ML 100 ;M42 ■ - -'ilii M H I i| 1 1 i lri 4 44ii(l^W^ i tiwS>^rtiii?n'i> *'*'J''^^ I wU wpili^^tiiim^ip mm ii M i « i| ii m|»4i >it iftM t M pqi. . . , ,..,... , . liiUJfd'^ii w w ^wW' i Ui i ri i W y ^^i W i iwwyiitjtw i ii iaJ i i ^ Vrt i w»« * ww»n iw riB K ^>hfcWW*»««w Accelerando (Ital. St-tshal-a-rSn'-do). Ac- celerating ; gradually hastening the time. Accent, an emphasis or stress upon particular notes or chords for the purpose of rendering the meaning of a passage intelligible. The principal accents in music are (i) the meets-- ure^ occurring on the first beat of every mea'^ure ; (2) the oratorical or declamatory on the emphatic note of a phrase, or most important word in a phrase ; (3) secondary rhythmic accent on the first tone in smaller groups than those of a full measure, as e. g. on the first note of triplets, etc. Accidental, unforseen, a name given to sharps, fiats, or naturals in music outside of the sig- nature. Accentuato (Ital. at-tshan-too-a'-to). Ac- cented. Accompagnamento (Ital. ak-kom'-pan- ya-man'-to). Acconpaniment ; parts of music sounding with and supporting the leading idea. Accord, to sound well together, (See conso- nance.) A chord. Acoustics (a-coos'-tics). The science of sound. Accordion, a well known instrument, the tones o[ which are produced by '* free reeds." Large instruments of this class have a com- pass of about four octaves. Acis and 4^alatea Ca'-«is, gS,l-S^te'-S.). A pastoral cantata by Handel in 1720. Adagio (Ital. a-dS'-jo, literally ad agio^ at ease, leisurely). A slow and tender move- ment, slower than andante, but not so slow as largo. See " Tempo." Ada^SSimo (Ital. a-da-jes'-sl-m5). Super- lative degree of adagio. Adam, Adolph Charles, a French composer of light operas (Le Postillion du Lonjumeau, etc.), newspaper critic and professor of com- position at the Conservatoire ; b, 1803, d. 1856. Adams. Thomas, a distinguished English organist and composer, born 1785, died 1858. Ad Jjib'itnm (Lat.) At pleasure ; z*. €i l-ba'-nee). The stage name of a favorite soprano. See Lajeunnesse. Alboni, Marietta (Sl-bo'-nee). The most cele- brated contralto of the 19th century. Born Censensa, Italy, 1824. Sang with the greatest dclat throughout Europe. Visited America in ^852. Her voice was large, rich and true, and her method delightful. Lives in Paris, Alceste (Fr. Sl-sSstO- Tragic opera in three acts by Calzabigi and Gliick, 1761. Albreclitsberger (S,r - bretchts - bar' - gSr), Johann Geo. Contrapuntist and teacher of sacred music, composer and organist, born 1736, at Klosterburg, near Vienna, Died Vienna March 7, 1809. Among his pupils were Beethoven, Hummel, Weigl, Seyfried, etc. Alexander's Feast, an '*ode'* of Handel's to Dryden's words, 1736. Re-scored by Mozart, 1790. Alkan, Charles V, Bora at Paris, 1813. Pian- ist and composer, chieflv of Etudes and caprices for pi.mo. His studies are extremely dimcult, and are important. Has published op. 72. Alia Breve, indicated 2-2, a form of com- mon time, taken somewhat faster and beat with two beats in a measure. Allegro (Ital. aUa'-groJ, literally "cheerful." A tempo mark, indicating a quick movement. See Tempo. Allegretto (Ital. Sl'-lS-grSt'-to). Diminutive of allegro ; cheerful ; not so quick as allegro. See Tempo. AUegrezza (Ital. S,l-l6-grSt'-za). Gayety ; cheerfulness. .Allegri (&l-lag'-ree), Gregorio, a priest at Fermo, 1580-1652. Author of a celebrated *' Miserere" used at the Pontifical chapel during Holy week. Allemande (Fr.) One of the movements of the suite. It is of German origin, and was not a dance. a. Also used as equivalent to Deutscher Tanz, a dance resembling the waltz. 3. A German national dance of a lively character, in 2-4 time. Al Segno (Ital. san'-y6). From the si-n ; re- turn to the sign , and play from there to *' Fine." All Unisono (Ital. oo-nl-so'-no). In unison. Alto (Ital.) literally, " high." The highest male voice, having a range above the tenor. The low female voice now commonly^ cailed by this name is properly contralto^ which see. Alto Clef, see Clef. Amabile (Ital. S-mS'-be-lS). Lovingly ; ten- derly. Aniati (S-m-S'-tee). A celebrated family of violin makers, who lived and worked at Cre- mona. Theirbest work was: Andrea, about 1550; NicoLO made basses ; Antonio and Geronimo, sons of Andrea, 1550-1635; NicOLO, 1596-1684, the most eminent of all the family ; Geronimo, his son, an indifferent maker. AmbrOS, August W. (&m'-broz). Bom i8t6, in Bohemia. A brilliant writer on musical topics, a-d author of a fine Musical History, four volumes of which have appeaced. Died June 28, 1876. Ambrosian Chant, the ecclesiastical mode of saying and singing Divine service, set in order by St. Ambrose for Milan cathedral, about A. D. 384. Ambrosian Hymn, the Te Deum, Amoroso (Ital. S>m-or-o'»25). Lovingly, ten- derly, with warmth. Amnlilon* one of the oldest Greek musicians ; flourished about 1300 B. C. Anapest, see " foot." Andante (Ital. &n-dan'-tS, from andare^ to walk.) Going, moving along at a moderate pace. See '^ Tempo." Also used as the name of a piece of music in andante movement. Andantino (Ital, an-dan-tee'no. diminutive of the preceding). A movement somewhat quicker than andante. Sometimes used to denote a slower movement than andante. (Mendel.) Andre, Johann (Sn'-dra), the head of an ex- tensive musical family. B. 1741, d. 1799. Author of many works of almost every kind. Johann A., his son, 1775-1842, also a prolific composer, and teacher of the piano and vio- lin ; Johann B., his son, pupil of Aloys Schmitt, a resident of Berlin ; Julius, son of J. A., an organist and writer for the organ. Angeliea, angelic. Vox Angelica, angelic voice, th^ name of an organ stop, free ri.ed, Anlagnier, Antonin, a French composer of popular piano pieces. Bom 1800 at Manosque, educated in the Paris Conservatoire, and later a music dealer there. Anima (Ital. S,nM-m£), con anlma, with life. AnimatO (Ital. S.n-i!-ma'-t5). Animated, Anna Bolena (bo-la'-na). Opera by Doni- zetti, 1831. AnSChnetz, Karl (Sn'-sheetz), B. about 1831. Diedin NewYorkabout 1875. An opera and orchestral conductor and composer. Ansiv^er, the imitation of a previous phrase. «/«, £k add^ 'i. arnty e evt^ 3 end^ 1 ice^ I x7/, o old^ o odd^ 6 dt English musicians to recognize the genius of Mendelssohn. 1767-1838. Buried in St. PauPs Cathedral, under the organ. , Attacca (Ital. St-tak'-kS). Attack. Attacca SubitO, attack the following immediately. Atto(Ital. at'-to), . Act. Anber, Daniel-Fran yois-Esprit, born 1784 at Caen. Died 187 1. Auber was the most popu- lar of the French composers of this centiiry. Auber was composer of a large number of operas, among the besi of which are " Crown Diamonds," '* Fra Liavolo," and "LaMu- etre de Portici" (Masaniello). His works are characterized by bright and sparkling melody, and plea^nt and piquant instrumen- tation, though Wagner says he uses the orchestra like a mighty guitar (implying Auber's lack of thematic treatment). He was made Director of the Conservatoire by- Louis Phillippe, and remained so until his death. A. was genial and witty. Audace (latl. S-oo-dS'-tshS). Same as ardito, Auflosnng (Ger. ouf-lo'-sung). Resolution (of dissonances). Auftact (Ger. ouf-takt). The unaccented beat of the measure. Augmentation, the extension of a phrase or subject by lengthening the time of all its notes, imitating quarter notes by halves, etc. Ansdruck (Ger. ous'-driik). Expression. Ave Maria (Lat. a-ve mSr-ee'-a). "Hail Mary." The angelic salutation, Luke i, a8. a ale, a add, S arm, e eve, g end, I ice, \ ill, 6 old, 5 odd, 6 dove, 00 moon, u lute, ii but, U Fr. sound AUT DICTIONARY. BAR Authentic, certain of the ecclesiastical modes. They are; No. Mod<. Compass. Finil. Dominnnt. I Dorian D to D D A 1 Phrygian., _ I^di.n Mixolydein E to E K C ■i F to F F C 7 G to G G D 1 ..Eolian A to A A E 11 lonion, or 1 lastian... f C to C C G Azor and Zemira. or The Magic Rose, in three acts- English version of Spohr's Zetnire und Azor^ produced at Covent Gar- den, April 5, 1831. B, the name of a pitch. In Germany the name B is applied to the tone B^, and B is called XI. Bacti, Johann Sebastian (bSkh),one of the great- est masters who have ever appeared in music. B. 168s, d. 1750. Bach's ancestry for a cen- tury had been musicians, and several of them eminent. See chapter on Bach. Baeh, Wilhelm Friedmann, called also the Hall^ Bach, oldest and most talented son of John, born at Weimar 1710. Was noted for his originality as a composerand improviser, but owing to dissipatecl habits he left com- paratively few works. Died at Berlin, 1784. Bach, Karl Philipp Emanuel, third son of J. S., born at Weimar 1714. Studied law, but as he had been educated in music from child- hood, he presently betook himself to it as his calling, and became kammermusiker and cembalist at the court of Frederick the Great. As composer, director, teacher and critic, his influence was very great. He belongs to the transition period from his father to Haydn, His works are remarkable for refinement and elegance rather thanpower. Died 1788. Bach Society, in London, devoted to the study and promulgation of Bach's works. 1849-1870. Its library is now in the Royal Academy of Music. Bach OeschellSChaft, a German society for publishing Baches works, of which some thirty volumes afe now issued. The idea originated with Schumann and HaupCmann. Bache, Francis Edward (bak), bom at Birming- ham, Sept. 14, 1833, died there Aug. 24, 1858. A talented yonng composer, a student at Leipsic, who died before his talent was fairly developed. Author of several piano pieces, a concerto, etc. Bachelor of Unsic, a degree conferred complimentarily by American colleges. At Oxford and Cambridge(Eng.) a candidate for degree must jiass certain written and viva voce examinations in harmony, counterpoint principles of orchestration, etc., and prebent a good vocal composition containing pure five-part harmony and good fugal counter- point, with accompaniment for strings, suffi- ciently long to occupy from 20 to iu minutes in the performance. Fees about ;f 18. Badinage (Fr. bM'-in~Sg). Playfulness. Badarzewski, Thekla,born at Warsaw 1838. Died 1862. Immortalized by her composition, " Priere de la Vierge^^ "" Maiden's Prayer. Baertanze. (Ger*) Dance of the Bayardiers; female dancers in the East Indies. Bagatelle (Fr. bS,g-S,-tSr), a trifle. A name applied to short compositions. Bag^pipe, a famous instrument of great an- tiquity. It consists of a combinationof fixed tanes, or " drones," which sound continuously when the instrument is played, and a "chanter." The drones are made by three pipes with reeds, tuned differently in different parts of the country ; A A A, G D A, G D G, ere. The chanter is an instrument akin to the oboe, with a compass of onl^ nine notes, not tuned accurately, but approximating the scale of the black keys of the piano. The wind is furnished by a wind-bag or sack, worked by the left arm. Baker, B. F., born about 1820. Author of a text-book of Harmony and several books of psalmody, Balfe, Michael William, born at Dublin x8o8, died 1S70. A prolific composer of songs and operas, the best of them being '* The Bohe- mian Girl," " Siege of Rochelle," " The En- chantress," *' Talisman,'^ and '* Puritan's Daughter." Balfe was a fine melodist but a careless composer. Balatka, Hans, a fine German musician, teacher and conductor, in Chicago. Bom about 18^0. Ballad, from the Italian Ballaia^ a dance. ( Ballata^ a dancing piece ; 6'K0ffa/a, a sound- ing piece • and Cantata^ a singing piece. — Grove,} In Italy the ballata was a song to be sung while dancing. A poem in narrative form, adapted to be sung to some ballad tune. Ballade (Fr.bS,1-lad'). A ballad. Capriciously applied by Chopin to four pieces of piano- forte music. Ballerina (Ital. b^l-ler-ee'-nS). A female ballet-dancer. Ballet (Fr. bal-la'). A suite of elaborate dances for performance on the stage. The term B. is applied equally to the music, to the dancers, and to the dances. Ballo in maschera (Ital. bS.l'-lo in mS^'- ker- a). ^' The Masked Ball," opera by Verdi, 1859. Band, a company of instrumental players. See "String band," "Brass band," "Wind band," " Military band.*' Banjo, an American instrument of the guitar kind, the body covered with parchment like a drum-head. It has five or six strings, tuned: A, E, G sharp, B, E, or G, D, G, B, D, G, the lowest string being in the octave below middle C. Its pitch is an octave lower than its notation. Bar, a line across the staff to mark the measures. In England often applied to the measure itself. Barbaja,,Domenico (bar'-bS-ya), an Italian opera manager, who introduced moat of Auber's and Rossini''s operas to the world at San Carlo theatre in Naples and La Scala in Milan. 1778-1841. Barher of jl^eville, English name of an opera by Rossini, 1S16. Also opera of Paisello <775. Barcarole (Ital. bar'-ka-rol), a boat-song. A piece written in the rocking movement of a boatman. a ale^ S. add,^ S arm^ e eve^ § end^ 1 ice^ \ ill^ 6 old^ 5 odd., 6 ^<3»ff, 00 moon^ .u lute., u but^ li Fr. sound 6 BAR DICTIONARY. BEL Barrel, Woldemar (v61'-dS-mar bar'-geel). Step-brother of Mme. Clara Schumann. Born in Berlin lizP. A teacher and an ele- gant composer of piano forte pieces, chamber- music, etc. B. stands too near Schumann for his own talent to hr.ve fair play. Bairitone, a male voice of medium range and large body of tone. Also the name of the smaller bass saxhorn, in B^. Baritone Clef, the bass clef applied to the third line of the staff. Barnby, Joseph, a prominent English com- ptiser of church music, glees, songs, etc. Born about 1837. ^°^ some reason omitted from Grove's Die. and Mendel. Bamett, John F., an English pianist and com- Soser of three Cantatas, *-The Ancient lariner" 1867, '* Paradise and the Peri" 1870, "Raising of Lazarus" 1873, " Lay of the Last Minstrel" 1874; also of several con- certos, overtures, quartettes, etc. Bom Oct. 6, Z838. Barrel Organ, of various design and con- struction. Some are merely enlarged music- boxes, others small orchestrions, in which the tones are produced by reeds or pipes. All are controlled by means of a barrel^ or cylinder, on the surface of which pins are set at such intervals that a revolution of the cylinder opens the valves and so produces the tones of a piece. By sliding the barrel a minute dis- tance, another set of pins come into operation, and thereby the tune is changed. In orches- trion organs the crank not only revolves the cylinder, but also works theobellows. Bartholdy, see Mendelssohn. Barytone, a stringed instrument of the violin family, having six or seven catgut strings stretched over the fingerboard, and from nine to twenty-four metal strings which act sympa- thetically. Has a weak but pleasing tone. Has given place to the violoncello. Bass (bas), the lowest part in harmony. Also the lowest male voice. Basso Profkindo (pro-fun -do). The low- est male voice, of deep quality of tone. Basset Horn (Ital. carjw di basseito\ a bass clarinet in F, reaching from F below the bass clef. Written for by Mozart and Mendelssohn. Bass Clarinet, a low clarinet ranging up- wards from E below middle C. A slow-speak- ing, hollow-toned instrument. Bass Clef, the sign of the bass staff. Repre- sents F next below middle C. Bass Tuba, ih'^ lowest of the saxhorn family. That in E^ reaches E^ of the ifi it. octave. The B^ Tuba, B3 in the 32 ft. octave, three octaves below middle C. Basslni^ Carlo, an Italian teacher of singing, living m New York from 1864 or thereabouts. Died in 1871. Bass Horn, see Serpent. Bassoon (bSr>zoon), Ger. Fagoit, a wooden double-reed instrument of 8 ft. tone. Its compass is from 1 6 ft. Bb to X6 on sd space of treble. Is the natural bass of the oboes- and clarinets, i. /., the ^''wood." BasBo Cantante (Ital. k3n-tSn'-tS). The singing bass, or principal bass singer, as dis- tinguished "firom the basso buffoy comic bass, and the basso prof undo y orvery low bass. Basso Contlnno. a bass running through the whole piece, from which, with figures, the accompaniment used to be played. See Thorough Bass. Bass Posaune (Ger, bass pS-soun'-S). The b«(ss :rombone. Basten et Bastienne, a German operetta in one act. Mozart 1768. Bass Viol, English name of the violoncello. Baton (Fr ba-tpnh). A conductor's stick for beating time. Battle of Pragme, a descriptive sonata by Kotzwara, 1792. One of the most famous pieces of programme music. Battle Symphony, English name for Bee- thoven's " Wellington's Sieg oder die Schlagt bei Vittona," op. 91. 1813. Battement (Fr. bS,t -t^mon). An old em- bellishment similar to the mordente, but made with the note below. Battishill, Jonathan, an English composer of songs, glees, catches and antnems. Z738-X80X. Banmbach, Adolph, a German jpiano forte teacher and proline arranger of piano pieces, living some time in Boston. Came to Chicago about 1863. Died 1880. B dur (Ger. dur). B major. Bearinss, the few notes a tuner lays down carefully as guides. Usually the middle oc- tave. Beat. An embellishment of the mordent kind. 2. The conductor's motion in indicating the time. 3. The throbbing effect of dissonance, pro- duced by the occasional interference and con- sequent extinction of a vibration. The number of beats per second is equal to the difference between the rates of vibration in the notes. Beckert Paul, a German piano teacher and fine musician, resident in Chicago since 1858, where he was for many years the leading ex- ponent of classical music. Becker, Carl Ferdinand, oi^anist and professor at the Conservatorium of Leipsic. Bom 1804, died 18^7. Especially learned in musical literature. Beer (bar). Original name of Meyer Beer. BeetllOTen, Ludwig van (lood' vYg fan ba'- to-vn). 1770-1827. See Part VIII. Bebr, Fr., a German composer of light pieces. Begleiten (Ger. bSg-li'-tSn). To accompany, Be^grar'S O^era, a celebrated piece, written in Z727 by Gay. Its songs were all written to old melodies, or to the most popular airs of the day. It had an immense success. Belly the expanded opening in which most brass instruments terminate. Also applied to or- gan pipes, as in the "bell diapason," " bell gamba," id which all the pipes end in a bell. BelisarlO (bSM-sSr'-Io). Italian opera in 3 acts by Donizetti, 1836. Bellezza (Ital. bSl-lat'-za). Beauty of tone and expression. Bellicoso (Ital. bgl-lX-k5'-25). Warlike. a aU^ & add.^ 'i. arm^ e eve^ S end^ 1 ice^ 1 ill^ o old^ d odd^ d dove^ 00 moon^ u luie^ ii bui^ U Fr» sound 7 BEL DICTIONARY. BIS Bellini, Vincenzo (vin-tchan'-dzo b6l-lee'- nee). Italian composer of operas, the best of which are •* Sonnambula,'^ " I Puricani " and *' Norma." His writing is characterized by delicate and graceful melody^ and great refine- ment. Bellini died very young, perhapps before his powers were fully developed ^ still he rep- represents the simple, natural side of Italian music, where the music exists for itself alone. paying very little attention to the text, a olv ■ ' tie 1802-1835. schoorwhicn was ev^-n in his day giving place to the stionger style of Verdi and ^^gner. BellOlVS, the wind receptacles of organs. Bells, musical instruments of metal, sounding bypercussion. Extremely ancient. Belimetal consists of cupper and tin, 3 to i. Bell^T, the upper side of violins, that next the strings. Belshazzar, an oratorio by Handel, 1745. 2. Dramatic piece by Mr. J. A. Butterfield, 1S71. Written for amateurs. Bemerkbar (Ger. bg-mark'-bSr), marked ; to be played In a prominent manner. Be mol (Fr. bg-mol). B flat. Ben, Bene (Ital. bSn, ba'-ne). Well. Benedict, Sir Julius, born at Stuttgart, Nov. 27, 1804. " One of the most eminent foreign musicians settled in England since Handel's time.'' Author of several operas, the ora- torios of ** St. Cecelia " and *' St. Peter." One of the most eminent conductors of the present time. Lives in London. Vi&ited this country with Jenny Lind in 1850. Benedictus (Lat.) The song of Zachariah, Luke i. Bendel, Franz, piano virtuoso and composer of a vast^ mass of piano music, among the best of which is his ** Am Genfer See,^' also his op> 8, 45 and 47. Visited the United States and played at 2d Peace Jubilee in 1872. Died about 1^74. B. 1833. Bennett, William Sterndale,Mus.Doc., M.A., D.C.L., one of the greatest English compos- ers since Purcell. Born x8i6f B. was a great friend of Mendelssohn's, whose style in- fluenced him very much. Composer of many piano works, two concertos, 1840, for piano and orchestra, cantata "The May Queen," 1858, and an oratorio '* The Women of Sama- ria, 1867. (Given in Boston in 1874.) His works are characterized by elegance and finish rather than power. Died Feb. i, 1875. Ben pronnnziato (Ital. pro-noon-tse-S'-to). Pronounced clearly and distinctly. Berceuse (Fr. bair-surs'), a cradle song. Characterized by a rocking and monotonous accompaniment, and great delicacy, Berens, Hermann (ba'-rSns), bom at Hamburg 1826. A good pianist and a successful popu- lar composer. Resides in Stockholm, Swoden, where he is very active in all departments of musical work. D. x88o. Berber, Ludwig (lood-vlg bair'-gSr), a fine pianist and composer in Berlin 1777-1838. Pupil of Clementi. B. was teacher of Men- delssohn, Taubert, Henselt, and Fanny Hensel. A prolific writer. Ber^fe, William (bar'-g&), ^ a [>iano-teacher, organist, and arranger of pieces in New York. Bergmann, Karl, a 'cellist and conductor, born at Eisenach in Saxony, 1821. Came to America with the *'Germania*' orchestra in 1850. In X 857 he removed from Boston to New York, where he occupied a leading place as conductor of the "Arion," " Philharmon- ic»" etc. Died 1877, Beriot, Charles Auguste de (bSr' -Xo), a celebrated violinist, born in Belgium 1802. Died 1870. In 1835 he married the famous singer Malibran. Author of many pleasing works for piano and violin. Berlioz, Hector (bair'-lioz), a great French composer, critic and litterateur. Born Dec. XI, 1803, died March 9. 1869. Composer of many overtures, symphonic poems, etc., of the ^'programme order,, in which all the resources of the modern orchestra are em- ployed with consummate mastery for the por- trayal of poetic, bizarre, piquant, or profound sentiment. Berlioz seems like a genius of great power, in whom a vivid imagination is not restrained by good j udgment. As a writer about music he is one of the most gifted of the present century. His place as a coni- poser is not yet settled. His greatest dramatic work, "The Damnation of Faust" 1846, is only just receiving its due recognition. Bertini, Henri (bar-teen'-ee), a pianist of French family, bom at Loudon 1798. Settled in Paris 1821. Died at Meylan 18^6, B. was author of more than 200 compositions, of which his piano-school and *^ Etudes" had wide currency. They are now superseded. Bes fGer. bSs). The note B double flat, en- harmonic with A natural. Best, William T., the eminent English virtuoso organist, born at Carlisle 1826. Since '55, .organist of St. George's Hall in Liverpool, Composer of many church services and many skillful and effective ^* arrangements " for the organ; also of a large "organ school." B. has been called " the Liszt of the organ," a title more complimentary than exact. Beyer, Ferd. (bi'-er) 1803-1863. A prolific " arranger " for the piano-forte. Bianca, er the Bravo's Bride, a grand opera in 4 acts, by Balfe. i860. Bianca JE Faliero (bee-Un'-ka a fal-ya'-ro). Opera by Rossini, i8ig. A failure. Bind, see Tie, Birmin^liani Festival, triennial. The most imponant in England, Among the great works written for it were " Elijaii " in 1846, "Eli" 1855, "Naaman" 1864. Profits go to hospital funds. Last one occurred in _ 1879. Billert, Karl, a German composer of psalms, songs, overtures, symphonies, etc. A promi- nent and active musician. f82i — . Bilse, Benjamin (bll'-sS), one of the most famoiis conductors of the present day. Born 1816, His famous orchestra at Berlin, has^o men. B. is also a composer of dance music. Bird, H. D., organist in Chicago. Born about 1837. Bis, twice ; equivalent to encore^ " again." Bishop, Sir Henry Rowley, a popular English composer of songs, stage pieces, operas, one oratorio (never performed), etc. 1786-185S, a a/tf, & add^ S arm^ e eve^ S end^ i ice^ 1 illy 6 old^ 8 odd^ 6 dove^ 00 moon^ u lute, t. but, U Fr, sound 8 BLA DICTIONARY. BRA ^ Blaze (called Castil-Blaze), Francois (blSz), a French writer upon music in " Le Menestrel,' ' ■^and in books. 1784-1857. Blasinstruments (Ger. from hlasetiy to blow). Wind instruments, which see. Blassmann, Adolph J. M.,born 1823 at Dres- den. An accomplished musician, composer and director at Dresden. Blechinst rumen t» (blSk). Brass instru- meuts. Blovr, John, Mus. Doc, a voluminous English writer of church music, odes, songs, etc. 1648-1708. Organist of Wratminster Abbey, where also he was buried. Blnnienthal, Jacob (blu'-men-tSl), afashion- able piano teacher in London, and composer of light pieces and popular songs. Born at Hamburg 1829. B mOl, the German name of the key of B flat minor. Bocca ridente (It. bo'-ka re-dan'-tS). Smil- ing mouth. Applied in singing lo a position of mouth believed to be favorable to the pro- ductiou of a good tone. Boecherini, Luigi (Iwee'-geebok-er-een'-ee), a highly gifted Italian composer of chamber music, of which he left a vase amount, and of masses, songs, cantatas, concertos, etc. An extremely melodious and pleasing writer. 1740-1805. Bochsa, Robert N. C. (bok'-sS), a composer and eminent harpist, 1789-1855. As a com- poser, ■■• too proline for hisown fame." As a man, " iTregular and dissipated to the last degree." Bog^e (bo-jS). A bow for stringed instruments. Bcellin, Theobald, a famnus flute-player, at Munich, and inventor of the flute which bears his name. Born 1802^ Author of a well known set of 32 studies for Flute. Boieldien, Fran9ois Adrien (bw^l'-dfi), born 1775 at Rouen. B. made his debut In Paris as an opera composer with "" Famille Suisse " in 1797, which had a run of 30 nights. His famous ** Califfe de Ba dad was produced in 1798. "La Dame Blanche" 1825. This latter opera up to June 1875 hqd been per- formed 1,340 times. B. was the greatest mas- ter of French comic opera. He died in 1834. Bolero (bo-lar'-o) A brisk Spanish dance, similar to the polacca. It is in 3-4 time, in eighth notes with two sixteenths on the last half of the first beat of the measure. Bolog^na (bo-1on'-ya). The seat of the earliest music school in Italy, founded 1482, Bombardon, or Bombard, now applied to the lowest of the sax-horns. (See Bass-tuba.) 2. The name of a reed pedal-stop in the organ, generally of 32 ft,, large scale, rich tone and frequently on a heavy wind pressure, BoneSg four pieces of the ribs of horses or oxen, held in the hands and struck together rhyth- mically, like castanets. Boosey & Co., music publishers in London. Established about 1820. Bordese, Luigi (Iwee'-gee bor-da-s8), a light opera and song composer of the present time. Born in Naples in 1S15. Bordogni, Marco (bor-don'-ye), one of the most celebrated singers and iTjasters of sing- ing of recent times. Born in Bergamo 178S, died 1856. Author of many songs, collections of studies for the voice, etc. For 32 years from 1824, professor of singing in the Paris Conser- vatoire. Bourdon (boor'-don^. Anorgan stop, usually of 16 ft. pitch, consisting of stopped wooden pipes, otherwise called " stopped diapason." Bouclie Feruiee (Fr. boosh far-ma'). The mouth closed. BotteSini, Giovanni (jo-vJtn'-nee bot-tSs-see'- nee), a celebrated virtuoso contrabassist. Born in Lombardi 1823. Author of several successful operas, as well as quartettes, sym- phonies, etc. Bonrree (boor-ra). A dance of French origin, similar to the gavotte, but quicker, having only two beats to the measure. Found in suites. Bow. Used to set in vibration the strings of the violin family. Consists of a sti<'k of Brazilian lance-wood. From 175 to 259 hairs are put in a violin bow. The present form was perfected by Tourte near the close of the i8th century. Bonding (bo-ing). The art of using the bow. Boyce, William, Mus. Doc, an English com- poser of church music, vdes, oratorios, a few pieces for the theatre, and a collection of standard music for the cathedral. 1710-1779. Brabangonne, La (bra-ban'-spn-n§). The national air of the Belgians, dating from 1830. Brace. A vertical line for connecting the staves of music performed simultaneously in a score. Brahms, Johannes (yo-hSn'-nes brSms), one of the greatest living composers. Was born at Hamburg, 1833. He was the son of a musici- an, and his education commenced early. B. has composed a large number of works, all of masterly workmanship, and they are rapidly becoming current throughout the musical world. Thejir consist of very many songs (over 100), piano forte pieces, quartettes and other chamber music, variations, and two symphonies which have been received with enthusiasm wherever performed. Branle, an old English dance. Brass Band. A band furnished with brass instruments of the sax-horn family. The proper appointment of such a band requires : Band of Eight. — i E^ Cornet, 2 Bd Cor- nets, 2 E^ Altos, 1 B^ Tenor, i B3 Baritone, I E^ Bass. Band of Twelve.— 2 -E^ Comets, 2 "Bb Cornets, 3 Ed Altos, 2 Bd Tenors, i Bd Bari- tone, 1 B^ Bass. I %b Bass. Band of Sixteen.— 3 Ed Corners, 3 Bd Cornets, 3 Ed Altos, 2 Bd Tenors, i Bd Bari- tone, I 6d Bass, 3 Ed Basses. The addition of obnes and clarinets trans- forms a "■ brass " band into a Military band, which see. Brassin, Louis (brKs-s^hn), one of the most noted piano virtuosos of the present time. Was bom in Brussels in 1S40. Was a student at Leipsic, and later ^ teacher of piano at Stern's conservatory in Berlin. B. is a talented composer, and an exceedingly good interpreter of music, both old and new. Bratscb. The German name for the viola, or tenor viol. a ale^ a add^ a «rw, e eve^ S end^ 1 ice^ X ill^ 6 old^ o odd^ 6 dove^ 00 moon^ ii lute^ fi d«/, U Fr. sound BRA DICTIONARY. CAL Bravura (Ital. bra-voo'-rS). Courage ; brav- ery. A style of music in which effect is sought for. Breit (Ger. brit). Broad. ' Breitkopf & Martel, a Leipsic iirm of music publishers, which on Jan. 27^ 1869, celebrated its 150th anniversary, the business having descended from father to son. Brendelf !Dr. Karl Franz, musical critic and lecturer on the^ history of music in the Con- servatory at Leipsic ; succeeded Schumann as editor of the ** Neu Zeitschrift fur Music." 1811-X868. Breve, a note equal to two whole-notes (semi- breves) ; not now used except in church music. Bridge, the wooden contrivance used to sup- port strings of stringed instruments, and to communicate their vibrations to the sounding- board. Brio (Ital. bree'-6). Spirit; vigor; force. Briliiante (Ital. and Fr.) Brilliantly. BristOiv, Geo. F., director and music teacher in New York, Born 1825. Author of two symphonies, an opera, etc. Brindisi (Ital. brin'-dee-see, /ixr hrindisi^ to drink a health). A drinking song. Brisson, Fran9ois,a French composer of piano pieces. Broken Chords, chords the tones of which are sounded separately instead of simul- taneously. Bronsart, Hans von, a distinguished pianist, a pupil of Kullak and Liszt, and music direc- tor at Hanover. Born 1830 in Konigsburg. A talented composer, his concerto in F sharp minor having been much played by BUlow. Bmch, Max (brukh), one of the most eminent living German composers, especially in re- spect to large vocal works, such as his " Loreley," " Frithjof," "Odysseus,"" Flight of the Holy Family," " TheLayof the Bell/' etc. To this must be added his two violin concenos, a symphony, etc Bruch is a mas- ter uf the orchestra, an earnest and serious composer, highly gifted in melody no less than harmony, and wiihal a genius. B. 1838. Buck, Dudley, born at Hartford, Conn., 1837. His studies in composition were mainly made with Julius Rietz at Leipsic and Dresden, where also he was an organ pupil of Schneider. His first *' Motette Collection was published in 1867, and marks an epoch in American church music. His second in 1871, Buck has also written very much church music for Episcopal choirs, and three important choial works: "Don Munio,'' the "46th Psalm," and last " Scenes from the Golden Legend," which gained the $i,aoo prize at Cincinnati in 1880. He has aUo written several chamber compositions, overtures and two symphonies. Buck must be regarded as one of the most distinguished American composers. In 1871 he became organist at the Boston Music Hall. In 1875 he removed to Brooklyn, where he still resides. Buffo (Ital. boof-5). Comic. BnelOW, Hans Gutdo von (bii'-lo), the great pianist, born at Dresden, 1830. Became pupil of Liszt in 185 1. Made his first concert jour- ney in 1853. Since then resident in Berlin, Dresden, etc. Visited America in ,1876. Billow is one of the most learned musicians of the present day, a great conductor, and a Eianist with lo superior (except perhaps iszt). B. has a prodigious memory, know- ing by heart almost the entire classical litera- ture of music. He is also a composer of important works. Burden, a chorus or refrain in old songs, Burgmneller, Norbert, bom at DUsseldorf, 1810. Died in 1836. He left a symphony and several other works of decided value and promise. Burla, Burlesca or Burlesque, a musi- cal joke. Burletta (Ital. bur-lSt'-t£). A musical farce. Burney, Charles, Mus. Doc, 1726-1814. A cultivated and genial Englishman, best known by his "History of Music,^' 1776-1789. Wrote before modern music was developed ; it is nc wonder, therefore, that his erudite work con'- tains little of present value. BurrOYves, John F., London, 1787-1852. Best known by his piano-forte and thorough bass " Primers," two of the most successful and worst text-books ever made. Busby, Thomas, Mus. Doc, a laborious Eng- lish composer and writer of works about music, now forgotten, 175S-1838. Butterlield, J. A., born in England, 183^. Author of popular songs and several dramatic pieces, " Belshazzar " 1871, " Ruth " 1875, "A Race for a Wife" J879. ^uxtekude, Dietrich, a celebrated organist and composer, whose playing Bach went to Lubeck to hear. 1637-1707. Byrd, William, a prolific English composer and publisher. 1538- 1623. C, the key note of the natural scale. It is the loiuc scale of the church modes. The name of a certain pitch (see " Pitch "). The sign of common time, 4-4. Cabinet Organ, a reed organ. (This name is owned by the Mason & Hamlin Organ Co., who were the first to use it.) Cabinet Piano, a small upright piano. The large upright pianos are sometimes called "cabinet grand." Cabaletta (Sp. kS bal-at'tS). A lively melody in triplet time and rondo form. Cadence (from cado^ to fall). The close of a strain or piece of music Cadences are " per- fect," "imperfect," "half" and "plagal." See Lesson lii, 2. Also the name of an old embellishment resembling the mordente. Cadenza (Ital. kS-dant'-za). A more or less elaborate bravoura passage, introduced by a performer just before the close of a piece. In concertos, cadenzas are sometimes extended to several pages. C£eciIia(s^-sYl -IS). A German musical periodi- cal founded by Gottfried Weber. 1824-1848. (See Cecilia^ Si.) Ca Ira (sS ee-rS). The earliest of French revo- lutionary songs. Calando (Ital. from calare^ to descend). With decreasing force. Caldara, Antonio (kSl-dS'-ra), born at Venice 1678. Died 1768 (or 1736, date disputed). Wrote 69 operas and oratorios. a ale^ S. ad4^ a arm, e eve^ S end^ 1 iVf, \ ill^ o old^ o odd.^ dove^ 00 fnoorty u lute^ u bui^ il Fr. sound CAL DICTIONARY. CEL Califfe de Bagdad (Fr.) Comic opera in one act. Lib. by Saint -Just. JVIusic by Boieldieu, iSoo. Gallcott, John W., Mus. Doc, an English composer of glees, anthems, etc., and a musi- cal grammar. 1766-182X GalinatO (Ital. kal-m^-to). Calmed ; quieted. Calore (Ital. kal-o-rS). Heat ; warmth. Camera (Ital. kam-er-a). Chamber, or room. Applied to compositions (sonata di camera) to distinguish them as secular. ClUnnpaiiini, Italo (kam-pan-ee'-nee), the great tenor, born at Parma in 1846. Studied at Parma and Milan. Debut in leading char- acters in 1870. Knows the tenor roles of more than eighty operas. Campanelia (Ital. kam -pan-el' -la), a small bell. A piece of music suggesting little bells. Canon (Grk.) A musical form in which a second voice exactly repeats the melody of another (called the antecedent) at any pitch. Canons are in unison (antecedent and conse- quent at the same pitch) in the octave, second, third, fourth, etc. Also in contrary tnoiiony where the consequent repeats the antecedent backwards, and inverted (the ups and downs of the antecedent reversed). Cantabile (Ital. kan-tS'-bil-S, from cantart^ to sing). In singing style. Cantata (Ital. kan-tX-tS), sung. A composi- tion for voices with or without orchestra. Sung without action. Cantate Domino (Lat. k&n-tS't@ dom- In-o). *"*■ O sing unto the Lord,'* Ps. 98.