CORNELL UNIVERSITY LIBRARY From the Estate of Verne S. Swan '21 MUSIC J Cornell University Library ML 652.R57 3 1924 022 263 515 \>A '«^^ ^/ Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022263515 FROM A PICTURE IN THE POSSESSION Of JOHN BROADWGOO 8c SONS. LONDON; ROBERT COCKS &C? NEW BURLINGTON ST. RECENT ST, W. FUNOrORTfi MA/VUfy^CrufiEHS AND MUSIC PVeifSMtJiS, BY SPECIAL yy^naA/V7 7 '?■ HER MOST GRACIOUS MAJESTY QUEEN VICTORIA, H.ft.H .THE. Pf.mCE OF WALES, &:T0 HIS WAJESTY THE LATE EMPEROR NA=>OLECiN ill. THE PIANOFORTE, ITS ORIGIN, PROGRESS, AND CONSTRUCTION; WITH SOME ACCOUNT OP INSTRUMENTS OF THE SAME CLASS WHICH PEECEDED IT ; VIZ. THE CLAVICHORD, THE VIRGINAL, THE SPINET, THE HARPSICHORD, ETC. TO WHICH IS iDDED A SELECTION OP INTERESTING SPECIMENS OF MUSIC COMPOSED FOR KEYED-STRINGED INSTRUMENTS, BY BLITHJIMAN, BYEP, BULL, ERESCOBALDI, DUMONT, CHAMB0NNI£;RBS, LULLY, PURCELL, MUFJFAT, COUPBRIN, KUHNAU, SCARLATTI, SBB. BACH, MAJTHBSON, HANDEL, C. P. EMANUEL BACH, ETC. EDWAED F. R;[MBAULT, LL.D. MEMBER OP THE ItOYAL ACADEMY OP MUSIC IN STOCKHOLM, ETC. ETC. LONDON ROBEET COCKS AND CO. NEW BUELINGTON STKEET, REGENT STREET, W. MUSIC PUBLISHERS TO HER MOST GRACIOUS MAJESTY QUEEN .VICTORIA, AND HIS IMPERIAL MAJESTY NAPOLEON IH. 1860. TO HENRY E. DIBDIN, ESQ. (op flodden lodge, morningsyde, Edinburgh) I DEDICATE THIS VOLUME, NOT ONLY BECAUSE I ESTEEM HIM AS A VALUED ERLEND, BUT BECAUSE TO HIS GRANDFATHEE IS DUE THE MERIT OF HAVING EIRST INTRODUCED THE PIANOFORTE TO PUBLIC NOTICE IN ENGLAND. PREFACE. Amongst the entire range of musical instruments, there is not one, in our day, that possesses so many claims to notice as the Pianoforte' — the " household orchestra" of the people. Although it was the birth only of the last century, there have existed, for hundreds of years, instruments which, under different appellations, resembled the Pianoforte in the more important features of construction. Those instruments are but little known to the artist ; scarcely, if at all, to the public. But the spirit of enquiry which marks the present age demands some explanation of those musical fabrics upon which so many of our eminent musicians exercised their mechanical skiU, and for which they composed strains which are listened to with pleasure, even in these days of improvement. The history of the Pianoforte has never been attempted on any scale at all commensurate with its interest or importance. Brief, unsatisfactory, and incorrect notices are indeed to be found ; but these have only served to lead the enquirer into a net of inaccurate data, or a maze of wild conjecture. Nevertheless, some articles are to be found which must, to a certain extent,-be exempt from the general stigma ; and amongst them the following, all of which have been used in the course of the following pages. M. Fetis's STcetch of the History of the Pianoforte and of Pianists, origi- nally printed in the Bevue Musicale, and afterwards partly translated (the translation was left unfinished) in The Harmonicon for 1830-1, a valuable periodical, edited by the late Mr. W- Ayrton. The late Professor Fischhof s Versuch einer Geshichte des Clavierhaues. Vienna. 8vo. 1853. vi PREFACE. Thalberg's Remarks on Pianofortes, printed in the Jury Report of the Great Exhibition of 1851. Mr. W. Pole's Musical Instruments in the Great Industrial Exhibition of 1851. Printed for private circulation. I may also enumerate the valuable Tours in Prance, Italy, G-ermany, &c. by Dr. Burney ; together vrith his articles in Rees's Cyclopedia. I have derived much curious and minute information from these sources, vrhich cannot be too highly commended for their intelligence, learning, and accuracy. I accord this praise to Burney, because it is the fashion of the present age to speak slightingly of his labours.* The task of writing the history of the Pianoforte was one of no small difficulty ; the materials being widely scattered, and, in some cases, almost inaccessible. The amount of miscellaneous reading, too, required was almost enough to deter the most ardent explorer after hidden treasure from pursuing his labour ; and when I present the following pages to the public, it is not without some misgiving that the result wdll be found to be far, very far short of what might have been expected. But, perhaps, if my work cannot be received as a complete history of the subject of which it treats, it may be regarded as a diligent collection of facts and opinions, illustrating the origin, progress, and construction of that delightful instrument the Pianoforte. The materials are divided into three parts ; viz. I. The History of the Pianoforte. II. The Construction of the Pianoforte. III. The early Composers for Instruments of the Pianoforte Class. * My friend Mr. Charles Salamaiv's Lectures on the Pianoforte are deserving of especial notice, for the care with which they have been prepared. The information they contain has been gleaned from authentic sources, and reflects much credit on the industry and talent of their compiler. PEEFAOE. vii In the first part of the work, I have given an account of the early keyed-stringed instruments which preceded the invention of the Pianoforte ; i. e. the clavicytherium, the clavichord, the clarichord, the virginal, the spinet, and the harpsichord ; tracing, as far as possible, their origin and progress. And here I may remark, that a much greater antiquity is assigned to instruments of this class than has hitherto been ceded to them ; although I do not ga the length of the learned Abbate Pietro GrianelU, who, in the article Cembalo, in his Dizionario della Musica, says, " that King David knew something of this instrument is apparent from the 130th Psalm, where occurs the expression, ' Laudate eum in cymbalis jubilationis ;" which is, of course, to suppose that King, David wrote and spoke the Latin language ; for cymhalum is but the vulgate translation of a Hebrew term ! I have also treated of various instruments in use by the Hebrews, the ancient Egyptians, the Grreeks, &c. Perhaps some of my readers may deem this portion of my volume irrelevant to the purpose ; but it seems to me absolutely necessary to trace briefly, as I have done, the progress of the lyre, the harp, the psaltery, the dulcimer, and many other of those instruments which preceded the invention of the key-board. Besides, it must be remem- bered that the noble works of Sir J. Gardner Wilkinson, Dr. Layard, Eosel- lini, &c. throw new lights on the manners and customs of those ancient nations which I have named, clearing up many doubts and difficulties which puzzled our older musical historians. The origin of the Pianoforte is now, it is hoped, satisfactorily cleared up, by the republication of Scipione Maffei's interesting account of Bartolo- meo Cristofali and his discoveries. The claims which have been set up for various ingenious men— Schroter, Marius, Silbermann, &c. now fall to the ground ; and it is a source of no small gratification to me to be enabled to present a literal translation of this highly valuable document, setting forth as it does so minutely the claims of an ingenious artisan to the honor of the invention of the Pianoforte. viii PREFACE. The list of patents appertaining to the Pianoforte, copied from the books of the G-reat Seal Patent Office, must be welcomed as a valuable and faithful record of the progress of the instrument. All doubts as to the various claimants for the honor of discoveries may be solved bj referring to this list. It would doubtless have been desirable to have examined the specifications themselves, and to have recorded more minutely the particulars of each invention ; but this could hardly have been done in the present instance ; not solely on account of the additional labour, but because the volume already extends considerably beyond the limits proposed. The second part of the work treats generally of the construction of the Pianoforte, without descending too minutely into the technicalities of the manufactory. It is arranged under three heads : i. e. — 1. The Framing. 2. The Stringing. 3. The Keys, and Machinery attached for striking the Strings, technically called the " Action." Under these divisions, all that relates to the manufacture of the Pianoforte, of whatever shape, " grand," " square," or " upright," has been carefully considered, and the various improvements anti inventions duly chronicled. And here I must express my obligations to Mr. Pole's valuable labours, as set forth in his volume already mentioned. The author is not only a musician in the proper sense of the word, but a gentleman of highly scientific attainments. His observations are of the utmost possible value ; and what- ever merit may be due to this portion of my work, it must be shared with Mr. Pole. / / My^^noticeS of the improvements in the mechanical details of the Piano- forte close vrith the year 1851 — ^the year of the Great Industrial Exhibition. Had they been carried down to the present time, several manufacturers would have received attention whose names do not occur in the index. Amongst them I may mention the spirited publishers of the present volume, in whose establishment an excellent class of instruments is produced, well deserving the notice of the public. PREFACE. ix This division of the volume also contains a chapter on the " Yarious Mechanical Contrivances applied to keyed-stringed instruments in order to obtain sustained Sounds" — a subject vrhich has occupied the attention of the philosophic mind for a period of nearly three centuries. The " melographic," " mechanical," and "transposing" Pianos have also received due attention ; so also have the " Statistics of Pianofortes and Piano- forte Manufacturing as an Article of Trade ;" the " Materials used in the Construction of Pianofortes," &c. The third portion of the work consists of an interesting collection of specimens of ancient music for keyed-stringed instruments, ranging over a period of two centuries. They have been taken from rare books and manu- scripts in the possession of the author, and have been selected from a large mass of material, chiefly with a view to show the gradual progress of what may be termed the art of Pianoforte-writing. Many old-fashioned stereotyped notions will be disturbed by a careful perusal of these specimens. Prescobaldi, the famed Italian organist, will be pronounced vastly inferior to our John Bull ; whilst Henry Purcell, the great English musician, falls far short of his German and Prench cotempo- raries in the art . of harpsichord-wviting. Couperin, the renowned clavecin writer, sinks into insignificance when compared with his predecessor in the French Court, Jean Baptiste LuUy, whose harpsichord works betray a genius for which he has not hitherto received credit. The sonatas of Handel and Scarlatti, printed for the first time in the foUovring page^, shine forth with redoubled lustre when compared with the duller satelUtes by which they are surrounded. Some of the more technical portions of my material have been thrown together in an Appendix, where, under the heads of " Hints to those who have the Care of Pianofortes," " The Mode of Tuning," and " How to regulate Defects in the Mechanism of the Pianoforte," a variety of information may be gleaned by all who need it. X PREFACE. I have also added to the Appendix " A Glossary of the principal Terms used in the Manufacture of the Pianoforte," which might have been inde- finitely extended, had the prescribed limits (already much exceeded) of the work allowed. Before concluding these prefatory remarks, I have one duty left, which aflfords me much pleasure — the offer of my sincere thanks to those gentlemen who have so kindly assisted me in carrying out my enquiries during the progress of the following pages. And first, to my friend W. Chappell, Esq. F.S.A. who kindly translated, at my request, Scipione Maffei's Italian description of Cristofali's Pianoforte. To Thomas Jones, Esq. B.A. the learned librarian of the Chetham Library, Manchester, for the transcripts of two important documents preserved in that repository. To Mr. Murray, the eminent publisher, for permission to copy several wood-cuts from Sir J. Gardner "Wilkinson's Manners and Customs of the Ancient Egyptians. To Eobert Hendrie, Esq. for calling my attention to the monk Theophilus's curious notice, De MensuraCymbalorum, and for per- mission to use his translation of the same. To Count Pepoli, for his kind letter (printed in the Additional Notes and Illustrations) respecting Marco Jadra, the early virginal-maker. To E. W. Eairholt, Esq. E.S.A. for pointing out several early representations of musical instruments. To H. E. Dibdin, Esq. for many valuable hints, and for extracts and drawings from Prsetorius's Syntagma Musicum, in the University Library, Edinburgh. To the Messrs. Broadwood, for permission to copy the portrait of Tschudi, the founder of their firm, engraved as the frontispiece to the book. To Mr. Thomas Eastman (a gentleman on the Publishers' Staff), who kindly read over the proof sheets during the progress of the work through the press, and favoured me with his valuable observations ; and also for the note on the meaning of several Hebrew terms used in the Psalms, inserted on pages 12, 13. To Professor Eischhof, of Vienna (now, alas ! no more), I acknowledge myself indebted for many valuable communications ; as also to my late PREFACE. xi lamented friend, Mr. J. P. Barratt, for most valuable assistance in many technical portions of the work, especially in that portion devoted to a con- sideration of the causes of defects in Pianofortes, and the method of remedying them. Mr. Barratt's extensive knowledge of everything relative to the Pianoforte, and his readiness in communicating that knowledge, are well known to all who enjoyed his friendship. This acknowledgment is due from me to the memory of a truly deserving artist and a good man. EDWARD P. RIMBAULT. '29, Si. MarWs Crescent, Gloucester Boad, Regenfs Park, February 10, 1860. ERRATA. Page 13, line 8, read "^ijyj^) J^ Ain, not 2 Tsaddi (with Kamets). 13, foot-note, 2nd column, line 5, for " or," read " on." 19, last line but one in tlie text, for "MusieS,," read " Musica." 19, foot-note, 2nd column, line 8, for "prseseus," read "praeaens." 33, foot-note, 2nd column, line 10, for " sub-silentia," read " sub-silientia." 47, foot-note, for " Fishof 's," read " Fischhof 's." 64, foot-note, for "Arlington House," read "the Mulberry Garden." 74, line 8, for " Eucker," read " Euckers " ; the same in the foot-note. 77, line 18, for " Podini," read " Todini." 91, line 20, for " son," read " nephew." — — 129, foot-note, 1st column, for "Piachoff," read "Fischhof." 155, line 33, for " James," read " John." 156, paragraph 13th, read " Samuel Thomas CROitWBLL." 190, line 1, for " George," read " James." 208, foot-note, for "part^e," read "portfe de tout le monde." 217, No. 28, for " Peachy," read " Peachey." 218, In the italics at the head of the columns ; for " Cutalogw," read " Catalogue " ; for " Orund," read " Grand." 218, in the division at foot of page (Belgium), for "Entwerp," read "Antwerp." 220, for " Ne. iu," read " No. in." 224, line 10, insert " from " before " the court or palace.'' 229, line 17, for " 1591," read "1587." 238, Una 29, for "born about 1591 ; died in 1640 read " born in 1587 ; died about 1654." CONTENTS. PART L THE HISTOEY OP THE PIANOFORTE. Chapter ], Some of the Steinged Instetjments of the Ancients. 1 TheLyre 2 The Harp : 7 Stringed Instruments, the particular Names of which are unknown.. 12 Recent Discoveries at Nineveh 15 Chaptbk II. The Medieval Insteumbnts that peeceded the Invention op the Key- BOAED. 17 The Psaltery, or Psalterium 18 The Dulcimer 23 TheCitole 25 Chaftee III. The Piest Instetjments op the Pianopoete Class - 28 The Clavicytherium 28 The Clavichord 29 Chaptee IV. The ViEQiNAL 48 Chaptee V. The Spinet 67 Chaptee . VI. The Haepsichoed 71 Chaptee VIL The Claimants to the Invention of the Pianofoete 94 Chaptee VIII. The Peogeess of the Pianofoete on the Continent ... ...... 112 Chaptee IX. The Inteoduotion and Peogeess of the Pianofoete in England 130 Chaptee X. The Peogeess of the Pianofoete in the Nineteenth Centuet ... 149 PART 11. THE CONSTRUCTION OP THE PIANOFORTE. Chaptee I. The Pbaming Chaptee II. The Stringing Chaptee III. The Action . . . 162 175 184 XIV CONTENTS. Chapter IV. "Vaeiotjs Mechanioai, Conteivances applied to the Pianoforte in oedeb TO OBTAIN SUSTAINED Sounds 197 Chapter V. Melographic, Mechanical, and Teansposing Pianos 205 Chapter VI. Statistics op Pianopoetes and Pianoeoete Manufactueing as an Aeticlb OP Trade ; Materials used in the Construction op Pianopobtes ; &c. . . , 209 PART III. THE EAELY COMPOSERS POR INSTRUMENTS OF THE PIANOFORTE CLASS 223 A Collection op Specimens illustrating the Progress of Music foe Keyed-Stringed Instruments 237 1. Gloria Tibi, Trinitas William Blitheman . 237 2. , Sellenger's Round William Byrd . 241 3. The King's Hunting Jigg ...:.. Dr. John Bull , 245 4. Les Buffons Ditto . 248 5. Courante Jewell ,... Ditto , 253 6. Capriccio del Soggetto sopra I'Aria di Roggiero Girolamo Frescobaldi,.. , 257 7. Suite de Pieces H. Dumont , 262 8. Suite de Pieces Chambonnieres 365 9. Suite de Pieces J. B. Lully 268 10. Prelude and Airs Henry Purcell 278 11. Variationes super Cantilenam ... F. X. A. Miirshhauser. , , 284 12. Sonata Johaun Kuhnau 292 13. Suite de Pieces John Mattheson 299 It. Sonata in A minor Domenico Scarlatti 306 15. Sonata in G Ditto 310 16. Suite de Pieces Francois Couperin 316 17. Capriccio ... J. Sebastian Bach 332 18. Capriccio in G Handel 840 19. Fantaisie ' TheofiloMuffat 344 20. Air Ditto 848 21. Allemand Ditto 350 22. Introduction and Toccata De Mondonville 351 23. RondoinEflat Carl Philip Eman. Bach. , 357 24. Fantasia Ditto , 363 ILLUSTRATIONS. XV APPENDICES. Appendix I. Hints to those who hate the Cake of Pianofortes ... 369 Appendix IL On Tuning 372 Appendix III. How to bectolate Defects in the Mechanism of the Pianofoete 380 Appendix IV. A Glossary op the principal Terms used in the Manufacture of the Pianoforte ... 387 Additional Notes and Illustrations 398 LIST OE WOOD-CUTS AND DIAGRAMS. 1. Figure of a Hebrew playing on the Lyre 3 2. Eepresentation of an Egyptian Lyre in the Berlin Museum ... 5 3. Lady playing on the Lyre, from a Theban Tomb .. . 5 4. Female Figure playing on the Lyre, from a Yase found at Herculaneum 6 5. Male Figure, ditto 6 6. Bow-shaped Harp preserved in the Museum at Florence 8 7. Egyptian Figure with small bow-shaped Harp 8 8. Ditto, larger 8 9. Ditto, still larger ... 8 10. Drawings of Bruce's Harps in the Tombs of jB«ia>j e^ Jfofooif T 10 11. Female Figure playing on the triangular Harp 14 12. Male Figure, ditto 14 13. Egyptian Instrument of the Harp Class, in the Museum at Florence ... 14 14. The Cithara of the Middle Ages 19 15. The square Psalterium '20 16. The triangular Psalterium 20 17. The Psaltery or Nabulum of the Fourteenth Century 21 18. Drawing of a grotesque Performer on the Psaltery of the Fifteenth Century 21 19. The HacJcbret or Dulcimer, as given by Luscinius. . . 24 20. Figure of a Lady playing on a Citole 25 21 . Drawing of the Clavicytherium 29 22. Ditto of the Clavichord ^0 23. Diagram of the Mechanism of the Clavichord 31 24. Drawing of the Clavicymbal .. . 33 XVI ILLUSTRATIONS. 