  Adagio.    'The  'Clock.* 


g'^iil:iJi^. 


/T\ 


'1794.' 


^ 


#8j=5r.     Pf^- 


'The  MUitary.* 
No.  12.  [11.]  .4*^^.  --^ 


'1794.' 


i(/»  ni8f3pq>J|JrJTPjfl 


Adagio. 


'  Letter  V.' 


[1787,  tor  Pteis.] 


*  Letter  W.* 


M787.' 


^ 


*Adaffio. 


■  Ia  Reine  de  France.' 
/ten. 


[1786;  for  F^tfis.] 


^^^^^^^ 


II.  Symphonies  which  are  known  by  titles. 

The  letters  ('Letter  A,*  etc.)  are  those  in  the 
Philharmonic  catalogue,  by  which  these  Sympho- 
nies are  designated  in  the  Society's  programmes. 

Symphonies  marked  with  a  »  are  published  by 
Simrock,  in  parts,  engraved  from  the  original 
scores. 


Letter  A.> 


*Ada0io,  <  Letter  A.>  [1780.] 


'  Letter  B.'    <  The  Farewell  Symphony.' 
*AWanai.  *1772.' 


r'^lnu^^i^m 


*Adagio. 

'  3 


c7         3 


*  Letter  H.' 


^JJ-i  JJ-M  J^ 


PP 


*Aa^  eon  &rto. 


i 


£ 


•1774.' 


i  K 


*  Letter  I.*    [Trailer.] 


*AUegro, 


C1772.] 


J  r  '^  ^  "  j^  If  r  ' »! 


*Zatyi/k<f<0. 


*LaChaaie.* 


[1780.] 


df/»a/    H:ltM;VM^^ 


^ 


*AU: 


'Roxelane.' 
(Overture  to  *I1  Mondo  deUa  luna.') 


a777.] 


^'i  r- 


± 


^ ^  r         LAY //.J 


*^//«  iplritoso. 


'La  Poole.* 


[1786,  for  B»ri8.] 


•  •  • 


*Vivaee  cutai. 


t 


L'Oun.* 


[1786.] 


*  Maria  Thereaa.' 


f"  I  rrr  r'wiT-^=^-^ 


*jgu€ffro,  ■  letter  W  '1772' 


Adagio, 


' Letter  Q.'    'The  Oxford.' 


[1788.] 


jf*^  c^r-inirMrgre/'^J 


OonpoMd  In  Tienna. 


*  Bsflnrlaic  to  ttM  Andante. 


Vivace.  *  lAudon.'  [1779  J 


*AU»dimoUo.    "Hie  Schoolmaster.' 


^"  I '  '1774.' 


Adagio. 


'Le  Matin.' 


[176-.] 


8A 


722 


HAYBN. 


HATES. 


Adagio, 


UMidL' 


AO'moUo. 
*  *  » 


LeSolr.* 


[176-.] 


^>'l{iJu|^liL*lr-mj'IU;l 


Adagio, 


( n  Dbtmto.* 
(OverCim  to  '  Der  Zantnoto/) 


cim.] 


^^ 


'  KlndAr-SyniphoiiIe.' 

A. 


[17«-.] 


gnr^fr^^irOTri^PfrC;! 


'Mercury.' 


ClTTt.] 


Adagio. 


*  Der  PhOoMph/ 


•1764* 


Adagio, 


lApMsioiie.' 


^ 


HTTS.] 


^^^S^ 


#-4^^^ 


^ 


*  Feuer-Sympbonie.' 
(Probably  Overture  to  *Die  Feuerdminat.') 
Prato,  '1774.' 


i 


M^ 


^ 


^^ 


*  «      *  * 


*  Conoertante.' 


'London,  1798-' 


^^^^^^ 


5 


s^ 


Lunentationa.*  l 


i 


AU*  €U9ai  eon  tpirito. 


1771 


^ 


[C.F.P.] 

HAYDN  IN  LONDON.  The  second  volume 
of  'Mozart  und  Haydn  in  London/  by  C.  F. 
Pohl  (Vienna,  Ceroid,  1867),  devoted  to  an 
account  of  Haydn's  two  visits  to  England  and 
the  musical  condition  of  the  country  at  the 
time.  It  abounds  with  curious  details  gathered 
during  a  long  residence  here,  and  its  accuracy 
is  unimpeachable.  It  will  to  some  extent  be 
superseded  by  Mr.  Pohl's  Life  of  Haydn  from 
new  and  authentic  sources,  especially  from  the 

t  The  Adagio  oontalDi  Om  Socleilutlcal  MeMj  lor  FUrion  Weak. 


archives  ci  Eisenstadt  and  ForchtenBteiii,  of 
which  one  volume  has  appeared  (Leipzig,  Brett- 
kopf  &  Hartel,  1878).  [G.] 

HAYES,  Gathabins,  distinguished  soprano, 
was  bom  in  Ireland  in  1825  or  26,  and  leamt 
singing  in  Dublin  frt>m  Sapio,  in  Paris  frnm 
Garcia,  and  at  Milan  from  Bonconi.     On  her 
departure  for  abroad  Thackeray  wished  her  fore- 
well  in  his  Irish  Sketchbook.     She  made  her 
first  appearance  at  Marseilles  in  1845   in  the 
Puritani,  and   this  successful    d^btkt  was  the 
beginning  of  a  very  brilliant  career  in  Italy  and 
Austria.     Her  first  appearance  in  London  was 
at  Covent  Garden,  April  10,  1849,  in   landa^ 
After  a  short  period  of  hir  success  here,  during 
which  she  also  sang  in  Lucia,  the  SonnambnlA. 
and  the  Proph^te  ^Bertha)— and  of  much  greater 
ecUit  in  Ireland,  where  she  sang  Irish  songs 
amid  vast  applause — she  left  Europe  for  America, 
India,  Australia,  and  Polynesia.     In  1857  she 
returned   with    a   fortune,   and    married    Mr. 
Bushnell,  but  was  known  by  her  maiden  name 
till  her  death,  which  took  place  at  Boocles,  Syden- 
ham, Aug.  II,  1861.    Her  voice  was  beautzfnl, 
but  she  was  an  imperfect  musician,  and  did  not 
study.     In  society  and  domestic  life  she  was 
greatly  beloved  and  esteemed.  [G.] 

HAYES,  Philip,  Mus.  Doc,  second  son  of  Dr. 
William  Hayes,  bom  in  April  1 738 ;  received  his 
musical  education  prindp&lly  from  his  &ther; 
graduated  Mus.  Bac.  at  Oxford,  May  18,  1763 ; 
on  Nov.  30,  1 767,  was  appointed  a  Gentleman 
of  the  Chapel  Royal.  In  1776,  on  the  resigna- 
tion of  Richard  Church,  he  was  chosen  to  succeed 
him  as  organist  of  New  Collese,  Oxford,  and  on 
the  death]  of  his  father  in  the  following  year 
obtained  his  appointments  of  organist  of  Mag- 
dalen College,  Oxford,  and  Professor  of  Music  in 
the  University.  He  proceeded  Doctor  of  Music, 
Nov.  6,  1777.  On  the  death  of  Thomas  Nonis 
in  1790  he  was  appointed  organist  of  St.  John^s 
College,  Oxford.  Dr.  Hayes  composed  several 
anthems,  eight  of  which  he  published  in  a 
volume;  'IVophecy,*  an  oratorio^  performed  at 
the  Commemoration  at  Oxford,  1781;  Ode  for 
St.  Cecilia*s  day,  'Begin  the  Song'  (written  by 
John  Oldham  and  originally  set  by  Dr.  Blow, 
1684);  '  Telemachus,*  a  masque,  and  16  Psalms 
from  Merrick's  Version.  He  was  editor  of 
'  Harmonia  Wiccamica,*  a  collection  of  the  music 
sung  at  the  Meeting  of  Wykehamists  in  London, 
and  of  some  MS.  Memoirs  of  the  Duke  of  Glou- 
cester (son  of  Princess  Anne  of  Denmark),  com- 
menced by  Jenkin  Lewis,  one  of  his  attendants, 
and  completed  by  the  editor.  Dr.  P.  Hayes,  who 
was  one  of  the  largest  men  in  England,  died 
March  19,  1797,  and  was  buried  in  St.  Paul's 
Cathedral.  [W.H.H.] 

HAYES,  William,  Mus.  Doc.,  bom  at  Glou- 
cester in  1707,  becune  a  chorister  of  the 
cathedral  there  under  William  Hine.  He  was 
articled  to  Hine,  and  soon  became  distinguished 
as  an  orguiist.  After  the  expiration  of  his  arti- 
cles he  obtained  the  appointment  of  organist 
at  St.  Mary's  Church,  Shrewsbury.    In  1731  he 


HAYES. 

became  oiganiBt  of  Worcester  Cathedral,  which 
he  resigned  in  1734  on  being  appointed  organist 
and  master  of  the  choristers  at  Magdalen  G^ege, 
Oxford.    He  graduated  at  Oxford  as  Mus.  bSic 
July  8, 1735.    On  Jan.  14,  1743,  he  succeeded 
Richard  GUiodson  as  Professor  of  Music  in  the 
TJnivenity.    On  the  opening  of  the  Badcliffe 
Library  Hayes  directed  the  p^onnanoe,  and  was 
on  that  occasion  created  Doctor  of  Music,  April 
14,  1749.    ^^  17^3  ^'  Hayes  became  a  com* 
petitor  for  the  prizes  then  first  offered  by  the 
Catch  Club,  and  obtained  three  for  his  canons, 
'  Alleluja'  and  'Miserere  nobis/  and  his  glee, 
'Melting  airs  soft  joys  inspire.*    He  conducted 
the  music  at  the  Gloucester  Festival  in  1763. 
His   compositions  comprise  'Twelve  Arietts  or 
BaUads  and  Two  Cantatas/  1 735  ;    *  Gollios's 
Ode  on  the  Passions* ;  '  Vocal  and  Instrumental 
Music  containing  I.  The  Overture  and  Songs  in 
the  Masque  of  Circe,  IE.  A  Sonata  or  Trio  and 
Ballads,  Airs,  and  Cantatas,  III.  An  Ode  being 
part  of  an  Exercise  performed  for  a  Bachelor's 
D^;ree  in  Music,*  1 74a ;  *  Catches,  Glees,  and 
Canons';  'Cathedral  Music*  (Services  and  An- 
thems), 1795;   'Instrumental  Accompaniments 
to  the  Old  Hundredth  Psalm,  for  the  Sons  of  the 
Clergy' ;  and  '  Sixteen  Psalms  from  Meirick*s 
Version.'      He    was   author  of  *  Remarks   on 
Mr.   Avison's    Essay   on   Musical   Expression,* 
1762.    He  died  at  Oxford  July  30,  1777,  and 
was  buried  in  the  Churchyard  of  St.  Peter  in 
the  East. 

William  Hates,  jun.,  third  son  of  the  above, 
was  bom  in  1741,  and  on  June  37,  1749,  was 
admitted  a  chorister  of  Magdalen  Coll^;e.  He 
resigned  in  1751.  He  matriculated  from  Mag- 
dalen EEall,  July  16,  1757,  graduated  as  B.A. 
April  7,  1 761,  M. A.  Jan.  15,  1764,  was  admitted 
a  clerk  of  Magdalen  College,  July  6,  1764,  and 
resigned  in  1765  on  obtaining  a  minor  canonry 
in  Worcester  Cathedral.  On  Jan.  14,  1766,  he 
was  appointed  minor  canon  of  St.  Paul's  Cathe- 
dral, and  made 'junior  cardinal 'in  17S3.  He  was 
also  Vicar  of  Tillingham,  Essex.  He  died  Oct. 
22,  1790.  In  May  1765  he  contributed  to  the 
Gentleman's  Magazine  a  paper  entitled, '  Bules 
necessary  to  be  observed  by  all  Cathedral  Singers 
in  this  Kingdom.'  [W.  H.  H.] 

HAYM,  Nicx>LO  Fbanobsoo,  bom  at  Bome, 
of  German  parents,  came  to  England  in  1704. 
A  little  later,  he  engaged  with  Clayton  and 
Dieupart  in  an  attempt  to  establish  Italian 
opera  in  London ;  and  plaved  the  principal 
cello  in  Clayton's  'Arsinoe.  *, Camilla'  was 
Haym's  first  opera,  produced  at  Drury  Lane, 
April  30,  1706.  His  next  performances  were 
the  alteration  of  Buononcini's  'Thomyris'  for 
the  stage,  and  the  arrangement  of  '  Pyrrhus  and 
Demetrius'  [see  Nicolini],  which,  in  his  copy 
of  his  agreement  (in  the  writer's  possession),  he 
calls  '  my  opera,'  though  in  reality  composed  by 
A.  Scarlatti^.  For  the  latter  he  received  £300 
from  Bichy  while  he  was  paid  regularly  for  play- 

1  Jtajm  composad  for  ItiM,  It  k  traa.  m  new  vfutam  vaA-  mvobI 
f     idditknal  aonp,  whkh  tutva  00Dsld«nU«  marlL 


HEAD-VOICE. 


728 


ing  in  the  orchestra,  and  bargained  for  a  sepa- 
rate agreement  for  every  new  opera  he  should 
arrange  or  import.  The  principal  parts  in  'Pyr- 
rhus and  Demetrius '  were  sung  by  some  of  tiie 
performers  in  Italian,  and  by  the  rest  in  English ; 
but  this  absurd  manner  of  representing  a  drama 
was  not  peculiar  to  England.  These  operas  con- 
tinued to  run  from  1 709-11,  and  in  the  latter 
year  his '  Etearco*  was  produced ;  but  the  arrival 
of  Handel  seems  to  have  put  Haym  to  fli^t.  In 
Nos.  358  and  278  of  the  Spectator,  for  Dec.  26, 
1 711,  and  Jan.  18,  1712,  are  two  letters,  signed 
by  Clayton,  Haym,  and  Dieupart,  in  which  they 
protest  against  the  new  style  of  music,  and  solicit 
patronage  for  their  concerts  at  Clayton's  house 
in  York-buildings.  Haym  was  ready  however  to 
take  either  side,  and  in  17x3  he  reappears  as  the 
author  of  the  libretto  of  Handel's  'Teseo,'  a 
position  which  he  filled  again  in  'Badamisto,* 
'Ottone,*  'Flavio,'  '  Giulio  Cesare.*  Tamerhmo,' 
'Bodelinda^'  *  Siroe," Tolomeo,*  etc.  for  Handel; 
'  C.  M.  Coridano,'  Kod  *  Vespasiano,*  for  Ariosti ; 
and  'Calfumia'  and  'Astianatte,'  for  Buonon- 
oini  He  seems  to  have  been  no  more  particular 
about  claiming  the  words  than  the  music  of 
others ;  for  he  claims  the  book  of '  Siroe,'  though 
it  is  the  work  of  Metastasio  (see  Bumey,  iv. 
329).  His  merit  as  a  musician,  however,  entitled 
him  to  better  encouragement  than  he  received ; 
he  published  2  sets  of  Sonatas  for  2  violins  and 
a  bass,  which  show  him  to  have  been  an  able 
master,  and  his  talent  for  dramatic  music  m^ 
be  appreciated  from  an  air  printed  by  Sir.  J, 
Hawkins  in  his  Histoiy  (chap.  1 74). 

Haym  was  a  connoisseur  of  medids.  He  pub- 
lished '  II  Tesoro  delle  Medaglie  antiche,'  2  vols. 
Italian  and  English,  4to.  He  also  wrote  'Merope' 
and  '  Demodice,*  two  tragecUes ;  and  publishea  a 
fine  edition  of  the  'Gierusalemme  I^berata'  of 
Tasso,  and  a  *  Notizia  de'  Libri  rari  Italiani,'  a 
useful  book.  Hawkins  tells  us  (as  above)  that 
he  also  had  the  intention  of  printing  a  History 
of  Music  on  a  large  scale,  the  prospectus  of 
which  he  published  about  1730.  He  had  written 
it  in  Italian,,  and  designed  to  translate  it  into 
English,  but  relinquished  the  scheme  for  want 
of  support.  It  must  not  be  omitted,  that  we 
owe  to  the  pencil  of  Haym  the  only  known 
portraits  of  our  great  early  English  masters, 
Tallis  and  Byrd,  engraved  by  G.  Vander  Gucht, 
perhaps  for  the  projected  History  of  Music. 
The  two  portraits  are  on  one  plate,  of  which 
only  one  impression  is  known  to  exist.  On 
abuidoning  tne  musical  profession,  he  became 
a  collector  of  pictures,  from  two  of  which  he 
probably  copied  the  heads  of  Tallis  and  Byrd. 
F^tis,  incorrectly  as  usual,  puts  his  death  in  1 72Q ; 
he  must  have  died  shortly  after  the  publication 
of  the  above-mentioned  prospectus,  for  he  is 
mentioned  as  'the  late  Mr.  Haym'  in  vol.  3 
of  the  'Meny  Musician'  (ciro.  1731).       [J.M.] 

HE  AD-VOICE— in  contradistinction  to  chest- 
voice. This  term  is  applied  indifferently  to  the 
second' or  third  register.  Its  range  is  absolutely 
indefinable,  seeing  that  many  or  most  of  the 
notes  naturally  produced  'from  the  chest'  may 

8A2 


724 


HEAD -VOICE. 


also  be  produced  'from  the  head';  or.  In  other 
words,  that  the  different  're^Btere*  of  every- 
voice  may  be  made  to  cross  each  other.  [See 
Chest- voigb;  Falsktto.]  [J.H.] 

HEBRIDES.  'Die  Hebriden*  is  one  of  the 
names  of  Mendelssohn's  2nd  Concert  Overture 
(in  B  minor,  op.  16),  the  others  being  '  Fingals 
Hohle*  and  '  Die  einsame  Insel.'  He  and  Klinge- 
mann  were  at  Staffa  on  Aug.  7, 1 8  29 ;  and  the  next 
letter  to  his  family  is  dated  '  Auf  einer  Hebride/ 
and  contains  the  first  20  bars  of  the  overture. 
(See  &csimile  in  'Die  Familie  Mendelssohn,'  i. 
357.)  It  is  said  that  when  he  returned  to  Berlin 
and  was  asked  by  his  sisters  what  he  had  seen, 
he  went  to  the  piano  and  played  the  opening  of 
the  overture,  as  much  as  to  say  '  that  is  what  I 
have  seen.*  He  began  it  seriously  at  Rome  in 
the  winter  of  1830  (see  the  'Reisebriefe*),  and 
the  first  score  is  dated  'Rome,  Dec.  16,  1850/ 
and  entitled  '  Die  einsame  Insel.'  This  MS.  is 
In  the  possession  of  Mr.  Felix  Moscheles.  It  was 
played  at  the  Crystal  Palace  on  Oct.  14,  187 1. 
A  second  score  is  dated  *  London,  June  10, 1852/ 
and  entitled  'The  Hebrides' ;  it  is  in  possession 
of  the  family  of  Sir  W.  Stemdale  Bennett.  A 
comparison  between  the  two  was  attempted  in  the 
C.  P.  programme  book  of  the  above  aate.  The 
differences  are  very  great,  and  are  phiefiy  in  the 
middle  portion  or  working  out  (see  letter  Jan.  1 2, 
1833).  The  printed  score  (Breitkopfs),  an  8vo 
(published  Easter  1834),  is  entitled  *  Fingals 
Hohle.'  The  parts  are  headed  '  Hebrides,'  and 
do  not  agree  with  the  score  (see  bars  7  and  87). 

The  overture  was  first  played  by  the  Philhar- 
monic Society,  May  14, 183a.  [G.] 

HEDGELAND,  William,  established  an  or- 
gan faictory  in  London  in  1851.  Amongst  his 
instruments  are  those  of  St.  Mary  Magdalen, 
Paddington;  Holy  Cross.  St.  Helen's,  Lanca- 
shire ;  and  St.  Thomas,  Portman  Square,  Lon- 
don. [V.deP.] 

HEIDEGGER,  Johk  James,  by  birth  a 
Fleming,  as  it  is  supposed,  arrived  in  England 
in  necessitous  circumstances  in  1707.  Swiny 
was  still  sole  manager  of  the  Opera-house,  but 
Heidegger  was  probably  the  person  ('  tho'  musick 
is  only  his  diversion ')  to  whom  Motteux  alluded 
in  his  Pre&ce  to  '  Thomyris,'  as  the  selector  of 
the  songs  in  that  opera.  In  1 708  he  undertook 
the  management,  and  held  it  until  the  end  of 
the  season  of  1734  with  varying  success  ;  but 
ended  by  acquiring  a  large  fortune.  He  had 
the  address  to  procure  a  subscription  which 
enabled  him  to  put  'Thomyris*  on  the  stage, 
and  by  this  alone  he  gained  500  guineas.  He 
introduced  Ridotti  and  masquerades  at  the 
Opera ;  and,  in  allusion  to  this.  Dr.  Arbuthnot 
inscribed  to  him  a  poem,  'The  Masquerade,'  in 
which  he  is  more  severe  on  his  ugliness  than  on 
his  more  voluntary  vices.    Pope  describes  him 

*  With  lew  reading  than  makes  felons  *8cape. 
Leas  human  genius  than  Ood  gives  an  ape  y 

and  commemorates  his  personal  charms  in  the 
lines, — 


HEIGHINGTON-. 

'And  lo !  her  bird  (a  monster  of  a  fiiwl), 
Bomething  betwixt  an  Hddeggre  and  owL* 

(Dnnciad, 


i! 


and  a  little  print,  below  which  are  the  waria 
*  —  Bisum  teneatis  amici  f '  translates  his  word* 
into  a  caricature,  representing  a  chimaera  with 
the  head  of  Heidegger.  His  &oe  is  preserved 
also  in  a  rare  etching  by  Worlidge^  and  in  a 
capital  mezzotint  by  Fab^  (i  749)  after  Tanloo. 
Lord  Chesterfield,  on  one  occasion,  wagered  thai 
Heidegger  was  the  ugliest  person  in  the  town ; 
but  a  hideous  old  woman  was,  after  some  tet>ab)e, 
discovered,  who  was  admitted  to  be  eveo.  uglier 
than  Heidegger.  As  the  latter  was  plnmin^ 
himself  on  Ids  victory.  Lord  Chesterfield  inassed 
on  his  putting  on  the  old  woman's  bonnet,  when 
the  tables  were  turned,  and  Lord  Chesterfield  was 
unanimously  declared  the  winner  amid  thonden 
of  applause. 

Heidegger  was  commonly  called  the  'Swiss 
Count,'  under  which  name  he  is  aUuded  to  in 
'  A  Critical  Discourse  on  Operas  and  MuiBck  in 
England,'  appended  to  the '  Comparison  between 
the  French  and  Italian  Musick  and  Operas '  of 
the  Abb^  Baguenet^  and  in  Hughes's  '  Viaiaa 
of  Charon  or  i£e  Ferry-boat.' 

The  libretto  of  Handel's  'Amadigi*  (1716) 
is  signed  by  Heidegger  as  author.  I21  1729 
they  entered  into  operatic  partnership  at  the 
Haymarket  Theatre  for  throe  years,  but  the 
agreement  lasted  till  1734.  In  1737  Heidegger 
resumed  the  management,  which  the  nobility 
had  abandoned,  in  consequence  of  Farinelli's 
detention  at  Madrid ;  but  the  season  was  cala- 
mitous. Previous  to  closing  the  theatre^  he 
advertised  for  a  new  subsmption  (May  24, 
173^):  but  a  second  advertisement  (July  25), 
announced  that  the  project  of  another  season 
was  relinquished,  and  after  that  we  hear  no  more 
of  Heidegger.  [J.M.] 

HEIGHINGTON,  Musobavb,  Mob.  Doc, 
bom  1680,  son  of  Ambrose  fieighington,  of  White 
Hurworth,  Durham,  and  gran(&on  of  S^  Edward 
Musgrave,  of  Hayton  Castle,  Cumberland,  Bart., 
embraced  the  profession  of  music  and  in  1738 
was  organist  at  Yarmouth.  On  Aug.  i  a,  1 738, 
he  was  admitted  a  member  of  the  Gentlemen's 
Society  at  Spalding,  a  literary  and  antiquarian 
body  corresponding  with  the  Society  of  Anti- 
quaries. Ini739,  being  then  organist  at  Leices- 
ter, he  produced  at  the  Society's  anniversary  an 
ode  composed  by  him  for  the  occasion.  He 
composed  the  vocal  music  in  'The  Enchanter, 
or,  Harlequin  Merlin,'  a  pantomime  published  in 
Dublin,  together  with  the  instrumental  music,  a 
circumstance  which,  coupled  with  the  hdB  of  his 
wife  being  an  Irish  lady  and  his  son  bom  in 
Dublin,  leads  to  the  inference  that  he  at  some 
time  pursued  his  profession  in  that  city.  He 
also  composed  *  Six  Select  Odes,'  and  some  minor 
pieces.  He  is  said  to  have  obtained  his  degree 
at  Oxford,  but  his  name  is  not  to  be  found  in  the 
records  there,  nor  in  the  catalogues  of  graduates 
at  Cambridge  or  Dublin.  He  died  at  Dundee 
about  1774.  [W.H.H.] 


HEIL  DIB  IM  SIEGERERANZ. 


HKLMHOLTZ. 


725 


HEIL  DIR  IM  SIEGERKRANZ.    A  Get- 

national  song,  written  by  Heinrich  HarrieB, 

sk  Holstein  deigyman,  for  the  birthday  of  Christiaii 

^VTI  of  Denmark,  and  published  in  the  flensburg 

>VoGhenblatt  of  Jan.  27,  1790,  'to  the  melody 

of  the  English  God  save  great  George  the  King.' 

It  was  originally  in  8  stanzas,  but  was  reduced  to 

five  and  otherwise  slightly  modified  for  Prussian 

lase  by  B.  G.  Schumacher,  and  in  this  form  ap* 

pteared  as  a '  Berliner  VolkiBlied  *  in  the  Spenersche 

2eitung  of  Deo.  1 7, 1 793.^  The  first  stanza  of  the 

liymn  in  its  present  form  is  as  follows  :— 

'Heil  Dir  im  SiMerkian^ 
Hemoher  dee  vaterland^s, 

UeUKtoigDir! 
FUhl'  in  des  l&oneB  Glanx, 
Die  hohe  Wonne  ganz, 
Ideblinff  des  VoUa  sa  aein 
H^KfinigDirl* 

HEIMKEHR  AUS  D]£R  FBEMDE.    [Son 

AKD  StRANOXB.] 

HELLER,  Stephen,  bom  May  15,  181 5,  at 
Pesih,  is  an  aocomf^shed  pianist,  and  author  of 
a  large  number  of  pieces  for  his  instrument,  mostly 
on  a  small  scale,  but  generally  elegant  in  form  and 
refined  in  diction.  He  has  for  the  last  twenty- 
five  years  enjoyed  great  popularity  amongst  culti- 
vated amateurs  in  France  and  England.  His 
first  publication  was  a  set  of  Variations  in  1829, 
and  his  latest  (Jan.  1879)  is  a  Sonatina  (op.  147). 
Next  to  his  numerous  Etudes  and  Preludes,  the 
best  of  his  publications  consist  of  several  series  of 
moreeavx  put  forth  under  quaint  titles,  such  as 
'Promenades  d*un  Solitaire  (taken  firom  Rous- 
8eau*s  letters  on  Botany),  '  Blumen-Frucht-und- 
Domen  Stucke'  (firom  Jean  Paul),  'Dans  les  Bois,' 
*  Nuits  blanches/  etc.  A  '  Saltarello '  on  a  phrase 
from  Mendelssohn's  Italian  symphony  (op.  77), 
five  Tarantellas  (op.  53, 61,  85,  87),  a  Caprice  on 
Schubert's  '  Forelle '  (known  as  La  Trvdte),  are 
pieces  wherein  Heller  rings  the  changes  on  his 
stock  of  musical  material  with  delicate  ingenuity, 
and  exhibits  less  of  that  wearisome  reiteration 
of  some  short  phrase,  without  either  development 
or  attempt  at  attractive  variety  in  treatment, 
which  of  late  has  grown  into  mannerism  with 
him.  He  has  also  put  forth  four '  solo  sonatas 
which  have  left  no  trace,  and,  together  with 
Ernst  the  violinist,  a  set  of  '  Pens^es  fugitives ' 
for  piano  and  violin,  which  have  met  wiUi  great 
and  deserved  success  amongst  dilletante  players. 

Having  appeared  in  public  at  Pesth  at  an 
early  age,  he  made  a  tour  through  Germany, 
and  settled  for  some  years  at  Augsburg,  where 
after  a  prolonged  illness  he  found  ample  leisure 
to  pursue  his  studies.  Since  1838  he  has  resided 
in  Paris,  rarely  playing  in  public,  but  much 
esteemed  as  a  teadtier  and  composer.  He  visited 
England  in  1862,  and  played  at  the  Giystal  Palace 
with  Halle  on  May  3  in  Mozart*s  Concerto  in 
E  flat  for  2  Pianos.  His  '  life  and  Works '  are 
the  subjects  of  a  monqeraph  by  H.  Barbedette, 
translated  into  English  by  Rev.  R.  Brown  Berth* 
wick,  1877.  [E.D.] 

1  From  aa  artide  by  W.  Twppett  in  tlM  M  iialktilaehes  Wodienblatt 
for  Aug.  31. 1877.  See  too  a  carious  pamphlet  with  flMslmiks,  *  Veraa- 
MbaulichuDg.'  etc.,  tod  Dr.  Ocbmaon  (Berlin,  1878). 

s  Op.  9. 6S.  88. 14S.  See  a  review  of  tbe  first  of  ttww  by  Sehamaan 
In  blk '  6e6«m.  Bchriften.'  UL 180. 


HELLMESBERGER,  a  distinguished  family 
of  musicians  in  Vienna.  Gsorq,  the  father,  bom 
April  24,  1800,  son  of  a  countiry  schoolmaster, 
and  chorister  in  the  court  chapel,  entered  the 
Conservatorium  of  the  Gesellschaft  der  Musik- 
fireunde  and  learnt  the  violin  from  Bdhm  and 
composition  from  E.  Forster.  In  1821  he  was 
appointed  assistant  teacher,  and  in  1833  professor 
at  the  Conservatorium,  where  he  formed  a  host 
of  distinguished  pupils,  including  his  two  sons, 
until  he  retired  on  a  pension  in  67.  Li  1839  he 
became  conductor  of  the  Imperial  opera,  and  in 
1830  a  member  of  the  court  chapeL  This  unas- 
Burning  man,  who  Uved  only  for  his  art,  was  leader 
at  innumerable  conoertSy  published  many  compo- 
sitions for  his  instrument,  and  died  universally 
respected  at  Neuwaldegg  on  Aug.  1:6, 1873.  ^^ 
eldest  son  Gbobo,  bom  in  Vienna,  1828  (?),  made 
a  successful  concert-tour  through  Germany  and 
England  with  his  &ther  and  brother  in  1847,  but 
chiefly  devoted  himself  to  composition,  whidi  he 
studied  under  Rotter.  When  barely  21  he  was 
appointed  concert-meister  at  Hanover,  where  he 
brought  out  two  operas,  'Blirgschaft '  and  '  Die 
beide  Koniginnen.'  He  died  Nov.  12,  1852, 
leaving  numerous  MSS.    His  brother 

Joseph,  bom  Nov.  3,  1828,  early  displayed 
a  great  faculty  for  music,  and  appeared  in  public 
with  applause  as  an  infimt  prodigy.  In  spite  of 
his  youth  he  was  appointed  vioUn  professor  and 
director  of  the  Conservatorium,  when  it  was  re- 
constituted in  1853,  and  professional  conductor  of 
the  Gesellschaft  concerts.  He  resigned  the  latter 
post  in  fibvour  of  Herbeck  in  1859,  ^^'^  ^^  P'^ 
fessorship  in  1877,  but  still  retains  the  post  of 
director,  with  signal  advantage  to  the  institution. 
In  i860  he  was  appointed  ooncertmeister  at  the 
Imperial  opera,  in  63  first  violin  solo  in  the 
court  chapel,  and  in  77  chief  capellmeister  to 
the  emperor.  The  quartet  parties  which  he  has 
led  since  1849  have  maintained  their  attraction 
undiminished  in  spite  of  all  rivfdry.  The  reper- 
toire is  large,  and  his  performances  were  the  nrst 
to  awaken  general  interest  in  Beethoven's  later 
quartets.  The  fine  tone,  grace,  and  poetic  feel- 
ing which  mark  Hellmesbeiger's  execution  as  a 
solo  and  quartet  player,  are  equally  conspicuous 
in  the  orchestra,  of  which  he  is  a  brilliant  leader. 
To  these  qualitiee  he  adds  perfect  fiuniliarity 
with  every  instrument  in  the  orchestra,  and  con- 
siderable skill  as  a  pianist.  He  received  the 
Legion  of  Honour  for  his  services  as  a  juror  in 
the  Paris  Exhibition  of  1855 ;  and  many  other 
orders,  both  of  his  own  and  other  countries,  have 
since  been  conferred  on  him.  On  the  25th  anni- 
versary of  his  directorship  of  the  Conservatorium 
he  was  presented  with  the  fineedom  of  the  cily  of 
Vienna.  His  son  Joseph,  bom  April  9,  1855, 
inherits  the  family  talent,  and  has  played  second 
violin  in  his  father's  quartet  since  1875.  He  has 
been  since  78  solo  player  at  the  court  opera 
and  chapel,  and  professor  at  the  Conservato- 
rium. [C.F.P.] 

HELMHOLTZ,  Hbbmann  Ludwig  Febdi- 
NAND,  was  bom  Aug.  31,  1821,  at  Potsdam. 
His  &ther  was  Professor  at  the  Gymnasium 


/ 


r2« 


HELMHOLTZ. 


there,  and  Ms  moiher,  Caroline  Penn,  belonged 
to  an  emigrated  English  fii^mily.  He  stadied 
medicine  in  Berlin  in  1859,  and  rose  to  be 
Teacher  of  Anatomy  at  the  Berlin  Academy  in 
1848.  In  the  following  ywr  he  became  Pro- 
fessor of  Physiolpgy  at  Konigsberg;  in  1858, 
Professor  of  the  same  at  Heidelberg,  and  G«- 
heimrath.  In  1871  he  returned  to  itie  Berlin 
University  as  Professor  of  Natural  Philosophy, 
and  at  Christmas,  1877,  was  elected  Eector. 
His  essay  on  the  Gonsenration  of  Force  ('  Er- 
haltnng  der  Kraft')  appeared  in  1 847 ;  his  Physio- 
logical OpticsCPhysiofo^scheOptik')  ini856-66; 
and  his  Fopular  Scientific  Lectures  ('  Pop.  wis- 
■ensoh.  Vortrage  *)  at  Brunswick,  1 865-76.  It  is, 
however,  with  his  '  Treatise  on  the  Sensations  of 
Tone  as  a  physiological  basis  for  the  theory  of 
Music,* '  and  with  his  valuable  inventions  and 
discoveries  in  relation  to  the  art,  that  we  are  here 
ooncemed. 

Professor  Helmholts  has  invented  a  double 
harmonium  with  24  vibrators  to  the  octave,  by 
means  of  which  the  musician  can  modulate  into 
all  keys  quite  as  easily  as  on  «  single  manual 
tuned  by  equal  temperament^  and  without  the 
dissonant  thirds  and  sixths  which  that  mode  of 
tuning  introduces.  The  system  may  be  easily 
applied  to  the  oigan  and  piano.  It  is  extremely 
smiple,  as  it  does  not  add  to  tbe  number  of  notes 
in  the  scale,  and  requires  no  new  system  of 
fingering  to  be  leamt  by  the  performer.  This 
invention,  originally  suggested  by  the  extremely 
unpleasant  effect  of  the  equally  tempered  har^ 
monium,  may  not  impossibly  revolutionise  mo- 
dem musical  practice,  extending  as  it  does  to 
manual  instruments  that  perfect  intonation  which 
has  hitherto  been  attainable  only  by  stringed 
instruments  and  the  human  voice.  The  following 
may  be  selected,  amongst  many  others,  to  illus- 
trate the  nature  of  the  discoveries  of  Helmholte : — 

I.  QualUy  of  Mtuical  Bounds  determined  by 
Sarmonict,  By  means  of  a  series  of  resofuitora, 
each  of  which  on  being  applied  to  the  ear  re- 
inforces any  harmonic  of  equal  pitch  which  may 
be  present  in  a  given  note,  Helmholtz  has 
effected  the  most  complete  analysis  of  musical 
tone  hitherto  attained.  The  resonator  is  a  hollow 
sphere  of  glass  or  metal,  with  two  openings  op- 
posite to  each  other,  one  of  which  is  funnd- 
shaped,  for  insertion  into  the  ear.  Let  the  note 
of  the  resonator  be  upper  G,  the  air  contained  in 
it  will  vibrate  very  powerfully  when  that  note  is 
given  by  the  voice  or  any  musical  instrument ; 
and  less  powerfully  when  the  note  given  is  one  of 
those  lower  notes  which  ^^ 

are  hamumie  aub-Umes  of      n      "T"  — 


C,  or  is,  in  other  words,  a 
note  among  the  harmonics 


Besonator. 

HarzDonlo 
•ul>-tou«i. 


of  which  the  upper  G  occurs. 

The  chief  results  of  Helmholtz*s  experiments 
with  resonators  have  been  given  under  the  head 
Harmonics. 

More  curious  is  his  detennination  of  the 
nature  of  the  vowel  sounds  of  the  human  voice, 

1  *  Dl9  LehrsTOD  dan  ToDempflndai^en  all  phTtlologiieheGrandlasa 
for  die  Theorle  dw  Mudlu'   Bnuuwick,  1M9L 


HELMHOLTZ. 

in  which  Helmholtz  has  developed  the  diacoreries 
of  Wheatstone.  The  shape  of  the  mooth-cavirf 
is  altered  for  the  production  of  each  pttrticolar 
vowel ;  and  in  each  of  the  shapes  which  it  as- 
sumes it  may  be  considered  as  a  musical  inste^a- 
ment  yielding  a  different  note,  and  in  the  case  of 
the  compound  vowels,  yielding  simultaneoo^y 
two  separate  notes  of  different  pitch,  just  as  th^ 
neck  and  body  of  a  glass  bottle  do.  The  natural 
resonance  of  the  mouth-cavity,  independently  of 
the  tension  of  the  vocal  chords,  for  differmt 
vowels,  is  as  follows  (the  pronunciation  of  the 
vowels  being  not  English  but  Gennan)  :— 

Compomnd  Toiwita. 


i 


f 


t 


£=^i 


N* 


e      i 


Thus,  when  the  mouth-cavity  is  found  to  utter 
the  sound  u  (00),  it  is  in  effect  a  musicid  instra> 
ment,  the  natuial  pitch  of  which  is  lower  f^  and 
soon. 

For  the  highly  interesting  experiments  on 
vowel-pitch  by  means  of  the  resonators,  and  tbe 
importance  to  singers  and  composers  of  the  re- 
sults deducible  from  them,  the  reader  must  be 
referred  to  Helmholtz*s  work  (Ellis's  translation, 

PP-  i.S3-i7a)- 

a.  SummcLiional  Tones.    The  fact  that  when 

two  notes  are  sounded  together  they  generate  a 
third  and  deeper  tone,  whose  vibrational  number 
equals  the  difference  of  their  several  vibrational 
numbers,  has  been  known  to  violinists  ever  since 
the  time  of  Tartini.  [See  Tartiki*8  Tosbs.] 
These  tones  Helmholtz  calls  differential  tones, 
to  distinguish  them  from  another  set  of  generated 
tones  discovered  by  himself,  the  vibrational  num- 
bers of  which  equal  the  sum  of  the  vibrational 
numbers  of  the  generating  tones,  and  which  he 
hence  calls  snmmntional  tones.  These  tones  are 
of  course  higher  than  the  generating  tones.  Thus, 
if  the  chords  in  miTiims  in  the  following  figure 
be  played  forte  on  the  violin,  the  double  series 
of  combinational  tones  above  and  below  will  be 
produced  :-— 


orTsrriiii's 
tones. 


The  summational  tones  are  too  weak  to  be 
distinguished  by  the  unaided  ear:  while  the 
differential  tones  are  on  some  instruments  in- 
trusively audible.  (In  fact  the  violin  player 
obtains  perfect  fifths  on  his  strings  by  tuning 
until  he  hears  the  octave  below  the  lower  string.) 
The  summational  tones  of  the  two  last  chords  lie 
helwetn  F  and  F|  and  Ab  and  A  respectively. 


HELMHOLTZ. 


HENLEY. 


727 


3.  Phyriology  of  the  Minor  Chord.     Among 
-the  most  interesting  of  these  discoveries  is  the 
x^eason  of  the  heavy  and  quasi-dissonant  effect 
produced   by  minor   triads.      Just    intonation 
cleopens   the   well-known  grave,   obscure,  and 
mysterious  character  which  belongs  to  minor 
cliords ;  and  the  observations  of  Helmholtz  on 
aocurately  tuned  instruments  have  enabled  him 
'to  trace  Uiis  grave  and  obscure  character  to  the 
pz^esenoe   of  certain  deep  combinational  tones, 
foreign  to  the  chord,  which  are  absent  from 
major  chords,  and  which  without  being  near 
enough  to  beat,  and  thus  actually  to  disturb  the 
liarmony,  make  themselves  sufficiently  audible, 
att  least  to  a  practised  ear,  as  not  helonffing  to  the 
liarmony.    No  minor  chord  can  be  obtained  per- 
fectly free  from  such  fiilse  combinational  tones. 
JFor  the  ordinary  hearer  the  presence  of  these 
tones  gives  to  the  chord  its  well-known,  obscure, 
and  mysterious  character,  for  which  he  is  un- 
able to  account,  because  the  weak  combinational 
tones  on  which  it  depends  are  concealed  by  other 
louder  tones.    The  fact  that  this  unsatirfactory 
though  not  dissonant  effect  of  the  minor  chord 
is  deepened  when  the  chord  is  played  perfectly 
in  tune,  led  musicians  who  wrote  before  the  era 
of  equal  temperament  to  avoid  the  minor  chord 
as  a  close,  and  to  reserve  the  effect  produced  by 
minor  chords  for  distinct  passages  or  episodes  in 
the  composition,  instead  of  using  them  in  indis- 
ciiminate  combination  witii  major  chords,  as  is 
the  practice  of  ordinary  modem  composers.   The 
'Ave  verum'  of  Mozart,  and  the  choral  hynm 
of  Mendelssohn,^  'Vaterland  in  deinen  Gauen,* 
are  good  examples  of  this  separation  of  major 
and  minor  effects  as  instinctively  practised  by 
the  best  writers. 

4.  Perception  of  mutioal  tones  hy  the  human 
ear.     Starting  from  the  anatomical  discoveries 
of  the  Marchese  Corti,  Helmholtz  has  shown 
how  different  parts  of  the  ear  are  set  in  vibra- 
tion by  tones  of  different  pitch.     The  human 
cochlea  contains  about  3000  of  the  rods  or  fibres 
known  as  '  Oorti*s  arches.'    The  human  ear,  in 
fact,  is  a  highly  sensitive  musical  instrument, 
furnished  with  3000  strings,  which  are  set  in 
motion  by  the  concurrent  vibration  of  external 
sonorous  bodies,  exactly  in  the  same  way  in 
which  the  'resonator  *  responds  to  a  musical  sound, 
or  in  which  the  strings  of  a  silent  violoncello  or 
pianoforte  are  set  in  vibration  by  the  production, 
in  a  sufficient  degree  of  strength,  of  notes  of 
equivalent  pitch  on  any  other  instrument  placed 
near  it.     On  the  perfect  or  imperfect  anatomical 
constitution  of  these  3000  musical  strings,  and 
cm  their  connection  with  the  brain,  depends  the 
capacity  in  the  human  subject  for  the  sensation 
of  tune :  probably  in  persons  who  have  '  no  ear' 
they  are  imperfectly  developed.    Deducting  aoo 
for  tones  which  lie  beyond  musical  limits,  there 
remain  a,8oo  for  the  seven  octaves  of  musical 
pitch,  that  is,  400  for  every  octave.      If  the 
experiments  of  E.  H.' Weber  are  correct,  sen- 
sitive and  practised  musicians  can  perceive  a 
difference  of  pitch  for  which  the  vibrational 
*■  From  tlM  FeitBeaus  for  the  Printing  Feittf  aL 


numbers  are  as  1000  to  looi.  Intervals  so 
fine,  falling  between  the  pitch  of  two  of  Gorti's 
arches,  would  probably  set  both  arches  unequally 
in  vibration,  that  one  vibrating  most  strongly 
which  is  nearest  to  the  pitch  of  the  tone. 