- Cantilena (Ital. kan-tl-.la'-n£). A short, song-like piece for voice or instrument. A ballad. Canto (Ital. kan'to), song. The melody. Bel Canto, beautiful song. Cantor (Lat.) Precentor. The director of a choir. Cantns Fermns (Lat.) The fixed melody. A subject to which counterpoint is to be aoded. Canzona (Ital. kan-zo'-na). A song in a particular Italian style. Canzonetta (Ital. kan-z5-net'-ta). A little canzona. A light and airy little song. CapeUa (lul. kS-pSl'-m). A chapel. Capelle (Ger. ka-pel'-g). See Kapell. Capellmcister (Ger. mis'-tSr). See Ka- pellemeister. Capo (Ital. k£'-po). The head or beginning. Capo tasto, or Capo dastro (Ital.) A small piece attached to the neck of a guitar to shorten all the strings in order to facilitate playing in difficult keys. CaprJccio (Ital, kS-prlt'-do), or Caprice (Fr. ka-presj. A freak, whim or fancy. A composition irregular in form. CapriCCiOSO (Ital. ka-prit-^o'-zo). Capri- ciously. Capnlletti e Montecclii (Ital. ka-pool- TSt'-tee 5d mon-tak'-kee). "The Capulets and the Montagues." Italian opera in 3 acts, from Shakespeare's Romeo and Juliet, bv Bellini. Venice, March 12, 1830. A fourth act was added by Vaccai. Carafa, Michele {y^-x^l-Vi)^ a popular Italian opera and piano-forte composer. Born at Naples 1785. Made profes or of composition at the Paris Conservatoire in 1828. Died 1876. Carcassi, Matteo (k£r-kas'-see), an eminent fuitar virtuoso. Born about 1792. iJied in aris 1853. Carillon (k^r-!tlMon), a chime of bells. A set of bells so arranged as to be played upon. Carissimi. Giacomo (jak-o'-mo kSr-ees'-sl- mee), a celebrated Italian composerof church music and oratorios, in which lie greatly im- f>roved recitative and accompanin ents, and eft many works deserving to be betterknown than they are at present. Born at Rome 1604. Died 1674. Carlberg*, Gotthold (gbt'-hold kSrl'-barg), a German teacher, conductor, editor and com- poser, residing in New York. Born about 1837. A sharp and rather sarcastic writer in excellent English. Carnaby, Wm., Mus. Doc, an English com- poser of vocal music. 1772-1839. Carnaval (Ital.) carnival. The title of a set of fantastic pieces of Schumann, op. 9. CamaVal di Venise, a popular Venetian air, to which grotesque variations have been written by Paganini and many others. Carter, Henry, an English organist living in New York. Born perhaps about 1840. Carter, Thomas, an English composer of operas, a singer and pianist. 1735-1804. Cary, Annie Louise, a celebrated contralto singer, born in Maine in 1846. Catalani, Angelica (Sn-ggl'-g-k3 kSt-£i-m'. nee), a great singer born 1779. Died 1849. She had a soprano voice of ^reat compass, purity and power, and prodigious execution. Cateh, a round for three or more voices, the singing of which was exttemely fashionable in the reign of Charles II. Catel. Charles Simon (kS-tel), born 1773, died 1830. A French theorist, teacher of harmony, and composer of military music and operas. Best known by his treatise on Harmony. Catg^nt, the name given to the material for cer- tain strings. It is derived from the intestines of the sheep ; never from the cat. Cathedral IKCusic, music composed for the English cathedrals. Cavailie (kav-al-lS), a family of distinguished organ-builders in the South of France._ The present representative of the name is Ca- vaille-CoU, the distinguished Parisian organ- builder. Cecilia, St., a young Roman lady of noble birth, a Christian and a martyr of the second century. She has beer. long regarded as the patron saint of music and musicians, although there is no authentic evidence of her having had any musical accomplishment whatever. Celeste (Fr, sS-lest). An organ stop or tremu- lous eTjct, produced by a set of reeds or pipes slightly lower than the true pitch. Celtic lllasie was entirely melodic in charac- ter, no harmony being employed, except per- haps a drone (as in the bag-pipe). The scale consisted of five tones: Major, C d e g a; minor, A c e d g, and D e g a c. Several of the Scotch and Irish melodies, especially those in the minor keys, are of Celtic origin. K oft, S, add^ a «rw, © eve^ e end^ i ice^ \ ills o old^ 6 odd^ dove^ 00 moon^ a lute^ ii but^ U Fr. sound OEM DICTIONARY. CHR Cembalo (Ital.chem'-bal-o). A dulcimer. The addition of keys made it Claviercembalo, which see. Cembal d' Amore, ** cymbal of love," an old form of the Clavichord, which see. Cenerentola, La (Ital. ch6n-er-an'-to-la). An opera on the story of Cinderella by Ros- sini, libretto by Feretti. Produced in Rome, 1817. Chaconne (Ital. Chiaconna). An obselete , dance, probably of Spanish origin. It is in 3-4_ time, moderately slow, and in form of variations. Bach's Chaconne from his 4th sonata for violin solo is a very celebrated ex- ample. Chambeir IfnSiC, is the name applied to all that class of music specially fitted for perform- ance in a room, rather than in a large hall or church. The ** chamber " quality refers chiefly to the serious and elevated character of the thought, and the consequent difficulty of finding a congenial audience. Chanson (Fr. shSng-song). A little poem or song. Chansonette (Fr. shan-son-gf). A little chansonne. Cliang'e, any order in which the bells of a chime are struck. 2. A change of key. Cbant, a musical utterance in definite pitch, the rhythm of which is entirely determined by the needs of the words. Cbant, Sinsle, a chant, the music of which con- sists _(f but a single couplet. Each phrase consists of two parts, a chanting note and a cadence. Cbant, Double, a chant consisting of two coup- lets. Cbapelle (Fr. sha,p-ell), the chapel. Origin- ally the musicians of a chapel ; afterwards extended to include the choir and orchestra of a church, chapel or palace. See Kapelle, Chappell, William, a learned English musi- cian, born in 1809 in London. Author of " Popular Music in the Olden Time," etc. Character of Keys, a supposed difference in the emotional effect of keys, which, if it really exists, is probably due to absolute pitch. was pure, simple ; D maj., the tone of triumph ; E maj., joy, etc. Characteristic Tones, the fourth and seventh of the key, because these tones de- termine the tonic. ChaSSe (Fr._shS,s), the chase, hunt. Applied to music imitative of the spirit or actual sounds of the hunt. Chef (Fr. shSf ), chief. As Che/ eP attaque^ leader of the ist violins in an orchestra. Chernbini, Maria C. Z. S. (ker'-ii-been'-ee), an Italian composer born at Florence 1760, In 1822 he became Director of the Paris Con- servatoire. Died 1S42. C. was a prolific and talented composer in almost every depart- ment, but is best known by his treatise on ^'' Counterpoint and Fugue,** now superseded, and his favorite opera, *' The Water-Carrier." Chickering: &, SionS, an eminent firm of piano-makers, established in Boston, Mass., by Jonas Chickerin^ 1823. Chiming'. A bell is said to be chimed when she is swung through the smallest part ot a circle pos-^ible so as to make the clapper strike. Ringing tunes. ChirOplaSt (kl'-ro-pl^t). An apparatus in- vented by Lo^ier in 1814, designed to facili- tate the acquisition of a coriect position of the hands at the piano-forte. The C con- sisted in effect of a wrist-guide in two paral- lel bars, between which the wrist was moved, and finger-guides in thin plates of metal, con- fining each finger to the vertical plane over the particular key which that finger was to strike. Bohrer's " ha'id-guide" accomplishes a much better purpose. Chladni, Ernst F. F. (klSd'-nee), a German philosopher, 1756-1827. One of the first in- vestigators of sound, and the father of the modern doctrine of acoustics. Chopin, Fran9ois Frederic (sho'-pan), born in Poland March i, 1809. Died 1849. See Chap- ters on Chopin. Chorus* a body of singers. A composition to be sung by all the singers. Chorale (kor-Sr). A sacred song in slow and sustained tones. Choral Fantasia (ko-rS.1 f&n'-ta-sYa). A composition of Beethoven's, op. 80, for piano solo, orchestra, solo quartette and chorus. 1808. Choral Symphony, Beethoven's gth sym- phony, in the finale of which a chorus is in- troduced. 1824. Choralbuch (Ger. ko'-ral-bukh). A book of chorals. Chorister, a choir singer, or leader. Chord, a harmonic combination of tones, all related to the chief tone called the root. In consonant chords the root is the greatest com- mon measure of the series of vibrations com- posing the chords. Dissonant chords have one or more intruding tones not related to the root. These afterwards retire in favor of (resolve into) the consonant tone or tones they displaced. Choir, a body of singers. The part of a cathe- dral set a^art for the performance of ordinary daily service. Chorley, Henry F. (kor'-ly), an English jour- nalist, authorandart-critic. 1808-1872. From 1830 to 1868 he was associated with the "Athenseum." Authorof numerous sketches, vaoation letters, novels, etc., and libretti. Choron, Alexander E. (k5'-ron)j a French teacher of music, especially singing, and author of numerous articles, pre^ces, etc. 1771-1834. Christus, an oratorio projected by Mendels- sohn to form a trilogy with " Elijah " and " St. Paul." He finished only 8 numbers of it. Christns am Oelber^e, Christ on the Mount of Olives. Oratorio by Beethoven. Chromatic, literally colored. The name given to tones intermediate between the tones of a key. Also applied to tones written with ac- cidental sharps or flats. Chromatic Scale, a scale composed of twelve equally separated tones in an octave. The scale produced by the keys of a piano- forte struck consecutively from left to right, or the reverse. a/ff, a add.^ S arw, e eve^ S end^ i (Ve, \ ill^ old^ 5 odd^ 6 dove^ 00 moon^ u lute^ fi &ui, U /^r. so und CHR DICTIONARY. COM Chromatic Diesis (di-ee'-sfe). A Greek interval equal to 27-26. Chromatic Fugue, a fugue with a chro- matic subject. Chivatal, Franz Xaver, a prolific Bohemian composer of quartettes, symphonies, instruc- tion books, etc. Born x8o8. Chrysander, Friedrich, the illustrious Han- del scholar and editor of his worlu. B. 1826 at LUbthee. Church, John, a large music publisher of Cin- cinnati. B. about 1830. Ciaconna (Ital. tchS-kon'-na). A chaconne. Cimorosa, Domenica (che-mS-ro'-zah), an Italian musician and compo-^er of some 90 operas, the best of which is the // Matritnonio Segreio. 1749-180Z. Cinque (Fr. singk). Five. Cis (Ger. tsiss). C sharp. Cittern, or Cithera, an instrument some- what resembling the guitar. Of the greatest antiquity. Mentioned by Homer. Has wire strings, and is played with a plectrum. ClapiSSOn, Antoine Louis, an Italian com- poser, born 1808. Composer of 16 operas. D. 1866. Claque (Fr. kiak). An organized body of hired persons di-Htributed through a theater to create applause. Clari, Giovanni (j5-vSn'-nee klSr'-ee), an Italian composer of church music. x66g-i746. Clarinet, a musical instrument consisting of a small conical tube of wood about 24 inches long, with a trum|jet-shaped bell. The tone is produced by a vibrating reed in the mouth- piece. It has a reedy quality, and about three octaves compass. Much used in orchestral scores and military music. Clarke. John, Mus. Doc, an English composer of church music, songs, etc. 1770-1836. Classical, a term used somewhat vaguely in music. See Chapter XXVI. Clavecin (kl£v'-e-^n). The French name for harpsichord. Clavicembalo (kiav'-J-tch5m-ba'-lo). Ital- ian name for a harpsichord. Clavichord, or Clavier {klS,v'-l[-kord, or kl3iv-eer').^ A keyed instrument, shaped like a square piano-forte. Strung with brass wire, vibrated by means of ^'tangents," instead of hammers. Clef (k'Sf ), a key. A character written at the beginning of a staff to determine the pitch. \ The C clef represented middle C. The G clef represents the G next above middle C, and is now always written on the second line. The F clef, on the fourth line, represents F next below middle C. Clementi, Muzio (miid'-zio klem-en'-tee), An Italian' pianist and composer. Born at Rome 1752. Died in EngIanaiS32. Clementi was one of the greatest pianists of his day, and the author of a set of studies, " The Gradus^^ etc., stdl indispensable to the vir- tuoso. He was author of many sonatas and other pieces, and his sonatas were highly prized by Beethoven. Clementi lived throug^h the most memorable period in music. ^'At his birth Handel was alive ; at his death Beethoven, Schubert and Weber were bu- ried." His writings are characterized by great freshness, clearness and individuality. Clemenza di Tito, La (klSm-Sn'-zS dee tee-to). *' The Clemency of Titus," Mo- zart^s 23d and last opera. 1791. Climax, the summit. A point of culmination, in power or interest. Col (Ital. k5l), with, or at the same time with. As colla parte^ with the part ; colla voce^ with the voice. Coloratur (Ital. kol-or-a-tur), coloration. Runs or embellishments introduced in sing- ing. Combination Tones, tones produced by the coincident vibrations of two tones sound- ing together. Thus e' and g' sounded to- gether on a reed organ, produce middle C for a combination tone, which may be plainly heard. Combination Pedals, pedals serving to draw or retire organ-stops, and thus change the ''combination.*' Come (Ital. ko'-mS), how, as. Come sopra^ as above, etc. Comes (Lat. kd'-mees), the companion. The "answer" in fugue, A name given to the subject when it answers in another voice. Comic Songs, songs with ludicrous words. Comettant, Oscar (kom-met-tan), a French composer, pianist and musical critic on Le Slide. B. 1819. C. is an easy and humorous writer and a great traveler. Author of a few piano pieces and several books on musical or semi-musical subjects. Comma, a minute interval, represented by the ratio 80-81. Thus, e. £-., if E be tuned four perfect fifths above 8-foot C, it will be exactly a comma sharper than the same E tuned two octaves and a major third above the same C. Common Time, or 4-4, a measure consisting of four units, each written a quarter note. Primary accent on '* one :" secondary accent on " three." Commodo (Ital. k5m-mo'-do). Easily ; com- fortably. Communion Service, a set of anthems for P. E church service. Complementery Interval, that which added to any interval completes the octave. Inversion, is the change from an interval to its complement. Comp ements follow accord- ing to the two rows of figures here given, the sum of the names of any interval and its complement being nine : 1234S678 87654321 Perfect intervals have perfect complements. All others go^ by contraries. Major, minor; augmented, dimmished. Compound Intervals, intervals ^ater than an octave. Compound !$tops, a name given to organ stops having several pipes to each key. See Mixture. Compound Time, a measure composed -of two or more simple triple measures. 6=3X2, 9=3X3, i2=3X*. See '*Rhyihm'* in '* Ma- son s Technics. Composition, a musical work. The art of composing music. a ale^ & add^ % arm^ e eve^ @ end^ 1 icey I illy d old^ 5 odd^ d dove^ 00 moony u lute^ ^ buty U Fr* sound 13 CON DICTIONARY. COU Con (Ital. kQn), with. Con Brio, with spirit. Concert, a musical entertainment deriving its name from the concert of the musicians. Concerto (Ital. kon-tshar-to. Ger. Concert^ k6n-sairt). A solo piece for some instrument. with orchestral accompaniment. Classical concertos are written in sonata form. Concertante (Ital.) In style of a concerto. Concertini (kon-sur-tee'-nS). A portable instrument of the accordeon family. Is hex- agonal in shape, a key-board at each end, and an expansive bellows between the two. Compass of three octaves, capable cf great variety of effect. Concerted 9IusiC, music in which several instruments take important parts. Concert ^leister (Ger. kon-sart mis'-tSr). The leader of the first violins in an orchestra. Concert j^uirituelle (Gr. kon-sair spSr-it- oo-SH ). Sacred concerts. A famous institu- tion in France, consisting of '"sacred" con- certs on Sunday evenings in the opera house. From 1725 to 1791. Concert Pitch, the pitch, usual at concerts— slightly higher than the ordinary pitch. See "diapason,'* Concone, Guiseppe(gwe s6p'-pS kon-ko'-nS), a well-known Ital an composer of songs and exercises ; best known by these and his duets. Born at Turin, 1810. D. x86i. Concord, see consonance. Conductor, director of a concert. It is the conductor's duty to study the score, correct the parts and see that they are clearly marked, beat time for the orchestra and cho- rus at rehearsal and performance, and gen- erally be responsible for the due interpretation of the composer's intentions. Consecutive Fifths, parallel progression of two voices at the interval of a fifth. Uni- versally forbidden, except an imperfect fifth following a perfect. Consecutive Octaves, parallel motion of two voices at the interval of an octave. Ad- missible when intended for strengthening a mel'tdic phrase. The doublings which occur in the performance of a full score are unob- jectionable if the four-part harmony is pure. Conseq.nent. the more or less exact imitation of an antecedent. The serond or concluding section in a period. (See Lessons x, xi and xii.) Con Sordini (Ital.kSn sor-dee -nee). With mutes. See Sordino, Conservatory, an institution for preserving and ro>itering musical culture. The principiU conservatories in Europe are those at Leipsic, Stuttgart, Frankfort-on-the-Main, Paris, Berlin, etc. Consonance, the agreeable relation of sounds. Consonance depends on the fre- quency of coincident vibrations in the conso- nant tones. The mo«;t perfect consonances are the octave 2-r, the fifth 3-2, the fourth 4-3, the maj. third 5-4, the minor third 6-5, ete. Contra Bass, the double bass, the large<:t of the violin family. Also the name of a 16 ft. organ stop of metal pipes. Contra Dance, country^ dance. An English dance, in 2-4 or 6-8 time, consisting uni- formly of eight measure phrases. Derives Its name from the dancers being arranged over against one another {contrej. A series offiveor i»ix contredances form a Quadrillk, Contra i^'agOtt (Ger.) The double bassoon. Contralto (Ital.) The lowest female voice, distinguished by depth and fullness ot the chest registers. The head register is com- monly difficult of use. Contrary Itlotion, a contrapuntal term sig- nifying the movement of two voices in oppo- siie directions, up and down. Cor, orCornO (Ital. kor'-no). A horn. Cor AngflaiS (Fr. kSr an-gla). English horn, f oboe. It t tone. aienoroboe. It has a wailing and melancholy Corda (Ital. kor-dS), a string, or chord. Una Corda, one string ; :. ^., with the soft pedal. Corelli, Arcangelo (ar-k&n'-gel-o k6r-ell ee), an Italian violinist and composer, born 1653, died 1713. Author of many pleasing and melodic pieces for violin and string quar- tettes. Cornet, a brass instrument of the sax-horn family, with three valves. Also an organ stop of the '* mixture" family, which see. Coro (Ital. ko-ro). A chorus. Cos! Pan Xutti (ko-seefan toot-ee). An opera buffa in two acts, libretto by Da Ponte, music by Mozart. 1790. Costa, Sir Michael (mik- ell k6s'-la), the cele- brated English conductor, born at Maples in tSio. The composer oi a number of operas. ■ Costa became director of the Italian opera in London in 1833, Author of two oratorios, '^ Eli" and " Naaman," etc., etc. Cotillon (Fr. ko-ttl'-ySn). A country dance. Cottage Piano, an upright piano-forte. Counterpoint, the '' art of combining melo- dies,'' or of composing one or more independ- ent melodies capable of serving as accom- paniment to a given subject called the cantus /ermus. See Lesson v. Double counterpoint is one which may be inverted in the tctave, tenth, twelfth, etc., without giving rise to faulty progressions. The interval of the in- version gives the name to the counierpoini,as ** of the octave," " ot the loth," " the 12th,'* etc. The best practical tteatises on C. are those of Rucher, Lobe, and Dr. Bridges. Counter SUlrfect, the principal counterpoint to the "subject'' in fugue. Each voice on completing the subject tnkes up the counter- subject, while the answering voice takes the subject (or answer). Couperin, Fran9ois, called "Le Grande," a French composer of clavecin m usic, who exer- cised important influence on his successoi^. 1668-1733. Coupler, a mechanical device for connecting the keys of two key-boards on an organ so that they may be played as one. The usual couplers are " swell to great.'' " choir to grear" (played from '^great"), *'swell to choir" (played from ''choir"), "swell,' "great," and "choir to pedals" (played from pedals) There are also super-ortave and sub-octave couplers acting on another octave of the attached key-board. I ale^ S. add^ a arm^ e eve^ § end^ i icSy \ ill^ 6 old,, 6 odd,, & dove^ 00 jnoon^ u lute^ ti i 14 , ii Fr. souna coi; DICTIONARY. DAL Coarante (Fr. koor-&nf , from courzr^to run). A dance of French origin in 3-2 time, quick movement. 2. The Italian courante is more rapid, in running passages allegro or allegro assai in 3-8 or 3-4 time. The second movement in a suite, Coveut Oarden Theater, in London, opened Dec. 7, 1732. Several time? burnt and re-built. One of the two principal opera houses in London. Coiven, Frederic Hymen, born at Jamaica Jan, 29, 1852. Author of several operas and many popular songs. Lives in London. Cox and Box, a musical farce by Sir A. Sul- livan. Covered FiftllS, an implied parallelism by fifths, produced by the progression of two voices to a perfect fifth by similar motion. Cracovienne (Fr. krak-6'-vee-yan). The nati nal dance of the Polish pc^asantry around Cracow. _U has a rather sad melody in 2-4 time, and is accompanied by singing. Cramer, J. B. (ki^'-mSr), one of the principal founders of the modern piano-forte school, born at Mannheim Feb. 24, 1771. Lived mainly in London. Died in 1858. A prolific composer of sonatas, concertos, etc. Known now mainly by his famous "■ studies," though these are losing ground. Cramer, Henri, a talented composer of light pieces, operatic potpourris, etc., for the piano- forte. Born 1818. Has resided chiefly at Frankfort-on-the-Maine and Paris. Creation, The, an oratorio by Haydn. Pro- duce*d 1798. An extremely elegant and melodious work, but neither " sacred " nor " sublime." Credo (Lat. kre'-do), "I believe." The creed. One of the movements in a mass. Cremona, a town in Lombardy famous for its violin-makers, the Amati, which see ; also Stradivari and Guarnerius. 2. Sometimes applied to an organ stop as a corruption of "krum horn," Crescendo (Ital. krSs-shSn'-do). Increasing iamonds, opera of Auber, 1841. Cruvelliy Jeanne, a celebrated dramatic so- prano, whose debut took place at Venice 1847, Crivth (krooth). A Welsh instrument of the vi l:n family, 22^ inches long, loj^ to 9 inches wide, and 2 inches high. Very ancient. Played as late as x8oo. Csardast (tsch£Cr'-d£s). A national dance of Hungary, in two movementii, an andante and allegro, Liszt's Hungarian Rhapsodies are founded on old csdrdds. Cnrscliman, Karl F., born at Berlin, June 31, 1805. Died XS41. A popular song-wricer. Corvren, Rev, John, the great educator and apostle of the Tonic Sol-Fa method of sing- ing. Was born at Heckmondwike in York- shire, Nov, 14, i8i6. He was educated for the mini-^try, but in 1844 his attention was attracted by Miss Glover s school at Norwich, and he set about elaboiating the system of the Tonic Sol-Fa (which see). Its success was wonderful, and in 1862 he established the T. S.-F. College for the education of teai hers, Mr. Curwen's labors .had the effect of intro- ducing hundreds of thousands of singers in England to the oratorios and cantatas of Men- delssohn, Handel and Bach, who otherwise would never have known them. He^was es- sentially an organizer and teacher. Died May 30, 18S0, in London. Czar nnd Zimmerman, Czar and Carpen- ter, opera of Lortzing, founded on the story of Peter the Great. 1854. Cymbals, a Turkish instrument of percussion, consisting of two thin circular meial plates. Cyclic Forms, such as the suite, sonata, can- tata, etc. See Lessons xvi and xxvi. Cyther, see Zither. Czerny, Karl (tchar'-nY), an excellent piano- forte teacher and composer at Vienna. 1791- 1857. Among his pupils were Beethoven's nephew and Franz Liszt. He was modest and simple in his manner of life, and gentle in manners. C. composed an immense amount, little of which has artistic value. His once famous ** studies*^ are rapidly falling into disuse. They do not prerare for the roman- tic school of piano-forte music, nor even for Beethoven. I), key of, consists of the tones D, E, F sharp, G, A, B, C sharp, D. I>a (Ital. dS, also compounded with the article dai^ dalld)y from, from the, through, etc. l>a Capo, from the beginning. I>a Capo a1 Fine (dS kS'-po ££I fe'-nS), from -the beginning, ending at the word Fine. Dactyl (dSk'-tli). A poetic foot (— ^ ^\ Ex. : Brightest and | best of the | sons of the I morning -^ \ . JDactylion (dak-tilMon). An apparatus de- signed for strengthen!: g the fingers in piano practice, invented by Henri Hertz, but now disused. It consisted of a wooden bar paral- lel with the keys, and from this were sus- pend, by elastic bands, rings through which the fingers were passed, so that in pressing the keys increased force had to be employed in order to overcome the pull of the elastic cords. I>al ^e^O (Ital. dai san'-yo). Fmm the sign ; I. f., return to the sign ^^ and repeat as far as the word Fine, %^ a ate^ & add^ U. arm^ e eve^ 3 end^ i ice^ t ill^ old^ 5 odd^ 6 dove^ 00 moony u luie^ il ^»/, U Fr. sound 15 DAM DICTIONARY. DIA JL>ame Blanche, La (dam blSnsh)., The White Lady. Opera comique in 3 acts by Boieldieu, the libretto by Scribe, founded on Scott's "Monastery." 1825. Played the loooth time Dec. 16, 1862. Damp, to extinguish a vibration by pressing upon the string. Damiters, cushions of felt resting on the strings of the piano-forte in order to prevent vibration. When a key is pres ed the corre- sponding damper rises ; when the key returns to its place the damper falls on the_ string and extinguishes the tone. Damper Pedal, or simply Pedal or Ped., a mechanism in the piano-lorte, commonly but improperly known as " loud pedal," which raises all the dampers at once, thus allowing the vibrations of the strings to continue until gradually extinguished by the resistance of the particles. Dance 91 USic, music to dance by, or to sug- gest dancing. All musical forms, except reci- tative, had their origin in dances or songs. Dannrentlier, Edward (dSn-roit'-er), born at Strassbourg Nov. 4, 1844. \V hen 5 years old moved to Cincinnati^ O. Began his studies under Dr. F. L. Ritter, and continued them brilliantly at Leipsic, where he held all the scholarships. Settled in London in ^64, where he ** holds a high position as piano-forte player, teacher, litterateur, lecturer, and a strong supporter of progress in music." D. translated Wagner^s " Music of the Future.'* David, Felicien (dS'-veed), one of the most prominent i-'rench composers. Born at Ca- denet in 1810. Died Aug. 29, 1876'. David was laborious rather than gitted. His most successful work was his "Desert" 1844, an *' ode-symphony," a descripiivepiece in ihree parts, partly vocal and partly instrumental. His other greatest works are " Lalla Rookh " and a. popular comic opera, " La Perle du Brasil" 1851. David, Ferdinand, the celebrated violin teacher at Leipsic. Was born Jan. 19, 1810, and died 1871 D. was a great friend of Mendelssohn, and was by him appointed concertmeister of the G'^wandhaus orchestra in 1836, a position he held until his death. ,As a teacher David was strict but inspiring. Among his pupils are nearly all the promin ent violinists of the present day, foremost of them, of course, be- ing Joachim and Wilhelmj. As a virtuoso he was one of the mo^^t solid, and as a leaner he had the rare quality of holding together and animating the orchestra. D. edited with ad- ditional marks of expression and traditional nuances almost the entire classical reper- tory for the violin (Edition Peters). " He was pa ticularly fond of intellectual pursuits, was eminently well-read, full of manifold knowledge and experience.** Davidde Pemtante, II, a cantata for three solo voices, chorus and orchestra, by Mozart, 1785. Dayidsbnendler (dS'-vIds Mnd'-ler). An imaginary association of Schumann and his friends, banded together against pedantry, *' old-fogyism ** and stupidity in music. Day, Alfred, M.D., author of an important theory of Harmony, proposing considerable changes in its terminology, some of which have since been accepted. London. 1810- 1849. De (Fr. du), ord%of. Deborah, an oratorio of Handel's. 1733. No less than 14 of its airs and choruses are trans- ferred from other works of Handel. Debutant (Fr. da'-bii-tShn). One who makes a first appearance. Debut (Fr. da-bu). A first appearance. Decant (Lat. da-kS'-npe). Used in antiphons to designate the singers on the Dean's side of the choir, which in a cathedral is the south side. Deciso or Decisamente (Ital. dS-see'-so ord3-see -sa-men -te). Determined ; decided. Declamando (Ital. dSk-la-man'-do). In declamatory style. Declamation, the delivery of text with suit- able emphasis and intehigence. Decrescendo (Ital. da-kr6-shan -do). De- creasing ; with gradually diminishing force. Degrees, of the StaflT. eleven in number, viz. : the five lines and six app::rtaining spaces, Desrees in music, are two, Bachelor and Doctor. The former is comerred only on ex* amination and proof of fitness. (See Bache- lor J Doctor is also conferred on examination at Oxford and Cambridge, but in this country as an honorary distinction. Dehn, Siegfried Wilhelm (dan), a teacher of harmony, musical writer, and edit r of many of Ba h*s works. Born at Altona 1796. Died at Berlin 1858. Deliberate (da-lee'-ba-ra-to). Deliberately. Delioux, Charles (d@l^-l-oo). A French pian- ist and (Tomposer. De]fcato*or Con dellcatezza (del-Y-kS- t5 or dSl -I-kSr-tSd-za); Delicately, or with delicacy, Demi -semi -quaver, a thirty-second note. Depjie, Ludwig (lood'-v3(g dSp'-pS), a distin- guished conductor and teacher of music, and especially of the piano-forte, concerning which he holds many new theories, or, as his ene- mies think them, "hobbies." Born Nov, 7, 1828. Des (Ger.) D flat, Destra (Ital.), right. Mano destra, the right hand. Dettingen Te Denm (det'-Tfn-gen), writ- ten by Handel to celebrate the victory at Dettingen, 1743. Dens Ulisereatur, "God be merciful unto us," Psalm Ixvii. Deux Journees, Les, comedy lyric in 3 acts. Music by Chernbini. 1800. Known in Ger- many as '' Der Washer trSger," and in English " The Water-Carrier." Beethoven thought the book of this opera the best in existence. Devrient, Eduard Phillip, a distinguished baritone-singer and musician; and a particu- lar friend of Mendelssohn. Born at Berlin x8oi. Devirs Opera, in two acts. Music by G. A. Macfarren. 1838. DiabelU, Anton (dee'-a-bSl'-lI). head of the firm Diabelli & Co., music publishers in Vienna, and composer of piano-forte and church music. Born at Salzburg Sep. 6, 1781. Died 1858. 6 1-1/ a tf/f, a addy 'i. arm^ e eve^ 5 end^ I ice^ 1 illy oldy 5 odd^ 6 dove^ 00 ntoon^ u lute^ ii but^ ii Fr. sound x6 DIA DICTIONARY. DOL Diamants de la Conronne, Les, ^*The Crown Diamonds,'' comic opera in 3 acts. Words by Scribe, music by Auber. 1841. Diapason (di-a-pa'-son)> Originally meant through an octave. In French it means '* standard of pitch.'* In English, the name of the most important stop in an organ. (See Organ.) Diatonic, "through the tones," i. e.^ through the tones proper to the key without employ- ing chromatics. Applied to scales and to melodies and harmonies. Dibdin, Charles, an English actor, singer, and prolific composer of popular stage pieces, among which are some 6u operas, etc. 1745- 1814. Dictionaries of IHnsic. The best are the large German Conversations -Lexicon of Mendel (11 vols.); ^'^ Biographie Universelle des Musiciens^''^ by J. L. Fetis (8 vols. 8 vo.), and Grove's " Dictionary of Musicians " (2 vols, large 8 vo., Macmillan & Co., 1879-80), to which the present summary is largely in- debted. Diesis, a very small interval, about an eighth of a tone. Its ratio is i25-i28._ It occurs be- tween two tones, one of which is tuned a per- fect octave to a given bass, and the other three perfect major thirds above the same bass- Dies Irse (de-az e-ra). ** Day of Wrath," a celebrated old Latin hymn, which is the sec- ond number in the Mass for the Dead. Dilettante (Ital. deel-a-t3.nt'-a, from deli- tare^ to love). One who feels an^especiaHn- terest in an art without making it his principal business. Also used in an unfavorable sense, of one who pretends to a considerable knowl- edge of an art which he has never learned. Diminished Intervals, those derived from minor or perfect intervals by chromatic dim- inution ; e. ff.y perfect fifth, C G ; diminished fifth, C G3. Diminution, a term used in counterpoint to denote the repetition of a subject in notes of less value, as halves by quarters, etc. Diminuendo (Ital. dim-in-oo-ftn'-do). Di- minishing in power. Dinorali (dee'-n3-rS). The Italian title of Meyerbeer's opera, otherwise known as " Le Pardon de Plffirmel,*" in 3 acts. 1859. Direct, a mark formerly used at the end of a page in music to warn the player of the first note over the leaf. Direct IHotion, motion of parts in harmony in similar direction. DiS (Ger.) D sharp. DiSCant, originally the counterpoint sung with a plain song. Thence the upper voice in part music. In earlier English, air. Discord, the inharmonious relation of sounds. D. depends on the want of common measure betweei^the two sets of vibrations producing the discord. D. and dissonance are often used as synonymous, but not properly. The latter is a discord properly introduced and re- solved. Dissonance, a discord, A combination of notes which on sounding together produce Beats. (See Discord.) DiSSOluto Pnnito, II Ossiail Don Giovan- ni. Full title of Mozart's famous opera now- known by the last part of its name. See Don Giovanni. Dittersdorf, Karl Ditters von, a distin^ guished violinist and prolific composer of operas, popular in their day, and an intimate friend of Glilck and Haydn. Born at Vienna, 1739. Died 1799. Divertimento (Ital. dee-var-tee-man'-to). Divertisement. A name given by Mozart to 22 suits of pieces, ranging from 4 to 10 move- ments each, for strings, wind and strings, and various chamber combinations. Divertissement (Fr.) The same as the pre- ceding. Applied to a kind of short ballet ; also to potpourris. Divise (Fr. dS-vee'-sa). Divided. Used in scores where the 1st violins or soprani are di- vided- into an upper and lower part. D major, a key containing the tones D, E, F sharp, G, A, B, C sharp, D. D Minor, a key containing the tones D, E, F, G, A, B^, C sharp, D. The relative minor of F major. Do (do). The_ syllable applied to the first tone of the scale in sol-faing. Doctor of HEusic, the highest honorary de- gree in music. The candidate at Oxford or Cambridge must pass an examination in Har- mony,_ Ei^ht-part Counterpoint, canon and imitation in eight-parts, Fugue, Form, In- strumentation, 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. An " Exercise" is required in advance, which may be sacred or secular, in good eight-part fugal counterpoint, with ac- companiments for full orchestra, of such length as to occupy from 40 to 60 minutes in perform- ance. After passing the previous examination the candidate must have his composition pub- licly performed with orchestra and chorus in Oxford or Cambridge at his own expense, and deposit the MS fulfscore in the library of the Music School. The fees amount to about ;^zo. Dolller, Theodor (diih'-lSr), of a Jewish fami- ly, born at Naples 1814. Died at Florence 1856. An accomplished pianist and composer of salon music. Doi^te (Fr. doig'-ta, doigter^ to finger). Fingered; z*. e.y the proper finger-application marked. Doering, Karl Heinrich (dii'-ring), an eminent composer and pianist of the present tirfte. Born 1834 at Dresden. D. is author of pieces in various departments ; piano pieces, masses, songs, and articles about music. Dolby, see Sainton-Dolby. Dolce (Ital. dol'-che). Sweetly. Alsothename of an extremely soft 8 ft. string-toned organ StOD. DoleiSSimo (Ital.dol-chees'-J~mo), Superla- tive of the preceding. Dolente (Ital. do-lan'-tS, also doientamente, dolentissimor con dolot^e^ con duoio^ all 01 which mean substantially the same thingi. In a plaintive, sorrowful style ; with sadness. Doloroso (Ital. d5-lor-5'-sp). Grievingly. SkOle^ & addy sL arm., e eve^ 8 end^ i /«, I ?//, oid^ 6 oddy 6 dove^ 00 moon,, u lute^ u but^ U Fr. sound- 17 DOM DICTIONARY. DRO Dom Choir (dom). The choir of the dom or cathedral church. The three celebrated evan- gelical choirs of this name in Germany, are those of Berlin, Hanover and Schwerin. Pominant (d5m'-in-ant). Ruler. The aame now given to the fifth tone of the key, count- ing upwards from, the tonic. The i). is ihe key next in importance after that of the tonic, and is the one into which modulation is first made. l>oniino Xolr, Le Cd6m'-in-o nwar). The Black Domino. Opera comique in 3 acts. Words by Scribe. Music by Auber. 1837. I>Onizetti* Gstano (ga-t£ -no ddn'-y~zgt'-tY)i one of the most distinguished Italian com- Sosersof light operas. Born at Bergamo ^798. lied 1848. D. was a composer highly gifted with melody and with sparkling sentiment, as well as with a certain amount of dramatic ability. His success was eariy and decided, and lasted all hi-^ life. ' His principal operas were "Anna Bolena " 1831, •" Elisir d' Amor " 1829, " Lucrezia Borgia" 1834, "Lucia di Lammermoor" 1835^ Belisario 1836, " Po- liuto" 1838, "La Fille du Regiment,'' 1840, " La Favorita'* 1842, " Linda de Chamounix* , 1842, " Don Pasquale " 1843. I>On Carlos. >.. Opera seria in 3 acts, by Costa, 1844. 2. Grand opera in 5 acts, by Verdi, 1867. I>on Giovanni (don jo-vSn'-ee, in German, " Don Juan "). Opera buffa in 2 acts by Mozart. Producel at Prague Oct. 99, 1787. (The overture written the night before.) I>on Pasquale (p3.s-kw£ir-a). Opera buffa in 3 acts, by Donizetti, 1843. I>on Quixote (ke-ho'-ta). Comic opera in 2 acts, by G. A, Macfarren, 1846. JDonna del Ijago, La (IS -go). The Lady of the Lake. Opera in 2 acts. Music by Ros- sini, 1819. Doppel Schlag: (Ger) A Turn, which see. J>OppiO (Ital.) Double ; e. g.^ doppio movt- mento^ at double the movement — twice as fast ; doppio pedale^ with pedals doubled. I>OppeI Flote(Ger.dop'-p5lflut'-a). Double flute. An organ stop composed of wooden stopped pipes wi h two mouths. Doric ]flode. or Uorlan, a church mode from D to D in naturals. Many old German chords are written in this key, as "Vater unser," " Wir glauben all," etc. Dorn, Heinrich (Ludwig Edmund), a musician of the present in Germany. Bom at Konigs- berg, Prussia, Nov. x8, 1804. Dom is one of the first conductors of his day, a melodious con>poser of operas (10 in nuniber), many symphonies, overtures, piano-force pieces, etc. J>Ot, a point placed after a note to indicate that its length is to be increased one half. A sec- ond dot adds half as much as the first. ]>onble I>Ot, two dots after a note, adding three-fourths to its value. Double Bar, two lines, or one heavy line, across the st iff to indicate the end of a strain, or of line of text in church music. 