25. The Simicum, as depicted by Galilei 35 26. The Cymbal, as represented by Grassineau 39 27. Drawing of the Manichord 46 38. Kepresentation of a Lady playing on the Yirginal .. . ...... 49 29. The triangular Virginal from Preetorius's Syntagma Mmicum 50 30. The upright Virginal 53 31. Diagram of the ' Jack' Action of the Virginal 57 32. The Virginal of the Seventeenth Century 64 33. Drawing of a Lady playing on the Spinet 67 84. Representation of a Spinet made by Joseph Baudin, in 1723 69 35. The Harpsichord, from Father Merseimus's Harmonicorum ... 72 36. Eepresentation of an Italian Concert in 1634 ....:. 79 37. A Spanish Harpsichord ....;. 84 38. Diagram of the Mechanism of Cristofali's Pianoforte 99 39. Diagram of Marius's " Harpsichord with Hammers" 1 04 40. Ditto, showing a different Mechanism ... 105 41 . Ditto, showing the Mechanism of the upright Harpsichord ... 106 42. Ditto, -showing a Harpsichord with Hammers and Jacks ...... 107 43. Drawing of a Pianoforte in the Palace at Potsdam 119 44. Diagram of the Mechanism of the Pianoforte as improved by Mason 137 45. Diagram of the Framing of the modern upright Pianoforte — front view without the strings. . . 169 46. Ditto — back tiew, showing the bracings 169 47. Diagram of the Action of the modern upright Pianoforte when the key is at rest .. . 187 48. Ditto, when the key is pressed down ... 187 49. Diagram of the Action of the modern square Pianoforte 188 50. Diagram of the common Grand Pianoforte Action 189 51. Diagram of Broadwood's old Grand Action 189 52. Ditto, with the Improvements of W. Southwell 189 53. Diagram of CoUard's Patent Grand Action 190 54. Ditto of Erard's Patent Grand Action 190 55. Ditto of Wornum's Grand Action 190 56. Ditto of Zeitter's Grand Action 191 57. Ditto of Wornum's Unique Action 191 58. Ditto of Wornum's Double or Piccolo Action 191 PART I. THE HISTORY OF THE PIANOFORTE. CHAPTER I. SOME OF THE STEINGED INSTEUMENTS OE THE ANCIENTS. INTEODUCTION. Musical Instruments with stretched strings — the first principle of the piano- forte — existed in the remotest ages of antiquity ; but it is almost lost time to seek for their origin. " Shadows, clouds, and darkness" rest upon their first beginnings ; and the names of their inventors, with their personal histories, are obscured by fables and traditions. We can well imagine, that when the father of these instruments — ' struck the chorded shell, His listening brethren closed around, And, wond'ring, on their faces fell. To worship the celestial sound : Less than a God they thought there scarce could dwell Within the hollow of that shell. That spoke so sweetly and so well." -» The Egyptians are generally looked upon as the fountain from whence the arts and sciences were diffused over the greater part of Europe ; and, from the wondrous records that have been handed down to us, this seems more than probable. The ancient history of this extraordinary people is so entangled with tradition that it is impossible to unravel it. That there were extant at one period records extending up to its earliest existence is highly probable : but these were destroyed by CambyseSj THE LYRE. who, about 525 B. C. subdued Egypt, overthj-owing the temples in which the records were deposited, and slaying the priests. In the absence of written authorities, all tradition points to Ham, or one of his sons, as the first who led a colony into Egypt ; and some writers suppose that Noah reigned there, identifying that patriarch with Osiris, to whose secretary, Hermes Trismegistus, is ascribed the invention of music. THE LYRE. Apollodorus* gives the following account of the circumstance which led to the discovery of this enchanting art ; and, although the art itself certainly did not owe its origin to the encounter of Hermes with the shell of the tortoise, it is not improbable that the invention of the lyre may be attributed to some such adventi- tious cause : " The Nile," says the writer, " having overflowed its banks at the periodical season for the rise of that wonderful river, on its subsidence to its usual level, several dead animals were left on the shores, and amongst the rest, a tortoise, the flesh of which being dried and wasted in the sun, nothing remained within the shell but nerves and cartilages, which, being tightened and contracted by the heat, became sonorous. Mercury (Hermes), walking along the banks of the river, happened to strike his foot against the shell, and was so pleased with the sound produced, that the idea of the lyre suggested itself to his imagination. The first instrument he constructed was in the form of a tortoise, and was strung with the sinews of dried animals-]-." Assigning the discovery to some human being, this story has so much probability as can be * Bibliotheca, lib. ii. f The lyre was called, by the Greeks, chelys (jjfXu;) ; earliest found were without the magas, or any contrivance and by the Romans, testudo ; that is, tortoise. It seems to assist the sound. It is also remaj^able, that, although that in these the magas or concavity formed towards the the tradition assigns the invention of the lyre to Egypt, base of the instrument, to augment the sound, was really none of the instruments which their paintings exhibit are formed of the shell of the tortoise ; for Pausanias speaks of the tortoise kind. The Egyptian lyre was generally of a breed of tortoises on Mount Parthenius, excellently held horizontally by the players, not perpendicularly, as by suited to furnish bellies for lyres. Pans. Groec, lib. ii, the Greeks and Romans. Sir J. G. Wilkinson says, they lib. viii. Arcad. The variations in the forms of lyres, as were always held horizontally. But this statement is exhibited in ancient sculptures and paintings, are so contradicted by drawings in his own work, numerous as to defy any attempt at classification. The THE LYRE afforded by the fact that many figures of ancient Greek lyres do actually bear the figure of a tortoise. The lyre, in its various modifications of form, seems to have been the most common stringed instrument of all ancient nations. It possessed various forms, and various names — lyra, chelys, testudo, cithara, barbitos. Sec, by which its principal varieties were distinguished. It seems certain, also, that the Hebrew 1133 Kinnor, was a form of lyre, a representation of which is here copied from the curious tomb at Beni Hassan. The entire painting is supposed to represent the arrival of Jacob's family in Egypt, and is cotemporary with that event. Sir J. G. Wilkinson, from whose valuable work on the Manners and Customs of the Ancient Egyptians (vol. ii, p, 296) our figure is taken, says, " The lyre is rude, and differs a little in form from those generally used in Egypt ; but its presence here, and in others of the oldest sculptures, amply testifies its great antiquity, and claims for it a rank among the earliest stringed instru- ments. " The question as to the number of strings in the original lyre of Hermes, has been a subject of much discussion ; some writers assuming that it had only three, corresponding to the seasons of the year which the Egyptians recognized ; i. e. winter, spring, and summer*. These three strings produced an acute, a mean, and a grave sound — the grave answering to winter, the mean to spring, and the acute to summer. Others contend that the lyre had four strings ; the interval between the first and fourth being an octave ; the second, a fourth from the first ; the fourth, the same distance from the third ; and that from the second to the third was a tone. Others again contend that the Hermean lyre had seven strings ; but this discrepance is very likely to have arisen from confounding the lyres of the Egyptian and Grecian Hermes, or from adverting to the state of the instrument at different periods. * Not only the Egyptians, but the ancient Greeks, " The hours to Jove did lovely Themis bear, divided their year into three seasons, which were called Eunomia, Dice, and Irene fair : hours. Thus Hesiod : O'er human labours they the pow'r possess, With Seasons kind the fruits of earth to bless." Theogony. B 2 THE LYRE. Many of the Egyptian lyres were of considerable power, having five, seven, ten, and even eighteen strings. They were usually supported between the elbow and the side, and the mode of playing them was generally with the hand, and not, as in Greece and Eome, with a plectrum*. This custom, however, observes Sir J. G. Wilkinson, was also adopted by the Egyptians ; and as it occurs in sculptures of the earliest periods, it is evident they did not borrow it from Greece ; nor was it unusual for the Greeks to play the lyre with the hand without a plectrum; and many instances of both methods occur in the paintings of Herculaneum. There is as little agreement amongst ancient writers with regard to the form of the lyre, as there is respecting the number of its strings. There are drawings of it, and remains of sculpture, in which its figure exists in various shapes; some resembling the front part of the head and horns of a bull, others the shell of the tortoise. Some were ornamented with the head of a favourite animal, carved in wood ; as the horse, ibex, or gazelle ; and others were of a more simple shape. The strings were fastened at the upper end to a cross bar connecting the two sides, and at the lower end they were attached to a raised ledge, or hollow sounding-board, about the centre of the body, which was of wood, like the rest of the instrument. The Berlin and Leyden Museums possess lyres of this kind, which, with the excep- tion of the strings, are perfectly preserved. That in the former collection is ornamented with horses' heads ; and, in form, principle, and the alternating length of its strings, resembles one painted on the walls of a Theban tomb ; though the * " This implement seems to have been generally a piece left-hand. Josephus says that the Kinnorim of the of ivory, polished wood, or metal, in the form of a quill. Temple were played with the plectrum : and this may have Other forms are preserved, some of which seem to have been, although it appears from Scripture that the common been too clumsy to extract from the lyre tones of much lyres were played with the hand." — Pictorial Bible ii sweetness or delicacy. Hawkins says that the lower joint 574. The quill plectrum was used in the earliest keyed- of a goat's foot was sometimes employed. It appears that stringed instruments. the plectrum was only used with the larger species of the It may be remarked, in passing, that, in the classical lyre. When employed, it was held in the right-hand ; and writings, a distinction is observed between the Peeten, with while the player struck the chords with it, the /wafers of which the strings were fretted as with the ends of the the left-hand also touched the strings. When the fingers fingers, and the Plectrum (from hX^ttu, to strike) with only were used, those of both hands were generally em- which they were struck— the latter term including, as is ployed : but some ancient lyrists were celebrated for their assumed, all instruments of the bow kind, performances with one hand, and that too sometimes the THE LTRE. 5 board to which the strings are fastened is nearer the bottom of the instrument, and the number of strings is thirteen instead of ten. "We have here an engraving of both, thus affording an opportunity of comparing a real Egyptian lyre, with the representation of one drawn by a Theban artist more than three thousand years ago. The body of the Berlin lyre is about ten inches high, and fourteen and a half broad, and the total height of the instrument is two feet. It is entirely of wood, and one of the sides, as of many represented in the sculptures, was longer than the opposite one ; so that the instrument was tuned by sliding the strings upwards along the bar. The Greek lyres were similar to those of Egypt, sometimes imitating the shape of the head and portion of the horns of a gazelle, and other elegant forms : the strings too were as varied in number as those of the Egyptians. In Greece, the instrument had at first only four strings, till an additional three were introduced by Amphion* ; who, as Pausanias seems to hint, borrowed his knowledge of music from Lydia, and was reputed to have been taught the use of the lyre by Mercury. Seven continued to be the number of its strings, until the time of Terpander, a poet and musician of Antissa, near Lesbos (67.0 B. C), who added several other strings ; but many instruments were still made with a more limited number ; and although * Pausanias, lib. ix. The scattered notices of music preserved by this writer are very valuable. THE LYRE. lyres of great power had long beeu known, and were constantly used, many Greeks and Eomans contented themselves with, and perhaps preferred, those of a smaller compass. The lyres in the paintings of Herculaneum vary in the number of their strings, as much as those in the Egyptian frescos ; and we there find them with three, four, five, six, seven, eight, nine, ten, and eleven strings. We give representations of two ancient lyres, drawn from the vases found at Herculaneum. The female figure seems to be in the act of tuning the instrument. The male, who is about to perform on a square-shaped lyre, has in his right-hand the plectrum. There is every reason to believe that the musical instruments used by the Greeks and Eomans came from the East, and were originally the same as those used by the Egyptians, Chaldeans, Phoenicians, and Syrians. The learned editor of the Pictorial Bible (the late Dr. Kitto) remarks: "It is, therefore, not impossible to recover, through the representations left by the Greeks and Romans, forms of lyres and other instruments nearly approximating to, if not identical with, those used by the Jews and other Orientals. The Greeks, always vain, and always jealous of their own glory, asserted that most of the musical instruments used by them Avere the invention of their gods or ancient poets. So they said of most inventions in science and art. But in the present instance, the Scripture alone suffices to overthrow such pretensions, since it mentions some of the instruments thus claimed as existing in times long anterior to even the ages of Greek fable. The Eomans derived many THE HARP. 7 of their instruments, and the traditions connected with them, from the Greeks ; but their writers intimate that additions were made to them from Syria : their musical instruments came from the East. Thus Juvenal* sneers at the influx of Syrian customs and musical instruments ; and Livyf mentions the great number of instrumental performers which came to Rome from Syria, after the wars between the Romans and Anti(>chus the Great. " But even the Greeks are not consistent in their tales, being sometimes obliged to recur to the true source of most of their musical instruments : and this is always in the East ; in some instances, Phrygia or Lydia ; in others, Egypt, Syria, or Persia. As for the Hebrews, we need not suppose that they were themselves the inventors of the instruments they employed. They do not appear to have been ever remarkable for invention ; and the instruments of neighbouring nations are in general so similar, that it is not necessary to seek anything peculiar in them. They were probably sup- plied from the same sources which supplied Greece and Rome : the Chaldeans, from among whom their fathers came ; the Egyptians, among whom they so long lived ; the Arabians, Syrians, and Phoenicians, by whom they were surrounded; probably furnished them with the models of most of the instruments they possessed." THE HARP. One account of the origin of the lyre, and consequently of all stringed instru- ments, attributes it to an observation made by Apollo upon the twanging of a bow- string. It might, therefore, be inferred that the earliest instruments founded on this idea would bear the form of a bow. Yet this does not appear (as far as it has been observed) from any Greek or Roman monuments ; whilst all the harps of Egypt are more or less of the bow shape, so that the idea of such an origin would be suggested even were there no tradition to support it. The engravings, which we have selected from the perusal of a large number of Egyptian frescos, will trace the progress of the idea from the simplest modification of the bow-form to the large and magnificent bowed harp. * Sat. iii. I Lib. xxxix. THE HARP. The most simple application of the bow formed into a harp appears to be that afforded by the instrument represented in our first engraving ; it is given by Eosellini, ^as copied from a real instrument preserved in the Museum at Florence. From the number of the pegs, the strings seem to have been four in number ; and which appear to have been conducted through a box V= w or belly, framed at one extremity of the arc, in order to strengthen the sound. The second engraving exhibits another instrument of the same kind, with the four strjngs stretched over a box. This figure is fiirther interesting, as showing the manner in which the instrument was played, by carrying it upon the shoulder. The next is another and rather larger instrument of the same description. It is not portable while played, but rests rather awkwardly upon the ground, without any base for its support. The fourth figure shows a larger instrument of the class, and which has the same number of strings that Josephus gives; to the Hebrew nehel. THE HARP. All the Egyptian harps, according to Sir J. G. "Wilkinson, have a peculiarity for •which it is not easy to account ; the absence of a pole, and, consequently, of a support to the bar, or upper limb, in which the pegs were fixed ; and it is difficult to conceive how, without it, the strings could have been properly tightened, or the bar sufficiently strong to resist the effect of their tension, particularly in those of a triangular form. The strings of the Egyptian harp were of catgut ; and some of those on the harp discovered by Sir J. G. Wilkinson at Thebes, in 1823, were so well preserved, that they emitted a sound upon being touched, although they had been buried in the tomb probably three thousand years. This length of time would appear incredible, if we had not repeated instances of the perfect preservation of numerous perishable objects, even of an older date, in the sepulchres of Egypt. The oldest harps found in the sculptures, are in a tomb, near the pyramids, of Geezeh, between three and four thousand years old ; but perhaps the most interesting are those described by Bruce, in one of the tombs called Biban el Molook (where the Kings of Egypt were interred), of the time of Eameses iii, B. C. 1235. Bruce was the first to describe these representations, in a letter to Dr. Burney, which the latter printed in his History of Music. He also gave a drawing, engraved in that work, which was intended to represent one of the harps painted in these tombs. It is, however, so different in form and principle, as to leave no doubt that it was drawn from recollection*. Denon afterwards gave, in a rude sketch, a more correct representation, preserving the arc form which Bruce had destroyed. Then came the great French work on Egypt-f, which gave a more finished and correct drawing ; as also of one of the other harps, which appears to be larger, and more wonderful than that attempted by Bruce. Some serious errors have been committed in the descriptions of both these harps. According to Rosellini, the second harp contains thirteen strings, not eighteen, as stated by Bruce, nor twenty-one, as in the French work. But Sir J. G. Wilkinson, whose authority cannot be questioned, shows * This distinguished traveller committed many mis- t Description de VEgypte, ou BecueU des Obser- takes, through his zeal and enterprise. But the mature vaiions, &c. published at Paris by order of Napoleon. See investigations of the present quarter of a century have the second tome, pi. xci. amply vindicated his character. 