5.  Distribution  of  hartnonic  intervals.  The 
common  rule  of  avoiding  close  intervals  in  the 
bass,  and  of  distributing  intervals  with  tolerable 
evenness  between  the  extreme  tones,  has  long 
been  arrived  at  by  experience.  Helmholtz  has 
demonstrated  its  physiological  basis  to  consist  in 
the  dissonant  combinational  tones  which  result 
from  intervab  otherwise  distributed. 

For  Professor  Helmholtz's  deduction  of  other 
rules  of  musical  science  frt>m  the  physical  nature 
of  musical  sounds,  together  with  his  historical 
exposition  of  the  growth  of  melodic  scales  and  of 
modem  harmony,  the  reader  is  referred  to  his 
work,  as  already  cited.  [£.  J.  P.] 

HELMORE,  Bev.  Thomas,  was  bom  at  Kid- 
derminster, Mav  7,  1 81 1,  and  educated  at  Mag- 
dalen Hall,  Oxford.  In  1840  he  became  curate 
of  St.  Michael's,  Lichfield,  and  a  priest-vicar  of 
Lichfield  Cathedral.  In  1842  he  was  appointed 
Vice-Principal  and  Precentor  of  St.  Mark's  Col- 
lege, Chelsea,  and  in  1846  succeeded  William 
Hawes  as  Master  of  the  Choristers  of  the  Chapel 
Boyal,  of  which  in  1847  he  was  admitted  as  one 
of  the  Priests  in  Ordinary.  He  is  author  or 
editor  of  'The  Psalter  noted,'  'The  Canticles 
noted,'  'A  Manual  of  Plain  Song.'  'A  Brief 
Directory  of  Plain  Song,*  '  The  Hymnal  noted,' 
'Carols  for  Christmas,'  ' Carols  for  Easter/  'St. 
Mark's  College  Chaunt  Book,'  and  'The  Can- 
ticles accented,'  and  translator  of  Fetis's  'Trea- 
tise on  Chorus  Singing.'  He  is  composer  of 
music  for  some  of  N^e  s  translations  of  Hymns 


of  the  Eastern  Church. 


[W.H.H.] 


HEMIOLIA(Gr.'H/cfdXiot;  LaX.SesquiaUera; 
Ital.  Bmiolia ;  Fr.  Hemiole).  LitenUly,  the 
whole  and  a  half;  technically,  the  proportion 
of  two  to  three.  In  this  latter  sense  the  word 
is  used,  in  the  musical  terminology  of  the  Middle 
Ages,  to  denote  the  Perfect  Fifth,  the  sound  of 
whidb  is  produced  on  the  monochord  by  two- 
thirds  of  tiie  open  string.  The  term  is  also 
applied  by  writers  of  the  i6th  century  to  certain 
rhythmical  proportions,  corresponding  to  the 
triplets  of  modem  music.  Thus,  three  minims, 
sung  against  two,  are  called  Hemiolia  major; 
thi&o  crotchets  {semiminivne)  against  two,  He- 
miolia minor.  Italian  writers  of  later  date  call 
3-4  time  Emiolia  maggiore,  and  3-8  Emiolia 
minore,  [W.  S.  R.] 

HENLEY,  Rev.  PHOCiowr,  nephew  of  Lord 
Chancellor  Henley,  was  bom  at  Wootton  Abbots, 
1728,  matriculated  at  Oxford  (Wadham)  May  7, 
1 746,  where  he  spent  a  great  part  of  his  time 
in  the  cultivation  of  music  in  company  with  his 
friend  Jones,  afterwards  of  Nayland.  In  1759 
he  was  presented  to  the  rectory  of  St.  Andrew 
by  the  Wardrobe,  and  St.  Anne's,  Blackfriars. 
He  composed  several  chants — one  of  which  is 
stiU  in  use — and  anthems,  and  a  set  of  6  hymns 
entitled  'The  Cure  of  Saul.*    He  died  Aug.  2^, 


728 


HENLEY. 


1 764,  o£  a  oontagioaB  fever  caught  whilst  Tiiiiting 
ft  sick  parishioner.  [W.H.  H.] 

HENNEBEBG,  JoHAinr  Baptist,  bom  at 
Tienna  Dec.  6,  1768;  succeeded  his  fisther  as 
oiganist  of  the  Scottish  church  there.  In  1790 
was  conductor  at  Schikaneder*s  theatre,  and  as 
such  directed  the  rehearsahi  of  the  Zauberflote, 
and  all  the  performances  of  it  after  the  second. 
He  continued  to  hold  the  same  post  in  the 
Theatre  an-der-Wien  (1801),  but  soon  after- 
wards left  the  city.  In  1805  he  entered  Prince 
Esterhaz/s  establishment  as  first  organist,  and 
on  Hummers  retirement  in  181 1  conducted  the 
operas  at  Eisenstadt.  In  1815  he  returned  to 
Vienna,  became  choirmaster  at  the  parish  church 
'  am  Hof/and  in  18 18  organist  to  the  court,  and 
died  Nov.  37,  i8aa.  He  was  much  esteemed  both 
as  a  player  and  a  comooHer.  Amongst  his  operas 
have  been  published — 'Die  Dervrische,*  'Die 
Eisenkonigin,'  and  '  Die  Waldmanner*;  also  his 
arrangement  of  Winter's  '  Labyrinth.*    [G.  F.  P.] 

HENRI  QUATRE  (VIVE).  This  historical 
song  consists  of  three  couplets,  which  we  append 
in  Uie  order  in  which  they  should  be  sung. 

J^aimoiu  let  fillee 
Et  J'aimons  le  bon  vln; 

lie  ncM  bona  drilles 
Voilft  tout  le  reflrain: 

J'almons  lei  iUles 
£t  J'ftimona  le  bon  Tin. 

Moins  de  ■oudrillee 
Eusaent  troabld  le  eein 

De  noe  families, 
81  riiguenz,  plus  namain. 

Eat  aim^  lee  fillee, 
Eat  aiznd  le  bon  yin. 


JH^-r  r  rff  r  r  1  r '  r  r  1^ 

S^  Vlv«     n*n  -  vl         tmM.  -  tra  VI   •  «*    <wi  nd  vail  •  Ian: 


VlTO   Bm-ii      que-  tra.  VI  •  ve  oe  rsl  vaU  -  kntl 


"I*  r  rir^  y  rlr  r^r  r|J  ^j"-. 


Os    dtoble4     qua  -  tra   A     le    til- pie  to- lent  DeboUe 


1 1- 


i^ 


X 


^ 


«t    de       bet    -  tre,   Bt    d'etre  qb  Tsrt 


lent! 


The  authorship  of  the  words  and  the  date  of 
their  composition  are  disputed  points,  although 
the  first  two  couplets  have  been  very  generally 
attributed  to  CoU^  (1709-83).  We  are  disposed 
from  internal  evidence  to  assign  all  three  verses 
to  the  second  period  of  the  i«ign  of  Henri  IV 
(i 589-1610),  i.  e.  the  early  part  of  the  17th 
century.  People  plunged  in  all  the  horrors  of 
civil  war,  and  in  continual  terror  for  their  lives 
and  their  fieunilies,  are  scarcely  in  the  mood  to 
sing  of  women  and  wine.  The  second  verse 
implies  that  the  League  is  an  affur  of  the  past ; 
and  it  was  not  till  1598  that  the  League  was 
terminated  by  the  submission  of  Mercceur.  In 
the  third  stanza  the  King  is  represented  as 
victorious  over  his  enemies  at  home  and  abroad ; 
and  it  was  not  till  1601  that  the  treaty  of  peace 
with  the  Duke  of  Savoy  was  signed.  Finally  it 
was  not  till  after  he  had  remitted  20,000,000  frs. 
of  taxes  in  arrear,  and  reduced  the  income-tax 
by  4,000,000  in.  annually,  that  Henri  IV  became 
the  idol  of  France,  and  especially  of  the  peasantry ; 


HENRI  QUATRK 

and  these  redactions  were  in  progress  from  1601 
to  1610. 

We  ascribe  the  song  then  to  the  first  decade 
of  the  17th  century;  and  aie  also  inclined  to 
believe  that  the  couplet  'J'aimons  les  fillee'  is 
older  than  the  other  two,  and  was  taken  firom  a 
*  chanson  de  table*  or  drinking-song,  of  the  time 
of  Henri  III.  In  the  and  and  ^A  stanzas  the 
last  line  but  one  contains  five  syllablee,  whereas 
in  the  ist  there  are  only  four.  This  slight  change 
may  have  arisen  insensibly,  either  ftom.  the  author 
not  having  at  hand  a  copy  of  his  predeoessor^s 
lines,  or  l^cause  he  improvised  his  words  as  he 
sang  to  some  well-known  air,  and  naturally  gave 
a  separate  syllable  to  each  note  of  the  noelody. 
He  has  also  involuntarily,  or  firom  intentional  imi- 
tation, repeated  in  the  second  verse  the  rhymes 
of  the  first. 

If  Coll^  had  been  the  author  of  these  lines, 
he  would  certainly  have  told  us  the  fact  in  hia 
'  M^moires.*  He  records  the  minutest  particulars 
concerning  the  metamorphoses  of  '  Le  Roi  et  le 
Fermier,*  and  the  performances  of  'La  Partie  de 
chasse  de  Henri  IV ' ;  puts  down  unimportant  im- 
pioviflation%  and  the  most  insignificant  rhymes ; 
and  it  is  impossible  to  suppose  that  he  would  not 
have  mentioned  having  added  two  verses  to  *  Vive 
Henri  IV,'  if  such  had  been  the  case.  The  sup- 
position IB  rendered  still  more  inadmissible  by 
the  fact  that  he  gives  the  other  refrains  in  'La 
Partie  de  chasse  de  Henri  IV'  word  for  word. 
We  may  assume  that  Coll^  quoted  this  his- 
torical song  in  its  traditional  form,  and  is  no 
more  to  be  accredited  with  additions  to  it  than  to 
'  La  belle  Jardiniere,'  the  three  couplets  of  which 
he  also  transcribed,  (See  CoU^,  '  La  Partie  de 
chasse  de  Henri  IV,'  Sctoe  xL) 

The  air  has  been  often  said  to  resemble  one  of 
the  themes  of  the  oontredanse  called  'Lee  Trioo- 
tets,*  the  title  and  the  notes  of  which  are  to  be 
found  in  '  Lee  Parodies  nouvelles  et  les  Vaude- 
villes inoonnus'  (voL  L  p.  $2);  and  'Rondes  et 
Chansons  h  danser'  (vol.  ii.  p.  191)  only.  Ifow, 
not  only  do  neither  of  these  two  airs  beer  any 
resembiance  to  '  Vive  Henri  IV,'  but  they  differ 
from  each  other,  and  thus  either  'Les  Trioo- 
tets'  has  not  survived  in  a  complete  fonn,  and 
the  best  subject  in  that  '  suite  d'airs  de  danse'  is 
the  very  one  that  the  collections  have  not  noted 
down ;  or  the  melody  of '  Vive  Henri  I V  '  is  ori- 
ginal, and  has  no  connection  with  'Les  Triootefaii.' 
We  adopt  the  latter  conclusion. 

One  tiling  is  certain;  these  couplets  have  been 
handed  down  frt>m  generation  to  gmeration  with- 
out losing  anything  of  their  spirit  or  fireshness ; 
and  were  spontaneously  adopted  by  the  people  as 
the  national  anthem  of  royalty  at  tne  Bourbon  Re- 
storation. On  the  day  when  the  Allied  Armies 
entered  Paris,  April  i,  1814,  crowds  flocked  to 
the  Opera  to  see  the  Emperor  Alexander  and  the 
King  of  Prussia.  The  opera  was  Spontini's 
'Vestale,'  as  an  overture  to  which  the  band 
performed  *Vive  Henri  lY'  amid  a  perfect 
storm  of  bravos ;  and  at  the  close  of  the  opera 
the  air  was  again  called  for,  sung  by  Lays 
with  the  whole  power  of  his  magnificent  voice. 


HENRI  QUATRE. 

and  received  with  rapturous  applause.  On 
«Jiily  14,  1815,  Lays  had  a  similar  success  when 
repeating  the  air  at  a  performance  of  'Iphig^nie 
en  Aulide'  and  'La  Dansomanie'  before  Louis 
X^  VIII,  the  Emperor  of  Russia,  and  the  King  of 
IVussia.  On  the  opening  of  the  new  theatre 
of  the  'Academic  royale  de  Musique'  in  the 
Rue  le  Peletier,  the  first  words  sung  in  that 
area,  the  loss  of  which  is  so  much  to  be  regretted 
on  acoustical  grounds,  were  those  of  'Vive  Henri 
XV.'  Paer  wrote  some  brilliant  variations  on  this 
air.  They  were  engraved  in  full  score  and 
deserve  to  be  rescued  from  the  oblivion  into 
'which  they  have  fallen.  Gr^try  also  introduced 
the  air  into  the  Overture  in  'Le  Magnifique* 
C1773).  [G.C.] 

HENRIQUE ;  OB  thb  LovB-PitORiM.  Grand 
opera  in  3  acts ;  words  by  T.  J.  Haines ;  music 
by  Rooke.  tVoduced  at  Oovent  Garden,  May 
3,  1839.  [G.] 

HENRY  Vin,  King,  bom  June  38,  1491, 
died  Jan.  28,  1547-8,  being  originally  designed 
for  the  church,  was  duly  instructed  in  music 
(then  an  essential  part  of  the  acquirements  of  an 
ecclesiastic),  and  appears  to  have  attained  to 
some  skill  in  composition.  Hall,  the  Chronicler, 
and  Lord  Herbert  of  Cherbury  mention  two 
masses  of  his  composition,  neither  now  extant ; 
Hawkins  (chap.  77)  has  printed  a  Latin  motet 
for  3  voices  by  Heniy  from  a  MS.  collection  of 
anthems,  motets,  etc.,  written  in  1591  by  John 
Baldwin,  singing  man  of  Windsor  and  subse- 
quently gentleman  and  clerk  of  the  cheque  of 
the  Chapel  Royal  (died  Aug.  78,  1615) ;  and  the 
anthem,  '0  Lord,  the  Maker  of  all  Uiings,'  as- 
signed by  Barnard  and  others  to  William  Mundy, 
was  by  Aldrich  and  Boyce  declared  to  be  proved 
to  be  his  production  (see  Boyce's  '  Cath.  Music,' 
u.  I ).  In  the  British  Museum  (Add.  MSS.  5665) 
is  '  Passetyme  with  good  oumpanye.  The  Kynges 
balade^'  set  to  music  for  3  voices.  It  is  printed 
in  John  Stafford  Smith's  '  Musica  Antiqua'  and 
Chappell's  '  Popular  Music  of  the  Olden  Time.' 
In  Harl.  MSS.  1419,  fol.  aoo,  is  a  catalogue 
of  the  numerous  musical  instruments  belonging 
to  Heniy  at  the  tune  of  his  death.      [W.  H.  H.J 

HENSCHEL,  GsORO,  bom  Feb.  18, 1850,  at 
Breslau,  made  his  first  appearance  as  a  pianist 
at  12  years  of  age.  In  1867  he  entered  at  the 
Leipzig  Conservatorium  under  Moschelej,  Rich- 
ter  and  Gotze.  His  next  move,  in  1870,  was  to 
Berlin,  where  he  studied  composition  under  Kiel 
and  singing  under  Adolph  S(^ulze.  Since  that 
date  Herr  Henschel's  reputation  as  a  concert 
singer  has  been  steadily  increasing.  His  voice 
is  a  baritone  of  great  power,  richness,  and  com- 
pass. His  style  is  pure,  his  repertoire  large,  and 
he  is  always  conscientious  and  loyal  to  the  com- 
poser. His  own  compositions  are  numerous  and 
varied,  embracing  solo  and  part  songs ;  choruses ; 
a  gipsy  serenade  with  orchestra ;  a  serenade  for 
stringed  orchestra  in  canon  form;  the  130th 
Psalm  for  solos,  5 -part  chorus,  and  orchestra 
(op.  30). 

Mr.  Henschel  made  his  first  i^pearanoe  in 


HENSELT. 


729 


England  Feb.  19,  1877,  and  has  now  (1879) 
taken  up  his  residence  here.  [G.] 

HENSEL,  Fannt  Cbcile,  the  eldest  of  the 
Mendelssohn-Bartholdy  fisunily,  bom  at  Hamburg 
Nov.  14,  1805,  and  therefore  more  than  3  years 
older  than  her  brother  Felix.  She  was  rc^rularly 
instructed  in  music,  and  Mendelssohn  used  to 
say  that  at  one  time  she  played  better  than  he. 
(See  also  Devrient,  Recoil,  p.  3).  Oct.  3, 1839,  she 
married  W.  Hensel,  a  painter,  of  Berlin  (1794- 
1861),  and  on  May  17, 1847,  died  suddenly.  Her 
death  shook  her  brother  t^ribly,  and  no  doubt 
hastened  his  own,  which  happened  only  6  months 
later.  Felixes  letters  show  how  much  he  loved 
her,  and  the  value  which  he  placed  on  her 
judgment  and  her  musical  ability.  He  called 
her  '  the  Cantor.'  '  Before  I  can  receive  Fanny's 
advice,'  says  he,  'the  Walpuigisnight  will  be 
packed  up ...  I  feel  convinced  she  would  say 
"Yes,"  and  yet  I  feel  doubtful'  (Letter,  April 
27,  1 831).  'Fanny  may  add  the  second  part,' 
says  he,  in  sending  a  Song  without  words  (Dec. 
II,  1830).  Again,  *I  have  just  played  your 
Caprices  ...  all  was  unmixed  delight '  (Jan.  4, 
40).  Still,  indications  are  not  wanting  of  a 
certain  over-earnestness,  not  to  say  pedantry, 
which  was  occasionally  too  severe  for  her  more 
plastic  brother.  (See  Letter,  April  7,  34,  on 
Melusina ;  ' Goethe  and  Mendelssohn,'  p. 47,  etc) 

Six  of  her  songs  were  published  with  ms  without 
indication,  viz.  Op.  8,  Nos.  2,  3,  la ;  Op.  9,  Nos. 
7,  10,  12.  She  also  published  in  her  own  name 
4  books  of  melodies  and  Lieder  for  P.  F.  solo ; 
a  ditto  of  songs  for  voice  and  P.  F. ;  i  ditto  of 
Part-songs — '  Gartenlieder'  (republished  by  No- 
vello  1 8 78);  and  after  her  death  a  few  more 
songs  and  P.  F.  pieces  were  printed,  and  a  Trio  for 
P.  F.  and  Strings  in  D,  reaching  in  all  to  op.  11. 
For  her  letters,  journals,  and  portrait  see '  Die  Fa- 
milie  Mendelssohn,*  by  S.  Hensel  (Berlin  1879). 

She  is  buried  in  the  Mendelssohn  portion  of  the 
Friedhof  at  the  Hallethor,  Berlin,  and  a  line  of 
her  music  is  engraved  on  itte  tombstone :— * 

tSzz 


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Curt  Us    in    Him   -   XDel-relch. 


[G.] 

HENSELT,  Adolph,  bom  May  12,  181 4,  at 
Schwabach  in  Bavaria,-  and  since  1838  resident 
at  St.  Petersburg,  had  lessons  from  Hummel, 
but  can  hardly  be  called  Hummel's  disciple, 
since  his  method  of  treating  the  pianoforte  differs 
as  much  from  Hummel's  as  our  concert -grands 
differ  &om  the  light  Viennese  instruments  of 
1820.  HenselVs  ways  at  the  keyboard  maybe 
taken  as  the  link  between  HummeFs  and  Liszt's ; 
that  is  to  say,  with  Hummel's  strictly  legato 
touch,  quiet  hands  and  strong  fingers,  Henselt 
produces  effects  of  rich  sonority  something  like 
those  which  Liszt  gets  with  the  aid  of  the  wrists 
and  pedals.     But  as  such  sonority,  apart  from 


780 


HENSELT. 


any  rhythmical  aooentuation,  depends  in  the 
main  upon  the  widespread  position  of  chords 
and  arpeggii,  the  component  notes  of  which  are 
made  to  extend  beyond  the  limits  of  an  octave, 
Henselt^B  way  of  holding  the  keys  down  as  much 
as  possible  with  the  fingers,  over  and  above  keep- 
ing the  dampers  raised  by  means  of  the  pedals, 
does  not  aeem  the  most  practical ;  for  it  neces- 
sitates a  continuous  straining  of  the  muscles  such 
as  only  hands  of  abnormal  construction  or  fingers 
stretched  to  the  utmost  by  incessant  and  tortuous 
practice  can  stand.  We  have  the  testimony  of 
Mendelssohn^  that  his  speciality  in  1838  was 
'playing  wide-spread  chords,  and  that  he  went 
on  all  day  stretching  his  fingers  over  arpeggios 
played  prestisaitno.*  And  even  up  to  the  present 
time^  he  is  said  to  waste  an  hour  daily  upon 
mere  Dehfutnff»-9tudien,  i.e.  studies  of  his  own 
invention  for  extending  the  stretch  of  the  hand, 
and  training  the  fingers  to  work  independently. 
Nevertheless,  be  his  method  of  touch  needlessly 
cumbrous  or  not,  if  applied  to  effects  k  la  Chopin 
and  Liszt,  the  result  under  his  own  hands  is  grand ; 
so  grand  indeed,  that  though  his  appearances  in 
public  have  been  fewer  than  those  of  any  other 
celebrated  pianist,  be  has  been  hailed  by  judges 
like  Bobert  Schumann  and  Herr  von  Lenz  as 
one  of  the  greatest  players.  His  representative 
wprks  are  two  sets  of  twelve  Etudea  each,  op.  1 
and  5,  which,  though  not  so  surprisingly  original, 
deserve  to  be  ranked  near  Chopin's,  inasmuch  as 
they  are  true  lyrical  effusions  of  considerable 
musical  value,  over  and  above  their  setting  forth 
some  specially  characteristic  or  difficult  pianoforte 
effect.  Henselt  has  also  published  a  Concerto 
(in  F  minor  op.  16),  likely  to  survive,  a  trio, 
stillborn,  and  a  number  of  smaller  8<U<m  pieces, 
like  'FrOhlingslied,' '  Wiegenlied,*  Impromptu  in 
C  minor,  '  La  Gondola,'  etc. — gems  in  their  way. 
Henselt's  success  in  1838  at  St.  Petersburg 
was  unprecedented.  He  was  at  once  made  Court 
pianist  and  teacher  to  the  Imperial  children,  and 
soon  after  Inspector  of  *  the  Imperial  Russian 
female  seminaries,'  in  which  latter  capacity  his 
firmness  and  disinterested  zeal  has  borne  good 
fruit.  An  uniform  edition  of  Henselt's  works 
would  be  a  boon,  as  some  pieces  are  published 
in  Russia  only,  others  appear  under  different 
designations,  etc.  His  arrangements  for  two 
pianofortes  of  Weber's  Duo  in  £b  for  pianoforte 
and  clarinet,  and  of  selections  from  Cramer's 
Etudes,  to  which  he  has  added  a  second  pianoforte 
part ;  his  transcription  of  Weber's  Ouvertures, 
bits  from  Weber's  operas,  and  above  all  his 
edition  of  Weber's  principal  pianoforte  works  with 
ffariantetf  are  masterly.  Henselt  visited  England 
in  1867,  but  did  not  play  in  public.  [E.D.] 

HENSTRIDGE,  Daniel,  on  the  death  of 
Nicholas  Wootton  in  1 700  was  appointed  his  suc- 
cessor as  oiganist  of  Canterbury  Cathedral,  and 
held  that  poet  until  his  death  in  1 730.  The  organ 
parts  of  some  of  his  compositions  are  still  extant, 
but  the  voice  parts  are  mostly  lost.  He  seems  to 
have  been  an  imitator  of  Purcell.        [W.  H.  H.] 

1  Holer's '  M«ndelMohQ.'  |i.U2. 


h£rold. 

HERBECK,  JoHANN,  court  capdlmeistei; 
bom  at  Vienna  Dec.  35,  1831.  He  had  a  few 
months'  instruction  in  harmony  from  Rotter,  bus 
was  virtually  a  self-made  man.  His  ambitaim 
was  high,  he  worked  hard,  and  his  progress  was 
rapid  and  Meady.  In  1853  he  was  Choirmaster 
to  the  Piarists  in  the  Joeephstadt ;  in  56  choir- 
master to  the  first  Mannergesangverein  ;  in  58 
professor  at  the  Conservatorium,  and  choir-master 
of  the  Singverein  of  the  Gesellschaft  der  Murik- 
fireunde ;  in  59  professional  conductor  of  the  Ge- 
sellscfaaft  concerts ;  in  66  chief  court  capeUmeister; 
and  in  71  director  of  the  court  opera.  The 
intrigues  and  annoyances  inseparable  from  this 
post  were  insupportable  to  Herbeck's  nature :  in 
1875  he  resigned  it,  and  resumed  the  condactor- 
ship  of  the  Gesellschaft  concerts.  He  died,  alter 
a  short  illness,  on  the  a8th  of  Oct.  1877.  As  a 
conductor  he  has  left  a  pennanent  mark  on  muaic 
in  Vienna.  The  numerous  choral  sodetiea  in 
particular  owe  their  prosperity  in  great  meaaure 
to  him.  As  a  oompoeer  he  was  equally  ambi- 
tious and  industrious,  although  in  this  branch 
less  remarkable  for  invention  than  for  his  power 
of  assimilating,  rather  than  imitating,  the  strong' 
points  of  his  favourites,  espedally  Schubert,  of 
whose  works  he  was  an  indefiktigable  ezpoaeot. 
His  most  successful  compositions  are  hu  part- 
songs,  which  are  admirable  for  simplicitj  and 
effect.  His  published  works  include : — songs  for 
a  single  voice ;  part-songs  for  men's  voices,  and 
choruses,  both  mixed  and  harmonised ;  'lied  und 
Reigen '  for  chorus  and  orchestra,  etc. ;  '  Tuizi 
momente  ' ;  *  Kfinstler&hrt ' ;  *  Symphdnische 
variationen,*  and  Symphony  in  D  minor — all  for 
full  orchestra,  the  last  with  organ ;  string'quartet 
in  F.  op.  9.  In  MS.  a  grand  mass  in  £,  and  a 
small  ditto  in  F;  a  Te  Deum;  grraduales;  a 
string-quartet  in  D  minor.  Herbeck  possessed 
sevend  orders,  including  the  3rd  division  of  tiie 
Iron  Crown,  which  raued  him  to  the  rank  of 
knighthood.  [C.  F.  P.] 

HERCTJLAinTM.  Opera  in  4  acts ;  libi«tto 
bv  M^ry  and  Hadot,  music  by  F^cien  David  ; 
given  at  the  Academic,  March  4,  1859.  The 
drsma  was  originally  intended  to  deal  with  a 
more  tremendous  catastrophe  than  that  of  Hocu- 
laneum — ^viz.  *La  fin  du  monde.'  Herculanum 
obtained  for  its  author  the  Instituts  prize  of 
20,000  frs.  [G.] 

HERCULES,  by  Handel ;  the  words  by  Rev. 
Thos.  Broughton ;  composed  between  July  19  and 
Aug.  1 7, 1 744.  Aimounced  as  a '  musical  druna'; 
performed  and  published  as  an  '  oratorio.'  First 
given  at  the  King's  Theatre,  Haymarket,  Jan.  5, 
1745;  at  the  Lower  Rhine  Festival,  DOsseldorf, 
May  17, 1875; andbyH.LeBlie,June8, 1877.  L^-J 

HAROLD,  L0UI8  JoBBPH  Ferdihakd,  bom 
in  Paris  Wednesday  Jan.  38,  1791,  at  30  Rue 
des  Vieuz  Augustins,  now  10  Rue  d'Aigout; 
only  child  of  Francois  Joseph  Harold,  an  able 
pianist  of  the  school  of  Emnoanuel  Bach.  Louis's 
gifts  for  music  were  soon  apparent.  He  was  edu- 
cated at  the  Institution  Hix,  where  he  distin- 
guished himself,  and  at  the  same  time  worked  at 


h£bold. 

sblfoggio  under  F^tis,  and  tbe  pianoforte  tinder 
Ilia  godfather  Louis  Adam,  father  of  Adolphe. 
In  1806  he  entered  the  Conservatoire,  where  he 
ol>tained  the  first  piano  prize,  studied  harmony 
under  Catel,  and  composition  under  M^hul,  whom 
lie  always  held  in  great  admiration,  and  at  length, 
in.  181 2,  carried  off  the  'Grand  prix  de  Bome' 
for  his  cantata  *  Mile,  de  la  Valli^re,*  the  unpub- 
lished score  of  which  is  in  the  libzaiy  of  the  Con- 
servatoire, together  with  his  envois  de  Rome, 
^These  are,  a  '  Hynme  k  4  voLt  sur  la  Transfigu- 
ration'with  orchestra ;  a  Symphony  in  C  (Borne, 
^pril  1813);  a  second,  in  D  (May);  *Scena  ed 
.Aria  con  cori*  (June);  and  three  Quartets,  in 
I>,  C,  and  G  minor  (July  1814),  all  written  at 
Staples.    These  works,  which  are  liot  given  cor- 
rectly in  any  previous  biography,  are  short,  but 
contain  many  interesting  ideas;    the  only  one 
performed  in  public  was  the  and  Symphony,  which 
IB  by  no  means  a  'youthful  indiscretion.'    The 
qiiatuors  also  contain  much  that  might  even  now 
1>e  heard  with  pleasure;   and  altogether  these 
ewvoie  de  Bome  shew  that  H^ld  would  have 
shone  in  symphony  if  he  had  adhered  to  that 
branch  of  composition.    The  stage  however  pos- 
sesses an  irresistible  attraction  for  a  man  girted 
with  ardent  imagination  and  capacity  for  ex- 
pressing emotion.    It  was  natural  that  he  should 
wish  to  make  his  d^ut  as  a  dramatic  composer  at 
Naples,  where  he  was  pianist  to  Queen  Caroline, 
and  where  he  led  a  happy  life,  in  good  relations 
with  the  court  and  society.    Wil£  Landriani*s 
assistance  he  compiled  a  libretto  from  Duval*s 
comedy  '  La  jeunesse  de  Henri  V,'  and  the  opera 
was  a  success.    The  libretto  was  printed  (Naples 
1 8 1 5 )  anonymously,  but  the  music  remains  in  MS. 
Shortly  after  this  he  left  Italy,  and  madea  stay  of 
some  months  at  Vienna  on  his  way  home.    On  his 
return  to  Paris  he  at  once  tried  to  procure  a  good 
opera-book,  but  might  have  waited  long  for  an 
opportunity  of  coming  before  the  public,  if  Boiel- 
dlieu  had  not  asked  him  to  write  the  latter  half 
of  *  Charles  de  France,'  an  opera  de  eireonttance 
produced  June  18,  18 16.    This  led  to  his  obtain- 
ing the  libretto  of  *  Les  Rosibres,*  3  acts  (Jan. 
27,  181 7),  which  was  a  complete  success.    'La 
Clochette,'  3  acts  (Oct.  18  of  tiie  same  year),  was 
full  of  new  and  fresh  ideas ;   the  charming  air 
'  Me  yoUk '  soon  became  popular,  while  those  com- 
petent to  judge  were  struck  by  the  advance  in 
knowledge  of  the  stage,  and  the  originality  of 
instrumentation  which  it  displayed.  His  industry 
and  fertility  were  further  proved  by  '  Le  premier 
venu'  (1818),    'Les  Troqueurs'    (1819),    and 
'L*Auteur  mort  et  vivant'  (1820) ;  but  unfortu- 
nately he  accepted  librettos  that  were  neither 
interesting  nor  adapted  for  music.   'Le  Muletier' 
(May  12, 1823)  however  is  full  of  life  and  colour, 
and  assured  his  reputation  with  all  who  were 
competent  to  j  udge.  After  the  success  of  this  lively 
little  piece  it  is  difficult  to  understand  how  a  man 
of  literary  tastes  and  culture  could  have  under- 
taken dramas  so  tame  and  uninteresting  as  'Las- 
th^nie*    (Sept.   1823),   and  *Le   Lapin  blanc* 
(1825).   The  fever  of  production  which  consumes 
all  composers  of  genius,  affonls  the  only  possible 


Hl^ROLD. 


731 


explanation.  In  fact,  rather  than  remain  idle  he 
undertook  any  employment  however  uninviting. 
Thus  from  1820-27  he  was  pianiste-accompagna- 
teur  to  the  Op^ra  Italien ;  and  in  1821  was  sent  to 
Italy  to  engage  singers,  among  whom  he  brought 
back  no  less  a  person  than  Mme.  Pasta,  and  Galli. 
In  1827  he  became  choir-master  at  the  Academic 
de  Musique,  and  began  to  write  ballets.  During 
these  laborious  years,  Harold  threw  off  for  the 
publishers  an  immense  quantity  of  pianoforte 
music.  Fifty-nine  of  these  pieces,  on  which 
he  laid  no  value,  have  been  engraved,  but 
we  need  only  mention  the  sonata  in  Ab  ;  another 
called  '  L' Amante  disperato ' ;  variations  on  *  Au 
dair  de  la  lune,'  and  on  '  Marlbrook  * ;  a 
'  Rondo  dnunatique  * ;  and  a  caprice,  'Pulcinella.* 
He  also  made  arrangements  for  the  piano,  Ros- 
sini's 'MoXse'  among  the  rest,  and  like  a  true 
artist  managed  to  turn  even  such  work  as  this 
to  account.  In  the  midst  of  his  daily  drudgery 
however,  Harold  kept  one  aim  steadily  in  view  ; 
that  of  becoming  a  great  composer.  Any  oppor- 
tunity of  making  himself  known  was  welcome, 
and  accordingly  he  consented  to  join  Auber  in 
writing  an  opira  de  eiroonstance  'Venddme  en 
Espaene'  (1823);  and  also  composed  *Le  Roi 
R^^^  2  acts  (1824)  for  the  fdte  of  Louis  XVIII. 
In  'Marie,'  3  acts  (Aug.  12.  1826),  a  charming 
opera  which  has  kept  the  boardis,  he  evinces 
borough  knowledge  of  the  stage,  great  sensi- 
bility, and  graceful  and  refined  orchestration.  It 
contains  perhaps  too  many  short  pieces,  and  the 
treble  and  tenor  voices  unduly  predominate,  but 
these  drawbacks  are  redeemed  by  original  and 
varied  melody,  by  charming  effects,  and  great 
skill  in  the  arrangement.  The  scene  of  Marie's 
despair  is  the  work  of  a  master  of  pathos,  and  a 
true  dramatio  poet. 

Urged  by  a  desire  to  give  a  practical  scope  to 
his  fuicy,  Harold  composed  a  series  of  ballets, 
'Astolphe  et  Jooonde';  'La  Sonnambule'  (Jan. 
29,  and  Sept.  19,  1827;  'La  Fille  mal  gard^* 
(Nov.  17,  1828);  and  'La  Belle  au  bois  dor- 
mant* (April  27,  1829).  It  was  hugely  owing 
to  him  that  the  music  <k  French  ballets  acquired 
its  peculiarly  graceful,  poetical,  expressive  and 
passionate  chancter.  These  works  gave  him  the 
same  &cility  and  command  of  his  pen,  that  writ- 
ing verses  does  to  an  author.  This  is  clearly  seen 
in  his  next  opera  '  L'lllusion,*  i  act  (July  18, 
1829),  the  remarkable  finale  of  which  contains 
a  valse  with  a  melody  of  a  very  high  order. 
'  EmmeUne*  (Nov.  28,  1829)  was  a  fiasco,  chiefly 
owing  to  the  libretto ;  but  a  rich  compensation 
was  in  store  for  him  in  the  brilliant  success  of 
*Zampa'  (May  3,  1831).  Speaking  briefly  we 
may  say  that  the  quartet  in  the  ist  act,  'Le 
voillk,'  is  a  model  of  dignity  and  refinement ;  the 
recogrnition  duet  in  the  2nd,  is  full  of  life,  taste, 
and  drama  dc  skill ;  and  the  deep  and  eminently 
characteristic  pathos  of  the  principal  number  of  the 
3rd  act,  the  duet  *  Pourquoi  trembler,'  makes  it  one 
of  the  finest  inspirations  in  modem  opera.  There 
is  also  much  variety  both  of  form  and  move- 
ment in  the  different  pieces.  The  first  finale  with 
its  richly  contrasted  effects,  is  entirely  different 


782 


HAROLD. 


tfKK."- 


finom  tihe  second,  the  stretto  of  which  is  taJX 
of  tune  and  inepiration.  In  a  word,  we  reoog^ 
nise  in  'Zampa'  the  hand  of  a  master,  who 
to  the  spirit  of  Italian  moaic  unites  the  depth 
of  the  German  and  the  elegance  of  the  French 
schooL 

It  is  a  curious  fact  that  H<$rold*s  own  country- 
men rank  the  'Pr^  aux  Olercs*  (Dec  15,  183a) 
above  *  Zampa,*  while  the  Germans  give  the  pre- 
ference to  the  latter.  This  arises  probably  from 
the  criticism  to  whioh  a  French  audience  inbtino- 
tively  subjects  the  literary  part  of  an  opera. 
Any  want  of  unanimity  between  dramatist  and 
composer  is  felt  at  once.  In  'Zampa'  this  is 
very  marked ;  for  the  book,  excellent  as  it  is  in 
the  number  and  variety  of  the  dramatic  situations, 
bears  marks  of  being  the  work  of  one  who  does 
not  believe  a  word  of  the  story  he  is  telling,  and 
has  therefore  no  sympathy  with  his  characters. 
Hence  there  is  a  want  of  relation  between  the 
librettist  who  is  no  true  poet,  and  the  composer, 
who  moves  others  because  he  is  moved  himself, 
and  is  eloquent  because  he  is  sincere.  In  the 
*  Fr6  aux  Glercs '  on  the  other  hand,  the  action 
takes  place  in  a  region  more  accessible  to  the 
ordinary  run  of  play-goers,  and  the  drama  Is  a 
very  pleasing  national  poem,  free  finom  incon- 
sruitiee  and  well  adapted  for  music.  In  setting 
It  Harold  not  only  did  much  to  elevate  the  tone 
of  French  op^ra-comique,  but  had  the  satis- 
faction of  treating  a  nistorical  subject.  We 
might  specify  each  number,  from  the  overture — 
as  full  of  warmth  and  colour  as  that  to  Zampa, 
but  forming  an  independent  symphony  not  built 
upon  the  materials  of  the  opera — to  the  scene  of 
the  barque,  where  the  expressive  tones  of  the  violas 
and  oelloB  complete  the  narrative  of  the  voices, 
and  the  whole  forms  one  of  the  finest  effects  of 
pathos  ever  produced  on  the  stage.  The  work  is 
characterised  throughout  by  unity  of  style,  variety 
of  accent,  and  sustained  inspiration,  always  kept 
within  the  limits  of  dramatic  truth.  The  great 
requisites  for  a  creative  artist  are  colour,  dramatic 
instinct,  and  sensibility.  In  colour  H^r(dd  was 
not  so  far  behind  Weber,  while  in  dramatic  in- 
stinct  he  may  be  said  to  have  equalled  him. 
His  remark  to  a  friend  a  few  days  before  his 
death  shows  his  own  estimate  of  his  work ;  '  I  am 
going  too  soon;  I  was  just  beginning  to  under- 
stand the  ^  stage.'  So  modest  are  the  utterances 
of  these  great  poets,  who  are  the  glory  of  their 
art  and  their  nation ! 

On  January  19,  1833,  within  a  few  days  of 
his  4and  year,  and  but  a  month  after  the  pro- 
duction of  his  chef-d'oeuvre,  Harold  succumbed 
to  the  chest-malady  from  which  he  had  been  suf- 
fering for  some  time;  and  was  buried  with 
great  pomp  three  days  after*.  He  died  in  the 
Maison  des  Temes,  which  had  been  his  home 
since  his  marriage  with  Ad^le  Elise  Bollet  in 
1827,  and  now  forms  the  comer  of  the  Rue 
]>emours  and  the  Rue  Bayen,  on  the  side  of 
the  even  numbers.    Here  were  bom  his  three 

1  Thu  too  Hardn,  at  the  end  of  hb  career,  spoke  of  hlmaelf  as 
harlngjuit  begun  to  kuow  how  to  use  the  wind  iDstrumenta. 
S  Ual^r;  oompleted  the  aafiolahetl  aoore  of '  Ludovic' 


children : — FsBDiNAifD,  an  able  avocat,  now  a 
senator;  Ao^s,  married  in  1854  to  M.  Clama- 
geran,  now  member  of  the  Paris  Conseil  muni- 
cipal ;  and  EuofiNUS,  bom  1832,  a  gifted 
musician,  who  was  carried  off  in  1853  by  con- 
sumption. 

Ajnong  the  many  critical  and  Inographical 
articles  on  this  eminent  composer,  we  may 
mention  those  of  Chaulieu,  CasUl-Blaze^  Scodo. 
Adolphe  Adam,  a  brief  but  very  aocurate  notioe 
with  portrait  in  the  'Magasin  pittoresqae*  for 
1873  (pp.  156-159),  and  above  all  'Hj6toid 
sa  vie  et  ses  oeuvres '  by  Jouvin  (Paris^  Heugel, 
1868,  8vo),  which  contains  many  of  his  own 
letters  and  memoranda.  In  society  he  showed 
himself  a  brilliant  and  original  talker,  though 
inclined  to  sarcasm.  The  best  portrait  is  tbit 
in  the  'Magasin  pittoresque.*  His  friend  David 
d' Angers  made  a  medallion  of  him  in  Borne  in 
181 5;  and  there  are  busts  by  Dantan  (1833), 
Demesmay — ^now  in  the  foyer  of  the  new  Op^ia, 
and  Charles  Gauthier — in  the  library  of  the 
Conservatoire.  L^*^-] 

HERMANN,  Jacob  Z.    See  Zeuoheeb. 

HERSCHEL,SibFbedibiokWilliam,K.C.H., 
D.C.L.  ('Sir  William  Herschel'),  bom  at  Hanover, 
Nov.  15,  1738,  was  second  son  of  a  musician 
there.  He  received  a  good  education,  and  being 
destined  for  the  profession  of  his  &ther,  was,  at 
the  age  of  14,  placed  in  the  band  of  the  Hanove- 
rian regiment  of  guards.  He  came  to  England 
with  the  regiment  about  1757  and  was  stationed 
at  Durham.  He  soon  became  organist  of  HaliEELS 
parish  chuix:h,  and  oontinued  so  untU  1 766.  when 
ne  was  appointed  organist  of  the  Octagon  Chapel, 
Bath.  Whilst  residing  at  Bath  he  turned  his 
attention  to  astronomy,  and  pursued  his  studies 
for  several  years  during  the  intervals  of  his  pro- 
fessional duties.  He  constructed  a  telescope  of 
large  dimensions,  and  in  178 1  announced  the  dis- 
covery of  a  supposed  comet,  Which  soon  proved 
to  be  the  planet  Uranus.  He  was  thereupon 
appointed  private  astronomer  to  the  kin^,  with  a 
salary  of  £400  per  annum,  and  abandoned  the 
musical  profession.  He  removed  to  Datchet  and 
afterwards  to  Slough,  was  knighted,  and  received 
an  honorary  d^;ree  at  Oxford.  In  the  summer 
of  1 792  he  was  visited  at  Slough  by  Haydn.  He 
died  Aug.  23,  1822.  He  published  a  symphony 
for  orchestra  and  two  military  concertos  for  wind 
instruments  in  1 768. 

Jacob  Hbbschel,  his  elder  brother,  bom  about 
1734,  was  master  of  the  king^s  band  at  Hanover, 
came  to  England  and  died  here  in  1792.  He 
composed  some  instrumental  music.     [W.H.  H.] 