'I'he double bar does not properly have any refer- ence to measure. Double (Fr.) A turn. Also an old name for variation. Double Bass, the violon, the largest of th" violin family. Double Chorus, a chorus for two choirs and eight-p^irts ; as, e.g.y in Handel's " lar^el in Egypt." Double Concerto, a concerto for two. in- struments at once. Double Flat, hby two flats before the same note, representing a depiession equ '1 to two Semi-tones, B^^ being the same on the piano as A natural. Double Fu^ue« a fugue on two different subjects which are afterwards combined and worked together. Double illouthed. an organ pipe having two mouths, in front and rear. Double Tongulng;, a method of articulating applicable to flutes and cornets. Effective in staccato passages, but requires long practice. Double fi$liarp, jr, a character representing a chromatic elevation equal to two semi-tones. Doivland, John, Mus. Bac, an English com- poser and musician, author of many books of songs and airs. 1562-1626. Doi)fnn Beat, the downward motion of the hand in beating time, marking the beginning of the measure, Dragonetti, Domenico (do-mSn -ee-kp drag- on-nSt'-tee), one of the greatest known per- formers upon the double bass. Born at Venice in 1755. A friend of Haydn, Beethoven, Sechter, the theorist, etc. D., at th : age of go, headed the double basses at the Beethoven festival at Bonn, in 1845. Died in London, X846. Drama, a play for the stage. Drammatico (It.) In dramatic style; z. e.^ with forcible and effective exprebsion. Drei (Ger. dri). Three. Dressel, Otto (dra -s^l), a refined and elegant pianist and highly cultivated ai.d poetical musician, born at Andernach-on-the-Rhine in 1826. He made his higher studies with Fr. Hiller in Cologne, and Mendelshohn at Leipsif. Came to Bot>ion 1852, where he has ever since resided, and where his influence has been highly important. Has composed much piano-forte muiiic, as well as songs, chamber quartettes, etc. Dreyschock, Alexander (dri'-shfik), born at Zachi, in Bohemia, Oct. 15, 1818. Died in Venice 1869. Dreyhchock was an extremely correct and remarkably brilliant virtuoso pianist. He traveled throughout Europe, giving concerts wiih great success, for abuut twenty years, after which he settled at Prague as a teacher. Among his American pupils were Nathan Richardson (about five years), and Wm. Mason (one year). Droit (Fr. drwSt). Right. Main droits^ right hand. Drone, the name given to the three lowest pipes of the bag-pipe, which sound coniinu- ally while the instrument is being played. They usually give two octaves of the key-uote D, and the fifth A. Drouet. Louis F. P. (droo-a), one of the most famous flute-players and composers for the flute. Born at Amsterdam 1792. Died 1873, a ale^ §• add^ M arm^ e eve^ 3 end^ 1 ice^ I zV/, 5 old^ o odd^ d dove^ 00 moon^ u luie^ il but^ 'A Fr. sound 18 DRU DICTIONARY. EGM Drum. Drums are of several kinds ; (i) asingle skill on a frame or vesbei open at bottom, as the Tambourine, Egyptian drum. etc. • (2) a single skin on a closed vessel, as Kettledrum ; (3) two skins, one at each end of a cylinder, as ihe side-drum, snuet (du-St'). A piece of music for two per- formers. ]>uettO (Ital. du-St'-to), A duet. J[>uettino (Ital. dti-St-ee'-no). A little duet. I>alciana (diil-si-a,n'-S,). An organ stop of a sweet, stnng-like quality of tone. In the great or choir organ for accompanying solos in the swell. I>1llniiner, a trapeze-shaped instrument of about three feet in greaieat width, strung with fine brass or iron wires, from three to five wires to eacti noie. Its compass was 3^ octaves, and it was played by means of small hammers held one in each hand. The D. is the proto- type of the piano-forte. Duleken, Madame Louise (dul'-kSn), a great piano-forte player, sister of Ferdinand David, born at Hamburg^ March 20, 1811. Was pupil of Grund. Married in 1828, and removed to London, where she resided the rest of her life. She was "an executive pianist of the first order, with remarkable brilliancy of finger, an intelligent and accomplished wo- man, and a very successful teacher.* Queen Victoria was one of her pupils. Died April 12, 1850. Dnlcken? Ferdinand, son of the preceding, bora at London about 1837. Taken by Men- delssohn to Leipsic at an early age, where he was educated under the immediate super- vision of Mendelssohn and his uncle, Fer. David. Dulcken is a good pianist, a superior accompanist, a good conductor, and a remark- ably talented composer and arranger. I>110 (Ital. dii"-5). Two, hence a duet. I>UO Concertante (kSn-tsher-tSn'-tS). A duo in which each part is alternately princi- p..l and subordinate. ]>Upont, Auguste (du-p5nt'), a. prominent Bel- gian piano virtuoso anJ composer. Born 1828. Since 1853 professor of piano m the Brussels Conservatorium. Author of string quartettes, piano trios and sonatas, dtudes, salon pieces, etc. naprez, Gilbert (du-praO, a famous tenor in Paris, 1825-184^, and professor of singing at the Conservatoire, 1842-1S50. Born itjo6. Oarchfuehrnng (Ger. durk - fee'- riing). Carrying out, or elaboration of motives, bee Lesson xv. l>ar (Ger. diir). Hard. German name of the major mode. Dassek, J. L., one of the most renowned pianists and composers of the latter part of the 18th century Born at Czislau 1761. Died 1S12. Author of many elegant pieces for the piano. I>UX (Lat. dilks^. The subject in fugue. Unvernoyf Charles, a French composer and elementary teacher in the Conservatoire, B. 1820. I>uvemoy, J. 6., a well known music teacher and pidno comnoser in Paris, author of many studies, an eiementary school, etc. Dykes, Rev. John B., Mus. Doc. (diks , 1823^ 1876. Auth r of several services and l.ymn tunes. Vicar of St. Oswald,' Durham, Eng. Oiviglllt, John S., one of the most cultivated and in fact fur many years the leading musi- cal critic of America, was born in 1820. Graduated at Harvard. Was one receding, was also a promising composer of chamber music, songs, an opera, etc. i82i>-iS49. a a/*, & add, S arm, e eve, S end, I ice, l ill, 6 old, 6 odd, 6 dove, 00 moon, ii lute^ u but., U Fr, sound FET DICTIONARY. FLO 3Feti8, Francois Joseph, (fa-tee), the learned, laborious and prolific musical liti^rateur, auihor of a " Biographic Universelle des Musicieas" and ^* Histoire gdn^al de la Musique,'^ as well as several operas, theo- retical works, and many critical essays. Born at Mons 1784. Died at Pru!.rels 1871. F^tis was founder of ^* La Revue Mnsicale^' in 1827. His Biographie is marred by many errors of dates. Festivo (Ital. £Ss-tee*-vo), festively, solemnly. Festoso (Ital. fSs-to-z6), joyously. Fiasoo (Ttal. fee-as -ko), applied to a failure in performance. Vidello^ Oder- die eheliche Liehe (fl-da'-llo) "Fidelio, orConjugal Love," Beethoven's single opera, in 3 acts. Op. 72. 1804. Field, John, born at Dublin, July 26, 1782, Died at Moscow 1837. One of the most charming pianists of nis day, a good compo- ser, and deservedly celebrated as the founaar of the *^ nocturne'* as a separate musical form. Field Mosic, Military music (which see), FierrabraS (feer'-rSb-rSis), an opera in 3 acts by Schubert. 1823. Fier (Fr. feer), or ^z^o, (Ital. fe-a'-r5), proud, fierce. Fieramente (Ital. feer'-S.-mSn'-tS), proudly, fiercely. Fife, the smallest variety of the simple flute, possessing but one key. Higher octaves are proddced fay over-blowing. Used in military music. FiJfth, the interval between any tone of the scale and the next but three above or below C G, DA, E B, etc. The perfect fifth has the vibrational ratio 2 : 3. Fifteenth., the interval of two octaves. An organ stop of diapason tone, 2 ft. pitch. Used only in chorus effects, for brightening the somewhat dull tone of the 8 ft. stops by strengthening their overtones. Figaro. (See Fig ;ro*s Hochzeit.) Figaro's Hochzeit. Opera in 3 acts, by Mozart. 1786. Figurante (Fr. fXg'-u-rant), a ballet-dancer, who takes an independent part in the piece. Figure, a motive. Any short succession pf notes, or group of chords, used as a model in sequencing. See Lessons i, 2, and 19. Figured Bass, a bass furnished with tho- rough bass figures indicating the accompany- ing chords. Used in scores as a convenience to the accompanist, and ati additional assis- tance in correcting typographical errors. Many of Handel's arias have no other written accompaniment, the composer filling it out from this short-hand. Figured Chorale, a harmonized choral, having one or more of the parts contrapun- tally developed and ornumented. Fille du Regintent, La (feeldu RSgiman), " The Daughter of the Regiment," opera in 2 acts, by Donizetti. X840. Finale (Ital. fen-S'-lS), the finale, the closing movement. Of sonata finales see Lesson 15. Opera finales consist of several single pieces strung together in cumulative succesaion, until a climax is reached. Fine (Ital. feen'-S), the end. Placed over a bar indicates that the piece ends thsre after a da capo. Fingering, the mode of applying the fingers to the keys in the execution of passages, z. The mode of designating the fingers by nu- merals! A tnerican fingering designates the thumb and four fingers by X 1 234. F'or- eign fingering denotes the thumb by the nu- meral I. The same scale would be marked in the two ways as follows, the same fingers being indicaied in both methods, American. X12X 1234. Foreign. ^ i 23 1 2345. Foreign fingering is gradually supersed- ing the other on account of the constantly increasing use of foreign copies of classical music, especially the Peiers' Edition. Finic, Christian, a distinguished organ virtuoso and composer for the orgestino, La (ford-zS dSl dSs- tee'-no). Tragic opera by Verdi. 1862. Fourth., the interval between any tone of the scale and the next but two above or below. The perfect fourth has the vibrational ratio 3 = 4- Fra DiaTOlo (frS dt-Sv'-5-l6). Opera in 3 acts by Auber. 1830. Fradel, Charles (frS'-dSl), a German musician, piano teacher, composer and arranger, for many years resident in New York. Born in 1821. Franz, Robert, the most distinguished song- writer, and one of the foremost musicians of the present time. Born June 28, 1815, at Halle, Handel's birth-place. Franz studied music against his parents' wishes; when his first set of 12 songs (1843) were published they attracted the favorable notice of Schu- mann and afterwards of Gade, Mendelssohn, etc., after which he had a pleasanter time. His hearing becoming affected, he was obliged to relinquish (in 1868) his employment as or- ganist and lecturer on music at the University of Hall^. Franz is the author of very many songs, and of many other compositions. Be- sides which, he has added missing parts to several of the scores of Bach and Handel, thereby rendering them available for modern use. Free Reed, a reed in which one end of the vibrator or tongue swings entirely through theopening in tne metal socket at each vibra- tion. Opposed to ' ^ impinging " reed, in which the vibrator beats upon thesocket. Freereeds are used in accordions, flutinas,_melodeonSj harmoniums, reed organs, and in free reed organ pipes, the chief of which are the '^euphone" and " vox angelica. " Free Fugue, a fugue in which the rules are not strictly observed. Free Style, or simply Free Composi- tion, Composition in which the rules of part writing are not observed, and no stated number of voices is maintained. FreiSChuetz, Der (fri'-sheetz), '' The Fre«- shooter." Opera in 3 acts by Weber, 1821, French. Horn. The orchestral horn, a brass instrument consisting of a very long tube curved into a circular form, and furnished with valves like a sax-horn. It produces a beautifully clear and mellow tone, or it can be blown brilliantly like the trumpet. Very difficult of intonation. Freneli Sixth. A name sometimes applied to the sharp 6th, 4th, and 3d. Frescobaldi, Girolamo, the most distin- guished organist of the rrth century. Born at Ferrara about 1587. Was organist of St. Peters, at Rome, from 16x5. Published many works for the organ and for voices, the last of which appeared about 1657. Frets, small pieces of wood or metal fixed transversely on the fingerboard of the guitar and lute for the purpose of marking the place for applying the fingers. Froberger, Johann Jacob, (fro'-bar-gSr), an eminent organist, born at Hall^. Was ap- pointed court organist to the Emperor Fer- dinand III., in 1635-1695. Was a pupil of Fresco baldi, FriSCh (Ger.), lively. Froelich (Ger. frii-llsh), joyous, gay. Fug^atO (Ital. fu-gS'-to), an irregularly con- structed movement in fugue style. Fnghetta (Ital. fu-get'-tS), a short, but strictly composed fugue. a a/if, a 0c^, a arm.^ e eve^ @ end., ! zV^, I ///, o old., 5 odd^ d dffve^ 00 moon.^ ii lute^ u but., ii Fr. sound 24 FUG DICTIONARY. GI-IY Fugue, or Fusa (fug), from fugare to fly. A composition developed from a single sub- ject which is taken in turn by each voice, answering each other according to certain rules. Fnsue, Double, a fugue with two subjects, both of which are finally introduced together. Full Authem, an anthem in which there are no solos, or duets, but continually chorus. Full Cbord, a chord lacking none of its tones. A chord with many doubles, extending through several octaves. Full Organ, implies generally the use of all the stops in the Great Organ. To this may be added the principal registers of the other manuals. Full to Fifteenth, a direction for the use of all the stops of the Great Organ, except the mixtures and reeds. Full Score, a complete score. See Score. Fundamental Bass, a bass consisting of the roots of the chords only. See Root. Funebre Fr. fu-nabr), funeral, mournful. Marche fun^hre^ funeral march. FUOCO (Ital. foo-o'-ko), fire, energy, passion. FUOCOSO (Ital. foo-o-ko'-zo),. fiery, ardent, impetuous, Furia (Ital. foo'-re-a), fury. Fnrie (Fr. fii-re), fury, passion, rage. Furore (Ital. foo-ro'-rS), fury, passion, rage. Fuss (Ger. foos), a foot. Furniture, a name formerly applied to cer- tain mixture stops, in the organ. Fux, Johann Joseph, a celebrated theorist, author of the Gradus ad Parnassutn^ a trea- tise on composition, written in Latin in the form of a dialogue, for many years the stand- ard text-book in harmony. F, was a prolific composer of sonatas, masses, motets, hymns, dramatic works, etc., all of which are now antiquated. ' Born at Gratz in 1660. Died at Vienna, 1741. Cr (inltai. and French Soi)^ the fifth of the scale of C. Keynote of a scale. Name of a pitch. Crabriei, Virginia, pseudonym of an English lady, the author of many popular songs. Crabussi, Vincenzo_(ga-boo>-see), composer and teacher of singing. Born at Bologna 1804, and educated there. He went to London in 1825, where for about i^ years he was a teacher of singing. Returning to Bclogna he brought out his opera " Ernani,"'^ in 1840, and ''Clemenza de Valois," without success. Died in London, 1846. Gade, Neils (ga-d6), one of the most gifted and accomplished of living composers and conductors, was bom Oct. 22, 1817, at Copen- hagen. Studied music early, in 1841 he was "crowned'' for his '"Ossidn" overture, and went immediately to Leinsic, where he was warmly' received hy Mendelssohn and intro- duced to the public. In 1845-6 he acted as sub-conductor to Mendelssohn at Leipsic, but in 1848 he returned to Copenhagen, where he still lives. G. has published 7 symphonies, 5 overtures, several cantata^, etc. His music IS melodious, pleasing, refined, poetic, and in a style similar to Menaelssohn*s. Ciaertner. Carl, a German musician and teach- er of the violin and singing. Born about 1830. Came to Boston in 1852, where he has since resided. Oalop (gal -6), a spirited round-dance in 2-4 time, usually in bmary form. Oaniba, Viola da, (Ital. gamba^ leg), a knee violin^ an obsolete si ringed instrument, re- sembling the violoncello, but originally fur- nished with frets like the guitar. It had 6 or 7 catgut strings, the lowest 3 spun with wire. Tuned D (below the bass staff) G, C, E, A D, and G. Oamba, or, Viol da Oamba, an organ stop of 8 ft, pitch and strmg quality of tone. Generally in Great Organ. tjraniut^ the scale. The word means ^«»zw2« and m/, the latter the first tone of the scale, and the former the letter which represented it. Now obsolete. Cranche (Fr. gozh), left, as gatcche main^ left hand. (From the same root as "gawky,'* awkward.) Garcia, Manuel (gSrts'-zeea), a Spanish teach., er of singing, the original investigator into the anatomy of the vocal organs and the physio- logy of singing, and the first to use the laryngoscope. Born at Madrid 1805. Came to America with his father, the celebrated tenor, and his sister Malibran, in 1825. In 1847 he was appointed teacher of singing at the Paris Conservatoire, and among his pupils were Jenny Lind, Kate Hayes, etc. Qardiner. Wm., author of the interesting but desultory jjook " The Music ot Nature, and other writings about music, was born at Lei- cester, England, 1770. Died in 1853, Oavotte (gS-votJ, a French dance, deriving itsname from the Gavots in Dauphine It is in common time, moderately quick, in the ancient binary torm. Oazza JLadra. Ija (gSd'-zS la-dra), '* The Thieving Magpie," a comic opera in 2 acts, by Rossini. 1817. Gedacht (Ger. ga-dSkt'), covered. Gedacllt-lVork, all the flue pipes of an organ that are closed or covered at the top. Oegensatz (Ger. ga'-gen-satz, against-piece), a contrast. Oeigren Principale (Ger. gi'-gSn prln-siT- pSl') iroxa. geigf.n^ a stting-toned diapason or- gan stop, of 8 ft. pitch. Usually in the choir. CreniSborn, a string-toned organ stop, gener- ally of 8 ft. pitch. The name is not now much used. Its pipes were metal, small scale, with bells. Gemuender, George, one of the most distin- guished and successful violm-maker'? of the present time. Born 1816 in Ingelfingen in Wurtemburg. Came to London m 1851 and some ten years later to New York or Brook- lyn, where he still resides. G. has re-disco- vered several of the ancient processes. €reSChwind(Ger. ge-schvlnd'). Quick; rapid. Creivandhaus (Ger. ^ gg-v£Cnd'-hows). The name of a famous series of classical concerts, given every season in Leipsic since 1723. IjrliyS, Joseph (geez), a distinguished Belgian violinist and composer, born 1804. Died at St. Petersburg, 1848, ^.eUCy £L add^ a arm^ e eve^ § end^ l ice^ I z7/, old^ d oddy Q dove, 00 ntoon^ u iute, ^ but^ tl Fr, sound GIA DICTIONARY. GOT Oiardini, Felice de (jlar-deen'-ee), an emi- nent violinist^ bom at Turin 1716. Came to London in 1750, where he made a great suc- cess, and afterwards became a popular con- ductor. Author of many chamber composi- tions. 1). ijgb. Gibbons, Orlando, Mus. Doc, an old English cathedral composer. 1583-1625. Cwi^a (Ital. jee'-gS). A jig, or lively dance in triplets, either 3-8, 6-8, 3-4, 6-4, or 12-8. Oigue (Kr. jig). A jig. CriOCOSO (Ital. jlo-ko'-zS). Jocosely ; humor- ously ; playfully. Oioja (Ital. jio -ya). Joy ; gladness. Oipsy's ^ Warning, The, opera in 3 acts by Sir Julius Benedict. 1838, tiiuramento, II (joor'-a-man'-to), "The Oath.'* ^»-fl7«»zaj^?-;(7byMercadante. 1837. Giusto (Ital. joos-to), just. In equal, steady time. Cclseser, Franz (gla'-zSr), composer and opera director, born in Bohemia 1798, studied at Prague, and in 1817 became opera director at Vienna. Here he brought out his best opera, " Des Adlers Horste " 1833. In 1842 he was called to Copenhagen, where he died in x86i. 0160, a piece of unaccompanied vocal music for at least three voices, and for solo voices, usu- ally for men. [Grove.] The word is from An.-Sax. gligg^ music, and glees are in every vein of feeling. Oiyria in Kxcelsis, ^' Glory be to God on High," otherwise known as the ** angelical hymn." Pact of all the great Christian liturgies. CrlOTer, William Howard, an English violin player, opera composer and song-writer, in. the latter of which capacities he is generally known. Bom i8iq. Died in New York 1875, Olnck, Christopher WillibaldRitter(gliik), was bom July 2j 1714, at Weidenwang in the Upper P'ilatinate. In 1736 went to Vienna, where he was seen by Prince Melzi, who en- gaged him for. his private band and took him to Milan to study. His first opera, " Artaser- se," was written in 1741. In 1745 he went to , London as composer of operas for the Hay- market theatre. He made no success in Eng- land, and returned to Vienna in 1746, After six years of insignificant activity here, he produced in 1762 his " Orfeo." in which he entered upon the period of his real maturity ; in this he compobed *^Alceste," '^Artnide " and *' Iphigenia," the latter of which was the greatest dramatic work composed up to that time. Gluck brought out this w rk in Paris in 1774. In 1780 he returned to Vienna where he died of apoplexy. Nov. 15, 1787. Gluck^sinfluence on musical develnpment has been very great. The dramatic principles which he promulgated have never been dis- puted, and but little has been added. As a melodist he was not unlike Mozart, but much less spontaneous. Goddard, Arabella, one of the most distin- fuished English lady pianists. Born 1838. tudied with Kalkbrenner and Thalberg, and Mr. J. W, Davidson, Editor of the London "Musical World." She made conti- nental concert tours in '54 and '55. In i860 she was married to_ Mr.^ Davidson. Visited America in 1873. Lives in London. Oodfrey, a family of English hand-masters. Daniel^ the well-known waltz composer, took his band to the United States in 1872. Born 1831. Master of band of the Greuadiei Guards since 1856. God Save the Kins* the English national air. First sung by Henry Carey, the com- poser, in 1740. Godefroid. Felicien, a distinguished French harp virtuoso, and composer for the harp and^ piano. Born 1818, was educated at the Conservatoire, and has made many bril- liant concert tours. Lives independently at Paris. Gockel, August, a noted German pianist and composer. B. X831. Studied at Leipsic 1845 and after. Wasin America 1853-18^6. Author of many pleasing and elegantly writ- ten works. Goldbeck, Robert, a talented composer and pianist, and a brilliant critic, litterateuT and teacher, now living (1880) in St. Louis, Born ill 183^ at Potsdam. Studied with Henri Litolff. and in 1851 went to Paris. In 1856 to London, wherethrough Alexander von Hum- boldt he was introduced to the Duke of Devon- shire, through whose patronage his operetta, "The Soldier's Return," was brought out at Drury Laqe. Came to New York 18^7, and in 1868 to Chicago, where he lived umu 1873, at the head of his conservatory, and com- fiosed many important compositions, especial- y a quintette and trio, and some much admired part-songs. Goldmarlc, Karl, a brilliant Austrian com- poser, bom in 1832 in Hungary. His first compositions, a psalm, overture, etc., were produced in 1851. His best known works are his " Sakuntula '* overture, and selections from his opera, " The Queen of Sheba." GolImiCk, Karl G., bom 1796, died z866 at Frankfurt. Was a pleasing composer lor the piano, author of Several text-books in sing- ing, etc., and a teacher of music. Goldscliniidt, Otto, pianists composer and • conductor, was born 1829 at Hamburg. Studied at Leipsic. Married Jenny Lind m 1852. At present occupies a prominent place in England as Vice-Principal of the Ro^al Academv of Music, and author of an oratorio, " Ruth (1867), a piano-forte concerto, songs, part-songs, etc. Golterman, George Eduard, an eminent player and composer for the 'cello, born in Hanover in 1825. In '78 celebrated his 25th anniversary as conductor at Frankfort, Golterman, Louis, professor of the 'cello at Prague. B. 1825 in Hamburg. Gong, a Chinese instrument, made of bronze. GOSS, Sir John, Mus. Doc, an English com- poser of melodious and well written church music. Born x8oo. Died May lo, z88o. Gossec, Fran9ois Joseph, a French composer of operas and the originator of symphonies for orchestra. A very celebrated musician in his day, and still held in honor in France. B. 1733. D. 1829. GotterdsemmerunsCgot'-er-dam'-er-ung), "The Twilight or Morning of the Gods." The fourth and last piece in R. Wagner's "Ring des Nibelungen." 1876. a a/If, % addy a arm^ e eve^ 6 end^ 1 ice^ K ill, o oldy o odd^ 6 dove^ 00 inoon^ \x. lute^ u but^ ii Fr. sound 26 GOT DICTIONARY. GRI GottHCtialk, Louis Moreau« a distinguished American pianist. Born in 1829, at New Orleans, a pupil of Ch. Halle and Chopin at Paris in 1846. He made brilliant concert tours through Europe in 1847 ; in 18^3 and after he played in all parts of the United States, Central America and South America. He died in Rio de Janeiro in 1869, where he oc- cupied an important artistic position. Gotts- chalk was of a semi-Spanish nature, loved the passionate and effective, and as a composer IS genuinely melodious and original, though rarely deep or very tender. Gottsclial^* Alexander Wilhelm, a Ger- man organist, arranger, and Ittierateury born 1827, at Mechelroda, near Weimar. Goudiniel, Claude (goo'-dS-mSl), a celebrated French composer and teacher. Born in the early part of the 16th c "ntury, supposed to have been a teacher of Palestrina. Author of church music, etc. Was killed at the massacre of St. Bartholomew, 1572. CrOunod, Chas. (goo-no), the popular com- poser* was born in Paris, June 17, 1B18. His mother was a distinguished pianist. G. was pupil of Halevy, etc. In 1836 he took the " Prix de Rome." In 1852 He became con- ductor at the Orpheon in Paris, but it was only after a number of failures in other pro- ductions that his "Faust" in 1859 placed him in the front rank of living compo- sers, Gounod has resided much in England. As a composer he is learned, ing^enious and masterly in orchestration, and his works are on the whole rather sensuous and intoxiciting than inspiring. His songs are extremely and deservedly popular. CtOW, Neil, a Scotch composer, bom in X727. Died 1807. Cnraben-Holfmann, Gustav (grS'-ben), a German song-composer and teacher of sing- ing at Dresden. Born 1820 at Bonn. Ortice IVotes, the En^^lish name for orna- ments in singing, or in melody in general, su -h as appogiaturas, after-notes, etc. 2. A small note. Oradnal, a short anthem sung at High Mass, between the Epistle and the Gospel for the day. Also u-^ed by French composers as title for organ pieces. Oradnal, The Roman* a volume of Ritual music, containing the plam song melodies for use throughout the year. Oradus ad Parnassnin, the title of two eminently instructive works in music. 1. Fux's treatise on counterpoint and fugue, 1725. 2. Clementi*s 100 exercises in all styles of piano-forte playing. X784. (See Etudes.) Crrammar of fflnsic, the laws of mu<;ical speech. Embracing Tonality, Harmony, . Counterpoint, Fugue, Form and Orchestra- tion, or the entire art of musical composition. This mass of material has never yet been thoroughly systematized and set in order. Grand Piano, the long piano-forte, with three legs, and keyboard at the large end. Its merits are longer bass strings and conse- quently more pervadine tone, larger sounding- board, more powerful action, and greater carrying power of tone. (irrand. Concert, properly a concert in which an orchestra plays the accompaniment. First I [ so called in 1777. Grand Opera, opera in which all the dia- logue is carried on in recitative. Grand Prix de Rome, a prize offered by the Paris "Academie of Fine Arts." entitling the successful contestant to a pension for " studying at Rome. GrandiOSO (Ital. gran-dK-o'-z5). Grandly ; in a dignified manner. Graun, Heinrich, born 1701, died at Berlin, 1759. Author of many operas and other works, chief of which are his " Te Deum " and " Der Tod Jesu," a Passions cantata. G. was a fine contrapuntist, and a good har- monist. Grave (Ital. grS'-ve), grave. A slow and solemn movement. A low pitch. Gravita (Ital. grS'-vS-tS). Gravity ; majesty. Grazia (Ital. grad'-ze-a). Grace ; elegance. Grazioso (Ital. grad-ze-o'-zo). Gracefully. Greatorex, H. W., an American author of a collection of psalmody. Lived in Boston. Greatorex, Thomas, an English composer of church music, and organi-^t (1819) of West- minster Abbey, in which he is buried. 2758- 1831. Great Orsran. The principal department of the organ, embracing all the most powerful stops, controlled by the hands from the key- hoard called " Great," Large churches had formerly two or more organs ; a large one, for voluntary playing, in the tower, and a soft one, for accompaniment, in the chancel. This is perhaps the origin of the term as applied to the most powerful part of large organs. Great Octave. The German name for the notes between 8 ft. C and the B next above (9 notes below middle C). Greene, Maurice, Mus. Doc, an old English composer of church music. 1696-1755. Greensleeves, an old English ballad and tune mentioned by Shakspeare (Merry Wives, ii, I ; V. 5). Gregorian Hlodes, the musical scales set in order by Pope Gregory the Great, A. D. 590. Gresorian Tones, or tunes, the melodies or Plain Song, for the Roman Ritual, established by Gregory the Great. (590.) Greek Music, appears to have been chiefly melodic. Its notation is so imperfect that antiquarians entirely disagree in their in- terpretations of the same melody. It is literally '* all Greek to us." Gretry, Andr^ (era-tr)0, was- an extremely prolific, popular and gifted composer of over 50 operas, many symphonies, etc. Born at Li^ge 1741. Died at Paris 1813. Griesbacll, John Henry, an English 'cellist teacher, composer of an oratorio, "Bel^haz- zar's Feast," overtures, operettas, etc. Born at Windsor 1798. Was 14 times director of the Philharmonic Society. D. 1875. Grieg, Edward (greeg), composer and pianist. Born June 15. 1843, at Bergen, in Norway, is a pleading and rom:4ntic composer of songs, overtures, sonatas for piano solo and piano and violin, a concerto for the same and or- chestra, etc. Was educated at Leipsic. Is teacher and conductor at Christiana. a ale^ & add^ S ar/«, e eve^ € end^ i zVf , 1 zV/, 5 oid^ 5 odd^ 6 dove^ 00 tnoon^ XL luie^ {1 but^ U Fr. sound GRI DICTIONARY. HAR Orisi, Guilia (jKool-!t2 gree'-zee), one of the most celebrated operatic singers (soprano). Born at Milan, iSio, made a brilliant debut in 1829, and Bellini wrote his Adalgisa in '^ Norma" for her. From 1834 until 1861 sHe sang in London and throughout Europe. Was married to Signor Mario, the great tenor, by whom she had three daughters. Died 1869. Orossvatertanz, "Grandfather's Dance," a curious old German dancf, the conventional signal of the end of dancing in German balls. Oroup. several short notes connected by their stems. A figure of tones, a motive. Ground Bass, a set bass, on the repetitions of which, by means of variations, etc., an en- tire composition is built up. An old device. Orntasmaclier, F. W. L. (grutz'-makh-er), a disiingiiished German 'cellist, and composer for his instrument. Born at Dresden 1832. Lives at Dresden. Giiarnieri, or Guarnerius (gwa-na'-rl- Us), a family of celebrated viol in -makers, living in Cremona. They were: Andreas, whose best work was made between 1662 and 1680; Peter, 1670-1717; Antonio, best work 1725-1745; Joseph del Gesu (-.0 called from. the letters 1. H. S. on his tickets), OHgliclmi, Pietro, a favorite I ta.iancomposei, 1727-1804. His son Pietro was also a popular composer of operas, etc. 1763-1817. Craillanme Tell (gweel'-ySm tSl), " William Tell," Opera in 4 acts. Rossini's 34th and last. 1829. Onilfnani, Alexander (geel-mSn), a distin- guished French organ virtuoso and composer, son of an organist, born at Boulogne, March 12, 1837. Organistof the church of the Trinity at Paris, Cr1lit&l\ a well known stringed instrument of very limited musical resources, but vastly romantic associations. Strung with six strings, tuned E A D G B G. Practical only for vdcal accompaniment, and in very limited range of harmony. Gling'l, Joseph, a favorite dance composer of the present time, born 1810 in Hungary. He has a celebrated orchestra in Berlin. Visited AtneHcA in 1848, OmppettO (Ital. groo-pgt'-to). Literally " a little group,'* i. «., a turn. Onida (Ital. gwee'-dU). A guide or direct, an obsolete mark. (hS), the German name for B natural. Their B is our B flat. The key having five sharps, Habeneelc:, Francoise Antoine, a French violinist, conductor, and professor of the violin at the Conservatoire, etc. H, was the first to introduce Beethoven's symphonies in France. B. 1781. Died 1849. Haberbier, Ernst (hS.b'-er-beer), a distin- guished German virtuoso pianist, was born at KGnigsbcg, Oct. 5, 1813, the son of an organ- ist. Made concert cour-iin Europein jB5o-'52, and in 1866 was living as director of music at Bergen in Norway.^ Died March, i86g. H. was remarkable for his brilliant "interlocking" SELssages. evy, Jacques F. F. E, (jS,k hal-gv-S,), a Jew, whose real name was Levi. Born in Faris, 1799.^ Studied with distinction at the Conservatoire, and by 1828 became a promi- nent composer of operas in Paris, His greatest was " La Juive" (1835). Died 1862. Half Reat, a name applied to the second half of a time-pulse. Half IVote, an open note with stem, formerly called minim. Half Step, the interval produced bv two suc- cessive keys on the piano-forte. This term is indefinite, and stands for any kind of a semitone, whether diatonic or chromatic. Varies from 24 . 25 to 16 : 15. Half Hlllft, a position of the hand in violin playing between open and first shift. Halle, Chas. (hSl-a'), the celebrated classical piani.it, born April n, 1819, at Hagen. Stud- ied with Rink at Darmstadt, and later with Cherubini, Chopin, Liszt, etc., at Paris, Settled in London in 1849, since which he has played in public every season, and is a lead- ing teacher of piano. Halid has played in pulilic the entire 3^ sonatas of Beethoven, twice in two successive seasons. Hseudel, Geo. Fnedrich (h§n~d61). See His- torical Sketches. Born 16B5. Died 1759. Hand Ouide, a mechanical contrivance affixed to the piano-forte, designed to facilitate the acquisition of correct position and movements of the hand and wrist. The least objection- able is BGhrer's. Handel and Haydn Society, a cele- brated vocal society of mixed voices, at Bos- ton, which has been one of the most impor- tant influences in the elevation of Amencan musical taste. Founded 181^. Still active. Hamlet, Grand opera in 5 acts. By Ambroise Thomas. 1868. Hammer, that part of the piano action which strikes the '-trings for the purpose of produc- ing vibrations. Hammers are now made of light wood, covered with felt made from the finest wool. The felt rs put on by hydraulic pressure. Hammer Clavier, the piano-forte. Hanover Houare Rooms, a celebrated concert hall in London, opened in 1775, variously remodelled, and finally sold for a club house 1875. Hamerik, Asger(as-ger ham'-Sr-eek), a dis- tinguished Danish composer, born Apiil 8, 1843, at Copenhagen. Was educated in G^^r- many and England, and composed operas, of which he wrote both words and music himself. In 1872 he became Musical Director of the Peabody Institute in Baltimore, Md. Several of H's. compositions for orchestra have been played with great favor by Theo. Thomas. Hanslick,_ Eduard, a prominent pianist, and a discriminating and celebrated critic and writer on music in the Vienna " Freie Presse'' Born Sept 11, 182^, at Prague, was a pupil of Tomaschek, and educated in law at tne University of Vienna. Attracted attention as a critic as early as 1848. In i8sg and after, he has given several courses of lectures on the History, of Music. Harmonica, a musical instrument the tones of which are produced by vibrations of cir- cular glass plates strung on a horizontal spindle, revolved by meansof a treadle. The lower edges of the plates dip in a trough of water. The tones were obtained by rubbing the plates with the tips of the fingers. The tone was delicate and pleasant, but had littU artistic value. 2. This name is now given to a set of glass rods or bars strung on tapes and struck by hammers. a «/tf, S. add^ a arm^ 5 eoe^ 8 end^ i ice^ I ill^ 6 old^ 6 odd^ 3 dove^ 00 moon^ n lute^ ii but^ li Fr. sound HAR DICTIONARY. HAU Harmonics, the overtones which form part of complex tones. Supposing C to be the funda- mental, the harmonics would be as shown in the following table : 123456789 ID CCGCEGB^CD E 2. The soft, flute-like tones obtained from a vibrating string, by lightly touching it with the finger at proper points of division. Harmonic Flute, a flute stop in the organ, over-blown so as to specie the octave above its normal pitch, thus acquiring a clear and ringing quality. Of metal or wood, the latter called •'■ traverse flute." Harmonic Stops, organ stops not of the ' foundation pitch ; such as octave, twelfth, fifteenth, mixture, etc. Harmonic Illusik (Ger. hSr-m5-nee' moo- zeek'). The wind instruments in the orches- tra. Harmonic Progression, movement from one chord to another. Harmonium, a reed instrument of the ser- aphine family, in which the vibrations are oc- casioned by wind forced out from the bellows through the reeds ; whereas in reed organs the wind is sucked in through the reeds. In- vented by Alexandre Debain in 1840. Harmony, the legitimate association or com- bination of sounds. The theory of H. in- volves' the formation and permutations of chords, and their proper connection and movement accordmgto the principles of ton- ality. .Usually acquired by much practice in writing afEer " figured bass." Harmonic iScquence, a sequence or suc- cessive repetitions of a harmonic figure ; «. ^. , the chords of C G, A E, F C, etc., a sequence of descending fourths. Harmonic Figure, a determinate succession of fundamentals or inversions in harmony ; e. g,^ let the figure be of two chords, the sec- ond fundamental ascending a fourth. The bass then Is C F, or D G, or E A, or F B^. HarmstOn, J. W., a. popular composer of salon music. Harold en Itaiie, the 4th of Berlioz^s 5 symphonies, op. 16, 18^4. A descriptive work in four movements, t. Harold at the Mountains. 