10 THE HARP. that it had only twelve strings. The accompanying engraving of both these harps is copied from the latter gentleman's Manners and Customs of the Ancient Egyptians, &c., and may be depended on for general accuracy and minuteness of detail. Bruce, as we have said, made a fundamental error in the form of the first harp, and in the number of its strings. He also made another error, which has never yet been pointed out. After describing the player, he says, " To guess by the detail of the figure, the painter should have had about the same degree of merit with a good sign-painter in Europe ; yet he has represented the action of the musician in a manner never to be mistaken. His left [right] hand seems employed in the upper part of the instrument among the notes in alto, as if in an arpeggio ; while, stooping forwards, he seems with his right [left] hand to be beginning with the lowest string, and promising to ascend with the most rapid execution ; this action, so obviously rendered by an indifferent artist, shows that it was a common one in his time ; or, in other words, that great hands \sic\ were then frequent, and consequently that music was well under- stood and diligently followed. If we allow the performer's stature to be about five-feet ten-inches, then we may compute the harp, in its extreme length, to be somewhat less than six feet and a half. It seems to support itself in equilibrio on its THE HARP. 11 foot, or base, and needs only the player's guidance to keep it steady. It has thirteen [ten] strings, and the length of these, with the ease and liberty with which they are treated, show that they are made in a very different manner from those of the lyre." This description of the manner in which the performer's hands are placed upon the instrument, is calculated to give us too exalted an idea of the state of music in Egypt more than three thousand years ago. The Greeks, and other ancient nations, certainly knew nothing of the accordance of sounds, which we call harmony ; and it is not more likely that the Egyptians were acquainted with an art, the discovery of which belongs to the medieval period*. The performers on " Bruce's harps" are simply playing single notes in octaves : the " arpeggios," and " rapid execution," are purely the invention of our imaginative traveller. Bruce further adds, " Besides that, the whole principles upon which the harp is constructed are rational and ingenious ; the ornamental parts are likewise executed in the very best manner : the bottom and sides of the frame seem to be veneered, or inlaid, probably with ivory, tortoiseshell, and mother-o'- pearl; the ordinary produce of the neighbouring seas and deserts. It would be even now impossible to finish an instrument with more taste and elegance." Dr. Burney himself has some interesting remarks on the same subject-f, liable however to the correction necessary, from his having been in some respects misled by Bruce's drawing. When, a few years after his letter to Br. Burney, Bruce published his own work, he gave a representation of the second harp, which he had overlooked on the previous occasion; and which, although considerably modernized and improved, is far more faithfully copied than the other. With reference to both, he says, " These harps, in my opinion, overturn all the accounts hitherto given of the earliest state of music and musical instruments in the East ; and are altogether, in their form, ornaments, and * Whether the ancients had gny knowledge of music in Bougeant, Padre Martini, Marpurg, Rousseau, &c. The parts or counterpoint, is a subject that has given birth to a prevailing opinion among scientific men is, that the ancients variety of disquisitions and disputes. The authorities in were totally unacquainted with harmony in our acceptance favour of the hypothesis, are Gaffurio, Zarlino, G. B. Doni, of the term ; but those who feel disposed to learn more Isaac Vossius, Z. Tevo, the Abbe Fraguier, &c. Those upon the point, are referred to Dr. Burney's History of who deny the ancients this knowledge, are Glareanus, Music, vol. i, p. 112, where they will find the matter very Salinas, Bottrigani, Artusi, Cerone, Kepler, Mersennus, ably discussed. » Kjrcher, Claude Perrault, Dr. Wallis, Bontempi, Buretti, t Vol. i, p. 213, et seq. c 2 12 THE HARP. compass, an incontestable proof, stronger than a thousand Greek quotations, that geometry, drawing, mechanics, and music, were at the greatest perfection when this instrument was made ; and that the period from which we date the invention of these arts, was only the beginning of the sera of their restoration. This was the sentiment of Solomon, a writer who lived about the time when these harps were painted : ' Is there,' says Solomon, ' any thing whereof it may be said. See, this is new ! It hath been already of old time which was before us.' " STRINGED INSTRUMENTS, THE PARTICULAR NAMES OF WHICH ARE UNKNOWN. Much light might be thrown on the names of the various harps, lyres, and other musical instruments of Egypt, if those mentioned in the Bible were more accurately defined. But, as Calmet truly observes, " There is ho subject in Scripture which has been so little understood as the nature of the Hebrew musical instruments*. The various translators of the Bible all differ as to the meaning of the terms applied to these instruments in the sacred volume ; and the rabbins themselves know no more of the matter than those least acquainted with Jewish affairs. They enumerate no less than thirty-four different instruments, as used by the ancient Hebrews ; supposing that the titles of several psalms, viz. Michtam, Sigaion, Sheminith, &c. indicate the names of particular instruments to be used in performing them. But of this there is scarcely any authority, excepting for the latter-f. * Those who are desirous to obtain knowledge on this seems to have been devoted to it, only three volumes were subject, may read with advantage the curious investiga- published before his decease in 1783. The first volume, tions of Padre Martini, in the first volume of his History which is wholly confined to Hebrew Music, appeared in of Music: those of the Abbe Mattel in various disserta- 1757- The second and third volumes, which treat of the tions with which he has illustrated his elegant translation music of the ancient Greeks, appeared in 1770 and in of the Psalms in Italian verse; P. Philip Bonanni's Gabi- 1781. netto Armonico, 1722; and the Latin dissertation of j According to the Rev. J. Jebb, Michtam signifies Francisco Blanchini, De tribus generibus itistrumentorum " A Psalm composed or written by David ;" Sigaion (or Musicce Veterum Organicce, 1742. Shiggaion), " A wandering Song ;" and Sheminith, " a The Padre Martini's History of Music, unfortunately. Harp of eight strings." — A Literal Translation of the was never completed. The learned father began his work Book of Psalms, ii, 140, 148, 157. on so large a scale, that, though the chief cart of his life Mich-tam DHDP—according to the Targum, "Sculp- THE HARP. 13 Mersennus, and, after him, Kircher*, have indeed undertaken to describe these instruments ; the latter professing to have derived his information chiefly from the rabbinical writers and commentators on the Talmud. These are bad authorities ; and it would only perplex the question still more to wade through their elaborate details. It is to the wonderful discoveries in Egypt that we must chiefly look for information upon this subject, and there our enquiries are more profitably rewarded. Much confusion exists between the cithara or kitariis, the ashur ('asor, accord- ing to the Masoretic pointing, llti'^), the sambuc, the nabl (nehel), and the kinour (kinnor): nor can the various kinds of drums, cymbals, or wind instruments of the Jews be more satisfactorily ascertained. " The difficulty of identifying - them is not surprising," says Sir J. G. Wilkinson, " when we observe how many names the Greeks had for their stringed instruments, and how the harps and lyres represented in the Egyptian sculptures approach each other in principle and tura recta Davidis;" according to the Septuagint, "Tituli Inscriptio (frijXoyfo^i'a) ipsi David " — which seems to signify " a memorial of honour to David." Shigga-jdn j Vil^ " Ode erratica Davidis ; i. e. varia." — Bythner's Lyra Prophetica. It is otherwise explained, "Occupatio aut Studium ;" again, " Delectatio, Isatitia, jucunditas." Hash-sheminith— ri'J'pJS>n_'rhe Sheminith "In- strumentum octo chordarum," from the numeral jy ^ octo. * As these two writers will frequently be mentioned in the course of the following pages, we shall here briefly notice their biography. Marin Mersennus was born at Oyse, in the province of Maine, in 1588. He was educated in the College of Sorbonne, and afterwards received the habit of the Minims. He was a great Hebrew scholar, and possessed of deep learning and research. He had also a correct and judicious ear, and was a passionate admirer of music. These gave direction to his pursuits, and were productive of numerous experiments aud calculations, tend- ing to demonstrate the principles of harmony, and to prove that they had their foundation in nature, and in the original constitution of the universe. His principal work is enti- tled, Harmonicorum Libri Xll in quibits agitur de Sonorum Natura, Causis et Effectihus, Generibus, Modis, Cantibus, ComposUione, Orbisque totius harmonicis In- strumentis ; folio, Paris, 1636. The most material con- tents are dissertations on the nature and properties of sound ; on strings ; on consonances and dissonances ; or ratios, proportion, and the division of consonances ; on the modes and genera of the ancients ; on singing and th e human voice ; on composition ; and on musical instru- ments. This great scholar died in 1648. Athanasius Kircher, a Jesuit of Fulda, was an able mathematician and a profound scholar. He was a professor at Wurtzburgh, in Franconia, from whence, on the en- trance of the Swedes into Germany, he retired into France, lie afterwards went into Italy, where he died in 1680, aged 79. He was the author of many learned works, and, among others, of Vci&Musurgia Universalis,m two volumes, folio, 1650. He has been severely censured, by Meibomius and others, for his barbarous Latin, and unclassical ideas of ancient music, as well as for his credulity and want of taste in selecting his facts and materials. His Musurgia, however, contains much curious and useful information, for such as know how to sift truth from error, and usefulness from futility. 14 THE HARP. form ; and we sometimes hesitate whether to ascribe to them a place among the former or the latter." It is among the instruments of this class, the genus of which is undecided, that we must seek for an explanation of many of those mentioned in the Scriptures. Perhaps, among the most singular of these instruments, are those of a triangular form, two of which are here copied, as given by Eosellini, from tombs at Thebes and Dakkeh. The first instrument has nine oblique strings, and is probably supported by a belt from the shoulders of the performer. The second instrument is a larger one of the same kind with perpendicular strings. It is held by pressing it between the side and elbow, and is played on with both hands, by one of those monsters which the Egyptian mind was so prolific in producing. From their peculiar character and form, no instruments of the kind claim a more attentive consideration. To the same class essentially belongs another Egyptian instrument, of a very simple construction, and which is given by Eosellini, not from a painting, but from a real instrument found in Egypt, now deposited in the Museum at Florence. In this, the strings (originally ten in number, as appears from the pegs) form a triangle, by their extension from the upper end of a piece inserted at right angles into a large harmonical body of wood, with which the strings are at the other extremity connected ; as shown in THE HARP. 1| our engraving. Portions of the strings still remain, and appear to have h^n formed from the intestines of animals. Remembering that Solomon obtaine^wood for his psalteries by distant commerce, it is remarkable that Jhewood oLjims instru- ment is vv^hat Eosellini calls " a mahogany (swietana) from the East Indies ;" and which the Egyptians must have obtained through commercial channels. Comparing the delta form, which the old authorities assign to the nabl or psaltery, with the number of the strings, Eosellini himself suggests that the present instrument has probably some resemblance to the ^^ TTiiyV) " t^e ten-stringed nabl " of the Hebrews*. The instruments above represented are very similar in principle, however differ- ent their tones and powers may have been; but still they must be considered distinct from the harp, lyre, and guitar : and they may, perhaps, bear some analogy to the nabl, the sambuc, and the ten-stringed ashur of the Jews. EECENT DISCOVEEIES AT NINEVEH. The sculptures discovered by the enterprising Dr. Layard, in the ruins of Nineveh, contain representations of a musical instrument very similar to the trian- gular one above described. It occurs in three different places in the series of slabs now deposited in the Nimrud room at the British Museum. Two of these represent processions, in which the king, returning from hunting, is met by five figures, the two last being musicians, standing side by side, and playing upon the instruments referred to. In the third slab, representing the Assyrian camp, a group of warriors, carrying the heads of the slain, are rejoicing, in company with two musicians, also with triangular instruments in their hands. Dr. Layard says, " It is possible that the Assyrians, like the Egyptians, had various musical instruments ; only two kinds, * " Owing to the obscurity which envelopes the instru- {Antiq. vii, 13, 3) ; whereas, we know, from the second mental music of the Hebrews, we cannot trust to Jewish verse of the 33rd Psalm, that it had but ten." — The Rev. tradition for any accurate definition of their various species. John Jebb's Literal Translation of the Book of Psalms, Even Josephus is not (altogether accurate ; since he speaks ii, 146. of the nabal or psaltery as an instrument of twelve strings 16 THE HARP. however, are represented in the sculptures — a drum, and a sort of triangular harp or lyre, which is held between the left arm and the side, and apparently suspended from the neck. The strings of this harp, nine or ten in number, are stretched between- a flat board and, an upright bar, through which they pass. Tassels are appended to the ends of the strings, and the bar itself is generally surmounted by a small hand, probably of metal or ivory. The instrument was struck with a plectrum held in the right hand ; the left appears to have been used either to pull the strings, or to produce notes by pressure. Like the Egyptian harp, it had no cross piece between the upright bar and the flat-board or base ; it is difiicult, therefore, to understand how the strings could have been suflaciently tightened to produce notes*." * Nineveh and its Remains, 8vo.lS4kd ; vol. ii, p. 41 2. ing over the crouching lion, now in the British Museum. In a note, the author adds, " There is a representation of See also Layard's Monuments of Nineveh, plate 12. this musical instrument in the bas-relief of the king stand- CHAPTER II. THE MEDIEVAL INSTRUMENTS THAT PRECEDED THE INVENTION OF THE KEY-BOARD. In reference to the stringed 'instruments of antiquity, but little can be said J unless we were to enumerate the various opinions at different times expressed by learned authors — a task by no means calculated to give the reader satisfaction. We are at a loss to conceive what the differences could have been between the numerous instruments of the same class to which we have referred. Montfaucon, indeed, says that he examined the representations of six hundred lyres and citharas in ancient sculpture, without coming to any conclusion*. Burney, in his " Reflections on the Construction of Ancient Musical Instruments," f however, quotes a passage from Quintilian, which throws a gleam of light upon the subject. " Among the stringed instruments," says this authority," " you will find the lyre of a character analogous to masculine, from the great depth or gravity and roughness of its tones ; the sambuca of a feminine character, weak and delicate ; and, from its great acuteness and the smallness of its strings, tending to dissolve and enervate. Of the inter- mediate instruments, the polypthongum partakes most of the feminine ; but the cithara differs not much from the masculine character of the lyre." From this description we learn that the Greeks had two classes, as they imagined, of stringed instruments ; one producing tones called masculine, the other those which were considered of a feminine character. " The Greeks, says a recent * This learned antiquary says, in all the representa- research, however, has shown us that the ancient Egyp- tions which he had seen, he did not find one musical tians were perfectly well acquainted with this important instrument with a finger-board ; but all had open strings, discovery, such as the harp and lyre are provided with. More recent f Sistory of Music, vol. i. Appendix. D 18 THE PSALTERY OR PSALTERIUM. writer, " were especially distinguished by a regard to nature in all their works. To them we are indebted for the noblest specimens of architectural taste ; and, if we may believe their disciples and annotators, they established the three orders from a con- sideration of the human figure. The Doric represents masculine strength ; the Corinthian, virginal elegance and grace ; the Ionic, matronal simplicity, and an avoid- ance of redundant ornament. So it appears, from the passage just quoted, they were accustomed to classify their instruments. There are two characters mentioned — the lyre, distinguished for its masculine tones, and the polypthongum, an instrument spoken of by Homer, for its feminine character. Between these two extremes, there were, in all probability, many varieties ; the cithara, resembling the lyre ; and the sambuca, having a similarity to the polypthongum."