HERZ,  HsiirBiCH,  bom  at  Vienna  Jan.  6, 1806, 
son  of  a  musician  who,  anxious  to  turn  his  early 
talent  for  the  piano  to  the  best  account,  wisely 
entered  him  in  1816  at  the  Conservatoire  at  Paris 
under  Pradher.  He  carried  off  the  prise  far  piano- 
forte-playing in  his  first  year,  and  thenceforward 
his  career  was  continually  successful.  He  became 
virtually  a  Parisian,  and  was  known  as  Henri 
Herz.  In  1 82 1  Moecheles  visited  Paris,  and  though 


there  10  no  mention  of  Herz  in  that  part  of  his 
Journal,  yet  we  have  Herz*B  own  testimony^ 
that  Moscheles  had  much  influence  in  the  im- 
provement of  his  style.  For  the  next  ten  years 
he  enjoyed  an  immense  reputation  in  Paris  both 
as  a  writer  and  a  teacher,  and  his  compositions 
ore  said  to  have  fetched  3  or  4  times  the  prices 
of  those  of  mach  better  composers.  In  1831  he 
made  a  tour  in  Germany  with  Lafont,  but  to 
judge  from  the  notices  in  the  Allg.  Zeitung 
Lafont  made  the  better  impression  of  the  two. 
In  1 833  he  made  his  first  visit  to  London,  played 
at  the  Philharmonic  on  June  10,  and  gave  a 
concert  of  his  own,  at  which  he  played  duets 
with  Moscheles  and  with  J.  B.  Cnuner.  In 
1842  he  was  made  Professor  of  the  Pianoforte 
in  the  (^Conservatoire.  He  returned  the  following 
year,  appeared  again  at  the  Philharmonic  Mav 
5,  and  took  a  long  tour,  embracing  Edinburgh 
and  Dublin.  About  this  time  he  was  tempted 
to  join  a  pianoforte-maker  in  Paris  named  KlepSft, 
but  the  speculation  was  not  successful,  and  Herz 
lost  much  money.  He  then  established  a  factory 
of  his  own,  and  to  repair  his  losses  and  to  obtain 
the  necessary  capital  for  this  made  a  journey 
through  the  United  States,  Mexico,  CaUfomia, 
and  the  West  Indies,  which  lasted  from  1845 
till  1 85 1,  and  of  which  he  has  himself  written  an 
account  ('Mes  voyages,'  etc.,  Paris  1866).  He 
then  devoted  himself  to  the  making  of  pianos, 
and  at  the  Exposition  of  1855  ^i^  instruments 
obtained  the  highest  medal,  and  they  now  take 
rank  with  those  of  Pleyel  and  Erard.  In  1 874  he 
relinquished  his  Chair  at  the  Conservatoire. 

Herz  has  left  8  concertos  for  P.  F.  and  orchestra, 
and  other  compositions  for  his  instrument  in 
every  recognised  form,  reaching  to  more  than  200 
in  number,  and  including  an  immense  number  of 
Variations.  His  Etudes  and  his  P.  F.  M^thode 
are  the  only  things  out  of  this  mass  that  are  at 
all  likely  to  survive  their  author.  His  brilliancy 
and  bravura  and  power  of  execution  were  pro- 
digious, but  they  were  not  supported  by  any 
more  solid  qualities,  as  in  the  case  of  Thalbexg^, 
Liszt,  Tandg,  Bulow,  and  other  great  executants. 
Herz  found  out  what  his  public  liked  and  what 
would  pay,  and  this  he  gave  them.  'Is  Herz 
prejudiced,"  says  Mendelssohn,'  'when  he  says 
the  Parisians  can  understand  and  appreciate 
nothing  but  variations  V 

Schumann  was  never  tired  of  making  fun  of 
his  pretensions  and  his  pieces.  His  Gesammelte 
Schriffcen  contain  many  reviews,  all  couched  in  the 
same  bantering  style.  In  fact  Herz  was  the  G^eli* 
nek  of  his  day,  and  like  that  once  renowned  and 
popular  Abb^  is  doomed  to  rapid  oblivion.     [G.] 

HERZOG,  JoHANN  GsORa,  an  eminent  Ger- 
man organ-player,  bom  Sept.  6, 1822,  at  Schmolz 
in  Bavaria.  His  earlier  career  was  passed  in 
Munich,  where  in  1842  he  became  oiganist,  in 
1849  cantor,  and  in  1850  professor  at  the  Con- 
servatorium.  In  55  he  removed  to  Erlangen, 
where  he  still  lives  as  teacher  in  the  University 
and  Director  of  the  Singakademie.    His  '  Pralu- 


HEXACHORD. 


7S8 


>Iiil^«b'iBIogisphi«, 


* '  Goathe  and  MmdehMhn.'  p.48. 


dienbuch*  and  his  *Handbuch  fiir  Organisten' 
are  widely  and  deservedly  known.  His  Organ 
school  is  a  work  of  very  great  merit,  and  his  Fan- 
tasias are  fine  and  effective  compositions.      [G.] 

HESELTINE,  Jambs,  a  pupil  of  Dr.  Blow, 
was  in  the  early  part  of  the  i8th  century  organ- 
ist of  St.  Katherine*s  Hospital,  near  the  Tower. 
In  1 71 1  he  was  elected  oiganist  of  Durham 
Cal^edral,  retaining  his  London  appointment. 
Heseltine  composed  many  excellent  anthems,  etc., 
a  few  of  which  are  still  extant  in  the  books  of 
some  of  the  cathedrals,  but  the  major  part  were 
destroyed  by  their  composer  upon  some  differ- 
ence between  him  and  the  Dean  and  Chapter  of 
Durham.  He  died  in  1 763.  A  portrait  of  him 
is  in  the  Music  School,  Oxford.  [W.H.  H.] 

HESSE,  Adolph  Fbiiedrigh,  great  organ- 
player  and  composer,  son  of  an  oigan-builder, 
bom  Aug.  30,  1009,  at  Breslan.  His  masters  in 
the  pianoforte,  composition,  and  the  organ,  were 
Bemerand  E.Kohler.  His  talent  was  sufficiently 
remarkable  to  induce  the  authorities  of  Breslau 
to  grant  him  an  allowance,  which  enabled  him 
to  visit  Leipzig,  Cassel,  Hamburg,  Berlin,  and 
Weimar,  in  each  of  which  he  pUyed  his  own 
and  other  compositions,  and  enjoyed  the  in- 
struction and  acquaintance  of  Hummel,  Binck, 
and  Spohr.  In  18  3 1  he  obtained  the  post  whi(^ 
he  kept  till  his  death,  that  of  oiganist  to  the 
church  of  the  Bemhardins,  Breslau.  In  1844  he 
opened  the  organ  at  S.  Eustache  in  Paris,  and 
astonished  the  Parisians  by  his  pedal  playing. 
In  1 85 1  he  was  in  London,  and  played  on  several 
of  the  organs  in  the  Crystal  Palace  in  Hyde 
Park — ^protesting  much  against  the  unequal  tem- 
perament in  some  of  them.  But  his  home  was 
Breslan,  where  he  was  visited  by  a  constant 
stream  of  admirers  from  fiur  and  near  up  to  his 
death,  Aug.  5,  1863.  Hesse  was  director  of  the 
Symphony-Concerts  at  Breslau,  and  left  behind 
mm  a  mass  of  compositions  of  all  classes.  But 
it  is  by  his  organ  works  that  he  will  be  remem- 
bered. His  'Practical  Organist,'  containing  29 
pieces — amongst  them  the  well-known  variations 
on  'God  save  the  King' — has  been  edited  by 
Lincoln  and  published  by  Novello.  A  complete 
collection  of  his  organ  works  was  edited  by 
Steggall  and  published  by  Boosey.  [G.] 

HE  WE,  John,  in  1485,  received  13s.  gd.  for 
repairing  the  organ  at  the  altar  of  the  Virgin 
in  York  Minster,  and  for  carrying  it  to  the 
House  of  the  Minorite  Brethren  and  bringing 
it  back  to  the  cathedral.  This  is  probably  the 
earliest  instance  to  be  found,  though  afterwards 
common,  of  one  church  lending  another  its 
organ.  [V.deP.] 

HEXACHORD.  In  order  to  remove  certain 
grave  difficulties  connected  with  the  Tetrachords 
of  the  Greek  tonal  system,  Guide  Aretinus  is 
said  to  have  proposed,  about  thQ  year  1024,  a 
new  arrangement,  based  upon  a  more  convenient 
division  of  the  scale  into  Hexachords— -groups 
of  six  sounds,  so  disposed  as  to  place  a  diatonic 
semitone  between  the  third  and  fourth  notes 
of  each  series,  the  remaining  intervals  being 


784 


HEXACHORD. 


repregented  by  tones.  The  sounds  of  which 
these  Hexachords  are  composed  are  sung,  by 
the  rules  of  this  system,  to  the  syllables  tU, 
re,  mt,  fa,  tol,  Ui,  the  semitone  falling  always 
between  the  syllables  mi  and  fa.  But,  in 
addition  to  this  syllftbic  distinction,  the  notes 
of  each  entire  octave  are  provided  with  alpha- 
betical names,  exactly  sinular  to  those  now  in 
use— A,  B,  C,  D,  £,  F,  G ;  and,  these  names 
being  immutable,  it  follows,  that,  as  the  Hexa- 
chords begin  on  different  notes,  and  constantly 
overlap  each  other,  the  same  syllable  is  not 
always  found  in  conjunction  with  Uie  same  letter. 
At  Uiis  point  arises  the  only  complication  wit)i 
which  the  system  is  burthened — a  complication 
so  slight  that  it  is  well  worth  the  student*s 
while  to  master  it,  seeing  that  its  bearing  upon 
the  treatment  of  the  Ecclesiastical  Modes,  and 
the  management  of  Real  Fugue,  is  very  important 
indeed.     [See  Real  Fuodb.] 

The  first,  or  Hard  Hexachord  (Hexachordon 
durum),  begins  on  G,  the  first  line  in  the  bass : 
»  note  which  is  said  to  have  been  added,  be- 
low the  Greek  scale,  by  Guide,  who  called  it 
r  (gamma),  whence  the  word  gammtp-ut,  or 
gamut : — 


i 


s: 


2a: 


-^ 


23: 


ut     re 


B      C 

mi    Jh 


D 
sol 


B 
ta 


The  second,  or  Natural  Hexachord  {ffexa- 
ckordon  naturaU),  begins  on  C,  the  second 
space: — 


m 


^ — gy 


-^- 


22: 


C     D      B      F      G      A 
yl    re      nH    /ii    eol     la 

On  comparing  these  two  examples  it  will  be 
seen  that  the  note  which,  in  the  first  Hexa- 
chord, was  sung  to  the  syllable  fa,  is  here  sung 
to  ut.  Hence,  this  note,  in  the  collective  gamut, 
is  called  C  fa  ut.  And  the  same  system  is  fol- 
lowed with  regard  to  all  notes  that  occur  in 
more  than  one  Hexachord. 

The  third,  or  Soft  Hexachord  (Hexachordon 
molle)t  beg^ins  on  F,  the  fourth  line:  and,  in 
order  to  place  the  semitone  between  its  third 
and  fourth  sounds,  the  note,  B,  must  be  made  fiat. 


sc 


P      G      A    Bb     C      D 
«<      re     m<     /a     «ol     to 

The  note,  stmg,  in  the  second  Hexachord,  to 
the  syllable  fa,  is  here  sung  to  ut,  and  is  there- 
fore called  F  fa  vA.  The  next  note,  G,  is  sung 
to  ffo/,  in  the  second  Hexachord,  rt,  in  the  third, 
and  vi,  in  the  next  Hard  Hexachord,  beginning 
on  the  octave  G;  hence,  this  note  is  called  G 
%o\  re  ut.  And  the  same  rule  is  followed  with 
regard  to  all  notes  that  appear  in  three  different 
Hexachords.  The  note  Bb,  occurring  only  in 
the  Soft  Hexachord,  is  always  called  B  fa.  B|] 
is  called  B  mt,  from  its  place  in  the  Hard 
Hexachord,  where  alone  it  is  found. 


HEXACHORD. 

The  fonr  remaining  Hexachords — ^for  there  are 
seven  in  all — are  mere  recapitulations  of  the  first 
three,  in  the  higher  octaves.  The  entire  scheme, 
therefore,  may  be  represented,  thus — 


TTat 

Hex. 
7 

The  Gamut. 

1 

6 

Bta 

Bta. 

Dta 
Ceot 
Bhfa 
Ami. 

J>MOl 

DtaeoL 

Bax. 

C/g 
Btlmi 

Afwl 

Ceol/a. 

5 

B/g.  BmL 

Ata 

Alamire. 

Hex. 
Hex..     4 

Qsol 
P/g 

Emi 

Gre 
Put 

Q  ut 

GeolreuL 

t 

Ffaut. 

S 

Eta 
Deal 

Elaml, 

Dta 

Drt 

Dlaeoire. 

Hax. 

Ceot 
Bb/u 

C/g 

Cut 

CeolfauL 

2 

BljlRI 

BJd.   BmL 

Ata 

Ami 

Arf 

Alamirt, 

Hex. 

Qsoi 
¥fa 
Emi 
Drt 
Out 

Ore 

Qui 

GeolreuL 

1 

Fut 

■ 

V/auL 

Eta 
Bitol 
C/g 
Bmi 
Are 

ElamL 

Dtolrt. 

C/auL 

Bmi. 

Art. 

Tut 

1 

TuL 

The  art  of  correctly  adapting  the  ^llables  to 
the  sounds  is  called  Solmisation.  So  long  as 
the  compass  of  a  single  Hexachord  is  not  ex- 
ceeded, its  Solmisation  remains  immutable. 
But,  when  a  melody  extends  from  one  Hexa- 
chord into  the  next,  or  next  but  one,  the  syl- 
lables proper  to  the  new  series  are  substituted — 
by  a  change  called  a  Mutation — for  those  of  the 
old  one.  In  the  following  example^  the  bar 
shows  the  place  at  which  the  syllables  of  the 
Hexachord  of  G  are  to  be  sung  in  place  of  those 
belonging  to  that  of  G ;  the  syllables  to  be 
omitted  being  placed  in  brackets. 


Hexachord  of  C 
(ut)      re      mi    Jb       Mrf 


—I 
la 


m 


M 


^    p 


i 


ut 


re     mi     /a     (sol)  (ta) 
of  Q 


Hexachord 


J 


The  Hexachord  of  C  passes,  freely,  either  into 
that  of  G,  or  F :  but  no  direct  oammunication 
between  ^e  two  latter  is  possible,  on  account  of 
the  confusion  which  would  arise  between  the  Bb 
and  Bl].  The  mutation  usually  takes  place  at 
re,  in  ascending ;  and  so2,  in  descending. 

We  have  said  that  thb  subject  exercises  an 
important  bearing  upon  the  treatment  of  Real 
Fugue,  in  the  Ecclesiastical  Modes.  Without 
the  aid  of  Solmisation,  it  would  sometimes  be 
impossible  to  demonstiate,  in  these  Modes,  the 
fitting  answer  to  a  given  subject;  for,  in  order 
that  the  answer  may  be  a  strict  one,  it  is  neces- 
sary that  its  Solmisation  shall  correspond,  exactly, 
in  one  Hexachord,  with  that  of  the  subject,  in 
another.  Failing  this  characteristic,  the  passage 
degenerates  into  one  of  mere  imitation.     The 


HEXACHORD. 

answeTi  therefore^  giTon  at  h,  tn  the  following 
example,  to  the  sabject  at  a,  is,  as  Pietro  Aron 
justly  teaches,  an  answer  in  appearance  only, 
and  none  at  all  in  reality. 


a.  Sal^ect,  in  the 
diordof  C. 


h.  Pretended  Answer,  in  the 
Hexachord  of  O. 


^ 


w 


-^ 


H«l- 


« 


I 


ISC 


« 


I 


n  wU  fa   tol  fa 


ut   n   wU  fa   wU 


HIDDEN  FIFTHS  AND  OCTAVES.  785 

As  an  instance  of  the  strict  method  of  treat- 
ment, it  would  be  difficult  to  find  a  more  in- 
structive example  than  the  opening  of  Pales- 
trina*8  Missa  brevie,  in  the  Thirteenth  Mode 
transposed,  where  the  Solmisation  of  the  answer, 
in  the  Hexachord  of  F,  is  identical  witii  that  of 
the  subject  in  the  Natural  Hexachord. 

Now,  this  answer,  though  the  only  true  one 
poflsible,  could  never  have  been  deduced  by  the 
laws  of  modem  Tonal  Fugue:    for,  since  the 

Answer  fai  Hexach.  of  F. 


CA»ruB 


AXTUB 


Babsub 


£i 


$ 


r« 


Subject  in 

■I  II  wi 


i^ 


Hexach. 


■^ 


is: 


Answer  in 


^ 


iiM   fa 
Hexadi. 


ofC 


^ 


SEgEg 


tol  /apHremi 
of  F. 


«: 


r  rr  "ir-^ 


td 


5= 


reiU  re    ut 


-^ <S- 


£ 


g^^^^q^E 


•3SC. 


mi 


Ja 


•XSL 


zz 


9U     etc 


.^ 


etc 


mA 


mi        fa      tol  fii  mi  re  mi  reut    re    %U 


subject  be^ns  on  the  second  degree  of  the  scale 
— by  no  means  an  unusual  arrangement  in  the 
Thirteenth  and  Fourteenth  Modes  —  the  cus- 
tomary reference  to  the  Tonic  and  Dominant 
would  not  only  have  &iled  to  throw  any  light 
upon  the  question,  but  would  even  have  tended 
to  obscure  it,  by  suggesting  D  as  a  not  impos- 
sible response  to  the  initial  G. 

It  would  be  easy  to  multiply  examples :  but 
we  trust  enough  has  been  saia  to  prove  that 
those  who  would  rightly  understand  the  mag- 
nificent Real  Fugues  of  Palestrina  and  Anerio, 
will  not  waste  the  time  they  devote  to  the  study 
of  Guido*s  Hexaohords.  To  us,  familiar  with  a 
clearer  mtem,  their  machinery  may  seem  un- 
necessarily cumbrous.  We  may  wonder,  that, 
with  the  Octave  within  his  reach,  the  great 
Benedictine  should  have  gone  so  far  out  of  the 
way,  in  his  search  for  the  means  of  passing  from 
one  group  of  sounds  to  another.  But,  we  must 
remember  that  he  was  patiently  groping,  in  the 
dark,  for  an  as  yet  undiscovered  truth.  We 
look  down  upon  his  Hexachords  from  the  per- 
fiaction  of  the  Octave.  He  looked  up  to  them 
from  the  shortcomings  of  the  Tetrachord.  In 
order  fully  to  appreciate  the  value  of  his  con- 
tribution to  musical  science,  we  must  try  to 
imagine  ourselves  in  his  place.  Whatever  may 
be  the  defects  of  his  system,  it  is  immeasurably 
Boperior  to  any  that  preceded  it :  and,  so  long 
as  the  Modes  continued  in  general  use,  it  ful- 
filled its  purpose  perfectly.  [W.S.  B.] 

HEYTHEE*  or  HEATHER,  William,  Mus. 
Doc,  bom  at  Harmondsworth,  Middlesex,  was  a 
lay  vicar  of  Westminster  Abbey,  and  on  March 
37f  i6i5r  sworn  a  gentleman  of  Uie  Chapel  BoyaL 
He  was  the  intimate  friend  of  Camden;  they 
occupied  the  same  house  in  Westminster,  and 
when,  in  1609,  Camden  was  attacked  by  a  pesti- 
lential disease,  he  retired  to  Heyther's  house  at 
Chialehurat  to  be  cured,  and  there  he  died  in 

lOsownipeUIaB.   In  Us  wiU  It  It  Hflather. 


1623,  having  appointed  Heyther  his  executor. 
When  Camden  founded  the  history  lecture  at 
Oxford  in  1622,  he  made  his  friend  Heyther 
the  bearer  to  the  University  of  the  deed  of  en- 
dowment. The  University  on  that  occasion  com- 
plimented Heyther  by  creating  him  Doctor  of 
Music,  May  18,  1623.  (As  to  the  improbable 
story  of  Gibbons  having  composed  his  exercise 
for  him,  see  Gibbons,  Orlando.)  In  1626-7 
Heyther  founded  the  music  lecture  at  Oxford, 
and  endowed  it  with  £17  6s.  Sd.  per  ann.  The 
deed  bears  date  Feb.  2,  of  2  Charles  I.  Richard 
Nicholson,  Mus.  Bac.,  organist  of  Magdalen  Col- 
lege, was  the  first  professor.  Dr.  Heyther  died 
in  July  1627,  and  was  buried  Aug.  i  in  the  south 
aisle  of  the  choir  of  Westminster  Abbey.  He 
gave  £100  to  St.  Margaret's  Hospital  in  Tothill 
Fields,  commonly  known  as  the  Green  Coat 
School.  There  is  a  portrait  of  him  in  his  doctor's 
robes  in  the  Music  School,  Oxford,  which  is  en- 
graved by  Hawkins  (chap.  1 20).  [W.  H.  H.] 

HIDDEN  FIFTHS  AND  OCTAVES  (Lat. 
Quinice  eoopertcB,  $eu  aiseonditcB;  Germ.  Fer- 
deckte  Quinten).  Hidden  Fifths,  or  Octaves,  are 
held  to  be  produced,  whenever  two  parts  pro- 
ceed, in  similar  motion,  towards  a  single  Fifth,  or 
Octave,  to  which  one  of  them  at  least  progzesses 
.by  a  leap,  as  in  the  following  example : — 


$ 


221 


-^ 


fl    S       ^    I    "^^^ 


Progressions  such  as  these  are  prohibited,  be- 
cause, were  the  leaps  filled  up  by  the  intervals 
of  the  Diatonic  Scale,  the  hidden  *consecutives* 
[see  Conbbcuttvb]  would  at  once  be  converted 
into  real  ones,  thus : — 

It  may  be  urged,  that,  as  the  leaps  are  not 
intended  to  be  filled  up,  the  forbidden  sequence 


735  HIDDEN  FIFTHS  AND  OCTAVES. 

is  not  formed,  and  there  remains,  therefore,  no- 
thing to  be' condemned. 

The  answer  to  this  objection  is  twofold.  In 
the  first  place,  the  impression  left  on  the  ear  by 
Hidden  Fifths  or  Octaves  is  sometimes  almost 
as  strongly  marked  as  that  produced  by  real 
ones;  the  ear  itself  possessing  the  &culty  of 
filling  up  the  leaps,  in  imagination,  when  tempted 
to  do  so  by  the  nature  of  the  progression  sub- 
mitted to  it.  Secondly,  in  unaccompanied  vocal 
music — ^to  which  the  prohibition  most  particu- 
larly refers — the  least  tendency  on  the  part  of 
an  incautious  singer  to  bridge  over  the  leap  by 
means  of  a  portamftUo  would  instantly  produce 
the  effect  indicated  in  the  above  example. 

Nevertheless,  the  law  against  Hidden  Fifths 
and  Octaves  is  not  an  inelastic  one.  It  is  true, 
that,  in  two-part  counterpoint,  they  are  as 
sternly  condemned  as  the  most  glaring  sequence 
of  real  Fifths.  Even  in  three  parts  their  pre- 
sence is  scarcely  tolerated.  But,  in  four  or  more 
parts,  they  are  only  to  be  reprehended  under 
certain  conditions.  For  instance,  between  the 
extreme  parts  they  should  only  be  used  as  a 
means  of  escape  from  some  serious  difficulty. 
Between  one  extreme  and  one  mean  part  they 
are  considered  less  objectionable.  Between  two 
mean  parts  there  is  little  to  be  said  against 
them ;  and,  when  one  of  the  parts  concerned  in 
their  formation  moves  a  semitone,  they  are  freely 
permitted,  even  between  treble  and  bass.  Bear- 
ing these  rules  in  mind,  the  student  can  scarcely 
go  very  far  wrong ;  and,  should  he  find  any  diffi- 
culty in  detecting  the  faulty  progressions,  it  may 
be  removed  by  a  reference  to  the  old  law,  which 
enacts  that  'A  Perfect  Concord  may  not  be 
approached  in  similar  motion.* 

The  great  masters  of  the  1 6th  century  were 
far  more  lenient  towards  Hidden  Fifths  and 
Octaves  than  many  modem  theorists.  In  the 
works  of  Palestrina  and  his  contemporaries,  ex- 
amples, even  between  extreme  parts,  may  be 
found  on  almost  every  page.^  These  composers 
also  delighted  in  hiding  Fifths  and  Octaves  in 
another  and  a  singularly  beautiful  way.  It  is  of 
course  understood  that  such  progressions  are 
only  forbidden  when  they  occur  between  the 
same  two  parts.  When  formed  between  different 
voices,  by  means  of  crossing  the  parts,  they  are 
perfectly  lawful ;  as  in  the  following  combina- 
tions from  Pale6trina*s  'Missa  Pape  Marcelli' 
and  'Missa  Brevis*: — 


i  '^>'fei  A:^-i 


f 


4^^^ 


^ 


I 


The  effect  of  such  passages  as  these,  when 
sung  without  accompaniment,  is  perfectly  pure 
and  beautiful ;  but  when  arranged  for  keyed  in- 
struments, where  the  moticm  of  the  parts  cannot 

1  Id  the  besinnlnc  of  PalestrioA's  motet  'Fntm  ego*  then  la 
Indeed  an  Instance  of  Hidden  Fifths,  In  two  pvts ;  but  thU  cue  la  so 
extnordlnuT  that  the  writer  oamiot  remember  ever  hArlng  met  with 
•  pMrnllelone. 


HILL. 

be  distinguished,  they  become  simply  intoleraUe. 
In  this  form  they  degenerate  into  sequences  of 


jf>iidi|f>^4 


zz: 


I 


the  most  vulgar  character ;  but  this  is  not  the 
form  in  which  Palestrina  intended  them  to  be 
heard.  [W.S.R.J 

HIGHLAND  FLING.  A  step  in  dandng, 
peculiar  to  the  Scotch  Highlands.  The  name  ii 
commonly  transferred  to  the  dance  itself.  The 
term  'fling'  expresses  the  kicking  gesture  which 
characterises  it.  When  a  hoise  kicks  by  merely 
raising  one  leg  and  striking  with  it,  he  is  said, 
in  grooms'  parlance,  to  *  fling  like  a  oow.*  The 
performer  dances  on  each  leg  alternately,  and 
jUings  the  other  leg  in  front  and  behind.  The 
Highland  Fling,  in  which  three,  four,  or  more 
persons  may  take  part,  is  danced  to  the  music  of 
the  Strathspey.    The  following  is  a  specimen : — 

Mar^  of  Htmajfa  Highland  Flmg. 
AUtgro,        ^ 


[E.J.P.] 

HIGH  MASS(Lat.iffMaiSbZm9tC0;  'Fr.Grand'- 
messe;  Germ.  Groste  Mefte).  Mass,  sung  through- 
out, with  full  Ceremonial,  the  Priest  being  assisted 
by  Deacon  and  Subdeacon,  Master  of  Ceremonies, 
Thurifer  and  two  Acolyths.  A  Mass,  sung  with 
equally  solemn  music,  but  without  the  assutanoe 
of  a  Deacon  and  Subdeacon,  and  without  the  nae  of 
Incense,  is  called  a  Mi$tta  cantata,  or  Sung  Mass. 

Low  Mass  is  said  by  the  Priest,  without  made, 
and  with  the  assistance  of  one  S^ver  only.  [See 
Mass.]  [W.S.R.] 

HILL,  W.,  &  SON  are  organ  builders  in  Lon- 
don. The  house  was  found^  bv  John  Snetzler 
about  1755,  who  was  succeeded  in  1780  by  his 
foreman,  Ohrmann.  [Snbtzler.]  The  latter  had 
a  partner,  W.  Nutt^  in  1 790,  who  was  afterwards 
joined  by  Thomas  Elliott  about  1803.  After 
Elliott  had  done  business  for  some  time  alooe, 
he  took  as  partner,  in  1825,  William  Hill,  a 
Lincolnshire  man,  who  had  married  his  daughtOT. 
and  died  in  1 83 2,  Hill  remaining  alone  until 
1837,  when  he  was  joined  by  Frederic  Davison. 
After  1838  Davison  left  to  become  a  partner  of 
John  Gray,  and  the  firm  became  W.  Hill  ft  Son. 
PGrat  ft  Davison.]  Hill  died  Dec.  18, 1870. 
He  deserves  the  gratitude  of  English  organists 
for  having,  in  conjunction  with  Gauntlett>  intro- 
duced the  GC  compass  into  this  country. 


HILL. 


HILLEK. 


m 


Elliott  &  Hill  built  the  preeent  organ  in  York 
Minster,  since  which  the  Hills  have  built,  amongst 
many  others,  the  organs  of  Ely,  Worcester,  and 
Manchester  Cathedjnds,  Binningham  Town  Hall, 
St.  Peter's,  Comhill,  and  All  Saints',  Margaret 
St.,  London,  Melbourne  Town  Hall, etc.  [V.deP.] 

HILLEB,  Dr.  Ferdinand,  one  of  the  most 
eminent  of  living  German  musicians,  distin- 
guished alike  as  composer,  conductor,  pianist, 
and  writer,  bom  of  Jewish  parents  at  Frank- 
fort on  the  Main,  Oct.  24,  181 1.  His  first  music- 
lebsons  were  from  a  violinist  named  Hofinann, 
Avho  did  little  beyond  allowing  him  to  form  his 
taste  by  playing  the  sonatas  of  Mozart  and  Bee- 
thoven. Instruction  on  the  pianoforte  he  re- 
ceived from  Alo3r8  Schmidt,  and  in  harmony  and 
counterpoint  from  VoUweiler.  At  10  he  played 
a  concerto  of  Mozart's  in  public,  and  at  12  began 
to  compose.  Though  educated  for  a  learned  pro- 
fession, he  was  allowed  to  take  up  the  study  of 
musio  in  earnest;  and  in  1825  was  placed  with 
Hummel  at  Weimar.  Here  for  a  time  his  atten- 
tion was  absorbed  by  composition,  for  Hummel, 
recognising  his  obvious  bent,  allowed  him  to  take 
his  own  course.  His  master's  criticisms  on  his 
early  compositions  were  severe  and  disheartening, 
but  Hiller  proved  the  reality  of  his  artistic  im- 
pulse by  never  allowing  himself  to  be  discouraged 
from  further  effort  and  deeper  study,  both  in 
music  and  literature.  Ifx.  1827  he  accompanied 
Hummel  on  a  professional  tour  to  Vienna,  and 
had  the  privilege  of  seeing  Beethoven  on  his 
death-bed  and  of  witnessing  the  dissipation  of 
the  cloud  which  had  once  interrupted  his  inter- 
course with  Hummel.  Of  this  meeting  he  has 
given  an  interesting  account  from  memory  in  his 

*  Aus  dem  Tonleben'  (2nd  series).  While  in 
Vienna  he  published  his  op.  i,  a  pianoforte  quartet 
"written  in  Weimar.  He  then  returned  to  Frank- 
fort, but  stayed  there  only  a  short  time,  in  spite 
of  his  advantageous  intercourse  with  Schelble, 
as  he  was  anxious  to  push  on  to  Paris,  at  that 
time  the  head-quarters  of  music  and  everything 
else.  His  stay  in  Paris  lasted  from  1828  to  35, 
with  one  break  caused  by  the  death  of  his  father. 
He  acted  for  a  time  as  professor  in  Choron's 

*  Institution  de  Musique,'  but  afterwards  lived 
independently,  perfecting  himself  as  a  pianist 
and  composer,  and  enjoying  the  best  society. 
There  is  scarcely  a  well-known  man  of  that 
period,  particularly  among  musicians,  with  whom 
Hiller  was  not  on  good  terms.  Besides  Men- 
delssohn, whom  he  met  as  a  boy  at  Frankfort 
and  with  whom  he  remained  in  the  closest  friend- 
ship to  a  late  date,  he  was  intimate  with  Cheru- 
bini,  Rossini,  Chopin,  Liszt,  M^erbeer,  Berlioz, 
Noui^it,  Heine,  and  many  others.  F^tis,  in  his 
Biographie  Universelle,  gives  further  particulars  of 
this  stay  in  Paris,  and  especially  of  HiUer's  con- 
certs, in  which  F^tis  took  part.  Suffice  it  to  say 
here  that  his  performances  of  Bach  and  Beetho- 
ven had  an  important  share  in  making  the  works 
of  those  great  masters  better  known  in  France. 
He  was  the  first  to  play  Beethoven's  Eb 
Concerto  in  Paris ;  and  his  classical  soirees,  given 
in  company  with  Baillot,  excited  much  attention 


at  the  time.  From  Paris  he  returned  to  Frank* 
fort,  conducted  the  Csecilien-Verein  in  1836  and 
37  during  Schelble's  illness,  and  then  passed  on 
to  Milan,  where  he  again  met  Liszt  and  Rossini. 
Rossi  furnished  him  with  the  libretto  of '  Romilda,* 
which  he  set  to  music,  and  which,  through  the 
intervention  of  Rossini,  was  produced  at  the 
Scala  in  1839,  but  without  success.  Here  also 
he  began  his  oratorio  '  Die  Zerstorung  Jerusa- 
lems,'  perhaps  his  most  important  work,  and 
one  that  interested  Mendelssohn  so  much  that 
he  induced  Hiller  to  pass  the  winter  of  1839  in 
Leipeic,  personally  superintending  its  production 
(April  2,  1840),  which  was  most  successful,  and 
was  followed  by  performances  at  Frankfort,  Ber- 
lin, Dresden,  Vienna,  Amsterdam,  and  elsewhere. 
On  his  second  journey  to  Italy  in  184 1,  he  went 
to  Rome,  and  studied  old  Italian  Church  musio 
under  the  guidance  of  Baini,  of  whom  he  has 
recorded  his  recollections  (*  Tonleben,*"  ii.  101). 
On  his  return  to  Germany  he  lived  successively  in 
Frankfort,  Leipsic  (conducting  the  Gewandhaus 
Concerts  of  1843-4),  and  Dresden.  Here  he 
produced  two  more  operas,  *Traum  in  der  Christ- 
nacht,*  and  'Conradin.'  During  this  time  he 
lived  on  intimate  terms  with  Spohr,  Mendelssohn, 
the  Schumanns,  David,  Hauptmann,  Joachim, 
and  many  more  illustrious  artists.  A  lasting 
memorial  of  this  period  is  preserved  in  the 
dedication  of  Schumann's  P.  F.  Concerto  to  him — 
*  freundschaftlich  zugeeignet.*  In  1 847  he  became 
municipal  capellmeister  at  Dlisseldorf,  and  in 
1850  accepted  a  similar  post  at  Cologne,  where  he 
organised  the  Conservatorium,  and  became  its 
first  director.  This  post  he  still  (1879)  retains^ 
and  in  his  various  capacities  of  composer,  con- 
ductor, teacher,  and  litterateur,  has  exercised  an 
important  influence  on  music  in  the  Rhenish  Pro- 
vinces. He  gave  such  an  impetus  to  the  musical 
society  of  wbich  he  was  conductor,  that  its  con- 
certs have  been  long  considered  among  the  best 
in  Germany.  The  Lower  Rhine  Festivals,  which 
he  conducted  irom.  1850  as  often  as  they  were 
held  at  Cologne,  have  however  chiefly  contributed 
to  gain  him  his  high  reputation  as  a  conductor. 
As  a  teacher  his  career  is  closely  connected 
with  the  history  of  the  Cologne  Conservatorium. 
Among  his  numerous  pupils  there,  the  best-known 
is  Max  Bruch.  He  has  occasionally  left  Cologne 
to  make  concert-tours  in  Germany,  or  longer 
excursions  abroad.  He  conducted  the  Italian 
opera  in  Paris  for  a  time  (1852-53),  and  visited 
Vienna  and  St.  Petersburg,  where  in  1870  he 
conducted  a  series  of  concerts  by  the  Russian 
Musical  Society.  England  he  has  visited  several 
times,  particularly  in  1871,  when  his  cantata 
'Nala  und  Damajanti'  was  performed  at  the 
Birmingham  Festival,  and  in  1872,  when  he  was 
enthusiastically  received  both  as  a  pianist  and 
conductor  of  his  own  works  at  the  Monday 
Popular  and  Crystal  Palace  Concerts,  and  also 
in  Liverpool  and  Manchester. 

Hiller  s  published  works  (to  Feb.  1879)  number 
183.  They  include,  Chamber  music — 5  P.  F. 
quartets ;  5  trios ;  5  string  quartets ;  Sonatas  fur 
P.  F.  alone,  and  with  violin  and  cello ;  a  suite '  in 

3B 


738 


HILLER. 


Caiione'  for  P.F.  and  violin:  Seranade  for  P.  F. 
and  cello ;  '  Modeme  Suite  *  for  P.  F. ;  and  a 
masB  of  other  pianoforte  compoationa,  including 
34  Etudes,  *  rfaytlimisclie  Studien/  Impromptu 
'  zur  Guitarre/  operettas  without  words,  etc.  etc. 
Orchestral  works — 4  overtures,  including  thai 
to  'Demetrius';  a  Festival  March  for  the 
opening  of  the  Albert  Hall ;  3  symphonies,  in- 
cluding that  with  the  motto  '£a  muss  doch 
Friihling  werden' ;  etc.  etc.  Vocal  compositions — 
a  oratorios,  'Die  Zerstomng  Jerusalems*  and 
'Saul*;  5  operas,  including  'Die  Katacomben,' 
'  Der  Deeerteur, '  and  many  smaller  works ;  Lieder ; 
choruses,  mixed  and  for  men  s  voices  only;  motets, 
psalms,  etc. ;  a  number  of  cantatas  for  soli,  chorus^ 
and  orchestra,  especially  *  O  weint  um  Sie  *  from 
Byron's  Hebrew  Melodies,  op.  49,  '  Ver  sacrum,* 
op.  75  ;  *  Nala  und  Damajanti,'  written  for  Bir- 
mingham;  'Israels  Si^fesgesang/  op.  151 ;  and 
his  '  Prometheus,*  op.  1 75,  and '  Rebecca,*  op.  182. 
His  literary  works  include  a  crowd  of  interesting 
articles,  biographical,  critical,  and  miscellaneous^ 
contributed  to  the  'Kolnische  Zeitung,*  many 
of  them  republished  under  the  title  'Aus  dem 
Tonleben  unserer  Zeit,'  2  volumes  in  1867,  with 
a  '  Neue  Folge*  in  1871,  and  a  4th  vol.  *  Person- 
liches  und  Musikalisches*  in  1876.  He  has  also 
published  his  recollections  of  Mendelssohn — 
which  appeared  in  Macmillan's  Magazine,  and 
were  reprinted  separately  with  a  dwlication  to 
Queen  Victoria— and  a  very  interesting  paper  on 
Cherubini,  first  printed  in  the  same  periodical. 
He  has  recently  edited  a  volume  of  letters  by 
Hauptmann  to  Spohr  and  other  well-known 
musicians.  To  complete  the  list,  we  may  add— 
additional  accompaniments  for  Handel's  '  Debo« 
rah'  (for  the  Lower  Rhine  Festival  1834),  and 
'Theodora* ;  and  an  instruction  book '  Uebungen 
zum  Studium  der  Harmonic  und  des  Contra- 
punets*  (2nd  ed.  i860). 

Hiller  occupies  in  some  respect  the  same  posi- 
tion which  Spohr  held  before  his  death,  as  the 
'Altmeister,'  the  representative  of  the  old  claa- 
sical  school.  His  pleasant  genial  personality, 
and  his  great  intelIi<;enoe  and  wide  range  of 
knowledge,  make  him  welcome  wherever  he  goes. 
In  England  he  has  many  friends,  who  are  always 
glad  to  see  him,  and  hear  his  delicate  legato  style 
of  playing,  soon,  alas,  to  be  numbered  with  the 
things  of  the  past. 

Being  throughout  his  life  in  easy  circumstances, 
he  has  been  idways  able  to  indulge  his  taste  for 
a  variety  of  intellectual  interests,  to  the  neglect 
perhaps  uf  that  concentration  of  the  whole  powers 
which  is  necessary  to  stamp  any  mental  pro- 
duction as  a  work  of  genius.  But  the  advan- 
tages  of  such  an  education  were  not  lost  upon 
him.  He  gained  from  it  a  general  ease  and 
flexibility  of  mind,  and  a  refined  taste  for  all 
that  is  intellectual.  These  are  the  qualities 
which,  combined  with  his  avoidance  of  all  mere 
dilettanteism,  and  his  grasp  of  that  which  is 
sterling,  grave,  and  essential,  have  enabled  him 
to  accomplish  something  of  value  in  each  depart- 
ment he  has  touched.  It  is  not  easy  to  point 
out  the  special  characteristics  of  his  work,  as  it 


HILLER. 

piMrnenow  few  of  thoae  pramiiient  tndts  wlzieh 
catch  the  eye  at  once.  Althouglihehas  been  oaii> 
stantly  attracted  by  the  classical  period,  his  talent 
is  essentially  modem,  as  his  elegant  and  well- 
chosen  melody,  his  piquant  rhyttmn,  and  his  in- 
teresting harmony,  never  trivial,  suffidentlj 
prove.  Humorous  and  graceful,  rather  than  pro- 
found, his  mode  of  expression  is  always  elevated, 
pleasing,  and  clever,  and  with  a  delicate  polish  of 
each  separate  part  which  is  very  characteristic. 
Facility  of  invention,  and  mastery  of  the  techni- 
calities of  composition  may  have  sometimes  sup- 
plied the  place  of  true  creative  instinct ;  but  give 
nim  a  really  important  theme,  and  he  produces 
music  that  will  undoubtedly  live.  His  *  Destruo- 
tion  of  Jerusalem,*  his  Spring  Symphony  in  £ 
minor  (already  mentioned),  his  Pianoforte  Concerto 
in  F|  minor,  and  more  than  one  of  his  pianoforte 
works,  are  surely  destined  to  survive.  All  his 
writings,  both  in  music  and  literature,  show  real 
talent  and  thought,  a  genuine  artistic  turn  of  mind, 
and  often  a  very  happy  mode  of  expresaioiL.  He 
forms  one  of  that  ciicle  of  musicians,  a  few  of 
whom  are  still  living,  who  have  made  it  the 
object  of  their  lives  to  extend  the  knowledge  of 
classical  music.  At  a  time  when  Italian  opera^ 
and  a  brilliant  and  important  though  somewhat 
barren  devotion  to  mere  execution,  exercised  an 
undue  influence  on  the  minds  of  musicians,  these 
men  upheld  the  standard  of  serious  and  solid 
music,  and  it  is  laigely  owing  to  their  indefatig- 
able exertions  that  Bach*s  deep  thought  ami 
Beethoven*s  passionate  energy  are  f4>preciated  as 
they  now  are.  Brought  up  and  living  to  old  age 
in  this  classical  atmo^here,  a  friend  of  Mendels- 
sohn and  Schumann,  and  thinking  with  them  an 
these  subjects,  Hiller  has  naturally  bat  little 
S3rmpathy  with  the  so-called  new  Gennan  schooJL 
He  has  never  concealed  his  sentiments  on  this 
point,  but  we  may  confidently  say  that  he  has 
never  expressed  them  in  a  manner  unworthy  uf 
him  as  a  man  or  an  artist.  [A.  M.] 

HILLER,  JoHANN  Adam,  whose  real  name 
was  HtlLLBR.  bom  Dec.  25,  1728  (4  years  before 
Joseph  Haydn),  at  Wendisch-Ossig  near  Gorlits 
in  Prussia,  the  son  of  a  school-master  and  parish^ 
clerk.  He  lost  his  father  when  barely  six.  and 
had  a  hard  struggle  to  obtain  his  education.  He 
possessed  a  fine  treble  voice,  and  had  already 
acquired  considerable  focility  on  various  instru- 
ments, and  he  quickly  turned  these  talents  to 
account.  He  passed  from  the  Gymnasium  at 
Gorlitz  to  the  Kreuzschule  at  Dresden,  where 
he  studied  the  harpsichord  and  thorough-bass 
under  Homilius.  It  was  however  the  operas  and 
sacred  compositions  of  Hasse  and  Graun  which 
exercised  Uie  most  lasting  influence  upon  him. 
Hasse*s  operas,  of  which  he  had  the  opportunity 
of  hearing  exceUent  performances,  had  a  special 
attraction  for  him,  .and  he  copied  the  scores  of 
several.  In  1751  he  went  to  the  University  of 
Leipsic,  where,  besides  his  legal  studies,  he  de- 
voted much  attention  to  music,  'partly  from 
choice,  partly  from  necessity,'  as  he  hiniself  re- 
lates. He  took  part  in  the  so-called  'GrosMs 
Concert  *  both  as  nutist  and  singer,  and  b^gan  to 


HtLLEK. 


HILLEB. 