2. March of the Pilgrims and Evening Prayer, 3. Serenade: 4. Orgie de . Brigands, Harp, one of the oldest instruments, represen- tations of which occur in the decorations of tombs at Thebes, supposed to date from about the time of Joseph, The simple harp produces the tones of the diatonic scale only. Double action harp§ afford sharps and double sharps by the action of pedals moving pins on revolving disks in such a way as to shorten the string and raise the tone. Each pedal sharps all the notes of the same name through- out the compass of the instrument. This action was invented by Sebastian Erard. The harp is tuned to the key of Q,b. Harper, a celebrated family ot English trumpet^ ers, of whom the elder, T/i^waj, was born 1787, and was the greatest trumpeter in England from 1806 to his death in 18S3. His son Thomas succeeded him in all nis positions. The elder Harper played a slide trumpet, and produced a pure, brilliant, even tone. HarjpsiclLOrd, the predecessor of the grand piano. Had from 4 to %% octaves. The wires were mide to vibrate by means of plec- tra or quills acting on the strings by friction in-ftead of percussion, as in the piano-forte. Invented as early as 1600, Gave place to the piano-forte about the beginning of the pre- sent century. Hsertel, Benno, a talented German musician, and teacher of iheory in Joachim's Royal Academy of Music at Berlin. B. 1846. Hartmann, Freidrich, a noted song composer and director. Born 1805. Hartmann, Johann Peter Emil, a distin- guished Danish piano-forte, vocal, orchestral and operatic composer, born at Copenhagen 1805. Lives at Copenhagen, Harvard Husicai Association, The, in Boston, a society designed to promote musical culture by eiving classical concerts, etc., in Boston ana Cambridge. Organized 1837, largely through the efforts of Mr. John S. Dwight, who is still secretary (1880). Haslinger, a distineuished firm of music pub- lishers at Vienna, founded 1826. One of the original publishers of Beethoven's works. . Johann Adolph (hSs'-s6), for a third of the iSth century one of the most popular dra- matic composers in Europe. Born 1699 at Bergedorf, Hamburg, where his father was schoolmaster and organist. In 1724 became pupil of Porpora at Naples, and afterwards of Alessandro Scarlatti. Began his career as opera composer at Naples. In 1731 he went to Dresden, where he lived as kapellmeister until 1760. Died in Venice 1783. He wrote more than 100 operas, besides masses, canta- tas, psalms, symphonies, and a host of smaller works. He was a great singer and a fine pianist, and had an inexhaustible flow of pleasing melody. HaSSe, Faustina Bordoni, wife of the foregoing, a great operatic singer, noted ft>r the beauty of her voice, her exqtiislte method, pleasing manners and amiability. 1700-1783. Hatton, John Liphot, bom in Liverpool iSog, is one of the foremost composers in Eng^ land at the present time. Has composed music for several of Shakspeare^s plays, an- thems, part-songs, operas, and-last the sacred drama _ Hezekiah," produced at the Crystal Palace in 1877. Hatton is a fine accompanist, and visited this country in that capacity iji 1848, and again with Parepa in 1867, Hank, Minnie (hawk, or howk), born in New York to a German father in 1852. Made her debut as Amina in Sonnambula in 1868. From 1869, she_ sang for several years in Vien- na, Perlin, Paris and Brussels in a large ran^e of parts. Revisited America with Mapleson in 1879. Her voice is a mezzo soprano of great force and richness, Haupt (Ger. howpt). The head or chief. & aUy & add^ % arm^ e eve., S end^ i ice^ t ill^ 6 old, 6 odd^ d dove.^ 00 moon^ u lute^ & 3m/, U Fr, stffti^ 29 HAU DICTIONARY. HER Hanpt, Karl August (howpt), one of the most distinguished German organ virtuosos of the present time, was born in i>io at Cunau. btudied at Berlin with A. W. Bach and Dehn, and appeared in public in 1831. Has made many concert tours to France and England, and throughout Germany, and forraany years has occupied a commanding position in Berlin as organist and teacher 01 organ and theory,^ Among his American pupils are Prof. John K. Paine, of Harvard, Mr. H. C. Eddy, of Chi- cago, and Samuel P. Warren, of New York. Hauptmann, MorlCz (howpt'-m^n), the great theorist, was born in 1792 at Dresden. Studied the violin, on which he distinguished himself, and was from 1812 to 1818 a violinist at Dres- den, and again from 1823 at Kassel, where also he taught theory^ and had among his pupils Ferd. David, Cur-chmann. Norbert BurgmuUer, Kiel, etc. In 1842 he became cantor of the St. Thomas school and church, in Leipsic, and te^dier in the Conservatory, ' where he maintained his rank as one of the grea est theorists of his time. Died 1868. He was a fine composer of songs, motettes and church works. He laid great stress upon two aesthetic requirements, unity of idea and symmetry of form. Kanptwerk (Ger. howpt'-vark). The Great Organ. Hautbois (Fr. ho-bwS). The oboe. Hautboy (Eng.) The oboe. JSawliLlns, Sir John, born 171Q, was educated for a lawyer, but being fond of music wrote words for cantatas, etc., and finally his General History of the Science and Practice of Music, in 5 vols., 1776, This has been re- printed by the Novellos, H, wa-. one of the executors of Dr. Johnson's will. Died 1789, and was buried in Westminster Abbey. Haydn, Francis Joseph (hi'-dn), father of the string quartette and symphony, was born near Vienna 1732. Died 1809. See Historical Sketches, p. 157. Haydn, Michael, ydunger _ brother of the pre- ceding, was a fine musician, and a successful composer, altho'igh his fame has been too much over-shadowed by his greater brother. Born 1737. Died 1806. Hayes, Catherine,_a very popular Irish soprano, born in 1825. Died 1S61. Head Voice, the falsetto register, which in men has more or less the quality of the female voice, and in women a fiute-like qual- ity. H dnr (Ger. hS dur) the key of B major, Hebrides, The. One of the names of Mendels- sohn's concert overture in B min, op. 26, Called in Germany '' Fingals HGhle, and *' Die einsame Insel." 183 n>r 1832. Heftig (Ger. hSf 'tig), vehement, boisterous. Heiter (Ger. hr-t6r), serene, bright. Heiss (Ger. his), hot, ardent. Heinikelir aas der Fremde, German name of Mendelssohn's operetta, " The Son and Stranger.'* Heller, Stephen, the universally known and elegant composer of etudes and salon pieces for piano, is an accomplished pianist. He was born May 15, 1815, at Pesth. Since 1838 he has resided in Paris, rarely playine in public, but highly esteemed as teacher and composer. His studies op. 45, 46 and 47, as well as the older set op. 16, have been in universal use among piano dtudents, and for elegance and refinement of diction they are not equalled by other works of similar difficulty. They are, however, open to the pedagogic objection 01 being extremely unprogressive, easy and difficult ones strangely alternating. Helmesberger^ Joseph, a member of a dis- tinguished musical family in Vienna, was born in 1928, appointed violin professor and director of the Conservatory at the early age of 24. In i860 he was appointed first violin at the Imperial opera, etc. He leads quartette parties every season. His playing is noted for ^race, poetic quality, refinement, and Ibrilhancy. Helmltoltz, Hermann L. F., the celebrated investigator of sound, and the physiology of music, was born at Potsdam, 1821. Is pro- fessor in the Berlin University. His great work, '*Tone Sensations," is now translated into English. Helmore, Rev. Thomas, an English clergy- man, author of several works in church mu- sic devoted mainly to the restoration of the Plain Song. B. 1811. Educated at Oxford, Henkel, , a prolific composer of organ and church pieces, was born at Fulda, 1780. D. iSiit. His son, Geo. Andreas. v/Sl'^ bom 1805, and was also a prolific composer. D. 1871. A younger brother, ffeinrich^ b. 1822, is a dis- tinguished organist, and in 1844 was elected organist of St. Eustache, in Paris. Lives at Frankfort-on-the-Maine. Hensehel, Geore^e, born Feb. 18, 1850, was first a pianist, but at present the leading bari- tone singer in England, Is also a proiiHcand talented composer. Hensel, Fanny Cecile, an elder sister of Men- delssohn, was born 1805. _ Was a fine player and a good musician. Died 1847. Henselt, Adolph, one of the most distin- fuished virtuoso pianists of the present day, ut so nervous that he rarely plays in public, was born May 12, 1814, in Bavaria, and since 1838 resident in St. Petersburg. H. was a pupil of Hummel, but is distinctly a virtuoso of the modem school. H. is a fine musician, and a very successful^ teacher. As a composer he has decided originality and poetic value, though perhaps not such as will rank him permanently with the highest. His piano- forte concerto is regarded as one of the most difficult ever written. Heptachord, a scale or system of seven sounds. Herculaneum, opera in 4 acts, by Felic. David, 1859, Hercules, a musical drama or oratorio, by Handel, 1744. Herold, Louis Joseph Ferdinand, one of the most gifted of the French opera composers, .was born at Paris^i79i, the son of a pianist. His earliest success was in 1813, but he com- posed a large number of operas before he achieved a cosmopolitan success in " Zampa^' in iSsr. H, died young, just at the maturity of his powers, in 1833, aged 42. a ale^ & addy S arm^ e eve^ @ end^ 1 ice^ X ///, old^ 5 odd^ d dove^ 00 moon^ ii lute^ u dut^ U Fr, sound 30 HER DICTIONARY. HOF Herrmann, Gottfried, a many-sided German musician and composer, born 1808 at Sonder- hausen, educated by his father, avioloncelist, and afterwards with Spohr, Aloys Schmitt, etc. _ Since 1839 ^^ ^^^ occupied a very high position as conductor, opera composer, and teacher of singing, not only at Sonderhausen and LUbeck, but in many festivals, etc. Hersehel, Frederick William (Sir William Herschel)^ the great astronomer, was born at Hanover in 1738, and at the age of 14 was placed in the orchestra as oboeist. He came to England with the regiment about 1757, and was stationed at Durham. He soon became organist at Halifax, and afterwards at Bath. While living here he turned his attention to astronomy, and pursued his studies in the intervals of his professional duties for many yearp. In 17B1 his discovery of the planet Uranus by means of the great telescope which he had built, procured his appointment of private a<«tronomer to the king, and a pen- sion of £400, whereupon he abandoned the musical profession. 1). 1S22. Hertz, Michael (mlk'-§l hartz), piano virtuoso and composer, is one of the most talented young musicians in Germany. Was educated at Leipsic, and at present teaches at Berlin. Born 1844 at Warsaw. Herz, Henri, a much admired compo«ier and fiianist, was born in 1806 at Vienna, and earned music of his father. In 1816 he was entered at the Paris Conservatoire, and two years later began to compose. His concert tours from 1831 to 1834 were made chiefly in Germany and France. In the latter year he came to- England, and in 1846 to 1850 to the United States^ and South America. In 1851 he was back in Paris and^ professor at the Conservatoire, which he relinquished in 1874. He set up a piano factory of his own in 1853, and his instruments hold high rank. As a compo ^er he has always written in the mode of the day, nesse, Adolph (h@s'-s6), a great organist and elegant composer for the oigan, as well as in most other lorms of music. He was born at BreslaAfi, Aug. 30, 1809, and in 1831 became organist there. He made concert tours to Paris, England and throughout Germany, Died August 5, 1863. Sexachord, a scale of six sounds, having a semi-tone between the third and fourth, and major seconds elsewhere, s, A lyre of six strings nexameron, a set of six pieces, or songs. This name is given to Liszt's Variations on '* I Puritani" for two pianos. Bidden Fifths, fifths produced by the pro- gression of two voices to a perfect fifth through similar motion. Hi^ti ASass, a mass sung with full ceremo- nial. Highland Fiine, a step in dancing peculiar to the Scotch Highlands. Also the dance itself. -The mttsic to which it is danced is the Strathspey Hiller, Ferdinand, one of the most eminent living German composers and musicians, was born of Jewish parents at Frankfort-on-the- Maine; Oct. 24. 1811. He studied the piano, violin, and composition, partly with Hummel at Vienna. From 1828 to 1835 he lived at Paris, Composing and teaching, and was inti- mate with Rossini, Chopin, Liszt, Meyer- beer, Berlioz, Nourrit, Heine, etc. He was the first to play Beethoven's E flat concerto in Paris, After living some time at Leipsic and Dresden, he organized the Conservatory atCologne, wherene Has resided ever since. His most distinguished pupil is Max Bruch. Hiller wrices in at-lassical Rtyle, and has pub- lished 183 works, of almost every kind : chief of them being his '" Destruction of Jerusa- lem,'* " Spring Symphony,'] and Piano con- certo in F sharp, Hiller is a polished and genial man, who has never lacked friends Hiller, Johann Adam, a very active, produc- tive, and influential German musician, was born at Wendisch-Ossig, in Prussia, 1738, and lived independently at Leipsic,. actively em- ployed ini promoting public concerts. As a composer he is credited with having enlarged the scope of the Lied. Died 1804. Himmel, Freid Heinrich, a melodious, but unimaginative composer, born 1765, died 18x4. Hodges, Dr. Edward, an English musician and organist, was born at Bristol, 1796, and was organist of Clifton church. In 1838 he came to New York and became organist ot St. John's, and in 1846 at Trinity. Returned to England 1863. Died 1867. His daughter, Faustina Hasse Hodges^ is an organist, as is also his son, Rev. J. S. Hodges. Hoffmann, a celebrated name in literature and music in Germany. Amon^ the chief composers by this name were: jLrnst Iheo- dor^s^ highly origin d composer anu littera- teur^ as well as jurist, b. 1776, d. 182c. H. was an extremely clever but fantastic news- paper writer, and many of his pieces have been translated, one by Carlyle. He wrote also zi operas, a requiem, two symphonies, etc. Karl yuiius A ' H., b. i8oz at Ra isbon, hves at LobschUtz, and is author of "* History of Musicians in Silesia from 960 to 1830, also of several other musical histories, as well as very many compositions, songs, chorales, piano pieces, concertos for different instru- ments, an operette, etc. yohann George^ an organist and founder of musical theory, born 1700, died 1780. Composer of many church cantatas, 400 serenades, concertos, t-tc. Lud- wz^, a clever composer, h. at Berlin, 1830, where he lives as teacher of sinking, conduc- tor, etc. Heinrich Antony violin viituoso and conductor, 1770- 1842. His brother, Phillip Karly was a pianist and prolific com- poser. 1769-1830. Hoftnann, Heinrich (hin'-rlfk), a talented and progressive composer of the present time. Born J[an. 13, 1842, iu Berlin, where he stud- ied piano and composition with KuUak, Dehn, and Wuerzt, and still resides. Is the composer of operas, symphonies, songs, and especially a number of very successful cantatas for chorus and orchestra, *'The Fable of the Fair Melusine,' " Cinderella," *' Loreley,''etc., which have been extremely successful. Hofmann is a pleasing cumposer, and a good colorist with orchestra. Hoffman, Richard, a distinguished piano-forte virtuoso, teacher and composer in New York. Burn in Manchester, England, May 24, 18-J, Came to New Yoik in 1846 or 1847, where he has since held high rank as teacher and pianist. Hoffman, Edward, brother of the preceding, a popular writer of light salon pieces. & «&, a addy a arm^ e eve^ S end^ i ice^ \ illy 6 oldy 5 oddy 6 dovey 00 mooHy u lute^ fi buty U Fr, sound HOH DICTIONARY. HYP Hohlflote (Ger. hor-flo'-tg), hollow-toned fliUe. An organ stop producing a thick and hollow flute-tone. Usually of 8 ft. UohnstOCk, Karl, a distinguished pianist, violinist, and musician, of Philadelphia Born 1828 at Bruflswick. Lame Co Philadelphia in 1848. Holden, Oliver, one of the original American psalmodists, acarpenter by trade. Published his '^American Harmony' about 1790. Died at Charlestown, 1831. Holmes, Alfred, a talented composer and fine violinist. Born at London 1837. Died 1876. His principal works were his symphonies, ' ' Robin Hood'* and the *' The Siege of Paris." Home l^weet Home. This melody occurs in Bishop's opera of "Clan," 1823. It is designated as a *' Sicilian Air," but is very possibly Bishop's own, Homophony, the same in sound. Equivalent to unison, and opposed to P lyphony, or manifold sound. Now commonly applied to music in which the parts all move together, instead of imitations, etc., as in polyphonic style. Hook E. & G. G., and Hastings, a firm of organ builders, established in Boston about 1835, and for the last twenty years occupying the foremost place among American builders. Their work is remarkable for sweetness and purity of voicing. Hopkins, Edward John, an English organist and composer of church music, born at West- minster i8i8. Died at Ventnor 1873. Hopkins, C. Jerome, an indefatigable teacher of (jhorus singing, and eccentric pianist and organist in New York son of the late Bishop Hopkins, of Vermont. H. publishes ''"The OrpkeonistC' a curious musical periodical, Horn, French Horn, one of the most characteristic and important brass instruments in the orchestra. Is composed of a tube 17 feet in length, rolled into a spiral f rm. Modern instruments are furnished with valves on the same plan as those of the cornet, and crooks for the purpose of changing the pitch of the whole tube. The tone of the horn is peculiarly soft and pure. It is an extremely difficult instrument to learn to play, and the instruction books are said by players to be in- correct. Horneman. Johann Ole Emil, a Danish com- poser, b. i8og, d, 1870, at Copenhagen. Horneman, a ^^oung German composer, edu- cated at Leipsic, well known by his pretty overture to *'Aladdin.'* Born about 1850. Hornpipe, an English dance in common time, rather quick. Horsley, William, Mus. Doc, an English or- ganist, and elee and church composer. Born 1774, died 1858. Hncbald (huk'-bald), a monk of St. Amaud, in Flanders, born about 840, died 932, aged 02. The author of the earliest treatise on harmony which has come down to us. Owing to the imperfect notation he employs, there is some doubt as to the real intention of his music. But on the whole it sounds to us dreadfully crude. It consists of parallel 4ths and 5ths. Huguenots, Les. Opera in 5 acts, by Meyer- beer. 1836, Hullah, John, LL.D., a distinguished teacher of singing and musical educator in England. Born at Worcester 1812. Came early to Lon- don, where he has lived ever since. In 183B, after composing several small operas, Mr. Hullah turned his attention to the popular instruction in vocal music in which he has ever since been engaged. HuUah advocates the ''fixed Do,' as distinguished from the " movable Do " of the Tonic Sol-Fa schools. He is the author of many text-books of mu- sic, lecturer and profdssor of vocal music in Queen's College, London, and Inspector of Training Schools for the United Kingdom. His lectures on Musical History are very in- teresting. (2 vols.) Humor (Ger. hQ-mor). Whim ; fancy. Humoreske (Ger. hu-mor-Ss'-ke). A title adopted by Schumann for his piano-forte piece, op. 20. Humphry, Pelham, an English composer of anthems, songs, etc. B. 1647. D. 1674. Hummel (hiim'-mel), J. N., a celebrated pian- ist, and an elegant and in some sense, classi- cal composer for the piano, was the son of a musi ian,and born at Presburg, 1778. About 1786 He became an inmate of Mozart's house, and for two years enjoyed his instruction. He traveled several y ars as a concert pian- ist, studied composition at Vienna with Albrechtsberger, was from 1804 to 181 1 Capell- meisterto Prince Esterhazyin Haydn's place, and afterwards lived at Weimar, with frequent journeys to Russia, France. England, etc. Died at Weimar, 1837. He wrote 3 operas, 2 masses, much piano music, etc. Hehad^ood musician^ihip, elegance of style, but little force and concentration As a pianist he was for some time the rival of Moscheles at Vienna. Hunten, Francois (hoon'-ten), a French pian- ist and composer, author of many light pieces for piano, studies, etc. B. about 1810, Hurdy-gurdy, an obsolescent instrument, somewhat resembling a viola or large violin. The strings are made to vibrate by means of the friction of a wooden wheel let into the belly, just above the tail-piece, and revolved by means of a crank. Two of the fourstrings are used for melody strings, or chanters, and are stopped by means of^ keys on the finger- board. The other two are drones and sound continuously when the instrument is played. It is essentially a peasant's instrument. Hutchinson Family, a family of natural singers, born in Milford, New Hampshire. Four of the brothers, born from i8r8 to 1828, were verjr noted as temperance and anti- slavery singers throughout the Northern States and England from 1846 to 1858. Later they were broken up, and are now represented by ^okn and his family and Asa and his family. They had musical voices and sang simply. Hymn, a song of praise to Deity. A lyrical poem for sij ging m church. Hymn of Praise, The, a cantata by Men- delssohn, in 1840. Hyper (Gr. hi'-p6r). Above. a «/«, S. add. H arm^ e e-ue^ 6 end^ I ice^ \ ill^ 6 old^ 6 odd^ dove^ 00 moon^ u lute^ G but^ il Fr. sound lAM DICTIONARY. INT Iambus, a poetical and musical foot, consisting of one short and one long syllable. Idea, a theme or subject. Ideal, that which is expressive of the idea. See Part IV Idomeneo Re di Creta (ee-do-man'-a-o ra dee kree-tS). " Idomeneo, King of Crete," opera seria in 3 acts, by Mozart. 1781. Idyl, (i'-dll,. or Idylle (Fr. ee-dtl'), a short poem in pastoral style ; an eclogue. II (Ital eel.) the. Im (Ger, in dem)^ in the. Imagination, the faculty of forming; lively images within one's mmd, of scenes, histories, sounds, plays. It is the same as Phaniasie. Imboccatura (Ital. eem-bok-ka-too'-r£). The mouthpiece of a wind instrument. ImbrogrliO (U^l> eem-brol'-yo), confusion, want of distinct idea<>. Imitation, the repetition of a melodic figure or motive called antecedent^ previously ap- pearing in another voice. Imitation takes place ^' in the unison," i'.«., at the same pitch, in the second, third, fourth, etc., above or below. Strict imitation is an exact repeti- tion of the antecedent ; Free imitation an approximate imitation, one or more of the intervals being enlarged or diminished. ImimerCGer. Im'-merJ. Always, ever. Imperfect, less than perfect. Applied to in- tervals to denote that they are too small. Imperfect Consonances, the major and minor thirds and sixths, as well as their com- pounds with octaves. Imperfect Cadence, a full cadence in which the soprano ends on the third of the chord. Impeto (Ital. eem'-p3-to). Impetuosity, ve- hemence. ImpetaOSO (Ital. eem-pa~too-o'-zo). Impet- uously, vehemently. Impresario (Ital. eem-prS-zS'-re-o). A manager of operas or concerts. Impromptu (Fr. &hn-prdmp'-too). An ex- temporaneous production. A light and spon- taneous composition. Improperia (Lat.) The Reproaches. A series of antiphons and responses used in the solemn service of the morning of Good Fri- day. ImproTisare (Ital. em-prd-ve-z£'-r@). To improvise. Improvisateor (Fr. ahn-prd-ve-zSp-tiir'). An improviser. Improvissatore (Ital eem-pro-ve-sS-to-rS). One who sings or declaims u verse or music exte m p oraneously . Improvisation, the act of sin^ng, playing, or composing music without previous prepara- tion. The composition so produced. In alt, tones above the F of the 5th line of the treble staff. In altissimo (Ital.Sl-tees'-se-mo). The oc- tave above the preceding. Incalzando (Ital. een-kal-zan'-do). Some- what quicker (than the preceding part). Incarnatns est rLat. In-kSr-nS-toos Sst), '* and was bom." A part of the Credo, usual- ly set to slow music. Indeciso (Ital. een-dS-tshee'-zo), Undecided, wavering ; with unsteady time. Index, the old name for *' direct,'* which see. IndiiTerente (Ital. een - dif- f S - ran'- 16). Coldly, indifferently. Inflnite Canon, also csXi^A Endless Canon, A canon without proper ending, each part leading back to the beginning, like a round. Inflection, any change of pitch or modifica- tion of the tone ot the voice. Inft-a (Lat. In'-fiii). Beneath. Inhalt (Ger. en-hSlt). Content ; meaning. Innig (Ger, In'-nlgJ. Cordial, fervent, sincere, devout. Used by Beethoven and Schumann in the last senses. Innocentemente (Ital. een-no-tshan-tl- man'-te). Innocently; in a simple and artless style. In Partita (Ital. par-tee'-tS). In score. See ** Score." In C^uesta Tomba (Ital. een kwSs'-tS tom'- ba), "■ In this Tomb." A celebrated contral- to song of BeethovenV 1808. Also effective for bass. Much sung by Mr. M, W. Whitney. Inquieto (Ital. een-kwe-a'-to). Restless, un- easy. Instante (Ital. een-stSn'-tS). Instantly. Instantemente (Ital. een-stStn-tS-man'-tS). Vehemently, urgently. Institute, Prix de I' (piees du lln-stt-tUt), '■'' Prize of the Institute.^' A prize founded by Napoleon III in 1859, of 20,000 francs, awarded biennially to the member of the In- stitute most deserving of it. It has once been taken by a musiciau, Felicien David, in 1867. Institute, any body or society established un- der law for a particular purpose. Institute Rationale, a great national in- stitution in France, established by the Direc- tory in 1795. It consists of 5 Departments: I, Acadimie Fransaise. 2, Inscriptions ei Belles-Lettres. 3, Sciences. 4, Beaux A rts, S, Sciences Morales et Politigues. Instrument, in general a tool. In music an apparatus for producing musical sounds. Orchestral instruments consist of the strings^ violin family ; the w£«cnumann, but more [)leasing and not so deep. His studies for piano, op, 32, are worthy of particular mention as affording an agreeable introduction to Schumann. Died at Baden-Baden, 1879. Jeptliah, HandePs last oratorio. His blind- ness came on during its composition. 17S1. This subject was also set by Bartholemon at Florence in 1776, and Reinthaler about i85S« Jerusalem, grand opera in 4 acts by Verdi, being a French adaptation of" 1 Lombardi.^ Also an oratorio in 3 parts by H. H. Pierson, 1852. Jessonda, a grand German opera in 3 acts by Spohr. 1823. Jeune Henri. Le, opera-comlque in 2 acts by Mdhul. 1797. Jeu (Fr. zhfih), play. The style of playing an instrument. Also a register in an organ. Jeux (Fr. zhuh, plural of the preceding). Stops. Jeux d' Anches (Fr. zhilh d'Snsh). Reed stops. Jeu Clrande (Fr. zhfih gran'-d6). The full organ. JToaeliim, Joseph (yo-Skh'-eem), the greatest of living violin plavers, was born at Kitt*iee, June 28, 1831. He began to play the violin at 5 years of age. in 1843, a boy of 12. al- ready^ an accomplished player, he went to Leipsic, where his remarkable talent was recognized by all, and he remained with David, and at ihe same time made thorough studies in literature and musical composition, until 1850, when his career as virtuoso began, and has continued ever since with the great- est distinction and honor. In 186S he became head of the " High School for Musical Execu- tion " in Berlin, where he has since resided and labored, with the mo^t beneficent results Joachim is noted forthe breadth, erace, ten- derness and deep feeling of his playing, as well as for his un •jsproachable technique, in which respect he is not surpassed by any. He ib also a composer of exceptional ability. His greatest work is his "Hungarian Con- certo," op. II. Joan of Arc, opeia in 3 acts, by Balfe, 1837. Joconde, ou Les Coureurs d*Aventure, comic opera in 3 acts, by Isouard, 1814. John the Baptist, an oratorio in two parts, by Di. G. A, Macfarren. Produced at the B.ristol Festival in 1873. Jodein (Ger. yo'-d'ln). A style of singing peculiar to the Tyrolese peasants, the natural voice and the falsetto being Ubed alternately, Jole ( Fr. zhwS). Joy, gladness. Jommelli. Niccol5, (yom-m^I'-lee). A dis- tinguished Neapolitan opera composer. Born ait Aversa 1714, and thoroughly educated in music, at first at home, and afterwards in Naples. Jommelli made his first appearance as an opera composer in 1737, with gr at success. The following twenty years were passed at Venice, Vienna, Rome, and again . at Naples, where for the most of the time his operas had distinguished success. Died 1774. fi aie% & »dd^ % arttty e eve^ 3 end-^ 1 ice^ I 2//, 5 old^ 5 odd^ d eU>ve^ 00 moon^ il lute^ fi but^ U Fr. sound 35 JON DICTIOJSTARY. KEl jFones, Sir Wm., the learned orientalist, was au- thor of a treatise on " The Musical Modes of the Hindus," 1784. Born X746 at I^ondon. Died at Calcutta 1794. Jongleurs (Fr. zhonh-gltir). An old term for the itinerant musicians of the loth and following centuries. Joseph and his Brethren, the 8th of HandePs oratorios, 1743. Josephf opera comic in 3 acts, by M^hul. 1807. 2. Oratorio in two parts by Dr. G. A, Mac- farren. Produced at the Leeds Festival, 1&77. Josliua, the 14th of Handel's oratorios, 1747. 'Josqain, Despr^s (y5s-keen' da-pra.). One of the greatest masters of the Netherlands school, and the immediate predecessor in musical history of Lassus and Palestri^a, was born about the middle of the 15th century, near St. Qucntin. He was a prolific com- poser, and left 19 masses, about 50 secular pieces, 150 motets with sacred words, etc. His works sound somewhat meagre now, but he had genuine melody. Jota (Spa. ho'-isi). A Spanish national dance in waltz time. Specimens may be seen in " Sarasate's Spanish Dances." Jubel-Floete (Ger. yoo-b&l fld'-tS), An organ stop of the flute species. Jnlillate Deo (Lat. joo-bS-1U'-tS dee'-5). " O be joyful in the Lord." The first words of the looth Paalm ; is used as a canti- cle in the order of Morning Prayer. Jubilee Overture, The, a celebrated over- ture in E, op. 59, composed by C. M. von Weber for the festival at Dresden in 1818. It winds up with " God save the King.'* Jubilee, The Peace. Two monster fe-^ti- vals by this name were held in Boston i86g and 1871, under the inspiration and general direction of Mr. P. S. Gilmore. At the last there was an orchestra of goo, a large orean, a chorus of 14,000, and the audience room held about 40,000. Judas llaccabeus, the X2th of Handel's Oratorios. Begun July 9, ended Aug. 11, 1746. Judith, I. An oratorio by Defesch, 1737. 2. An oratorio by Dr. Arne, 1764. 3. A ''Bibli- cal Cantata,'* by H. Leslie, 1858. Juive, La (zhu-eev'). "The Jewess,'' opera in = acts, by Hal^vy, 1835. Jullien, Louis Antoine, the famous band- master, and the first to brintica large orchestra to America, was born at Sisterton, Apnl 23, x8i2. In 1838 he began his career as a con- ductor in London, with an orchestra of 90 and a chorus of 80. From time to time he en- larged his resources, employed the greatest solo artists, started a store, leased a theater, and so made much money and rode on the highest wave of popularity, only to be over- taken finally by financial misfortunes. He came to America in 1853, and remained here until i'^54. On his return to England he again lost heavily, removed to Paris, and finally died in a lunatic asylum near Paris in x86o. ^ To this enterprising, if somewhat char- latanish, conductor, the English and Ameri- can public owe important education in the taste for clissical music and finished style of performance. Jungrste Gericht, Das, Spohr's first ora- torio. 2813. Not the same as his "The Last Judgment." Jupiter SympllOny, The. Mozart's 49th and last symphony, m C (KBchel ssi) 1788. The name was applied, perhaps, by J. B. Cramer. Just, a term apnlied to all consonant intervals, and to the strings and pipes that give them with exactness. JustO (ital. yoos-to). Exactness, precision. Juni^mann, Albert (yoong'-mS,n). A ^ood pianist, and an elegant composer cf^ piano pieces. Born 1824 at Langensalza. Lives ia Vienna. Kafka, Johann Nepomule, pianist and salon composer, was born may 17, idig, in Bohemia. Studied in Vienna, and since i8to has pro- duced a constant succession of pleasing com- positions for the piano. H.alkbrenner, Friedrich W. M., was in his day a grsat virtuoso pianist and_ a prolific compos !r. He was born near Berlin in 1788. Studied in Paris at the Conservatoire, where he carried off the honors for his pia/io play- ing. He at first settled in Lcndon, where he had fine success as a teacher and player, but in 1824 he returned to Paris, where he was re- ceived as a partner in the house of Pleyel & Co., piano-makers, and eventually amassed a fortune. His compositions for a time were held in the highest repute, and were so when Chopin went to Paris in 1831, but they are now forgotten. K. was an elegant pianist, but without a large tone or much depth of expression. D. 1849. Kalliivoda, Johann Wenzelslaus, a violin player ancl popular composer, was born at Prague in x8oo. He died at Carlsruhe in 1866. Was the author of 7 symphonies, be- sides a large number of concertos, quartettes, etc., which were melodious and well written, but not of permanent value. Kammer (Ger. k9.m'-mer\ chamber. Katn^ tner Musik^ chamber music. Kanne, Fr. A,, a talented German composer and poet, born X77S in Saxony, who left a number of operas and dramas. Died in Vien- na, XS33. Kapelle (Ger. kSp-pSl'-lS), chapel. A musical establishment, usually orchestral. Formerly applied to the private band of a prince or magnate, but now app'ied to any orchestra. Thus, at Berlin, the Kaiserliche KSnigliche Kapelle (97 musicians called Kammermusiker) forms the regular orhcestra of the Grand Opera, with two Kapellmeisters (conduc- tors), a Concertmeister (leader, or xst violin), and aBalletdirigeat (ballet-master). IGrove,"] Kapellmeister (Ger. kap - pel - mis'- tSr). Conductor of an orchestra. See above. Kelser, Reinhard (rin'-hSrd kiz-Sr\ an emi- nent German opera composer of the olden time, born 1673. For 40 years from i'i94 he remained at Hamburg, a favorite composer. In one year he wrote 8 ooeras. He composed his last opera, *'' Circe,^ in 1734, and died in 1739- «.rains are copper or brass basins with a head of skin that can be tuned to a true musical note. Used by cavalry and in orchestra^., always in pairs (tonic and domi- nant). Key, a mechanical contrivance through which the finger produces or modifies a sound in instruments. Key« a relationship of tones. All authentic modern music rests upon the normal key, or tonal system from which all our harmony is drawn. Taking any tone as tonic the remain- ing seven tones of the octave stand in the following relations to it: 9-8, 5-4, 4-3, 3-2, 5-3f X5-8, a-i. These are the ratios of the major scale. The same tones may be used in the minor mode without alteration, but gene- rally theyf/*M of the major is sharped so as to make a major seventh in the minor. Thus the tones CDEFGABC make the key of C. If G sharp be taken instead of G, the key becomes A minoi. The subject of tona- lity has been thoroughly investigated by Helmholtz, to whose " Tone Sensations" re- ference is made. Key IVotet the tone of a key from which all , the others are determined. That tone of a scale which makes the best point of closing. Kiel, Friedrich (keel), a German violinist, and distinguished master of counterpoint and fugue in the Berlin Hochschule for music. Is composer of a Requiem, a Missa Solemnis, and in 1874 an oratorio, Christus. Born iSax at Puderbach. Klngf. Matthew Peter, an English composer of operas, 1773-1823. Kingf Charles the Second, opera in 2 acts, by G. A. Macfarren, 1849. Kirche (keerk'-hS), church. Kirche-Cantaten, church cantatas, of which Bach left a large number. Kirchner, Theodor (keerk -nSr). one of the most talented of the disciples of Schumann, a composer oi genre pieces for the piano-forte. Bom 1824 at Newkirchen. Lives at Leipsic. Kimberger, Tohann Phillip (keem-bar-ggr). Composer and theorist (most of the latter being false), was born 1731. Lived at Berlin as Kapellmeister to the Princess Amelia. Died 1783. Hit, a small violin. M-ittel, Johann Christian, a distinguished or- gan virtuoso and, composer, one of the last pupils of J. S. Bach. Born at Erfurt 1732. Died 1809. His published works are not very important. His best pupil was Ch. Rink, oi Darmstadt. Klavier, see Clavier. Klang (Ger. kUng), Sound. Klang-forbe (Ger. klSng-far-bS). Toi»- color. Klingemann, Carl (kWng'-gS-man), a Ger- man literary man and poet, author of many of the songs which Mendelssohn set to music. Bom at Limmer 1798. Died in London, x862, as Secretary of Legation. Klein (Ger. klin). Little, small. Klindworth, Cari, one of the best living musicians and pianists, most distinguished as editor of the famous '* Jurgenson " edition of Chopin. Bom at Hanover 1830. In 1850 he went to Weimar to study with Liszt, where he was the associate of RaflF, Biilow, PrUck- ner, Wm. Mason^ etc., being especially inti- mate with the latter. From 1854 he lived 14 years in London. Since 1868 he has been professor of piano-forte in the Conservatory at Moscow. K. has distinguished himself, also, by his arrangement of the piano score of Wagner's " Der Ring des Nibelungen." KIOSS, Karl Johann Chr., a noted organ virtuoso, born 1793 at Mohrungen, and served as organist and director in various places. Died 1853 at Riga. Left many songs, big and little piano pieces, organ pieces, etc. Klnghardtf August, a talented German com- poser and director. Born in 1847 at KSthen, educated at Dresden, and in 1873 became Hofkapellmeister in Naustrelitz. Is com- poser of songs, piano pieces, overtures, etc.