* We do not intend to carry out our inquiries into the stringed musical instru- ments of the Greeks and Komans, as it would not lead to any satisfactory result. The arts and sciences of all ancient nations were in a rude and imperfect state. The perfection of the arts depends on scientific knowledge ; and when we consider the uncertain state of the practical sciences at this early period, we can readily account for the imperfection of all ancient musical instruments. We shall therefore proceed to notice some of those instruments of the medieval period that more immediately suggested those of the class to which the present work is especially devoted. THE PSALTERY OR PSALTERIUM Enjoyed great celebrity in the middle ages. It was a stringed instrument, played with the fingers or the plectrum-]-, and differed from the cithara, chiefly in having its sonorous body placed at the top, instead of its being belowj. * Higgins on Sound, p. 102. J " Sciendum quod Psalterio musico instrumento ci- t Kircher cites Suidas, to prove that the word Psalte- thara est contriaria, quae concavitatem quam Psalterium rium is derived from Psallo, to strike the strings with the habet superius, inferius habet." BedtB Op. torn, viii, ends of the fingers. Musurgia. p. 311. THE PSALTERY OR PSALTERIUM. 19 The cithara is thus commonly depicted in ancient manuscripts. There were two forms of the early Christian psaltery — the square psalterium, and the triangular psalterium. The former had ten vertical strings. The sonorous body, which was placed at the top, according to Saints Augus- tine and Isidore of Seville, was of wood ; or, according to St. Basil and Eusebius, of brass. Drawings of various forms of this instrument occur in a MS. of the ninth cen- tury, in the library of Boulogne-sur-Mer, and in a MS. of the eleventh century, in the Imperial Library at Paris (No. 1118)* It is a curious circumstance, that, in manuscripts dating from the ninth to the eleventh centuries, David is always figured playing on the square psalterium, while subsequently to the twelfth century he is always depicted with the harp. This seems to show that the psalterium was, at the earlier period, considered as the nobler instru- ment, and more fitted to sound the praise of the Creator. The triangular psalterium in form of a Greek a , resembled the cithara of the barbarians. According to Isidore of Seville, it was caiUed Canticum. The Abbe Gerbertt, in his De Cantu et Musicd Sacra, plate xxiv, has left us figures of both the square and triangular psalterium, copies of which are here given. * See the Annates ArchSologiques of M. Didron, where both are engraved. Other representations are preserved in Cotton MS., Tiberius, c. v. fol. 16, 17., Strutt's Eorda Angel-cynnan, Carter's Specimens of Ancient Architec- ture, &p. t The labours of this learned man are of such import- ance to the history of the art, that he is entitled to a pass- ing notice. Martin Gerbert, Prince-Abbot of the convent of Benedictines, and of the congregation of St. Blaise, in the Black Forest, was born in 1720, at a small town in Austria. From his position and authority in the church, he was enabled to discover the most secret treasures of musical literature, by obtaining admittance into the libra- ries of convents and monasteries, closed to the ordinary enquirer. In 1762, he announced his intention of writing a history of church music, by the publication of a printed prospectus, preserved in the Critical Letters of Marpurg. He iinisbed his noble work in six years, though, in the interval, the abbey and valuable library of St. Blaise were burnt to the ground. The full title of the work, which is in two quarto volumes, with many plates, is De Cantu et Musicd Sacra, a prima ecclesiee cetate usque ad pneseui tempus. Auctare Martina Gerherto, Monasterii et Con- gregationis St. Blasii de Silvd Nigra Abbate, Sacrique Romani Imperii Principe, Typis San-Blasianis, 1774. The author divided his history of church music into three parts : the first finishes at the pontificate of St. Gregory ; the second carries it on to the fifteenth century; and D 2 20 THE PSALTERY OR PSALTERIUM. The resemblance between this instrument and the harp was probably the reason it went finally out of use. The name of psalterium or psaltery, however, was pre- served, and given at a somewhat later period to a stringed instrument having some analogy to it, but more resembling the first instrument of the pianoforte class with a key-board. Trevisa, in his translation of Bartholomieus de Proprietatibus Rerum, printed by "Wynkyn de Worde*, gives us the following description of the latter instrument. " DE PSALTERIO. " The Sawtry highte Psalterium, and hath that name of Psallendo, syngynge ; for the consonant answeryth to the note thereof in syngygnge. The harpe is lyke to the sawtry in sowne. But this is the dyversytee and discorde bytwene the harpe and the sawtry : in the sawtry is an holowe tree, and of that same tree the sowne comyth upwarde, and the strynges ben smytte downwarde, and sownyth upwarde ; and in the harpe the holownesse of the tre is bynethe. The Hebrewes callyth the sawtry Decacordes, an instrument having ten stringes, by numbre of the ten hestes or commande- mentes. Stringes for the sawtry ben beste made of laton, or elles those ben goode that ben made of sylver." the third to his own time. But the work which has given Gerbert the greatest distinction, is his Scriptores Eccle- siastici de Musicd Sacra potissimum. Ex variis ItalitB, GallicB et Germanies codicibus Manuscriptis collecti et nunc primum publico luce donati, &c, Typis 8an- Blasianis, 1783. This is a collection, in three volumes, of all the ancient authors who have written on music since the third century to the invention of printing, and whose works had remained in manuscript. Dr. Forkel has given an extensive analysis of it in his Histoire de la Musigue. * Bartholomew's singular work was written about the year 1366, and is certainly one of the most entertaininc and valuable remains of antiquity. The contents are of a miscellaneous nature, and display the author's extensive knowledge of the several subjects of divinity, ethics, natu- ral history, medicine, astronomy, geography, and various branches of the mathematics. After discussing these seve- ral topics, with great learning and ingenuity, he concludes with a very interesting dissertation on the music and musi- cal instruments of his time. THE PSALTERY OR PSALTERIUM. 21 To use more intelligible language, the instrument now called the psaltery or nabulum, was a stridged instrument, composed of a triangular sonorous box, one of the angles of which was often slightly flattened or rounded. The strings were placed on the upper face, sometimes perpendicular to the side opposite the flattened angle, sometimes parallel to the face opposite this flattened angle*. We have copied two interesting illustrations. The first from a MS. of the fourteenth century, in the Imperial Library at Paris ; the second from a grotesque alphabet, by " the Master of 1466." t In Wace's description of the Coronation feast of King Arthur (Brut d' Angle' terre), written in the twelfth century, he enumerates the various instruments used on that occasion, amongst which we have " psalterys and monochords." The psaltery was a favourite instrument of the mmstrels of the middle ages, as may be gleaned from its mention in the following extracts. * Grassineau, in his Musical Dictionary, in v. PsaU tenon, says, " It is strung with thirteen wire chords (i. «. strings), set to unison and octave, and mounted on two bridges, on the two sides ; it is struck with a plectrum or little iron rod, or sometimes with a crooked stick (the writer here confounds the psaltery with the dulcimer, which latter was struck with a crooked stick), whence it is usually ranked among the instruments of percussion. Its chest or body resembles that of a spinet. It has its name d Psallendo; some also now call it Nahlum or Nahlium." ■j- This is tlje instrument frequently mentioned as the Sautry, by Chaucer and his contemporaries. 22 THE PSALTERY OR PSALTERIUM. In the Squire of Lowe Degre, a romance of the fifteenth century, we are told " There was myrth and melody, With harpe, getron and sautry. With rote, ribible and clokarde, With pypes, organs and bumharde, With other mynstrelles them amonge, With sytolphe and with sautry songe. With fydle, recorde, and dowcemere. With trompette, and with claryon clere, With dulcet pipes of many cordes, In chambre revelyng all the lordes."* Gawain Douglas, in his allegorical poem, The Palace of Honour, describing his visit to the Court of the Muses, says " In modulation hard I play and sing, Faburdoun, pricksang, discant, countering, Cant organe, figuratioun, and gemmell; On croude, lute, harpe, with monie gudlie spring ; Schalmes, clariounis, portativis, hard I ring, Monycord, organe, tympane and cymbell ; SythoU, psalterie, and voices sweet as bell. Soft releschingis in dulce delivering, Fractionis divide, at rest, or clois, compell."t And Holland, the author of a poem called The Houlate, written in 1543, enumerates the following musicaV instruments. " The psaltry, the citholis, the soft atharift, The croude, and the monydbrdis, the gythornis gay ; The rote, and the recourder, the ribus, the rift. The trump, and the taburn, the tympane but tray ; The lilt-pype, and the lute, the cythill and fift. The dulsate, and the dulsacordis, the schalm of assay ; The amyablp organis usit full oft ; * Ritson's Metrical Bomances, 1802, vol. iii, p 189. + Sibbald's Chronicle of Scottish Poetry, 1802, vol. i, p. 386. THE DULCIMER. 23 Clarions loud knellis, Foitatibis, and bellis, Cymbaellonis in the cellis, That soundis so soft." * THE DULCIMER. The psaltery or sautry gave rise to two instruments of a similar kind — the dulcimer (mentioned in some of the previous quotations), and the citolef . The dulcimer, from dulce melos, svceet melody, was an instrument of a trian- gular form, strung with about fifty wire strings, resting on a bridge at each end, the shortest wire being about eighteen inches in length, and the longest about thirty-six. The instrument is laid out flat before the performer, and he plays on it by striking the strings with two small rods, sticks, or hammers, one held in each hand, the force of the stroke being varied according as the tones are required to be piano or forte. The psaltery appears to have been of a smaller size, and to have been pro- vided with much fewer strings than the dulcimer. Ottomarus Luscinius, in his valuable work, Musurgia sen Praxis Musicce, Strasburg, 15 36 J, gives an engraving * Pinkerton's Scottish Poems, reprinted from scarce cutors are, Andreas Silvanus, Sebastianus, Virdung, sive editions, 1792, vol. iii, p. 179- malis, to use his own expression. Bartholomeus Stoflerus, f Baretus, Minsheu, Cotgrave, Phillips, and others, and Ottomarus Luscinius. They meet by accident, and speak of the dulcimer as the same with the sanibuca : but, enter into conservation on music, in which Stoflerus, ac- according to Bartholomseus, the sambuca was an instru- knowledging the great skill of his friend in the science, ment with hollow pipes made from the boughs of the elder desires to be instructed in its precepts, which the other tree. Leyden says, " the recorder was sometimes made of readily consents to. The dialogue is somewhat awkwardly the elder bough, and denominated sambuca." {Complaint conducted ; for though Stoflerus is supposed to be just ar- qf Scotland, p. 360). Tyrwhitt [Glossary to Chaucer) rived from a foreign country, and the meeting to be acci- makes the dulcimer the same with the rote; but he is dental, Luscinius is prepared to receive him with a great clearly in error, as the latter was certainly an instrument basket of musical instruments ; which his friend seeing, of the bagpipe kind. The dulcimer was most probably the desires to be made acquainted with its contents. The in- same with the " dulsacordis," of which we read in the struments are severally produced by Luscinius, and he earlier romances. The lexicographers have confounded the complies with the request of his friend by a discourse, dulcimer with the dulzain or dulcino, a wind instrument which is no other than a lecture on them. The merit of resembling the tenor hautboy. this book is greatly enhanced by the forms of the several J This interesting and important work, which we shall instruments described in it, which are very accurately have frequent occasion to quote in the course of the follow- delineated. It is a small book, of an oblong quarto size, ing pages, is in the form of a dialogue, in which the interlo- containing about a hundred pages. 24 THE DULCIMER. of the dulcimer, which is here copied. It shows the instrument in its earliest stage, before it had attained its full complement of strings. Luscinius calls it the " Hackbret," i. e. the Hackboard, or chopping-board, used by cooks, which it exactly resembles in shape. " Short instruments, called dulci- mers," are mentioned in the Inventory of Henry the Eighth's musical instruments, remaining in his various palaces at the time of his decease*. Nicomachus, the Arabian, who flourished in the middle of the first century after Christ, mentions, in his curious tract on music, the trigon or triangular dulcimer ; but we much question whether it resembled the instrument just described, A kind of dulcimer forms a favourite instrument in Egypt at the present day. It is of a four-sided figure, with three rectangular and one sloping side. A specimen of this instrument, which Mr. Lane examined, and which is called a ckdnoon, was about forty inches long, sixteen inches wide, and two inches deep. The face and back were made of fine deal, and the sides of beech. The sloping side of the in- strument, which is made of beech, is provided with seventy-two pegs, round which are wound the ends of the same number of strings, the other ends of the strings being fastened to the opposite end of the instrument. .The strings pass over a bridge ; and, in order to aid the resonance, the face of the instrument is pierced in two places. The strings are made of lamb's gut, and are arranged in triplets, each note having three strings tuned in unison. The fore-finger of each hand is armed with a plectrum, made of a thin piece of buffalo's horn, kept close to the finger by a sort of thimble or sheath ; and with these plectra the strings are touched. The player sits down, in the attitude customary among oriental nations, and places the instrument on his knees. * Haileian MS. 1419, A. fol. 200. THE CITOLE. 25 THE CITOLE. The word citole is derived from the Latin cistella, a little chest ; and, in truth, the instrument was no other than a little chest or box upon which was stretched a series of strings. It diifered from the psaltery and dulcimer in being played with the fingers, instead of plectra or small hammers. It was known in the early part of the thirteenth century, when the author of the half-historical, half-legendary history of Fulke Fitz-Warine rnQxiiions an outlaw " who knew enough of tabour, harp, viol, sitole, and jonglerie*." A drawing of the instrument is pre- served in the British Museum (Bib. Reg. 20 A. 16), which is here copied. Amongst the ancient authors who allude to the citole (besides those already quoted), are the following. In the Roman de la Rose, commenced by Guillaume de Lorris early in the thirteenth century, and finished by Jean de Meun towards the end of the same, we have the following enumeration of musical instruments. " Puis met in cymbales sa cure, Puis prent freteaulx, et si fretele, Et chalemaulx, et chalemelle, Et puis taboure, et ilute et tjrmbre, Et citole, et trompe, et cheurie, Et si psalterionne et viele ; Puis prent sa muse et se travaille Aux instrumens de Cornovaille, Et espringue et sautele et bale." Adam Davie, in his metrical Life of Alexander, written in the fourteenth century, describing an entertainment before the king, adds — " At the feste was trumpyng, Piping and eke taboryng, Sytolyng and eke harpyngf." * Wright's Essays on the Literature and Super- The romance has since been printed by the Warton Club. stitions of England in the Middle Ages, vol, ii, p. 53- f MS. in the Bodleian Library. E 26 THE CITOLE. The next quotations are from the Confessio Amantis of the " Moral Gower." " But thee I might knowe, For olde men which sowned lowe, With harpe and lute and the citole. The houe dance and the carole." * * * " He taught her till she was certaine Of harp, citole, and of riote, With many a tune, and many a note." * Chaucer, in his Knights Tale, describing the statue of Venus, says — " A citole in hire right hand hadde she. And on hir heed, ful semely on to see, A rose garland full swete, and wel smellyng, And aboven hire heed dowves ileyng." t In the description of King Arthur's feast, in the Romance of Launfal, we are told " They hadde menstrales of moch honours, Fydelers, sytolyrs, and trompours. And elles hyt were unryght ; Ther they playde, for sothe to say, After mete the somerys day, All what hyt was neygh nyght." J But perhaps the most curious enumeration of musical instruments of the fifteenth century is contained in Lydgate's poem entitled Reson and Sensualite, written about the year 1430. " For they ronde the practyke Of al manor of Mynstralcye, That any mane kane specifye ; For ther wer rotys of Almayne, And eke of Arragone and Spayne : Songes, stampes, and eke daunces, Dyvers plente of plesaunces, * Printed by Caxton, in 1493. J Ritson's Metrical Romances, vol. i, p. 198. f Canterbury Tales, edited by T. Wright, for the Percy Society, vol. i, p. 79. THE CITOLE. 27 And many unkouth notys newe Of swiche folkys as lovde trewe ; And instrumentys that dyde excelle, Many moo than I kane telle. Harpys, fythels, and eke roytys, Wei accordyng with her notys, Lutys, rubibis, and geterns, More for estatys than taverns : Orgyns, cytolys, monacordys ; And ther wer founde noo discordys Nor variaunce in ther souns, Nor lak of noo proporsiouns." * " Citolers" are mentioned among the musicians in the establishment of King Edward the Third. See also, besides the above passages, Du Cange, in v. Citola ; and M. de la Ravaliere, Poesies du Roy de Navarre, torn, i, p. 248. * MS. Fairfax, No. 16, Bodleian Library. E 2 28 THE CLAVICYTHERIUM. CHAPTEE III. THE FIEST INSTRUMENTS OF THE PIANOFOETE CLASS. It is generally asserted, by those who have treated of the origin of stringed in- struments with key-boards, that no traces of their existence are to be found anterior to the sixteenth century. M. Fetis, indeed, goes farther back, adding, " From all that we can learn by tradition, it seems probable that the clavichord was invented by the Italians about the year 1300, and that it was afterwards imitated by the Bel- gians and Germans*." But a much greater antiquity may be ascribed to instruments of this class, and the period of their invention may probably be fixed about the beginning of the twelfth century. The clavier or key-board was invented at the close of the- eleventh century, when it was applied to the organj- ; and we cannot suppose that much time would be lost in adapting this important improvement to stringed instruments. THE CLAVICYTHERIUM. The first stringed instrument to which the key-board was applied, was probably the clavicytherium, or keyed-cithara. In its early stage, it was a small oblong box, with the strings arranged in the form of a half-triangle. The strings, which were of catgut, were sounded by means of quill-plectra, attached in a rude way to the ends of the keys. Luscinius and Mersennus have each treated of this primitive instrument, but in such a vague manner, that it is impossible to form any correct notion of its mechanism. * A Sketch of the History of the Pianoforte and of but seems to be the only work (brief as it is) claiming to Pianists, translated from the Revue Miisicale, and printed be a history of the instrument of which it treats, in the Harmonicon for 1830 and 1831. We shall have f See The Organ; its History and Construction; by frequent occasion to notice this article in the course of these Dr. Rimbault and E. J. Hopkins. Recently published by pages. It is lamentably deficient in antiquarian research, Messrs. Robert Cocks and Co. Historical Section, p. 3] . THE CLAVICHORD. 