799 


mrvke  luB  way  aa  a  compoBer  and  author.     In 
1  754  he  entered  the  household  of  Count  Bruhl, 
the  Saxon  minister,  as  tutor,  and  in  this  capacity 
accompanied  his  pupil  to  Leipsic  in  1758.    A 
hypochondriacal  tendency,  which  overshadowed 
his  whole  life,  caused  him  not  only  to  resign  this 
appointment,  but  also  to  refuse  the  offer  of  a 
I^fessorship  at  St.  Petersbui^.    Henceforward 
he  lived  independently  at  Leipsic,  engaged  in 
literature  and  music,  and  actively  employed  in 
promoting  the  public  concerts ;  and  it  is  largely 
owing  to   his   exertions   that   they  aftervi^urds 
reached  so  high  a  pitch  of  eixcellence.     He  was 
appointed  director  in  1 763,  and  immediately  took 
steps  to  improve   the   choruses.      In   1771   h» 
founded  a  school  for  the  cultivation  of  singing, 
w^hich  he  supported  by  giving  performances  uf 
the  oratorios  of  Handel,  Graun,  etc.    As  paid 
director  of  a  society  for  the  practice  of  music, 
he  established  *  Cdnoerts  Spirituels '  (so   called 
after  the  Paris  concerts  of  that  name),,  which 
tiook  the  place  left  vacant  by  the  failure  of  the 
old  'Grosses  Concert.*     In  1781  this  'Concert- 
Institut*  moved  into  the  newly- built  hall  of  the 
*  Gewandhaus/  and  thus  originated  the  'Gewand- 
haus  Concerts*  of  world-wide  celebrity.     Not 
content  with  this  he   composed    for  the  then 
flourishing  theatre  at  Leipsic,  a  series  of  '  Sing- 
spiele,'  which  are  sufficient  of  themselves   to 
perpetuate  his  name  in  the  history  of  music* 
Though  doubtless  an  adaptation  of  the  French 
operetta,  Hiller  established  the  German  'Sing- 
spier  as  a  separate  branch  of  art.     He  took  for 
his  basis  the  simple '  Lied,'  a  form  which  brought 
it  within  the  capacities  of  the  company,  who  were 
by  no  means  trained  singers ;  but  within  these 
narrow  limits  he  devel(^«d  a  variety  of  inven- 
tion and  expression,,  a  delicacy  and  precisioik  of 
character,  which  at  once  secured  universal  ap- 
proval, and  have  sufficed  to  maintain  this  class 
of  piece  to  the  present  day.     He  enlarged  both 
the  form  and  substance  of  thfr  '  Lied*  proper,  by 
departing  from  the  simple  strophe,,  and  giving 
to  the  songs  a  specific  dramatic  colouring  in 
accordance  with  the  character.     He  also  intro- 
duced  'moroeaux   d'ensemble,'  and  traces  are 
not   wanting   of  the  beginnings   even    of  the 
dramatic  'scena.*     Of  these  '  Singfrpiele*  Hiller 
composed  14,  each  containing  30  numbers  of  this 
'lied '-like  character.    The  best  known  are  'Lis- 
vwrt  und  Dariolette,'  '  Lottchen  am  Hof,*  '  Liebe 
auf  dem  Lande,*  '  Dorfbarbier,*  and  especially 
'  Die  Jagd,'  which  has  kept  the  stage  for  more  than 
a  century,  and  is  even  still  performed.    He  also 
wrote  a  quantity  of  sacred  songs  and  'Lieder,' 
which  had  their  share  in  bringing  to  perfec- 
tion this  style  of  composition — so  significant  a 
contrast  to  the  Italian  '  aria.*    Having  been  in- 
duced to  accompany  his  pupils,  the  two  Fraulein 
Podleska,  to  the  court  of  the  Duke  of  Courland 
at  Mittau,  Hiller  made  so  favourable  an  impres- 
sion, that  on  his  departure  he  was  appointed 
court-chapelmaster,  with  a  salary.     In  1786  his 
many  services  to  the  cause  of  music  were  recom- 
pensed by  the  appointment  as  Cantor  and  musical 
director  to  the  Thomas-schule  in  Leipsic.    This 


post  he  h^ld  tin  1801,  and  his  death  took  plaoe 
in  1 804,  after  much  trouble  from  the  old  hypo- 
chondria. At  composer,  conductor,  teacher,  and 
author,  Hiller's  industry  was  indefatigable.  His 
instrumental  compositions  are  now  quite  anti- 
quated, but  not  s»  his  vocal  works.  These  consist 
chiefly  of  motets  and  the  'Singspiele'  already 
named ;  but  the  following  must  not  be  omitted : — 
'Choralmelodien  zu  Gellerts  geistlichen  Oden  und 
Liedem*  (1761);  'Weisse's  Lieder  for  Kinder* 
( 1 769") ;  '  50  geistKche  Lieder  fllr  Kinder*  ( 1 774) ; 
and  *Vierstimmige  Chor-arien*  (1794).  Of  his 
larger  works  may  be  cited,  a  '  Passions-cantata^* 
and  a  looth  Psalm,  both  much  prized  by  his 
contemporaries.  Hiller  also  composed  a '  Choral- 
buch*  (1793),  with  two  appendices  (1794  and 
1797),  largely  used  in  his  day,  though  since 
widely  condemned.  It  should  be  remembered 
that  he  lived  in  a  time  of  general  softness  and 
TelazatioB,  when  all  music  took  its  tone  from 
Italian  opera.  Hasse  and  Graun  were  the  models 
•f  his  taste,  whom  he  revered  all  his  life.  But 
he  was  by  no  means  insensible  to  the  influ- 
ence of  the  great  renovation  of  music  originated 
by  Haydn  and  Mozart,  and  was  powerfully  im- 
pressed by  Handel,  while  for  Bach  and  Gluck  he 
entertained  a  bare  outward  respect,  with  no  real 
sympathy.  He  had  deeply  imbibed  the  spirit  of 
that  insipid  and  shallow  age,  which  being  entirely 
without  feeling  for  historioJ  propriety,  permitted 
arbitraiy  changes  in  the  treatment  of  older  works, 
which  to  our  day  of  historical  enlightenment  seem 
as  astounding  as  they  itre  impertinent.  This  is 
very  remarkable  in  Hiller  s  careful  editions  of 
classical  works.  Thus  he  introduced  many  al- 
terations of  his  own  into  a  German  edition  of 
Handd*s  'Jubilate,*  under  the  title  of  the  looth 
Psalm ;  and  arranged  Pergolesi's  two-part  *  Stabat 
Mater*  for  a  four*part  choir.  He  also  edited 
Hasse's  'Pilgrimme  auf  Golgatha,'  Graun's  'Tod 
Jesu,*  and  Haydn*s  'Stabat  Mater'  with  German 
words,  and  in  an  abridged  form  for  pianoforte. 
Still  much  praise  is  due  to  him  for  his  frequent 
performances  of  oratorio5>,  chiefly  those  of  Handel. 
The  'Messiah*  especially  was  given  at  Berlin, 
Breslau,  Leipsic,  and  other  places,  with  nearly  as 
much  ^clat  as  at  the  great  festivals.  As  an  au> 
thor  Hiller  was  painstaking  and  prolific.  Besides 
several  single  articles  in  periodicals  he  edited  a 
weekly  paper,  '  Wochentliche  Nachrichten  und 
Anmerkungen  die  Musik  betreffend*  (1766- 
1 770).  He  had  always  given  great  attention  to 
the  cultivation  of  singings  and  two  instruction 
books  of  that  kind — 'Anweisung  zum  muMkal- 
isch-richtigen  Gesange*  (1774),  and  'Anweisung 
zum  musikalisch  zierlichen  Gesange*  (1780^  are 
among  the  most  valuable  of  his  works.  He  also 
published  a  good  method  for  violin.  He  edited 
'  Lebensbeschreibungen  boriihmter  Musikgelehr- 
ten  und  Tonkiinstler  ( i  vol.  1 784),  with  his  auto- 
biography. Two  of  his  collections  also  deserve 
mention — '  Musikalische  Zeitvertreib '  (1760),  of 
German  and  Italian  airs,  duets,  etc.,  and  '  Yier- 
stimmige  Motetten,*  etc.  (6  vols.  4to.,  1776-91% 
containing  motets  by  muiy  celebrated  composers 
I  — a.  work  of  real  valnot  His  grateful  pupils,  the 
*  3B2 


710 


HILLER. 


lurtera  Podleska,  erected  in  1832  a  small  mona- 
ment  to  his  memory  on  the  Promenade  at  Leipsic, 
before  the  windows  of  his  official  residence  at  the 
Thomas  School,  and  dose  to  Mendelssohn's  Bach 
memorial.  [A.M.] 

HILTON,  John,  Mus.  Bac.,  first  appears  as  a 
composer  in  'The  Triumphes  of  Oriana,"  1601, 
to  which  he  contributed  the  f-part  madrigal, 

•  Faire  Oriana,  beautie's  queene.  He  graduated 
at  Cambridge  in  1626.  In  1627  he  published 
'Ayres,  or  Fa  las  for  three  voyces/  dedicated 

*  To  the  worshipful  William  Heather,  Doctor  of 
Musicke/  reprinted  in  score  by  the  Musical 
Antiquarian  Society.  In  1628  Hilton  was  elected 
organist  and  parish  clerk  of  St.  Margaret's  West- 
minster. It  is  presumed  that  he  was  deprived 
of  the  first-named  appointment  when  the  organ 
was  taken  down  pursuant  to  the  Parliamentary 
ordinances  of  1644,  but  that  he  continued  to  hold 
the  latter.  In  1652  he  published  the  collection 
called  '  Catch  that  Catch  can,  or,  A  Choice  Col- 
lection of  Catches  Rounds  and  Canons  for  3  or  4 
Toyces.'  He  was  buried  at  S.  Margaret's,  West- 
minster, March  21,  1657.  Hawkins's  statement 
that  he  lies  in  the  Abbey  Cloisters,  and  that  an 
anthem  was  sung  in  the  Abbey  before  his  body 
was  brought  out  of  his  house  for  interment  can 
therefore  at  best  be  only  partially  true.  Besides 
the  above-named  compositions  Hilton  produced  a 
Ser^nce  in  G  minor,  printed  in  Rimbault's  Cathe- 
dral Music,  a  secoud  Service  in  the  same  key,  and 
some  anthems  which  remain  in  MS.  '  Lord,  for 
Thy  tender  mercies,'  usually  given  to  Farrant, 
has  been  attributed  to  Hilton.  The  copies  in 
which  it  is  so  attributed  have  a  few  additional 
bars  on  the  word  *  Amen,'  which  may  possibly  be 
of  Hilton's  composition.  (See  Harl.  MS.  7340.) 
Several  songs,  dialogues,  catches,  canons  and 
rounds  by  him  are  contained  in  a  volume  in  the 
British  Museum  (Add.  MS.  1 1,608).  An  Elegy 
on  William  Lawes  composed  by  Hilton  for  3 
voices  is  printed  in  Henry  and  William  Lawes' 
'Choice  Psalmes,*  1648.  His  portrait  is  in  the 
Music  School,  Oxford,  and  is  engraved  by  Haw- 
kins (chap.  121).  [W.H.H.] 

HIMMEL,  Fbiedbich  Heinrich,  a  man  of 
some  mark  in  his  day,  bom  Nov.  20,  1765,  at 
Treueubrietzen,  Brandenburg.  He  was  intended 
for  the  Church,  and  studied  theology  at  Halle ; 
but  the  excellence  of  his  pianoforte  playing  in- 
duced the  king,  Frederic  William  II,  to  have 
him  educated  as  a  musician.  After  three  years 
harmony  and  counterpoint  under  Naumann  at 
Dresden,  he  took  to  Berlin  '  Isacco,'  an  oratorio, 
performed  (1792)  by  the  court-chapel  with  bril- 
liant success,  and  a  cantata  'La  Danza.'  The 
king  gave  him  100  Friedrichs  for  his  oratorio, 
made  him  his  chamber-composer,  and  sent  him 
to  Italy  for  two  years.  While  there  he  produced 
'  11  prime  Navigatore  *  at  the  Fenice  in  Venice 
(1794),  and  *  Semiramide'  at  San  Carlo  in  Naples 
(Jan.  1795).  Reichardt  having  been  dismissed 
from  the  Court-Capellmeistership  at  Berlin,  the 
king  gave  the  appointment  to  Himmel.  who 
thereupon  returned  at  once.  When  in  office  he 
composed  several  puces  de  circorutaneet  such  as 


HINE. 

a  Trauer-cantata  for  the  funeral  of  king  Frederie 
William  in  1797,  and  a  Te  Deum  for  ^e  corona 
tion  of  his  successor.  In  1798  he  visited  Stock- 
holm and  St.  Petersburg,  where  the  Emperor 
commissioned  him  to  write '  Alessandro,'  an  opera 
for  which  he  received  6000  roubles.  In  1801  be 
produced  *  Vasco  di  Gama '  at  Copenhagen,  pro- 
ceeded thence  to  France,  England — where  he 
made  only  a  short  stay  of  which  we  have  no 
particulars — ^and  Vienna,  returning  to  Berlin 
in  December  1S02.  After  the  battle  of  Jena  he 
retired  first  to  Pyrmont,  and  tiien  to  Cassel,  and 
died  of  drepsy  at  Berlin,  June  8,  18 14.  Besiiies 
the  works  already  mentioned  he  composed — 
'  Der  Kobold '  (1804)  ;  '  Fanchon,  das  Leiermad- 
chen*  ( 1 805),  libretto  by  Kotsebue,  his  best  opera ; 

*  Les  Sylphes*  (1807),  all  produced  in  Berlin  :  a 

*  Vater  Unser* ;  Psalms ;  a  mass,  etc. :  P.  F. 
sonatas;  dance  music  and  concerted  music  for 
P.  F. ;  and  a  number  of  songs.  The  sonatas  and 
songs  abound  in  melody,  and  are  the  work  of  a 
sound  musician,  but  though  popular  in  their  day, 
they  are  now  quite  forgotten.  Himmel  had  much 
intercourse  with  Beethoven  during  the  visit  of  the 
latter  to  Berlin  in  1 796.  If  Beethoven  hurt  his 
feelings  by  a  rude  joke  on  his  extemporising,  Him- 
mel had  certainly  the  better  of  the  encounter  in  the 
end.  [See  p.  1 7  2a].  For  a  song  by  him,  'Ada  to 
Alexis,'  see  *  Musical  Library,'  vol.  i.  A  couple 
more  pieces  are  published  by  Novello.    [M.C.C.] 

HINDLE,  JoHir,  Mus.  Bac,  bom  in  West- 
minster in  1761,  ¥ras  a  lay  vicar  of  Westminster 
Abbey.  He  matriculated  at  Oxford  in  1791. 
He  published  'A  Collection  of  Songs  for  O^e 
and  Two  Voices,'  and  'A  Set  of  Glees  for  3, 
4,  and  5  voices.'  His  fiivourite  glee  '  Qaeen  of 
the  silver  bow,*  first  appeared  (with  another) 
in  the  'Professional  Collection.'  He  alao  com- 
posed a  well-known  chant.  He  (Ued  in 
1796.  [W.H.H.] 

HINE,  WiLLiAic,  bom  at  Brightwell,  Oxford- 
shire, in  1687,  became  a  chorister  of  Magdalen 
College,  Oxford,  in  1694,  and  oontinned  so  until 
1 705,  when  he  was  appointed  a  clerk.  He  was 
removed  from  his  place  in  the  same  year,  when 
he  came  to  London  and  studied  under  Jeremish 
Clark.  In  171 2  he  succeeded  Stephen  Jefferies 
as  organist  of  Gloucester  Cathedral,  and  shortly 
afterwards  married  Alicia,  daughter  of  Abraham 
Rudhall  of  Gloucester,  the  famous  bell  founder. 
Hine  died  Aug.  28,  1730.  His  wife  survived 
him  until  June  28,  1735.  Both  were  interred  in 
the  eastern  ambulatory  of  the  cloisters,  where  a 
mural  tablet  to  their  memory  informs  us  thai  the 
Dean  and  Chapter  had  voluntarily  incressed 
Hine's  stipend  in  consideration  of  his  deserta.  Dr. 
Philip  Hayes  presented  a  portrait  of  Hine  (his 
father's  instructor)  to  the  Music  School,  Oxford. 
After  Hine's  death  his  widow  published,  by  sub- 
scription, *  Harmonia  Sacra  Glocestriensis  ;  or. 
Select  Anthems  for  i,  2  and  3  voices,  and  a  Te 
Deum  and  Jubilate,  together  with  a  Voluntary 
for  the  Organ.'  The  Te  Deum  is  by  Henry  Hall, 
and  the  other  compositions  by  Hine.  The  volun- 
tary furnishes  a  curious  example  of  the  style  of 
organ  playing  then  in  vogue.  £W.H.H.] 


flINGSTON. 

HIKGSTON,  JoHK,  was  one  of  the  musicians 
to  Charles  I,  and  afterwards  entered  the  service  of 
Oliver  Cromwell,  whose  daughters  he  instructed 
in  music.  When  the  organ  of  Magdalen  College 
"was  removed  from  Oxford  to  Hampton  Court, 
about  1654,  Hingston  was  appointed  organist  to 
the  Protector  at  a  salary  of  £100  per  annum, 
and  with  two  boys,  his  pupils,  was  accustomed 
to  sing  Bering's  Latin  motets  to  Cromwell,  who 
greatly  delighted  in  them.  He  had  concerts  at 
his  house,  at  which  Cromwell  was  often  present. 
Hingston  has  been  said  to  have  been  Dr.  Blow^s 
master,  but  this  is  doubtful.  He  composed  some 
fancies.  He  was  buried  at  S.  Margaret's,  West- 
minster, December  1 7,  1683.  A  portrait  of  him 
is  in  the  Music  School,  Oxford.  [W.H.H.] 

HISTORIES  OF  MUSIC.  [See  Music, 
Histories  of.] 

HOBBS,  John  William,  was  bom  Aug.  i, 
1799,  at  Henley-on-Thames,  where  his  father 
was  bandmaster  of  a  volunteer  corps.  He  sang 
in  public  at  the  early  age  of  three  years,  and  at 
live  was  admitted  a  chorister  of  Canterbury 
Cathedral,  of  which  his  father  was  a  lay  vicar. 
The  beauty  of  his  voice  attracting  the  attention 
of  Goss,  the  alto  singer  and  singing  master, 
young  Hobbe  was  articled  to  him.  He  appeared 
as  principal  singer  at  a  Musical  Festival  at 
Xorwich  in  181 3.  On  arriving  at  manhood  his 
voice  had  developed  into  a  tenor  of  limited 
compass,  but  of  remarkable  purity  and  sweetness. 
He  became  a  member  of  the  choirs  of  King*s, 
Trinity  and  St.  John's,  Cambridge,  and  after- 
wards of  that  of  St.  George's  Chapel,  Windsor, 
of  which  his  father  was  already  a  member.  In 
1827  he  was  appointed  a  gentleman  of  the 
Chapel  Royal,  and  in  1836  a  lay  vicar  of  West- 
minster Abbey.  Hobbs  long  held  a  prominent 
position  as  a  concert-singer.  His  singing  was 
distinguished  by  taste,  refinement  and  expression. 
He  was  the  composer  of  a  very  lai^e  number  of 
songs,  several  of  which  gained  prizes  from  the 
Melodists*  Club,  and  many  were  highly  popular, 
especially  *When  Delia  sleeps,'  *My  ancestors 
were  Englishmen,'  and  'The  captive  Greek  girl.* 
He  died  at  Croydon,  Jan.  1 2,  1877.     [W.  H.H.] 

HOBRECHT.    [See  Obbbcht.] 

HOCKET.  A  term  which  occurs  in  old 
English  writers  on  music,  beginning  with  De 
Handle  (1326),  for  passages  which  were  truncated 
or  mangled,  or  a  combination  of  notes  and  pauses. 
The  term  puzzles  Sir  John  Hawkins  (Hist.  chap. 
53\  but  the  late  Mr.  Chorley  used  ingeniously  to 
explain  it  as  a  corruption  o^hocqaet,  a  hiccup,  and 
signifying  a  syncopation.    [See  Oohetto.]     [G.] 

HODGES,  Edward,  Mus.  Doc.,  bom  July  20, 
1 796,  at  Bristol,  was  organist  of  Clifton  Church, 
and  afterwards  of  the  churches  of  St.  James  and 
St.  Nicholas,  Bristol.  He  produced  a  Morning 
and  Evening  Service  and  two  Anthems  on  the 
reopening  of  St.  Jameses  organ.  May  2,  1824, 
and  published  them  in  1825.  He  obtained  his 
doctors  degree  at  Cambridge  in  1825.  He  was 
a  contributor  to  '  The  Quarterly  Musical  Maga- 
sdno/  and  '  The  Musio^U  World.'     la  1838  he 


HOFFMANN. 


rti 


quitted  England  for  America,  and  in  the  next 
year  became  organist  of  St.  John*s  Episcopal 
Chapel,  New  York.  He  published  *  An  Essay  on 
the  Cultivation  of  Church  Music'  at  New  York 
in  1 84 1.  On  the  opening  of  Trinity  Church, 
New  York,  May  21,  1846  (the  organ  in  which 
had  been  built  from  his  specifications).  Dr. 
Hodges  quitted  St.  John's  to  become  its  organist. 
He  composed  church  music,  some  published  in 
New  York,  and  others  in  London.  During  his 
long  residence  in  America  he  was  much  esteemed 
for  his  performance  on  the  organ.  Dr.  Hodges 
returned  to  England  in  186^,  and  died  at  Clifton, 
Sept.  I,  1867.  His  daughter.  Miss  Faustina 
Hasse  Hodoes,  formerly  organist  in  Brooklyn, 
and  now  (1878)  organist  of  two  churches  in 
Philadelphia,  has  composed  some  songs  and  instru- 
mental pieces. — His  son.  Rev.  John  Sebastian 
Bach  Hoi>obs,  D.D.,  Rector  of  St.  Paul's  Church, 
Baltimore,  is  an  excellent  organist.     [W.H.H.] 

HOFFMANN,  Eenst  Theodob  Wilhelm,  i 
man  of  genius,  and  an  extraordinarily  clever  and 
eccentric  musician  and  liUeixUeur,  who  though  a 
voluminous  composer  will  not  live  by  his  com* 
positions  so  much  as  by  sojne  other  productions 
of  his  pen.  He  was  bom  at  Konigsberg  Jan.  24, 
1776 ;  learned  music  and  law  at  the  same  time, 
and  bid  fair  to  rise  in  the  official  world ;  but  an 
irrepressiblei  love  of  caricaturing  put  an  end  to 
such  solid  prospects  and  drove  him  to  music  as  his 
main  pursuit.  His  first  musical  appointment  was 
to  the  theatre  at  Bambeig  in  1809,  but  it  was  a 
post  without  salary,  on  which  he  starved.  .  It 
fortunately  urged  him  to  writing  a  set  of  papers 
in  the  character  of  'Johannes  Kreisler  the  Kapell- 
meister' for  the  *AJlgemeine  musikalische' Zei- 
tung'  of  Leipzig.  Ij^ey  appeared  at  intervals 
from  Sept.  20,  18 10,  and  onwards,  and  in  181 4 
Hoffmann  republished  them  with  other  essays  in 
the  same  vein  in  two  volumes  as  '  FantasiestUcke 
in  Callot's  Manier/  with  a  preface  by  Jean  Paul, 
in  whose  style  they  are  couched.  Among  the 
most  interesting,  and  at  the  same  time  most 
practically  valuable,  are  the  essay  on  Beethoven's 
mstrumental  music— far  in  advance  of  the  day — 
another  on  Gluck,  and  a  third  on  Don  Giovanni. 
The  essays,  which  have  often  been  reprinted,  are 
all  more  or  less  humorous,  some  extremely  so. 
They  were  followed  by  the  '  Elixiere  des  Teufels,' 
a  novel  ( 1 8 1 5) ;  *  Nachtstilcke'  ( 1 8 1 7),  *  Serapions* 
briider'  (4  vols.  1819-21);  and  by  the  'Lebens 
ansiohten  des  Kater  Murr,'  etc.,  or  'Views  of 
life  of  Murr  the  tomcat,  with  fragments  of  the 
biography  of  Johann  Kreisler,  the  Kapellmeister, 
from  loose  and  spotted  sheets.'  Schumann's  ad- 
miration of  these  pieces  may  be  inferred  from  his 
imitations  of  them  in  his  Florestan  and  Eusebius, 
and  his  adoption  of  their  nomenclature  in  the 
titles  of  his  music.  After  the  fall  of  Napoleon, 
HoSmaan  avain  obtained  official  employment  at 
Berlin,  which  he  discharged  with  efficiency,  and 
kept  till  his  death  at  a  Silesian  bath  on  June  25, 
1822,  of  gradual  paralysis,  after  much  suffering 
for  four  months.  He  was  fantastic  and  odd  in 
the  greatest  degree,  muoh  given  to  liquor  and 
strange  company,  over  which  '  he  wasted  facultiei 


742 


HOFFMANN. 


which  m'ght  have  seasoned  the  nectar  of  the 
gods.*  (Oarlyle.)  He  sang,  compoeed,  criticised, 
taught»  conducted,  mansged  theatres,  wrote  both 
poetry  and  prose,  pamted — all  equally  well ;  and 
in  factoould,  and  did,  turn  his  hand  to  anything. 
The  list  of  his  works  is  extraordinary — 1 1  operas 
(MSS.  in  the  Berlin  Idbraiy),  one  of  them  ran 
for  14  nights;  Incidental  music  for  3  plays;  a 
ballet ;  a  requiem ;  two  symphonies,  etc.  etc. 

Beethoven  took  the  unusually  spontaneous  step 
of  addressing  him  a  letter  (March  33,  1820). 
This  probably  led  to  a  closer  acquaintance,  to 
judge  from  the  Canon  in  his  letter  to  the  '  Ca- 
dlia'  (Nohl,  No.  328)— 


^ 


r  J I  r  f  I  ^  I J  J  J  h'}  J 


BafltaHuml  HoflkiMiiii!         Set  Jk  k«Iii 


L. 


I    «IOb 


which  it  is  difficult  not  to  refer  to  him. 

Hoffmann's  devotion  to  Mozart  liad  him  to  add 
Amadous  to  'his  Christian  names.  Weber  knew 
and  loved  him,  and  he  died  keenly  regretted  by 
many  friends.  Carlyle  has  translated  his  'Goldne 
Topf '  in  '  German  Romance*  (vol.  ii.),  and  gives  a 
■ketoh  of  his  life,  which  is  also  in  the '  Miscellanies' 
(vol.  iii.).  His  life  by  Bochlitz  is  in '  Fiir  Freunde 
d.  Tonkunst/  vol.  i.,  and  Hitzig's '  Aus  Hoffinanns 
Leben/  etc.  (Berlin,  1823),  contains  an  estimate 
of  him  as  a  musician  by  A.  B.  Marx.        [F.  G.] 

HOFFMAN  N,  Geb  ard,  architect,  bom  at  Roe- 
tenberg,  Nov.  ii,  1690;  composed  sacred  can- 
tatas, and  church  music ;  is  credited  by  Walther 
with  certain  improvements  in  musical  instruments 
— an  additional  key  to  the  horizontal  flute,  making 
it  easier  to  tune  (1727);  an  additional  key  to 
the  oboe,  by  which  the  Gf  in  both  octaves  was 
given  much  more  correctly ;  a  mechanical  arrange- 
ment by  which  the  whole  four  strings  of  Uie 
violin  could  be  altered  at  once  (a  different  pitch 
was  then  in  use  for  secular  and  sacred  music) ; 
a  new  temperament  for  tuning  instruments 
(1728);  and  for  the  organ  (1733);  and  a  gauge 
for  the  strines  of  violins,  bass-viols,  lutes,  and 
other  stringed  instruments.  [M.C.C.] 

HOFFMANN,  Henrich  August,  sumamed 
'von  Fallersleben *  from  his  birthplace  in  Han- 
over, April  3,  1798,  philologist,  poet,  and  Ger- 
man hymn  writer ;  was  educated  at  Helmstedt, 
Brunswick,  and  (under  Grimm)  at  the  University 
of  Gottingen  (1816).  In  1819  he  removed  to 
Bonn,  and  in  1821,  after  studying  Dutch  litera- 
ture in  Holland,  was  appointed  Professor  at 
Breslau.  His  political  views  caused  his  dismissal 
in  1843,  and  he  was  not  allowed  to  return  to 
Prussia  till  1848.  Finally  he  became  librarian 
to  Prince  Lipp^  at  Corvey  in  Westphalia,  and 
there  died  Jan.  19,  1874.  His  'Geschichte  des 
Deutschen  Kirohenliedes*  (ist  ed.  1832,  2nd  1854 ; 
Rumpler,  Hanover)  is  written  in  a  thoroughly 
scientific  spirit,  and  contains  important  disco- 
veries. He  edited  '  Schlesische  VolksUeder  uiit 
Melodien*  and  '  Gesellaohaftdieder  des  16  und 
17  Jahrhunderts.*  His  original  melodies,  and 
above  all  his  poems  for  children,  are  widely  and 
deservedly  popular.  [F.  G.] 


HOLBORNE. 

HOFFMEISTER.  Frakz  Antov,  bom  at 
Rothenbuig  on  the  Neckar,  1754;  studied  law 
at  Vienna,  began  his  musical  life  as  a  Church* 
Capellmeister,  and  in  1784  opened  a  book,  art, 
and  music  business  tha«.  "Hiis  he  threw  ap  in 
1 798  with  the  intention  of  going  to  London.  He 
however  got  no  &rth«r  than  Leiprig,  remained 
there,  and  in  Dec.  1800,  in  oonj  auction  with 
Kiihnel,  founded  the  well-known  *  Bureau  de 
Musique,*  which  still  flourishes  more  than  ever. 
[Pbtebs.1  On  Jan.  a.  1805,  he  i^;ain  relin- 
quished his  business,  returned  to  Vienna,  devoted 
himself  to  oomposntion,  and  died  Feb.  10,  181 2. 
Hofi^eist^  was  an  extraordinari  ly  pioUfic  writer ; 
he  left  350  pieces  of  all  dimensions  for  the  flute 
alone ;  1 20  for  Strings ;  Symphonies  and  Nod- 
tumes  for  full  orchertra;  pieces  for  wind  band 
and  for  clavier;  songs;  diurch  music:  and  a 
large  list  of  operas — nil  light  and  pleasing,  and 
much  relished  by  dilettanti.  The  early  publica- 
tions of  his  Firm  were  very  coarsely  engraved, 
as  for  instance  Haydn*s  overture  in  D  and  quartet 
in  D  minor  (known  as  op.  8\  also  Mozart*8  P.F. 
quartets  in  G  minor  and  £b — which  promised 
to  be  the  beginning  of  a  long  series,  but  on  Hoff- 
mann's allegation  that  they  were  too  obecure  for 
the  public,  Mozart  cancelled  the  contract,  though 
applying  to  Hofimeister  when  in  want  of  money 
shortly  afterwards.  The  nature  of  Beethoven  s 
relations  with  him  is  shown  by  his  letters  of  1800 
and  1 801,  in  which  he  offers  his  op.  19,  30,  ai.  22, 
to  his  '  geliebtesten  Herm  Bruder.*         [C. F.P.] 

HOGARTH.  Geobgb,  bom  1 783,  was  educated 
for  the  legal  profession,  which  he  practised  in 
EdinbuTgh.  He  studied  music  as  an  amateur, 
and  became  a  violoncellist  and  composer.  In 
1815  he  was  joint  secretary  with  George  Far- 
quhar  Graham  of  the  first  Edinbuigh  Mudcal 
Festival.  From  1830  he  was  a  contributor  to 
'  The  Harmonicon.*  About  1834  he  settled  in 
London,  and  became  sub-editor  and  music  critic 
of  'The  Morning  Chronicle.*  In  1835  he  pub- 
lished 'Musical  History,  Biography  and  Cri- 
ticism* in  I  vol.,  enlarged  in  1838  to  2  vols. 
In  the  latter  year  he  also  published  '  Memoirs  of 
the  Musical  Drama,*  2  vols.,  subsequently  re- 
published as  'Memoirs  of  the  Opera.*  Upon 
the  establishment  of  *  The  Daily  Newd  *  in  1846, 
Hogarth  was  appointed  its  music  critic,  and  held 
that  post  until  1866.  In  Nov.  1850  he  became 
secretary  to  The  Philharmonic  Society,  and  in 
1862  published  'The  Philharmonic  Society  of 
London  from  its  foundation,  181 3,  to  its  fiftieth 
year,  1862.*  He  died  Feb.  12. 1870.  Hogarth's 
compositions  consist  of  a  few  songs  and  glees. 
His  eldest  daughter,  Catherine,  was  married  at 
St.  Luke*B,  Chelsea,  April  2,  1836,  to  Charles 
Dickens,  who  is  recorded  in  the  parish  r^st^  as 
Charles  John  Huffham  Dickens.         [W.  H.  H.] 

HOLBORNE,  Antony  and  William.  There 
was  published  in  1 597  a  work  bearing  the  title 
of  *  The  CSittham  Schoole,  by  Antony  Holborne, 
Gentleman,  and  seruant  to  her  meet  excellent 
Maiestie.  Hereunto  are  added  size  short  Aers 
Neapolitan  like  to  thtee  voyces,  without  the  In- 


HOLBOBNE. 


HOLMES. 


ns 


■trument :  done  by  his  brother,  William  Hol- 
bome.*  It  is  dedicated  to  Thomas,  Lord  Burgh, 
Baron  Grainsburghe.  In  the  Preface  the  au<£or 
■ays  he  was  induced  to  publish  these  early  works, 
in  consequence  of  some  stranger  having  put  forth 
corrupt  copies  of  them.  '  The  Oittham  Schoole* 
contains  32  pieces  (preludes,  pavans,  galliards, 
popular  song  tunes,  etc.)  for  the  oitthani  alonei, 
in  tableture ;  23  others  for  the  cittham  with  an 
acoompanunent,  in  ordinary  notation,  for  bass 
viol ;  and  2  more  for  the  cittham,  with  aocom* 
paniments  for  treble,  tenor  and  ba>ss  viols.  The 
6  *  Aers  *  by  William  Holbome  are  stated  to 
be  'the  first  firuites  of  Ck)mpo8ition '  done  by 
him.  The  second  of  them  speaks  of  'Bonny 
Boots*  as  dead,  agreeing  in  that  respect  with 
one  of  Morley^s  '  Canzonets,  or,  Little  Short  Aers 
to  five  and  sixe  voices,*  published  in  the  same 
year.  'The  Cittham  Schoole'  was  unnoticed 
prior  to  1847,  when  Dr.  Rimbault  partially  de- 
scribed it  in  his  'Bibliotheca  Madrigaliana,'  from 
a  oopv,  presumably  unique,  then  in  his  possession, 
but  smoe  1857  in  ^^^  library  of  the  Sacred  Har- 
monic Society.  Commendatory  Verses  by  Antony 
Holbome  are  prefixed  to  Famaby's  Canzonets, 
1598;  and  Eobert  Dowland's  'Musicall  Ban- 
qvet,*  1 6 10,  contains  'My  heavy  sprite,'  a  duet 
with  lute  accompaniment  by  him.        [W.H.H.] 

HOLCOMBE,  Henry,  bom  about  1690.  pro- 
bably at  Salisbury,  where  he  was  a  chorister. 
He  came  to  London  while  a  boy,  and  sang  in  the 
Anglo-Italian  operas  at  Drury  LEme  as  Prenesto  in 
'Camilla'  ( 1 700,  8),  and  the  Page  in '  Rosamond* 
(1 707).  On  the  breaking  of  his  voice  he  left  the 
stage  and  became  a  teacher  of  the  harpsichord 
and  singing,  in  which  he  was  very  successful. 
He  died  about  1750.  Holcombe  published  two 
collections  of  songs,  viz.  'The  Musical  Medley ; 
or,  A  Collection  of  English  Songs  and  Cantatas 
set  to  Musick,'  1 745,  and  *  The  Garland ;  a  Col- 
lection of  1 1  Songs  and  Cantatas.*  Two  of  his 
songs — *  Happy  hour*  (printed  in  the  'Musical 
Miscellany  *),  and '  Amo  s  Vale,'  were  much  sung 
in  their  time.  Among  his  descendants  we  may 
name  Miss  M.  Josephine  Holcombe,  a  distin- 
guished soprano  singer  of  church  music  in  Brook- 
lyn, New  York,  and  Philip  G.  Holcombe, 
Harp-maker,  London.  [W.H.H.] 

HOLDER,  Joseph  William,  Mus.  Bac.,bom 
in  St.  John's,  Clerkenwell,  in  1 764,  and  educated 
in  the  Chapel  Royal  under  Dr.  Nares.  After 
quitting  the  choir  he  became  assistant  to  Rein- 
hold,  organist  of  St.  George  the  Martyr,  Queen 
Square.  He  next  obtained  the  post  of  organist  of 
St.  Mary's  Church,  Bungay,  which  he  held  for 
many  years,  after  which  he  removed  to  the 
vicinity  of  Chelmsford.  He  took  his  degree  of 
Bachelor  of  Music  at  Oxford  in  ]!)ec.  I7g2,  his 
exercise  being  an  anthem,  the  score  of  which  is 
preserved  in  the  Bodleian  Library.  Holder's 
compositions  consist  of  a  mass,  anthems,  glees 
(three  collections  published),  canons,  songs  and 
pianoforte  pieces,  including  arrangements  of  many 
of  Handel's  choruses.  Holder  claimed  descent  by 
the  father's  side  from  Cardinal  Wolsey.  He  died 
in  1832.  [W.H.H.] 


HOLDER,  Rev.  William,  D.D.,  bom  in 
Nottinghamshire  about  161 4,  and  educated  at 
Pembroke  Hall,  Cambridge,  became,  in  1643, 
Rector  of  Blechindon,  Oxfordshire.  He  took 
the  degree  of  Doctor  of  Divinity  in  1660.  Ho 
was  afterwards  appointed  Canon  of  Ely  and 
Canon  of  St.  Paul's.  On  Sept.  2,  1674,  he  was 
sworn  Sub-dean  of  the  Chapel  Royal,  which  office 
he  resigned  before  Christmas  1689,  and  he  was 
also  Sub<almoner  to  tiie  King.  He  was  author 
of  'A  Treatise  on  the  Natural  Grounds  and 
Principles  of  Harmony,'  1694;  2nd  edit.  1701, 
a  very  able  work,  written  chiefly  for  the  service 
of  the  gentlemen  of  the  Chapel  Royal.  An  Even- 
ing Service  in  C  and  two  anthems  by  him  are 
in  the  Tudway  Collection  (Harl.  MSS.  7338  & 
7339)*  Dr.  Holder  died  at  his  residence  in  Amen 
Comer,  Jan.  24,  1697.  [W.H.H.] 

HOLDICH,  Geobob  Matdwell,  established 
an  organ  factory  in  London  in  1838.  He  is  the 
builder  of  the  organs  of  Lichfield  Cathedral,  St. 
Paul's.  Brighton,  and  others.  [V.deP.] 

HOLMES,  Alfbed,  bom  in  London,  Nov.  9, 
1 837,  son  of  Thomas  Holmes,  of  Lincoln,  a  self- 
taught  man,  was  at  the  age  of  7  initiated  by  his 
father  in  the  practice  of  violin  playing.  With 
no  other  instruction  than  that  of  his  parent  and 
Spohr^s  *  Violin  School,'  he  soon  became  distin- 
guished, and  especially  noted  for  the  perform* 
ance  of  duets  with  his  younger  brother,  Henry. 
At  a  later  period  their  father  made  them  study 
the  classic  French  school  of  Rode,  BaiUot,  and 
Kreutzer.  When  about  10  years  of  age  Alfred 
became  principal  soprano  boy  at  the  Oratory, 
then  newly  established  in  King  William  Street, 
Strand,  in  the  building  theretofore  the  Lowther 
Rooms,  and  now  the  Folly  Theatre.  On  July 
13,  1847,  the  two  brothers  made  their  first  ap- 
pearance in  public  at  the  Haymarket  Theatre 
at  the  benefit  of  F.  Webster,  and  played  Auber's 
overture  to  '  Masaniello,'  arranged  as  a  violin 
duet.  They  did  not  again  appear  in  public  until 
1853,  in  the  summer  of  which  year  they  played 
at  a  concert  at  the  Beethoven  Rooms,  assisted 
by  W.  H.  Webb,  Piatti,  and  Lindsay  Sloper. 
In  1855  they  made  their  first  visit  to  the  con- 
tinent and  went  to  Brussels,  where  they  remained 
for  several  months  performing  with  great  sue** 
cess.  In  1856  they  visited  Wiesbaden,  Frank- 
fort, Darmstadt,  Leipsic,  Mayence,  and  Cass^. 
In  1857  they  went  to  Vienna;  after  that  to 
Sweden,  where  they  remained  for  two  years, 
and  then  to  Copenhagen  in  i860  and  Amster- 
dam in  1 86 1,  meeting  everywhere  with  great 
success.  In  1864  Alfred  Holmes  settled  in 
Paris,  where  in  1866  he  established  a  quartet 
party.  In  1867  he  made  a  tour  in  Belgium, 
Holland,  Germany,  and  Russia.  At  St.  Peters- 
burg he  produced  his  *  Jeanne  d'Arc,'  symphony 
with  solos  and  chorus,  which  was  performed 
for  the  first  time  in  England  at  the  Crystal 
Palace,  Feb.  27,  1875.  Returning  to  Paris  he 
gave  some  fragments  of  a  symphony  called  '  The 
Youth  of  Shakspere,*  and  an  opera,  'Inez  de 
Castro.*  He  afterwards  producea  two  sympho- 
nies entitled  '  Robin  Hood '  and  *  The  Siege  of 


7« 


jaOLMES. 


HOLZ. 


Paris,*  and  oompoied  two  oihen  under  the  names 
of  '  Charies  XII '  and  '  Romeo  and  Juliet.'  He 
died,  after  a  short  illness,  at  Paris,  March  4, 
1876.  Shortly  after  bis  death  two  overtures, 
'The  Old*  and  'The  Muses/  his  last  works, 
were  produced  in  London. 

His  brother  Henry,  bom  in  London,  Nov.  7, 
1 839.  was,  lilce  him,  instructed  solely  by  his  lather. 
In  his  boyhood  he  was  aUo  a  chorister  at  the 
Oratory.  After  quitting  his  brother  in  Paris  in 
1 865  he  proceeded  to  Copenhagen  and  thence  to 
Stockholm,  where  he  remained  some  time,  but 
ultimately  returned  to  England  and  settled  in 
London,  where  he  is  highly  esteemed  as  a  solo 
violinist  and  quartet  player.  His  principal  compo- 
sitions are  four  symphonies  (No.  i,  in  A,  performed 
at  the  Crystal  Palace  Feb.  34,  1872),  a  concert 
overture,  two  quintets  for  stringed  instruments, 
a  violin  concerto  (in  F,  Crystal  Palace  Dec.  11, 
1875),  many  violin  solos,  two  sacred  cantatas  for 
solo  voices,  chorus  and  orchestra,  entitled  '  Praise 
ye  the  Lord,'  and  *  Christmas,*  and  numerous 
songs.  [W.H.H.] 

HOLMES,  Edwabd,  bom  in  1797,  school- 
fellow and  friend  of  Keats,  was  educated  for 
the  musical  profession  under  V.  Noveilo,  and 
bwcame  a  teacher  of  the  pianoforte.  He  was 
engaged  as  music  critic  of  'The  Atlas'  news- 
paper. In  1827,  before  or  during  this  engage- 
ment, he  made  a  tour  in  Germany,  the  result 
of  which  was  a  volume  entitled,  'A  Kamble 
among  the  Musicians  of  Germany,  etc.'  1828. 
This  work  was  well  received,  and  reached  a 
third  edition.  In  1845  he  published  'The  life 
of  Mozart,'  including  his  correspondence,'  in  an 
8vo  volume,  which  justly  attracted  great  atten- 
tion. This  book,  which  was  the  result  of  a 
second  visit  to  Germany,  and  bears  traces  of 
great  and  conscientious  labour,  as  well  as  of 
talent  and  judgment  of  no  common  order,  is 
characterised  by  Otto  Jahn  as  the  most  useful, 
complete,  and  trustworthy  biograEphy  then  in 
existence  (Jahn's  Mozart,  3nd  ed.  Vorwort,  p. 
zv).  Jahn's  own  Life  of  the  master  contains  > 
a  mass  of  materials  which  no  one  but  a  German 
residing  on  the  spot  could  have  collected,  but 
Holmes's  has  greatly  the  advantage  of  it  in  com- 
pression and  readableuess,  and  it  is  with  pleasure 
that,  as  these  sheets  are  passing  through  the 
press,  we  notice  the  publication  of  a  new  edition 
by  Mr.  Prout  (Noveilo  &  Co.,  1878).  In  ad- 
dition to  this,  his  great  work.  Holmes  wrote 
a  life  of  Purcell  for  the  second  issue  of  Novello's 
edition  of  his  Sacred  Music,  an  '  Analytical  and 
Thematic  Index  of  Mozart's  P.F.  works,*  often 
reprinted  by  the  same  firm,  analyses  of  several 
of  Mozart's  Masses,  which  were  published  in 
the  'Musical  Times,'  with  many  other  papers 
on  musical  subjects.  He  married  the  grand- 
daughter of  S.  Webbe,  and  died  Aug.  28,  1859. 
(See  Mus.  Times,  Oct.  i,  1859.)  [W.H.H.] 