* which show decided originality. Knechtf^ Justin Heinrich (knSkt), a noted or- gan, piano, and violin player, theorist, and composer of psalms, motets, cantatas, sonatas, etc., etc., and instruction books. Born 1752, died 18x7, Knee StoPf an organ stop worked by the knee. Knell, a stroke of the bell, made at intervals, during funerals. Knight, Joseph Phillip, an English writer of over 200 songs, best known of which is hiis ^' Rocked in the Cradle of the Deep.*' He is a good organist. Born at Stratford-on-Avon, x8i2. Was at one time a clergyman. Knorr, Julius,'a German pianist, teacher^ and writer about music, was born 1807 at Leipsic, and appeared in the Gewandhaus concerts with success, in the first Chopin piece ever pUyed there. He was concerned with Schu- mann and Schunke in establishing the ** New Journal of Music." Died June xS6i. Koch, Henrich Christoph (kok), was a labori- ous theorist and musical lexicographer, Boro at Rudolstadt, 1749. Died 1S16. & ale,, Si add^ it arm^ e eve^ § end^ 1 ice^ t ill^ o old^ 5 oddy d dove^ 00 ntoon^ u lute^ tl but^ il Fr, soun^ 37 KOC DICTIONARY. KUL K.«Jechel, Dr. Ludwig Ritter von (ku'kSl). A learned musician and naturalist, the author of a themxtic catalogue of all of Mozart's works. (Breitkopf and Hartel, Leipsic 1862.) Born 1800 at Stein. Died at Berlin 1877. Koeltlei*, Louis, a many-sided German musi- cian, especially a pianist, musical writer and teacher, is known in all countries by his Etudes for piano. Born at Brunswick 1820, was educated under Sechter, Seyfried and Booklet. Since 1846 he has lived at Konigs. berg, Prussia, as musical director, etc, Koerner, Gothilf Wilhelm (kiir'-nSr). A pro- lific _ German writer of musical text-books, particularly for the organ. Born 1809. Diea at Erfurt 1865. fiLolbe, Oscar (kol'-bS;). A theorist and com- poser. Born in Berlin 1836, Kollmann, A., a musician, born at Hanover in 1756, settled in England as organist at the German chapel in London. Wa» author of many text books in music. D. 1824. Kontski, Antoine, a fine pianist and composer of many pleasing salon pieces. Born at Cra- cow, 1817. Lives in London. Kotzivara, Franz, born at Prague, hanged himself in Ireland 1791, whether in remorse at having written his celebrated ntorceaUy " The Battle of Prague," is not known. KrakOViak (kra-ko'-vt-Sk), called also Cra- covienney a Polish dance belonging to the neighborhood of Cracow. Is in 2-4 time, in 8 measure periods. Krause, Anton (krow'-sS), a good pianist and capable director, born 1834 at Geithain in Saxony. Was educated at Leipsic, and in 1859 undertook the direction of the concerts, etc., in Barmen, as successor of Reinecke. Krause is author of 10 sonatas, €0 studies, etc., for the piano-forte, which are highly es- teemed. KrebS, J. L. K., a distinguished German or- ganist and comjjoser for organ, educated un- der Bach at Leipsic, and in 1737 organist at Zwickau. Born 1713. Diedat Altenberg, 1780. Krebs, Marie, the_ celebrated piano virtuoso, was born of a musical family in Dresden, 1851. In her ^th year she played B. F. BurgmUller*s 23 studies, op. 100, with pleasure and the most satisfactory completeness. She pursued her studies with her father only. Her concert career commenced in 1862, since which she has played in all parts of Europe and in Eng- land and the United States, with the greate>t success. Her playing is distingui hed by splendid and complete technic, and genuine musical feeling, both in classical and brilliant music. KreiSlerlana (krls'-lgr-t-a'-nS), wreaths. Schumann's title of his op. 16, "eight fan- tasias for piano. ^' 1838. Krejci, Joseph, director of Prague Conserva- torium of Music. Born 1622 at Milobtin, An accomplished musician, a superior organist and skillful director, and a composer of church music (masses, etc.), as well as over- tures, songs, etc, Krenn, Franz, an excellent German organist, , composer and director. Born i8i6 at Dross, in Austria. Studied in Vienna with Seyfried. In 18^4 he became organist, and in i86z Kapellemeister in the Royal Cathedral of St. Michael. Is a composer of masses, vespers, a symphony, quartettes, etc. Kretsohmer, Ed, a fine organist and one of the foremost dramatic composers of the pres- ent time. Born 1830. Studied in Dresden, and in 1854 became organist there. Is Hof- organist and Director of ^ the boys of the Royal Chapel. His " Geisterschlact " was sung with great succr'ss in i86<, and took the prize. His great s-a_ct opera. Die Fulkung- ers,^' was successful in 1874 and 1875, Krentzer, Konradin (kroit'-zSr), a talented and favorite song and opera composer, b rn Z782_ in Baden. "Was well educated, and studied medicine. In xSog he became pupil of Albretchsberger in Vienn.i, where he re- mained till i8li, and composed many operas. In 1817 he became Kapellmeister. Died in Riga 1849. K. was the author of very many successful operas, of whi h perhaps the best known is " Das N-ichilager in Granada." Krentzer, Rudolph, the same to whom Bee- thoven dedicated the famous " Kreutzer Son- ata," was a violinist and com oser, who was born at Versiilles 1766. He was a fine musi- cian, and especially a fine violinist, playing ^with great success throughout France and Germany. He was professor of the violin from the foundation of the Conservatoire, until in 1824 a broken arm compelled him to stop playing. Died 1831 at Geneva. Kreutzer Sonata, a famous piece for piano and violin, Beethoven s op. 47, 1803. Kriegcr, Adam (kreeg'-8r), a notable Gei' man organist and composer, 1634-X666, Krue^er, Wilhelm K. (kroig'-er}. A noted pianist and composer of parlor pieces for the piano, born 1820 at Stuttgart. Was pupil of Lindpaintntrr. Is professor of piano in the Conse r vator i u m. K.rug, Dietrich (kroog), a noted pianist, and author of a large instruction book for it, as well as many piano pieces. Born i8a t in Ham- burg. Krumhorn (crooked horn). An 8 ft. reed stop m the organ. Otherwise called "cre- mona," *' clarionet," etc. The name is not now in use. Kuecken, Friedrich Wilhelm, the melodious and distinguished song writer, was born at Blackede, Hanover, 1810, He studied counter- point at Berlin, and with Sechter in Vienna, and orchestration with Hal^vy in Paris. K. was a prolific composer of operas, sonatas, etc., as well as the son^s and duets on which his fame rests. Lives in Schwerin. Kuhe, Wilhelm (koo'-S), an elegant pianist and composer, was born in 1823 at Prague, and a pupil of Tomaschek, and later of Jul. Schulhoflt at Cologne. Resides (probablyj in London. Best known by his charming ca- price '* Feu Foilet,^^ Kuhnau, Johann_ (koo'-nou). A very re- markable old musician, Can tor of Leipsic, and the gie^test figure in German clavier music before Bach. _ He was the inventor of the sonata as a piece of several movements not dance tunes. Bom 1667 at Geysing. Made cantor at Leipsic 1684. Died 1722. Knllak, Adolph, a deep thinker in music and a teacher. Born 1823. Died 1862 in Berlin, Author of "' Das MusikalischschSn,*' 1858. and " Die Aesthetik des Clavie. spiels," 1861, a The pitch ; A sharp. liady Henriette, a ballet pantomime in 3 acts, music by Flotow, Burgmilller and Del- devez. 1844. The libretto was afte>-wards expanded, and Flotow set it as *'*' Martha." Xiady of the IJake, The. Cantata in s parts, music by Prof. G, A, Macfarren. 2877. lifendler (Ger. land'-ler). A country dance orairin a rustic and pleasing style in 3-4 time. Popular in Austria, Bavaria, Bohemia, and Styria. It is danced more slowly than th« waltz. %Ak Crrange^ M'me Anna (lit grang), one of the most distinguished and lavorite coloratur singers of the present time, was born in 1825, at Paris. Studied singing with Bordogni. Made her debut in 1842, and had great suc- cess in all p ins of Europe. She yi-^ited America in 185^, and again in [869. Lives in Paris, where she is a prominent teacher of singing. MMle Litta is one of the most dis- tinguished of her puoils. She has a soprano voice of great compass, very finished execu- tion, a lovely trill, and sang with true artistic conception and taste liagrrimoso (Ital. lS-gre-mo'-z5), and Lagri- ■mando^ weeping, tearful. In a sad and mournful style, IJiyeiUieSSef the family namct of the distin- guished prima donna, MiM Marie Emma Aibani, (ai-bU'-nee). She was born in 1851 of French Canadian parents, near Montreal. In 1864 the family removed to Albany, whence she derived her p«eudonvm when she went upon the stage. Her finishing studies were made with Lamperti, at Milan, and her debut was in 1870, when the beauty of her voice, her plaisin^ method, and the intelli- gence of her singing speedily raised her to the commandi.ig position she now holds. She was married to Mr. Ernest Gye in 1878. liallali Roobh^ Moore's poem, i. Opera by C. E. Horn, 1820. 2. Opera by Feliciea David, i86b. 3. Opera in 2 acts, by Rubin- stein, 1863, 4. Paradise and the Peri, Schu- mann. 5. Paradise and the Peri, coneert- overture, by Wm. Stemdale Bennett. a aley <&> add^ a arm^ e eve^ S end^ I ice^ I «//, 5 old^ 6 odd^ 3 dove^ 00 moot^ u lute^ ii buty U Fr» sound LAM DICTIONARY. LAU ILanillillotte, Pater Louis (ISm.beel-yot'-tS) a celebrated and popular church composer, waf^born 1797 at Charleroi, and at the age of 25 was kapellmeister in khe Jesuit College in St. Scheul. In 1825 he joined the Order. L, has produced a great quantity of music for the church, which IS showy, brilliant, a?./, effec- tive, but has little sub-tance. Was a^so au- thor of several works about music. Died in 1855. liament, an old name for harp tunes of the pathetic kind. JLamentabile (Ital. IS-men-tS -be-lS). La- mentable, mournful. liamentations, the funeral music of the ancient Jews was called by this name. See also Tenebrae, Ijamentevole (Ital. la-mSn-tS'-volS). La- mentful, lamentable, IJamentOSO (Ital. lS-m@n-to'-zo). Lament- able. lin minear (Fr. IS- mtn-Qi). The key of A minor. liamperti, Francesco O^m-par'-tee). The distinguished teacher of singing in Milan, was born at Savona, in 1C13, studied at Milan, and in iSsowasappointed proifessor of singing in the Cons'^rvatory, fr »m which he retired in 1875. L. "^caches the old Italian method of Farinelli, c-r:. Mile. Albani was his pupil. Ijand lied (Ger. Und' Iced). A rural or rus- tic song. Iiancor'S Quadrlille, a popular square dance for 8 or 16 couples. lian^, B. J., the distinguished pianist, organist, conductor and teacher in Boston, was born in X840. See Addenda. Xi&nge, Oustav (lang'-S), apleasing pianist and favorite composer for his instrument, was born 1830 at ^"chwerstedt. Studied with his father, who wr.s n organist, and later in Ber- lin with Gustav Schumann and Loeschhorn. Since i860 has been very active .is r, composer, having publishec! over r o piece'.-. IifUlgC, S. de, the distincrtshe I organist, pian- ist and composer, '.'a.% Son. r.t Rotterdam, Feb. 22, 1840. He^ \i. ^aucht by liisfather, who is yet organist ii. .KotterJr- -, Cathedral. He studied comrjsitit^:. ;'.'idc . F. Dupont, Damcke, etc. X-'ron. iZQ^ ^874 he was located in Rotte:dair. .-/^ or • ■ at. He then spent a vear in Lade, rtid cue year in Paris, since which he has '. zxAcC '.i Jolo^ne as teacher of the organ c.'. c-z- -.ijosition in the Conservatory. He is -.a^hcrof symjphonies, string quartettes, ovcr.v'cs, and especially of interesting works for tlu organ. lianshans, Wilhelm (lang'-hou::;, a German violinist, composer and v.ritr .-.bi^ut music, bom Hamburg, 1S32. Stu Mc'' r.i Leipsic, served rs :D:ic:rt leister a:ii' : -•'■■rtor at DUsseld> I'f, :ic., nni finally, ia 187- , >.^ok up his resid:nc: i". i'crlln, where he it engaged in musico-litcrr.1-/ labors, and teaches history in Kullak^s Coacervatory. Isauthor of string quartettes, etc. liangsani (Ger. ISng'-sSm). Slowly. Equiva- lent to largo^ or adagio^ or lento, Ijanssamer (Ger. lang'-sSm-Sr). Slower. lianja^aemente (Ital. ian-gue-man'-t€). Lan- guishingly. liang^uendo (Ttal. 1Sn~gwan'-do), Jjan- giiente (Ital. ISn-gwan -tS), liangnido (Ital. ISn'-gwe-do). Languishing ; feeble ; with iangor, Jianner, Joseph, the celebrated conductor and composer of^ dance music, was born at Vienna i 1 iGoi. Became a conductor at a very early age, and died in 1843. liarg^e, the longest note formerly in use, equal to ei£;ht whole notes. liarg^ement (Fr. larzh-mSnh). Full, free in style. liarglietto (Ital. IfEr-gaf-to). A movement not quite so slow as largo, Ijarj^O (Ital. ISr'-go), bro\d. A slow and sol- emn^ movement. This wor'"" is frei[ucntly modified by others, asZ* ■•„;7tMc/,verj' largo; Largo un poco^ a little \ ijo 1 Largo ma non troppOf largo, but not tc iiiuch. liarj^hissimo (ItaL ISr-j^e^'-e -mo), the superlative oi largo. J^xfS iinely sloiv. I^arigot (Fr. lar'-T-go), shnpher-'" :!ute or pipe. An obsolete name or an -.jan stop tuned an octave above he 12th. liarynx, the upper part o{ the trac/i -a. It consists of five annular cartilages, placed above one another and united by cl-.stic liga- ments. Ijast Shift, on a violin the shift to the 30th line, or £, liast Judgment, The, the English version of Spohr s oratorio *'Die letzcen Dinge," 1830. liassen, Eduard, was born at Copenhagen 1830, but educated in Brussels, where he dis- tinguished himself in composition, and finally, in 1851 received the great government prize. He went to Liszt at Weimar, who brought out at intervals three of his operas. On Liszt^s resigning the directorship Lassen took his place, which he still holds. L. is a fine writer of the new school, having composed operas, songs, a symphony, overtures, etc. JLassus, Orlando, or Lasso^ a Netherlands com- poser of church music, born about 1530, who produced a great mass of church compo'^itions, which influenced musical progress. D. 1594. IjatOiir, Jean, a French pianist, and compnser, born at Paris 1/66, and settled in London as pianist to the Prince of Wales. L. was a prolific author of divertissments,^ variations, etc., which were very fashionable in their day. He died in Paris in 1840, lianb, Ferdinand (loub), a great violinist, the peer of Joachim and Wilhelmj. Born at Prague in 1832. After the usual European experience of virtuosi, he settled in Berlin in iSs6 as l^acher of violin in Stern's Conserva- tory. His tone was extremely pur*", full and artistic. D. 1875. Ijaada Sion, the name of a sequence sung^ at High Mass on the feast of Corpus Christi, written by St. Thomas Aquinas, about 1261. liands, a religious service held at daybreak. liaurens* Alberto (real name Albert Lawrence), an English baritone singer. Born about 1835. At present a teacher of Italian singing in New York. I tuosi. Lenz is an inaccurate but entertain- ing writer. a ale^ a adJy a arm^ e evty'^i end^ \ ice^ X iH^ o oldy o odd^ 5 dove^ no nt06n^ u lute^ ^ but^ tt Fr, sounS. 4« LEO DICTIONARY. LIS IJeo, Leonardo (la'-6), one of the most celebra- ted Neapolitan composers^ was born 1694, and died 1746. He wrote several operas and a large number' of pieces for the church. Ijeonliard, Hubert, a favorite Belgian violin virtuoso, composer and teacher for his instru- ment. Born 18 1 9 at Bellaire. Afiei the ustual career of a virtuoso, he settled down in 1849 as professor of the violin in the Conservatory at Brussels. lieonhard, Julius Emil, a notable German pianist, composer and teacher, born 1810, died 1831 in Leipsic. Ijeonore ou 1' Amour Conjugal. An opera- comique in 2 acts, words by Bouilly. music by Gaveaux. 1798. Translated into Italian, the book was composed by Paer in 1804. Trans- lated into German, it was composed b^ Bee- thoven as " Fidelio." Ii was B.'s wish to call the opera Leonore, but he was overruled by the management of the theatre. His four overtures to it are : No. i in C, op. 13S, com- posed in 1807 ; No. 2 in C, iSgS. and played at the three performances of the opera • No. 3, C, 1806; Fidelio, in E, for the second and final revision of the opera. 18 14, Xieschetitzky, Theodor (ISs'-chSt-th'-sklO, a distinguished pianist, for some time profes- sor of piano at Si. Pe ersburg, but now living in Vienna. Is the author of many pleasing pieces for the piano. _ Born 1831. _ M'me Annette Essipoff was his pupil and wife. IJeSlle, Henry David, was born in London, June 18, i8b2. He became conductor of the choir which bears his name in 1855, through which he has established _ his fame as a re- fined and highly accomplished conductor of vocal muaic. Is the author of a symphony in F, 1847; " Immanuei," an oratorio, 1853; " Judith," oratorio, 1858 ; " Holyrood," can- tata, i860 ; *Mda,^' opera, 1864, etc., etc. IJeStocq, opera in 4 acts, by Auber, 1834. Ijesnenr, Jean Fran9ois, a French composer of operas, and teacher, born 1763, and in 1792- 1796 appeared as the author of several operas. In 1813 L. succeeded Grdtry at the Instjtut, .and in t8i8 became professor of composition at the Conservatoire. Died 1837. IJevezza (Ital. l€-vat'-tsS). Lightness. liiaison (Fr. Ie-a-z5nh). Smoothness of con- nection, also a bind or tie. liiberaineilte (Ital, le-bS-ra-man'-tS), Free- ly, easily. liilbitum (Lat.). Pleasure; ad libitum^ at pleasure. liibretto (Ital. le-brat'-to). A little book. In other words, the text of an opera or other dramatic piece of music. liicense, an arbitrary deviation from the established rules. Justifiable only by some good effect thereby attained. liie (Fr. le-a'). Smoothly, the same as legato, JUieheslied (Ger. lee'-bSs-leed). A love song. Ijiebigr.n, and musical writer. aa/tf, & add^ S arm^ e eve^ S end^ 1 ice^ I «V/, old^ odd^ 6 dove^ 00 inoon^ u lute^ ii but^ U Fr. sound MAT DICTIONARY. MID 9Eattei, Tito (tee'-to mat-ta'-e), a popular composer of son^s and piano pieces in London. JUayer, Charles (mi'-Sr), a favorite German piano virtuoso, composer and teacher, born at KSnigsberg 1799. Appeared early as a pianist. Lived much in St. Petersburg, and died in Dresden 1862. As a player he be- longed to the school of Field. may; i^ueen, The. A pastoral cantata, by Sir Wm. Sterndale Bennett, 1855. Slaznrka, a rather slow Polish dance in triple time. Measure, the grouping of pulsations in music. . Measure is two-part, three-part, or four-part. There are also compound measures of these various grades, in which each unit consists of a triplet. Measure includes two elements, both of which are essential t' > the intelligibility of music; a steady movement through the piece, and a clear accent at the beginning of each measure. The longer measures_ take also secondary accents, at the beginning of their aliquot parts. Measure -note, the note which represents a unit of time. It is always indicated by the lower figure of the time-signature, 4 for quar- ter-note, 8 for eighth, etc. jiffedee, opera in 3 acts by Cherubini, Z797> mCediant, the third note of the scale, the medial between tonic and dominant. medial Cadence, a passing or imperfect cadence. meeresstille and Oluelcliche Falirt, *' Calm sea arid Prosperous Voyage,'* poem by Goethe. Music by Beethoven in i8i5> Also by Mendelssohn for orchestra only, 1828, Also by Rubinstein. melllig, Anna, a distinguished pianist, born at Stuttgart 1846, educated there, and after- wards with Liszt, made her debut in England 1866. Was in America in 1873 and 1874. Resides in Stuttgart. Has great technic, a reiined style, but somewhat cold. melinl, Etienne Henri, a celebrated French omposer. Born 1763 at Givet. Went to Paris in 178 r, and came out as a composer in his fourth opera in 1790. He wrote 24 operas, and many other works. Died 1817. Metaterisinger vonKuemberg,"The Master Singers of Nuremburg," opera, by R. Wagner, 1846. melange (Fr, ma-13nzh'). A mixture. melancoUa (Ital. mSl-£Cn-ko'-ItS). Melan- choly. melodeon, a reed instrument having a key- board like the piano-forte. melodic, of or pertaining to melody. melody, a tune ; a symmetrically organized and completed period. meiodia (Ital. ma-lo'-dlS). A melody. melodia, an organ stop of theflute tone, 8 ft. pitch. Commonly in the choir organ. melodic (Ger.) A melody. mdodioso (Ital. ma-lo-de-5'-zo). Melodi- ously. melodrama, a drama illustrated by music in- terspersed, or frequently as accompaniment to the spoken dialogue, mclusine, overture by Mendelssohn, 1833, Also set as choral work by HoflFman. menie (Fr, mam). The same. mendel, Hermann, editor of Menders Musi- kalisches Conversations-Lexicon (Musical Encyclopedia), was born at Hall^, 1834. He undertook his lexicon in 1870, and died in 1876, just as the work had reached the letter M, It has since been completed in 11 vol- umes, and is the most complete work of the kind. mendelSSOhn, Felix, was born at Hamburg, 1809, and died 1847. S^^ Chapter XLVI I. meno (Ital. ma-no), less ; meno mosso^ less movement, slower. mcnsur, a measure. menuct (Fr. ma-noo-6), A minuet. menuetto (Ital. ma-noo-St'-t6). A minuet. mercadante, Xav., a well-known opera com- Eoser. Born at Altamura in 1798. In 1840 e became director of the Conservator ium of Naples. Died 1870. , messa di "Voce (Ital. mas-sadevo'-tsheS). The gradual swelling and diminishing of the voice. messe (Ger. mSs'-sS). A mass. mesto (Ital. mas'-to). Sad, mournful. mestoso (Ital. mas-td'-z6). Sadly, mourn- fully. mess*"^. The, an oratorio, by Handel, 1741. met, abbreviation of Metronome, metal, organ, a composition of tin and lead in varying proportions. Tin should'beat least one-third. metronome (mSt'-ro-nom). A mea<;ure of time. A chronometer invented by Maelzel, consisting essentially of clock-work and es- cape wheel, and a pendulum swinging on a ' pivot in the middle of its length. It can be made to go slower by sliding a hall up towards the top of the pendulum. The rate is indi' cated by the letters M.M. for the metronome, a figure showing the place of the ball on the graduated scale of the instrumentj and a note which is to occupy the time of a single tick. meter, the plan_ of verse according to its feet and length of lines. mej^cr, Leopold de (mi -Br), An eccentric pianist, born 1816, a pupil of Czerny, visited America in 1845 and ^868, and lives in Paris and London. meyerbeer, Giacomo (giU-ko'-mo mi'-Sr- bar), whose real name was Jacob Meyer Beer, the celebrated opera composer, was born at Berlin of a wealthy Jewish family, 1791. His debut as composer was made in 1811. His best known operas were ** 11 Crociato,'* 1824, *' Robert der Teufel," in 1831, and " Les Huguenotte," 1836, the " Prophete," 1849. Died Z864. All these operas are showy, and extravagant, rather than inspired. mezza, feminine of mezzo, mezzo (Ital. mat-tso). Half, or medium. mezzo Soprano, a voice of soprano quality, . but not so high as a pure soprano. mi (Ital. me). The third tone of the scale in solinization. microphone (mi'-kro-fon). An instrument for observing feeble sounds ; a microscope for sounds. middle Voices, the inner voices in choral wriiing, the alto and tenor. a a/iP, & add^ S arnty e eve^ S endy 1 ice^ I z7/, o old^ 6 odd^ d dovcy 00 moon^ u lute^ u hut^ U Fr, sound 46 MIG DICTIONARY. MOZ ]|Ilgnoil, opera in 4 acts, by Ambroise Tbomaa. SEillS, S. B., virtuoso pianist, composer and teacher, was bom at Leicester, England, March 13, 1839. Studied at Leipsic, and came to New York about 1858, where he has since held a distinguished position. military Band, a brass band, or brass and wood (horns, trombones, cornets, tubas, clari- nets, oboes, flutes, piccolo kettle-drum, snare>drum, and cymbal). Minor, smaller. JUinor second, a diatonic semitone. mOnor third, a third equal to three semitones. iniinor triad, a triad with a minor third. minore (Ital. me-n5"-rS), minor. ]|Elnor Scale, the scale beginning with the syllable La^ or the 6th of the major. See Mason's " Piano Technics," for a discussion of the M.S. Minnesingers, minstrels of the 12th and 13th centuries, who wandered from place to place singing a great variety of songs. Minstrels, wandering singers. Minuet, an ancient, slow and stately dance in 3-4 time, usually in two strains. Miserere (Lat. me-sS-ra'-rS), *'Have mer- cy,'* a psalm of supplication. Missa, a mass. Missal^ a mass-book. MisteriOSO (Ital. nils-ta-rI-o'-z5). Mysteri- ously. Misurato (Ital. me-soo-i^'-to). Measured, in exact time. Mixture, an organ stop composed , of several ranks of pipes, designed to strengthen the harmonic over-tones in the klang. ** Two rank" m^ixtures sound the 12th and 15th of the not> struck. Three rank the 15th, 19th, and 22d. Modern mixtures do not contain the third of the chord (or any of its octaves, the loth, 17th, 24th), but only o-itaves and fifth-., and are voiced in flute quality. They impart a clear and ringing quaUty to the tone of the full organ. ModeratO (Ital, mSd-a-i^'-to). Moderately. Mode, a scale or key, " Major mode," major key. Modesto (Ital. mo-das'-to). Modestly. Modulation, a harmonic progression out of one key into another, by means of ambiguous chords. *^ Modulation of voice*' means con- trol of the voice. Modus (Latin), A mode. Moins (Fr. mw3). Less. MoliQue, Bemhard (mo-leek'). An excellent violinist. Born at Nurembur|f, 1802. Died 1869. Wrote concertos for violin, trios for piano, violin and 'cello, and an oratorio, ^*Abraham," i860. Moll (Ger. mol). Soft, z.^,, minor. MoltC (Ital. m61'-t5). Much, very much, a great deal. Monochord, an instrument composed of a single string stretched over a sounding-board, along a graduated scale, for measuring musi- cal intervals. Monody, a composition on one subject, gener- ally of a sad character. Monteverde, Claudio, one of the greatest masters in his time. Born 1566 in Cremona. Died 1651. He wrote operas, and deserves particular honor for developing recitative. Montrr (Fr. mfinh-tra'), " mounted," in front. Hence frequently applied to the diapason stop in an organ, because its pipes are often displayed in front. Morceac (Fr. mdr-so')> A piece, a choice piece. Mordent (Ital. m8r-dan-tg). A transient shake or beat, formed by the principal note and the next above. See supplement. Moresca (Ital. mo-rSs-kS), Moorish. A mor- ris-dan e, in which bells are jingled and swords clashed, Morlacchi, Francesco (mOi-lSk'-kee), a suc- cessful and meritorious opera composer, born Z784, died 1841. Momin^on, Earl of, father of the Duke of Wellington, was a comiK>ser of glees and church pieces. Born 1742 in Ireland. Mortier de Fontaine, bom 1818 at War- saw, the first who flayed Beethoven's gigan- tic sonata, op. xo6, in public. Moore, Thomas, an English poet and song- writer, born in Dublin 1779. Published his Iri^h Melodiesin 1823. Died 1852. Morg^an, George Wash bourne, the distin- fuished organist, living in New York, was orn in England about 1827, anr^ came to New York about twenty years ago, where for a long timf. h was organist of Grace Church. Moscheles, Ignatz, the distinguished piano virtuoso and teacher, -v/s- born st Prague in Z794. Studied with Z^Jrakha, ?- I later with Dionys Weber ami Clementi. h^ made his debut in 1B15, and had famo*" ruccess all over Europe, He resided i ' London as teacher, conductor and pianist, for sumr years, ' and joined Mendelssohn as profe'^sor of piano . at the Leipsic Conservatory, in 1846, where he died in 1870. Moses in £sypt, an opera, or oratorio, by Rossini, 1827, MOSSO (Ital. mos'-so). Movement, motion. MOSZkov^ski, Moritz (moz-ko'-skY), one of the most gifted of the younger composers, was b prn about 1853, and resides i . Berlin, where he was pupil of Kullak, and is a clever pianist. His compositions are mainly for the piano, and are fresh, musical and melodious. Motette (mo-tSf). A motet ; a vocal com- position, wiih sacred words. The line be- tween motet and anthem is not clearly drawn. Motive, a musical figure or germ employed as a text. See Chaps. I. and X, Motion, mode of progression. Rhythmic M. is progression in notes of uniform value, or in a particular rhythmic figure, through several measu es orperiiids. See Chaps. VII., VIII. and IX. Voice M, is similar, parallel, con- trary, or oblique, t ontrapunial M. is " two against one, *' three against one," "■ four against one." Mouthpiece, that part of a trumpet or brass instrument which is applied to the lips. Mozart, Leopold, bom 1719 in Augsberg. Died 1787. He was an excellent mu ician, and a tasteful and talented composer, and vice- kapellmeister to the Archbishop of Salsz- burg. a ale^ & add^ a arnty e eve^ 6 end^ I ice^ X ///, 6 old^ 5 oddy 6 dove^ 00 moon^ u lute^ ii but^ 11 Fr. sound MOZ DICTIOJSTARY. NAU SEozart, Wolfgang Amadeus, son of the pre- ceding, was born Jan. ajy 1756, at Salzburg, and died 1791. See Chap XLV. Sfnette
  • ancerB, opera in 2 acts by Loder. 1846. Nielson-Rofinsevilie^ M'me Christine,the successful piano-teacher iti Chicago, was born at Chris tiansand, Norway, Aug. 10, 1845. Was a pupil of Haberbier, at that time pro- fessor in Leipsic, and i ' 1871 came to America, where she has since resided. Was married to Dr. Rounseville in 1875. Nillson, Christine, the celebrated prima- donna, was born in Sweden, 1843, and early manifested her remarkable talent for music. She played the violin and sang from house to h -use. Her voice attracted attention, and she was sent to Stockholm, and afterwards to Paris, where she was pupil of Wartcl. She made her debut in 1864 as Violeita. In 1871 she was in America. Her voice i? of moder- ate volume, great sweetness and carrying power. IVocturne (Fr. nok-tUrn), also Noiturno^ a nocturne. A song-like composition of a soft and tender character, as if suitable for the hours of night. See Lesson XXXII. Node, that point of a chord at which it divides itself when it vibrates by aliquot parts, and produces " he harmonic over ..ones. Any over- tone cap be prevented by striking the string at its own node. Koel (Fr. no-el). A Christmas carol or hymn. ^Wohl, Ludwig (nol'^, a well known writer on music and musical subjects. (" Mozart's Letters," " Beethoven's Letters," etc.) Was born in Westphalia, 1831. He was educated at Bonn and Heidelburg, and there since 1872 he resides as professor of musical history and aesthetics. IVohr, Chr. Friedrich (nor), a violin virtuoso and conductor at Saxen-Meiningen. B rn 1800. Wrote operas, a symphony, etc. Died 1875. IVon, not; no; as non thoUo^ not much; non tanto^ not so great ; non troppo^ not tuo much. IVone (Ger. n6'-n§). The ninth. Also the the last of the lesser hours in the Breviary. Nonet, a composition for nine voices, or in nine voice-parts. a ale^ Hadd, S arm^ e eve, e end, i ice^ \ illy old^ cS odd, 6 dove^ 00 moon, \i lute, u buty u Fr. sound Koiq* DICTIONARY. OCT 'Non nobis I>oinino, '^Not unto us, O Lord." A celebrated canon sung as a grace after meat, at public dinners in Englai.d. Xon Plus Ultra, " Nothing more beyond." The bumptious title of a piano sonata by Woelfl, op. 41, in i£o7. Konne !l!»anglaate, La, opera in 5 acts by G6unod. 1854. STorma, opera in 2 acts, by Bellini. 1832. Kormal, right ; natural ; proper. BTormal-ton (Ger. nor-mal-ton). The tone A, to which orchestral instruments are tuned. Wormal fi^cale, the natural scale. Siormal l^chool, a school for teachers. STorth, James O,, a teacher of singing in St, Louis. Born abont 1830. JKrotation, the signs by means of which music is represented. See Appendix. IffOte, a sign of musical utterance. ThepiicA is indicated by the staff degree on whicn the note is played ; the length by the form of the note. Sfote Printing;. The earliest printing from movable types was by Ottaviano dei Petruc- cio, in 1466. STote-Head, the oval part of the note, which occupies tlie pitch-place, Xote-Stem, the line running fro'm the head. JVottebohm, Martin Gustav, composer, teacher and writer on music, was born near Ludenschied in 1817. Studied in Berlin with Bergerand Dehn, and afterwards with Sech- ter. He was one of the chief editors of the critical edit onsof Bach, Handel, Beethoven, Mendelssohn and Mozart, His compositions include clavier trios and quartettes, solos for pi;nno, etc. Wonrrit, Adolpb, a highly gifted tenor singer in Paris, born 1802. IJied 1839. Was profes- sor of dra-matic declamation in the Conserva- tory, UffOVelletten, " Novellettes," the ritle of a series of 8 piano pieces by Schumann, op. 21. 1838. JHfOVellO. Vincent, an English composer, editor an t organist, w isboru in London, 1781. Was organist in severa' important churches, author and compiler of much church music, and died at Nice, x86i. Jjltrovello. Clara, the celebrated soprano, daugh- ter of the preceding, made her dv but in 1833, and was the leading oratorio and operatic soprano in England for many j ears. XO'vello, Joseph Alfred, eldest son of Vincent, was a bas« singer, and the founder of NoveU lo's " Sacri d Music Warehouse." the first depot of music at a low price, and the begin- ning of the present firm, " Novello, Ewei & Co. Born iBio. Lives at Genua. IVozze cli FiSAI***- Le, "■The Marriage of Figaro-" opera buflfa by Mozart (Figaro's Hockzeii)^ 1776. JVnances (Fr. nii-^hn-s'). Lights and shades of expression, BTnit BlanoheS. "Restless Nights." The title of a set of 18 lyric piano pieces by Stephen Heller, op. £2. Sriimber. The several pieces or sections of an opera or oratorio, are numbered for con- venience of reference, etc. The overture is never counted, Nunc DimittiS, "Now dismiss us." The canticle of Simeon, St. Luke, ii : 29, etc, A vesper song. Knt, a slip of ebony or ivory glued to the neck of the violin, at the upper end of the finger- board. 2. Of the bow, a piece of ebony or ivory over which the hairs pass. O (Ital. 0), or. Oil (Ital. before a vowel od), or, as, either. Oaheley, Sir Herbert Stanley, Mus. Doc was born at Ealing, July 22, 1830, and educated at Ox ord. Studied music with Dr. EJvey and Schneider, of Dresden, and completed at Leiosic. In 18' 5 was appointed profe-sor of music in Edinburg University. Comijoser of songs, anthems, etc. Is a good organist. Obbligai'O (Ital. 5b-ble-^a'-to). Necessary, obligatory, must not be omitted. Oberon, romantic opera in 3 acts, by von Weber, 1826. Obertbuer, Chas., a distinguished performer on, and composer tor the harp, was born March 4th, 1819, at Munich. Resides in London, and has compotied an opera, mass, and many compositions for haip. Oberiverk (Ger. 6 ' -b8r-vark). The upper manual on a two manual organ. Obligat (Ger. 6b - It - gSt') Indispensable, necessary. Oblique Piano, an English term for the diagonal arrangement of strings, usual in up- right pianos. Oboe (Ger. 0-bo-S). A wooden reed-instru- ment of two foot tone. Itis played with a double reed. It consists of a wooden tube about two feet 1 ng, with sound holes on the sides, like a fiute. Has asomewhac plaintive and wailing tone. Oboe d' Amour, an oboe exactly like the usual one, but tuned in A, a minor third lower. Oboe dt Caccio, an old name for an oboe standing in %b or F, Oboe Stop, an organ stop consisting uf imping- ing reeds and conical pipes of a small scale, usually in the swell organ. Owing to the reed and block being of me' al, it has a harsher tone than the orchestral oboe. Oca del Cairo, "The Goose of Cairo," opera bufTa in two acts, by Mozart, 1783, Ocarina (o-kS-re'-na). Terra-cotta instru- ment somewhat resembling the flageolet. O'Carolan, or Carolan, Turlogh. one of the la^t and most famous of the liards of Ire- land._ Born 16^0. Died 1738, and was iamous for his improviaations. Octaeliord, an instrument or system compris- ing eight sounds, or seven degrees. Octave, the eighth tone, in the diatonic scale, above or below any other. The octave is the most perffct consonance in music except the unison. Its ratio is 2 : i. Octaves are equiva- lent in harmony. Oetave, an organstop of diapason quality and 4 ft, tone, standing an octave above the dia- pason. A a/tf, a add.