29 The idea of the Clavicytherium was of course suggested from the lyres, citharas*, and other instruments, the strings of which were snapped with a quill or with a piece of tortoiseshell. The thought of employing mechanical contrivances had the advantage of offering means of combining a greater extent of sounds than could be done on any of the numerous varieties of the harp kind. The clavicytherium assumed different shapes ; but the earliest delineation of its form handed down to us, is the wood-cut we have copied from Luscinius's Musurgia, seu praxis Musicce, Strasburg, 1536. THE CLAVICHORD. The next instrument on record, to which the key-board was attached, was the mono- chord, clavichord, or clarichord; for it was called by all three appellations. As the * The cithara was a particular species of harp or lyre ; but its precise structure does not appear to be distinctly known. We have given one form of it, on p. 19 ; but it varied at different periods. The aticients describe it as triangular, in the form of a Greek delta ; and the poets ascribe its invention to Apollo. Bartholomew, in his De JProprietatibtts Eerum, has the following curious passage on the subject. " De Cithara. " The barpe hyghte cithara, and was fiyrst founde of AppoUin, as the Grekes wene ; and the harpe is like to a mannys breste, for lyke wyse as the voyce comyth of the breste, soo the notes cometh of the harpe, and hath there- fore that name Cithara, for the breste is callyd Thorica Thicariuz. And afterwarde some and some, came forth many manere instrumentes thereof, and hadde that name cithara, as the harpe, and sawtry, and other such. And some ben foure cornerde, and some thre cornerde ; the strynges ben many, and specyall manere thereof is diverse. Men in olde tyme callyd the harpe Fidicula, and also Fidicen, for the strynges thereof accordyth as well as some men accordyth in Fey. And the harpe had seven stringes, and so Virgil sayth, libro septimo. Of sowne ben seven discrimina of voys, and ben as the next strynge therlo. And strynges ben seven, for the fulleth all the note. Other for heaven sownyth in. seven menyngs. A strynge hyghte corda, and bathe the same name of corde, the herte ; for as the puis of the herte is in the breste, soo the puis of the strynges is in the harpe. Mercurius founde upfyrste suche strynges, for he strenyd fyrste strynges, and made them to sowne, as Tsyder sayth. The more drye the strynges ben streyned the more they sowne. And the wreste hyghte plectrum." 30 THE CLAVICHORD. clavichord (for that is the name by which it was most common!)' known) was destined to play an important part in the history of music for nearly six centuries, it is entitled to something more than a casual notice. Luscinius depicts it in this form. Drawings or sculptures of early keyed-stringed instruments are very rare. Douce (as quoted by Sir Harris Nicolas, in the Prixy Purse Expenses of Elizabeth of York) says, " The clavichord is frequently represented in ancient bas-reliefs, in churches, both in France and in England, which differs materially from the dulcimer." Douce must have been mistaken, as no such representations are to be found at the present day, nor do they exist in the numerous archeological works of France and England which we have consulted. Luscinius's engraving of the clavichord is the earliest with which we are acquainted. It will be seen that the instrument was made something in the shape of a small square pianoforte, and, was without frame or legs. Indeed, the idea of the square pianoforte was taken from the clavichord ; but it retains only its shape and the dispo- sition of the strings ; their actions have no similarity. The strings of the clavichord were of brass*, and its action was simply a piece of brass pin wire, which was placed vertically at a point where it could be struck or pressed against its proper string ; this pin could be held against the string as long as required by the firm pressure of the finger. It thus necessarily formed the wrest-pin for the string, which vibrated only whilst the key was held down, a close damper being fixed behind, always acting upon the string when quitted by the pin-j-; the string was of course, hooked upon a hitch-pin at the back, but it was tuned only after having been struck, and whilst pressed by the striking pin at the end .of the key, which, in fact, formed one of the two bridges between which the string vibrated. * The pandoron, a musical instrument of the lute kind, f " As the clavichord was still what the Germans call said to have been the invention of the Assyrians, had brass ' gebunden^ so that several keys struck a single strini", it strings. Prsetorius says it gave the idea of furnishing could not be perfectly tuned ; people played therefore only the clavichord with the same. — Syntagma Musicum. in those modes which could be tuned with the most purity." — Forkel's Life of Back, p. 24. THE CLAVICHORD. 31 Some idea of the meclianisni of the cla- 3. vichord may be formed from the annexed ^ p diagram. '~' / a, key ; 6, brass pin ; c, string ; It is obvious that an instrument upon d, cloth woven between the strings as a damper. this construction could not have possessed much power ; yet the tones are said to have been soft and melancholy, and better suited to the student, the composer, or the solitary, than for any purposes of social amusement. Old Bach delighted in the clavichord ; he considered it " the best instrument for study, and, in general, for private musical entertainment. He found it the most con- venient for the expression of his most refined thoughts, and did not believe it possible to produce from any harpsichord, or pianoforte, such a variety in the gradations of tone as on this instrument, which is indeed poor in tone, but, on a small scale, extremely flexible*." Bach's preference for the clavichord was not singular. This instrument, it will be remembered, formed part of the baggage of Mozart when he travelled ; and Dr. Bur- ney, in recording his visit to C. P. E. Bach, at Hamburgh, in 1772, says, "M. Bach was so obliging as to sit down to his Silverman clavichord and favourite instrument, on which he played three or four of his choicest and most difficult compositions, with the deli-^ cacy, precision, and spirit, for which he is so justly celebrated among his countrymen. In the pathetic and slow movements, whenever he had a long note to express, he absolutely contrived to produce from his instrument a cry of sorrow and complaint, such as can only be effected on the clavichord, and perhaps by himself-f." Concerning the origin of the name clavichord, and the various other appellations given to this instrument, our etymologists are not very clear. To quote a few of the most erudite : " CLAyicoKDES, an instrument having many sttinges of one sound, saving that with small pieces of clothe, the sound is distinct. Monochordium, dii neut. ge. Monochordia, orum Monochordiom." J. Baret's Alvearie, or Triple Dictionarie, 1573. " MoNOCOBDO, an instrument with many strings of one sound, which with little pieces of cloth make distinct sounds." Queen Anne's New World of Words, by John Florio, 1611. Forkel's Life of Bach, p. 28. f Burney's Present State of Music in Germany, &c. second edition, 1775, vol. i, p. 269. 32 THE CLAVICHORD. " Clericordes, claricords or clavicdrdes. Spanish, clavicdrdias ; Latin, clavecymbalum ; French, clavessins, manicordion ; Italian, clavicordio, clavicembalo ; German, clavicord quia eius chordse extenduntur et circumuoluuntur clavibus (because the strings thereof are wrested up, with a wrest of iron, like a key, called, in Latin, clavis), vocatur etiam ; Latin, Monochordum, It is an instrument having many strings of one sound, saving that with small pieces of cloth the sound is distinct." John Minsheu's Ductor in Linguas : the Guide into Tongues, 1617. " Claricords. Instruments so called." " Claricymbal. See ClavecymbaV " Clavecymbal (Clavecymbalum). A pair of virginals, or claricords, so called, because the strings are wrested up with clavis, a key." Blount's Glossographia, 1656. " Claricord, or Clericord, a kind of musical instrument, somewhat like a cymbal." " Clateoymbal, or Claricymbal, a kind of instrument with wire strings ; by some taken for a harpsical or virginal." The New World of Words : by E. Phillips, l"e78. " Clauicord. a musical instrument in the form of a spinet, containing from thirty -five to seventy strings. Florio calls it clarigols, and makes it synonymous with the harpsichord. He also spells it claricoes. See his New World of Words, ed. 1611, pp. 39, 173, 219; Harrison's Description of England, p. 238. ' Claricymballes, cimballes,' Palsgrave. Sir W. Leighton has claricoales, in his Teares or Lamentations of a Sorrowfull Soule. 4to. Lond. 1613." Halliwell's Archaic Dictionary. It will be observed, in the first place, that our lexicographers make no distinction between the terms clavichord and clarichord ; but the one can hardly be a corrup- tion of the other. The words suggest a totally different etymology, upon which we shall venture an hypothesis. The word clavichord is certainly from clavis, a key, and chorda, a string ; an instrument compounded of keys and strings. It seems far more likely that the clavier or key-board originated the name, than the key by which the instrument was tuned. Besides, the tuning key was not peculiar to the clavichord ; it must have been used centuries before, in connection with the harp, and other similar instruments. We learn that the strings of the clavichord were softened or deadened by slips of cloth. Now it seems probable that the clarichord was without this addition ; and that the name was derived from the French clair, denoting a clear transparent tone in contradistinction to the softened or muffled tone of the monochord, or clavichord. Or it may be from clarion ; in low Latin, clario ; an instrument which received its name THE CLAVICHORD. 33 from its shrill sounds*. We merely throw out this hint, as a likely distinction between the two instruments; in other particulars they were probably identical. The clavicymbal differed materially from the clavichord and clarichord. It appears to have been the origin of the harpsichord, the strings being disposed " after the fashion of the harp." It was sometimes made in an upright form ; sometimes in an horizontal one ; its strings were of steel wire, and sounded, like the clavicytherium, by quill plectra. The earliest drawing of this instrument exhibits it in an upright form. It is here copied from Luscinius's valuable work before mentioned-]-. Julius Caesar Scaliger, speaking of a newly-invented stringed instrument, in the first book of his Poetics (cap. 48)J, has the following passage : " That new invention or contrivance was Simio's, which, from him, was called the simicum ; it consisted of thirty-five strings, from which is the origin of the instrument the vulgar now call monochords ; in which, when in order, plectra hopping (or leaping) up, give the sounds. Moreover the points of crow-quills are added to the plectra, which elicit a more lively harmony from the brass strings. When I was a boy, it was called the clavicymbal and harpsichord ; but now, from those points, the spinet §." * Menage derives the word Clarion from the Italian Clarino, or the Latin Clarus ; because of the clearness of its sound. Nicod says that the clarion, as used among the Moors and Portuguese, served anciently as a treble to several trumpets which sounded tenor and bass. t Hawkins remarks upon Luscinius's representation of the instrument: "The claviciinbalum is no other than the harpsichord, davicimhalum being the common Latin name for that instrument ; the strings are here repre- sented in a perpendicular situation; and there is good reason to suppose that the harpsichord was orginally so con- structed, notwithstanding that the upright harpsichord has of late been obtruded upon the world as a modern invention. There is a very accurate reprfesentation of an upright harp- sichord in the Harmonia of Mersennus ; viz. in the tract entitled l)e Instrumentis Harnionicis, lib. 1, prop, xlii, and also in Kircher." J Scaliger was born, in 1484, and died in 1558. His Poetics, Libri VIII, was first printed in 1617- § The passage in the original is as follows : — " Fuit et Simi commentum illud, quod ab eo simicum appellatura, quinque et triginta constabat cbordis, k quibus eorum origo, quos nunc monochordos vulgus vocat. In quibus, ordine digesta, plectra sub-silentia redduntsonos. Additse dein plectris cor^-inarum pennarum cuspides ex sereis filis expressiorem eliciunt harmoniam, me puero, clavycymbalum et harpichordium, nunc ab Wis mucronibus, spinetam nominante," 34 THE CLAVICHORD. The same words, or nearly so, are given by Prsetorius, in his Syntagma Musicum*, who adds, in a bracket, after the word monichords, clavichordia — the former name, as Scahger says, " being that by which the vulgar called the instrument." The statements of these two old writers are exceedingly valuable, as pointing out the connection between the monochord, clavichord, clavicymbal, harpsichord, and spinet. There are no fewer than three instruments to which the name of monochord has been applied ; the first and oldest is the harmonic canon of Pythagoras. It consisted of a single string ; and the instrument or frame to which it was attached was marked off by sections and subdivisions corresponding with the intervals of the scale. There were three bridges, two stationary, one of which stood at each end ; the other, which was placed between the two, was moveable, and, by being applied to the different divisions of the scale, showed the relation which the sounds bore to the length of the string, and in this way was useful in determining the series of intervals which it embraced. This instrument was, of course, not employed in the performance of music ; but there was a stringed instrument, called a monochord or unichord, used for that purpose, not by the ancients^ but by the modems of the sixteenth and seventeenth centuries. It was sometimes called the Trumpet Marine (for what reason is not distinctly known), and was about five feet loiig, of a pyramidal shape, fitted up with a finger-board and bridge, and played upon like a double-bass, with a bowf . The monochord used by our ancestors in the twelfth and following centuries was certainly not an instrument of a single string. The word is frequently spelt monochordis. * The full title of this rare and curious book, a copy of f Representations of this instrument may be seen in the which is preserved in the University Library, Edinburgh, is Earmonicorum of Mersennus, and in Bonanni's Gabinetto as follows: — Syntagma musicum ex veterum etrecentiorum Armonioo. We lately saw one of the real instruments, in ecclesiasticorum auctorum lectione, Polyhiatorum consig- excellent preservation, in the possession of Mr. Walesby, of natione, variarum Unguarum notatione, hodierni aecidi Waterloo Place. Grassineau says, "It is the trembling of usurpatione, ipsiusque Musici.LiiiuiinuiniiirrnnHUJ. iiiiMmiiiiiii..........i....T7:7nWUlili. fixed an equal number of pins, about twenty-eight upon the two first, and near twelve or thirteen on those behind; which pins are not sharp, but their points are rounded ; each of these supports a bar or wedge of a particular kind of metal, but chiefly a compound of bell-metal and silver, at each end, the longest whereof is about ten inches, about one and a quarter wide, and about half an inch thick, or not quite so much ; these bars have a round hole about half through, to fit the pins ; the sound of the longest is C, the others are diminished (in length only) according to the proportion of the intervals in music, and those of the second row answertotheflatsand sharps of the spinet. There is near forty in all, so that this instrument has something more than three octaves in compass, and may be reckoned an instru- ment of percussion, by reason 'tis played by striking it with knobs of wood at the end of sticks. The sound it yields is very agreeable, being something exceeding soft, th e lo w notes resembling the flute {i. e. the old English flute), but the high ones have not so mi'ch duration as these, yet their sound may be compared to that of a small flagelet." 40 THE CLAVICHORD. left US a most valuable chapter on the subject of " cymbal-making for the use of the church," which we transcribe entire*. "DE MENSURA CTMBALORUM. " Quicunque vult facere cymbala ad cantandum rectfe sonantia, ad unumquodque debet ceram dividere cum pon- dere, et a superioribus incipiatut descendendo possitperve- nire ad graviora. Unumquodque autem notet cum propria littera ut illud in divisione cognoscat. Imprimis faciat duas partes certe sequales cum libra, unara ad a litteram alteram ad G. Ceram a litterse dividat in octo sequales partes, et tantum ad ceram G litterse quantum est in octava parte cerse a. Similiter dividat ceram G per octo et tantum det F litterse quantum est in summa ejus, et insuper octavam ejus partem, et habebit duos tonos continues. In illo loco semi- tonium ^ debet esse, et hoc ita inveniat. Summam cerse a litterse dividat in tres partes, ipsamque summam det E litterse, et insuper ejus terciam partem. Deinde det tantum cera D litterse, quantum est in summa a et octavam ejus partem. Item tantum cerse det litterse C quantum habet G, et mediam ejus partem, itaque haberet duos tonos post semitonium. Deinde tantum cerse tribuat B litterse quan- tum est in tota summa E litterse et insuper terciam ejus partem, et habebit iterum semitonium ; atque septem symphonias ab a littera usque ad B inveniat. Dyapason vero necdum haberet sine octava cymbalo. Duplicet igitur totam ceram a litterse et sic earn tribuat A litterse, et nichil deerit. Dyatesseron, Dyapason, atque Dyapente Syneme- non autem inveniat ita, toUat summam cerse litterse et tan- tum det E litterse, et insuper medietatem ejus, ac constituat illam inter A et B. Omnind autem caveat qui cymbala formare aut fundere debet, ut de supradicta cera quse tam caut& ponderata et divisa est, nichil mittat ad juga et spira- mina, sed de altera cera faciat ilia omnia. In magna providentia habeat ut, priusquam aliquod cymbalum fundatur, stagnum cum cupro misceatur, ut rectum sonum habeat. Qudd si aliter fecerit non veniunt ad tonos. " OF THE MEASURE OF CYMBALS. '' Whoever wishes to make cymbals of proper sound for singing, should divide the wax for each one with a weight, and should begin from the highest, that by descending he may be able to arrive at the graver (cymbals). He can likewise note each one with its own letter, that he may know it in the partition. In the first place, let him make two portions of wax equal with the balance, one for letter a, the other for G. Let him divide the wax of letter a into eight equal parts, and (give) so much to the wax of letter G as is in the eighth part of wax a : let him similarly divide wax G by eight, and give so much to letter F as is in its total, and an eighth of its part beyond, and he will have two consecutive notes. In that place the semitone should be, and let him thus find it. Let him divide the whole of the wax of letter a into three parts, and give this total to letter E and beyond, the third part of it. Then let him give so much wax to letter D as is in the total a, and the eighth part of it. Likewise let him give as much wax to letter C as G possesses and half a part of it, and he will thus have two notes after the semitone. Then let him afibrd to letter B so much wax as is in the whole amount of letter F and beyond, the third part of it, and he will have the semi- tone again ; and let him find the seven concords from letter a to B. The' octave he cannot yet have without the eighth cymbal. Let him therefore double all the wax of letter a, and so give it to letter A, and nothing will be wanting: the fourth, eighth, and fifth chord let him find thus, let him take the amount of the wax of the letter and give so much to letter F and the half of it beyqnd, and let him establish it between A and B. He who should fashion or found the cymbals should above all take care that he puts none of the above-mentioned wax, which is so cautiously weighed and divided, to the necks and air-holes, but let him make all these from other wax. Let him have the great foresight that, before any cymbal be cast, the tin be mixed with the copper, that it may have the right sound. Because, should he have done otherwise they are not brought to their tones. A fifth or sixth part * Theophili, qui et Eugerus, Presbyteri et MonacM, Libri III, de Diversis Artibus ; Opera et Studio Roberti Hendrie. Londini ; Johannes Murray, mdccclvii. 