HOLMES,  George,  organist  to  the  Bishop  of 
Durham,  was  appointed  organist  of  Lincoln  Ca- 
thedral on  the  death  of  Thomas  Allinson  in  1704. 
He  composed  several  anthems,  two  of  which — 
'  \rise,  shine,  O  daughter  of  Zion,'  composed  on 


the  Union  with  Scotland,  1 706,  and  *  I  will  lavm 
Thee,  O  Lord,' — are  io  be  found  in  the  Tadway 
Collection  (HarL  MS.  7341),  and  others  are  in 
the  choir  books  of  Lincoln.  Holmes  composed 
aa  Ode  for  St.  Cecilia's  day,  but  for  what  par^ 
ticular  vear  is  not  stated ;  its  contoits  however 
show  it  to  have  been  written  between  1703  and 
17x3.  He  died  in  1720.  Some  catches  by  a 
George  Holmes  are  contained  in  Hilton's  '  Catch 
that  Catch  can,'  1652  ;  their  composer  may  poa- 
sibly  have  been  the  &ther  of  the  organist  of 
Lincoln.  LW.H.H.] 

HOLMES,  John,  organist  of  Winchester  Ca- 
thedral in  the  latter  part  of  the  i6th  century, 
and  organist  of  Salisbury  Catheilral  from  1602 
to  1610,  contributed  to  'The  Triumphes  of 
Oriana,'  1601,  the  madrigal  for  five  voices, 
'Thus  Bonny  Boots  the  birthday  celebrated.' 
Some  church  music  of  his  composition  is  extant 
in  MS.  He  was  master  to  Adrian  Batten  and 
Edward  Lowe.  His  son  Thomas  was  sworn  a 
gentleman  of  the  Chapel  Boyal,  Sept.  17,  1633. 
Some  catches  by  him  are  contained  in  Hilton's 
'Catch  that  Catch  can,'  1652.  He  died  at  Salis- 
bury, March  25,  1638.  [W.H.H.] 

HOLMES,  William  Heitbt,  son  of  a  musician, 
bom  at  Sudbury,  Derbyshire,  Jan.  8,  1812, 
entered  the  Royal  Academy  of  Music  at  its  open- 
ing in  1822,  and  gained  two  of  the  first  medals 
granted  there  for  composition  and  the  piano. 
In  1826  Mr.  Holmes  became  Sub-profeasor  and 
subsequently  Professor  of  the  Piano,  and  is  now 
(1879)  ^^®  &ther  of  the  Academy.  Aa  a  teacher 
he  has  been  remarkably  successful,  and  has  trained 
some  of  the  most  eminent  of  English  musicians  ; 
among  them  Stemdale  Bennett,  the  two  Madar- 
rens,  J.  W.  Davison,  and  others.  His  knowledge 
of  P.  F.  music  is  very  great,  and  as  a  virtuoso 
he  long  enjoyed  a  high  reputation.  His  first 
appearance  at  the  Philharmonic  was  in  Men- 
delssohn's Introduction  and  Hondo,  March  34, 
1851 ;  and  as  late  as  1876  he  performed  at  the 
Alexandra  Palace  a  concerto  of  his  own^  in  A 
major,  written  for  the  Jubilee  of  the  R.  A.  M. 
His  compositions  are  numerous  and  of  all  clatoes — 
symphonies,  concertos,  sonatas,  songs,  and  an 
opera — ^still  in  MS.  Like  his  friend  Cipriani 
Potter  h^  was  always  ready  to  welcome  new 
composers  and  new  music,  in  proof  of  which  we 
mav  name  the  fact  that  it  was  at  his  instigation 
and  under  his  care  that  Brahms's  P.  F.  Concerto 
was  first  played  in  England  by  Miss  Baglefaole, 
at  the  Crystal  Palace,  March  9, 1873.  [G.] 

HOLZ,  Kabl,  Austrian  <^cia],  able  violinist, 
and  devoted  lover  of  music,  bom  at  Vienna, 
1 798.  In  1 824  he  became  one  of  Schuppanzigh^s 
quartet  party,  and  an  active  member  of  the 
direction  of  Gebauer's  'Spirituel  Concert^,'  in 
which  he  led  the  first  violins.  A  jovial,  pleasant 
fellow,  devoted  heart  and  soul  to  Beethoven, 
who  dubbed  *him  '  Mahagoni-Holz,'  and  often 
invited  him  to  dinner,  where  he  took  more  than 
his  share  of  his  entertainer's  wine — 'a  hard 
drinker,  between  ourselves,'  says  'Beethoven. 


*  Letter  of  Aug.  29.  ISM. 


>  Letter.  Aug.  11,  USBh 


/  HOLZ.   ' 

Possibly  drink  was  not  his  only  failix^y  if  we 
may  so  interpret  the  '  Monsieur  terrible  amours 
eux '  of  another  letter  of  Beethoven^s.^ 

In  1S26  Beethoven  informed  him  by  letter* 
that  he  had  chosen  him  for  his  biographer,  in 
the  confidence  that  whatever  information  might 
be  given  him  for  that  purpose  would  be  ac- 
curately communicated  to  the  world.  According 
to  Schindler,  Beethoven  afterwards  repented  of 
this  arrangement.  In  1843  Holz  made  over  his 
rights  to  Gassner  of  Carlsruhe,  but  nothing  has 
been  done.    Holz  died  at  Vienna,  Nov.  9, 1858. 

One  of  the  last  times  that  Beethoven's  pen 
touched  the  paper  before  he  took  to  his  death-bed 
was  to  add  his  signature  and  a  line  of  music  (in  a 
strange  scale)  to  a  note  of  his  dictation  to  Hol^ 
'  Dec.  1826*  (Nohl,  *  Letters,*  385)  :— 

4 


.'HOMILIUS. 


m 


t 


^s 


Ee°r-g|rj|| 


Wlr      ir  -  xen  alio     Sunt,     Nur   J^tder   ir  -  ret    andent. 

Wle  immer  Ihr  Freund  Beethoven. 

[C.F.P.] 

HOLZBATJERy  Ignaz,  composer,  bom  at 
Vienna  in  171 1.  He  was  destined  for  the  bar, 
but  devoted  all  his  spare  time  to  music,  and  by 
study  of  Fux's  'Gradus*  made  himself  a  good 
contrapuntist.  On  Fux's  advice  he  went  to 
Italy,  running  away  from  the  Prince  of  Tour  and 
Taxis  to  whom  he  was  secretary  at  Laybach ;  but 
a  fever  caught  at  Venice  obliged  him  to  return. 
He  next  became  Capellraeister  to  Count  Rottal 
in  Moravia,  and  while  there  married.  Return- 
ing to  Vienna  in  1745,  the  court-theatre  en- 
gaged him  as  director  of  music,  and  his  wife 
SM  singer.  In'  1747  they  started  on  a  tour  in 
Italy,  and  in  1750  he  became  first.  Capellmeister 
to  the  Duke  of  Wiirtemberg  at  Stuttgart.  In 
1753  ^is  pastoral  opera  *I1  FigUo  delle  Selve' 
(SchwetziDgen)  procured  him  the  appointment 
of  Capellmeister  to  the  Elector  Palatine  at  Mann- 
heim. It  was  during  his  time  that  the  Mannheim 
orchestra  attained  that  excellence  of  performance 
which  made  it  so  famous,  though  it  is  difficult 
to  say  how  much  of  this  was  due  to  Holzbauer 
and  how  much  to  Cannabich  the  leader.  In  1757 
he  produced  '  Nitteti  *  at  Turin  with  great  suc- 
cess, and  in  the  following  year  his  best  work, 
'Alessandro  neir  Indie'  was  well  received  at 
Milan.  In  i77^  ^®  ccmiposed  his  only  German 
opera,  'Gunther  von  Schwarzburg'  (Mannheim), 
which  was  brilliancy  sucoessful.  He  was  entirely 
deaf  for  some  years  before  his  death,  which  took 
place  at  Mannheim,  April  7,  1783.  He  com- 
posed other  operas  besides  those  mentioned,  and 
church  and  instrumental  music,  all  now  forgotten, 
though  not  without  value  in  its  day,  as  we  may 
judge  from  the  testimony  of  Mozart,  no  lenient 
critic:  *1  heard  to-day  a  mass  of  Holzbauer's, 
which  is  still  good  although  26  years  old.  He 
writes  very  well,  in  a  good  church  style;  the 
vocal  and  instrumental  parts  go  well  together, 
and  his  fugues  are  good.*  (Letter.  Nov.  4, 1777.) 
And  again— 'Holzbauer's  music*  (in  GtintherVis 
very  beautiful — ^too  good  for  the  libretto.    It  is 


1  Sobl.  No.  380. 


XAocSOl 


wonderful  that  so  old  a  man  has  so  much  spirit, 
for  you  can't  imagine  how  much  fire  there  is  in 
the  music*  (Nov.  14-16,  1777.)  He  evidently 
behaved  well  to  Mozart,  without  any  of  the 
jealousy  which  he  too  often  generated.    [M.  C.  C] 

HOME,  SWEET  HOME.  This  favourite 
melcfdy  occurs  in  Bishop*8  opera  of  *  Clari,  or  the 
Maid  of  Milan,*  brought  out  at  Covent  Garden 
May  8,  1823.  In  the  published  music  it  is 
called  a  'Sicilian  air,*  but  is  not  impossibly 
Bishop's  own.  [G.] 

HOMILIUS,  Gottfried  August,  bom  Feb.  a, 
1 7 1 4,  at  .Rosenthal  in  Saxony.  Beyond  the  facts 
that  he  was  a  pupil  of  J.  S.  Bach,  and  master 
of  Adam  Hiller,  little  is  known  of  his  life  or 
circumstances.  In  1742  he  became  organist  of 
the  Frauenkirche  in  Dresden,  and  in  1755 
director  of  the  music  in  the  three  principal 
churches  there,  and  Cantor  of  the  Kreuz:jchule, 
the  choir  of  which  he  brought  to  a  high  pitch 
of  perfection.  He  led  a  simple  modest  life, 
entirely  occupied  with  his  duties,  and  died 
June  I,  1785.  He  enjoyed  a  considerable  repu- 
tation among  his  contemporaries  as  an  organist, 
especially  for  his  skill  in  combining  and  ar- 
ranging the  stops.  He  was  an  industrious  com- 
poser, and  in  the  latter  part  of  last  century 
his  larger  church  works  were  ranked  very  high. 
Although  we  cannot  now  endorse  that  verdict, 
we  must  still  allow  Homilius  to  have  been  no 
unworthy  pupil  of  J.  S.  Baches.  His  numerous 
sacred  compositions  are  characterised  by  a  peculi- 
arly happy  vein  of  melody,  and,  in  accordance 
with  the  taste  of  the  day,  an  avoidance  of  poly- 
phonic treatment  of  the  parts.  On  the  other 
hand,  it  is  difficult  to  compare  his  muHic  with 
more  modem  homophone  compositions.  His  treat- 
ment of  his  themes — as  is  the  case  throughout 
this  period  in  which  Bach*s  influence  was  para- 
mount— is  always  interesting,  and  sometimes 
masterly.  His  most  important  works  are  his 
motets,  model  compositions  of  the  kind.  Little 
of  his  music  has  been  printed,  but  he  was  very 
liberal  in  allowing  copies  of  his  works  to  be  taken. 
Of  his  32  motets  some  excellent  examples  are  to 
be  found  in  his  pupil  J.  A.  Hiller 's  'Vierstim- 
mige  Motetten,'  in  Sander*s  'Heilige  Csecilia* 
(Berlin  1818-IQ),  Weeber*s  'Kirchliche  Chorge- 
sange*  (Stuttgart  1857),  and  Trautwein*s  'Aus- 
wahl.*  Specimens  of  his  organ  works  are  to  be 
found  in  Komer*s  Orgelvirtuos.  A  Pater  noster 
for  4  voices,  fully  bearing  out  the  description  of 
his  style  just  given,  is  printed  in  Mr.  Hullah*s 
'Vocal  Scores.  His  published  works  include, 
a  'Passions-Cantata*  (1775);  a  Christmas  ora- 
torio, 'Die  Freude  der  Hirten  uber  die  Geburt 
Jesu*  (1777);  and  'Sechs  Deutsche  Arien  fiir 
Pireunde  emsthafter  Gesange*  (1786).  Those 
still  in  MS.  are  much  more  numerous,  and 
comprise  a  course  of  church  music  for  Sun- 
day's and  festivals;  several  Passions,  including 
one  accortling  to  St.  Mark,  perhaps  his  best 
work;  a  ' Choralbuch *  containing  167  chornles; 
and  finally  organ  music,  consisting  of  fugues, 
chorales  with  variations,  and  trios.  [A.M.] 


74« 


HOMOPHONE. 


HOMOPHONE  {6fi6ft»wM\  voioet  or  instra* 
ments  soanding  alike — uniaan.  The  term  is  eome- 
times  applied  to  music  written  in  what  was  for- 
merly called  the  Monodic  style.  [See  Movodia.] 
But  it  is  now  ordinarily  employed  for  music  in 
plain  harmony,  the  parts  all  sounding  together, 
as  opposed  to  the  Polyphonic  treatment,  in  which 
the  several  voices  or  parts  move  independently 
of  each  other  or  in  imitation.  Thus  in  Elijah, 
'Cast  thy  burden'  would  in  this  laxer  sense 
be  called  homophonic,  while  '  He  that  shall 
endure  to  the  end'  is  polyphonic  after  the 
6th  bar.    [Poltphonb.]  [G.] 

HOOK,   James,  bom  at  Norwich  in  1746, 
studied  music  under  Garland,  organist  of  the 
cathedral.    When  a  very  young  man  he  came  to 
Loudon  and  composed  some  songs  which  were 
sang  at  Richmond  and  Kanelagh,  and  which  he 
published  as  his  Op.  i.    In  1769  he  was  engaged 
at   Marylebone  Gardens  as  organist  and  com- 
poser, and  continued  there  until  1773.    In  1774 
ne  was  engaged  at  Vauxhall  Gardens  in  the  same 
capacities,  and  continued  there  until  1820.     He 
was  for  long  organist  of  St.  John*s,  Horsleydown. 
During  his  engagements  at  Marylebone  and  Vaux- 
hall he  is  said  to  have  composed  upwards  of 
a  coo  songt),  cantatas,  catches,  etc.     He  gained 
prize  medaJs  at  the  Catch  Club,  in  1772,  for 
his  catch,  '  One  morning  Dame  Turner,*  and 
in   1780  for  'Come,  kiss  me,  dear  Dolly.'     In 
1776   Hook  brought  out  'The  Ascension,'  an 
oratorio.    He  composed  the  music  for  the  fol- 
lowing dramatic  pieces; — 'Dido,'  1771 ;  'The 
Divorce,*  composed  in  1771  for  Marylebone,  but 
not  produced  until  1781  at  Drury  Lane;  'Trick 
upon  Trick,'  'U  DiletUnte'  and  'Cupid's  Re- 
venge,' 1772;  '  Apollo  and  Daphne,'  1 773  ;  *  The 
Lady  of  the  Manor,'  1 778 ;    '  Too  civil  by  half,' 
1 783  ;  '  The  Double  Disguise,'  1 784 ;  *  The  Fair 
Peruvian,'    1786;   'Jack    of  Newbury,*   I79.'>; 
'Diamond  cut  Diamond,*  1797;  'WibnoreCasUe,* 
1800;   'The  Soldiers  Return,'  1805;  'Tekeli,' 
and  'Catch  him  who  can,*  i8c6;  'Music  Mad* 
and   'The  Fortress,'    1807;  'The  Siege  of  St. 
Quintin,*  180S  ;  '  Killing  no  Murder*  and  'Safe 
and  Sound,*   18^9.    Beit'des  these  he  composed 
music  for  the  following,  the  dates  of  production 
of  which  are  uncertain :  '  The  Wedding,*  '  Love 
and   Virtue,'   'The   Cryer  of  Vauxhall,'  'The 
Pledge,*   'Coralie,*  'Blanche  and  Edgar,'  and 
'  The  Country  Wake.'     Many  of  his  songs  were 
published  in  collections,  as  *  The  Feast  of  Ana- 
creon,'  '  Hours  of  Love,'  etc.,  but  the  greater 
number  were  issued    singly.      Hook  composed 
several  concertos  for  the  organ  or  harpsichord, 
and  sonatas  for  the  pianoforte,  and  was  author 
of  '  Guida  di  Musicsi,*  a  book  of  instruction  for 
the  pianoforte.     Several  of  his  glees,  catches  and 
rounds  are  printed  in  Warren's  Collections.  Hook 
died  at  Boulogne  in  1827.     Several  members  of 
his  family  wei*e  eminent  in  literature.     His  first 
wife.  Miss  Madden  (died  Oct.   19,  1795),  was 
authoress  of  'The  Double  Disguise.'     His  son, 
James  Hook,    D.D.,   Dean  of  Worcester  (born 
1772,  died  1828),  was  author  of  the  words  of 
'  Jack  of  Newbury/  ' Diamond  cut  Diamond,'  etc. 


HOPKINS. 

His  younger  soil  Theodore  Edward  (ham  1788, 
died  1841 S  was  the  well-knavn  hamoariat;  and 
his  grandson.  Walter  Farquhar  Hook,  D.D., 
Dean  of  Chichester  (bom  1798,  died  1875^  son 
of  James»  was  the  fismons  divine.         [W.  H.  H.] 

HOOPER,  Edmoitd,  bom  at  Halberton,  Devon, 
probably  about  15^3,  became  connected  with  the 
choir  of  Westminster  Abbey  about  1582,  and 
on  Dec.  3,  1 588,  was  appointed  Master  of  the 
Children.  He  was  one  of  the  ten  compuwis  who 
harmonised  the  tunes  for  '  The  Whole  Bodce  of 
Psalms.'  published  by  Este  in  1592.  On  March 
I,  1603-4  he  was  sworn  a  Gentleman  of  the 
Chapel  Royal,  and  on  May  9, 1606,  was  appointed 
organist  of  Westminster  Abbey,  "[niree  antbems 
by  bim  are  printed  in  Barnard's  collection,  and  six 
others,  and  a  set  of  Preoes  Psalms  and  Responses 
are  contained  in  Barnard's  MS.  collectioDS  in 
the  Sacred  Harmonic  Society's  library,  and  two 
anthems  in  the  Tudway  Collection  (Hari.  MSS. 
7337  and  7340).  He  contributed  two  pieces  to 
Leighton's  '  Teares  or  Lamentaciona/  1614.  He 
died  July  14,  162 1,  and  was  boned  July  16^  in 
the  cloisters  of  Westminster. 

Hu  eldest  son  James,  a  lay  vicar  of  West* 
minster,  died  Dec.  1 65 1.  [W.H.H.] 

HOPKINS,  Edwabd  John,  bom  in  West- 
minster,  June  30,  1818,  became  in  18 26  a  cho- 
rister of  the  Chapel  Royal  under  William  Hawes^ 
On  quitting  the  choir  in  1833  he  studied  under 
Thomas  Forbes  Walmisley.  In  1834  he  was 
chosen  organist  of  Mitcham  Church,  in  38  organ- 
ist of  St.  Peter's,  Islington,  and  in  41  of  Si. 
Luke's,  Berwick  Street.  In  43  he  was  ap- 
pointed organist  of  the  Temple  Church,  the 
musical  service  of  which  under  hia  care  has 
acquired  great  reputation.  As  an  acoompanyist 
he  is  quite  unrivalled.  Hopkins  has  composed 
several  church  services,  anthems,  chants,  and 
psalm  tunes.  His  anthems,  '  Out  of  the  deep,' 
and  *God  is  gone  up,'  obtained  the  Gresham 
prize  medals  in  1838  and  1840  respectively.  He 
18  also  composer  of  'May  day'  (duet)  and 
'Welcome'  (trio),  and  author  of  'The  Oigan, 
its  History  and  Construction,'  an  excellent  trea- 
tise publi^ed  in  conjunction  with  Dr.  Rimbault^s 
'  History  of  the  Organ '  in  1855  ;  2nd  e<lit.  i  S70 ; 
3rd  edit.  1877,  He  edited  Beunet's  'Madrigals,* 
and  Weelkes'  'First  Set  of  Madrigals'  for  the 
Musical  Antiquarian  Society,  and  the  mus'c 
portion  of '  The  Temple  Church  Choral  Service.' 

John  Hopkins,  his  younger  brother,  bom  in 

Westminster  in   1822,   was  a  chorister  of  St. 

Pauls   from    Sept.    1831   to   Sept.    1838.      In 

August  1838  (before  quitting  the  choir)  he  was 

appointed  to  succeed  his  Ixxither  as  organist  of 

I  Mitcham  Church.     He  afterwards  became  sue- 

I  cessively  organist  of   St.  Stephen's,    Iidiitgton, 

I  June  1839 ;    St.  Benet's,   Paul's  Wharf,   July 

1841  ;    Tnnity  Church,  Islington,  May  1843; 

St.  Mark's,  Jersey,   Feb.  1845  ;   St.  Michael's, 

Chester  Square,  1846 ;  and  Epsom  Church,  Jan. 

I  1854.    In  May  1856  he  succeeded  his  oousin, 

I  John  Larkin  Hopkins,  as  organist  of  Rochester 

'  Cathedral,  which  he  still  holds.     John  Hopkins 

I  has  composed  services,  anthems,  chants,  hymn 


HOPKINS, 
timea.  vcdimtuia  piuuiforte  aketchei,  songs  and 
pkrt'BODgB,  a  few  of  which  have  been  published. 

His  oousin,  JoRN  Labkim  Hofeinb,  Mua. 
Doc.,  bora  in  Westminster  in  1S20,  vas  B 
ohoriatet  of  Westoiinstor  Abbey  under  James 
Turla.  In  1841  he  Buo(!eedt>d  Ralph  Banks  as 
OtgviuA  of  Rocheetar.  In  1841  he  graduated 
Mas,  Bat  at  Cambridge.  In  (856  he  removed 
to  CHabridge  on  being;  appointed  organist  to 
TrinitT  Call^^e  and  to  the  Uruvernty.  He  pro- 
oaeded  Mus.  Soc.  in  1867.  Hopkins  oomposed 
many  servioes  and  anthems,  and  publtthed  a 
oollection  of  his  anthems.  In  1S47  he  edited, 
in  conjunction  with  Bov.  8.  Shepherd,  a  col- 
lection of  the  Words  of  Anthems  used  in 
KocheslOT  CathedraL  He  died  at  Tentnor, 
April  15,  1873.  [W.H.H.] 

HOPKINBON.  TTie  greater  part  of  the 
piaDoforte  making  of  this  countiy  has  centred 
in  London,  and  the  lirm  of  J.  Ik  J.  Hopkinson — 
though  founded  and  at  Grit  carried  on  exclunrdy 
at  Leeds — cannot  now  be  quoted  aa  an  exception. 
Mr.  John  Hopkinson  eatablisbed  his  workahope 
in  Leeds  in  1841,  and  removed  them  to  London 
in  1846.  The  warerooms  were  at  Rrst  io  Soho 
Square,  and  were  in  1851^  removed  to  Regent 
Street,  where  the  business  is  now  carried  on. 
Mr.  Hopkinson  patented  a  repetition  action  ibr 
a  grand  pianoforte  in  1850,  and  in  18G3  he  fur- 
ther patented  a  '  harmonie  pedal.'  producing  the 
e  harmonics  from  the  strings  by  the  1 


St  tbe  exact  half  of  the  vibrating  length,  of  a  very 
slender  atrip  of  felt  goremed  by  a  special  pedal. 
Tbe  firm  gained  high 


1 369,  leaving  his  brother,  Mr.  James  Hopkinson. 
the  first  place  in  the  businees,  [A.J.H.] 

HOPPER.  A  name  applied  to  the  jack  or 
escapement  lever  in  tbe  action  of  a  pianoforte, 
or  to  the  escapement  lever  with  its  backpiece, 
regulating  screw,   etc,  complete.      [See  Gbass- 

of  the  notch  against  wbich  its  thrust  has  been 
directed ;  allowing  the  hammer  to  rebound,  and 
leaving  the  string  free  to  vibrate.  [A.  J.  H.] 

HORN,  FRENCH  HORN  (Pr.  Cor,  Cor  di 
Chaat;  Oct.  lion,  WaUhora ;  Ital.  Coma,  Como 
di  Caccia).  One  of  the  most  characteristic  and 
JmpOTtant  instruments  among  those  plajed  by 
means  of  a  cupped  circular  mouthpiece  (.Trumpet. 
Trombone,  Coraot,  etc.l.  It  difi'ers  from  all 
others  of  this  family  by  the  coiuiderablj  greater 
length  of  its  tube,  the  wider  expanaiou  of  its 
bell,  the  spiral  form  in  wbicb  its  convolutions  are 
arranged,  the  softer  quality  of  iU  tone,  and  its 
great  compass. 

In  its  most  modem  shape  it  is  composed  of 
a  tube  17  feet  in  len<;th  divided  into  throe  main 
sections — (i)  the  Body,  couipruing  the  lower 
twothirds  of  the  tube  and  a  large  everted  bell, 
spreading  out  rapidly  to  a  diameter  of  about 
fifteen  inches  ;  (i)  a  serlea  of  interchangeable 
rings,  of  smaller  tubing,  termed  Crooks,  pro- 
grcwdve  in  length,  fonaing  about  the  upper  third 


all  kindred  specie*  of  brass  instruments.  Short 
interraediate  crooks,  intended  tor  tuning  purposes, 
are  often  interpolated  between  tbe  body  and  the 
larger  crook  :  the  body  Itself  carries  a  pair  of 
U-shaped  slidea  fitting  witb  stiff  friction  into  one 
another,  for  the  purpose  of  linally  and  more 
aocurately  adjusting  the  pitch.  This  portion  of 
the  instrument  is  termed  the  '  tuning-alide,'  and 
has  been  of  late  employed  for  the  farther  advan- 
tage of  affording  attacliment  to  a  set  of  valves,  not 
dissimilar  &am  those  of  the  comet,  euphonium, 
or  other  valve  instrumenta.  [See  Valves.]  The 
slides  of  the  tuning  apparatus  are  sometimes 
utilised  as  a  pUoe  of  attachment  for  the  different 
crooks,  which  then  slip  oa  in  the  middle  of  the 
inatrumeut,  instead  of  being  alflied  to  a  conical 
socket  at  the  upper  extremity  of  the  body. 


The  body  of  the  born  has  a  length  of  7  feat 
4  inches;  the  croaks  are  of  increasing  length  aa 
they  desoend  in  pitch.  The  following  are  the 
dimensions  of  tbe  crooks  most  in  use,  for  which 
the  writer  is  indebted  to  Mr.  Kiihler  of  Henrietta 
Street:— 

All   jSin.  E    fijiin. 

Al.    j[Jin.        Eb 68jin. 

G      40in.  D    79  in. 

F      5s  in.  C  basso  ..  105  in. 

The  crook  for  the  0  alto  pitch,  a  minor  third 
above  Atj.  and  shorter  in  proportioD.  would,  if 
in  use,  reduoe  the  to.al  length  of  the  instrument 
to  about  8  feet,  while  with  that  for  the  C  basso 
pitch  it  is  16  feet  and  a  fraction  long. 

The  mouthpiece  consists  of  a  funnel  shaped 
tube  of  braes  or  silver,  terminating  at  its  upper 
extremity  in  a  rounded  ring  of  metal  for  the  ap- 
plication of  the  lips.    The  bore  tapers  downwariU 


74S 


HORN. 


in  a  curved  conical  form,  from  about  iliree-quar-  < 
ten  of  an  inch  in  diameter  at  the  embouchure, 
to  a  size  enabling  the  smaller  end  of  the  mouth- 
piece to  be  slipped  tightly  into  the  upper  orifioe 
of  the  crook.  It  is  to  be  noted  that  the  cavity 
into  which  the  lips  vibrate  is  thus  not  cup-shaped, 
as  in  the  trumpet  and  cornet,  but  conoidal  down- 
wards, with  curved  sides  approximately  hyper- 
bolic in  contour.    The  peculiar  softness  of  quality 

Mouthpleoss 


of  the  Horn 


aud 


of  tlie  Trumpet. 


half  the  real 

oize. 


*    of  the  Horn  is  in  some  measure  due  to  this  fact. 

The  mouthpiece  used  in  playing"  first-horn  parts 

is  about  an  eighth  of  an  inch  less  in  diameter 

than  that  appropriated  to  the  second  horn. 

The  original  use  of  the  French  Horn  was  to 

five  signals  in  hunting.  In  this  function  it  is 
iffioult  to  say  at  what  precise  date  it  superseded 
the  more  ancient  comet,  of  woo<l,  horn,  or  ivory, 
which  was  more  akin  to  the  Bugle.  Louis  XI 
of  France  ordered  the  statue  on  his  tomb  to  be 
dressed  in  the  costume  of  a  hunter  with  his 
comet  at  his  side.  Dufouilloux  dedicated  a 
treatise  on  Venery  to  Charles  IX,  who  had 
himself  written  a  similar  work.  He  therein 
praises  the  comet,  and  imitates  its  sound  by 
the  word  tran.  In  the  woodcuts  contained 
in  his  work,  and  in  pictures  of  Louis  XI's  pro- 
jected monument,  the  comet  appears  to  have 
only  a  single  ring  or  spiral ;  being  thus  com- 
petent to  produce  only  a  few  notes.  In  the 
edition  of  Dufouilloux  published  in  1628,  how- 
ever, the  king  and  his  lords  are  represented  as 
having  comets  with  a  second  half-circle  in  the 
middle.  Louis  XIII,  who  was  extremely  fond  of 
hunting  the  fox,  invented  a  cjill,  to  distinguish 
that  animal,  containing  several  different  notes, 
which  show  that  for  their  proper  intonation  the 
instrument  itself  must  have  made  progress,  and 
increased  in  length.  Louis  XV,  however,  and 
his  master  of  the  hunt,  M.  de  Dampierre.  com- 
posed and  selected  the  greater  number  of  calls 
and  fanfares  used  in  the  royal  hunt,  which 
continue  to  be  employed  up  to  Uie  present  time. 
The  hunting  horn  finally  adopted  differs  from 
the  orchestral  horn  in  consisting  of  an  unbroken 
spiral  of  three  turns,  sufficiently  lai^e  to  be  worn 
obliquely  round  the  body,  resting  on  one  shoulder 


.  HORK. 

and  patting  under  the  opposite  arin.  Tlie  hands 
are  Uius  left  at  liberty,  and  the  mouthpiece  can 
easily  be  brought  to  the  lips  by  a  single  movement. 

Three  kinds  of  hunting  airs  are  to  be  made 
out.  (i)  Calls  {tons  de  chatte),  of  which  there 
are  about  31.  These  are  intended  to  cheer 
on  the  hounds,  to  give  warning,  to  call  for  aid, 
and  to  indicate  the  circumstances  of  the  hunt. 
(3)  Fanfares,  of  which  there  is  one  for  each 
animal,  and  several  for  the  stag,  according  to  his 
a'^e  and  antlers.  (3)  Fanq/  airs  performed  as 
signs  of  joy  or  after  a  successful  hunting. 

The  best-known  calls  are  the  ReveilUt.  the 
Lanc^  and  Rdanei;  the  Hourvari,  or  default; 
the  Debuchd ;  the  Voledest  (when  the  fresh  foot- 
mark of  the  animal  is  found) ;  the  Halali,  and  the 
Mort.  Of  finnfaree  there  are  the  Royal^  sounded 
for  a  stag  of  ten  pomts— invented  by  Ijouis  XV ; 
the  petite  BoyaU,  sounded  for  the  wild  boar; 
various  others  distinguishing  the  wolf,  fox,  weasel, 
and  hare ;  and  the  Fanfare  de  Si.  Hubert,  as  the 
patron  saint  of  hunting,  only  sounded  on  his  day. 
(3)  The  third  series  approximates  more  than  the 
others  to  regular  musical  performances,  and  fur- 
nishes the  link  between  the  use  of  the  Horn  as 
a  signal,  and  as  a  melodious  instrument.  These 
airs  are  many  and  various,  named  after  royal  per- 
sonages or  distinguished  hunters. — Donner  du  cor 
is  the  term  for  sounding  the  horn.^ 

The  introduction  of  the  Horn  into  the  occheetra 
in  France  is  attributed  to  Glossec.  He,  when  still 
very  young,  was  requested  to  write  two  airs  for 
the  debut  of  Sophie  Amould  at  the  opera  in 
1 757,  in  which  he  introduced  obbligato  parts  for 
two  Horns  and  two  Clarinets ;  the  latter  instru- 
ment being  also  heard  for  the  first  time.*  Lotti 
and  Scarlatti  introduced  it  into  Italy,  and  were 
followed  by  Hasse  and  Alberti.  It  must  have  been 
previously  used  in  Germany,  since  it  appears  fre- 
quently in  the  scores  of  J.  S.  Bach,  who  died  in 
X  750.  It  was  fir^t  used  in  England  as  early  as 
1 7  20  by  the  opera  band  in  the  Haymarket^  at 
the  peribrmance  of  Handel's  Radamisto, 

It  was  much  objected  to  when  first  heard,  as 
coarse  and  vulgar;  and  severe  strictures  were 
indulged  in  at  the  introduction  of  a  rude  instru- 
ment of  the  chase  among  more  refined  sources  of 
sound,  such  as  the  Violins  and  Oboe.  It  is  re- 
markable how  subsequent  experience  has  revorsed 
this  hasty  judgment ;  the  smooth  tender  tone  pecu- 
liar to  the  Horn  contrasting  admirably  with  its 
orchestral  companions,  and  forming  a  firm  founda- 
tion for  harmony  in  chords  and  holding  notes. 

In  consequence  of  this  prejudice,  when  tbe 
Horn  was  originally  transferred  in  Germany  from 
the  hunting  field  to  the  orchestra,  it  was  sug- 
gested to  introduce  a  mute  or  damper  into  the 
bell,  for  the  purpose  of  softening  the  tone ;  this 
was  at  first  made  of  wood,  and  afterwards  of 
card-board.  It  was  the  custom  to  produce  a  like 
effect  in  the  Oboe  by  filling  the  bell,  made 
globular  for  the  purpose,  with  cotton-wool ;  a  plan 

1  la  English  w«  ktj 'loond  the  horn." wliid  Ui«  horn*;  T«oiiy«im 
(Lock^ley  Hall). '  louDd  upon  the  bugle  horn.* 

3  (in«!v»c  is  al«o  Mid  to  baT«  iDtrodaced  the  Xtombooa  In  bis  opcfi^ 
'  The  Sabloes,*  In  17791 


HORN. 

wHich  dugg^ted  to  Hampl,  a  oeleblt^ted  horn- 
player  at  the  court  of  Dresden,  about  the  year 
1770,  to  do  the  same  with  the  Horn.  To  his 
surprise  the  insertion  of  the  pad  of  cotton  raised 
the  pitch  of  the  instrument  by  a  semitone .  Struck 
^vith  the  result,  he  employed  his  hand  instead  of 
the  pad,  and  discovered  the  first  and  original 
method  by  which  the  intervals  between  the 
barmonic  series  of  open  notes  could  be  partially 
bridged  over.  The  notes  thus  modified  have 
since  been  termed  *  hand  notes/  and  the  instru- 
ment itself  the  'Hand  horn.'  Sir  John  Hawkins 
mentions  a  concerto  played  by  an  artist  named 
Spandau  with  the  help  of  the  hand  notes  in  1 773, 
'  attempering  the  sound  by  the  application  of  his 
fingers  in  the  different  parts  of  the  tube.* 

The  method  of  stopping  the  Horn  is  not  by  in- 
troducing the  closed  fist  into  the  bell,  but  the 
open  hand,  with  the  fingers  close  together,  some 
way  up  the  bore.  By  (drawing  the  fingers  back, 
the  natural  sounds  are  again  produced.  The 
degree  in  which  the  Horn  is  stopped  is  not  the 
aame  for  all  stopped  notes:  there  being  half 
and  whole  stopping.  In  the  first,  by  raising  the 
hand  the  bell  tJone  is,  as  it  were,  closed :  in  the 
second  the  hand  is  introduced  as  far  as  if  it  were 
intended  almost  to  prevent  the  passage  of  air. 

Between  the  stopped  or  '  hand  notes  *  and  the 
open  notes  there  is  an  obvious  difference  in  cha- 
racter and  quality  which  it  is  impossible  wholly 
to  suppress,  but  which  may  be  sufficiently  modified 
80  as  not  to  offend  the  ear.  This  object  is  at- 
tained by  blowing  the  open  notes  softly,  so  as  to 
reduce  the  contrast  between  their  sonorousness, 
and  tlie  closed  or  *  stuffed '  {itouffi)  character  of 
those  modified  by  means  of  the  hand.  Much 
difference  of  opinion  exists  as  to  the  superiority 
of  the  simple  Handhom,  or  the  more  modem 
instrument  furnished  wifJi  valves.  It  appears 
certain  that  the  lightness  and  vibratile  power  of 
the  former,  added  to  the  absence  of  abrupt  bends 
and  sinuosities  in  the  bore,  adds  materially  to  the 
brilliancy  of  the  tone.  But,  on  the  other  hand, 
in  rapid  melodic  passages,  such  as  it  is  now  the 
fashion  to  write,  the  alternation  of  open  and 
stopped  notes  tends  to  produce  uncertainty  and 
unevenness.  The  older  composers,  especially 
Mozart,  seem  to  have  been  aware  of  this  fact, 
and  employ  both  open  and  stopped  notes  with 
full  consciousness  of  their  respective  effects. 
Many  examples  could  be  given  of  the  mourn- 
ful and  mysterious  effect  of  the  stopped  notes 
judiciously  used.  A  convenient  compromise 
between  the  two  forms  of  the  instrument  has 
been  adopted  by  fixing  a  pair  of  valves  on  the 
tuning  slide  named  above.  It  is  quaintly  termed 
a  'grasshopper'  action,  and  can  easily  be  re- 
moved when  the  simple  tube  is  preferred.  Mr. 
Ford  has  registered  a  sliding  action  like  that  of 
the  trombone,  or  slide  trumpet,  in  place  of  the 
valves,  by  means  of  which  notes  can  be  depressed 
to  any  extent  according  to  the  ear  of  the  per- 
former. This  excellent  plan,  which  would  at  once 
give  the  horn  the  enharmonic  accuracy  now 
possessed  by  the  trumpet  and  trombone  alone 
among  wind  instruments,  does  not  seem  to  have 


HORN. 


U9 


attracted  the  notice  it  deserves.  The  «ame  may 
be  said  of  Mr.  Bassett's  comma  valve,  applicable 
both  to  Horn  and  Trumpet,  by  which  the  error 
existing  between  major  and  minor  tones  may  be 
corrected.     [See  Trumpbt.1 

The  scale  of  the  Horn  consists  of  a  fundamental 
tone,  and  the  consecutive  harmonics  or  *  upper 
partial*  tones  of  an  open  tube  which  reaches  the 
extreme  length  of  16  feet.  It  has  usually  been 
described  as  of  conical  shape ;  but  Mr.  Blaikley 
has  ingeniously  shown  of  late  that  a  somewhat 
different  form,  with  a  hyperbolic  contour,  is 
required  to  produce  accurate  harmonic  relations, 
in  consequence  of  the  mouthpiece  not  being 
applied  to  the  exact  apex  of  the  cone,  but  some- 
what lower  down. 

As  the  prime  tone  of  so  long  a  tube  10  very 
deep,  the  harmonics  in  the  middle  of  the  scale  lie 
so  close  together  as  to  produce  many  consecutive 
notes.  Eight-foot  C  is  usually  taken  as  the  fun- 
damental note,  and  the  scale  founded  on  it  is 
given  as  follows,  the  two  highest  notes  being 
seldom  or  never  used. 


f^P^f^^^t 


This  notation  is  substantially  correct  for  the 
8-foot  or  G  alto  instrument,  now  disused;  and 
it  is  clear  that  it  will  have  to  be  lowered  succes- 
sively through  a  whole  chromatic  octave  as  the 
longer  and  deeper  crooks  are  made  use  of.  For 
the  C  basso  crook,  8-foot  C  will  thus  become 
1 5-foot  C,  on  the- 6th  space  below  the  bass  stave, 
and  with  all  intermediate  crooks  the  real  founda- 
tion sound  will  be  some  intermediate  note  of  the 
16-foot  octave.  How  well  the  great  value  of 
these  low  notes  was  known  to  Beethoven  is  evi- 
dent from  more  than  one  passage  in  his  works. 
In  the  allegro  moderate  01  his  Sonata  in  F  for 
Horn  and  Piano  (op.*  17)  the  following  passage 
occurs  twice  over  : — 
Iltym  in  P.  -■=  =»- 


m 


-szs: 


PP 


^'  =  'i 


The  same  note  also  occurs  in  the  7th  Symphony. 
Allowing  for  a  crook  one-fifth  lower,  the  real 
sounds  would  be  as  at  (a) : — 
(a)  (b) 


sr 


m 


-e^ 


'^ 


that  is  to  say,  16-foot  F  and  16-foot  0.  The 
former  of  these  is  practically,  and  the  latter 
entirely  impossible  on  a  tube  of  under  la  feet 
long.  It  is  evident  therefore,  that  by  a  freak  of 
notation,  the  bass  notes  have  been  referred  to  a 
16-foot  scale,  whereas  those  in  the  treble,  as 
already  explained,  belong  to  one  of  8  feet,  and 
the  real  note  sounded  is  am  at  (&).  This  ac- 
counts for  the  ordinary  but  erroneous  statement 
in  Horn  Methods,  that  the '  Treble  part  is  con- 
ventionally writt^  an  octave  higher  than  it  is 


760 


HORN. 


HOBK. 


played/  the  fact  being  that  the  bass  part  is  an 
octave  too  low.  In  confiequenoe  of  tlus  miscon- 
ception, no  two  scales  as  mvea  in  the  ordinary 
instruction  books  agree  with  one  another ;  many 
beginning  at  the  4-ibot  G,  which  stands  second  in 
the  scale  diagram  given  above.  This  is  partially 
owing  to  the  fact  that  the  extreme  low  tones  are 
difficult,  if  not  impossible  to  produce,  except  with 
a  larger  mouthpiece.  Indeed,  1 6-foot  G  can  only 
be  feebly  touched  with  a  trombone  mouthpiece 
and  by  an  experienced  trombone  player.  The 
scale  given  above  agrees  with  the  hurmonic  series 
common  to  all  modes  of  eliciting  sound,  and  has 
therefore  been  preferred  for  illustration.  The 
Horn  is  invariably  written  for  in  the  G  or  treble 
clef  (with  the  exception  of  the  three  or  four 
lowest  sounds  described  above),  and  in  the  key  of 
G;  the  difference  of  pitch  necessary  for  orchestral 
tonality  being  provided  by  the  various  crooks,  of 
which  eleven  are  used,  supplemented  by  two  in- 
termediate ;  one  of  which  lowers  the  pitch  of  any 
crook  approximately  a  semitone,  the  other  a  whole 
tone.  The  whole  diatonic  scale  is  thus  accessible, 
and  even  lower  pitches  than  G  are  occasionally 
needed,  as  in  the '  Stabat  Mater '  of  Rossini,  where 
a  horn  in  Ab  basso  is  introduced.  The  upper  G 
crook  is  rarely  used,  and  the  series  oommonly  ter- 
minates with  £b  basso.  In  his  2nd  Symphony, 
Brahms  uses  2  horns  in  Bl|  basBo,  and  2  in  G 
basso.  The  following  table  shows  the  relation 
between  the  vmtten  notes  and  the  actual  sounds 
produced  in  the  various  Horns : — 


Written  notu. 


OHom, 


m^ 


J)  Hon. 


^ 


^^^^U^rr|fci'^jjr^1lfeif;jjitf^ 


Eb  Horn, 


E  Hom. 


V  Horn, 


%^^^%  Jl^-^pf^^^ 


G  Hom. 


At>  Hoi-n 


A  Horn, 


t^jfr'^.J^I^. 


Bb  aUo  Hom.  Bb  hcuso  Horn.     B|]  basso  Hom. 