^ 2 arm^ e eve^ § end^ 1 ice^ \ ill^ o old^ 6 odd^ 6 dove^ 00 tnoon^ u luie^ ii but^ ii Fr, sound SO OCT DICTIONARY. ORG Octave Flute, a small flute an octave higher than the German flute. Octave Successions, or " consecutive oc- taves," the parallel motion of two voices at the' interval of an octave, are forbidden in four-part harmony, because they temporarily reduce the number of parts to three. Octette, a composition for eight voices or in- struments. Ode, an air or song ; a hymn of praise. Oesten, Ther^dore, tht? famous arranger of teachingpieces lor the piano, was born at Berlin, Dec. 31, 1813. Learned various in- struments, and was in great demand as a teacher of piano-forte. Died 1870. Oeuvre (Fr. iivr), work ; composition ; piece. A term used in numbering a composer^s pro- duction-^ in the order of their composition or publication. Offenbach, Jacques, the famous composer of opera buffo, was born at Cologne, 1819, of Jewish parents. Studied music, became or- chestral conductor, and appeared as composer in 18^3, O. composed 69 pieces and 143 acts within 25 years. D. 1880. Offertorium (Lat. 6f- fBr - to - rY iim). A hymn, prayer, anthem or instrumental piece played during the offertory, Oline (Ger. o'-nS), without. Okne hegleitung^ without accompaniment ; chne pedals^ with- out pedals (in organ music) ; ohne ddmpfer^ without dampers (with the pedal pressed down). Old Hundredth, The, a tune long associated with the looth Psalm. Supposed to have been written as early as 1551. Ondegrgfiante (Ital. on - dad - je - Sn' - tS). Waving, undulating, trembling. Ongleur (Fr. 6nh-gfur). An old term for a performer on the lyre or harp, Olimpiade, libretto by Metastasio, composed over 31 times, by Caldara, Leo, Pergolese, Hasse, etc. Olynipie, lyric tragedy in 3 acts by Spontini, 1S19. Open Olapason (di-3^pa'-s6n). The most important stop in an organ. It consists of metal pipes, of large scale and free and solid tone, and forms the foundation of the tone of the full organ. Open Harmony, or Open Position^ a posi- tion of chord- in which the three upper tones of the chord do not fall within the compass of an ocave. Open Pipe, an organ pipe open at the upper end. Open Note, a tone produced by an open string, a free, uncramped tone. Open Strins, a string vibrating through its whole length. Open notes on the violin have more resonance than those produced by *' stopping." Opera, a drama set to music for solo singers, chorus, orchestra, scenery, and dramatic ac- tion. The words of an opera are called the ** Book.'' or " Libretto." Opera dates back to the 15th centurv. The principal schools of opera are the Italian^ in which the singing is the chief thing, the French., \xv \i\\\^ the dramati ■ action is chief j the German^ which aims at the c>)mplete union of action, singing, and music .1 description, and op ra buffa in which the absurd and laughable is aimed at. Opera Buffa, comic or buffo opera. Opera, Italian. The greate-t composers of this school were Donizetti, Bellini, Kossini, Verdi. Opera, German. The greatest composers of this school were Gluck, Mozart, von Weber, and Wagner. Opera, English, opera in English, by Eng- lish composers. The principal masters of this school are Balfe and Wallace. Opera, French. The principal composers are Haldvy, Harold, A, Thomas, and Meyer- beer, although the latter is also partly Ger-^ man. Opera Seria, a serious or tragic opera. Opera, Grand, opera in which the dialogue is carried on by means of recitatives. Operetta, a httle opera. Ophilcleide (6f-T-klId). A large bass brass instrument, of deep and powerful tone. It has a compass of three octaves from double Bflat. Opus (Lat. o'-pils, abbreviated op.") Work. Used by compo-^ers in numbering their works in the order of their composition or publica- tiun, as op, i, op. 2, op. 3, etc. OpnS Posthumus, a work published after the death of its author, Orage (Fr. o-rMzh), a storm. An organ stop intendefl to imitate the noise of a storm. Oratorio, a species of musical drama consist- ing of arias, recitatives, choruses, orchestral accompaniment, etc., pei formed without dramati.: action or scenery. O. was origin- ally performed as a religious service. See Chapter XLI. Orchestra, a full combination of stringed and wind instruments. A full orchestra should consist of not less than eighty to one hundred men, disposed as follows : ist violins 20, sd violins 18, violas 10, ^cellos lo, basses 10, oboes 9, clarinets 4, flutes 2, piccolo i, bas- soons 2, horns 8, trumpets 4, trombones 3, tuba X, kettie-drums 2, snare drum, bass drum, triangle and cymbal. In reducing this the horns would be reduced to 4, and as a last resort to 2 ; the trumpets to 2, and the clarinets to 2, _ Other redm tion- would be made in the strings. The smallest number of strings compatible with blending is 5 zst vio- lins, etc. Orchestra, that part of a theatre occupied by the orchestra. The chairs adjacent to it. Orchestrion, an instrument of the organ kind, arranged to be played by means of a tune-cylinder, or barrel, so as to imitate the sound of an orchestra. Large instruments of this class cost as high as $5i<^<^o* Organ, a wind instrument the sounds of which are produced by pipes either flue or reed, and played by means of a key-board like the piano-forte. It was invented from A D. 800 to 1400. The essential parts of an organ 3 re ^bellows to collect air and force itout through the pipes, wind-ways^ a sound-board or •wind-chest containing the valves and sup- porting the pipes, keysiar opening the valves, and pipes for making the sound. Large or- gans contain one large bellows with several /eederSsSiA many wind-chests as there are key- boards, and as many valves as there are keys. Concerning pipes see Organ Stop. k ale^ & addy S arm^ e eve^ S end.^ 1 ice^ X zV/, o old^t 5 oddy d dove^ 00 moon^ u lute^ ii but^ U Fr, sound 5« oRa DICTIONARY. PAG Organ lllnsir, music designed to be played upon the organ. Organ. Stop, or Register (German Stim- TKung^ voice). A set of pipes voiced alike, one for every key in a key-board of an _ organ. Stops are classed as ^/a/>o at the a^e of 15. His tone was large and his execution eleg nt. He played Chopin's piano-forte sonata and Beethoven^s and Hummefs piano-forte concertos, with the greatest ease. Died at Vienna 1847, Parlando, (Ital. pSr-lJEn'-do), accented, in a declamatory style. Parody, music or words slightly altered and adapted to some new purpose. Parry, John, an English musician, born 1776 in Denbi^ht, and became very celebrated as a harp virtuoso and composer for his instru- ment. Parsons, Albert R., a pianist, teacher and composer, the translator of Wagners " Bee- thoven," born in Indianapolis about 1850, and educated at Berlin. Resides in New York. Part, the music for each separate voice or in- strument. Parte (Ital. pSr-tS). A part ; a rfilein an opera. Parte Cantante (Ttal. p£r-te kSn-t£n-te). The singing, or vocal part. PartimentO (Ital. pSr-tS-man'-t5). An ex- ercise, figured bass. Partitnr (Ger. par-t!-toor'). A score ; full score. See Score. Partita (Ital. pSr-te'-tS), An old term synony- mous with variation. Ps^S (Fr. pS). A step ; a dance. %ale, a add^ S arm^ § eve^ S end^ 1 ice^ t rV/, old, 6 odd^ 6 dove, 00 moon, u lute^ & Out^ ii Fr. sound 53 PAS DICTIONARY. PEK Pasdelonp, Jules (jool pS-dS-loo), the founder of popular classical concerts in France, was born in Pai ib in 1819. Educated at the Cons-rvatorjr, where in 1833 he took the first prize for piann-playing. Appeared in 1851 as director of the Hociety of Young Artists^ whose mis^irtn it was to introduce classical mii-ic, in which he h.^s been vc'-y successful, and has gained the approval and favor of the public. JPas Henl (Fr. pli-sul). A dance by one per- former. Pa»sa«aglio (Ital. pSs-sa-kai-ye-o). A species of chicon, a slow dance in 3-.^ time, the music consisting of divisio 'S or variations on a ground bass, and always in a minor key. Passacaille (Fr. pas-sS-kal). A passacaglio* Passage, any phrase or short portion of an air, or ot.ier composition. Also used for bravoura passages^ those parts of a piece which prcduce an effect^ but do not belong to the melody of the piece. Passagio (Ital. pSs-sSd-je-o), a passage. Passamezzo (Ital. p£s-s£-mat'-s5), an old, slow dance, little differing from the action of walking. Passepied (Fr. p&ss-pe-a'); A sort of jig, a lively old French dance in 3-4, 3-8, or 6-8 time ; a kind of minuet. Passing; Notes, notes which do not belong to the harmony, but serve to connect those that are essential. Passion Music, music composed for holy week. Passions Uluslk, Bach wrote four passion oratorios, the best known of which is that ac- cording to St. Matthew, in 1729. Passionate (Ital. pSs-se-5-nS'-to). Passion- ate, impassioned, with fervor. Pasta, Guidetta (gwe-det'-tS pSs'-ta), a fa- mous dramatic singer. Born at Como, 1798, made her debut at Verona in 1822, and sang with the greatest success throughout Europe. Her voice was of large compass, and very beautiful. Died 1865. PasticiO (Ital. pSs-tet'-tshe-o), a medley, an opera made up out of songs, etc., by various composers. Pastoral, a musical drama on a rural subject. Also an instrumental composition in pastoral style. Pastorale (Ital. pSs-td-rS'-lS). Pastoral. Pastorelle (Fr, pas-to-rSl). A pastoral. Patetico (Ital. pS-ta'-te-ko). Pathetic. Patimento (Ital. pS-te-man'-to). Affliction grief, suffering, PattI, Adelina, and Carlotta, sisters, distin- guished singers. _ Carlotia was born at Fl r- ence, 1840, and is noted for her delicate and brilliant execution. Adelina^ born at Madrid, 1843, sang in concerts at an early age, an 1 since 1859 has occupied the highest rank in Europe. Pauer, Emst (powr), pianist and composer, was born in Vienna, 1826, studied there with Dirzka and Seen ter, and later with Mozart's second son. In 1851 he came to London, where he has since resided. Is a successful com oser, but best known by his editions of Schumann's works, etc. Pauke (Ger. poii-kS). A kettle drum. Paul, Dr. Oscar (p'lwl), professor of musical science in the University at Leipsic, was born 1836 at Fieiwaldau, studied theology at the University of Leip-^ic, as well as music. ^ In 1866 he was appointed to his present position, in which he has distinguished himseL. Is teacher of the piano in the Conservatory. Pause, adelay or sudden cessation of rhythmic movement by the prolongation of a tone or chord. The character ^T- which requires this. Pavana (Ital. pK-vS'-nS), a grave, stately dance, which took its name ixom. pavo^ a pea- cock. It w-tS danced by princes in their mantles, an 1 ladies in gowns with long trains, whose motions resembled those of a peacock's tail. It was in 3-4 time, and generally in three sirains, each repeated. Pavilion (Fr. pa-ve-yonh). The bole. of a horn orother wind instrument. Pavilion Chinois (Fr. pS-ve-yonh she- nwa). An instrument with numerous little bells, which impart brilliancy to lively pieces and pompous military marches. Pax, Karl Edward, organist of the charity church in Berlin, was born at Glogau in 1802. A composer of men's songs, and instructive piano pieces. Died 1867. Pedal, of or pertaining to the foot. Hence damper pedal^ the lever by which the foot raises the dampers from contact with the strings ; softpedal^ a lever operating mechan- ism for diminishing the tone; sivell pedal^ a lever for operating the blinds of the * swell organ;'' tone- sustaining Pedal^hy means of which a tone is prolonged after the finger is removed from the key. Pedal Piano, a piano-forte fitted with organ pedals for practice. Pedal Point, see Organ Point. Pedal X>opplO, double the pedals, that is, play with both feet, a direction in organ play- ing. Pedals, Combination, pedals for drawing stops in the organ. Pellegrini, Angelo (p§l-l§-gre'-ne). A dra- matic composer, born in Como about 1805. His three operas are often given, Etelinda 1S31, La Vedova di Bengala 1834, // diser~- tore svizzero 1841^ PenSOSO (Ital.p§n so'-zo). Pensively, mourn- fully. Pentachord, an instrument with five strings, a scale or system of five diatonic sounds. Pentatonic ISeale, a scale of five notes, sometimes called the Scotch scale, and simi- lar to the modern diatonic major scale with fourth and seventh degrees omitted. PepaSCh, Johann Christoph, was born at Berlin 1667, where he lived 20 years, when he went to Holland, where his first compositions were published, and then to England, where he achieved great success as a composer. Died 1752. Perdendo (Ital. nar-dan'-do), Perdendosi (Ital. par-dan-do'-ze). Gradually decreasing the tone and the time ; dying away ; becom- ing extinct. a ale^ S. add^ S arm.y e eve^ § end^ 1 ice^ I zV/, 6 old^ 6 oddy 6 dove^ 00 moon^ u lute^ u but^ U Fr. soun4- 54 PER DICTIONARY. PIO Period, a melodic or harmonic formation con- sisting of two or more sections, of which two must stand in the relation of antecedent and consequent. See Part Second. Perkins, Henry S., a teacher and writer of choral music, was bom at Stockbridge Vt., March 20, 1833. Studied music at Boston, and commenced his work as conductor of musical conventions in i860. Is author of about twenty collections of singing-class and convention music. PerkiliS, Jule ^., brother of the preceding, a g;ood pianist and composer, and a fine bass singer, was born at Stockbridge, Vt., 1845. Studied singing in Paris and Italy, and made his debut in opera there about 1868, with dis- tinguished success. In 1873 he joined the Maple.>on Opera Company in London. Died at iVlanchester, England, 1875. Perkins, W. O., Mus, Doc. composer and teacher of music, brother of the preceding, was born at Stockbridge, Vt., about 1829. Studied in Boston, conducted conventions, etc., since i860. Resides in Boston. Perne, Fran9ois Louis (pern), a learned French teacher nf musical theory and composer. Born 1772 at Paris. Died 1832. Persiani, Jose^o ^par-se-S'-ne). An opera composer. Born in one of the States of the Church, 1805. Perti, Giacomo Antonio (par'-te). A notable composer of the old school. Born z66i. His first mass was produced undei his own direc- tion in St. Peter's in 1680. Died i7«)6. Percussion (Eng. n§r-kush'-6n). Striking, as applied to instruments, notes or chords ; or the touch on the piano-forte. Perfect, complete, satisfactory. The perfect consonances are unison, octave, fifth and fourth. Perfect Cadence, a cadence consisting essentially of the chord of the dominant seventh, followed by the tonic, both chords uninverted, and the soprano and bass having the touic in the last chord. Perpetual Canon, a canon without an end- ins^, like a round. Pesante (Ital. pS-zSn -tS). Heavyv ponderous, with importance and weight, impressively. Peschka-I^eutner, Minna (p6s-kha loit'- nfir). A brilliant singer, long a favorite at Leipsic, and heard in , this country in 1871. Born 1839 in Vienna. Pestalozzi, Johann Heinrich (pSs-tS-lot-zi), the celebrated teacher, was born in Zurich, X746, and devoted himself to improving the method of teaching children by presenting to them **■ the thing before the sign. ' Petrella, Enrico (an re'-ko pa-trSl -IS), an Ita ian composer of operas. Born in 1813, in Palermo, educated at Naples, and produced at the age of 15 his first oi)era. Was author of about twenty operas. Died 1877 in Genoa. Pen (Fr, puh). Little, a little. Pezze (Ital, pi. pat-sS). Fragments, scraps, select, detached pieces. Pfeife (Ger, pfT'-f?). Pipe, fife, flute. Pfeiffer, Oscar, pianist, born at Vienna, 1828, made concert tours 1845-1867 in Europe. In 1864 went to Rio Janeiro, wherealso he had fine success. Composes for the piano. Pfluehauiit, Robert (pfloog'howpt), a bril- liant pianist. Bori 1833 in Berlin, studied with Liazt. Died 1863. Pkantasie (Ger. f^n-t£-see'). Fantasy, fancy, imagination. Pkilidor, Fran9ois Andr£, .a French opera composer. Born 1726. Died in London, 1795. P. was the inventor of French comic opera, of which he composed 22. Philharmonic, lovers of harmony, a society devoted to the interests of m..sic. PluloSOphy of Art, the relation of art to the human mind. See Part Four. Phone (Gr. fo'-nS). The voice, a sound or tone. Phonetik (Gr. fS-nSt'-Yk). System of singing, or of notation and harmony. Phrase, a short musical sentence, a musical thought or idea which makes sense, but not complete sense. Phrasing, the art of uniting tones into phrases, and separating phrases from each other, as well as the proper modulation of the sound so as to express the musical idea. Phrygian, one of the ancient Greek modes. Physharmonica (Gr. flTs-hSr-mfin -It-kS). An instrument, the tone of which resembles that of the reed pipes in an organ, and is pro- duced by the vibration of thin metal tongues, of a similar construction to those of theliar- monium. The name is also applied to a stop in the organ with free reeds^ and with tubes of half the usual length. Piacere (Ital. pe-K-tsha'-rS). Pleasure, incli- nation, fancy ; a piacere^ at pleasure. Piacevole (Ital. pe-S-tsha-vo-IS), Pleasing, graceful, agreeable. Piaclmento (Ital. pe-S-tshe-man-to). See piacere. Pianino (Ital. pe-It-ne-no). A small piano- forte. Piano (Ital. pe-3'-n5). Soft, gentle. Piagendo (Ital. pe-£-jan'-do). Plaintively, sorrowfully. Piano-forte. The distinguishing feature of the piano-forte is the use of an elastic ham- mer to strike the strings. Has been gradually evolved through countless modifications dur- ing the last two centuries. Steinway & Sons are the most brilliant and successful experi- menters during the past twenty-five years. Piano a qneu (Fr. pe-IC'-no a kiih). A grand piano-forte. Piano Score, a series of staves arranged for representing vocal music and its piano-forte accompaniment. Piatti, Alfred, the celebrated 'cellist, was born in Bergamo, 1823, and appeared in public with great success at the age of 16. In 1846 he first came to London, where for the most part he has since resided. Is author of a number of pieces for 'cello and piano. Pibroch (pe'-br5k). A wild, irregular species of music, peculiar to the Highlands of Scot- land, performed on the bagpipe. PicchiettatO (Ital. pe-ke-§t-t£'-to). Scat- tered, detached. In violin playing it means that sort of staccato indicated by dots under a slur. ao/^, & add^ 'i. »r/«i e eve^ 6 end^ i ice^ X ill^ 6 old^ 5 oddy 6 dove^ 00 moon^ ii luie^ ii hui^ il Fr. sound 55 PIC DICTIO NARY. POI Piccinnl, Nicolas (pet-tshe'-ne), known under the name Piccini. a celebrated opera com- poser, the rival of Glui-k, was born in 1728, near Naples.^ Educated at Naples. Appeared as composer in 1747, which was the beginning of a long and brilliant car er as opera com- poser. P. lived chiefly at Naples. Died at Passy, 1800. Piccinni, Louis, second son of the preceding, was born in 1766 at Naples, and was also a very good composer. D, 1827. PioCQlominl, Marie (pek'-k6-lS-me'-ne), a pleasing singer, born at Siena, 1836. Made her debut at Turin in 1S55. Came to Ameri- ca in 1858. Piece (Fr. pS-as'). A composition or piece of music ; an opera, or drama. Pieno (Ital. pe-a-no). Full. PietOSO (Ital. pe-a-to'-zo). Compassionately, tenderly. Implying, also, a rather slow and sustained movement. Pifferart (Ital. pi. pef-fS-iS'-re). Pipers. Pilate, August (pI-lK'-tSj, a composer. Born at Bouchain, i8io, educated atParis. Brought out his first opera abouc X854, Pince (Fr. pS-nh-sa). Pinched, ^^fi pizzicato. Pipe, any tube formed of a reed, or of metal or wood, which being blown inro at one end, produces a musical sound. The pipe^ which was originally no mere than a simph oaten straw, was one of the earliest instruments by which musical sounds were attr-mpted. Pipes of Pan. See Pandean Pipes. Piesendel, Johann George, a distinguished German violinist. Born at Karlesburg, 1687. Played and conducted in all the principal cities in Europe, and died ^^%$. Piston (Fr. pls-tonh). A valve in a brass in- strument. Hence cornet a piston^ cornet with valves. Piteli, means "point," the highness or lowness of sounds. That (juality of tones which de- pends on the rapidity of the vibrations pro- ducing them. Pitches are named by letters, as A, A sharp, _B, C, etc. The different octaves are distinguished as largey sntally once-marked.^ etc., namely. Middle C and the six degrees above it belong to the *' once- marked octave" and written e, a, etc, ore', d', e',etc. ; the octave above thisisthe *•■ twice- marked octave" c", d", e", f ', etc. The octave below middle C is the *' small octave," written c, d, e, etc., the octave below this the " large" octave, 0, D, E, etc., below this the "double" octave, CO, DD,etc. Pitches are also distinguished as "8ft" "4ft," " 2ft," or "i6ft,'] according to the length of the pipes producing them. Organ stops are designated mthis way according to the lenethof thepipe producing the tone for the fingei>-key two octaves below middle C. ^ The standard pitch is 8ft. A stop of this pitch g;ives for every note sounds agreeing with the voice ; i6ft. stops give sounds an octave lower ; 4ft. stops an octave higher, aft. an octave higher still. Pitch, Concert. French pitch is about 522 vi- brations per second for middle C. Concert pitch is higher, about 540, Pin (Ital. pe-00). More. X&piu allegro^ more allegro; piu forte^ moie forte ; _^/a moto^ quicker, etc. Pixis, Friedrich Wilhelm, an organist in Mann- heim, 1770, a pupil of the Abbe Vogler. Au- thor of a number of works for organ and piano. Pizzicato (Ital. pet-se-kS'-tS). Pinched^ meaning that the strings of the violin, violon- cello, etc., are not to be played with the bow, but pinched, or snapped with the fingers, producing a staccato effect. Placidamente (Ital. pia-tshe'-da-man-tS). Calmly, placidly, quietly. Plagal, ancient modes in which the melody was confined between the dominant and its octave. Plag'al Cadence, a cadence in which the final chord on the tonic is preceded by the harmony of the sub-dominant. Plain Song, or Plain Cliant^ the name given to the old ecclesiastical chant when in Its most simple state and wi'hout those har- monic appendages with which it has since been enriched. The ancient music for the - psalms and liturgy. Plaintif (Fr. pl^nh-tef). Plaintive, doleful. Plaque (Fr. pia-ka'). Struck at ff«*:^, without any arpeggio, or embellishment. Plaquer (Fr. pia-ka'>. To strike at once, speaking of chords. Plectrum (Lat. plSk'-trtim). A quill, or piece of ivory or hard wood, used to twitch the strings of the mandoline^ lyre, etc, Plein Jen (Fr. planh zhii). Full organ. The term is also applied to a mixture stop of several ranks of pipes. Pleno (Lat. pla'-no). Full. See " Full Organ." Pleyel, Ignaz (pir-Sl), composer of a great number of instrumental works, was bom the twenty-fourth son cf his father, about 1757, near Vienna. Died 1831. Pleyel, Camille, eldest son of the preceding, also a good composer, was born at Strassburg, Z792. T)ied in Paris, 1855, Plico (Lat. ple'-k5). A kind of ligature used in the old music, as a sign of hesitation or pause. Pnenniatic liCver, a contrivance for di- minishing the weight of touch on large organs, invented -by Mr. Charles Barker, of London, and afterwards of Marseilles. It consists of a small bellows about i4inchesby3,for every key. When the key is pressed it opens a valve into this bellows, which is immediately inflated and thereby opens the valves belong- ing_ to the key touched. The " pneumatic action " completely softens the touch, which on large organs amounts to several pounds per key, but it results in a loss of time. In order to diminish this as much as possible, the pneumatics are operated by a "heavy wind," of a pressure equal to a column of water 6 inches high, or thereabouts. Pocliette (Fr. p6-shSt). A kit, a small violin used by dancing masters. FOCO (Ital. po-ko). Little: ^% poco a poco^\\t- tle by little ; uvipoco adagio^ a little adagio. Pohl, Karl Ferdinand (pol), the popular author of •■ Mozart and Haydn in London," Biogra- phy of Haydn, etc., is an organist, and was born 182? at Berlin and studied in Vienna with Sechter. Poi (Ital. p6'-e). Then, after, afterward ; ^za«tf poiforte^ soft, then loud. & a/*, S. add^ S. arm^ e eve^ S end^ 1 ice., 1 z7/, 6 oldy fi odd^ 8 dove., 00 56 moon., vi lute^ ii buiy ii Fr. sound POL DICTIONARY. PKO Polacca (Ital. p6-iak -ka). A Polish national dance in 3-4 time ; a dance tune in which an emphasis is placed on the first unaccented part of the measure. PoUca^ a lively Bohemian or Polish dance in 2-^ time, the first three quavers in each bar being accented, and the fourth quaver unac- cented. Polonaise (p5l-5-naz). A movement of three crotchets in a measure, the rhythmical pause coming on the last crotchet of the bar. Polyphony. " many sounds." Applied to com- positions consisting of three or more inde- STidently moving voices, as in -fugue, etc. istinguished from Homopkony^ in which there is but one melod.ous voice, the qthers being accompaniment, as in glees and Ameri- can psalmody. See Chapter V. Pomposo (Ital. pdm-po -zo). Pompous, state- ly, grand. Poiiiatowski, Joseph, Prince, and kinsman of Stanilaus II, last king of Poland, was bom at Rome, 1816. He was educated in music, and produced seven or eight operas. Ponte* Lorenzo da, a famous writer of opera librettos, among them Mozart's *' Figaro'* and "Don Juan." Born 1749. Died 1838, Popper, David^ a distinguished 'cellist, bom 2843. Lived since 1868 m Vienna. Porpora, Nicolo (pdr -pS-rS), the distin- guished opera composer and lival of Handel, was bom at Naples in 1686, educated there, appeared as composer in 1708, and after several years* wandering between Vienna, Loudon, etc., in 1760 he returned to Naples, where he lived at the head of the Conserva- tory of San Onofrio. Died 1767. Wrote more than 50 operas, 6 oratorios, 4 masses, 29 other sacred works, 6 symphonies for cham- ber, etc. Portamento (Ital. por-ta-man'-to). A term applied by the Italians to the manner or habit ot sustaining and conducting the voice. A singer who is easy, and yet firm and steady in the execution of passages and phrases, is said to have a %OQa portamento. It is also used to connect two notes separated by an in- terval, by gliding the voice from one to the other, and by this means anticipating the lat- ter in regard to intonation. Portando la voce (Ital. por-tan'-do la v5'- tshS). Carrying the voice, holding it firmly on the notes. Posanne (Ger, po-zoii-nS). A trumpet, a trombone, a sackbut, also an organ stop. Potpourri (pot-poor -re]). A medley, a capric- cio ox fantasia^ in which favorite airs and fragments of musical pieces are strung to- gether and contrasted. Position, a shift on the violin, tenor, orviolon- cello: the arrangement or order of the several members of a chord. Positive, an appellation formerly given to the little organ, placed in front of the full or great organ. Possibile (Ital. pos-se'-be-lS), possible ; // piu forte possibiUy as loud as possible. Postludinm (Ital. post-lii -dl-um). After- piece, concluding voluntary. Potter, Cypriani, pianist and composer. Born in London, 1792, where his father was a pro- fessor of music. Studied with Calcott, Crotch, and Woelfl Was made professor in the Koyal School of Music, and m 1825 president of the same. Died 1872. Wrote trios, duos, sonatas, and piano pieces. Pral trill, theOerman name for the mordente^ an embellishment consisting of two small notes preceding a principal one. See appen- dix. Pratt, Silas G., pianist and composer, was bom Aug. 12, 1847. Studied at first in Chicago, afterwards with WUerst and KuUak, at Berlin, and still later with Liszt, at Weimar, Has written two operas, a symphony, many piano pieces, etc. Precentor, the appellation given formerly to the master of the choir. Prelude, a short, introductory composition, or extempore performance, to prepare the ear for the succeeding movements. Precipitando (Ital. pra-tshe-pe-tSn-do). Hurrying. Preci^itato (Ital. pra^tshe-pS-tS'-td). In a precipitate manner, hurriedly. Precisione (Ital. prU-tshe-ze-o'-nS). Pre- cision, exactness. Preg^Mera (Ital. pra-ghe-a'-m). Prayer, supplication. Preparation, that disposition of the harmony by which discords are lawfully introduced. A discord i!» said to be prepared when the dis- cordant note is heard in the prececing chord, and in the same part, as a consonance. Prestamente (Ital. prSs-ta-man'-tS). Hur- riedly, raiJidly. Prestezza (Ital. prSs-tad'-sa). Quickness, ra- pidity. Presto (Ital. pras'-to). Quickly, rapidly. Pressure tone, a sudden crescendo. Prima (Ital, pre'-ma). First, chief, principal. Prima Vista (Ital. pre'-mS ve'-stM). At first sight. Prima Volta (Ital. pre'-ma vol'-ta). The tirst time. Principal, the chief idea in a piece of music. See QiapterXIII. Principal, an organ stop of diapason tone. In English organs the principal is the ** octave," a 4ft. stop. In German it is the open diapa- son of 8ft. or i6ft. Program me, an order of exercises for musical or other entertainments. Programme SInsic, music designed to tell in tones a story derived from some poem, or legend. See Chap, XXI. Progression, movement from one tone or chord to another. Prosody, a term, partly grammatical and partly musical, relating to the accent and metrical quantity of syllables, in lyrical com- position. Prologue, jtlusical, the preface or intro- duction to a musical composition or perfor- mance ; a prelude. Professor of JVInSiC, the instructor or lec- turer on music in a chartered college or school An accomplished musician (English usage). a ale^ a add^ a arm, e eve^ S end^ i ice^ I i//, 6 old^ G odd^ 6 dove^ 00 moon^ u lute^ ii but^ U Fr, snund. PRU DICTIONARY. RAI Pmo.kner, Dionys, a brilliant pianist, and a good teacher. Born about 1830. ^ Studied Vith Liszt at Weimar, at the same time with Billow, Mason, Klindworth, Raff, etc. Came to New York in 1874, but made only a short stay. I-i now professor of Piano in the Con- servatory at Stuttgart (1880). Prnckner, Caroline, a distinguished German dramatic singer. Born at Vienna in 1832. Prudent, Emil (pru-dSnh), a brilliant pianist and composer of elegant fantasias and salon pieces, was born at Angouleme, 1817. Stud- ied at the Conservatoire, and was much in- fluenced by Thalberg. Died at Paris, 1863. Prume. Fran9ois, one of the most brilliant violinists of recent times, was born at Stavelot in iSi'^, appeared in public as violinist at an early age. Died 1849. Prnme, Jehin. nephew of the preceding, was also a flne vioanist, and visited America in z86u. Born at Brussels, 1840. Psalm, a sacred song or hymn. Psalmody, the practice or art of singing p>alms ; a style or collection of music de- signed, for church service. Psalter, the book of Psalms. Pnreell, Henry, an English dramatic and church composer, was born in London, 1658, the son of a musician. His talent was such, that at the age of 18 he was organist of West- minster Abbey and the Royal Chapel. He composed music to many plays. Purcell had positive genius, and showed fresh and vigorous melodic invention.^ He had not the severe contrapuntal training of Bach or Handel, his contemporaries. Died at the age of 37 in 1695- Quadrat (Ger. quSd-rat'^. The mark called a natural. Sec Chromatic Signs in Appendix. Quadrille (Fr. k^drel). A French dance, or set of five consecutive dance movements, called La Pantalon, La Foule, L^ Ete, La Tenise (or La Pastourelle) and La Finale, QnantK, Johann Joachin, 1697-1773. A dis- tinguished musician in the employ of Frede- rick the Great, of Prussia, known especially as a flute virtuoso. His instruction book for that instrument marks an epoch in the de- velopment of the flute, and of flute-playing. QuHutz was also an excellent violinist and oboist, was thoroughly acquainted with all the orchestral instruments in use in his time, and with the art and science of music. He left a large number of compositions, especially for the flute. Quart (Fr.) A fourth. Quarter-note, a black note, otherwise known as crotchet. Quarter Rest, a rest equal to a quarter note. Quarter-tone, a small interval of no precise dimension, because the "whole tone itself varies. Quasi ' Ital. quS'se). As if, like. Quartette (.Ger. guar-tStt). A composition for four voices or in!>Lruments. Quart-Sex (Lat.) Fourth-sixth chord. Quart - Septime (Lat.) Fourth-seventh chord. Quatuor (Lat.) A composition for four voices. Quaver, an eighth note. kwar flS-tS). A German Querfloete (Ger. flute. Querstand (Ger. kwar-stand). A false rela- tion in harmony. Quieto (Ital. kwe-a'-to). Quietly, calm, se- rene. Questa (Ital. quas-ta). This, that. Quiek-step, a lively march, generally in 2-4 time. Quintadena (kwlfn-ta-de'-nS). An organ stop of soft, flute-like quality, which gives the twelfth quite plainly. Quintaton (Ger. qutn-ta-ton"). A manual organ stop of 8ft. tone and stopped diapason quality, producing the 12th perceptibly. Also a pedal stop. Quinten-folgfe (Ger.) Successions of fifths. Quintette, a composition for five voices. Quintole, a group of five notes. Quint Oedaekt (Ger. quint ghe-dShkt). An organ stop of the stopped diapason species, sounding the fifth above. Qui TolliS (Lat.) " Thou who takest away,'' part of the Gloria in Excelsis, usually set in music as a separate number. Quoniam tu Solus (Lat.) "For thou alone art holy," part of the Gloria, usually set as a separate number. B., right (hand). Baekett, an old wooden wind-instrument, lower and deeper than the bassoon. Baddoppiamento (rad-dop-pe-S-man -to). Augmentation, reduplication ; the doubling of an interval. Radecke, Robert, a pianist, violinist and conductor, born at Dittmannsdorf in 1830. Studied with his father at Leipsic, where he distinguished himself, and in 1S52 was made second director of the Leipsic Sing-Acade- mie. Resides at Berlin. Has composed many songs, overtures for full orchestra, etc., and in many ways shown himself one of the first musicians of the present time. Radical Bass, a bass exclusively composed of the roots of the chords. RaiT, Joachim (yo'-2k-em rSf), one of the greatest composers now living, was born May 12, 1S23, at Lachen in Switzerland. His first opera, ^^ King Alfred,'^ was composed in 1849. From this time on Raff has produced a long succession of works, all well written, although sometimes too carelessly, which have at length acquired currency throughout the world. They consist of 8 symphonies, 2 suites, 5 overtures, several concertos, very much chamber music, songs, piano pieces, etc., in all over zoo works. At present (1880) Raff is director of the Conservatory at Frank- fort-on-the- Maine. Rallentando (Ital. ral-lSn-tan'-do). The time gradually slower and the sound gradual- ly soUer. Raimondi, Pietro, a highly esteemed com- poser and teacher of counterpoint in Rome, 1786-1853. Wrote more than 60 operas, 32 ballets, 150 ps ilms of the style of Marcel lo 5, and very many other church pieces. a aity ^ add^ i. army e eve^ 8 end.^ 1 ice^ \ illy 6 old^ 6 odd^ 6 dove^ 00 mot,n^ u lute^ ii buty U Fr. sound 58 RAM DICTIONARY. REI Rameaa, Jean Philippe (rS-mo), a celebrated French composer and theorist, was born 1683 in Dijon. Educated at a Jesuit college. Ap- peared as writer of theoreti> al works m 1722, and ten years later as an opera composer. Died 1764. Bansdes Vaches(Fr.rSnhdSvash). Pas- toral airs played by ihe Swiss herdsmen to assemble the cattle together for the return home. BapiAamente (Ital. ra-pe-dS-man'-tS). Rapidly. Bapido (Ital. ra-pe-do). Rapid. Bappoldi, E. (rSp-por-de), one of the best violinists of the present, was born in Vienna, Feb. 22, 1839. Is concertmeisterof the Royal Opera at Berlin. Bathberj^er, Valentine, a prolific old church composeff a Benedictine monk, born 1690. Batio, relation. The relation of the rate of vibrations in tones, BaUKZini, Venanzio (roud-ze'-ne), an Italian singer and composer of operas, born at Rome 1747-1810. Bavenscroft, Thomas, professor of music at Oxford, and one of the earliest English com- posers of psalmody, was born 1590. Died 1635, Bavina, Jean Henri (rS-ve-n3), pianist and composer, was born at Bordeaux, May 20, 1818. ^ Studied in the Conservatoire, and dis- tinguished himself as a composer of salon pieces. Died 1862. Be (Ital. ra). The secpnd syllable in solmiza- tion. In French, the pitch D. Bebec A Moorish word signifying an instru- ment with two strings, played on with a bow. The Moors brought the Rebec into Spain, whence it passed into Italy, and after the ad- dition of a third string obtained the name of Rebecca^ whence the old English Rebec, or fiddle with three strings. Bebel, Fran9ois, a French opera composer, 1701-1775. Becherclie (Fr. re-shSr-sha). Rare, affected, formal. Bechte Bande (Ger. rShktS hand). Right hand, BecitatiTe (rSc-I-tS-teev'). A musical decla- mation. See Chapter XXXVIII. Bedern, Count von Fr. Wilhelm, Prussian general intendant of the opera, and composer of occasional pieceSf was born i8oz in Berlin. Bednciren, to reduce, or arrange a full instru- mental score for a smaller band, or for the piano-forte or organ. Beed, a contrivance for procuring vibrations. 'X\\^/ree r^^^Z consists of a socket and a thin vibrating slip of brass fastened to it at one end, the other end swinging completely through the opening in the socket at each vibrati'm. Used in accordeons, concertinas, reed organs, harmoniums, and "free reed'* stops in the organ. Impinging or striking: reeds^ consist of a steel socket with a tn angular opening, and a vibrating brass tongue, which strikes against the socket in vibrating, and does not pass through, thus alternaielv opening and rlosing the pipe. Used in reed stops of the organ generally. The reedof oboe and bassoon conbiiits of two thin slips of reed (woody fibre), closely approximated, which alternately close and open when blown through. The clarinet reed con>ists of a slip, or tongue of reed vibrating against the wooden socket, and is, therefore, an imping- ing reed. The harmonit;s bf a reed are simi- lar to those of a string, hence ree. 1 instruments take the place of strings in military bands, Beed, Daniel, one of the old American psalmo- dists, published hisfirst book, "The Colum- bian Harmony," in 1793. The music was illiterate. Beeve, William, a successful English oomposer of inusica.1 dramatic pieces, and teacher of music, lived in Lond n. Burn 1757. Com- posed sixteen comic operas. Beeves, Sims, the great tenor, was born at Woolwich, 1821, made his debut about 1840, after serious studies in London and Italy, and has since held highest ank among opera- tic and oratorio lenors. His son has in 1880 made a promising debut as tenor. Becreatioii, a composition of attractive style, designed to relieve the tediousness of practice ; an amusement, Bedowa (rSd -S-wS). A Bohemian dance in 2-4 and 3-4 time, alternately. Befrain, the burden of a song, a ritornel ; a repeat. See Burden^ Begel (Ger. rag -61). A rule. Begister, an organ stop. Beglstration, the art of changing and com- bining stops so as to produce a musical effect in organ playing. Begnard, Francis, Jacob, Paschalius and Carolo, four brothers, of Douay, in Flanders. They lived in the i6th century. Jacob and Francis left many compositions, especially the former, who was Jcapellmeister at Prague. Behearsal (r€-her -s&l). A trial, or practice, previous to a public performance. Beicha^ Joseph, 1746-1795, A distinguished violinist and composer of Prague. He left many compositions. Beiehaj Anton, 1770-1836, nephew of Joseph. A distinf^uished composer and theorist, also born in Prague. He lived for some years in Vienna, in the society of Haydn, Albrechts- berger, Salieri and Bc-ethoven, The last twenty-eight years of his life he spent in Paris, where he was professor of counterpoint at the Conservatoiy, He wrote symphonies and overtures, and a great deal of chamber music. Hisfirst important publication deal- ing with the theory of music consisted in " 36 fugues for the^ piano-forte, writien on a new system." This new system consisted in an- swering the theme on every degree of the scale, instead of on the dominant. But as this principle is destructive of tonality, it failed to attain favor among musi' ians. - He published works on melody, on harmony, and on composition, which were much uved both in France and in Germany. He failed in his attempts at dramatic cnmposition, but suc- ceeded as an instrumental composer, and was universally respected as a learned and able musician, and a skillful teacher. u ale^ a add^ U. arm^ e eve^ 3 end^ 1 ice^ X iV/, old^ d odd^ d dove^ 00 moon^ u lute^ fl buty U Fr^ sound 59 REI DICTIONAUY. REL KeicUardt, Johann Friedrich, 1752- 1814. Kapellmeister in Berlin, and a prolific com- poser of operas and instrumental music, as well as a cr.tic. In the latter field he lacked hreadth of view and depth of insight, and here, as in his compositions, he failed to pro- duce anything of lasting value. But he was of importance in the development of the Ger- man song, for he introduced a more energetic declamation, and hit upon a truer musical expression for some of Goethe^s songs than had been found before. He is also the father of the German Liederspiel (Vaudeville), a play with popular songs introduced. Rein (Ger. rin). Pure, clear, perfect ; kurz und reiHy distinct and clear. KHcinberser. Joseph (rin -bar-g6r)oneofthe most talented composers of the present time, was born in Vaduz, 1839. Showed great tal- ent for music, and was organist in church at the age of seven. He was educated at Mh- nich, and resides there as teacher and con- ductor. Has written several operas, oratorios, organ pieces, piano works and chamber music, Aeinecke, Karl (ri'-nSck-S), composer, con- ductor, and piano virtuoso, was born June 23. 