8vo. Mr. Hendrie has kindly allowed us to use his translation, f " Semitonus," imo. THE CLAVICHORD. 41 Quinta aut sexta pars debet esse stagnum, utrumque bene should be tin, and be both well purified before they are purificatum priusquam permisceatur ut clarfe sonent. Si mixed together, that they may sound clearly. Should, autem fusa cymbala minus rectfe sonuerint hoc emendetur however, the cast cymbals sound imperfectly, this can be limfi vel lapide." rectified with the file, or stone." "DE CTMBALIS MUSICIS. OF MUSICAL CYMBALS. Facturus cymbala, primum acquire tibi lectionem et « Being about to malce cymbals, first procure your ^ secundum quod docuerit formam facito, atque ceram dili- directions, and, according to what they may have taught, ^ gentSr pondera. Quas* cum fuderis, sicut supra dictum make the mould, and carefully weigh the wax. When est, si quid per negligentiam vel incuriam de equitate you have founded these, as mentioned above, should any- tonorum defuerit, corriges. Si volueris cymbalum altius thing be wanting in justness of tone, through negligence or habere, in ora inferius limabis, si vero humilius, circa oram carelessness, you will correct it. Should you wish the cymbal to be higher, you wiU file about the mouth underneath (of -the mould); but if flatter, round the rim in circumference." in circuitu.'' The use of the cymbal in churches was discontinued upon the improvements in the construction of the organ, which instrument, however, still possesses traces of its ancient accompaniment in two of its stops, the cymbal octave, and the cymbal regal. With the explanation we have thus been enabled to give, the ancient name of cembalo or cymbal, for a keyed-stringed instrument, does not seem so far-fetched as it has hitherto been supposed"!". To carry on our enquiries into the history of the clavichord. — There existed at Rome, about a century ago, a clavichord furnished with twenty-five keys, without any difference of form for the sharps or flats, and which had the appearance of being one of the first essays made in the fabrication of keyed-stringed instruments. It was then aflirmed that it had been brought from Greece to Rome in the time of Julius Caesar : such an opinion has no need of refutation. The author of the article Clavecin, in the Encyclopidie Mithodique J, also speaks of another clavichord which existed in the same city; the body, table, and bridges of which were of white marble. This instrument had doubtless formed part of some monument. The date of 650 assigned it was alto- gether ridiculous. Zarlino speaks of a " cembalo," the relics of which existed in his time (1555), and which appeared to have been made about one hundred and fifty years previous. " The testimony of so. learned a musician," remarks M. Fetis, " is undeni- * Quae? t In the MS. romance of Olariodus and Meliades, we % M. Nicholas Joseph HuUmandel, an eminent pianist, read of " The clear eymball with the merrie cord," which He quitted France on the breaking but of the French Revo- certainly must mean the cembalo or clavicymhal, thus lution, and settled in London, where he died in 1823. bearing out our argument. 42 THE CLAVICHORD. able, and is, moreover, in accordance with what is known relative to certain celebrated artists of the fourteenth century, such as Francesco degli Organi, Nicolo del Proposto, Jacopo di Bologna, and some others, who were not only skilful organists, but also distinguished themselves on keyed instruments, as is seen in the pages of the Italian writers of the fifteenth century. Again, nothing more clearly proves the existence of the harpsichord or spinet of the fourteenth century, or, at latest, at the beginning of the fifteenth, than the manner in which they are spoken of by those who give descrip- tions of these instruments in the early part of the sixteenth century. They do not speak of them as new inventions ; and the varieties which they mention demonstrate, in the clearest manner, that they could be the result only of multiplied essays, dating from times already long gone by. The least attention to the slow manner in which discoveries and improvements were made, in so backward a state of civilization as that of these first periods of the birth of the arts, will convince us that instruments of so complicated a kind could not start forth at once from the brain of such inven- tors as those described by the writers of the sixteenth century." The popularity of the clavichord and clarichord in the fifteenth and sixteenth centuries may be illustrated by the following extracts. Caxton, in his celebrated translation of The Knyght of the Toure, printed in 1484, gives us the following passage, confirming what Eitson advances relative to the common use of the clavichord by the early French minstrels. The extract occurs on sign C. 115. •■ A yonge man cam to a feste, where were many lordes, ladyes, and damoysels, and arrayed as they wold have sette them to dinner, and had on hem a coote hardye, after the maner of Almayne. He cam and salewed the lordes and ladyes, and when he had done to them reverence, syre Geoffrey called hym before hym, and demanded hym where his yyell or clavycordes were, and that he should make his craft : and the yonge man ansuerd, Syre, I can not medle there- with. Haa, sayd the knyght, I can not beleve it; for ye be contrefaytted and clothed lyke a mynstrell." In the accounts of the Lord High Treasurer of Scotland*, we find the instrument spoken of under the " vulgar appellation :" " 1497. Apr. 10. Item, to John Hert, for bering a pare f of monicordis of the kingis fra Abirdene to Strivelin, ix s." " ] 504. Oct. 15. To the cheild [that] playit on the monocordis, be the kingis command, xviij s." * Preserved in the General Register House at Edinburgh, and quoted in the Appendix to Dauney's Ancient Scottish Melodies. 4to. 1838. •j- An ancient form of expression, meaning an instrument with more strings than one. See the term fully explained in the Hist, of the Organ, p. 40. THE CLAVICHORD. 43 Also, in the testament of Edward Henrysoun, " Maister of the Sang Scole of Edinburgh, and Prebendare of St. Gelis Queir, quha deceist, 15 Aug. 1579."* " Item, I leif to my sone, James Henrysoun, my gown, my coitt, my bumbasie doublet, and the bodie of poldavie, my kist, my bybill, ant pair of monycordis, my hat, thre of the best sarkis, ane pair of round scheittis, foure serviottis, &c." From these extracts we might have imagined that the term monochord was used in Scotland instead of the more general name of the instrument ; but this was not the case. At the marriage of James the Fourth of Scotland with the Princess Margaret, in 1503, we read that "the kyng began before hyr (i. e. the Princess) to play of the clarychordes, and after of the lute. And uppon the said clarychorde Sir Edward Stanley played a ballade, and sang therewith." Again, the king and queen being together, " she played upon the clarychorde and after of the lute, he being uppon his knee allwaies bare-headed."f At the pageantry exhibited at Westminster Hall in 1502, on the occasion of an entertainment given to Catherine of Spain, we read that " twelve ladies had clari- cordis, claricymballs, and such other ;"J and in ^e Privy Purse Expenses of Henry the Seventh § at the same period, we have the following entries ; " 1502. (Jan.) To one that sett the Kinge's Clevechords xiij s. iv. d." "1504. (March.) Tot a ^air oi Clavycords ix s." Among the Privy Purse Expenses of Elizabeth of York ||, Henry the Seventh's queen, we have the following : " 1502. (August.) Item, the same day to Hugh Denys, for money by him delivered to a straungier that gave the Queene apayre of Clavycordes, in crownes for his rewarde iiij li." This entry affords a singular instance of the queen's liberality. The " foreigner " is rewarded with, four times the value of his gift ! Stephen Hawes, groom of the Privy Chamber to Henry the Seventh, was author of a poem called The Pastime of Pleasure, finished at the beginning of the year 1506. In Chapter XVI, he has the following stanza : * Dauney's Ancient Scottish Melodies, p. 99. ^ Addit. MSS, Brit. Mus. No. 7099. t Leland's Collectanea. Append, iii, p. 284. edit. 1770. || Edited by Sir. N. H. Nicolas, 1830. J Antiqttarian Repertory, vol. ii, p. 310. G 2 "^4 THE CLAVICHORD. " There sat dame Musyke, with all her mynstralsy As tabours, trumpettes, with pipes melodious, Sakbuttes, organs, and the recorder swetely, Harpes, lutes, and crouddes ryght delycyous ; Cymphans, doussemers, wyth claricinibales glorious. Rebecks, darycordes, eche in theyr degre, Dyd sytte aboute theyr ladyes mageste." Among the " proverbis " that were written about the time of Henry the Seventh, on the walls of the Manor House at Leckingfield, near Beverley, Yorkshire, anciently belonging to the Percys, Earls of Northumberland, but now destroyed, were many re- lating to music and musical instruments. The fact of inscribing these curious rhymes on the walls, is a proof of the estimation in which the art was held at the period. Those relating to our purpose are as follows : '' He that fingeri the, well the keys of the Claricordis maketh a goode songe, For in the meane is the melodye withe a rest longe ; If the tewnys be not pleasant to him that hath no skyll, Yet no lac to the claricorde for he doith his goode will. He that covytithe in clarisyrribalis to make goode concordance. Ought to fynger the keyes with discrete temperaunce ; Too myche wyndinge of the pipis is not the best, Which may cause them to sypher wher armoneye shoulde rest."* Skelton, the facetious poet laureate, in one of his doggrel poems, A comely Cays- trowne, printed by Pynson early in the sixteenth century, says of one of his characters ; " Comely he clappyth zpayre of clavycordys ; He whystleth so swetely, he makyth me to swete ; His descant is dashed full of dyscordes." f The writer of an old poem on MusicJ, in the reign of Henry the Seventh, gives the following advice : * A MS. copy of these proverbs is preserved among the XIX yere the month of July. A Treatise between Trouth King's MSS. in the British Museum, Bit. Reg. 18. D. 11. and Informacion." This curious poem, in black-letter, was t The Poetical Works of Skelton, edited by the Rev. printed by Wynkin de Worde. It contains a parable Alexander Dyce, vol. i, p. 16. abounding with allusions to music and musical instruments ; % "In the rieete made by me William Cornishe, and seems to be a complaint of Cornishe himself, under the otherwise called Nyshewete, Chapelman with the most denomination of Musicke, against one whom, under that of famous and noble King Henry the VII, his reyne the Informacion, he charges with having falsely accused him. Again he says : THE CLAVICHORD. Who pleythe on a harp he should pley trew ; Who syngeth a song, let his voyce be tunable ; Who wrestythe the Clavycorde, mystuning eschew ; Who bloweth a trumpet, let his wynd be mesurabyle ; Tor instruments in themselves be firm and stable, And of trowthe (would trouthe to every man's songe) : Tune them then trewly, for in them is no wronge." " The davicorde hath a tunely kynde ; As the wyre is wrested hye and lowe, So it tuneyth to the players mynde : For as it is wrested so must it nodes showe, As by this reson ye may well know, Any instrument mystunyd shall hurt a trew song. Yet blame not the clavycorde, the wrester doth wrong.'" 45 King Henry the Eighth, whose knowledge and love of music were very great, was a performer on the clavichord, as well as on other musical instruments. Richard Pace, in a letter to Cardinal Wolsey, preserved in the State Paper Office, says ; " The Kynge haith nowe goode passe tyme bi the newe player uppon the Clavicordes that M. Rochpotte haith broght wyth hym (whoo playith excellently) and like wyse bi the gentilman oif Almayne whoo was wyth hys grace at Wudstoke, and hath nowe brought hydre a newe goodde and goodly instrument, and playeth ryght wele uppon the same. Mnem faciam in instrumentis Musicis, quia aliud nihil scribendum inpreseniia haheo."* In the list of Henry the Eighth's musical instruments " remaining at West- minster in the charge of Philipp van Wilder," immediately after the king's decease, we find mention of " two payer of clavicordes. "f Ahout the middle of the sixteenth century, an instrument called the Manichord first appeared. The writer of the article " Manicorde," in the EncyclopHie Metho- dique, says, " it was more ancient than the harpsichord or spinet," and he presumes it to have been invented by the Germans ; but it more probably first took its rise in * Wolsey Correspondence,. IX, art. 60. See also Sir H. -f Harleian MS. No. 1419, fol. 200. Ellis's Original Letters illustrative of English History, Third Series, vol. i, p. 200. 46 THE CLAVICHORD. Italy. Florio has it in his Dictionarie of the Italian and English, 1611, and describes it as " a rigoU or claricorde." Mersennus gives us a representation of the instrument, which is here copied. From this drawing, and the description 1 mded down to us, the Manichord appears " t have been a large and superior clavichord. Tl was provided with forty-nine or fifty keys T id seventy strings, which rested on, or passed over, five bridges ; some of the strings being in unison*. It was furnished with a kind of hammer of brass, which struck the string, and a cloth damper to stop the vibration after the note had been struck. The hammer is thus shown by the author to whom ■'^^«''^- t, Tongue. exclaims : " Lord ha' mercy on us ! we women fall, and fall still ; and ^ „ when we have husbands, we play upon them like virginal jacks, they d, Bristle spring. must rise^ and fall to our humours, or else they'll never get any good *» ^^°'^ hamper. strains of musick out of us." \J 58 THE VIRGINAL. John Strangways, in some verses prefixed to Tom Coriat's Crudities, 1611, has the following lines : " Kemp yet doth live, and only lives for this Much famous, that he did dance the Morris From London unto Norwich. But thou much more Doest merit praise. For though his feet were sore. Whilst sweaty he with antick skips did hop it, His treadings were but friscals of a poppet ; Or that at once I may express it all Like to t\ie jacks of jumbled virginall." Passing from these humourous notices, we must take a glance at the Queen's virginals. Several " pairs," once belonging to Queen Elizabeth, are yet extant in different parts of England. There is one, a very interesting specimen, at Helmingham Hall, in Suffolk, the ancient seat of the ToUemache family ; Sir E. Bulwer Lytton is the possessor of another ; the Rev. Mr. Sperling, of Kensington, is the fortunate owner of a most splendidly decorated instrument ; and a fourth, certainly the most remarkable of all, is preserved at the residence of a Worcestershire esquire. It was purchased at Lord Spencer Chichester's sale, in 1805, and is of incalculable value. In the Gentleman's Magazine for that year, we read that "The case is of cedar, covered with crimson Genoa velvet, upon which are three gilt locks, finely engraved ; the inside of the case is lined with strong yellow tabby silk ; the froat is covered entirely with gold, having a border round the inside two inches and a half broad. It is five feet long, sixteen inches wide, and seven inches deep, and is so lightly and delicately formed, that the weight does not exceed twenty-four pounds. There are fifty keys, thirty of ebony tipped with gold, and the remaining twenty (i. e. the semitones) are inlaid with, silver, ivory, and different kinds of rare woods, each key consisting of about two hundred and fifty pieces. On one end are the royal arms, richly emblazoned ; and at the other end is a symbolic and highly finished painting of a crowned dove, with a sceptre in its claw — the painting done upon a gold ground, with carmine, lake, and ultramarine. In the Fitzwilliam Museum, at Cambridge, is preserved a small-sized folio MS. volume, in red morocco binding, elaborately tooled, and ornamented with fleur-de-lis, &c., and gilt edges, traditionally said to have been Queen Elizabeth's Virginal Book. THE VIRGINAL. 