^ 


^ 


Tt  will  thus  be  seen  that  although  the  written 
symbol  of  the  sound  remains  unchanged,  the 
actual  sounds  produced,  and  the  embouchure  re- 
quired for  producing  them,  vary  over  a  range  of 
more  than  an  octave.  This  constitutes  the  chief 
difficulty  of  the  instrument ;  for  as  the  vuious 
harmonics  differ  only  in  the  altered  tension  of 
the  lip-muscles,  what  is  required  to  produce  a 
high  note  on  a  low  crook  is  clearly  insufficient 
for  one  far  lower  on  the  more  acute.  It  is  thus 
often  imposiiible  to  ascertain,  without  actual  trial, 
which  particular  individual  of  the  series  may  be 
first  struck ;  the  sound  for  instance  which  is  fun- 
damental on  the  Bb  alto  being  the  first  octave 
harmonic  on  the  Bb  hawo.  It  is  always  advis- 
able in  writing  for  an   instrument  singularly 


tender  and  treacherous,  to  give  the  pUyer,  '^ 
case  of  change,  some  opportunity  of  making  tb 
adjustment  of  the  lip  unpeiceived,  and  nndor  tk 
cover  of  more  forcible  instrumentation.  This  ^ 
caution  is  the  more  needful  as  the  brass  tobijc 
of  the  Hom  is  very  susceptible  to  changes  ti 
temperature,  and  a  cold  crook  put  on  sudd^iha 
in  consequence  liable  to  commence  too  flat 

The  Horn  is  seldom  played  singly  in  the  » 
chestra.  A  pair  at  least,  and  four,  or  two  pai«i 
are  most  commonly  employed.  The  Third  19  a 
the  latter  case  regitfded  as  a  ripieno  first,  sndtk 
Second  and  Fourth  as  being  correlative  to  ck 
another. 

Every  great  composer  since  Handel  has  writtet 
iredy  for  the  Horn.  A  diaracteristic  spectroea  ^ 
this  master  occurs  in  his  Allegro  and  Pennenr. 
where  the  bass  song  '  Mirth,  admit  me  of  tb 
crew,'  is  embellished  by  a  brilliant  arpeggio  sr 
conipaniment  rising  to  the  top  C.  Tins  vk 
though  preserved  among  the  ordiestral  psiu. 
and  occasionally  played,  is  not  to  be  fboad  a 
the  score  of  the  German  Handel  Society,  nor  a 
Arnold's  edition  of  the  woi^ ;  so  that,  tboi^t 
traditionally  referred  to  HanJdel,  it  may  be  1 
subsequent  addition. 

Mozart,  even  where  his  score  is  othervi^ 
limited,  hardly  ever  dispenses  with  two  horu 
For  these  he  writes  with  the  most  perfect  Wi 
and  judgment ;  seldom  introducing  hand  mA& 
except  when  their  peculiar  effect  is  reqaiicc. 
Instances  of  this  can  easily  be  found  in  any  ( 
his  symphonies,  overtures,  or  operas.  He  h» 
moreover  written  three  concertos  for  ordKctra 
with  Hom  obbligato,  and  a  large  qusntity  -t 
concerted  music  such  as  that  named  o^ 
Glakinet  for  two  horns  and  the  reed  instnimau. 
All  his  compositions  are  eminently  fitted  for  tbr 
hand -hom,  of  which  he  had  thoroughly  stodec 
the  capacities. 

^  Beethoven  hns  been  especially  lavish,  fho^ 
singularly  cruel  and  exacting,  in  the  use  of  t^ 
Hom,  for  besides  the  Sonata  in  F  for  Horn  i&i 
Piano,  the  Sestet,  for  String  quarts  and  tB- 
Horns  obbligato — which  is  so  difficult  as  to  l« 
never  played,  and  the  Septet,  which  Gontaim  & 
trying  passage  in  triplets  for  £b  horn, — 

Hom  tn  Eb. 


(f'Oj^iJjn 


he  constantly  gives  it  a  prominent  place  ina]lbi» 
works.  The  most  noticeable  of  these  sre  tbe 
Second  Horn  solo  in  the  overture  to  Fidetio,  p 
E,  which  incidentally  demanstrates  the  etror  ii 
notation  adverted  to  above. 

tndo  Sulo. 


<i&<n  rJ'JMrJ'J''ir''rrir 

•^       pdol. 


:r=^. 


Corredfy  piaptd. 


r^rrif  jgg-j 


;hork. 

In  the  last  bar  bat  one  there  is  a  jamp  of  a 
twelfth  from  treble  G  to  baw  G ;  whereas  Horn 
players  invariablv  fulfil  the  obvious  intention  of 
the  composer  by  deacending  only  a  fifth,  and  thus 
csompleting  the  common  chord. 

The  fact  is,  that  the  first  part  of  the  melody, 
written  in  the  treble  cle^  is  raallv  played  by  the 
£  Horn  a  minor  sixth  lower  ^an  its  written 
symbol,  and  the  bass  part  a  major  third  higher, 
thus  r^M^ng  E  in  the  8-foot  octave.  The  pass- 
age, if  literally  played,  as  it  would  be  by  an 
organist,  would  end  on  the  impossible  and  hardly 
musical  £  of  the  1 6-foot  octave.  These  remarks 
also  apply  to  the  illustrative  passage  quoted 
below  firom  the  Choral  Symphony;  the  Soena 
('Komm  Hofinung')  in  'Fidelio*  for  3  Horns; 
and  a  very  florid  obbligato  to  the  bass  song 
*  Deign,  great  Apollo,*  in  the  *  Ruins  of  Athens,' 
Bcored  for  four  horns,  two  in  F  and  two  in  G. 

In  the  Eroica  Symphony  the  trio  is  scored  for 
3  Horns  in  Eb,  playing  on  dosed  notes.  In 
the  4th  Symphony  two  horns  in  Eb  attack  top  G 
pianissimo,  anddur  down  to  Q  and  E  below. 
The  slow  movement  of  the  Pastoral  contains  a 
difficult  passage  for  two  horns  in  thirds,  kept  up 
for  several  bars.  In  the  Vivace  of  the  7th — near 
the  close— the  low  note  already  named  (sounding 
£)  is  sustained  by  the  second  horn  for  no  less 
than  33  bars  without  intermission. 

Horn  in  A. 


HORN. 


761 


g 


The  6  here  given,  and  which  has  been  shown 
to  be  noted  an  octave  too  low,  really  i^pears  to 
be  an  outlying  harmonic,  or  fictitious  note,  not 
pscognised  in  the  ordinary  harmonic  scale,  ob- 
tained by  a  very  loose  lip  and  sounding  the  fifth 
of  the  fundamental  note,  intermediate  between 
that  and  the  first  hannonic.  To  make  it  a  real 
note,  the  Horn  should  begin  on  32-foot  G,  which 
is  impossible  for  a  16-foot  tube,  and  there  ought 
to  be  a  harmonic  third  on  the  second  space  in 
the  bass  clef,  which  does  not  exist.  Many 
players  cannot  produce  it  at  all,  and  few  can 
make  sure  of  it.  The  slow  movement  contains 
a  melodious  passage  in  contrary  motion  with 
the  Clarinet,  and  in  the  scherzo  the  two  move  in 
close  harmony  with  the  Bassoons  and  Clarinets, 
the  second  horn  commencing  the  trio  with  a 
solo  on  its  low  6  and  F^  ^sounding  £  and  Df , 
as  at  h),  the  latter  a  closed  note;  a  phrase 
which  is  repeated  17  times  with  but  slight 
change. 


Horn  in  A. 


Q>) 


$ 


^F^ 


HM>>f 


In  the  minuet  of  the  8th  occurs  a  long  and 
important  duet  for  two  Horns  in  F,  accompanied 
by  the  violoncello  solo,  and  beginning  as  fol- 
lows : — 


Homt  in  F.    doL 


*\  r      |j>     >^^r-.i     I /  •  etc. 

imitated  by  the  clarinet,  and  running  into  a 
conversation  between  the  two  Horns,  who  repeat 
alternately  the  same  notes. 


0)     P--1J      («)/-^. 


In  the  Adagio  of  the  9th,  or  Choral  Symphony, 
the  4th  horn-solo  is  said  to  be  hardly  playable  as 
written  for  the  £b  crook,  without  valves,  but 
becomes  possible  by  transposing  on  to  an  £l|  horn.* 

Horn  <n  Eb. 


etc. 


Even  these  difiSculties  are  surpassed  by  a  bar  of 
fifteen  notes  closely  following  the  foregoing. 


etc 


Schubert's  great  Symphony  in  G  (No.  9)  opens 
with  a  passage  of  eight  bars  for  the  two  horns  in 
unison,  and  they  are  used  with  beautiful  effect, 
with  the  accompaniment  of  the  strings  alone,  in 
the  Andante  of  the  same  work  just  before  the 
return  to  the  subject. 

No  other  composer  has  surpassed  or  even 
equalled  Weber  in  his  masterlv  uee  of  this  instru- 
ment. He  evidently  loved  it  above  all  other 
voices  in  the  orchestra.  Besides  abundant  con- 
certed music,  the  effective  opening  of  the  Over- 
ture to  Oberon,  the  weird  notes  in  that  of  Ber 
Freischutz,  and  the  lovely  obbligato  to  the  Mer- 
maid*8  song,  will  rise  into  immediate  remembrance. 
He  fully  appreciates  its  value,  not  only  as  a 
melodic  instrument,  but  as  a  source,  whether 
alone  or  blended  with  other  qualities  of  tone,  of 
strange  and  new  sesthetical  effects. 

The  same,  in  a  somewhat  less  marked  degree, 
may  be  said  of  Mendelssohn,  who  makes  com- 
paratively less  melodic  use  of  the  Horn,  but  very 
much  of  its  combining  and  steadying  powers. 
Notable  exceptions  are  however  the  opening 
phrase  of  the  Duet  and  Chorus  in  the  Hymn  of 
Praise,  and  the  Nottumo  in  the  'Midsummer 
Night's  Dream.*  When  the  latter  was  first 
peri'ormed  in  this  country,  the  composer  especially 

1  The  dlflDoul'T  of  ttiis  pMRige  to  aomotlmes  iret  In  the  orchestic  \iy 
giying  the  two  low  notes  (which  Bound  Kb  and  Bb  below  the  bus  stare) 
to  one  of  the  other  players,  au  that  the  sudden  traa^ltion  of  three 
octaves  Is  not  felt,  and  the  low  notes  are  obUlned  with  greatOT 


763 


HORN. 


desired  the  copyist  to  forward  the  part  early  to 
Mi*.  Piatt,  who  was  to  play  it. 

With  Rottdni,  the  son  of  a  liom-player,  and 
^imself  no  mean  perfonner  on  it,  a  new  school 
may  be  said  to  commence.  He  uses  it  freely  for 
his  bright  and  taking  melodies,  whether  alone  or 
in  pairs  ;  but  the  old  method  ,of  Mozart  is  lost, 
and  valves  become  essential  for  the  execution 
of  runs,  turns,  scales  with  which  the  part  is 
abundantly  strewn.  In '  William  Tell,*  especially 
a  favourite  and  recurring  eifect  is  that  of  the 
Horn  imitating  the  Alpeuhom,  and  echoing 
among  the  Swiss  mountains.  The  triplet  pas- 
sages thus  allotted  it  in  rapidly  shifting  keys 
are  to  the  last  degree  difficult  and  treacherous. 
Kossini*s  example  seems  to  have  been  followed  by 
Auber  and  many  more  recent  composers. 

In  Brahma's  2nd  Symphony  (in  D,  op.  73>  the 
Horns  have  >  very  important  part,  especiiJly  in 
the  first  Allegro. 

Music  for  the  Horn. 
With  orchestra : — 

MozaBt. — Op.  92,  First  Concerto;  op.  105, 
Second  do. ;  op.  106,  Third  do. 

WEBER.^Op.  45,  Concertino  do. 

Kai^iwoda. — Op.  51,  Introduction  and  Ron- 
deau. 

Reissioer. — Op.  153,  El^gie  and  Rondeau  for 
chromatic  horn. 

Schumann. — Op.  86,  Concerto  for  4  bonis  and 
orchestra. 

Concerted  :^ 

Beethoven. — Op.  8i(,  Sextot  for  two  horns  and 
string  Quartot.    Op.  17,  Sonata,  piano  and  horn. 

HiMMEL. — Op.  18,  Grand  Sextot  for  piano, 
a  horn:*  and  strings. 

Mozart. — First  divertimento  for  2  violins, 
viola,  2  horns  and  cello. 

Mozart. — Op.  106,  Quintot  for  horn  and  string 
Quartet. 

Reicha. — Op.  82,  Twenty-four  Trios  for  3  horns. 
Op-  93,  Twelve  Trios  for  a  hcnrns  and  cello. 

Hummel. — Op.  74,  Grand  Septet  for  piano, 
oboe,  horn,  flute,  viola,  cello  and  oontrabasso. 

Kalkbrenner. — Op,  13,  Septett  for  piano,  2 
violins,  2  horns,  tenor  and  bass. 

Schumann. — Op.  70,  Adagio  and  Allegro  for 
piano  and  bom. 

Tralberg. — Op.  7,  Grand  Divertissement  for 
piano  and  horn. 

Brahms. — Op.  40,  Trio  for  piano,  violin,  and 
horn  (or  cello). 

See  also  under  Clarinet,  Oboe,  ete.  for  con- 
certed pieces.  [W.H.S.] 

HORN.  Karl  Friedrich,  was  bom  at  Nord- 
hausen.  Saxony,  1762.  After  studying  music 
under  Schroter  at  Kordhauaen,  he  came  in  178  a 
to  London,  where  Count  Briihl,  the  Saxon  am- 
bassador, patronised  him,  and  introduced  him  as 
a  teacher  amongst  the  English  nobility.  Having 
published  his  first  work,  'Six  Sonatas  for  the 
Pianoforte,*  he  was  appointed  music  master  in 
ordinary  to  Queen  Charlotte  and  the  Princesses, 
an  office  which  he  held  until  181 1.    In  1808,  in 


flORN. 

conjunction  with  Samuel  Wesley,  he  commenoed 
the  preparation  of  an  English  edition  of  J .  S.  Bach'a 
'  Wohltemperirte  Clavier,'  which  was  published  in 
1 810.    In  1823  he  succeeded  William  Sexton  at 
oi^panist  of  St.  George's  Chapel,  Windsor,  and  died 
Aug.  5,  1830.     Horn  composed  some  '  Military 
Divertimentos,* '  Twelve  Themes  with  Variatiocs 
for  the  Pianoforte,  with  an  accompaniment  for 
Fluto  or  Violin,*  and  several  sets  of  Sonatas.    He 
was  also  author  of  a  Treatise  on  Thorough  Bass. 
His  son,  Charles  Edward,  was  bora  in  St* 
Martin Vin-the-Fields  in  1 786.     He  received  his 
early  musical  education  firom  his  father,  and  in 
1 808  had  a  few  lessons  from  Rauzzini.     Return- 
ing to  London,  he   endeavoured    to   obtain  s 
position  as  a  concert  singer,  but  not  succeeding 
he  changed  his  course,  and  on  June  26,  1801;, 
appeared  at  the  EngliBh  Opera  House,  Lyceum, 
in  M.  P.  King's  opera,  '  Up  all  night.'     In  the 
next   year   he   composed    and    produced   'The 
Magic  Bride,*  upon  which  he  quitted  the  sta^^e 
and  studied  singing  under  Thomas  Welsh.    In 
1 814  he  reappeared  as  The  Seraskier  in  Storace's 
'Siege  of  Belgrade,'  with  great  success.     His 
connection  with  the  theatres  both  as  compoiser 
and  singer  lasted  for  many  years.     His  voice 
was  poor,  but  of  such  extensive  cooipass  that 
he  was  able  to  undertake  baritone  as  weU  as 
tonor  parts.     On  the  production  of  'Der  Frei- 
schutz    at  Drury  Lane,  Horn  took  the  part  of 
Caspar,  displaying  considerable  histrionic  ability. 
In  1831  and  32  he  was  director  of  the  music 
at  the  Olympic.     About  33  he  went  to  America 
and  introduced  several  English  operas  at  the 
Park  Theatre,  New  York,  with  marked  success. 
A  severe  illness  having  deprived  him  of  the  use 
of  his  voice,  he  retired  from  the  stage  and  com- 
menced  teaching,  and  established  himself  in  bosi- 
ness  as  an  importer  and  publisher  of  music  in 
connection  with  a  Mr.  Davis.     During  bis  stay 
in  America  he  produced  an  oratorio,  entitled 
'The  Remission  of  Sin.'     In  the  beginning  of 
1843  Horn  returned  to  England.     In  1845  his 
oratorio,  renamed  '  Satan,'  was  performed  by  the 
Melophonic  Society,  and  he  was  appointed  mu* 
sical  director  at  the  Princess's  Theatre.    In  1847 
he  again  went  to  America,  and  on  July  23  was 
elected  conductor  of  the  Handel   and  Haydn 
Society  of  Boston.     Early  in  1 848  he  revisited 
England   for  a  short  time,   and  produced  his 
oratorio  *  Daniel's  Prediction.*  Upon  his  return  to 
Boston  he  was  re-elected  conductor  of  the  Handel 
and  Haydn  Society,  June  10,  184S.     He  died  at 
Boston  Oct.  11,  1849.     His  productions  for  the 
theatre  include  'The  Magic  Bride,'  and  'Tricks 
upon   Travellers'   (with  'Reeve),    1810  ;    'The 
Bee  Hive*   and  'The  Boarding  House,*  181 1; 
'  Rich  and  Poor,'  and  *  The  Devil's  Bridge  *  (with 
Braham),  181 2;   'Grodolphin,  the  lion  of  the 
North,'  1813:   'The  Ninth  Statue,'  and  'The 
Woodman's  Hut.*    1814;   *  Charles  the   Bold,' 
1 8 15;  'The  Persian  Hunters,*  *The  Election,* 
and*' The  Wizard,'  1817  ;  'Dirce,*  1821 ;   Songs 
in  '  The  Merry  Wives  of  Windsor*  (with  Webhe, 
jun.,  Parry,  ete.),  including  the  popular  duet, 
'  I  know  a  bank,'  and  *  Actors  al  fresco'  (with  T. 


HORN. 

Cooke  and  Blewitt),  1833 ;  *  Philandering/  1834 ; 
*  The  Death  Fetch/  and  •Peveril  of  the  Peak/ 
1826;  'Pay  to  my  order/  1827;  and  'Honest 
Frauds*  (containing  the  beautiftd  ballad,  *The 
deep,  deep  sea,*  originally  sung  by  the  composer, 
and  afterwards  raised  to  the  summit  of  pcmularity 
by  the  singing  of  Malibran),  1830.  He  also 
composed  *  Lalla  Bookh'  (produced  in  Dublin), 
"  Annette/  *  Nourjahad,'  and  *  M.  P./  the  dates 
of  performanoe  of  which  are  uncertain,  a  cantata 
entitled  'Christmas  Bells,*  a  set  of  canzonets, 
besides  numerous  single  songs,  glees,  etc^  and 
edited  a  collection  of  Indian  Melodies.  Some 
of  his  songs,  'Cherry  ripe/  'Thro*  the  wood,* 
'  I*ve  been  roaming,*  and  *  Ey*n  as  the  sun,'  were 
highly  popular.  [W.  H.  H.] 

HORNPIPE.  An  English  dance,  probably 
called  after  an  obsolete  instrument,  of  which 
nothing  but  the  name  is  known.  The  '  College 
Hornpipe'  is  a  well-known  and  spirited  specimen. 
It  is  in  two  sections  of  8  bars,  each  ending  with 
three  beats  of  the  foot,  like  the  Branle.  [See 
p.  ^89.]  We  quote  the  first  section ;  there  is  no 
repeat,  but  the  tune  closes  with  the  three  last 
bars  of  the  quotation. 


HORSLEY. 


758 


^><^  E,flr^^oi;irr^ir  J  jCjj 


[irjclL^ir  r  r 


Hornpipes  were  much  written  in  the  last 
'century,  and  Dr.  Stainer  (Diet,  of  Musical  Terms) 
and  Mr.  Chappell  (Popular  Music)  give  specimens 
with  various  dates  from  1700  to  1800.  The 
older  ones  are  in  3-3  time;  the  later  ones,  as 
above,  in  common  time. 

Handel  ends  the  7th  of  his  1 3  Grand  Concertos 
with  one  which  may  serve  as  a  specimen  of  the 
Hornpipe  artistically  treated. 


f>^lirrm.|^jrn:i'^f'c:l 


^ 


r  iniHi[nj 


Sf 


--T^V^^^^irrrpJTJi 


^ 


^^s 


^^^ 


etc. 


In  his  'Semele'  the  Chorus  'Now  Love,  that 
everlasting  boy,'  is  headed  alia  Hornpipe. 

The  airs '  My  Love  is  but  a  lassie  yet*  and '  The 
British  Grenadier,*  and  the  hymn  tune  '  Helms- 
ley,*  are  hornpipes;  the  last,  indeed,  strongly 
resembles  Miss  Catley*s  hornpipe,  1780.         [G.] 


HOLYOKE,  Sahusl,  A.M.  An  American 
teacher  and  composer  of  both  vocal  and  instru< 
mental  music,  ham  at  Boxford,  Mass.,  1771. 
He  published  'Hannonia  Americana'  (printed 
in  type  at  Boston,  1791) — a  collection  of  hymn- 
tunes  and  other  pieces,  in  which  the  absurd  practice 
of  imitations  and  'fugues*  was  done  away  with, 
and  homophony  and  common  sense  introduced. 
Also  'The  Instrumental  Assistant'  (vol.  i.  1806, 
vol.  ii.  1 807,  Exeter,  N.  H.)  Also '  The  Columbian 
Repositoiy  of  Sacred  Hannony*  (Exeter,  N.  H., 
1809),  a  very  voluminous  work.  Also,  with  Oliver 
Holden, '  The  Massachusetts  Compiler.'  He  died 
at  Concord,  N.  H.,  in  the  spring  of  18 16,  much 
regretted  and  esteemed.  No  piece  of  his  music 
is  known  on  this  side  of  the  Atlantic.  [G.] 

HORSLEY,  William,  Mus.  Bac.,  bom  in 
London,  Nov.  15,  1774,  having  at  l^e  age  of 
16  chosen  music  as  a  profession,  was  articled 
for  five  years  to  Theodore  Smith,  a  pianist  and 
minor  composer,  from  whom  he  received  but 
small  instruction  and  much  ill  usage.  He  pro- 
fited greatly  however  by  his  intimacy  with  the 
three  brothers  Pring  and  Dr.  Callcott,  his  asso- 
ciation with  whom  led  him  to  the  practice  of 
purely  vocal  composition,  and  he  soon  produced 
many  excellent  glees,  canons  and  rounds,  besides 
services  and  anthems.  He  became  organist  of 
Ely  Chapel,  Holbom.  In  1 798  a  suggestion  of 
his  resulted  in  the  establishment  of  the  Conoen- 
TOBES  S0DALE8.  About  the  same  time  he  was 
appointed  assistant  organist  to  Dr.  Callcott  at  the 
Asylum  for  Female  Orphans,  upon  whieh  he  re- 
signed his  appointment  at  Ely  Chapel.  On  June 
18,  1800,  he  graduated  Mus.  Bac.  at  Oxford,  his 
exercise  being  an  anthem,  'When  Israel  came 
out  of  Egypt.'  On  the  revival  of  the  Vocal 
Concerts  in  1801,  Horsley  produced  several  new 
compositions,  and  for  seveial  years  continued  to 
supply  them,  not  only  with  glees  and  songs,  but 
also  with  instrumental  pieces,  amongst  which 
were  three  symphonies  for  full  orchestra.  In 
1802,  Callcott  having  resigned  the  organistship 
of  the  Asylum,  Horriey  was  appointed  his  suc- 
cessor. In  181 3  he  was  chosen  organist  of  the 
newly-erected  Belgrave  Chapel,  Halkin  Street, 
GroBvenor  Place,  which  he  held  in  conjunction 
with  the  Asylum.  In  1837,  on  the  death  of  Rw 
J.  S.  Stevens,  he  became  organist  of  the  Charter 
House,  still  retaining  his  other  appointments. 
Horsley  published  five  Collections  of  Glees ;  a 
Collection  of  40  Canons ;  a  Collection  of  Psalm 
Tunes  with  Interludes,  1828  ;  many  single  glees 
and  songs,  sonatas  and  other  pieces  for  the  piano- 
forte, and  '  An  Explanation  of  the  Major  and 
Minor  Scales.'  He  contributed  several  glees  to 
dementi  and  Co.*s  *  Vocal  Harmony/  the  second 
edition  of  which  was  issued  under  his  care.  He 
edited  a  Collection  of  the  Glees,  etc.,  of  Dr. 
Callcott,  to  which  he  prefixed  a  memoir  of  the 
composer  and  an  analysis  of  his  works,  and 
Book  I.  of  Byrd's  'Cantiones  Sacne'  (for  the 
Musical  Antiquarian  Society).  Horsley  holds  a 
deservedly  high  rank  among  glee  composers. 
His  'By  Celia*s  arbour,'  'See  the  chariot  at 
hand,'  'Mine  be  a  oot^'  <Cold  is  Cadwallo's 

3C 


754 


HOBSLEY. 


HOWGILL. 


tongne/  '  0  Nightingale,'  and  others,  have  long 
held,  and  will  doubUese  long  continue  to  hold, 
a  foremoBt  place  in  the  estimation  of  loven 
of  that  dasB  of  composition.  He  died  June  1 3, 
1858.  He  married  Elizabeth  Hutchins,  eldest 
daughter  of  Dr.  Calcott,  who  survived  him 
until  Jan.  20,  1875.  During  Mendelssohn's  visit 
to  England  in  1829  he  began  an  acquaintance 
with  the  Horsley  fiftmily  which  ripened  into  an 
intimate  firiendship,  as  is  evident  from  the  letters 
printed  in  '  Goethe  and  Mendelssohn.' 

Horsley's  son,  Charles  Edward,  was  bom  in 
I  ondon  in  1822,  and  instructed  in  music  bjr  his 
£ikther,  and  in  the  pianoforte  by  Moscheles.  His 
promise  was  so  great  that  he  was  sent,  in  1839, 
on  Mendelssohn's'  advice,  to  study  under  Haupt- 
mann  at  Gassel,  whence  he  afterwards  went  to 
Leipsic  and  enjoyed  the  friendship  and  instruction 
of  Mendelssohn  himself.'  Whilst  in  Germany 
he  produced  several  instrumental  compositions, 
amongst  them  a  Trio  for  pianoforte,  violin,  and 
violoncello,  and  an  overture,  the  latter  performed 
at  Cassel  in  1845.  Betuming  to  England  he 
became  organist  of  St.  John's,  Netting  Hill,  and 
produced  several  important  ^orks — '  David'  and 
'  Joseph,'  oratorios,  both  composed  for  the  Liver- 
pool Philharmonic  Society,  and  'Gideon,'  oratorio, 
composed  for  the  Glasgow  Musical  Festival, 
1 860 ;  an  anthem  for  the  consecration  of  Fairfield 
Church,  near  liverpool,  1854 ;  and  music  for 
Milton's  'Comus,'  besides  many  pieces  for  the 
pianoforte,  songs,  etc.  In  1 868  he  quitted  England 
for  Australia,  and  there  he  wrote  an  ode  entitled 

*  Euterpe,'  for  solos,  chorus  and  orchestra,  for 
the  opening  of  the  Town  Hall,  Melbourne,  in 
1870.'  After  remaining  in  Melbourne  for  some 
time,  he  removed  to  the  United  States,  and  died 
at  New  York,  March  2, 1876.  A  '  Text  Book  of 
Harmony'  by  him  was  published  posthumously 
in  Dec.  76,  by  Sampson  Low  &  Co.     [W.H.H.J 

HOBTENSE,  Eug^kie  de  Bbauharnais, 
daughter  of  Josephine,  Queen  of  Holland  and 
mother  of  Napoleon  III,  known  as  'La  reine 
Hortense,'  bora  in  Paris  April  10,  1 783,  died  at 
Viry,  Oct.  5,  1837,  the  reputed  authoress  (at 
Utrecht,  1807)  of  both  words  and  melody  of 

*  Partant  pour  la  Syrie,'  an  air  which  has  been 
said  to  have  been  to  the  Empire  what  the  '  Mar- 
seillaise' '  was  to  the  Bepublic.  Her  musical 
knowledge  was  very  slight,  but  in  Drouet  she 
had  a  clever  musician  for  secretary,  who  has  left 
an  amusing  account*  of  the  manner  in  which 
he  was  required  tp  reduce  into  fonn  the  melodies 
which  she  hummed.  Whether  Drouet  or  the 
Queen  of  Holland  were  the  real  author  of  the 
pretty  tune  in  question,  it  is  certain  that  she 
will  always  be  credited  with  it.  [M.C.C.] 

HOSANNA,  a  Hebrew  word,  hoshia  «a,  mean- 
ing 'Save  now !'  (Psabn  cxviii.  25),  used  as  an 
exclamation  of  triumph  in  Matt.  xxi.  9,  etc.  In 
its  Latin  form  Oaanna  in  exceUis  it  occurs  in 

1  Bee  Letter  Jan.  17, 1838.  In  *  Goethe  and  Xendetaohn.'  116L 
3  lUd.Marohlfi,1841. 

■  A  selectton  from  this  work  iras  performed  at  the  Ciyital  Fidaoe 
Carrh  26.11(70. 
*  See  Fougin'taopplement  to  FMi,  art,  Dranat.   . 


:/ 


the  Mass,  after  both  Sanctns  and 
[OsAKNA.]      In  English  music  the  word  c 
always  live  in  the  grand  anthem   of  OriAi 
Gibbons,  '  Hosanna  to  the  Son  of  David,'  i- 
subject  of  which  is  introduced  by  SoUiTas  ~ 
the  <  light  of  the  World.' 

HOTHBY,  or  OTPEBY,  John,  an  Ei- 
Carmelite  monk,  who  lived  iu  the  latter  L*L 
the  15  th  century,  and  passed  the  greater  (tr 
of  his  life  in  the  Carmelite  monastery  at  Ftmn. 
was  famous  for  his  skill  in  the  science  of  e.:^ 
He  was  author  of  a  treatise  on  the  Pn3fKr>'. 
of  Music,  Cantus  iiguratus  and    Counten*'-- 
MS.  copies  of  which  exist  at  Ferrara  and  1- 
logna,  in  the  National  Library  at  Pans  an!  ^' 
British    Museum  (Add.    MS.   10,336V     I:  • 
printed  by  Coussemaker,  '  Soiptonxm  de  ^v . 
Medii  aevi,'  iii.  328.  nH'.HL 

HOWABD,  Samuel,  Mua.  Doc,  bora  i;  - 
a  chorister  of  the  Chi^)el  Royal  under  Crui^  ^ 
subsequently  a  pupil  of  Pepusch ;    ws«  ai^: 
wards  organist  of  St.  Clement   Danes,  aad  ^ 
Bride,  Fleet  Street.     In  1744  he  composed  'i* 
music  for  '  The  Amorous  Groddess,  or,  Harli»   : 
Married,'  a  pantomime  produced  at  Dmiy  Li 
In   1 769  he  graduated  as  Doctor  of  M^ia: .' 
Camtoidge.    He  composed  numexoos  sangs  »: 
cantatas   (many  of  which  appeared  oiiiier  ...• 
name  of '  The  British  Orpheus,*  in  several  U»jL- 
and  others  in  various  collections;,  sonatas  3^ 
other  pieces  for  instruments.     He  aansted  B> ;  - 
in  the  compilation  of  his '  Cathedral  Mosac'   F 
died  in  1 78 2.    An  anthem  of  his,  with  cvcka»cv 
'This  is  the  day,'  was  published  in  iT^i    i 
melodious  song  by  him,  'O  had  I  be^'  h- 
'Love  in  a  Village,'  is  given   in  the  M::^^ 
Library,  vol.  iii.  [W.H.h 

HOWELL,  Jambs,  was  bom  at  FiymcL. 
Possessing  a  fine  voice  he  was,  at  an  earh  w" 
taught  singing,  and  at  10  years  of  age  sttoj  ^ 
public.  He  was  brought  to  London  in  :^-. 
and  in  the  next  year  admitted  a  pupil  <3i  -^ 
Boyal  Academy  of  Mudc,  where  he  stodieil  &'^' 
ing  under  Bovedino  and  afterwards  under  K  r- 
velli,  and  the  pianoforte  and  clarinet  nads  ~ 
M.  Mudie.  He  subsequentiy  learned  tht  dtcl-* 
bass  under  Anfossi,  and  made  such  rapid  pmgrtn* 
that  he  decided  upon  making  it  his  e^wdal  .: 
strument.  He  continued  a  pupil  of  the  Ac»itr'^ 
for  about  5  years,  during  part  of  which  xsok  i 
acted  as  sub-professor  of  the  double  basL  *  - 
the  cessation  of  his  pupilage  he  was  appcir- 
a  Professor  and  afterwards  Associated  hariur^' 
member  of  the  Academy.  He  soon  took  hiia  ;u>  - 
in  all  the  best  orchestras,  and  on  the  dcaL* 
Dragonetti  in  1846  succeeded  him  as  princ:f«l 

His  elder  son,  Arthur,  is  an  exodkm  i-^ 
bass  player  and  baSS  singer ;  and  his  youn&^tf  c  - 
Edward,  holds  the  post  of  principal  Tit»t.«^* 
at  the  Boyal  Italian  Opera.  [VT.  H  r 

HOWGILL,  William,   organist  at    WL 
haven  in  1794,  and  afterwards  in  liondoB;  i- 
lished  '  Four  Voluntaries,  part  of  the  3rd  t^.^ 
of  the  Wisdom  of  Solomon  for  three  TciiceBL  » 
Six  favourite  Psalm  Tunes,  with  an  acoac^ft*' 


HOWGILL. 

nent  for  the  Oigan' ;  '  Two  Yoltmtaries  for  the 
3rgan,  with  a  Miserere  and  Gloria  Tibi,  Domine/ 
ind  'An  Anthem  and  two  preludes  for  the 
>rgan.'  [W.H.H.] 

HOYLAND,  John,  son  of  a  cutler  at  Sheffield, 
x>m  in  1783,  in  early  life  a  pupil  of  William 
father,  organist  of  St.  Jameses  Church  in  that 
own.  In  1808  he  suooeeded  his  nuuiter,  and  in 
[819  removed  to  Louth,  Lincolnshire,  where  he 
established  himself  as  a  teacher,  and  was  shortly 
kfterwards  chosen  organist  of  the  parish  church, 
ile  composed  several  anthems  and  other  pieces 
>f  sacred  music,  besides  songs  and  pianoforte 
lieces.  He  died  Jan.  18,  1827.  His  son,  Wil- 
liam, was  elected  organist  of  Louth  parish  church 
n  1 829,  and  held  the  i^pointment  until  his  death, 
S^ov.  I,  1857.  [W.H.H.] 

HOYLS,  John,  was  author  of  a  dictionaiy  of 
nusioal  terms  entitled  '  Dictionarium  MusicsB, 
)eing  a  complete  Dictionary,  or  Treasury  of 
Music,*  publiBhed  in  1770,  and  republished  with 
\  varied  title  in  1 790.  He  is  said  to  have  died 
n  1797.  [W.H.H.] 

HUBEKT.    See  PoRPOBiNO. 

HUDSON,  RoBEBT,  Mus.  Bac^  bom  1731, 
jeas  a  tenor  singer,  and  sang  when  a  young  man 
it  Banelaghand  Marylebone  Gardens.  Li  1755 
lie  was  assistant  coganist  of  St.  Mildred,  Bread 
Street.  In  1756  he  was  appointed  vicarKihoral 
)f  St.  Paul's,  in  1 758  a  gentleman  of  the  Chapel 
Royal,  and  in  1773  almoner  and  master  of  the 
shildren  of  St.  Paul's,  which  offices  he  resigned 
n  1 793.  He  was  also  music  master  at  Christ's 
Hospital.  Hudson  was  the  composer  of  'The 
Myrtle,'  a  collection  of  songs  in  4hree  books,  pub- 
ished  in  1 767 ;  of  a  service  and  some  chants, 
uid  many  hymn  tunes.  He  also  set  for  five 
/oices  the  lines  on  Dr.  Child's  monument  at  Wiod- 
lor,  commencing  '  Go,  happy  soul.'  He  died  at 
Bton  in  Dec.  181 5.  His  daughter,  Mabt,  was  in 
[  790,  and  till  her  death.  Mar.  28, 1801,  organist  of 
it.  Olave,  Hart  Street,  and  St.  Gregory,  Old  Fish 
Street.  She  was  the  composer  of  several  hymn 
iunes,  and  set  for  five  voices  the  English  version 
>f  the  Latin  epitaph  on  Purcell's  gravestone. 
Applaud  so  great  a  guest.'  [W.  H.  H.] 

HUNTEN,  Fbakz,  pianist  and  composer, 
3om  Dec.  26,  1793,  at  Coblentz,  where  his  father 
Daniel  was  organist.  In  181 9  he  went  to  the 
Paris  Conservatoire,  studying  the  piano  with 
Pradher,<  and  composition  with  Beicha  and 
Z^herubini.  He  liv^  by  teaching  and  arranging 
pieces  for  the  pianoforte,  and  in  time  his  lessons 
ind  compositions  conmutnded  high  prices,  although 
;he  latter,  with  the  exception  of  a  trio  concertante 
:or  P.  F.  violin,  and  cello,  were  of  little  value. 
Sis  '  M^thode  nouvelle  pour  le  piano-'  (Schott) 
lad  at  one  time  a  reputation.  In  1837  he  retired 
M  Coblentz,  and  lived  on  his  means  tUl  his  death 
in  February  1878.  His  two  brodiers,  Wilhelh 
iod  Peteb,  are  still  successful  pianoforte  teach- 
srs  at  Coblentz  and  Duisburg.  [F.  G.] 

HUTTENBBENNEB.  An  Austrian  musical 
family,  memorable  firom  its  connexion  with  Bee- 
bhoven  and  Schubert     Ansblm,  the  eldest^  a 


HULLAH. 


7ff5 


professional  musician,  was  bom  at  Grat^  Oct. 
13,  1794.  ^9  ^As  for  five  years  a  pupil  of 
Salieri  s  in  Yienna^  during  whi^  time  he  be(»me 
intimate  with  Beethoven,  Schubert,  and  other 
musicians  of  the  day.  He  was  one  of  the  two 
persons  present  when  Beethoven  died.  Why  he 
took  no  part  in  the  funeral  is  not  explained,  but 
it  is  certain  that  his  name  is  not  mentioned. 
He  wUs  a  very  voluminous  composer  in  all  de- 
partments, and  one  of  his  Beqmems,  dedicated 
to  Salieri,  is  spoken  of  as  a  work  ef  real  merit. 
It  was  performed  for  Schubert  Deo.  23,  1828. 
Schubert  had  a  great  regard  for  Anselm.  The 
well-known  scmg  *Die  Forelle'  (op.  32)  was 
written  at  his  house  'at  12  o'clock  at  night,' 
as  Schubert  himself  says.^  In  his  huiry  Schubert 
shook  the  ink  over  the  paper  instead  of  the  sand, 
a  foct  to  which  the  autograpk  bears  ample  wit- 
ness. The  B  minor  Symphony  was  in  Anselm's 
possession  up  to  the  time  of  its  first  perfonnanee 
at  Yienna  in  Dec.  1865.  He  died  at  Ober- 
Andritz,  Styria,  June  5,  1868;  For  &dl  details 
see  his  biography  by  von  Leitner  (Gratz,  1868). 

Josef,  the  second  brother,  an  enthusiastic 
amateur,  was  a  government  employ^.  His  devo- 
tion to  Schubert  was  excessive,  so  great  as 
sometimes  to  bore  the  object  of  it ;  he  was  un- 
wearied in  kis  active  services,  oonmiunicated  with 
publishers,  and  did  all  that  devotion  and  admira- 
tion could  do  for  his  idol.  The  two  used  to  play 
duets  on  an  old  worn-out  piano.  He  was  about 
Schubert  during  his  last  illness,  and  obtained  the 
official  permission  fos  the  performance  of  the 
Requiem  after  his  death.  The  fine  dramatic  song 
'  Die  Erwartung'  by  Schiller  (op.  1 1 6)  is  dedicated 
by  Schubert  to '  his  firiend  Josef  Huttenbreoner.' 

The  third  brother,  Hbikbioh,  was  a  lawyer  and 
a  '  Dr.  juris.'  He  was  also  a  poet,  and  wrote  the 
words  for  at  least  one  of  Schubert*s  pieces — the 
part-song  *  Wehmuth'  (op.  80,  No.  i).  [G.] 

HUGUENOTS,  LES.  Opera  in  5  acts  ;  words 
by  Scribe  and  Deschsmps,  music  by  M^erbeer. 
I^roduced  al  the  A<»d^mie  Feb.  29,  1836;  in 
London,  first  by  a  German  company,  at  Covent 
Garden,  April  ao, .  1842 ;  in  Italian  at  Covent 
Garden  as  'Gli  Ugonotti,'  July  ao,  1848;  in 
English  at  the  Suirey  Theatre,  Aug.  16,  1840. 
Like  '  William  Tell,'  the  opera  is  always  greatly 
shortened  in  performance. 

For  a  remarkable  critidsm  by  Schumann  see 
the  Neue  Zeitschrift,  Sept.  5,  1837,  >^  Gesam- 
melte  Schriften,  ii.  220.  [G.] 

HULLAH,  John,  LL.D.,  was  bom  at  Wor- 
cester, June  27,  181 2,  but  came  whilst  very 
young  to  London,  where  his  life  has  been  spent. 
He  received  no  regular  musical  instruction  until 
1829,  when  he  was  placed  undes  William  Horsley. 
In  1832  he  entered  the  Boyal  Academy  of  Music 
for  the  purpose  of  receiving  instruction  in  sing- 
ing from  CMvelli.  He  first  became  known  as 
a  composer  by  his  music  to  Charles  Dickena't 
opera,  ' The  village  Coquettes,'  produced  at  the 
St.  James's  Theatre,  Dec.  5,  1836.    Thia  was 

1  Krsiasle  tod  HeUbon.  Iff.  But  I  un  Mrarvd  hr  Mr,  ^Mttebobn 
that  the  §009  wM  eoBBpoMd  la  1817,  n  thst  thk,  ihoOfiU  «a 
Mit08xaph,lsD0tlk«ftatQpaS<k  . 