1824, in Altona. He was taught by his father, an excellent musician. At 18 years of age he made a successful concert tour to Copenhagen and Stockholm, engaged as con- ductor at Barmen in i8>;4, 'In 1859 he ac- cepted a more important conductorship at Breslau. Since 1S61 he has been the conduc- tor of the world-renowned Gewandhaus con- certs at Leipsic. He continues to be an ex- cellent concert pianist, and has made many concert tour* to London and elsewhere. He is aho constantly engaged in composition, and has published more than 100 original works, among them .symphonies, operas, masses, oratorios and overtures, and much chamber music. Jtetnlcen, Johann Adam, a very celebrated organist, was born at Deventer, Province of Ober-yssel, in the Netherlands. Hiseduca- tion was mainly obtained at Leipsic and and Hamburg, in the latter place studying with Sjheidmann, whom^ he succeeded as organist at the St. Catherine Church. Bach made two journeys to^amburg to hear him, the last time playing several hours for Rein- ken, who declared that the art of organ- playing, well-nigh extinct, had found a new exponent. He died at the advanced age of 99 years and 7 months, Nov. 24, 1722. He published but one work, entitled '* Sonatro, concertanten, allemanden, couranten, sara- banden and chiquen for two violins and cembals." Itelnthaler, Carl Martin (rin'-t^lSr), a Ger- man musician of some note as teacher of voice and director of various musical societies in Bremen, and also a school of vocal music, was born at Erfurt, Oct. 13, 1822. He is the author of an oratorio of note, *^ Gebtha." BeiSSisrer, Carl Gotlieb, a German musician of versatile talent as singer, pianist, and com- poser, was born Jan. 31, 1798, at Belzig. Became a pensioner in the Thomas school in Leipsic, where he studied composition and piano. Later by the kindness of friends he received money to pursue his studies in Berlin, and later in Munich with Winter ; after travel- ing through Italy, France and Holland he returned to Berlin and tooka position as teacher in a church musx institute. He was called in 1826 to Dresden to take the place of director of German opera, vacated by Mar- schner, and gave such evidence of his supe- rior ability as a director that the King of Saxony appointed him as successor^ to the deceased von Weber. His compositions in- clude operas, church music, masses, n^ tettes, orchestral works, 5ymphonies,_and overtures, aud also string&nd string and pianoquin tettes, quartettes, trio and duos, besides piano works, and songs. His songs, and especially piano and string trios were at one time very popu- lar, but are almost unknown at the present time. P. 1B59, Reissle^r, F. A., a brother of the above Born July 26, 1809. As composer,^ director and teacher he attained to some eminence in Norway, his adopted home. Keissman, Dr. Phil. August, was born at Frankenstein, Nov, 14, 1825, where^ he also received his first musical instruction. In 1843 he went to Breslau, where he studied theory, composition, organ, jpiano, violin and *cello, thus becoming practically acquainted with music in many depanments. During a a stay at Weimar he decided to follow litera- ture, and to his literary works is due the greater part of his reputation. The follow- ing are his principal literary works, *'From Bach to Wagner, " History of the German Song,"* "General Hist -ry of Music," three books, '* General Musical Instructor," ** Manual of Composition," biographies of Schumann, Mendelssohn, and Schubert. The University of Leipsic conferred upon him the degree of Doctor of Philosophy in 2875.^ He resides in Berlin, and lectures on the history of music in the Conservatory. Relisiosamente (Ital. rS-Ie-je-o-zal-man'- t^). Religiously, solemnly, in a devout man- ner. RellStab, John Carl Frederick, was bom Feb. 27, 1759, at Berlin. _ Died Aug. 13, X813. He was the son ofia printer, and made some im- firovements in that art. He organized in Ber- in the first musical circulating library, and also was the fir-,t to write musical critiques for the public press. He did much for music in Berlin,'by the introduction of artists in con- certs. Among his literary woiks may be mentioned "^ An Examination into the Rela- tion of Musical and Oratorical Declamation,'' and " An Introduction, for Piano-P layers, to Bach's Method of Fingering, and his Embel- lishments and Manner of Execution." Rellstab, Caroline, a daughter of the above, bom April 18, 1794, at Berlin, died Feb. 17, 1814. She was rightly called one of the great- est singers of her time, possessing an organ of remarkable beauty and compass, Tvom AS to F, coupled with great dramatic talent. Rellstab, Henry Frederic Louis, a son of J. C, born April 13, 1799, *^'^^ Nov. 28, i860. A musical critic and writer of note. The following are among his works." A witty book entitled 'Henriette" (Sontag), "or The Beautiful Singer ; a History of our Day, by Freimund 'Zusehauer ;" '*Branz LIfzt," "Ludwtg Berger." biographies, and "The Condition of the Opera since Mozart's time." Belated, having much in common. Related scales, those differing in but one tone. a a/tf, S. add^ 'i. arm^ e eve, e end^ T ire, I ///, 5 old, 5 odd^ 6 dove, 00 moon^ XL lute, il but^ ii Fr. sound 60 REL DICTIONARY. RIG Relation. False, that connection which any two sounds have with one another when the interval which they form is either superfluous or diminished. Relisioso (Ital. rS-le-je-o'-zo). Religiously, solemnly ; in atievout manner. Reminiscence, reminiscence, Renienyi, Eduard(rS-man-ye), agreat violin virtuoso, born 1830, in Hewes, Hungary. From 1842-1 "45, studied in the Vienna Conser- vatory. At thebreakingouto* the Hungarian revolution he entered the army as an adju- tant, and at its close came to America as an exile, and concerted through the country. In 1853 he went to Lisztat Weimar ; 1854 was appointed solo violinist to the queen oFEng- land, and later went back to his native land. Since early in 1879 he has been concerting m this country. His playing is characterized by great fire and dash. Remote, far away. Remote keys are those having few tones in common, as C and F sharp, or F and C sharp. Repeat, a character indicating that certain measures or passages are to be sung or played twice. JEtepercnSSiO (Lat. rgp-gr-ktis'-sl-o). Reper- cussion ; the answer in a fugue. Replica (Ital. ra*-ple-ka). Reply, repetition. See, also, Repercussio. Reprise ( Fr. ra-prez). The burden of a song ; a repetition, or return, to some previous part ; in old music, when a strain was repeated, it it was called a reprise. Requiem (Lat. ra-qut-6m). A Mass, or musical service for the dead. Resolution, the subsidence of a dissonance into the consonant tone it temporarily dis- placed. Resonance, the reverberation or echo of sound. Response, response or answer of the choir. Rest, a mark signifying silence. Rests are of different forms, corresponding to note-lengths. Retard, gradually, more slowly. Retro (Lat. ra'-tro). Backward, the melody reversed, note for note. Renter, George (roi'-ter), a celebrated organ- ist and composer of church and organ music. Porn at Vienna, 1660, Karl (called the younger), son of the above, born in Vienna, 1697, was also a noted organist. Died in 1770. Rotnanus^ a Benedictine monk, born at Kall- milz, near Regensburg. 1755, and died 1806. A composer of note among his brotherhood in his time. Reyer, Louis Etienne Ernst (ri'-er), a French opera composer, born at Marseilles, Dec. x, 1823. Revoice, to restore the voice of a reed or or^an pipe by removing the dust, and other- wise correcting the impairment of use. Rhapsody (Eng. r3.p'-so-dy). A capriccio^ a fragmentary piece ; a wild, unconnected com- position. Rhythm (Eng. rtthm). The division of musi- cal ideas or sentences Into regular metrical portions ; musical accent and cadence as ap- plied to melody. RUytlimic (rtth-mXk). Rhythmical. Rhytlimus, a rhythm. Rihattnta (Ital. re-bat-too '-tS). A beat, a passing note. Ricci, Frederico frt'-tshe), a dramatic composei btjrn at Naples, 1809, and also a teacher of singing. Ricci, Luigi, brother of the above, born at Naples, 1808, died Jan. i, i860. An opera composer of note. Richardson, Nathan, a native of Gloucester, Mass., boin about 1830. Studied music for several years with Drcyschoclc at Prague, and on his return to America in 1852, pub- lished his" Modern School for the Piano- forte," which was little else than a transcript of his lessons with Dreyschock. He estab- lished the firm of Russell & Richardson in Boston, and afterwards wrote R.'s "New Method for the Piano-forte,'' which has sold over 500,000 copies. Died 1858. Rtchter, Ernst Friedrich Eduard (rlkh'-tSr), CJerman composer and writer on theory, bom * Oct. 24, rSoS, at Gross-Schonau. Received his education at Zittau and Leipsic. At the founding of the Leipsic Conservatory he was appointed teacher of harmony and composi- tion. _ At the death of Hauptmann he was appointed cantor of _ the Thomas-Schule. As as composer^ he is known best by his church compositions, but his works on har- mony, counterpoint and fugue, are what give him rank among musicians. He died in 1878, Richter, Hans, one of the m"st distinguished orchestral conductors of the present time. Born about 1833. Ries, Ferdinand, piano virtuoso and composer, was born at Bonn, Nov. 28, 1784, and died Jan. 13, 1838. R. was the favorite pupil of Beethoven lot four years, and to his and Dr. F. G. Wegler's '* Biographical Notes of Bee- thoven," we owe, in a large measure, our knowledge of Beethoven as man and artist. He was quite a prolific writer, but his works have in the main sunk into oblivion, Riedel, Carl (re'-dSl), born Oct. 6, 1827, at Kronensberg. He was the founder and direc- tor of the now famous Reidelsche-verein, a choral society which has done much for the advancement of music in Germany, but es- pecially in Leipsic, by bringing out the works of ancient and modern composers. He has made no great reputation as a composer, al- though many of his works have merit. Rietz» Eduard (reetz), a noted German violinist and director, born in 1801 at Berlin, died 1832. Rietz, Julius, brother of the above, born in Berlin, i'ec. 28, 1812. A composer, director and teacher. Was director, in 1838, of the Gewandhaus Orchestia in Leipsic, wher^ he also taught composition in the Conservatory. R. is the editor of many standard works in the Breitkopf & HSrtel editions. Died Oct. I, 1877. Ri;^hini, Vincenzo (rlg-ee'-ne), an Italian opera composer and director of great note in his time, was born at Bologna, Jan. 22, 1756. Although his operas were very popular at the time, they are never heard, and aside from an overture to "Tigranes," of great nobilityjbut few, if any, are heard at the present time. Died Aug. 19, 1812. i ale^ a add^ a arm^ e eve^ S end^ 1 ice^ I zV/, 6 old^ 6 odd^ 3 dove^ 00 tnoon^ ii lute.^ u bui^ U. Fr. sound, 61 RIM DICTIONARY. ROS Bimbault, Dr. Edward, a learned English writer abmit music, born at London June 13, 1816. Is author of many collections of music, a history of the organ, etc. D. 1876. Kinforzando (Ital. ren - for - tsSn' - do). Strengthened, reinforced; a repeated rein- forcement of tone or expression ; indicating that several noie"!_ are to be played with enej-gy and emphasis. Rine-k, Christian Heinrich, a distinguished or- ganist and composer for the organ, was born at Elgersburg in 1770, was a pupil of Kittel, a pupil of K.ich's. In 1805 he be ame cantor Stadtorgianist at Darmstadt, where he died in 1846. Ripieno (Ttal. re-pe-a*-no). The tuiti^ or full parts which fill up and augment the effect of the full chorus of voices and instruments. In a large orchestra all the violins, violasand basses, except the principals, are sometimes called Ri'PiStii. Ritardando (Ital. re-lar-dan'-do). Retard- ing, delaying the time gradually. RitenutO (Ttal. re-tS-noo'-to\ Detained, slower, kept back; the effect different from Ritarddndo^ by being done at once, while the other is effected by degrees. Ritornell (Ital. re-tor-nal). The burden of a song ; also, a shore symphony or introduc- tion to an air ; and the symphony which fol- lows an air. It is also applied to tutii parts, introductory to, and betweeti, or after, the solo pabsages in a concerto. Ritter, A, G.. organ virtuoso and royal music director, was born at Erfurt, Aug. ii» 181 1. Was pupil of Ludwi^ Berger, A. W. Bach, etc., and in 1847 be^-ame organist at the cathe- dral in Magdeburg. Is theauthorof maiy fine works for organ, and an instruction bcfok. Ritter, Theo, a pianist and composer, born about 1838 in Paris. He was a pupil of Liszt, and is a composer of merit. Was in this country in 1875, with Nilhon. ^ Ritter, Freidrich Louis, Mus. Doc, a learned mu-.ician and protessor of music in Vassar College, was born at i^trassburg in 183^, and rame to New York about 1864. Ritter, Fanny Raymond, a brilliant mezzo so- prano singer of (Jerman. Itali \n and English songs, and fine writer about music Was bom at Avon, England ; resid s at Pough- keepsie, N. Y. Wife of preceding. Ritual, an order of rites, hence the written order of public religious service, RiTe-King;, M'me Julia, the distinguished piano-forte virtuoso and composer, was born at Cincinnati, O., in 1853. Early showed a talent f »r music, anl played Thalberg's '^ Don Juan " fantasia in public at the age of eleven. Later she ma .e some studies with Mills in New York, after which she went to Weimar, with Liszt. Returning to thi . coun- try in '875, she met everywhere the most dis- tinguished success, and played highly import- ant and artistic programmes in all parts of the country. She resides at present in New York, where she occupies a distinguibhed position. Riverso (Ital. re-var'-so). Reverse motion, the subject backward, in double counterpoint. RoclilitZt Friedrich Johann, a writer about music, at Leipsic, born 1769, died 1842. Au- thor of an elaborate collection of vocal music, etc. Rode, Pierre, a favorite violinist, born at Bor- deaux, 1774. He lived chieflv in Paris, and was distinguished for the elegance and grace of his play. Died 1830. Roger, Gustave Hippolyte, 1815. A tenor singeJ of the Paris Op^ra Comigue, distinguished as well for his dramatic ability as for his singing. After he had passed his prime as anopera singer he became professor of singing in the Pans Conservatory. D. 1B79- Rolir (Ger. ror). Reed, pipe. Rohrfloete (Ger. r6r'-fl6'-tS). Reed-flute, a stopped diapason in an organ. Role (Fr, rol). A part or character performed by an actor in a play or opera. Romance (Fr.) See Romanza, Romantic, strange, striking. See Part Sixth, Romanza (Ital. ro-man'-tsa). Formerly the name given to the \ ng lyric tales sung by the minstrels, now a term applied to an irregu- lar though delicate and refined composition. Romberg, Andreas, Dr., 1767-1821. A dis- tinguished violin virtuoso, and a talented and skilful composer, most of whose artistic life was spent in Hamburg. He wrote six sym- phonies, eight overtures and much chamber music. His best known work is his setting of Schiller's " Lay of the BcU," Romberg, Bernhard, 1767-1841. Cousin of Andreas, and associated with him in his con- cert tours for many years. He was a distin- guished violoncello viituoso, and a prolific composer for his instrument. He was also an accomplished musician, and was conductor four years in Berlin, and two years professor in the Paris Conservatory. Ronconi, Dominico(r(5n-k6'-ne), 1772-1839. A renowned tenor singer with a wonderful voice, admirably trained. He was equally distin- guished as a singing teacher. He taught in Milan, Venice and elsewhere in Italy, and also in Munich, Vienna and Paris, whither he was repeatedly called. Ronconi, Felice, George and Sebastian, sons of Dominico, and all excellent singers. George was the best of the three. Rondo, a round. See Chap, XIV. RondlnO (Ital. ron-de'-no), a little rondo. Rondoletto (Ital. r6n-do-lat'-t5). A short and easy rondo. Root of a Chord, The g;reatest common measure of the system of vibrations produc- ing the chord. The root is the resultani-tone of the chord,_ and^ remains unaffected by changes of position in the parts, or by inver- sion. Dibsonant chords have properly no roots. Rore, Cyprian de,.i5i6-i5<5, A very distin- guished master, and one who contributed essentially to the d.velopment of music. He wrote many moteties and madrigals, in many of which he applied for the first time the results of his own experiments and those of his predecessors, Willaut and Zarlino, in chromatic tones and harmonies, thus increas- ing the means of musical expre-^sion, RONellen, Henri, iSn. An extremely popu- lar piano teacher, of Paris, and the composer of a great number of popul ir parlor pieces. He was a pupil of Henri Herz in piano play- ing, and of Fdtis and HaMvy in composition. ao/f , a addy U. arm^ e eve^ e end^ I ice^ I zV/, o ald^ 5 odd^ 6 dove^ 00 moon^ u luie^ H but^ ii Fr. sound 6a ROB DICTIOIS'^ARY. SAC Bosenliain, Jacob (ro-sen-hme), 18x3. An excellent pianist, teacher and composer of serious music \ born in Mannheim, but settled for many years in Paris. He won the hearty praise of Mendelssohn and Schumann, and is respected by all who know him. He now lives in retirement in Baden-Baden. Bosetti, Franz Anton (ro-sSt'-tt), 1750-1792. A Bohemian musician and composer. He wrote oratorios, symphonies and chamber music. Ross, John, 1764-1833, Organist of St. Paul's, at Aberdeen. He wrote six concertos for piano and orchestra, seven sonatas for piano- forte, songs, etc. Rossi, Lemme (r5s'-st), 1601-1673. Professor of philosophy and mathematicsat the University of Pdrouse, his native city. He wrote a work on the relations of the musical iniervals. Rossi, Luigi Felicio, 1805-1863. A respected professor of music and composer of church music in Turin. Rossini, Gioachomo Antonio (ros - se'- ne), 1792-1868, was born in Peraro, of poor but musically gifted parents. His father was a trumpeter ; he was also a devoted patriot, and his revolutionary enthusiasm caused him to be thrown into prison. While there, his wife was obliged to support the family, and being po£:sesseii of a fine voice and dramatic talent, went upon the stage as a i)rima donna. Young Gioacnomo received musical instruc- tion very early, though in a somewhat desul- tory and superficial way. Even after he entered the school of music at Bologna, in Ms iSth year, he was_ poorly taught in composi- tion. But he diligently studied Haydn and Mozart, and soon felt the impulse to compose. After some eight or ten insignificant operas and other youthful works, which served to develop his talent and to give him skill in composition, he wrote" Tancred" in his aist year. This work was so brilliant, so florid, SJ full of splendid, gorgeous effects, that it made a new epoch in Italian music, and re- tained itspopularity all over Europe for many years. He had been poor, but his success with this and some other f peras led to an en- gagement in Naples, where Barbaja, his theatre director, gve him valuable assist- ance, and made money for them both. He wrote here "■ The Barber of Seville," one of the best comic op- ras ever produced, and "■ Othel'o," in which he str 've after dramatic characterization. This latter tendency he showed still more in his " Moses in Egypt," and especially in *' William Tell," in which his work culminated. This was his last opera, and was written in 1830. He had now become a rich man, and lived in luxurious retirement the life of a cultivated and el gant gentleman and connoisseur until his death. His only important work after " William Tell" was his " Stabat Mater," a brilliant and imposing but not essentially religious work. He was twice married, both times happily, and his first marriage, especially, had an extremely favorable influence on the development of his genius. His was one of the great creative minds of our time. (F.) Ronset de 1/ Isle, Claude Joseph (ro-ja dS itosl) 1760-1836. The composer of the world- renowned Marseilles Hymn, perhaps the mostinsriring battle song ever written. He wrote nc-thing else of importance. Rousseau, Jean Jacques (roos-s.o'>, 1712-1778. This distinguished philosopher and auinor was also possessed of decided musical^ talent. He lacked thorough technical training, but succeeded, nevertheless, in producing at least one opera which was decidedly successful. He also educated himself to be an authoiity in musical criticism, took an active part in the disputes between Sully and the Italians, and afterwards between the Gluckists and Piccinists, and contributed materially to the elevation and purification of French taste. Kubato (Ital, roo-bS'-to). Stolen; z. e, slackening or varying the time for the pur- pose of expression, Rnbini, Giovanni Battista (ru-be'ne), 1795- 1845. O e of the mosr renowned singers who ever lived, and the best tenor in Europe in bis day. His voice waizzicato made by snapping the strings. Stsendchen (Ger, stand'-khen). A serenade. Stainer, Jacob, 1621-1683. The greatest violin builder of the Tyrol, and one of the greatest anywhere, Stainer, Mark, bom 1659. Brother of Jacob, also a violin maker. Stainer, Dr. J., an English organist and com- poser, author of many arrangements , for the organ, church music, etc. Stamaly, Camille Maria, 1811-1870. Cele- brated French teacher of the piano-forte, and composer of valuable studies for that instru- ment. He taught Camille Saint-Saens and L, M. Gottschalk. StarlCi Ludwig. Born 1831. One of the foun- ders of the Stuttgart Conservatory, and one of the authors of Lebert and Stark's *' Si hool for the piano-forte." Lebert and Stark also wrote an "Elementary Instruction Bo k for Singing," and a " German Song School." Teacher of the piano-forte and of singing, also conductor an 1 composer, especially of sacred and secular choruses. Staildi^l, Joseph_ (stow" - digl). 1804-1861. Austrian bass singer, renowned in opera, oratorio and songs. To his noble interpre- tations the songs of Franz Schubert owe a ■ large part of their popularity. One of the greatest singers of this century. Stelfani Agastiflo, the Abb^. 1655-1730. One of the m St distingui-^hed composers and singers of his time. A Venetian. He com- posed operas, church, music and chamber music. Steibelt, Daniel, 1755-1823. Born in Berlin. Pianist and composer. As a player he was brilliant and effective, but lacked thorough tcaini. g both in this and in composition. His works have no permanent value. Steinway, the name of a family engaged in the manufacture of pianos in New York, under the name of Steinway & Sons. The founder of this firm, Henry Steinway, was born in Brunswick, 1797. It is now conducted by his two surviving sons, Theodore and William. StePii, Julius, Born in Breslau in i8ao. He is one of the ablest and best musicians of our time, excelling, as a cimductor and teacher. His Conservatory of Music and Singing So- ciety in Berlin are among the very best insti- tutions of their kind, D. 1883. Sterndale-Bennett, W. See Bennett. SteSSO mosso (Ital. stas'-so-mos -so). The same movement, i.e.^ any given note, as an eighth or quarter, goes at the same speed in both movements. StOCkhausen, Julius. Born in Paris in 1826. He is a mist distinguished singer of songs, and in opera and oratorio, and an excellent teacher and conductor. He is now director of the Stern Society in Berlin, Stop, an organ register. See Register, Stopped Pipes, organ pipes stopped at the upper end. In this case the sound-wave is reflected back again to the mouth of the pipe, consequently stopped pipes are only half as long as open ones giving the same pitch. St. Peter, an oratono by John K. Paine, in 1873, Alao by Sir Julius Benedict. St. Paul, oratorio by Mendelssohn, in 1836. Stradella, AUessandro, 1645-1670 (?). One of the best singers and composers of his time. He WdS born in Naples, and assassinated in Genoa. Stradivari, Antonius, 1644-1737, The most renowned and best of all violin makers. He was born, lived and died at Cremona. Stradivari, Francisco and Oruobone, sons of Antonius, and aUo good violin makers. StrakoscU, Maurice, born \^ Hungary in 1825, Pianist, composer and impressario. Lives in New York. Str athspey, a lively Scotch dance, in common time. a ale^ a add^ 'i arm^ e eve^ S end^ 1 ice^ I ///, o oid^ 6 odd^ o dove^ 00 moon^ u lute^ ii but^ U Fr. sound 67 STR DICTIONARY. TAR Strauss, Jos., 1793-1866. Conductor m the service of the Grand Duke of Baden. Violin- ist and composer of operas^ overtures and chamber music. Strauss> Johann, 1804-1849. Lived in Vienna, and is known the world over by his beautiful dance music. His sons, John, Joseph and Edward, are hardly less renowned for their productions in the same field. John, indeed, has also written comic operettas. His waltz, *' On the Beautiful blue Danube," is the best known of his works. Strens (Ger, strSng). Strict, severe, rigid. StrepitOSO Utal. strSp-S-to'-zo). Noisily, boisterously. StrettO (Ital. strat'-to). Pressed, close, con- tracted. That part of a fugue where all the subjects come together, or where the imita- tions take place more rapidly after each other, A quicker passage leading to a close. Strict, severe, rigid. Stringed Instruments. Instruments whose sbunds are produced by striking strings (as in the piano-forte or dulcimer), drawing them (as m the harp or guitar), or ^^^ friction of a bow (as in the violin family). Stringendo (Ital. stren-jan'-do). Pressing, hurrymg, accelerating the time. String Quartette, the violin family,_ con- sisting of violins, viola and 'cello. Music for these instruments, Also called "string band.'' Strophe, a stanza. Stueck (Ger. stUk). Piece, air, tune. Sub (Lat. siib). Under. Sub-bass, the low bass. The violon. A pedal stop in the organ, 16 ft. Subdominant, the fourth of the key. Subject, the leading idea of a work. Suite (Fr. swet). A succession of pieces in- tended to be played in connection. Sul (Ital. sool). On, upon the. Sullivan, Arthur Seymour. Born 1842. He was a pupil of the Leipsic Conservatory, and is a talented and accomplished musician and composer. He has written works of con- siderable importance, including one or two oratorios, but is best known in this country by his comic operetta, "H. M.S. Pinafore,'' which had a most extraordinary run in 1879. Supertonic, the tone above the tonic, the second of the scale, Suppe, Franz von, was born in Dalmatia in 1820. He is a conductor in Vienna, and has composed operas, symphonies, quartettes, etc. Hs is best known by his comic operet- tas, of which ""^ Fatinitza ' and " The Beau- tiful Galatea' ' have been given in this country. Suspension, a dissonant tone held over from a preceding chord where it was consonant, and finally resolved (geneially downwards) into some proper tone of the chord into which it had intruded. Svendsen, johann Severin, was horn in Christiana, Sweden, in 1840. He studied at the Leipsit Conservatory, and is a much ad- mired and highly respected musician and composer. He has written admirable and original quartettes, symphonies and other works. Swell Organ, that division of the orgsn whose pipes are enclosed in a box with "mov- able blinds^ operated by a '-swell-pedal, thus making crescendo and diminuendo, SympllOny, the most important instrumental form, being, in fact, nothing but alarge sonata for orchestra. See Chapters XV. and XVI. Symphonic Poem, an orchestral composi- tion iij symphonic style, but not strictly so. Syncopation, " a cutting into." a conceal- ment of the measure accent, either by a false accent (accent on what would properly be an unaccented part of the measure), or by a prolongation of a tone out of a weak part of the measure past the moment when the ac- cent should come. Taborowskif Stanislaw. Born 1830. _ Violin virtuoso. Studied in Brussels. Lives in Russia. Taccbinardi, Nicholas, 1776-1860. Dis- tinguished tenor singer of Florence. Sang also in other Italian cities, and in Paris. Tace (Ital, tS'-tshS). Be silent. Indicates that certain instruments are not to play. Violini tacet^ violins be silent, etc. Tact (Ger. takt). Measure, time, TalliS, Thomas, one of the greatest English contrapuntists of the 16th century. Was an excellent organist. Xamberlik, Enrico, was bom at Rome in 1820, One of the best tenor singers of our time. Taught singing in Madrid after 1867, Tambourine, a small instrument of the drum family^ consisting of_ a wooden hoop with holes in the sides, in which are jingling pieces of metal, and a sheepskin head stretched on it. TambnrinI, Anton, 1800-1876. A_ distin- guished Italian bass singer. Sang in opera with Rubini, Lablache and others, and was their equal. Tamtam, an Indian instrument of percussion, Tansur, Wm. Born 1699.^ English contra- puntist and writer on music. Tanto (Ital. tSn'-to). So much, so great. Allep'o ma non ^a«/tf, allegro, but not too much. Tantum !Ergo (Lat. t^n'-tum ar-go). A Latin hymn sung at the benediction in the Roman Catholic service. Tappert, Wm. Bom 1830, in Silesia. Writer on music of great ability, and a strong Wag- ner partisan. _ Also teacher in Tausig's piano school in Berlin. Editor of " The Universal German Musical Journal" since 1878. Tarantella (Ital tar-ran-tal'-ia). A swift, delirious sort of Italian dance in 6-8 time. Tardando (Ital. tar-dan -do). Lingering, retarding the time. Tartini, Giuseppo, 1692 - 1770. One of the very greatest violinists of the i8th century. He was the founder of a new school of violin playing, and of a new system of harmony. He was the discoverer of the so-called " Com- bination tones." He was also a most dis- tinguished teacher, sought by pupils from all countries. He was also an excellent com- poser, and wrote over 200 concert pieces for his instrument, the best known of which is the still renowned " Devil's sonata.*' a aley a add^ a arniy e eve^ e end^ 1 ice^ \ ill^ 5 old^ 6 odd^ o dove^ 00 tn&on, u luie^ ii bui^ U J^r, sound 68 TAS DICTIONARY. Till Xastatur (Ger. tSs'-ta-toor). The keyboard of the organ or piano-forte. Taste (Ger. tfe'-tS). The touch of any instru- ment. Hence the key. TastO solo (Ital. tSs'-to s6'-16). One key alone; in_ organ or piano music this means the parti in unison, without harmony. Taubert, Ernst E., bom 1838. Critic and com- poser in Berlin. Taubert, Wm. C. G., bom 1811. Pianist and conductor of the Royal Opera and orchestra in Berlin. Composer of no great significance. Tausis, Carl, 1841-1871. Born in Warsaw. One of the very greatest of all pianists, with a technique so absolutely above all difficul- ties and Fo perfect. as to defy criticism, and an innate fire and force hardly surpassed by the great Liszt himself, whose pupil he was. This fiery vigor was subdued and tempered by his intellectual tendencies and attain- ments, for Tausig was an earnest student of philosophy, and a lover of all higher intel- lectual pursuits. He was also an admirable teacher. Technic, skill or ability in the mechanical part of any art. Piano-forte technic^ the perfect use of the fingers ; pedal technic^ proper use of the feet ; vocal teckniCy correct use of the voice. TedeSCO (Ital. tS-das'-ko). In the German style. Te deam landamns (Lat. ta da-Un law- da' -mils). " We praise Thee, O God," an old hymn of praise. Telemann, George P., 1681-1767, Bom in Magdeburg. Was 46 years conductor in Ham- burg. Played organ, piano, violin and other instruments. Was a highly educated man, and a teacher and composer. Developed a great musical interest in Hamburg; wrote many operas there, and also much instru- mental music. Temperament, is a system of compromises by means of which twelve tones in an octave are made to do duty in place of about forty- eight which would be necessary to perfect intonation in all keys. Mathematicallystated, temperament makes, for example, the major thi.d equal to four-fifths divided by two oc- taves. That is, 3-2 X 1-2 X 3-2X3-2X1-2X3-2 =81-64=5-4, Temperament is, therefore, a system of imperfect tuning peculiar to the piano and org in, in which all intervals except the unison and octave are more or less im- perfect. Its advantages are the simplicity of the key-board of the twelve keys to an octave in place of forty-eight. Music itself is wri^ ten without respect to temperament, ^ TempestoSO (Ital. tSm-pSs-to'-zo). Tem- pestuous, stormy, boisterous. Tempo (Ital. tam'-po). The time, the move- ment. The movement of music is approxi- mately indicated by means of Italian terms, which refer generally to the unit of time,_ so that slow movements may yet have quick notes in them. Reissmann divides tempos into three classes: Slow, including Xar^, Grave^ AdagiOy Lento, ana Z,ar£'keliOyVfhich. here stand in progressive order of speed, the slowest first. Medium, *^ going^^* A ndanie, A ndantin^^ Moderaio^ Allegretto. Quick, Allegro^ yivace, yii'acissttno^ Presto^ and Prestissiitto, .Theorists are not agreed as to whether Largketio is faster than Largo^ or A ndantino faster than A ndante^ but modern usage is as here indicated. For the meaning of the different terms look in the proper place. Tenebrae (Lat. tan'-S-bra). Darkness, a Catholic service in holy week. Teneramente (Ital, ten-fir-S-man'-tg). Ten- derly, delicately. Tenerezza (Ital. tSn-S-rat-tsS). Tenderness, softness, delicacy. Tenor, the highest male voice. Tenor robust^ is a strong tenor. Tenor C, the C next below middle C. TenutO (Ital. tS-noo'-to). Held, sustained, held down its full time. Ter (Lat. tSr). Thrice, three times. Terpander, a great Greek poet, composer and theorist, lived about the 7th century, B.C. Terschak,^ Adolf, Born 1832. Flute vir- tuoso. Lives in Vienna. Tertia (Lat. tSr'-shX-a). Third, tierce. Terz (Ger. tarts). A third. Terzetto (Ital. tar-tsat'-to). A short piece, or trio, for three voices. Teschner, G. W. Born 1800. Teacher of singing in Berlin- Accomplished mu-^ician and indefatigable investigator, and collector of old music, of which he has published much, especially songs, and valuable vocal studies. TestO (Ital. tas'-to). The text, theme or sub- ject, Tetracbord, a system or scale of four tones. An instrument producing lour tones. Text, the words of a song, or opera. Thalberg, Sigismund, was born at Geneva in 1812, and died in Italy in 1871. He was a brilliant piano-forte virtuoso, and invented the peculiar style of playing which consists' in carrying a melody supported by the pedal, white playing a rapid accompaniment in ex' tended arpeggios. He was greatly admired as an executant in this peculiar style, but oc- cupied himself very little with the works of masters, and was by no means a great inter- pretative or creative artist. His compositions are now little used. Tbema or Tbeme (Ger. ta'-mS). The principal melodic subject In a work. An air, which is afterwards varied. Theniatie IVork, means literally, work on motives taken from the theme ; it is now ap- plied to any elaboration of motives, whether those of the principal theme of the piece or not. See Chapters I. and II. Theory of Music, includes Sounds the science of musical tone ; "tonality^ the doc- trine of scales and keys ; Harmony^ the doctrine of chords and chord-successions. Counterpoint^ voice-relation ; Fugue^ the logical development of a subject ; Forfn^ the symmetrical arrangement of the parts of a work; Orchestration,, the proper method of employing and combining instruments ; Tech- nicSy the principles of correct performance, and perhaps ^sthetics^ or the principles of the beautiful. Tbibant, Anton, F, G., 1772-1840. Professor in Heidelburg University. Was a connois- seur in music, and wrote a valuable book on "Purity in Musical Art." « ale., a ad/'.