59 The MS. is written upon six lines, on 418 pages, throughout in the same hand. At the end of each piece of music, the arrangers' names are generally given. Among them we find, Dr. John Bull, Ferdinand Richardson, WilUam Byrd, Thomas Morley, John Munday, Giles Farnaby, William Blitheman, Peter Phillips, Nicholas Strogers, Martin Peerson, Thomas Warrock, Thomas Tomkins, Robert Johnson, Richard Farnaby^ Marchant, W. Tisdall, Hooper, Edward Johnson, William Inglott, Orlando Gibbons, Thomas Oldfield, Giovanni Pietri, Johan Pieterson Swellinck, Thomas TaUis, «&c. Dr. Bumey says, " If her Majesty was ever able to execute any of the pieces that are preserved in a MS. which goes under the name of Queen Elizabeth's Virginal Book, she must have been a very great player ; as some of these pieces, which were composed by Tallis, Bird, Giles, Farnaby, Dr. Bull, and others, are so difficult, that it would be hardly possible to find a master in Europe who would undertake to play one of them at the end of a month's practice." * The late M. Choron expresses a similar opinion ; " In every thing relating to the execution of instrumental music," says this distinguished critic, " it is of the utmost importance to dispel a very common error ; which consists in believing that music was formerly very simple, and easily performed. This error arises from the circumstance of the old writers having used notes of very great value ; and from its not being remembered that these notes were executed with very great rapidity, so that they had, in fact, no greater value than those in use with us at the present time. Besides, if we cast our eyes upon the collections of pieces remaining to us from former ages — upon the Virginal Book of Queen Elizabeth, for instance,— ^difficulties will be found which would puzzle the most able of our modern performers." -j- A recent writer in Chambers's Journal % is still "stronger " upon this point. After remarking upon the " insupportable and overwhelming difficulty " of the volume, he goes on to say, " a dozen of its pages would serve not only to crush the preten- sions of any ordinary professor, but even to appal the bravest and most skilful among * History of Music, vol. iii, p. 15. prefixed to the first volume of thfe Dictionary of Musicians, t Summary of the History of Music, translated and 1 827, second edit. t October 27, 1855, I 2 60 THE VIRGINAL. those spasmodic pianists who delight the concert-going public of this concert-giving age." Opinions, such as these, regarding the extreme difficulty of the music in the Virginal Book, have become so prevalent, that it seems almost heresy to contradict them. Nevertheless, it is time the illusion should be dispelled. Of the writers above quoted, the first (Dr. Burney) is the only one worthy of notice ; for he alone saw and examined the volume, and doubtless, in his time, the music possessed some claim to be considered difficult. At the present day it has no such claims. An ordinary pianist could with ease execute any of the pieces in the volume after an hour's practice. At the end of the sixteenth century, the virginal was the popular keyed-stringed instrument in England, and was found in the house of every person of education. In an inventory of the furniture in Kenilworth Castle, in the days of the magni- ficent Earl of Leicester (a. d. 1584)*, we find : " Item, an instrument of organs, regalls, and virginalls, covered with crimson velvet and garnished with goulde lace ; " also, " A faire paire of double virginalls." And in the inventory of the goods and chattels belonging to Sir Thomas Kytson of Hengrave Hall, Suffolk, 1603, we have " Item, one payer of little virginalls ; ditto, one wind instrument like a virginall ; ditto, one great payer of double virginalls."-]' In Nicholas Breton's poem entitled A Flourish upon Fancie, 1582, the virginal is mentioned along with other musical instruments as forming part of the ordinary stock of a gallant of those days : " Upon an olde crackt forme, By his bed side, there lies Ould instruments of musick's sound All broke in wondrous wise ; A lute, with half the strings And all the pinnes neere out, The belly crackt, the back quite burst, And riven round about. His mrjrinaffs with never a jack, And scantily halfe the keyes ; * MS. in the possession of the writer. t Gage's Antiquities of Hengrave Hall, 4to. 1822, p. 24. THE VIRGINAL. 61 His organes with the bellows burst, And battred many waies. His iife, three holes in one ; His harpe with neere a string. Great pittie, trust me, for to see So broken every thing." Burelr describing the pomp and pageantry with which Queen Anne (wife of James VI) was received at her public entry into Edinburgh, May 19, 1590, mentions the virginal amongst the instruments used on that occasion ; " Organs and regals thair did carpe. With their gay goldin glitt'ring strings ; Thair was thehautbois and the harpe, Playing most sweet and pleasant springs ; And sum on lutis did play and sing. Of instrument the onely king. " Viols and virginalls were their. With githorns maist jucundious ; Trumpets and timbrels made greit beir, With instruments melodious. The seistar and the sumphion With clarche-pipe and clarion." * Spenser has mentioned the virginal in an English trimeter-iambic ; one of those fantastic attempts to introduce the uncongenialities of Latin versification, which the taste of the great poet soon led him to abandon. The line, however, in which the virginal is mentioned, presents a picture not unworthy of him : " Unhappie Verse ' the witnesse of my unhappie state. Make thyself flutt'ring wings of thy fast flying Thought, and fly forth unto my Love wheresoever she be ; Whether lying restless in heavy bedde, or else Sitting so cheerless at the cheerful boarde, or else Playing alone careless on her heavenlie virginals." * Watson's Collection of Scottish Poems, vol. ii, p. 6. 62 THE VIRGINAL. The musical instrument mentioned in one of Shakespeare's sonnets is of the same keyed family. " How oft when thou, my music, music play'st Upon that blessed wood, whose motion sounds With thy sweet fingers, when thou gently sway'st The wiry concord that mine ear confounds, Do I envy those jacks, that nimble leap To kiss the tender inward of thy hand, Whilst my poor lips, that should that harvest reap, At the wood's boldness by thee blushing stand. To be so tickled, they would change their state And situation with those dancing chips Cer whom thy fingers walk with gentle gait. Making dead wood more bless'd than living lips. Since saucy jacks so happy are in this. Give them thy fingers, me thy lips to kiss."' Thus we have two of our great poets, Spenser and Shakespeare, showing us the delight they took in the same species of instrument which we have now, and so bringing themselves near to our pianofortes. The first book printed in this country for a keyed-stringed instrument, appeared in the year 1611, with the following singular title ; PAETHENIA, OR THE MAYDENHEAD OF THE FIRST MUSICKE THAT EVER WAS PRINTED FOR THE VIRGINALLS, COMPOSED By tkree famous Masters, William Byrde, Dr. John Bull, and Orlando Gibbons, Gentilmen of his Majesties most Illustrious Chappell. Ingraven By William Hole ; Lond : print : for M. Dor. Evans, Cum privilegio, and are to be sould by G. Lowe, printer in Loathberry. This work, entirely engraved upon copper plates, was again printed (from the same plates) in 1613, 1635, 1650, 1656, and 1659, and, according to Anthony a Wood, was "the prime book used by Masters in Musick for nearly half a century." THE VIRGINAL. 63 This publication was speedily followed by another of a similar kind, without date, with the following title : PAETHENIA IN-YIOLATA, OR Mayden Musicke for the Virginalls and Bass Viol, Selected out of the Compositions of the most famous in that arte, By Robert Hole, And consecrated to all true Lovers and Practisers thereof. AH you professors of this arte divine, So strive your earthly accents to refine To Angell's ayres, and Saynts most holy skill, As all your musique sound your Maker's will. Then is there true composure of the parts, When there's an equall harmony of hearts : And that the sacred concords be so even As here on Earth you strike the same w* Heaven. Printed at London for John Pyper, and are to be sould at his Shopp at Pauls' gate, next unto Cheapside at the Crosse Keies. Cum privilegio. Shortly after the restoration, John Playford, the ingenious publisher, put forth, without date, his work entitled MUS1CK8 HAND-MAID, New Lessons and Instructions FOR THE VIRGINALS OR HARPSYCHORD. In his introduction, the author says, " The Virginals, according to the ancient standard, were made to contain 29 keys (with the half-notes 48 keys), but of later times they add to that number both above and below. " The two famous English virginal-makers of the latter half of the seventeenth century, were John Loosemore and Stephen Keen. Playford, at the end of his Introduction to the Skill of Musick, edit. 1672, advertises, " Mr. Stephen Keen, 64 THE VIRGINAL* Maker of Harpsycons and Virginals, dwelleth now in Threadneedle Street, at the sign of the Virginal, who maketh them exactly good, both for sound and substance." A small virginal of this period is copied in the following wood-cut * : Self-acting virginals were known as early as the seventeenth century. On the 27th of August 1623, a license was granted to Bartholomew Cloys, with three assistants, to make show of a Musical Organ, with divers motions in it ; to make show of an ItaUan Motion ; to show a Looking-glass ; the Philosopher's Stone ; and a Virginal with machinery. "f And at a later period, on the occasion of the Fireworks to he presented in Lincoln's Inn Fields on the 5th of November 1647, we hear of self- acting virginals, or, as the writer expresses it, " musically playing of themselves." % The virginal became so common in England in the seventeenth century, that old Pepys, that entertaining gossip, describing the flight of the inhabitants by water at the time of the great fire, says, " I observed that hardly one lighter or boat in three that had the goods of a house in, but there was a paire of virginals in it."§ * Thomas Mackinlay, Esq. F. S. A. of Soho Square, f The Office-Book of Sir Henry Herbert, Master of the possesses two interesting virginals of the latter part of the Revels to James the First, seventeenth century. One, made by John Loosemore, bears the date 1655. The other, made shortly after the restora- tion of Charles, has a curious painting on the inside of the lid, showing the Mall in St. James's Park, with a distant view of Arlington House. X A rare broadside in the British Museunt. See also Brayley's Londiniana, vol. iv, p. 56, I Diary (Sept, 2, 1666), edit. 1848, vol. iii, p. 271. THE VIRGINAL. 65 This instrument continued in general use until the beginning of the eighteenth century. One of the latest notices of it occurs in the London Post of July 20, 1701 : " This week a most curious pair of virginals, reckoned the finest in England, were shipped off for the Grand Seigneur's Seraglio." In addition to the specimens of this instrument still remaining, and which we have noticed in the course of the preceding pages, we may add that many others may be found in the nooks and corners of old houses, in various stages of dilapidation. Sometimes, indeed, these old " crackt " instruments are still made to " play their part ;" and we cannot conclude this chapter with a more characteristic anecdote than the following from The Professional Life of Mr. Dibdin. Speaking of his engagement as composer of the music to David Garrick's theatre, he says, " I was summoned to Hampton to take instructions for the Christmas Tale; many of the songs had been previously written, by fits and starts, and I had set some of them two or three times over ; but now we were to go to work in earnest ; and as he could not be easy without me, for his muse was very often in want of obstetrick assistance as to songs and choruses, however easily he might bring forth prologues and epilogues, so was I either obliged to sit up after the family, or get up before them, to lend musical aid to bits and scraps of which nobody could guess either the drift or meaning ; and all this music was to be extracted from an old virginal, with half the strings broke, a prodigious fine antique, which graced Mr. Garrick's beautiful drawing-room, with much about the elegance and embellishment as a spot of rust upon a polished register- stove. I used to tell him, I hoped he would bequeath it to the Antiquarian Society," CHAPTER Y. THE SPINET. The spinet {spinetto, Ital, epinette, Fr.) is so called from spiiia, a thorn or quill* ; the tone of the instrument being produced by a crow's quill inserted in the tongue of the little machine (before explained) called a jack. The spinet, we are told, consisted of " a chest or belly, made of the most porous and resinous wood to be found, and a table of fir fastened on rods, called the sound- board, which bears on the sides : on the table were raised two little prominences or bridges, in which are fixed as many pins as there were strings to the instrument." Mersennusf compares the structure of the spinet to that of the human body ; he says that " the sounding-boards are the muscles ; the cross bars the bones ; and the strings the organs of speech." But" what is more valuable, he adds ; "the spinet had ordinarily, forty^nine strings, of which the lower thirty were made of latten, because that was strongest and deepest, and the higher ones, nineteen in number, were of steel and iron * * *. There were but six or seven sizes of strings ; but if the spinet were made in real perfection, there would be strings of different sizes, suited purposely to every note. Even in the length of string the makers are careless, and everything depends upon the tension." The difference between the virginal and spinet is said to have been this ; " the spinet was always of a triangular shape, and had the wires carried over a bent bridge, which modified their sounds ; those of the virginal, went direct from their points of support * Florio, in his Queen Anna's New World of Words, Spinetteggiare, to play upon Virginalles. 1611, p. 624, has the following: Spinetto, a thicket of brambles or briars." " Spihetta, a kind of little Spina * * also a paire of f Sarmonicorum, Paris, 1636; frequently quoted in Virginalles. our earlier pages. THE SPINET. 67 to the screw-pegs, regularly decreasing in length from the deepest bass note to the highest treble." We have not been able to make out this distinction ; in all the vir- ginals and spinets vphich we have examined, their internal construction vi^as the same. The date of the invention of the spinet is not ascertained. According to Clement Marot, it was in common use among the French ladies in the reign of Francis the First (a. d. 1615, 1546). In the dedication of his version of the Psalms to his fair country-women, he tells them, that he hopes, divine hymns will supersede love-songs, and fill their apartments with the praises of Jehovah, in accompanying them on the spinet. " Et vos doigts sur les Espinettes, Pour dire Sainctes chansonnettes," * We have copied an interesting representation of the spinet from Father Bonanni's Gabinetto Armonico, 4to, Eome, 1722. According to Artusi's Imperfettioni delta moderna Musica, printed at Venice in 1600, the spinet was known in Italy early in the sixteenth century : and Pietro della Valle, in his Discourse on the Music of his own time, 1640"f, tells us, the first opera * (Euvres de Clement Marot, k Lyon, 1651. 12mo. f Printed in the works of Battista Doni, at Florence, -P- 192. 1763, torn. ii. K 2 68 THE SPINET. or musical drama performed at Rome, took place in a cart, on which occasion, " II Cavalier Leuto played wonderfully on the spinet." Zarlino, the celebrated theorist, had a spinet, with quarter tones, made at Venicef. Burney saw it, in the course of his travels, at Florence, and says it was afterwards sent to England ; but we have been unable to trace it. The family of the Euckers, of Antwerp (of whom we shall have^ occasion to speak presently), were famous makers of spinets in the seventeenth century, as also were their successors, Couchet and Jean Dennis ; the latter was a Frenchman, and resided for many years in Paris. The Hitchcocks and Haywards, fathers and sons, were the great makers of spinets in London, in the first three quarters of the seventeenth century. ' John Hitchcock made these little instruments of a compass of five octaves. Several specimens still exist bearing dates between 1620 and 1640. The keys are of ebony, having ivory fronts ; the flats and sharps inlaid with narrow slips of ivory. Charles Haward, or Hay ward, is mentioned as a celebrated maker, in Salmon's Vindication of an Essay, 8^. 1672, p. 68. Queen Anne had, among her musical instruments, a spinet by Hay ward, the' loudest and perhaps the finest that was ever heard ; and which she highly valued. Her Majesty, just before the pleriod of her decease, gave especial direction that this instrument should go to the master of the children of the -Chapel Royal for the time being, and that it should regularly descend to his official successors. Accordingly it passed first into the possession of Dr. Croft, and afterwards into the hands of Dr. Nares, from whom it descended to Bernard Gates, and the late Dr. Ayrton. Mr. Hawes was the next master, and when the writer last heard of Queen Anne's spinet, it was consigned to the cock-loft of that gentleman's house in the Adelphi Terrace, where, in all probability, it still remains. J In a letter to Mason the poet, dated Florence, Sept. 154S, by Dominico Pesarese: it is now in the possession of 1770, Burney says, " This instrument was invented by Signora Moncini, widow of the late composer, Piscetti." Zarlino, in order to give the temperament aud modulation In a subsequent letter, he says, " Zarlino's spinet or small of the three genera, the diatonic, chromatic, and enhar- harpsichord is now in London." monic. It was made under Zarlino's direction in the year THE SPINET. 69 The later makers of spinets, of eminence, were Keen, Slade, Player*, Fenton, Baudin, &c. A fine specimen of the latter maker is in the possession of the writer. It has this inscription in front : " JosEPHus Bavdin, Londini, Fecit. 1723 ; " and its general appearance may be imagined from the following engraving. Burney, writing at the beginning of the present century,t says, "As the spinet rivalled the virginal, the small piano-forte has supplanted the spinet in public favour; and we believe that very few have been made since the middle of the last century." * This maker is mentioned in Ambrose Warren's To' nometer, 1725, p. 7, as having made spinets with (quarter f Kees's Cyclopedia, in v. Spinet. tones. CHAPTER YI. THE HARPSICHORD. The form of the harpsichord is precisely the same as that of the grand horizontal pianoforte. Its origin was evidently suggested by the harp, from which instrument it received its name. Papius, and after him Du Cange, derive the name of harp from the Arpi, a people in Italy, who they say, erroneously, were its first inventors. Menage derives the word from the Latin, harpa, and that from the German, herp or herfff; others bring it from the Latin carpo, because it was touched or thrummed with the fingers. Dr. Hickes derives it from harpa or hearpa, which signifies the same thing ; the first in the language of the Cymbri, the second in that of the Anglo-Saxons.* Galileif in his Dialogo della Musica Antica e Moderna, Firenze, 1581, has a very interesting passage respecting the harp, which we shall translate literally : " Among the stringed instruments now used in Italy, we have, in the first place, the harp ; which is in fact nothing but the ancient cithara, with a great number of strings, differing somewhat in form, but that chiefly owing to the taste of the artists of those times, the number of strings and their degree of tension ; the extreme highest and lowest * "Trom the Teutonic derivation of the harp, it is "The Roman Missioners kept alive and augmented the easy to account for -its becoming the national instrument enmity between the Britons and Anglo-Saxons : the former of the English. The Anglo-Saxons were of German race, would not adopt Popery or its superstitions, to which the and introduced the harp into Britain. Inflamed with a latter were devoted : every temporal and spiritual motive thirst of conquest, and eager to possess alone that fertile which theological malignity could invent, was conjured up Isle, they almost exterminated the natives, and totally to make the resentment of both people implacable and per- erased every vestige of Roman and British civility. The petual, and with too good success. Hence the triumph of gentler modulations and softer harmony of the crwth were the harp over the crwth, and its general use among all ranks equally despised with its performers and admirers : this of people until the Norman invasion." Walker's Historical instrument was banished to Wales, Cornwall, and Ar- Memoirs of the Irish Bards, Appendix, p. 7. morica; in the last country, Venantius found it in the 6th t -A- Florentine nobleman, and father of the great century. astronomer, Galileo Galilei. THE HARPSICHOED. 