756 


HULLAH. 


followed  by  '  The  Barben  of  Baawra,'  a  oomic 
open,  prodaoed  at  Govont  Garden  Theatre, 
Nov.  II,  1837,  and  'The  Outpost/  at  the  same 
theatre,  May  17,  1838.  Soon  aiter  this  Mr. 
Hiillah's  attention  was  turned  to  that  which 
became  subsequently  the  business  of  his  life — 
popular  instruction  in  vocal  music ;  and  attracted 
by  the  reports  of  Mainxer's  success  as  a  teacher, 
hie  visited  Paris,  only  to  find  Mainzer*s  classes 
entirely  dispersed.  Early  in  1840  he  returned  to 
Paris,  and  remained  for  some  time  observing 
Wilhem*s  classes,  then  in  the  full  tide  of  success. 
On  his  return  to  England  he  made  the  acquaint- 
ance of  the  late  Sir  James  Kay  Shuttleworth, 
then  Dr.  Kay,  and  undertook  the  instruction  of 
the  students  in  the  Training  College  at  Batter- 
sea,  the  first  established  in  England,  and  just 
opened  xmder  the  direction  and  at  the  cost  of 
Dr.  Kay  and  Mr.  Edward  Carlton  Tufhell.  On 
Feb.  18,  1840,  he  gave  his  first  class-lesson  at 
Battersea,  and  from  that  day  dates  the  move- 
ment he  originated.  On  Feb.  i,  1841,  he  opened 
at  Exeter  Hall  a  school  for  the  instruction  of 
Schoolmasters  of  Day  and  Sunday  Schools  in 
Vocal  Music  by  a  system  based  on  that  of  Wil* 
hem,  which  met  with  remarkable  success.  Not 
only  schoolmasters  but  the  general  public  flocked 
to  obtain  instruction,  and  country  professors 
came  to  London  to  learn  the  system  and  obtain 
certificates  of  being  qualified  to  teach  it  The 
system  was  acrimoniously  attacked,  but  it  out- 
lived all  opposition.  From  his  elementary  elasses 
Mr.  Hullah  formed  two  schools,  an  upper  and  a 
lower,  and  commenced  giving  concerts  in  Exeter 
Hall,  the  members  of  his  upper  school  foiming 
his  chorus,  and  the  orchestca  being  completed  by 
professional  principal  singers  and  instmmeiitalists. 
Bemarkable  among  these  were  four  historical 
concerts  illustrating^  in  chronological  order  the 
rise  and  progress  of  English  vocal  music,  given  at 
Exeter  Hall  on  Mondays  in  the  first  four  months 
of  1847.  At  this  time  Mi.  HuUah's  friends  and 
suppoiiers  determined  on  erecting  and  present- 
ing to  him  a  concert  hall,  and,  having  procured 
a  piece  of  ground  near  Long  Acre,  the  foundation 
stone  of  St.  Martin's  Hall  was  laid  June  21, 1847. 
The  hall  was  opened,  although  not  entirely  com- 
pleted, on  Feb.  11,  1850,  and  Mr.  Hullah  con- 
tinued to  give  his  concerts  there  until  the  building 
was  destroyed  by  fire  Aug.  28,  i860,  on  the  oc- 
currence of  whidi  event  his  friends  and  pupils 
testified  their  gratitude  and  sympathy  for  him 
by  the  presentation  of  a  handsome  testimonial. 
During  the  existence  of  the  upper  school  Mr. 
Hullah  brought  forward  a  large  number  of  un- 
kuown  works,  old  and  new,  and  introduced 
many  vocalists,  some  of  whom  have  become  very 
eminent.  From  1840  to  i860  about  2^000 
persons  passed  through  his  classes.  In  1844 
Mr.  Hullah  was  appointed  Professor  of  Vocal 
Music  in  King's  College,  London,  an  office  which 
he  resigaed  in  1874.  He  stiU  holds  (1879) 
similar  appointments  in  Queen's  CoU^e  and 
Bedford  College,  London,  with  both  of  which  he 
has  been  connected  since  their  foundation.  Frem 
^870  lo  1873  he  was  conductor  of  the  concerts  of 


HUMFBEY. 

the  Royal  Academy  of  Music.  On  the  death 
of  his  old  master,  Horsley,  in  1858,  Mr.  Hullah 
was  appointed  organist  of  the  Charter  Hoase. 
where  since  1841  he  had  carried  on  a  aiiigiiig 
class.  For  many  years  he  conducted  the  anneal 
concert  of  the  Children  of  the  Metrt^iolitsfi 
Schools  at  the  Crystal  Palace.  In  March  1873 
he  was  appointed  by  the  Committee  of  Coundl 
on  Education  Inspector  of  Training  Schools  fr/r 
the  United  Kingdom,  which  ofiioe  he  still  holds. 
In  1876  the  University  of  Edinburgh  unexpect- 
edly conferred  on  him  the  honorary  degree  of 
LL.D.,  and  in  1877  he  was  made  a  member  of 
the  Society  of  St.  Cecilia  in  Rome  and  of  the 
Musical  Academy  in  Florence.  Dr.  Hullah  if 
the  composer  of  many  songs,  etc,  and  is  author 
of 'AGranmiarofVocalMusic';  *  A  Grammar  of 
Harmony';  and  *A  Grammar  of  Counterpdnt*; 
*TheHistory  of  Modem  Music'  (1862),  and  'The 
Third  or  Transition  Period  of  Musical  Historj* 
( 1 865)  (Courses  of  Lectures  delivered  at  the  Rojsl 
Institution  of  Great  Britain);  'The  OultivatioB 
of  the  Speaking  Voice*;  *  Music  in  the  House,' 
1877 ;  and  of  numerous  essajrs  and  other  papov 
on  the  history  and  science  of  music  contributed  to 
various  periodicals ;  also  of  xmuiy  songs,  some  of 
which-^such  as  '  O  that  we  two  were  Maving/ 
'Three  Fishers,*  'The  Storm' — have  become 
very  popular.  He  edited  '  Wilhem's  Method  d 
teaching  Singing,  adapted  to  English  use';  'The 
Psaher,  a  collection  of  Pftslm  l^nee  in  4  parts,' 
1843 ;  The  Book  of  Praise  Hymnal,'  1868;  'The 
Whole  Book  of  Psalms,  with  Chants';  and  a  large 
number  of  vocal  compositions  in  parts  and  other 
publications  for  the  use  of  his  classes.  Amongst 
these  should  be*named  'Part  Music'  (reprinted 
as  'Vocal  Music'),  for  4  voices,  and  'Voe&l 
Scores,' — two  most  admirable  collections;  'Sa- 
cred Music'  (1867);  'The  Singer's  Library'; 
'  Sea  Songs,'  etc.,  etc.  [See  Pabt  Music  ;  Vocal 
Scores.]  [W.H.H.] 

HUME,  Tobias,  an  officer  in  the  army  and 
an  excellent  performer  on  the  viol-dapgamba; 
published  in  1605  *The  First  Part  of  Ayres, 
French,  Pollish  and  others  together,  some  in 
Tabliture,  and  some  in  Pricke-Song.  With 
Pavines,  Galliards,  and  Almaines  for  the  Viole 
de  Gambo  alone  .  .  .  and  some  Songes  to  bee 
sung  to  the  Viole,'  etc.,  containing  116  airs  in 
tableture  and  5  songs.  In  1607  he  published 
'  Captaine  Hume's  Poeticall  Musicke  principally 
made  for  two  basse  viols,  yet  so  contrived  that 
it  may  be  plaied  eight  several!  waies  upon  sundry 
instruments  with  much  &ciUtie,'  etc.,  containing 
18  instrumental  and  4  vocal  pieces.  Hume  rose 
to  the  rank  of  colonel.  In  1642,  being  then  a 
poor  brother  of  the  Charter  House;,  he  presented 
a  petition  to  the  House  of  Lords  offering  his 
services  against  the  Irish  rebels,  which  he  after- 
wards printed,  but  it  is  evident  from  its  con- 
tents that  he  was  labouring  under  mental 
delusion.  [W.H.H.] 

HUMFREY,  Pklham  (as  he  himself  wrote 
his  name,  although  it  is  commonly  found  as 
Humphry  or  Humphrys,  with    every,  possible 


HUMFREY. 

variety  of  BpeUing),  was  bom  in  1647.    'He  is 
said  to  have  been  a  nephew  of  Col.  John  Hum- 
phrey, a  noted  Cromwellian,  and  Bradshaw'a 
sMTord-bearer.'    In  1660  he  became  one  of  the 
firdt  set  of  Children  of  the  re-established  Chapel 
Koyal  under  Capt.  Henry  Cooke.    Whilst  still 
a  chorister  he  diewed  skill  in  composition,  as 
appears  by  the  and  edition  of  Clifford*s  '  Divine 
Services  and  Anthems/ 1664,  which  contains  the 
-w'ords  of  five  anthems  'composed  by  Pelham 
Hmnfrey,  one  of  the  Children  of  His  Majesties 
Cbappel/  the  music  of  two  of  vAuch  is  still  ex- 
tant.    During  the  same  period  he  joined  Blow 
and  Turner,  two  of  his  fellow-choristers,  in  the 
composition  of  what  is  commonly  known  as  the 
Club-Anthem.^     In  1664  he  quitted  the  choir 
and  was  sent  abroad  by  Charles  II  to  pursue  his 
studies.     He  received  from  the  Secret  Service 
money  in  that  year  '  to  defray  the  charge  of  his 
journey  into  France  and  Italy,   20o2.*;  in  the 
following  year  finom  the  same  source  lOoZ.,  and 
in   1666,   i.sc/.      His  studies  were  prosecuted 
chiefly  in  Paris  under  Lully.      On  Jan.    24. 
1666-7  ^^  ^^  during  his  absence  appointed  a 
Gentleman  of  the  Chiipel  Eoyal  in  the  room  of 
Thomas  Hazard,  deceased.   He  returned  to  Eng- 
land in  the  following  October,  and  on  the  26th 
was  sworn  into  his  place.     Anthems  by  him 
were  at  once  performed  in  the  Chapel  Boyal. 
On  the  death  of  Capt.  Cooke,  July  13,  107a, 
Humfrey  was  appointed  his  successor  as  Master 
of  the  Children.     On  Aug.  8  following  he  had  a 
patent  (jointly  with  Thomas  Purcell)  as  '  Com- 
poser in  Ordinary  for  the  Violins  to  His  Majesty.' 
Humfrey  died  at  Windsor,  July  14,  1674,   ^^ 
the  early  age  of  a  7,  and,  three  days  afterwards, 
was  buried  in  the  cloisters  of  Westminster  Abbey, 
near  the  south-east  door.    He  was  the  composer 
of  several  fine  anthems,  7  of  which  are  printed, 
but  without  the  orchestral   parts,   in  Boyce's 
'  Cathedral  Music*    The  greater  part  of  these, 
together  with  6  others  and  the  Club  Anthem, 
also  an  Evening  Service  in  E  minor,  are  con- 
tained in  the  Tudway  Collection   (Harl.  MS. 
733S),  and  others  are  extant  at  Ely,  Salisbury, 
and'  Windsor.      Three  Sacred  Songs  by  him, 
and  a  Dialogue,  composed  jointly  with  Blow,  are 
printed  in  '  Harmonia  Sacra,'  book  ii.  1714.   He 
composed  two  Odes  for  the   King's  Birthday, 
'Smile,  smile  again,* and  'When  from  his  throne,' 
and  an  Ode  for  New  Year's  day,  *  See,  mighty 
Hir.'  Many  songs  by  him  are  included  in  'Choice 
Ayres,  Songs  and  Dialogues,*  1676-84;  and  on 
the  rare,  separately-paged,  sheet  inserted  in  some 
copies  of  book  i.  of  that  publication,  containing 
*  The  Ariel's    Songs   in    the  Pla^^  call'd   The 
Tempest'    (Diyden  and  Davenant's  alteration 
produced  in  1670),  his  setting  of  'Where  the  bee 
sucks '  is  to  be  found.    His  song  '  I  pass  all  my 
hours  in  a  shady  old  grove*  was  first  printed  in 

>  Slid  by  Dr.  Tadwaj  to  hays  been  oompoMd  on  %  utral  tIoIoit  over 
the  Dutch  by  the  Duke  of  York ;  bnt  it  cannot  haT«  been  so,  M  no 
«uch  erent  occurred  antll  June  1G6S,  at  whidi  time  Humfrey  was 
abroad.  The  statement  of  Dr.  Boyoe  and  others  that  it  was  oom- 
TKKied  as  a  memorial  of  the  fraternal  esteem  and  fHendship  of  the 
authors  is  much  more  probable.  Bumflray  is  lald  to  have  composed 
the  former,  and  Blow  the  latter  portion  of  the  anthem.  Turner's 
ihara  being  an  intermediate  bass  solo.  .  ^ 


HUMMEL. 


757 


the  appendix  to  Hawkin8*s  Histoiy.  J.  ^  Smith 
included  5  songs  by  Humfrey  in  his  'Musica 
Antiqua,'  amongst  uiem  '  Whereever  I  am  and 
whatever  I  do,'  composed  for  Diyden's  'Conquest 
of  Granada,*  part  i.,  1673.  Humfirey  b  said  to 
have  been  the  author  of  the  words  of  several 
songs  published  in  the  collections  of  his  time,  and 
to  have  been  a  fine  lutenist.  He  introduced  many 
new  «nd  beautiful  effects  into  his  compositions. 
He  was  the  first  to  infuse  into  English  church 
music  the  new  style  which  he  himself  had  learnt 
from  Lully,  and  which  was  carried  much  fS^rther 
by  Purcell  (see  Mr.  Hullah's  '  Modem  Music,* 
Lect.  4).  His  predilection  for  minor  keys  was 
remarkable.  [W.H.H.] 

HUMMEL,  JoHANN  Nepohuk,  a  classic  of 
the  pianoforte — ^but  a  dull  classic — ^was  the  son 
of  a  musician,  bom  at  Presburg  Nov.  14,  1778, 
and  died  at  Weimar,  Oct.  17,  1837.  He  is  the 
principal  representative  of  a  manner  of  treating 
the  pianoforte  which  rested  upon  the  light  touch 
and  thin  tone  of  early  Viennese  instruments,  and 
grew  together  with  the  rapid  improvements  in 
ihe  manufacture  of  pianos  in  Germany  from  the 
beginning  of  the  century  to  about  1830.  Hummel 
is  important  to  pianists  as  the  author  of  those 
academical  stock-pieces,  the  Concertos  in  A  minor 
and  B  minor,  the  Septet,  op.  74,  the  Sonatas  in 
Ft  minor,  op.  81,  and  D  major,  op.  106,  and  of 
an  elabontte  instruction- book,  which  was  pub- 
lished some  years  too  late  to  make  its  mark. 

Brought  up  in  Mozart's  house,  deemed  the 
main  conservator  of  Mozartian  traditions,  an 
expert  conductor  and  a  good  teacher,  the  leading 
€rerman  pianist,  a  very  clever  extempore  player, 
and  a  ready  writer  of  all  classes  of  music  from 
pianoforte  solos  to  masses  and  operas, — Himimel 
in  his  prime,  circa  1818,  was  treated  by  the 
mass  of  professed  musicians  as  the  equal  of 
Beethoven!  Endowed  with  curiously  little  in- 
ventive power,  rarely  warm,  and  quite  incapable 
of  humour  or  of  passion,  but  fully  equipped  with 
every  musical  virtue  that  can  be  acquired  by 
steady  plodding,  he  appears  expressly  cut  out  for 
the  hero  of  respectable  mediocrity.  The  formid- 
able size,  conventional  shape,  and  uniformly 
careful  workmanship  of  his  pieces,  and  particularly 
the  '  brilliant '  treatment  of  the  pianoforte  part, 
misled  his  contemporaries  to  accept  him  as  a 
master  of  the  first  order. 

It  was  about  1786,  whilst  Hummel's  &ther 
was  conducting  the  band  at  the  theatre  of 
Schikaneder, — Mozart's  friend  and  the  author  of 
the  libretto  to  Die  Zauberflbte— that  the  boy, 
who  had  made  considerable  progress  in  singing 
and  piano-playing,  became  the  inmate  of  Mozart's 
house,  ana  for  two  years  enjoyed  Mozart's  in- 
stmction.  From  1788  to  95  he  travelled  as  a 
pianist  in  the  care  of  his  father  through  Germany, 
Denmark,  England  and  Holland,  and  on  his  re- 
turn to  Vienna  resumed  his  studies  in  counter- 
point under  Albrechtsberger,  and  had  the  advice  of 
Haydn  and  Salieri  regaiding  composition.  From 
April  1, 1804,  to  May  181 1,  he  was  capellmeister 
to  Prince  Esterhazy,  doing  the  work  Haydn  had 
formerly  done.    After  teaching  and  composing. 


75S 


HnMM£L. 


for  Bome  years  at  Vienna,  he  waa  called,  in 
1816,  to  the  post  of  conductor  to  Stattgart. 
and  subsequently,  in  1820,  to  Weimar,  m>m 
whence,  in  the  suite  of  the  grand-duchess  Maria 
Paulowna  he  went  to  Russia,  and  there  met  with 
a  reception,  the  cordiality  of  which  was  not 
exceeded,  and  rarely  equalled,  in  the  various 
journeys  he  undertook  between  1825  and  33  to 
France,  Holland,  and  England,  where  in  the  latter 
year  he  conducted  operas. 

Hummel's  oompoations  consist  of  three  operas ; 
music  to  a '  Faerie,*  to  five  pantomimes  or  ballets, 
all  more  or  less  stillborn ;  two  masses,  op.  80  and 
III ;  a  Graduale  and  an  OffSsrtorium,  op.  88  and 
89,  which  are  still  to  be  met  with  in  Uie  churches 
of  Austria  and  elsewhere ;  and,  besides  the  piano* 
forte  works  already  mentioned,  of  a  number  of 
Sonatas,  Etudes,  and  miscellaneous  display  pieces 
for  two  or  four  hands,  a  couple  (^  Trios,  a 
Quintet,  etc.  [E.D.] 

HUMORESKE.  A  title  adopted  by  Schu- 
mann for  his  Op.  30  and  Op.  88,  No.  2,  the 
former  for  Piano  solo,  the  latter  for  Piano, 
Violin,  and  Cello.  Hdler  and  Grieg  have  also 
used  the  term  for  pianoforte  piecea— op.  64  and 
op.  9  and  16  respectively.  There  is  nothing 
obviously  'humorous*  in  any  of  these,  and  the 
term  'caprice'  might  equally  well  be  applied  to 
them.  Rubinstein  also  entitles  his  Don  Quixote 
*Humoreske,'  but  the  'humour*  is  there  of  a 
much  more  obvious  and  boisterous  kind.        [6.] 

HUMPHREYS,  Samuel,  was  employed  by 
Handel  to  make  additions  to  the  libretto  of  his 
oratorio  'Esther,'  to  fit  it  for  public  perform- 
ance in  1732.  He  subsequently  provided  him 
with  the  words  of '  Deborah*  and '  Athaliah.'  He 
was  also  author  of  'Ulysses,'  an  opera  set  to 
music  by  John  Christopher  Smith,  and  of  a  poem 
on  the  Duke  of  Chandtjs's  seat  at  Canons.  He 
died  at  Canonbury,  Jan.  11,  1738,  aged  about 
40  years.  .  [W.H.H.] 

HUNGARIAN  MUSIC.    [See  Magyar.] 

HUNT,  Ababella,  singer,  lutenist,  and  sing^ 
ing  mistress,  was  the  instructress  in  singing  of 
the  Princess  (afterwards  Queen)  Anne.  She  was 
also  a  &vourite  of  Queen  Mary,  who  made  her 
one  of  her  personal  attendants  in  order  that  she 
might  have  firequent  opportunities  of  hearing  her 
sing.  Many  of  the  songs  of  Purcell  and  Blow 
were  composed  for  her.  The  beauty  of  her  person 
equalled  that  of  her  voice.  Congreve  wrote  an 
ode  '  On  Mrs.  Arabella  Hunt  singing,'  which  is 
mentioned  by  Johnson  as  the  best  of  his  irregular 
poems.  She  died  Dec.  26, 1 705.  After  her  death 
an  engraving  from,  her  portrait  by  Eneller  was 
published,  with  some  panegyrical  lines  by  Con- 
greve (not  from  his  ode)  subjoined.     [W.H.H.] 

HUNT,  Thomas,  contributed  to  'The  Tri- 
umphes  of  Oriana,'  1601,  the  6-part  madrigal, 
'  Hark !  did  you  ever  heare  so  sweet  a  singing  ?* 
An  anthem  by  him,  'Put  me  not  to  rebuke,  is 
contained  in  Barnard's  MS.  collection  in  the 
Sacred  Harmonic  Society's  libnuy.  Nothing  is 
known  of  his  biography.  [W.  H.  H.] 


HURDY  GURDY. 

HUNTER,  Ainrs,  a  Scotch  lady,  wife  of  John 
Hunter  the  suigeon,  and  sister  of  Sir  Everard 
Home  the  physician.  She  was  bom  1742,  and 
died  1 82 1 .  The  Hunters  lived  in  Leicester  Square 
during  Haydn's  first  visit,  and  were  intimate  with 
him.  Mrs.  Hunter  wrote  the  words  for  bis  12 
Canzonets  (1792),  of  which  the  first  six  were 
dedicated  to  her  and  the  second  six  to  Lady 
Charlotte  Bertie.  Hunter's  death  (Oct.  16,  1793) 
put  a  stop  to  the  acquaintance.  Mrs.  Hunter 
published  a  volume  of  poems  (1801 ;  2nd  ed. 
1803),  which  are  condemned  by  the  Edinburgh 
and  praised  by  Blackwood.  She  was  also  pro- 
bablv  the  author  of  both  words  and  melody  of 
'Lady  Anne  Bothwell's  Lament.'  She  is  men- 
tioned in  Robert  Bums's  MS. '  Edinbuzgh  Com- 
monplaoe-Book,*  and  two  poems  by  her — '  To  the 
Nightingale,  on  leaving  £[ari's]  C[ourt],  17S4/ 
and  *  A  Sonnet  in  Petrarch's  manner' — are  there 
copied  out  by  the  Poet,  the  only  poeoos  whidi 
received  that  distinction.  [G.] 

HURDY  GURDY  (Fr.  VieOe;  Ital.  Idn 
tedesca,  Ohironda  ribeea,  StampeUckf  Viola  da 
orbo ;  Grerm.  Bavemleier,  Deutscheleier,  Bd- 
tlerleier,  Drehleier ;  Latinised,  Lyra  nutieiL,  Lyn 
pagafia).  Has  a  place  among  musical  instraments 
like  that  of  the  Duki- 
mer  and  the  Bag- 
pipes, as  belonging  to 
rural  life,  and  quite 
outside  modem  musi- 
cal art.^  It  is  true 
that  in  the  first  half 
of  the  last  century 
the  Hurdy  Gurdy  or 
Vielle  contributed  to 
the  amusement  of  the 
French  higher  classes, 
but  evidently  with 
that  affectation  of 
rusticity  so  abundant- 
ly shown  when  mock 
diepherds  and  shep- 
herdesses flourished. 
Mr.  Engel  ('Musical 
Instruments,  *  1874, 
P-  ^35)  gives  sQv^nl 
titles  of  ccHnpositions 
wherein  the  Vielle 
formed,  in  combina- 
tion with  Bagpipes 
(Musette),  Flutes  (of  both  kinds),  and  Hautbois, 
a  Fdte  Champ6tre  orchestra.  M.  O.  Chouquet 
('  Catalogue  du  Mus^e  du  Conservatoire,'  Paris. 
1875,  p.  23)  adds,  for  the  instrument  alone, 
sonatas,  duos,  etc.,  by  Baptiste  and  other  com* 
posers,  and  two  methods  for  instruction  by  Bonin 
and  Corrette.  This  music  of  a  modem  Arcadia 
seems  to  have  culminated  about  1750  in  the 
virtuosity  of  two  brothers,  Charles  uid  Henri 
Baton,  the  former  playing  the  Vielle,  which  he 
had  much  improved,  the  latter  the  Musette. 
Their  father,  a  luthier  at  Versailles,  was  a 
famous  Vielle  maker,  who  about  1 716-20  adapted 
old  guitars  and  lutes  and  mounted  them  as 
hurdy-gurdies.     Other   eminent    makers    were 


HtJEDY  GURD7. 

Piarre  and  JeMi  Louvet,  Paria,  about  1750; 
XiAmbert,  of  Nuicjr,  1770-80;  Del»UD&j,  Pwia; 
and  B«rge,  Taulouie. 

The  Hiudy  Gurdy  is  an  iniCnunent  the  aouod 
of  whioh  IB  produced  by  tbo  friction  of  atretdi«d 
atringB,  and  the  different  tonsB  by  Che  help  of 
keys.     It  hat  thiu  analogiee  to  both  bowed  and 

shape  of  the  old  Viota  d'Ami)re(a  viol  with  very 
high  riba),  of  the  Gaitar,  or,  u  in  the  woodcQt, 
of  the  Lute.  Four  to  lix  tuning-pegs  in  the  head 
bear  as  many  etringa  of  catgut  or  loiDetimea 
wire,  two  of  which  only  are  carried  direct  to  the 
tailpiece,  and  tuned  in  uniaon,  and  one  or  both 
are  'stoppetl'  by  a  aiinple  apparatus  of  keya 
with  tangents,  which  directed  by  the  fingera  of 
the  playsr's  left  hand,  ghirtena  the  vibrating 
Jengdi  to  make  the  melody.  The  chanterelle 
has  two  octavea  from  the  tenor  G  upwards  ;  the 
dronea  are  tuned  in  C  or  G ;  G  being  the  loweit 
■tiing  in  eitlier  key. 

In  the  cut  showing  the  wheel  and  tangents 
one  string  only  is  used  as  a  melody  atring.  The 
ebony  keya  are  the  natutal  notes,  the  ivory  the 
sharps.  From  the  position  in  which  the  Hiitdy 
Gurdy  ia  held  the  keys  return  by  their  own 
weight.  The  longer  atnngs,  deflected  and  carried 
round  the  ribs  or  over  the 
belly  and  raised  upon  pro- 
jecting studs,  are  tuned  as 
drouFS  or  bourdon  Htringa, 
All  these  stringa  are  set 
in  vibration  by  the  wooden 
wheel,  which,  being  rosin- 
ed, haa  the  function  of  a 
violin  bow,  and  ia  inserted 
croBBwiae  in  an  opening  of 
tbt)  belly  juat  above  the 
tailpieoe.  Uie  motor  being 
a  handle  at  the  tul<end 
turned  by  the  player's  right 
hand.  There  are  two  sound- 
holes  In  the  belly  near  the 
wheel.  ThellurdyGuidy 
here  repreaented  is  a 
modem  French  instru- 
ment ('  Vielle  en  forme  de 
luth '),  }7  inohea  in  length 
without  the  handle.  Two 
of  Uie  drones  are  spun 
strings,  and  one,  the  sn- 
catled  ■  trumpet,'  is  of  cop- 
per, and  is  brought  upon 
the  wheel  at  pleaaure  by 
turning  an  ivory  peg  in 
the  tail-pisce.     There  are 

also  four  sympathetic  wire  stringa  tuned  in  the 
fifth  and  octave.  Like  lutesand  other  medieval 
inatrumenta,  the  Hardy  Giudy  was  often  much 
and  well  adorned,  as  may  be  seen  in  South 
Kensington  Museum ;  fanoy  woods,  carving,  in- 
Uying  and  painting  being  lavishly  employed. 
The  Hurdy  Gurdy  haa  been  •ametjmea  called 
Bota  (from  it«  wtieel),  but  the  Bote  of  Chauoer 
bad  no  wheel,  and  was  a  kind  of  half  fiddle,  hglt 
IjTe,  with  an  ofiemng  (aa  in  (he  Cbwth)  6a  the 


HTMS. 


rro 


hand  of  the  player  to  touch  (he  strings  from  (he 
back.  The  old  l^tio  name  for  a  Uurdj  Gurdy 
Oboanistbdh,  and  this  latge  form  of  the 
jk  two  persons  to  play,  as  it  was 
BO  long  (a  to  lie  aoroea  the  knees  of  both.  The 
artist  touched  the  keys ;  the  haodle-turner  WM 
no  more  important  thajk  an  organ  bellows  blower. 
The  summit  of  the  arch  of  the  Gate  of  Gloi;  of 
Santiago  da  Compostella,  a  c»st  of  which  ia  at 
South  KenaingtoD,  is  occupied  by  two  figures 
playing  an  Oi^tnistrum.  The  date  of  thia  great 
Spani^  work  is  118S.  There  are  other  early 
repnaantatiooB,  eapedally  one  in  the  museum  Kb 
Rouen,  but  the  earliest,  datiiw  in  the  9th 
century,  waa  oopied  by  Gerbert  Rom  a  MS.  in 
the  monastery  of  St.  Bluse  in  the  Black  Forest, 
and  published  by  him  (De  Cantu  et  Musicft 
Sacrl)  in  1 7  74.  Mr.  En^  haa  reproduced  this 
dravring  in  the  work  already  referred  to  (p.  1  oj). 
The  inatrument  had  eight  keys  actjng  on  three 
strings,  tuned  either  in  unison  or  concord.  The 
•Symphonia'  or 'Chifbnie' waa  the  Hurdy  Gurdy 
in  the  13th  oentuiy.  As  for  the  name  Hurdy 
Gurdy  it  was  probably  made  merely  for  euphony, 
like  'hoDua  poena,'  'barum  ecarum,'  but  it  may 
have  been  suggested  by  the  peculiar  tone.  The 
Hui-dy  Guidy  waa  the  prototype  of  the  FiANO 
Violin,  and  all  aiioilar  Ktleneate  instromenta, 
and  we  may  perhaJM  see  in  its  limple  action  the 
origin  of  the  CLATicnoBD, 

Donizetti's  'Linda  di  Chamouni'  (1S41)  con- 
tains two  Savoyard  songs  with  accompaniment 
for  the  Hurdy  Gurdy.  Id  recent  performances 
violins  and  violas,  and  even  the  concertina,  have 
been  aubatituted  for  the  original  instrument, 
which  however  remaina  in  the  score.     [A.  J.H.] 

HOTCHINSON.  Francis,  an  amateur  com- 

Cer,  who,  under  the  pseudonym  of  Francis  It^ 
d,  produced  in  (he  U(Cer  half  of  the  iSth 
oentury  many  vocal  compositions  of  considerable 
merit.  The  Catch  Club  awarded  him  three 
prizes,  via.  in  1771  for  his  catch  'As  Colin  one 
evening';  In  177a  Ibr  his  cheerful  glee  'Jolly 
Bacchus';  and  in  1773  for  his  aerioua  glee 
'  Where  weeping  yens.'  1 1  glees  and  S  oatdies 
by  him  are  printed  in  Warren  s  collections.  HI* 
beautiful  madrigal,  ■  Return,  return,  mj  lovely 
maid,'  is  universally  admired.  He  ia  somedmea 
Btyled  '  Dr.'  Hntchinaon,  but  he  doea  not  appear 
to  have  graduated  in  any  faculty.  He  may  pos- 
sibly have  been  a  medical  practitioner,  to  whom 
the  term '  Dr.' was  popularly  applied.  [W.E.H.] 
HUTCHINSON,  John,  wbh  organiat  of  Dur- 
ham Cathednl  in  the  earlier  part  of  the  17th 
century,  and  had,  probably,  previously  held  some 
appointment  at  SouthweU  Minater.  He  com- 
piled some  anthems,  one  of  which  is  preserved 
m  the  Tudway  collection  (Earl.  MS.  :740l,  and, 
with  two  others,  at  Ely.  [W.H.H.] 

HYMN  (Gr.  tf»Bt;  I^t.  Eymniu;  Ital. 
/nno;  Germ.  Kireheiilied,  Kin  batgemng).  Tbo 
first  Hymn  mentioned  in  the  annals  of  Chnrtianity 
is  that  sung  by  our  Lord,  and  Hia  Apostle^ 
immediately  after  the  institution  of  the  Holy 
Euohamt.    "Bmk  ia  aome  ground  Ibt  beliavinj 


760 


HYMN. 


HYMN. 


thftt  this  may  have  been  the  seiries  of  Psafans 

called  Hallel  (cxiii  to  cxviii  of  the  Authorised 

Version),  which  was  used,  in  the  Second  Temple, 

at  all  great  fegtivals,  and  coniiequently  at  that  of 

the  Passover ;  and  it  has  been  supposed — though 

the  circumstance  does  not  admit  of  proof — that 

the  melody  to  which  the  most  characteristic  of 

these  Psalms,  In  exUa  Jtrad,  was  originally 

sung,  is  the  germ  of  that  with  which  it  has  been 

associated,  in  the  Christian  Church,  from  time 

immemorial — the  Tonu»  Peregrinus, 

In  early  times,  any  act  of  praise  to  God  was 

called  a  Hymn,  provided  only  that  it  was  sung. 

Afterwards,  the  use  of  the  term  became  more 

restricted.     The  Psalms  were  eliminated  from 

the  category,  and  Hymns,  properly  so  called, 

formed  into  a  distinct  class  by  themselves,    ^t 

iAapoF,  a  composition  attributed  to  Athenagenes, 

and  still  constantly  sung  in  the  Offices  of  the 

Eastern  Church,  is  supposed  to  be  the  oldest 

Hymn  of  this  description  now  in  use.    Little  less 

venerable,  in  point  of  antiquity,  is  the  'Angelic 

Hymn,'  Gloria  in  exceUis  Deo,  of  which  special 

mention  is  made  in  the  Apostolic  Constitutions. 

It  was  not,  however,  until  the  latter  half  of  the 

4th  century,  that  the  immense  importance  of  the 

Hymn,  as  an  element  of  Christian  Worship, 

became  fuUy  understood.     S.  Ephrem  of  Edessa 

made  many  valuable  contributions  to  the  store 

of  Hymns  already  in  use  at  that  period.    S. 

Chrysostom  zealously  carried  on  the  work  at 

Constantinople,  and  S.  Ambrose  at  Milan.    The 

noblest   Latin    Hymn  we  possess  —  Te  Deum 

laudamus — was  long  believed  to  be  the  joint 

production  of  S.  Ambrose  and  S.  Augustine.    To 

S.  Ambrose,  also,  is  due  the  honour  of  having 

first  introduced  the  true  Metrical  Hymn  into  the 

services  of  the  Western  Church — for  the  rhythm 

of  the  older  examples  was  very  distinct  from 

actual  metre.    His  favourite  species  of  verse  was 

Iambic  Dimeter — the  *  Long  Measure  *  of  English 

Hymnology — which  was  long  regarded  as  the 

normal  metre  of  the  Latin  Hymn.   S.  Gregory  the 

Great  first  introduced  Sapphics ;  as  in  Nocte  suf 

gentea  vigiUmus  omnea.    Prudentius  wrote,  with 

great  effect^   Trochaic  Tetrameter  Catalectic«— 

Corde  natas  ex  Parentis  ante  mundi  exordium ; 

and  also  used  Iambic  Trimeter — 0  Nazarenet  lux 

BetMem,  verbum  Patris ;  and  Iambic  Dimeter  Ca- 

talectic — CuUor  Dei  memento.   One  of  the  earliest 

instances  of  Elegiac  Verse  is  found  in  the 

'  Crux  benedicta  nitet,  Dominvu  qua  came  pependit, 
Atque  omore  buo  -ndnera  noetxa  lavat  * 

of  Venantius  Fortunatus.  Other  metres  came 
into  use  from  time  to  time :  but,  about  the 
beginning  of  the  loth  century,  most  of  these 
were  forsaken  in  favour  of  'prose*;  that  is  to 
say— paradoxical  as  the  explanation  may  seem 
to  the  uninitiated — a  style  consisting  of  regular 
lines,  containing  an  equal  number  of  syllables, 
and  often  carefully  rhymed,  but  governed,  as  to 
their  rhythm,  by  accent  instead  of  quantity,  and 
therefore  setting  the  laws  of  classical  prosody  at 
defiance.  Many  of  the  finest  mediaeval  Hymns 
are  written  in  this  beautiful  though  barbarous 
'  Monkish  Latin/  especially  those  intended  to  be 


sung  at  Mass  after  the  Gradual  and  Tract: 
insomuoh  that  the  terms  Sequoioe  and  Proec? 
have  almost  come  to  be  regarded  as  sjrnooynunis. 
[See  Skqubittia  ;  Pbosa.] 

The  authorship  of  the  Plain  Chaunt  melodies 
to  which  these  Hymns  were  sung  is  very  as- 
certain. It  seems  probable,  that,  in  many  cases, 
the  writer  of  the  words  was  also  the  compaacf  of 
the  music  to  which  they  were  adapted.  A  rich 
collection  of  such  original  tunes  will  be  fbond  in 
the  VesperaU  Romanum,  and  other  similar  Office 
Books.  Probably  the  purest  forms  now  attain* 
able  are  those  given  in  the  last  edition  of  the 
Vesperal  published  by  Messrs.  Pustet,  of  Ra^s- 
bon;  but  the  discarded  Office  Books  once  used 
in  particular  Dioceses  contain  some  prioelesi 
treasures :  for  instance,  the  Sarum  Tune  to 
Sanctorum  meritin  is  one  of  the  most  perfect 
Mixolydian  melodies  in  existence.^  [See  Plain 
Chaunt.] 

After  the  invention  of  Discant,  these  v^ierable 
Hynm  Tunes,  or  phrases  selected  from  them, 
were  constantly  used  as  Canti  fermi  for  Maas^ 
and  Motets.  In  the  year  1589  Palestrina  turned 
them  to  still  better  account  in  his  great  work 
entitled  Hymni  Totitis  Anni — a  cdlection  of 
Hymns  for  every  Festival  throughout  the  Eccle- 
siastical Year,  admirably  treated,  in  the  poly- 
phonic style,  for  three,  four,  five,  and  six  voicei, 
and  bearing  traces  of  the  great  composeie*B  best 
manner  on  every  page.  Yrom.  a  fine  tall  copy 
of  the  original  Boman  edition  of  thi.s  work  of 
Palestrina  s,  preserved  in  the  British  Museum,  we 
transcribe  a  portion  of  the  Hymn  for  Passion  Sun- 
day— Vexilla  regis  prodeunt* — the  well-known 
melody  of  which  is  combined,  throughout,  with 
contrapuntal  treatment  of  the  most  masterly  de- 
scription, involving  clever  imitations,  and  doedj- 
intOTwoven  fugal  points,  so  carefully  concealed 
beneath  the  expressive  harmonies  whidi  result 
from  them  that  their  ingenuity  is  quite  forgott&n 
in  the  indescribable  beauty  of  the  general  effect. 

Tenor  ^£k.  £k.  ^ 


W. 


V«z-U    -    •    h     re 


Ful  -  get    eru  -  eis 


era  -ds 


BSt  era  -ds 


I 


-<5>- 


A.Z_    ^.AjJ. 


JS. 


1  See '  The  HymoAl  Koted,'  bf  the  Ber.  T.  Hetmore  (Norello). 
>  Bung  alao,  m  a  ProoesiJoDal  Hjn&n,  oa  the  moralug  of  Good 
FM»j.    Bee  Impropbbu. 


HYMIT. 


A-+-\ 


rii 


zs: 


r 


zz 


izz: 


"o^ 


-^ — ^ — g> 


-(r«. 


otcMM  (h«  Taior. 


(g^)    ""     [  r  r  ^  p  r  ^ 


i^ 


S^l  r^, 


zz: 


^ 


rrrrr 


-^ 


:^ 


« 


:^ 


^  f^fr.r  (=  f : 


etc. 


§ 


tt 


A  few  Latin  Hymna,  such  as  those  to  be  found 
among  the  works  of  Hassler,  Tallis,  Byrd,  and 
Bome  other  great  composersy  have  been  set,  for 
4  or  more  voices,  in  a  similar  manner:    but, 
as    a  whole,  Palestrina*s  magnificent  Hymnal 
stands   quite  alone  —  too  great   to  admit  the 
possibility  of  rivalry.     The  delight  with  which 
it  was  received  was  unbounded.     Indeed,  long 
before  the  middle  of  the  i6th  century,  the  Science 
of  Hymnology  had  already  begun  to  attract  an 
immense  amount  of  attention,  in  widely  different 
directions.    Hymns,  or  rather  *  Carols,  of  a  som^* 
what  lighter  character  than  those  we  have  been 
considering,  had  been  sung,  for  ages  past,  between 
the  scenes  of  the  Mysteries  and  Miracle  Plays 
which  form  so  conspicuous   a  feature   in   the 
religious  history  of  the  middle  ages.     Many  of 
these— notably  such  as  set  forth  the  Glad  Tidings 
commemorated  at  Christmas-tide — became,  from 
time  to  time,  extremely  popular,  and  obtained  a 
firm  hold  on  the  affections  of  rich  and  poor  alike. 
[See  NoJfiL.]     Well  knowing  the  effect  of  songs 
upon  popular  feeling,  and  fully  appreciating  the 
beauty  of  the  Latin  hymns  to  which  he  had  been 
accustomed  from  his  earliest  youth,  Luther  turned 
these  circumstances  to  account  by  producing  a  vast 
amount  of  German  Kirchenlieder,  which,  adapted 
to  the  most  favourite  melodies  of  the  day,  both 
sacred  and  secular,  and  set  for  four,  five,  and  six 
voices,  (with  the  Plain  Chaunt  in  the  Tenor,")  by 
Johannes  Walther,  were  first  published,  at  Wit- 
tenberg, in  1524,  and  re-issued,  in  the  following 
year,  with  a  special  prefEioe  by  Luther  himself^ 
Innumerable  other  works  of  a  similar  description 
followed  in  rapid  succession.      The  vernacular 
Hymn  found  its  way  more  readily  than  ever  to 
the  inmost  heart  of  the  Grerman  people.     The 
Chorale  was  sung,  far  and  wide;  and,  at  last, 
under  the  treatment  of  John  Sebastian  Bach,  its 
beauties  were  developed,  with  a  depth  of  insight 
into  its  melodic  and  hannonio  resources  which  is 


1  lUi.  (7aroIa :  from  eatrolare.  to  aiiiff  aooffi  of  Joy.   Bftlley,  bowerer, 
ioggesto  »  8«zou  etymoD :  ceorl,  rnstlo-wlMiios  *  cburL' 


HYMN. 


761 


not  likely  ever  to  be  surpassed.  Even  the 
simplest  settings  of  this  great  master  bc»ur  tokens 
of  a  certain  individuality  which  will  render  them 
household  words,  in  the  land  of  their  birth,  as 
long  as  true  musical  expression  shall  continue  to 
be  valued  at  its  true  worth :  and,  perhaps,  in 
these  gentle  inspirations,  Bach  speaks  more 
plainly  to  the  outer  world  than  in  some  cases 
where  he  has  subjected  the  melody  to  more 
elaborate  treatment.    [See  Chorale.] 


Nun  ruhm  aUe  W&lder, 

/7\ 


lf/"'"/l^/ff/li';r'iVi' 


* 


fe<i'»  ri' 


Aij^Aj  .J  i^iiii 


tjf-^V 


^^ 


f 


^'^j   ■J^^;i.^--^.4j 


^r'ririrftf  r"  r  l^ 


m 


J'l  J3|^    j    J^ 


/T\ 


FT  r  r  T 


^ 


I  ^c^^  'jlrr.l 


In  ^Vanoe,  the  Metrical  Psalms  of  Clement 
Marot,  and  Theodore  Beza,  were  no  less  enthu- 
siastically received  than  the  Hymns  of  Luther 
in  Germany,  though  their  popularity  was  less 
lasting.  They  were  originally  sung  to  the  most 
familiar  ditties  of  the  time,  which  were  adapted 
to  them,  probably  by  Guillaume  Franc,  in  the 
Psalter  first  published  by  Calvin  at  Geneva  in 
1542.  In  1561,  Louis  Bourgeois  published  a 
volume,  at  Lyons,  containing  83  of  Uiese  Tunes, 
set  for  four,  five>  and  six  voices ;  and,  in  1565, 
Adrian  Le  Boy  printed,  at  Paris,  an  entire 
Psalter,  in  which  the  melodies  were  treated,  after 
the  manner  of  Motets,  by  Claude  Goudimel. 
This  last-named  work  was  reprinted,  in  Holland, 
in  1607 :  but  Goudimel's  polyphonic  settings 
were  found  too  difficult  for  general  use,  and 
were  supplanted,  after  a  time,  by  some  less 
elaborate  arrangements — with  the  melody,  as 
usual,  in  the  Tenor — by  Claudin  le  Jeune, 
whose  collection  was  published  at  Leyden  i^ 

1633.    .. 


762 


HYMK. 


HYMN. 


P 


The  Ilundredtk  Ptalm  Tune.^ 


iS:? 