^ " xrm^ e eve^ 5 end^ iice^ T «V/, 6 old^ 6 odd^ Q dove^ 00 moon^ u lute^ u duty ii Fr. sound 69 Till DICTIOJsTARY. TOT Xhird, an intervalbetween any tone of ihe scale and the next but one above or below. Tkiele. CarlL., 1816-1848. Organist in Berlin, distinguished for supei ior technic and the im- aginative quality of his playin?. Left many important works for his instrument, which are the most difficult legitimate organ pieces yet produced. Thomas, Ambroise, C. L.,born iSzi. Distin- guished French opera composer, and director of the Paris Conservatory. His work best known in this country is " Mig-non." He has also written instrumental music. Thomas, Theodore, born in East Frisia in 1835. Has been a violinist and conductor in New New York since 1847. He developed and trained the finest orchestra yet seen in Ameri- ca, with which he made extended concert tours for many years. At the establishment of the Cincinnati College of Music in 18^7, he was called to be its director, but resigned early in 1880 and returned to New York. He is a very superior conductor, possessing re- maikable pjwer of commanding his forces and making them realize his ideals, which are very high, his readings of great works pos- sessing an unusually imaginative quality, and producing a remarkable effect on audiences. Thomas, St., School in Leipsic. An old school for boys,, wiiere church music has been assiduously cultivated since the 13th century. It retains the endowments it had before the Reformation. Among its most distinguished Cantori, or directors and teach- ers of music were J. S. Bach, Moritz Hauptmann and E. F, Kichter. Its choir of pupils, numbering 60, provides the music in the c.ty churches, and sings motettes every Saturday p.m, m St. Thomas' church. Tichatscheck, J. A. Born in Bohemia in 1807, A remarkable tenor singer. Held the first rank for many years in Vienna, Dresden and elsewhere. Retired from the stage in 1870. Tiersch, Otto. Bom 1838. Professor of Theory in Stein's Conservatory, Berlin. Has pub- lished works on harmony and other branches of theory, besides contributing many articles to musical newspapers, and to MendePs En- cyclopedia of Music. Tletjcns, Therese, 1831-187:?. Born in Ham- burg. Was a most distinguished prima donna of Her Majesty's Theatre, in London, and an artist of the highest rank. Timbre (Fr. tShnbr), quality of tone. Timpani (Ital. tem-pK'-ne). The kettle- drums. Timothens, a distinguished Greek musician. Born 446 B.C. He was a reformer,, and added five new strings to the seven-stringed lyre, adding also to the harmonic resources of his time by his experiments and discoveries. For this he was banished from Sparta, the sapient rulers of those parts fearing lest these innovations should corrupt the morals of their youth, Tinetoris, Johann. Born about 143s, in West Flanders. Distinguished theorist, and author of the first Musical lexicon. Was also an ex- cellent composer. Toccata (Ital, to-ka'-ta). An obsolete form of composition for the organ or piano-forte, re- quiring brilliant execution, Todi, Maria F., 1748-1793. _A distinguished Fortusue.^e singer, oan^ in the principal capitals of Europe in the important operas of her day. Todt, J. A, W. Born Z833. One of the best living organists. Is organist and teacher in Stettin. Has composed much instrumental music, songs, psalms, a symphony, an ora- torio, and a school of singing. Toepfer, J. G., 17^1-1870. Organist, theorist, and composer, reacher in the Seminary at Weimar. Contributed much to the science of organ building, by placing it on a scientific foundation, to which end he devoted ten years to scientific study, Tomascheck, J. W., 177^-1850. Bohemian composer, pianist and teacher of high reputa- tion. Wrote a symphony, chamber music and smaller works. TomlinS, Wm. L., vocal teacher and conduc- tor, was born in England about 1844. Studied music in the Tonic Sol-Fa schools, and with G. A. Macfarren and Silas, came to New York in 1869, and resides in Chicago, where he holds leading rank as vocal conductor. Tone, a musical sound. A sound of determin- ate pitch, and consequently of regular vibra- tions. Tonart (Ger. ton'-art). Key ; as key of D, key of C. Tonfarhe (Ger. tfln-far'-bS). Tone-color, or timbre. The quality of tones. Timbre de- pends upbn the number and relative intensity of over-tones present in the sound. Tonic, the key-note. Speaking by ear, the tonic is that tone of a scale or Icey which makes the best ending or point cf repose. Mathematically, it is the tone from which all the others in the key are determined, as shown in the article Kev* Tonic Sol-Fa. The name of a newand very simple English notation for vocal music, based on the fact that, in singing, pitches are deter- mined by their relation in key^ and not from melodic intervals or absolute pitch. JBesides the notation, the system also includes a new and very much improved method of teaching music, by cultivating the musical perceptions more than is generally done. See yohn Cur- iven, Tonlcnnst (Ger, ton-koonst). The art of Music. Tonleiter (Ger. tonMi'-tSr). Scale. Tone- painting, representing scenes or emo- tions by means of tones. Torelli, Guiseppe, one of the first violin virtu- osi in Italy. A few years earlier than Corelli. Died 1708. Originated the iriolin concerto ; wrote much chamber music. Tottmann, Albert, born 1837. ' Violinist and musician. Lives in Leipsic. Is now writer on musical subjects, and teacher of theory and aesthetics. aa/f , Si add^ a arm^ e eve^ 3 end^ I ice^ I ;'//, o old^ o odd^ 3 dtrue^ 00 tnoon^ \\. lute^ ti &ut^ U Fr. sound 70 TOU DICTIOKARY. UNP Toui:Jee, Eben, Mus. Doc, the head of the New England Conservatory of Music at Bos- ton, was born at >yarwick, R. I., June i, 1834. Studied music ^oung, and early be- came a teacher, especially of choir singing, He_ founded the N. E. Conservatory in 1867, which has had a remarkable success. Dr. Tourjee has great ability as au organizer, and unlimited enthusiasm. It was under his efforts that the great Peace Jubilee choruses were formed, numbering no less than 10,371 members in actual attendance. Xraetta, Tomaso, 1727-1779. A renowned opera composer of the Neapolitan school. Transition, a change ; as of key, or style, or expression. Transposing Instmments, those which play from notes higher or lower than the actual sound. All these instruments play from notes in the key of C. *' B& instrjiments '* play every thing a whole-step lower than written. Those "in D" play one degree higher. "In A," a minor third lower. " In EJ" a minor third higher. Bass instru- ments are usually written as they play. The transposing instruments are the clarinets, cornets, trumpets, trombones, and horns. Tra-Viata, La, (trave-S'-tS), opera by Verdi. Tremando (Ital. tra-man'-do). Tremolo, or vibrating. Tremolando (Ital. tra-mo-ian'-do). Vibra- ting. Chords marked tretn. are played as shown in Appendix. (See "Abbreviations.") Tremolo (Ital. tra'-mo-lo). A note or chord made to quiver, or shake. Tremulant, a contrivance in the organ for producing tremolo. Tretbar, Charles, was bom in Brunswick in 1832, At present a prominent member of the house of Steinway & Sons, in New York, and the author of some very ingenious and instructive analytic programmes of classic symphonies and chamber music. Triad, a chord of three tones, which are always a fundamental and its third and fifth. Trian^fle, a small three-sided steel frame, which is played upon by being struck with a rod. Trill, a rapid^ vibration between a chief note and its auxiliary above. See KmbeUishments in Appendix. Trio (Ital. tre'-6), A composition for three voices, instruments, or parts. A soft digres- sion in simple binary forms. See Chap. XIII. Triplet, three notes of equal duration per- formed in a unit of time, or an aliquot part thereof. Triple time, triple measure. Measure ^con- sisting of three units or pulses, the first ac- cented. TritOne, a term in harmony signiMng the augmented fourth, or the fourth and seventh of the key, which must not be heard together, except under certain limitations. Tromba (Ital. trom'-b£C). A trumpet, also a reed stop in the organ. Trommel (Ger.trom'-mSl). The military (or snare) drum. Trombone, a very powerful instrument of the trumpet species, having a tube eight or ten feet long, with a sliding piece, by means of which it is lengthened or shortened, and thereby its fundamental is changed. Trovatore, II, opera by Verdi. Troubadours, the bards and poet-musicians of Provence, about the tenth century. Trumpet, a brass instrument of a brilliant tone. Compass about two octavesand a half. An 8ft. reed-stop in the organ. TschaikOTVSky, Peter. ^ Born 1840. Rus' sian composer of reputation ; is teacher 0/ composition in the Moscow Conservatory. Has written songs, piano-forte music, sym' phonies and operas, and a piano-forte con- certo. Tscbirch, the family name of six brothers, the oldest of whom was born in 1S08, all of whom were excellent German musicians. Tuba (Lat. tu'-ba). A trumpet. The bass trumpet. An organ stop, of which the tuba fnirabilis is the most powerful kind. Tnrca, alia turca (Ital. toor'-kS). In Turk- ish style. Turkish music, is mostly of a wild and noisy character, based on keys not admitting of harmonic treatment according to our ideas. Turn, a grupetto. See Embellishments in Ap- pendix. Tnrini, F., i<9o-i656. Italian church composer and lej.rned contrapuntist. Tatta]aforza(Ital.toot'-tS IS for-tsS). All the force, as loud as possible. Tutte Gorde (Ital. toot'-ta kor'-da). All the strings. These words, or the abbrevi- ation T. C. or expression ^rf ftfreux (Fr. dU). Two. Difficile (Ital. de-le-tshe-18). Difficult. a ale, a add, a arm, e eve. DistansEa (Ital. dez-tSn-tsl£). Distance, space between. Distintaniente (Ital. dez-ten-tS-man'-tS). Clearly, distinctly. Divoto (Ital. de-v6'-to). Devoutly, solemnly. DocIv(Ger. dokh). Yet. Doctor of Alcantara. Opera by Eichberg, 1862. Due (Ital. doo'-8). Two ; in two parts. Dnrchaus (Ger. diirkh'-ous). Throughout. Eilencl (Ger. il'-^nd). Quick, speedy. Einfach (Ger. in'-fSkh). Simple, plain, uun ornamented. Sinigen (Ger. in'-I-ghSn). Some, any. llle$:antemente (Ital. el-S-gSn-tS-man'-tB). Elegantly, gracefully. £11. Oratoria by Costa, 1855. £nergicamentc (Ital. Sn-Sr-je-ka-man'-tS). Energetically, forcibly. fncrgisch (Ger. Sn-ar'-ghlsh). Energetic, with emphasis. Entschlossenheit (Ger. gnt-shl5s'-s'n-hit). Resoluteness, firmness. Ermattet (Ger: ar-mSt'-tBt). Growing faint, weary. £rstes (Ger. 8rst'-es). First. Eriraclien (Ger. ar-vSkh-Sn). To awaken, to be aroused. Espressione (Ital. Ss-pras-se-o'-ne). Ex- pression, feeling. Essipoff*, Annette, virtuoso pianist, was born in Russia in 1853, studied principally with Mr. Leschetitzki, whom she afterwards mar- ried, and made her debut with distinguished success in 1870 or '71. She visited America in 1875, where she charmed all hearers by the refinement, grace and poetry of her playing no less than by her consummate virtuosity. M'me Essipoff resides chieflv at Vienna, and plays in all the European capitals. Estinto (Ital. es-ten'-to). Becoming extinct, dying away. Estremamente (Ital. 8s-tra-mS-man'-tS). Extremely. Fatinitza (fa-tln-ef-zS). Opera by Supp^. Feme (Ger. far-n§). Distance. Festlich (Ger.-(fgsf-llkh). Festive, solemn. Fenrig (Ger. toi'-rlg). Fiery, ardent, pas- sionate. Fillmore. John C, a highly esteemed mu- sician, piano teacher ana critic, was born in Connecticut, 1843. Studied at Oberlin and Leipsic. Was for 9 years professor of music in Ripon College, Wis., and now resides in Milwaukee. Folsen (Ger fol-ghSn). To follow. The fol- lowing, succeding. Fortsetzung (Ger. fort'-set-soong). A con- tinuation. Forza (Ital. fort'sS). Force, strength, power. Frei (Ger. fri). Free. C^ebunden (Ger. ghS-boon'-d'n). Connected, syncopated. Gehender (Ger. ga-hSn-der). Going. Kelialten (Ger. ghe-half-Sn). Held, sus- tained. ., g end, i ice, I ill, o old, 5 odd, 6 dove, 00 moon, x>. lute, ii but, u Fr. sound 77 GEH ADDENDA. MEP Oeinessener (Ger. ge-mSs'-sSn-Sr). Meas- ured, precise. Oesaii;^ (Ger. ghe-s^ng). Singing; the art of singing, a song, melody. Oesan^voU (Ger. ghS-sSng-fol). Songful ; in a singing style. Caniabile, €retra«i:en (Ger. ghS-trS'-g'n). Well-sus- tained, carried. Oioc'OndO (Ital. jo-kon'-do). Cheerful, gay, merry. Olissando (Ital. gles-sSn'-do). _ Sliding. A method of pUying a run by sliding the finger rapiJly along the keyboard of the pianoforte, or by sliding the linger along ihe violin string. Gran (Ital. grSn). Great, grand. Oraziosamente (Ital. grS-tse-o-z£t-man-te), Gracefully, smoothly. Grosse (Ger. gros'-sS).^ Major, referring to inteivals ; also, grand in style. Out (Ger, goot). Good, well, sufficiently. Halten (Ger. hai -tSn). To hold back, check. Hastig (Ger. hSs -tig). Hurrying, hastening. JXastinj^s, Dr. Thomas, one of the pioneers in American music, was born in Washington, Ct., 1784. In some way he discovered his talent for music, and began to teach in 1806. His first book, Musica Sacra^ was published ' in 1817, and in 1822 his "Dissertation on Musical Taste." He was the sole or asso- ciate editor of some 16 books of church music. As a man he was studious, retiring and lov- able. He was author of several hymn.t which are still in use. Hauptsatz (Ger. houpf-sStz). Principal theme or subject ; the motive or leading idea. Heimlicll (Ger. him'-Kkh). Secretly, quietly, calmly. Hoechst (hSkst). Highest^ utmost. HuebSCli (Ger. heebsh). Pretty, handsome. Imperioso (Ital. em-pa^re-o -zo). Imperi- ous, pompous. Improvisata (Ital. em-pro-ve-za -tS). Im- provised ; in a fluent and off-hand style. InconsoXabile (Ital. en-kon-so-lS -be-l@). Innere (Ger. en'-nSr-§). Inner; as the inner voices, or parts. Innlgkeit (Ger. en -nXg-kit). Inwardness, feeling, IniiigSten (Ger. en -nigs-ten). Most fervent, most devout. IntiniO (Ital. en -te-mo). Inward feeling Introduzione (Ital. en-tro-doo-tse-o >n3). An introduction. Inversione (Ital. en-var-se-6 -n8). Inver- sion. Jagdlied (Ger. yMgd'-leed). Hunting song, •f eden (Ger, ya -den). Each, every. JTosefTy, RafFaele (yo-s5f '-fi). Virtuoso pianist, was born at Miskolcs, Hungary, in 18^2. He pursued his more advanced studies with Mo- schelesat Leipsic, and afterwards with Tau- sig. He made his debut in 1870 and at once attracted attention by the daintiness, uniform crispness, and brilliancy of his playing. His technique is superb, and his phrasing refined and musical He visited America in 1879. where he has been very successful. He is rather Sigenre pianist, a wonderfully fine per- former of small pieces, than an interpreier of broad and deep works. Klagrend (Ger. kla'-g'nd). Plaintive. Kraft (Ger. kraft). Power, strength, energy, Krseftifi: (Ger. kraf -tig). Powerful, vigorous, full of energy. Knerzung (Ger. kiir'-tsoong). Abbreviation, shortening. Ifseva (Lat. la'-vS). The left ; the left hand. I«ang, B. J., distinguished pianist, organist, conductor and teacher, was born at Salem, Mass., in 1840. Became organist in church at the age of 11. In 1858 became organist of the "Handel and Haydn" Society, of Bos- ton, a position he still holds. Is also con- ductor of the ""Cecilia'* and '* Apollo " Societies, and as such has brought out in Poston a brilliant list of master works, em- bracing the principal choral works of Schu- mann, Mendelssohn. Beethoven, etc., and in 1880 Berlioz^s ''Damnation of Faust," for the first time in America. Mr. Lang occupies a high soci.iI position in Boston, where he has so long held leading rank as concert pia- nist, piano teacher and musical educator. JLargramente (Ital. liCr-giC-man'-tS). Larg&r ly, fully ; in a full, free, broad style of per- formance. liCbendig (Ger. la'-bSn-dXg), Lively, quick. Lebhaf ti^keit (Ger. lab-hSf-tltg-kit). Live- liness, vivacity. liCsgendario (Ital, iSd-jen-dSr'-Yo). A legend. r^eggrerezza (Ital. iSd-jSr-at'-tsS). Lightness and agility. Iieg:no (Ital. Ian '-yd). Wood; col Zegno^ with the bow stick. Lieicht (Ger. Ilkht). Light, easy, facile. , liigato (Ital. le-gS'-to). See Legato. liinda di Chamouni (de-tshS'-moo-ne). Opera in 3 acts, by Donizeiti, 1842. liunga (Ital. loon -gS). Long. LuStig (Ger. loos'-tlg). Merrily, cheerfully, gaily. Jflagic Flute, The (Ger. Die Zauberfioie^ Hal IlFlauto Magico). Opera in 4 acts by Mozact, 1791. Mai (Ger. mSl). Times ; 20 mal^ twenty times, etc. HHarcando (Ital mSr-kan-do). I -m^.-^.^a Mareato (ItaLmSr-ka'-toj. \ Marked, accented, well pronounced. Marcatissimo (Ital. m£r-kS(-tes'-se-mo). Very strongly marked. Mayo, Oscar, was born in Germany in 183S. Studied music with Fesca, came to this country in 1869, and resides at Evanston, 111. Is a piano teacher, a good musician, and a prolific composer of instructive and pleasing pieces. niehr (Ger. mar). More. Mehrere (Oer. ma'-ra-rS), More ; compara- tive of preceding. Mephistopheles. Opera by Arrigo Boito, 1875. a ale, & add, S arm, e eve, S end, I ice, I ///, o old, 8 odd, 6 dove, 00 moon, u lute, fl hut, U Fr, sound 78 MER ADDENDA. PRE Merz, Karl, a prolific composer of piano music, songs, etc.^ and piano teauher. Was born in Germany in 1836, and since x86i professor of music in Oxford Female College, Ohio. Is editor of Brainard^s Musical World, and one of the most instructive and widely-respected writers upon music in this country. ^lidsaminer Nights' Dream. Music by Mendelssohn, consisting of Overture, 1826, Nocturne, and 11 other numbers, 1843. ;91irella. Opera by Gounod, 1864. Mit (Ger. mit). With, by. aioeglich (Ger. mgg'-likh). Possible. jlEonk, Wm. H., organist, and composer and arranger of church music, was born in Lon- don in 1823. In 1874 was made professor of vocal music in King's College, and occupies various educational relations. Was one of the editors of " Hymns, Ancient and Mod- ern." Slonnlislit Sonata. A name often, but foolishly, applied to Beethoven's sonata in C sharp, Op. 27, No. 2, composed in 1801. Slorendo (Ital. m5-ran'-d6). Dying away, gradually diminishing in tone and time. Slose in KgittO ('* Moses in Egypt "). An oratorio or sacred opera by Rossini, z8i8. ])Ioses. An oratorio by A. B. Marx, 1841. Motiv (Fr. m5'-tev). Motive. See Chaps, i and X. 9IOtO (Ital. mo'-to). Motion, movement; con ntoto^ with motion, rather quick. IHConntain Sylph. Opera by John F. Bar- nett. lEovement. Manner or rate of going. Hence employed as name for any piece of music, or part of a piece, so far as it continues in the same tempo. Thus a sonata has three or four movements. A ** number" (as in opera or other dramatic work) frequently consists of several movements, which in performance are closely connected. HI. S. Mano sinistra^ the left hand. ]|Eanter (Ger. moon'-tSr). Lively, sprightly. Xaclilassend (Ger. nahk-lSs'-sSnd). Slack- ening. Xaclttlaeer in Oranada, Das (Ger. nakht-la-gh@r in Gra-nS-da). Opera by Kreutzer, 1834. ]Vae1i-nnd-nach (Ger. nSkh oond nSkh). By little and little, by degrees, Woch (Ger. nokh). Yet, still, more. Oberstimme (Ger. 5'-ber-st!tm'-mS). Treble, upper voice part. Ombre, L' (Fr. I6m'-br). Opera by Flotow, 1869. Orphee aux Elnfers. Opera in 2 acts, by Offenbach, 1858. Orphee et Euridice. Opera in 3 acts, by Gluck, 1774. OrpheuJ4, or Orfeo. Opera by Monteverde, 1607. Also by Gluck, 1762. Othello (Ital. Otello^ o-tal'-lo). Opera by Rossini, 1816. Overblowing is the production of a higher than the natural tone of a pipe, by forcing the wind. In the flute the upper octaves are legitimately so produced. In the organ it is apt to arise when too much wind is pumped into the bellows, to prevent which a. safety- valve is provided. Paine, John Knowles, organ virtuoso, com- poser, and professor of music in Harvard College, was born at Portland, Me., about 1840. Educated in Boston and with Haupt at Berlin, and since about 1869 professor at Harvard. Is author of an' oratorio, *' St. Peter," an elaborate and original work, per- formed by the Handel and Haydn Societ\ in 1874, two symphonies, string quartettes, a mass, etc. Parker, J. C. D., pianist, organist and com- poser, was born at Boston about 1836^ Edu- cated there and at Leipsic, and \qx fifteen years has occupied a leading position in the musical life of his native city. Is organist at Trinity Church, and author of a cantata or oratorio, " Redemption Hymn," part-songs, etc. Passione (Ital. pSs-se-o-ne). Passion, feel- ing. Pausa (Ital. (pou-zS). A pause. Pedale (Ital. pa-da -IS). Pedal. The pedal keyboard of an organ. The abbreviation "ped.*' requires the use of the pedal. Per (Ital. par). For, by, through, in. Petersilea, Carlyle, pianist and head of a school of music in Boston, was born in Boston in 1838, learned the piano with his father, who was a good teacher, and afterwards stu- died abroad. P. has rarely appeared in pub- lic,biit since about 1870 has been prominently engaged as a piano teacher in Boston. Phantastiseh (Ger. f Sn-tSs -t!sh). Fantas- tic, fantastically. Pianissimo (Ital. pe - Sn -es' - se - mo). Ex- tremely soft. Piccolo (Ital. pe'-k6-16). Small, little. A small flute. Also a 2 ft. organ stop, of wood pipes. Piu-e-Piu (Ital. pe-oo a pe-oo). More and more. Plaidy. Louis (pli'-dy) celebrated teacherof the pianoforte and author of a book of " Tech- nics," was born in 1810 at Wemsdorf. He was for many years a professor in the Leipsic Conservatory, retiring about 1871. He died in Grimma, 1874. PochettO (Ital. p6-ka't-to). A little. Pocchissimo (Ital. p6-kes-se-m6). Avery little, as little as possible. Poet and Peasant. Opera by Supp^. Foi-a-poi (Ital. p6-e a po-e.) By degrees. Popolare (Ital. po po-ia -rg). Popular. Postilion de Lonjumeau, Le. Opera by Adam, 1836. Prsecis (Ger. pra-ses). Precise, precisely. Precedente (It.il. pra-tshe-dan'-tft). Pre- ceding. Preciosa (pra-tshe-o'-za). Music to drama, by Weber, 1820. Precipitandosi (Ital. pra-tshe-pe-tan-do'- ze). Precipitoso (Ital. pra-tshe-pe-t5-z6). Hur- rying, precipitate. Precis© (Ital pra-tshe'-z6). Precise, exact. Prestissimo (Ital. pras-t5s'-se-m6). Very quickly, as fast as possible. a ale^ a add^ a arm^ e eve^ B end^ I ice, I ///, 6 old^ odd^ 3 dove^ 00 moon^ u lute^ \x. bui^ U Fr» sound 75 ^ PRI ADDENDA. SPI PrincipiO Ital. pren-tshe'-pI-6). The prin- cipal, the leading idea or part. Prophete, Le (pro-fat '). Opera by Meyerbeer; libretto by Scnbd, 1849. Puritani, I (e poo-re- tS'-ne). Opera by ■ Bellini, 1835. i^natre (Fr. katrj. Four. Rascll (Ger. rash). Swift, spirited. Banschend (Ger. roush*-8nd). Rushing, roaring. Repfttlzione (Ital. ra-pe-te-tse-o'-nS). Rep- eiiticn. Bice, Fenelon B., Mus. Doc, director of the Oberlin Conservatory of Music, President of American Music Teachers' Association, was born at Green, Ohio, in 1841, educated at Hillsdale College, Mich., graduated at Boston Music School in 1S63, entered Leipsic Con- servatory in 1867, was appointed Professor of Music in Oberlin College and Director of the Conservatory in 1871, where he has suc- ceeded in building up a fine school, and ex- ercises a commanding influence in favor of good music and sound musical education. Rienzi (re-ant'-se). Opera by Wagner, 1840. RigolettO (re-go-lat'-to). Opera by Verdi, 1851. Ri£;ore (Ital. re-go'-rS). Rigor, strictness, firmness. Rilasclando (Ital. r§-ia-she-an'-do). . ]R.elax- ing the time. Risoluto (Ital. re-z5-loo'-to). Resolute, bold. RiSvegliato^ (Ital. res-vel-ye-a-to). Awak- ened, re-animated. Ritardare (Ital. re-tSr-da'-rS). To retard, or slacken the time. Biteiiente (Ital. re-t5-nan-te). Detaining, holding back the time. Ritmo (Ital. ret'- mo). Rhythm, cadence, measure. Robert le I>iable. Opera by Meyerbeer, libretto by Scribd, 1831. Romeo and Juliet. Opera by BelUni, 1829. Also a symphony by Berlioz, 1840. Root, George Frederick, Mus. Doc, one of the most distinguished and popular of American song writers, was born in Sheffield, Mass., Au^. 30, 1820. At an early age he became a pupil of Dr. Lowell Mason and Mr. Geo. Jas. Webb. In 1845 he became teacher of singing in Rutger's and the Spingler Female Schools in New York, and organist of Mercer St. Church, where he remained for ten years. Hi3 first popular song was '^ Hazel Dell," which was sung and whistled the country through. This was followed by "Rosalie, the Prairie Flower," etc. In i860 he became head of the music firm of Root & Cady in Chicago, where he still resides. During the war the publications of this house were uni- versally current. Mr. Root wrote many battle songs, elementary singing books, can- tatas, etc Root, Frederic fW., son of the precedingj was born 1846,^ in Boston. Is a prominent teacher of singing, composer and writer about music, in Chicago. Saiten (Ger. si'-t'n). Timbrel, strings of a violin. Sanft (Ger. sanft). Soft, mild, smooth. USantle^, an eminent English baritone singer, born in 1838. Schalkhaft (Ger, shaik'-hSft). Waggishly, playfully, capriciously. Schlnmmerlied (Ger, shloom'-mSr-leed). Slumber song. j^cliluss (Ger. shloos). The end, conclusion. ^elinell (Ger. shnSll), Quickly, rapidly. ^Clineller (Ger. shnSl-ler). Quicker, faster, Sch.'wseclier (Ger, shva -ker). Fainter, softer, Schwangesanse (.Ger. shvan-ge-sang-5). "Swan Songs;' title of a set of songs by Schubert. JSchumann, Clara (Clara Wieck), the greatest ' lady pianist who has yet appeared, was born Sep. 13, 1819, at Leipsic, and learned piano playing from her father. She made her first public appearance as pianist at the age of 9, and^ three years later made an extended and highly successful concert tour. In 1840 she was married to Robert Schumann, the composer, M'me Sch umann has resided mainly at Dusseldorf, and as late as the end of the year 1880 played in public in various parts of £uroi>e with the greatest success. Her technique is remarkable, and the artistic quality of her playing unapproachable; in spite of her age, she still plays with great fire and ieeling. ScioItO (Ital. she-ol'-to). Free, light. ^cioltamente (Ital. 'she - 51 - ta - man'- tS), With freedom, agility ; easily, the notes being rather detached than legato. Secco (Ital. 6ak'-ko).^ Dry, unornamented, chord without arpeggio, Secondo (Ital. sa-kon'-d5). Second, asecond. (Segno (Ital. san'-y6). A sign: al segno, return to the sign ; dal segno^ repeat from the sign. Segue (Ital. sa-gwS). Now follows, as follows; also, go on, in a similar manner. Segnente (Ital. se-gwan'-te). Following, next, Sehr (Ger. sar). Very, much, extremely, Selinsuchtvoll (Ger. san'-sookht-fol), Seite (Ger. si'-te). Side, page, line. Selon (Fr. s§-lon). According to. Semiramide (sa-me-ra-ml-dS). Opera by Gluck, 1748; Meyerbeer, 1819; Rossini, 1823. Seilt|»3ice (Ital. sam-ple'-tshS). Simple, pure, plain. Sempre (Ital. sam'-pr§). Always, continually. Sentimento (Ital, 5@n-te-man'-t5). Feeling, sentiment, delicaie expression. Sforzando (Ital. sfor-tsan'-do), ) t7„^„.j fSforzato (Ital. sfor-tsa'-to). f '0'«d, one particular note or chord to be empharized. Sincerita (Ital. sen-sa'-re-tS). Sincerity, simplicity. Singbar (Ger. sXng'-bar). That maybe sung. Singend (Ger, sing'-end). In singing style. Sino (Ital. se'-no). To, as far as, until. Slentare (Ital. slgn-ta'-re). To slacken. iSonnainbala, La. Opera by Bellini, 1831. ISpielend (Ger. speel'-Snd). Playing. Spieler (Ger. speel'-er). Player. a ale^ a add^ 3. arm^ e eve^ e endy 1 ice^ X ill^ 5 old^ o odd^ 6 dove^ 00 inoan^ u lute^ u but^ ii Fr. sound 80 STA ADDENDA. WEB Staccatissimo (Ital. stak-ka-tes'-se-mo). Very much detached, as siaccato as possible. Stark (Ger. stSrk). Strong, loud, vigorous. Stserke (Gcr. stiir'-k6). Vigor, force, energy. Steisenden (Ger. sti-ghend-6n). Ascending. Stimme (Ger. stIm'-mS). The voice, sound ; also, the sound-post in a violin, etc.; also, a part in vocal or instrumental music ; also, an or^aa stop. . StraCr (Ger. strSff). Extended, full. String Band. A band of stringed instru- ments only. SubifO (Itnl. soo'-be-to). Quickly, imme- diately , at once. Sussnrando (Ttal. soos-soo-rSn'-do). Whis- pe.ing, murmuring. Takt (Ger. tSkt). Time, measure. Tannlif^nser (tSn-hois-Sr). Opera in 5 acts, by Wagner. Xhayer, Engen'^W., organist, composer and teacher, was born in Mendon, Mass., in 1838, studied in Poston and afterward in Berlin. Made a successlul concert journey in Ger- many as Vir uoso organist, and has since occupied various prominent positions in Bo^- ton, where he founded his Organ Studio in 1875. Is composer of a mass, many organ works, a large method, etc., etc. Thoronglli Bass. The art of representing ■ chnrd-succesKJons by means of bass notes, and figures giving the accompanying inter- vals ; the art of playine from such a bass. Hence, often usedTas equivalent to the word Harmony. Tic A cim'ed line connecting two successive notes of thts same pitch, to show i^at the second is a continuation of the first, and therefore is simply prolonged. Ton (Ger. ton). Tone, sound, voice melody ; also,, accent, stn-ss; also, pitch of any note as to its acuteness or gravity ; also, the kqy or mode. Tomando (Ital. tor-nSn-do). TostO (Ital. tos'-to). Quick, swift, rapid. Toiver of Babel. Sacred opera by Rubin- stein, 1875. Tranqnillo (Ital, trSn-kwel'-lo). Tranquil- ity, calmness, quietness. Tre COrde (Ital. tra kor'-dS). Three strings. Means that the soft pedal (one string) must no longer be held down. Tristan and Isolde. Opera by Wagner, 1859. TrOiS (Fr. trwa). Three. Trompette (Fr. tronh-pat). A trumpet; also, a trumpeter; also, a reed stop in an org^n, TroppO (Ital, trOp'-p6). Too much. Umkelinuig (Ger. oom'-ka-roong). Inver- sion. Umore (Ital. oo-mo'-rS). Humor, caprice, whim. 17nd (Ger. oond). And. Ifngednldig^ (Ger, oon-ghS-dool'-dlgh). Im- patiently. Unit of Time, The time occupied by a single rhythmical pulsation ; the primary ele- ment of the measure ; a beat. See chap, vii. Tariazioni (Ital. vfi-re-a-tse-6'-ne). Varia- tions. Verlauf (Ger. f Sr-louf ), The lanse, progres- sion, what follows. Verschiebung (Ger. fSr-she'-boong). De- lay, lingering, shifting. In German music, the soft pedaL Vie I (Ger. fel). Much, a great deal. Viertel (Ger. fer-t'l). Quarter note, Vigore (Ital. ve-go'-rS). Vigor. Vigoroso (Ital. ve - go - ro - z6). Vigorous, hold, energetic. Vivace (Ital, ve-va-tshS). Lively, quickly. Vivacissinio (Ital. ve-va-tshes'-se-mo). Very lively, extremely vivacious. Vivacita (Ital. ve-va-tshe'-tS). Vivacity, liveliness. Vivente (Ital. ve-van'-tS). Animated, lively. Volkslied (Ger. folks', led). A. people*s song. A simple ai.d natural melody. Volkston (Ger. folks-ton). People's song ; a simple, natural melody, VoUa (Ital. vol'-tai. Time; also, an old air peculiar to an Italian dance of the same name, Vorlier (Ger. for-hSr). Before, formerly, Vorigren (Ger. for'-e-gh5n). Former, preced- ing, Vovtrag (Ger. for-trSg'). Execution, deliv- ery, the act of uttering. Vorzntragen (Ger. fort'-zoo-tra-ghSn). To deliver, to utter. Walkuere, Die (vai-keer'-6). "The Val- kyrie," cpera by Wagner, 1855. "Warren, Samuel P., organ virtuoso and com- poser, was born in Montreal, in 1841, earl^ showed unusual talent for the organ, his father heing an organ builder. Held position as church organist at the age of 12. In 1861 he began his indicates a depression equal to two semitones; applied only to flat de- grees. (See d below.) The % restores a staff-degree to its "natural" condition and cancels any of the previous signs. (See « below.) In restoring a single sharp or flat after a double one, it is necessary to use anatural to cancel the double sharp or flat, and a sharp or flat to restore the degree to its desired condition. (See «.) 83 SYNOPSIS OF PITCH NOTATION. Written. -Mi (a) (d) Played. Played. ^_ jd) (i)^ ^ SIGNATURES. Sharps or flats placed at the beginning to indicate the key, are called signatares. The sharps or flats so placed not only effect the degrees on which they are placed throngh- ont the staff, hat apply also to the octaves above and below on the same staff. In printed mnsic the signature is repeated at the beginning of every line. In mannscript music the clefs and signatnres are frequently omitted, except at the beginning of each piece or page. Example of staves with signatares and names of staff-degrees. „ -c.3i.~i.- . .. . 8 n«. -«• i M P '&- - a 8 1 ..n^ ■°-°'"'^- -O Shan.. - - ruh... -0 Jkirp, " '*"»• ACCIDENTALS. 1. An accidental affects all notes following it on the same staff degree in the same measure 2. When the last note of one measure is affected by an accidental and the following meas- ure begins with a note on the same degree, the accidental applies to that note also, but not to any that occur after a different tone has intervened in the same voice. Written. _ TFg ^P—r=f=^^ P ^: ttfct: - q g j -^— * 5 ^[j^ i Played. ^•— j-^f ^^ Sj ^j- ^a^i— it^^ft 3. Accidentals are played as written. A single'sharp or flat on a note already sharped or flatted in the signature, is not double-sharped or flatted by the single accidental, but only singly, the accidental having been introduced for precaution. See (j/) below. Written, MARKS OF ABBREVIATION. In order to save space, repetitione of groups of notes aro sometimes indicated by marks of abbreviationf as at k above. ARPEGGIO. A tremolando effect in chords is indicated by bars running across the stems. A waved line before chords indicates that the notes are to be played successively, begin, nlng with the lowest note reached by the waved line, and not together. The Arpeggio begins at the time of the chord, and the tones follow each other very rapidly, and generally some- what creecendo towards the last. 84 MELODIC EMBELLISHMENTS TIME NOTATION. A note indicates a musical utterance. The relative length or duration of several ntter- ances in connection, is represented by the different note-forms which are named whole note, half, quarter, etc. Every note-form has a rest of corresponding value, which indicates a silence of the same length. A dot after a note or rest adds half to its valae. A second dot adds half as much as the first, so that two dots increase the value of the note by three quarters. NOTES AND RESTS. Whole. Half. Quarter. Eighth. Sixteenth. Thirty-second. Sixty-fc 9 r r • i l i r 1 • ? •I •a 1 Explanation of Melodic Embellishments. Prepared from the best authorities, expressly for this work. 1. THE LONG APPOGGIATUBA. This embellishment consists of a grace note which takes half (a), two-thirds (ft), or even the whole (c) , of the time of its principal as shown in the examples following : a. Long appoggiatura before a note b. Before a note divisi- c. Before a note to which can be divided into ble by three, (a which another two equal parts. dotted note.) is tied. The long appoggiatura is now usually written out in fliU in large notes. 2. THE SHORT APPOGGIATURA. 2. The short Appoggiatura is a grace note with a little stroke through Its stem. It begins at the time of the principal note, and is played as qnickly as possible— (a, b, c.) Wriaen. JS ^ m ^ a. Moderate. Played. b. Presto. c. Before double notes. -€-Ms- It. I 3. AFTER NOTES. After notes consist of one or more grace notes introduced as passing or changing notes, in passing from one melody note toanother. They are generally connected with their princi- pal note by a slur, and never fall on an accent. MELODIC EMBELLISHMENTS. Written- 4. DOUBLE APPOGGIATURAS. Doable appoggiataraa consist of t^o grace notes preceeding a melodf note. They begin at tlie proper time ofthe principal note (and tlierefore with tlie corresponding Base note), and are played as qniclcly as possible, the accent falling on the principal note. Written. ^m ^ '^^ Flayed, a. m. a±?^=i= -p-f- ■p^f= b. -p^f-. srac V-f-j-^- =^ ?=PC 5. THE TURN, OR GRUPETTO. The tnm consists of a principal note and two auxiliary notes, above and below respect- ively, which may be a whole step or a half step distant from the principal. Generally the upper auxiliary is the next tone above in the same key, and the lower a semitone below the principal. When the upper auxiliary is only a semitone above the principal, as In the case oftnms on the 3rd and 7th degree ofthe scale, the lower auxiliary is played diatonic, and consequently a whole step below the principal, in order to avoid the misleading chromatic effect which would otherwise be produced. On the 5th degree ofthe minor scale, the lower auxiliary is played chromatic. The turn usually comes at the close of the principal note, as at a, b and c in the examples, where also is illustrated the use of accidentals In connec- tion with the turn-sign. Sometimes, however, it comes at the beginning of a note, as at c2. In which case the turn-sign stands directly over it. With dotted notes the turn comes be- tween the note and the dot, as shown at e and /. »a ^m !h=S-- KCS9 S i ±^ ±=i: ■FS=^-*ft»^* — *— I— ^-l-^-^-F-'^^FH-| j , ! | j H 6. THE MORDENT, OR BOUNDING TRILL. These two embellishments are precisely alike, except that one is made with the note below the principal, and the other with the note above. The first Is distinguished by the vertical stroke through the sign, as at a, below. The other, also called Mordent by some, and Pralt trill or "Bounding Trill" by others, lacks the vertical stroke through the sign, and is made 86 MELODIC EMBELLISHMENTS. wtth the note above. The same embellishment Is Pometimes written ont in small notes as at e. According to Di. Wm. Mason the Prall-TriU should be accented on t^ejlnt note as at d. In all cases the embellishment is to be played as rapidly as possible. ?^& ^^^-.^ i=t= d According to Mason, e P J g^^ / with dou ble n otes. It 7. THE TRILL. The trill consists of a rapid vibration or alternation of a principal note and the next above in the same key. A vocal trill should begin somewhat deliberately^ bnt immediately become rapid, as shown at a below. It concludes with a turn, which, however, may sometimes be omitted in chain trills. On the pianoforte a long trill accompanied by a melody in the same hand, may omit the auxiliary note at the moment of sounding the melody, in order to facilitate the passage, as shown at d. It is of the greatest importance that the notes of the trill should be of equal power. At the start the auxiliary may be accented. Trills should vibrate at a uniform speed, after the motion is once established, and in some definite ratio to the time of the passage. The trill begins with the principal note, and not with the auxiliary, although the contrary has been taught by eminent masters, and is sometimes required by a grace note as at b and e below. Written. ^ f ^'^^^^S^l^^^^P'^^^ a Performed. "^^^^^^m 5kgHi^.V.[ ■ v,7ij^^-_",- fc..