^^ 


f^  '    f  r  ^ 


SL — ^27 


I 


^ C-i 


<9- 


in: 


F?f 


I 


zz: 


^ 


^ 


3i: 


r 


'J  Jr-(l 


3SE 


&    & 


m 


i — I — W 

It  was  not  to  be  suppoaed  that  the  movement 
which  had  spread  thus  rapidly  in  France  and 
Germany,  would  be  suffered  to  pass  miheeded  in 
Eiigland,  where  the  study  of  the  Madrigal  had 
already  brought  part-singing  to  a  high  degree  of 
perfection.  [Madbigal.]  Here,  as  in  France, 
the  first  incentive  to  popular  Hymnody  seems  to 
have  been  the  rendenog  of  the  Psalms  into 
verse  in  the  mother  tongue.  Stemhold*s  fifty* 
one  Psalms  first  saw  the  light  in  1549  :  bat  the 
'Whole  Booke  of  Psalmes,'  *by  T.  Stemhold, 
J.  Hopkins,  and  others,*  did  not  appear  until 
1563,  when  it  was  'imprinted*  by  John  Daye, 
'with  apt  notes  to  sing  them  withal* :  the  *  apt 
notes*  being  simply  the  melodies,  as  sung  in 
France,  and  Germany,  without  bass,  or  any  other 
part.  In  1565,  the  same  John  Daye  '  imprinted* 
the  '  whole  Psalmes,  in  foure  parts,*  harmonised, 
in  the  simplest  possible  manner,  by  Thomas 
Talys,  Richard  Brimle,  William  Parsons,  Thomas 
Causton,  J.  Hake,  and  Richard  Edwards.  This 
was  the  first  oolleotion  of  Hymn  Tunes  ever 
published  in  England  for  four  voices.  Neither 
Bumey  nor  Hawkins  seem  to  have  been  aware 
of  its  existence.  A  perfect  copy  is,  however, 
preserved  in  the  library  of  Brasenoee  (JoUege, 
Oxford;  and  one,  containing  the  Medius  and 
Tenor  parts  only,  in  that  of  the  British  Museum. 
It  was  followed,  in  1567,  by  another  invaluable 
volume,  also  '  imprinted,*  huX  not  puhlUhed,  by 
John  Daye,  viz.  'The  first  Quinquagene'  of 
Archbishop  Parker*s  metrical  version  of  the 
Psalms — a  work  which  has  only  been  preserved 
through  the  medium  of  a  few  copies  given  away 
by  Mistress  Parker,  and  so  scarce  that  Strype 
'  could  never  get  a  sight  of  it.*  At  the  end  of 
this  precious  volume-^a  copy  of  which  is  happily 

>  let  to  tlM  iS4tb  Ftalm  of  ttw  rtencb  tnoflUtloo. 


preserved  in  the  British  Museoita  —  we  find, 
printed  in  four  parts,  eight  Tunes,  set,  by  Talys, 
in  plain  counterpoint,  with  the  melody  in  the 
Tenor.  Each  of  these  Tunes  is  written  in  one  of 
the  first  eight  Modes ;  the  eighth,  <Mr  Hypoxuixo- 
lydian  Tune,  being  the  well-known  Canon  no«r 
universally  adapted  to  the  words  of  Bishop  Ken's 
Evening  Hymn.  A  larger  collection'  was  pub- 
lished, in  1579,  ^y  Guilielmo  Damon,  whuse 
harmony  is  dear  and  good,  and — as  it  always 
should  be,  when  intended  for  congregatioDaL 
use — extremely  simple.  In  1591,  another  col- 
lection appeared,  by  the  same  author,  in  two 
books,  in  the  second  of  which  '  the  highest  part 
singeth  the  Church  Tune*—  probably  for  the  firvt 
time.  In  1585,  six  years  before  the  publicatiiA 
of  Damon's  second  work,  John  Cosyna  had  put 
forth  sixty  Psalms,  with  the  Tunes  fimt  printed 
*by  Daye,  set  for  five  and  six  voices  :  but,  by  far 
the  most  important  volume  which  appoivd 
before  the  dose  of  the  century  was  the  complete 
Psalter  printed  by  Thomas  Este  in  1594,  and 
containing  Tunes  skilfully  harmonised,  for  four 
voices,  by  John  Dowland,  E.  Blancks.  B.  Hooper, 
J.  Farmer,  R.  Allison,  G.  Kirbye,  W.  Cobbdd, 
E.  Johnson,  and  G.  Famaby — composers  of  no 
mean  reputation,  and  generally  reckoned  among 
the  best  of  the  period.  A  &r  inferior  volume 
was  published,  by  John  Munriy,  in  the  same 
year;  and,  in  159Q.  a  odlection  appeared,  by 
Richard  Allison,  with  accompaniments  'to  be 
plaide  upon  the  lute,  orpharion,  dtteme,  or  base 
violl,  severally  or  together* :  but  all  these  worki 
were  superseded  in  1621  by  'The  Whole  Booke 
of  Psalmes,*  edited,  and  in  great  part  arranged, 
by  Thomas  Ravenscroft.  This  famous  volume 
contains  settings,  for  four  voices,  of  the  best 
German,  Frencli,  and  English  Tunes,  by  Tallis, 
Dowland,  Morley,  Bennet,  Stubbs,  Famaby,  the 
editor  himself,  and  fourteen  other  noted  masidaiu 
of  the  day.  The  mdody,  according  to  custom, 
is  always  given  to  the  Tenor.  The  oount^point 
throughout  is  admirable,  and  every  Tune  may 
fairly  be  regarded  as  a  masterpiece.  The  Baiss 
and  Tenor  proceed,  for  the  most  part,  nota  contra 
notanif  while  the  Treble,  and  Alto,  though  by  no 
means  written  in  a  florid  style,  exhibit  a  Utile 
more  variety  of  treatment.  The  effect  of  this 
arrangement,  when  the  Tenor  is  sung  by  a  large 
body  of  voices,  in  unison,  and  the  harmony  by 
a  Rclect  Choir,  is  exceedingly  impressive.  The 
finest  Tune  in  the  collection — John  Dowland'i 
setting  of  the  Hundredth  Psalm — may  still  be 
frequently  heard  in  Salisbury  Cathedral ;  and 
there  is  no  possible  reason  why  many  others 
should  not  be  brought  into  almost  nnivjorsal  use. 

*  French  tune*  from  Raven»erqft*t  *  Booke  qf  Ptabnet,'  lesi. 


i 


Bl 


za: 


^m 


Tr^ 


;^rfllr-^^  i^'4.' 


plains  Bcmvt 


m 


m 


-la- 


P 


^ 


r 


-^ 


se: 


I 


nsr 


^9- 


I 


'  Btttnej  frnmeottalr  detcrnwi  thl«  as  the  %ak 
varti*  pablWied  la  Kngtond. 


-0 
la  fMT 


HYMN. 


HYMN. 


^^W^W^^^ 


I 


^  f  ;j  ^ 


J .  >g 


za: 


221 


I 


i  j:jiiJ,ij!:^iL!i 


^^ 


-J    «J    rJ     J 


ni""     f 


^^ 


s 


:^ 


I 


4-  J  -J  f!'^ 


zz: 


? 


S^ 


i 


^ 


-^- 


zz 


^r-£r\^^-r  ^^  =^ 


^^ 


A  second  edition  of  KavenBarof^*8  Paalter  was 
publiBhed  in  1633.  William  and  Henry  Lawos 
set  the  Psalma  of  Mr.  George  Sandys,  in  three 
parts,  in  1648.  In  1671,  John  Playford  printed 
his  'Psahns  and  Hymns  in  solemn  Musicke  of 
foure  parts : '  followed,  in  1 677,  by  his  more  widely- 
known  *  Whole  Book  of  Psalms  *  for  three  voices — 
a  work,  the  popularity  of  which  was  so  extended, 
that,  by  the  year  1 757,  it  had  run  through  no  less 
than  twenty  editions.  But  these  later  works 
show  a  lamentable  deterioration  both  of  technical 
skill  and  artistic  feeling.  English  Hymnody  was 
not  destined  to  remain  for  any  length  of  time  in 
the  high  state  of  cultivation  indicated  by  the 
collections  of  Este  and  Ravenscroft.  Step  by 
step  the  decadence  of  the  Hymn  Tune  kept  pace 
with  that  of  the  Madrigal,  which  had  once  done 
so  much  towards  preparing  the  way  for  its  more 
perfect  development.  Had  any  hope  of  a 
revival  existed,  it  would  have  been  dispelled 
by  the  Great  Rebellion.  The  Restoration  did 
nothing  towards  the  resuscitation  of  the  failing 
Art.  The  vigorous  treatment  of  the  old  Masters 
faded  gradually  into  vague  inanity.  The  Tunes 
of  Hayes,  Wainwright,  Carey,  Tans^ur,  and 
other  more  modem  writers,  are  as  far  inferior  to 
those  of  their  predecessors  as  those  of  their 
followers  are  to  them.  The  popular  taste  grew 
daily  more  and  more  corrupt;  until,  about  the 
beginning  of  the  present  century,  it  reached  ft 
pitch  of  degradation  beneath  which  it  would 
seem  impossible  that  it  could  ever  sink.  At 
that  hopeless  level  it  remained  for  many  years. 
Not  a  few  of  us  can  remember  when  the  most 
popular  Hymn  Tune  in  England — that  known  as 
'  Helmsley,'  set  to  the  hymn  '  Lo,  he  comes  with 
clouds  descending* — was  an  air  of  so  secular  a 
character,  that  it  had  probably  been  composed  to 
some  amatory  verses,  banning 

<  Gnardlon  Angels,  now  protect  me, 
Send  me  back  the  you^  I  love  *— > 

sung  by  Mistress  Anne  Catley,  in  '  The  Golden 
Pippin  ;  and  danced,  as  a  hornpipe,  at  Sadlers' 
Wells.    [See  Lo,  he  ooxes.] 


763 


In  0*nara*i  burletta  *The  Oolden  Pippin*  Covent  Oarden, 


$ 


s 


-*  » 


n 


Wban'sthe  mor-tal        1 


re  -  riit  me?  Queen* 


I 


mast  tnm    17        tKm  -  .oar    gain. 

'Mitt  CaOe^t  Hornpipe:   Danced  at  Sadlert*  WeUt, 


i 


'■'l^iJrl-'^IJjJlg^ 


^ 


..ril^ff^l-'^^Nj^ 


T^e  Advent  Hymn.    (Hefansley  IVine.) 


rfyn;  jJ^.r3j;irJ^^ 


^T?;.n:j'iJ^-^j.'i 


The  real  objection  to  sudi  melodies  as  this 
lies,  less  in  their  origin,  than  in  their  esoteric 
unfitness  for  the  purpose  to  which  they  are  so 
inappropriately  applied.  The  one  may,  in  time» 
be  forgotten — the  other,  never.  Few  people, 
nowadays,  are  acquainted  with  the  source  of 
'Helmsley*:  but  no  one  who  has  seen  a  Horn- 
pipe danced  can  mistake  its  Terpsichorean  ani- 
mus— ^and,  surely,  no  possible  animus  could  be 
less  fitted  to  harmonise  with  the  feelings  which 
should  be  excited  by  a  Hymn  on  the  Last  Judg- 
ment. Nun  i-uhen  alte  Wdlder,  and  0  Welt,  ich 
mu8s  Dich  lasseUf  were  originally  saocular  airs : 
but,  how  different  their  character ! 

Vigorous  efforts  have  recently  been  made,  and 
are  made  still,  to  introduce  something  better. 
But  public  taste  seems  scarcely  leading  in  a  hope- 
ful direction.  Where  Plain  Chaunt  is  affected, 
the  melodies  are  too  frequently  tortured  beyond 
all  possibility  of  recognition ;  while  they  are  in- 
variably accompanied  by  harmonies  which  utterly 
destroy  their  distinctive  character — passionate 
dissonances,  unblushingly  stolen  from  the  theatre, 
and  only  fitted  to  illustrate  the  romance  of  Der 
FreischUtz  or  the  deep  tragedy  of  Luda  di  Lam.' 
mermoor,  Palestrina  s  exquisite  settings  are  un- 
doubtedly too  difficult  for  general  use;  though 
they  lie  quite  within  the  compass  of  an  ordinary 
Cathedral  Choir.  But,  apart  from  these,  few 
things  in  music  are  more  beautiful  than  a  Plain 
Chaunt  melody,  diatonically  accompanied  in  simple 
counterpoint :  and,  surely,  the  art  of  so  accompany- 
ing it  is  not  beyond  the  power  of  an  average 
organist  1  The  settings  of  John  Dowland,  and 
Claudin  le  Jeune,  may  be  sung  by  almost  any 
Choir,  however  modest  its  pretensions.  Ravens- 
croft^s  work  has  been  reprinted,  of  late  years,  at 
a  price  which  places  it  within  the  reach  of  every 
one.    But,  before  the  sterling  Tunes  contaiued 


764 


HYMN. 


HTPEll. 


in  these  BtiU  easily  aooessible  volumes  can  be 
brought  into  general  use,  something  must  be 
done  to  counteract  the  vicious  effect  of  the 
'original*  melodies  which  are  now  universally 
preferred  to  them — sentimental  effusions,  mostly 
the  work  of  amateurs,  and  written  always  in 
imitation  of  the  lowest  grade  of  popular  part- 
song,  without  one  single  characteristic  which 
can  fit  them  for  association  with  the  soienm  and 
often  extremely  beautiful  words,  the  sense  of 
which  they  are  commonly  supposed  not  only  to 
illustrate  but  to  intensify.  [W.  S.  R.] 

Among  the  more  important  and  typical  ool- 
lections  of  metrical  hymns  and  tunes,  published 
in  this  country  for  use  in  Divine  worship  during 
the  last  quarter  of  a  century,  the  following  may 
be  named: — 


National  PBalmody.  *B.  Jaeob 
(Noveilo) ;  another  edltioa,  calM 
'  Rurrey  Chapel  MuaIc'  V.  Nuvello 
(Nurello).  The  P*alter  with  ap- 
prupriat*  Tones,  Joha  Huliah.  liMS 
(J.  W.  Parlter).  Church  of  EiKt- 
latid  PiaJmody,  Kev.  H.  Parr, 
with  List  of  Conposen  and  Au- 
thorities, ltM6-77  (Nor.-llu).  The 
Standard  INalm-toiM  B<«oic.  H.  E. 
DiMio.  IHU  (Kbaw).  The  Union 
Tune  Ikmic.  J.  1.  Oobbin,  1^54  (Sun- 
day School  rni(in<.  with  Suppie- 
meut  liy  John  HuUah.  1870.  The 
Hymnal  Noted,  Rev.  T.  llelmore, 
nwS(NoreUo).  TheChurrhPialter 
aad  Hymn  Boole  (Mercer's),  John 
CkKtt,  1857  (Xl«bet).  Hymns  An- 
elent  aoil  Modem,  W.  H.  Monk. 
1861-75  (rtowesX  The  Cougreica- 
tlotial  rsalmlst.  Dr.  (Jauutlett.  1M02 
(Hudder  1  Stoughton).  The  Cho- 
rale -book  for  England,  W.  H.  Ben- 
nett and  otto  Goidwhraidt,  1863 
(Longmansj.  The  Bristol  Tune 
Book.  IMS  (Novello).  A  Hymnal, 
chiefly  fh>m  the  Book  of  I^iw. 
J.  Huliah,  lW8(Maemillans).    The 


Rymnary.  J.  Baniby.1(IT2(XoTeIlo). 
The  (  hureh  Hymnal  [for  Ireland]. 
ISlr  K.  P.  Htewart,  1K73-78,  with  ex- 
cellent Blographioal  Index  by  Ma- 
jor Crawford  (Dublin.  8.P.C.K.). 
Church -Hymns  with  Tunas.  A. 
HuIIItran.  1K74  (London.  R.V.CX.). 
Wesley's  Hymns  and  New  Supple- 
ment, John  Cooper  and  £.  J.  Hop- 
kins, 1877  (Wesleyan  Conference 
Uffice).  Hcottlsh  IHalmody.  etc., 
authorised  by  the  General  A»> 
sembly  of  the  Free  Church  of 
8cotland .  1878  (NeUms).  The  Book 
of  I>9alus  and  iteottlsli  Hymnal  by 
authority  of  the  i^nenl  Assembly, 
W.  H.  Monk.  1K79  (Eainbufgh.  Nel- 
sons). The  Presbyterian  Hymnal 
of  tlie  r.  P.  I'hurch.  Henty  Smart 
'A.  Elliot).  The  OfBce  of  Praise 
[Baptist]  (llamlIton.Adamt.  A  Co.). 
The  Psalter  and  Hymn  Book  of 
the  Presbyterian  Church  (Nisbet). 
The  Christian  Hymnal  (Shaw). 
America:— Hymns  and  Songs  of 
Praise.  John  K.  l^ne,  I*.  C.  Bur- 
nap,  and  James  Flhit,  1874  (New 
Yori(.  Uandolph). 


HYMN  OF  PRAISE.    The  English  tiUe  of 
Mendelssohn^s  Loboesano. 

HYMNS  ANCIENT  AND  MODERN.  The 
originator  of  this  Hymnal  was  the  Rev.  Sir 
Henry  Williams  Baker,  Bart.,  vicar  of  Monk- 
land  in  the  diocese  of  Hereford,  who  wrote  and 
translated  many  of  the  hymns  which  it  contains, 
and  by  his  ability,  by  his  profound  knowledge  of 
hymnology,  and  by  his  energetic  discharge  of  the 
duties  of  chairman  of  its  committee  for  twenty 
years,  mainly  contributed  to  its  success.  After 
ascertaining  by  private  communications  Uie 
widely  spread  desire  of  Churchmen  for  greater 
uniformity  in  the  use  of  hymns  and  of  hymn- 
books  in  the  services  of  the  Church,  Sir  Henry 
Baker  early  in  1858  associated  with  himself  for 
this  object  about  twenty  clergymen,  including  the 
editors  of  many  existing  Hymnals,  who  agreed  to 
give  up  their  several  books  in  order  as  far  as 
might  be  to  promote  the  use  of  one. 

In  the  autumn  of  that  year  an  advertisement 
was  inserted  in  the  'Guardian'  inviting  coopera- 
tion, to  which  more  than  30O clergymen  responded. 

1  Tb«  name  glTen  in  each  case  is  that  of  th«  Editor  of  the  t«ii«i. 


In  January  1859  the  committee  set  to  work.  A 
specimen  was  issued  in  May  of  the  same  year. 
In  i860  the  first  Edition  was  published,  with 
the  Imprimatur  of  Dr.  Hampden,  Sir  Heon' 
Baker*s  diocesan.  The  first '  Edition  with  Tunes!' 
under  the  musical  editorship  of  Prof&mot  W.  H. 
Monk,  King's  College,  London,  appeared  March 
30,  )86i.  An  *  Appendix'  ifk  Dec.  1868,  and  in 
1875  'The  Revised  and  Enlarged  £diti<»i,'  ooau 
pleting  the  work. 

Since  its  first  introduction  20  million  copter  of 
the  book  have  been  sold.  Its  publication  is  con- 
tinued at  present  by  the  survivors  of  the  original 
committee,  and  in  the  future  it  will  he  continod 
by  a  body  of  trustees  constituted  by  deed  fo; 
its  management.  [W.  Pg.] 

HYPER-  (6r.  (nrtp,  over,  above ;  Lat.  super\. 
A  prefix,  extensively  used  in  the  terminology  of 
antient  Greek  music— wherein  it  appears  in  tb« 
names  of  the  five  Acute  Modes — and  thence  trans- 
ferred to  the  musical  system  of  the  Middle  Ages. 
The  nomenclature  of  the  one  system  must,  how- 
ever, be  very  carefully  distinguished  from  that 
of  the  other ;  for,  though  ^he  same  terms  are,  in 
many  cases,  oonmion  to  both,  they  are  used  to 
designate  very  different  things.  For  instance, 
the  discarded  Locrian  Mode  (B,  C,  D,  E,  F.  G. 
A,  B)  is  often  called  the  Hyper-seolian,  in  recog- 
nition of  the  fact  that  its  range  lies  a  tone  above 
that  of  the  true  iSblian ;  but  this  Mode  has  no 
connexion  whatever  with  the  Hyper- eeolian  of  the 
Greeks ;  neither  have  the  Authentic  Modes,  as 
we  now  use  them,  the  slightest  affinity  with  the 
Greek  acute  forms,  though  the  prefix  'hyper 'has 
sometimes  been  very  unnecessarily  added  to  the 
names  of  all  of  them.     [See  Modes.] 

Greek  authors  constantly  use  the  prepositions 
{rwfp  and  ifwo  in  what  we  should  now  considtf  an 
inverted  sense;  applying  the  former  to  grave 
sounds,  and  the  latter  to  acute  ones.  This  ap- 
parent contradiction  vanishes  when  we  remember 
that  they  are  speaking,  not  of  the  gravity  or 
aouteness  of  the  sounds,  but  of  the  position  on 
the  lyre  of  the  strings  designed  to  produce  thou. 
The  prefix  Hypo-  (Gr.  wro,  under,  below; 
Lat.  8uh)  was  applied,  in  antient  Gredc  music, 
to  the  names  of  the  five  Grave  Modes.  In 
the  Middle  Ages  it  was  added  to  the  names  of 
the  seven  Plagal  Modes — ^the  Hypo-dorian,  ^e 
Hypo- Phrygian,  the  Hypo-lydian,  the  Hypo- 
mixo-lydian,  the  Hypo-eolian,  the  discarded 
Hypo-locrian,  and  the  Hypo-ionian — ^the  range 
of  which  lies  a  fourth  below  that  of  their  Au- 
thentic originals.    [See  Modes.] 

Early  writers  also  add  this  prefix  to  the  names 
of  certain  intervals,  when  reckoned  downwards, 
instead  of  upwards ;  as  Hypo-diatessaron  (  —  Sub- 
diatessaron),  a  fourth  below ;  Hypo-diapente 
( »  Subdiapente),  a  fifth  below.  (See  Ikteb- 
VAL.]  LW.S.R.] 


765 


I. 


I 


AMBIC.    An  Iamb  or  lambas  is  a  metrical 
foot  consisting  of  a 'short  and  a  long  syllable 
— as  befCre ;  or  as  Coleridge  ^  gives  it, 
*Xftinb1C8  mflroh  frOm  short  t5  long.* 


^ 


i^t^tiv  e 


£ 


BeveDg«!  leTengel  raTsngel  Ti  -  mo-theas  cries 

This,  from  Handel's  Alexander's  Feast,  is  an 
iambic  passage.  So  also  is  '  Rejoice  greatly'  from 
the  Messit^.  So  is  the  following  frt)m  the  Finale 
to  Beethoven's  '  Elreutzer  Sonata'  (op.  47), 


i 


tL 


r  ^.r  r.if«&r  t^^m 


■m-  etc. 


[G.] 


sf  sf  Af  */  '/ 

lASTIAN  MODE.    [See  Ionian.] 
IDEA,  a  theme  or  subject. 

IDOMENEO  r6  DI  CRETA,  ossia  Ilia  b 
Adamants,  an  opera  seria  in  3  acts ;  music  by 
Mozart.  Composed  at  Sahsburg  in  1780,  and 
produced  at  Munich,  Jan.  29,  1781  (the  and  day 
of  Mozart's  26th  year).  The  libretto  was  Italian, 
adapted  by  the  Abb^  Varesco  (also  author  of 
that  of  '  L'Oca  del  Cairo')  fit>m  a  French  piece 
of  the  same  name  by  Danchet,  which  had  been 
composed  by  Campra  in  171 2.  Mozart's  auto- 
graph is  in  the  possession  of  Andr^  at  Offenbach. 
Full  score  published  by  Simrock  with  Italian 
text.  The  opera  contains  a  complete  ballet  in  5 
numbers  (autog.  Andr^)  which  has  not  yet  been 
printed,  but  is  announced  for  publication  in  the 
new  edition  of  Breitkopfs. 

Idomeneo  has  never  been  a  favourite  opera. 
The  Allg.  Musik.  Zeitung  during  50  years  only 
chronicles  16  performances,  and  it  appears  never 
to  have  been  put  on  the  stage  either  in  Paris  or 
London.  It  has  been  twice  newly  arranged — by 
Treitschke  (Vienna,  1806),  and  by  Lichtenthal 
(Milan,  1845).  Mozart  himself  felt  that  some 
improvements  were  wanted,  as  he  speaks  (Letter, 
Sept.  12, 1 781)  of  rewriting  the  part  of  Idomeneo 
and  mtdnng  many  alterations  'in  the  French 
style.'  [G.] 

IFIGENIA.  The  story  of  Iphigeneia,  the 
daughter  of  Agamemnon  and  Clytemnestra — in 
the  two  episodes  of  her  deliverance  from  sacrifice 
at  Aulis,  and  her  rescue  of  her  brother  Orestes 
from  the  same  fate  at  Tauris,  which  formed  the 
subject  of  Euripides'  two  tragedies — has  been  a 
favourite  subject  with  the  composers  of  operas. 
Not  to  speak  of  the  two  masterpieces  of  Gluck, 
which  are  noticed  under  the  head  of  Iphioenia, 
we  may  say  here  that  the  opera  of '  Ifigenia  in 
Aulide'  by  Apostolo  Zeno  has  been,  according 
to  the  Catalogue  in  the  Theatre  Lyrique  of  F. 
Clement,  set  to  music  by  no  fewer  than  20  com- 
1 '  Metrical  feeU-Lauon  ibr  a  bo7.*  PoeUoal  Works,  U.  14Bb 


posers  between  171 3  and  18 11 — D.  Scarlatti, 
Caldara,  Porpora>  Abos,  Traetta,  Majo,  Guglielmi, 
Jommelli,  Salari,  Sarti,  Martin  y  Solar,  Prati, 
Giordani,  Zingarelli,  Bertoni,  Mosca,  L.  Rossi, 
Trento,  Mayer,  Federici.  The  opera  of  'Ifigenia 
in  Tauride'  (author  unknown,  but  possibly  Vinci) 
has  been  composed  by  9  separate  composers — 
D.  Scarlatti,  Orlandini,  Vinci,  Jommelli,  Mazzoni, 
Agricola,  Monzi,,Tarchi,  and  Carafa.  [G.] 

ILE  ENCHANTfiE,  L'.  A  ballet  by  Arthur 
Sullivan,  produced  at  Co  vent  Garden  May  14, 

1864.  j;g.] 

IMBROGLIO,  i.e.  confusion.  A  passage,  in 
which  the  vocal  or  instrumental  parts  are  made 
to  sing,  or  play,  against  each  other,  in  such  a 
manner  as  to  produce  the  effect  of  apparent,  but, 
really,  well-oidered  confusion.  A  fine  passage  of 
this  description  occurs  in  the  overture  to  *Der 
FreischtLtz,  at  bars  145-154  of  the  MoUo  Vivace, 
though  little  trace  of  its  intention  is  conveyed  by 
the  Pianoforte  arrangement.  [W.S.R.] 

IMITATION  is  a  name  given  to  one  of  the 
most  useful  and  indeed  necessary  devices  in  con- 
trapuntal composition.  It  consists  in  a  repeti- 
tion, more  or  less  exact,  by  one  voice  of  a  phrase  or 
passage  previously  enunciated  by  another,  e.g. — 


i 


IE 


zz: 


r-  ri''jJJ 


^z: 


i 


uy'\r-r\*f^rf\i'-  ^rlrr^'l 


i^><ttNJ^.  JU^ii^JplJ^JlJ 


^     -    [i-N^ 


^ 


ttit 


I 


In  the  former  of  these  examples  the  imitation 
takes  place  at  OTie  har^s  di^ance,  and  at  the  in- 
terval of  an  eleventh  above.  In  ^e  latter  it  is  at 
the  interval  of  an  octave  below. 

If  the  imitation  is  absolutely  exact  as  to  inter- 
vals it  becomes  a  Canon.  But  in  the  majority 
of  cases  imitations  are  not  canonical.  Imitations 
may  take  place  at  any  interval  or  at  any  distance. 
They  may  also  be  sustained  by  any  number  of 
voices  or  instruments,  e.  g. — 


i 


I'iiiii 


!  'I'lHh'i^';;' 


^ 


■J    fTi  J  J   I  J    J^yiJ  ^ 


W^iiu 


i 


^l^'rJrjJ|i^-4|| 


where  we  have  an  imitation  in  four  parts. 


766 


IMITATION. 


IinitationB  are  sometimeB  conducted  by  con- 
tnury  motion  of  the  parts,  or  *  by  inversion/  e.g. — 


I 


^ 


d==i 


^ 


m 


P"^ 


^ 


i=i 


r  r  r  ■  r  r  r  r 


^S 


s> 


^i.rt ' 


i 


-^: 


rtf^ 


i 


More  rarely  we  meet  with  imitations  per  recU 
et  retrd  or,  as  they  are  sometimes  called,  '  by  re- 
version/ in  which  the  antecedent,  being  read 
backwards,  becomes  the  conBequent : — 


t^rrrrffT^ir'^ 


$ 


^ 


^ 


fSi>- 


^ 


5:t 


rf-r>'|i'--'i|| 


:?=: 


g 


tt 


E 


-<«? 


22 


2:t 


'itgn" 


(These  examples  are  all  taken  from  Fdtis.) 

Imitations  may  also  be  made  by  inversion  and 
reversion,  or  by  '  augmentation/  or  '  diminution.* 
It  will  be  needless  to  give  examples  of  all  these 
different  kinds.  Good  examples  may  be  found 
in  the  theoretical  works  of  Baltiferri,  Azopardi, 
Zimmermann,  Marpurg,  Fux,  and  Cherubini. 
The  Suites  and  Fugues  of  Bach,  the  Symphonies 
and  Sonatas  of  Haydn,  Mozart,  and  Beethoven 
are  full  of  good  examples  of  various  kinds  of 
imitation.  In  hct  every  classical  writer,  whether 
of  vocal  or  instrumental  music,  has  derived  some 
of  his  finest  effects  from  a  judicious  employment 
of  such  artifices.  Every  student  of  music  must 
make  himself  familiar  with  these  contrapuntal 
resources  if  he  would  fain  scale  the  loftiest  heights 
and  make  himself  distinguished  as  a  composer  of 
high-class  music.  [F.A.G.O.] 

IM MANUEL.  Oratorio  in  a  parts,  words 
selected  and  music  composed  by  Henry  Leslie ; 
produced  at  St.  Martin's  Hall,  March  3, 1854.  [G.] 

IMMYNS,  John,  by  profession  an  attorney, 
was  an  active  member  of  the  Academy  of  Ancient 
Music.  Having  in  his  younger  days  been  guilty 
of  some  indiscretion  which  proved  a  bar  to 
success  in  his  profession,  he  was  reduced  to  be- 
come clerk  to  a  city  attorney,  copyist  to  the 
Academy,  and  amanuensis  to  Dr.  Pepusch.  He 
possessed  a  strong  alto  voice  and  played  indif- 
ierently  on  the  flute,  violin,  viol  da  gamba  and 
harpsichord.  At  the  age*  of  40,  by  the  sole  aid 
of  Mace*8  'Muaick's  Monument,*  he  learned  to 


IMPERFECT. 

play  upon  the  lute.     In  1 741  he  established  tie 
Madrigal  Society  [see  Madbioal  Sociktt.]  In 
1753,  upon  the  death   of  John  Shore,   he  was 
appointed  lutenist  of  the  Chapel  Rojtd.    He  wta 
a  diligent  collector  and  assiduous  stadent  of  the 
works  of  the  madrigal  writers  and  other  earlr 
composers,  but  had  no  taste  whatever  for  uie 
music  of  his  own  time.     He  died  of  an  aetksa 
at  his  residence  in  Cold  Bath  Fields,  April  u. 
1764. 

His  son  John  made  music  his  profession, 
became  a  violoncellist  and  organist,  and  was 
organist  of  Surrey  Chapcd  at  the  time  of  his 
death  in  1 794.  [W.  H.  H.] 

IMPERFECT  (Lat.  Imperfedus,  ItaL  Imper 
fetto).  A  term  employed,  in  Music,  in  relaticm 
to  Time,  to  Melody,  to  Cadence,  and  to  Interval. 

I.  Time.  Mediaeval  writers  (accustomed  to  look 
upon  the  number  Three— the  Symbol  of  the 
Blessed  Trinity— as  the  sign  of  Perfection)  applied 
the  term.  Imperfect,  to  all  rhythmic  proportions 
subject  to  the  binary  division. 

The  notes  of  Measured  Music  were  called  Im- 
perfect, when  divisible  into  two  equal  portions. 
Thus,  the  Minim — always  equal  to  two  Crotchets 
only — ^was  essentially  Imperfect,  in  common  with 
all  other  notes  shorter  than  the  Semihreve.  The 
Large  was  also  Imperfect,  whenever  it  was  made 
equal  to  two  Longs ;  the  Long,  when  equal  to 
two  Breves :  the  &eve,  when  equal  to  two  Semi- 
breves  ;  and  the  Semibreve  when  equal  to  two 
Minims. 

The  Imperfection  of  the  Minim,  and  Crotchet, 
was  inherent  in  their  nature.  That  of  the  longer 
notes  was  governed,  for  the  most  part,  by  the 
species  of  Mode,  Time,  or  Prolation,  in  which 
they  were  written :  for.  Mode.  Time,  and  Pio- 
lation,  were  themselves  capable  of  ftSfliiming  a 
Perfect,  or  an  Imperfect  form.  In  the  Great 
Mode  Imperfect,  the  Large  was  equal  to  two 
Longs  only,  and  therefore  Imperfect ;  while  all 
shorter  notes  were  Perfect,  and,  consequently, 
divisible  by  three.  In  the  Lesser  Mode  Imper- 
fect, the  Large  was,  in  like  manner,  equal  to  no 
more  than  two  Breves.  In  Imperfect  Time,  the 
Breve  was  equal  to  two  Semibreves.  In  the 
Lesser  (or  Imperfect)  Prolation,  the  Semibreve 
was  equal  to  two  Minims. 

But  notes,  even  when  Perfect  by  virtue  of  the 
Mode,  Time,  or  Prolation  in  which  they  were 
written,  could  be  made  Imperfect ;  and  that,  in 
several  different  ways. 

A  Perfect  note  was  made  Imperfect,  'by 
position,'  when  another  note,  or  rest,  of  half  ita 
value,  was  written  either  before,  or  after  it ;  thus, 
the  Semibreves,  in  the  following  example,  though 
written  under  the  signature  of  the  Greater  Pro- 
lation, were  each  equal  to  two  Minims  only — 


i 


<■)      f-  '^ 


-^ 


m 


Black  square  notes,  though  Perfect  by  the 
Modal  Sign,  became  Imperfect,  in  like  manner, 
when  mixed  with  white  ones :  thus,  in  the  fol- 
lowing example,  each  white  Breve  is  equal  to 


IMPERFECT. 

three  Semibreves ;   and  the  black  one,  to  two 
only — 


IMPERFECT. 


767 


Again,  the  Perfection,  or  Imperfection,  of  any 
note  whatever,  could  be  regulated  by  means  of 

a  Point.  ,     -r^    r   X   1-     xr. 

Imperfect  notes  were  made  Perfect  by  the 
Point  of  Augmentation— the  exact  equivalent 
to  the  dot  in  modem  Music,  and,  therefore, 
needing  no  example. 

Notes,  Perfect  by  the  Modal  Sign,  but  ren- 
dered Imperfect,  by  position,  could  be  restored 
to  Perfection  by  a  Point  of  Division,  as  in  the 
next  example,  where  the  first  Semibreve,  equal, 
in  the  Greater  Prolation,  to  three  Minims,  would 
be  made  Imperfect  by  the  Minim  which  follows 
it,  were  it  not  for  the  Point  of  Division  placed 
between  the  two  notes — 


In  both  these  cases,  the  Point  serves  to  aug- 
ment the  value  of  the  notes  :  but,  it  may  also  be 
made  to  produce  an  exactly  contrary  effect.  For 
instance,  a  Point  of  Division,  placed  between  two 
shorter  notes,  following  and  precedmg  two 
longer  ones,  in  Perfect  Time,  served,  antiently, 
to  render  both  the  longer  notes  Imperfect.  In 
the  following  example,  therefore,  the  Breves  are 
equal  to  two  Semibreves  only— 


theoretically  constitutes  a  cadence  occurs  in  the 
middle  of  a  continuous  passage  it  has  not  any 
actual  significance  of  the  kind  implied  by  a  ca- 
dence, but  only  when  it  occurs  at  the  end  of  a 
period  or  phrase  of  some  sort.  This  point  is 
more  important  to  note  in  relation  to  the  Imper- 
fect than  to  the  Perfect  Cadence;  since  the 
latter,  being  absolutely  final,  is  restricted  both  as 
to  its  penultimate  and  to  its  ultimate  chord ;  but 
the  former  being  final  only  relatively  to  an  in- 
complete portion  of  the  music,  as  a  comma  is  to 
an  incomplete  portion  of  ad  entire  eentence,  ad- 
mits of  variety  not  only  in  its  penultimate  but 
also  in  i<8  ultimate  chord ;  the  chief  requisites 
being  that  the  final  chord  shall  be  sufficiently 
clear  in  its  relation  to  the  Tonic  and  sufficiently 
simple  in  its  construction  to  stand  in  a  position  of 
harmonical  prominence,  and  be  listened  to  without 
any  strong  craving  in  the  mind  for  change  or 
resolution ;  since  the  chord  which  comes  last  must 
inevitably  have  much  stress  laid  upon  it. 

The  simplest  form  of  the  Imperfect  Cadence  is 
an  exact  reversal  of  the  Perfect  Cadence,  viz.  the 
succession  of  Tonic  and  Dominant  harmony,  as  (a), 
in  the  key  of  C.  The  Dominant  chord  is  the  one 
most  commonly  met  with  as  the  last  in  an  Im- 
perfect Cadence,  but  it  is  capable  of  being  pre- 
ceded by  a  great  variety  of  chords  other  than 
that  of  the  Tonic  in  its  first  position.  It  is  ex- 
tremely common  to  meet  with  the  first  inversion 
of  the  major  or  minor  chord  of  the  supertonic, 
and  even,  though  more  rarely,  the  first  position 
of  that  chord,  as  (6) — 


There  are  other  ways  in  which  the  Perfection 
of  certain  notes  may  be  changed  to  Imperfection, 
and  vice  versa ;  and,  for  these,  the  Student  will 
do  well  to  consult  the  pages  of  Zaccom,  Zarhno, 
and  Thomas  Morley.  [See  Mode,  Time,  Pro- 
lation, Propobtion,  Point,  Notation.] 

II  Writers  on  Plain  Chaunt  apply  the  term, 
Imperfect,  to  Melodies  which  faU  to  extend 
throughout  the  entire  compass  of  the  Mode  in 
which  they  are  written.  Thus,  the  melody  of 
the  Antiphon,  Angdus  autem  Domini  (see  An- 
tiphon),  is  in  the  Eighth  Mode;  but,  as  it 
only  extends  from  F  to  D— two  notes  short  of 
the  full  range  of  the  Hypomixolydian  scale— it 
is  called  an  Imperfect  Melody.  [W.  S.  R. J 

III.  Imperfect  Cadence  or  Half  Close.  Cadences 
occupy  the  position  in  music  which  stops  do  in 
literature,  and  of  these  the  Perfect  Cadence  or 
full  close  answers  to  a  full  stop,  and  the  Imper- 
fect Cadence  or  half  close  to  stops  of  less  value. 
The  former  consists  invariably  of  a  progression 
towards  and  a  pause  upon  the  Tonic  chord  in 
its  first  position ;  the  latter  of  a  progression 
towards  and  a  pause  on  some  other  chord  than 
the  chord  of  the  Tonic  in  its  first  position. 
Both  Cadences  are  to  a  certain  degree  dependant 
on  the  position  they  occupy  in  the  group  of 
bars  or  rhythms  which  constitute  the  period  or 
phrase ;  for  when  the  succession  of  chords  which 


(«) 


(&) 


$ 


Sf- 


i 


m  M 


fe 


^m 


d: 


etc. 


^ 


:?= 


from  *  Crudel  perchb '  in  the  second  act  of  Figaro. 
It  is  also  frequently  preceded  by  the  first  inver- 
sion of  the  chord  of  the  subdominant,  both  major 
and  minor ;  and  by  its  first  position  more  rarely. 
The  chord  of  the  submediaat  does  not  often 
occur,  but  it  haa  been  tried,  as  by  Carissimi,  as 
follows 


111"   JMJI 


Tg: 


r 


^ 


etc 


fctt 


^^^F^^=?^ 


1 

The  chord  of  the  augmented  sixth  is  also  not  un- 
fr^uently  found,  as 


s 


^^ 


** 


768 


IMPERFECT. 


/' 


from  the  Fug^e  in  Beethoven*!  Sonat*  in  Bb, 
Opua  io6. 

The  diminished  seventh  which  is  derived  from 
the  supertonic  root  is  also  common  in  various 
positions  as  (c)  from  the  second  of  the  Preludes 
in  F  minor  in  Bach's  '  Wohltempnrirte  Clavier.' 

As  an  example  of  an  Imperfect  Cadence  which 
concludes  on  a  chord  other  than  the  Dominant 
the  following  (<£)  from  the  slow  movement  of  Bee- 
thoven's Violin  Sonata  in  C  minor,  op.  30,  will 
serve. 


(0  W 


TTT- 


^b'!,^.    \f    ir  1-  ir  -^ 


Occasionally  the  Imperfect  Cadence  appears  to 
belong  to  another  key,  which  is  used  transition* 
ally  on  principles  which  are  explained  near  the 
conclusion .  of  the  article  Harmony  (p.  683  a). 
The  following  instance  is  fit>m  Mozart's  Quartet 
in  G,  No.  1. 


in  which  case  the  two  chords  forming  the  Imper- 
fect Cadence  are  the  only  ones  not  in  the  key  of 
G  in  the  whole  passage  up  to  the  first  perfect 
cadence,. and  cannot  be  considered  as  constituting 
a  modulation. 

The  properties  of  the  Imperfect  Cadence  were 
apprehended  by  the  earliest  composers  of  the 
modem  harmonic  period,  and  it  is  fi«quentlv 
found  in  works  of  quite  the  beginning  of  the  1 7th 
century.  An  example  frx>m  Carissimi  has  been 
given  above.  In  the  instrumental  music  of  the 
epoch  of  Haydn  and  Mozart  and  their  immediate 
predecessors  and  successors  it  played  a  conspicu- 
ous part,  as  the  system  of  Form  in  Music  which 
was  at  that  time  being"  developed  necessitated  in 
its  earliest  stages  very  dear  definition  of  the 
different  sections  and  periods  and  phrases  of 
which  it  was  constructed,  and  this  was  obtained 
by  the  frequent  use  of  simple  and  obvious  forms 
of  Perfect  and  Imperfect  Cadences.  The  desire 
for  continuity  and  intensity  of  detail  which  is 
chaxacteristic  of  later  music  has  inclined  to  lessen 
the  frequency  and  prominence  of  cadences  of  all 
kinds  in  the  course  of  a  work,  and  to  cause  com- 


XMPBOMPTU. 

posers  in  many  cases  to  make  nse  of  more  aubtip 
means  of  defining  the  lesser  divisiona  of  a  morc- 
ment  than  by  the  frequent  use  of  recogni^abk 
Imperfect  Cadences. 

In  Ellis's  translation  of  Helmholtz  the  term 

*  Imperfect  Cadence '  is  applied  to  that  wfak&  it 
commonly  called  the  Plagal  Cadence.  71ii£  cw 
of  the  term  is  logical,  but  unfortuii»tely  liabb  to 
mislead  through  its  conflicting  with  cuetofnasix 
use.  The  common  application  of  the  term  whii4 
has  been  accepted  above  is  also  not  by  any  means 
incapable  of  a  logical  defence,  but  it  must  be 
confessed  to  be  inferior  both  in  accuracy  of  de- 
finition and  oomprehensibility  to  the  ezp««ssoii 
'  Half-close,*  which  expresses  admirably  both  ihe 
form  of  the  succession  of  chords  and  the  office  it 
most  frequently  performs  in  music. 

IV.    For  Imperfect  Interval,  see  iKTERVAk. 

"  [C.H.H.P.] 

IMPRESARIO,  L'.    The  title  of  the  French 
adaptation    (considerably  altered)   of    Mozart's 

*  Schauspieldirector,'  by  Leon  Battn  and  Ludovie 
Halevy,  produced  at  tifie  Bouffes  Parisiens,  May 
30,  1856.  This  pieoe  is  said  to  have  \»ai 
mixed  up  with  Cimarosa's  'Impresario  in  An- 
goscie'  so  as  to  form  one  piece  by  Goethe  in  179 1 
while  director  of  the  theatre  at  Wdmar.        [G.] 

IMPROMPTU.  Originally  no  doobt  the  name 
for  an  extempore  piece ;  but  as  no  piece  can  be 
extempore  when  written  down,  the  term  jb  used 
for  pianoforte  compositionB  which  have  (or  have 
not)  the  character  of  extempore  perfbnnanoeis. 
The  most  remarkable  are  Chopin's,  of  which  there 
are  4— op.  29,  36,  51,  and  66  (Fantaiaie-Iin- 
promptu  in  C|  minor).  The  two  sets  of  pieces 
by  Schubert  known  as  Impromptus—^.  90,  nos. 
I  to  4,  and  op.  142,  nos.  i  to  4,  mostly  varia- 
tions— were,  the  first  certainly  and  the  second 
probably,  not  so  entitled  by  him.  The  autograph 
of  the  first  exists.  It  has  no  date,  and  no  title 
to  either  of  the  pieces,  the  word  *  Impromptu  * 
having  been  added  by  the  publishers,  the  Hae- 
lingers,  one  of  whom  also  took  upon  himself  to 
change  the  key  of  the  third  piece  frt>m  Gb  to  G. 
The  autograph  of  the  second  set  is  at  present 
unknown.  It  wae'  ^  these  latter  ones  tha£ 
Schumann  devoted  one  of  his  most  affectionate 
papers  (*Gesamm.  Schrifben,*  m.  37).  He  doubts 
Schubert's  having  himself  called  them  Im« 
promptus,  and  would  have  us  take  the  first, 
second,  and  fourth  as  the  sucoesmve  movementa 
of  a  Sonata  in  F  minor.  The  first  does  in  &ct 
bear  the  stamp  of  a  regular  'first  movement.* 
Schumann  himself  has  Impromptus  on  a  theme 
of  his  wife^B,  op.  5,  and  another  Impromptu 
among  his  Albumbliitter.  Neither  Beethoven, 
Weber,  nor  Mendelssohn  ever  use  the  word.  [G.] 


END  OF  VOL.  L 


V.