71 comprising upwards Of three octaves. This very ancient instrument was brought to us from Ireland (as Dante has recorded) where they are excellently made, and in great number ; and the inhabitants of which island have practised on it for many and many centuries; its being also the particular badge of the kingdom, and, as such, frequently painted and sculptured on their public edifices and coins, the people alleging, as the cause of it, that they are descended from the Royal prophet David. The harps used by them are much larger than ours, and they are usually mounted with strings of brass and some of steel, in the acute part, of the same kind as the clavichord. The performers upon them are wont to let the nails of both their hands grow to a considerable length, trimming them with great care in the manner we see the quills on the jacks of the spinnets. The number of strings are 54, 56, and as far as 60 ; whereas we read, that among the Jews, the dthara, ot psalterion of the Prophet, had only 10 strings. The distribution of the strings of one of these harps (which I obtained a few months ago, by means of a very obliging gentleman of Ireland), I found, on careful examination, to be the same as that of the harp with a double row of strings, which was a few years ago introduced into Italy ; although some (without a shadow of reason) assert that they have lately invented it, endeavouring to persuade the vulgar that none but themselves can play upon it, or understand its temperament, which they hold in such great estimation, that they have ungratefully denied it to many ; in spite of whom, however, I will here describe it for the sake of those who may desire it. The 38 strings, which are mounted on the harp, contain four octaves and one tone ; not major or minor, as some have imagined, but of the measure which I have above said to be contained in a key'd instrument. The lowest string, therefore, as well for a sharp as for a flat, is double C ; and the highest string is D in alt: when they are to be tuned for B flat, the 16 lower strings on the left side are to be distributed according to the nature of the common diatonic, and the 14 that are in the opposite row to these, that is, on the right side (leaving apart the unison of D and A), must give, as we may say, the chromatic kind, agreeable in its nature to the said diatonics. The 15 that follow next, ascending the scale, are to be tempered diatonically, according to the mode of the 16 lower ones, on the left side. The 13 that follow next above the first 16, are now to do the oSice of the lower ones on the right, as may be seen in the example.* If then you want to play in B natural, let the flats of each diatonic be altered, and tuned in one or the other of the chromatic, instead of the B flat ; and let these be arranged in the place of those in the diatonic, both on the right, and the left. This mode of proceeding was so ordered by its author for the convenience and facility of the fingers of both hands, particularly in massing diminutions, and lengthening sounds. We find thus among the said strings ; five times C, five D, four E, four F, four G, four A, four B flat, and four B natural. Four unisons of D, four unisons of A. Four sharps of c, four sharps oi f, four sharps of g, and the four flats of e; which in aU make the number of 58 strings. But there are wanting, for the perfection of the diversity of harmony, the four sharps of d, and the four flats of a; for which, in those modes, or melodies, where these strings occur, their unisions which are among the chromatic strings, are accommodated to them ; which unisons produce a great facility in the diminutions, as appears manifestly in practice ; which facility is the cause that they are generally distributed in the manner I have mentioned. " The harp is so similar to the epigonium and the simieum, that it may with reason be said to be one of them ; * In the plate, a scale of the strings of the harp, re- left-hand row. It seems they were tuned in different keys, ferred to by Galilei, it has twenty-nine strings in each of as occasion required them ; and part of one row, and part the two rows ; that is, D at top, and DD at bottom, in the of the other, served for the accidental flats and sharps ; right-hand row ; and C at top, and CC at bottom, in the the remainder were unisons in both the rows. 72 THE HAEPSICHORD. nor do I think he would be much mistaken, who should maintain, that the strings were tuned in the same manner and proportion in the one as in the other instrument, seeing that these instruments were not introduced till after they began to play in consonant parts ; and what distribution is best adapted to this, has been fully explained. I " Returning now to the invention and origin of modem instruments, I say, that (on account of the agreement of the name, of the form, and of the number, disposition and matter of the strings, aithuugh its professors in Italy say, that they have invented it;) from the harp, most probably, the harpsichord had its origin; which instrument is nothing but a horizontal harp : and from it, may be derived the key'd instruments of touch." The harpsichord was, in fact, only a large-sizpd spinet. In the spinet and virginal, however, there was but one string for each tone ; another was added to the harpsichord, the form of which, as we have said, was precisely the same as that of our grand horizontal pianofortes. In Germany this instrument was called Flugel, from its resemblance to the shape of a wing. We give an engraving of the harpsichord from the valuable work of Father Mersennus, so often quoted in our pages- The mechanism of the jack remained the same in this instrument as in the older virginals and spinets*. Hans Ruckers of Antwerp was the first maker who effected an important reform in the construction of the harpsichord. He was originally a joiner ; but, quitting that business, devoted himself entirely to the manufacture of keyed -stringed musical instruments,, aadgiained a reputation which was surpassed by no other. He gave his harpsichords a more powerful and con- . , , , ruttino- of crow-quill vas passed to touch the string when * "The action of the harpsichord was simply a key and i-""' = ^ '' ■ . „ . „„ the jack was in action." Burney, in Eees's Cyclopedia. what was called a jack, which was apiece of pear-tree ""^J with a small moveable tongue of holly, through which a THE HARPSICHORD. 73 nected tone, by joining to tlie two strings in unison a third range of shorter and finer strings, tuned to the upper octave of the others, and which could be entoned at pleasure, either together with them, or separately. He mounted his harpsichords partly with catgut strings, and partly with steel wire. In imitation of the organ, he added a second key-board to his instruments, the object of which was to allow three strings to be heard at once, or only a single one at pleasure. In fine, he extended the compass of his harpsichord to four complete octaves (from C to C), by adding four grave sounds to the forty-five which existed before. It was towards the close of the sixteenth century, about 1590, that Hans liuckers first began to manufacture his harpsichords. This artist and his two sons, Jean and Andreas, who rivalled their father in ability, sent a prodigious quantity of their instruments into France and Germany. Burney, in his entertaining sketches of The Present State of Music in Germany, the Netherlands, ^c.*, has left us an account of these artists and their successors, which it is worth while to extract. Speaking of the city of Antwerp, the Doctor says — " The famous harpsichord-makers, of the name of Euckers, whose instruments have been so much and so long admired all over Europe, lived in this city : there were three, the first, and the father of the other two, was John Ruckers, who flourished at the beginning of the last century. His instruments were the most esteemed, and are remarkable for the sweetness and fulness of their tone. On the left hand of the sound-hole in the bellies of these instruments may be seen a large H, the initial of Hans, which, in the Flemish Language, means John. Andri, the eldest of John's sons, distinguished his work by an A in the sound-hole. His lai'ge harpsichords are less esteemed than those made by any one of that name ; but his small instruments, such as spinets and virginals, are excellent. Jean, the youngest son's harpsichords, though not so good as those of the father, are very much esteemed for the delicacy of their tone ; his instruments may be known by the letter I in the sound-hole. The harpsichord-maker of the greatest eminence, after them, was J. Dan. Dulcken j he was a Hessian. At present there is a good workman at Antwerp, of the name of * 2nd edit. vol. i, p. 47. 74 THE HARPSICHORD. Bull, who was Dulcken's apprentice, and who sells his double harpsichords* for a hundred ducats each, with only plain painted cases, and without swell or pedals ; the work too of Vanden Elsche, a Flamand, has a considerable share of merit ; but, in general, the present harpsichords made here after the Rucker model are thin, feeble in tone, and much inferior to those of our best makers in England."f Handel possessed a fine Rucker harpsichord, which he left by will to his friend and amanuensis, Smith. Coxe, in his Anecdotes of Handel and Smith, speaking of Handel's original MSS., which Smith presented to King George III, adds, "The harpsichord so remarkable for the ivory being indented by Handel's continued exertions, and on which, as has been already related, the far greater part of his music had been composed, and the bust, by Roubilliac, he sent afterwards to Windsor Castle. "J The Messrs. Broadwood possess an instrument by Euckers, which they conceive to have been Handel's, but its geneology will not bear examination. It is, however, a very interesting instrument, and merits a brief description. It is inscribed, " Ruckers, Antwerpia, 1651." The case and lid are painted black, with ornaments in gold and colour, a sort of lacquer-work. The sound-board is ornamented also, to the great risk of its sonority. Upon a ground of pale green are arabesques, among which sit half a dozen monkeys executing a concert. The lid is inscribed upon the under surface, in letters of gold. Sic transit gloria mundi, a legend which is often to be met with upon spinets and harpsichords, and which doubtless signifies that the glory of the world vanishes as sound and space. On that part of the lid which turns back when the harpsichord is opened, is Musica donum Dei (Music is the gift of God), also written in gold letters, upon a black ground §. * A single harpsichord of two unisons and one set of Many instruments by these eminent makers are still Ifeys was, in effect, a double spinet or virginal. A double occasionally met with in out-of-the-way corners of our harpsichord had two sets of keys and three strings, two old mansions. Mr. Twining, of the eminent firm of that unisons and an octave, to each note. name in the Strand, possesses a fine single harpsichord by f Rucker harpsichords, about 1760, were in such high Andreas Rucker, 1640. estimation that they frequently sold for more than a AMJic^rec? % Roubilliac's bust of Handel is still preserved at pounds each; but before the beginning of the present Windsor Castle; but the harpsichord cannot be found, century, pianofortes became so prevalent throughout Europe, ^ For, this description we are indebted to M. Victor that the finest Rucker harpsichord would not produce more Scboelcher's elaborate Life of Handel, lately published, than ten pounds. THE HARPSICHORD. 75 ' It was anciently the fashion to ornament the cases of old virginals, harpsichords, and spinets with inscriptions and paintings, many specimens of which have come down to our time. An ancient sounding-board, formerly belonging to a small virginal, now in the writer's possession, has the following curious inscription upon its upper surface ; " I once was livinge in the woods, But now I am cut downe By stroke of cruell axe, indeed, But yet to my renowne : For while I liv'd, I spake nought else But what the boistrous winde Compel'd my murmuringe straines unto ; But beinge dead I please y" minde And eares of such as heare me singe, So pleasant is my musickes ringe." Among the most interesting painted instruments, we may point out the virginal of Mary Queen of Scots, still preserved in the north of England. It is made of oak, inlaid with cedar, and richly ornamented with gold. The cover and sides are beautifully painted with figures of birds, flowers, and leaves, the colours of which are still fresh and undecayed. On one part of the lid is a grand procession of warriors, whom a bevy of fair dames are propitiating by presents or offerings of wine and fruits. The old painters were proverbially fond of adorning their harpsichords. An exquisite little painting, by Annibal Caracci, of Silenus, teaching Apollo to play the pan-pipe (mentioned as being in the British Gallery), is said to have formed one of the compartments of an instrument belonging to that great painter. The story too of Salvator Eosa and his harpsichord ought not to be omitted. Happening one day to be found by a friend in Florence in the act of modulating on a very indifferent old harpsichord, he was asked how he could keep such an instrument in his house ! " Why," said his friend, " it is not worth a scudo." " I will lay you what you please/' said Salvator, " that it shall be worth a thousand before you see it again." A bet was made, and Rosa immediately painted a landscape with figures on the lid, which not only was sold for a thousand scudi, but was esteemed a " capo d' opera." On one end L 2 76 THE HARPSICHORD. of the harpsichord he also painted a skull and music books.* Both these pictures were exhibited at the British Institution in the year 1823. Burney, in his amusing Tour in France, after describing his visit to the church of St. Rocque " to hear the celebrated M. Balbastre, organist of that church, as well as of Notre Dame and the Concert Spirituel," adds, " After church, M. Balbastre invited me to his house, to see a fine Rucker harpsichord which he has had, painted inside and out with as much delicacy as the finest coach or even snuff-box I ever saw at Paris. On the outside is the birth of Venus ; and on the inside of the cover the story of Rameau's most famous opera. Castor and Pollux ; earth, hell, and elysium are there represented : in elysium, sitting on a bank, with a lyre in his hand, is that celebrated composer himself; the portrait is very like, for I saw Rameau in 1764. The tone of this instrument is more delicate than powerful ; one of the unisons is of buff, but very sweet and agreeable ; the touch very light, owing to the quilling, which in France is always weak."-|- The harpsichord had arrived at considerable excellence in Italy very early in the sixteenth century. In the account of a banquet given by the magnificent Cardinal, Andrea Cornaro, to the Venetian ambassadors in 1522, we read, that after dinner " There was music of every sort that could be found in Rome. Excellent fifers played continually ; harpsichords also were there, with most wonderful sounds in them ; lutes with four strings ; harps and songs outside the room and inside ; one music after another. "J The author of a rare volume published at Bologna in 1590, under the title of II * Lady Morgan's Life of Salvator Rosa. large subject of the performance of a masque by the Eoyal t This instrument was afterwards brought to London, Family, exquisitely painted by Le Prince, on a superbly when it became the property of the late James Goding, Esq. carved and gilt stand. The instrument, 6| octaves, bv That gentleman had so little veneration for the work of Zeitter." It sold for seventy guineas. When Zeitter took Ruoker, that he caused the " inside" of the harpsichord to out the old sounding-board, he caused it to be made into be taken out, and a modern pianoforte substituted in its ahandsomemusicbox,preservingthe inscription, "Johannes room ! At the sale of Mr. Coding's musical instruments, Ruckers me fecit Antwerpse," at the back. This box is by Christie and Manson, February 20, 1857, the instru- now in the writer's possession. ment was thus described : ." A Magnificent Grand % The Girlhood of Catherine de Medicia, by J. A. Pianoforte Case: the top and sides beautifully painted Trollope, 8vo. 1856, p. 50. The author does not enable us with classical subjects, by Boucher: the inside, with a to give the passage in the original language. THE HARPSICHORD. 77 Desiderio, mentioning some curious instruments in the Palace of the Duke of Ferrari, says, " there was a harpsichord, invented by Don Nicola Vincentino, surnamed Arci- musico, in the year 1555. It had sia; rows of keys, comprehending in their division the three harmonic genera.*' He adds that the multitude of strings in this astonishing instrument rendered it very difficult to tune, and more so to play ; and that, for this latter reason, the most skilful performers would seldom use it: nevertheless, he continues, " Luzzasco, the chief organist of his highness, who it is supposed must have understood and been familiar with the instrument, was able to play on it with wonder- ful skill." He says that this instrument, by way of pre-eminence, was called the Archi- cembalo ; and that after the model of it, two organs were built ; the one at Rome, by order of the Cardinal of Ferrari ; and the other at Milan, under the direction* of the inventor. Father Bonnani, in his singular collection of engravings of musical instruments, entitled Gabinetto Armonico, 4to, Eome, 1722, gives a representation of an organ, harpsichord, two spinets, and a virginal, so contrived that they may be used separately, or together. This " prodigious artifice," as the monk calls it, was contrived by Michele Todino, of Savoy, for Signer Verospi, of Rome. Dr. Burney in his Tour in France and Italy, says, " I went this morning to visit the famous Podini gallery, in the Verospi palace. All the accounts of Rome are full of the praises of this music gallery ; or, as it is called, gallery of instruments ; but nothing shows the necessity of seeing for one's self, more than these accounts. The instruments in question cannot have been fit for use these many years ; but, when a thing has once got into a book as curious, it is copied into others without examination, and without end. There is a very fine harpsichord, to look at, but not a key that will speak ; it formerly had a communication with an organ in the same room, and with two spinets and a virginal ; under the frame is a violin, tenor, and base, which, by a movement of the foot, used to be played upon by the harpsichord keys. The organ appears in the front of the room, but not on the side, where there seems to be pipes and machines enclosed ; but there was no one to explain it, the old Cicerone being just dead." Giovanni Maria Artusi, in his interesting work, Delle Imperfettioni della Moderna Musica, Venice, fol. 1600, gives a curious account of the state of instrumental music 78 THE HARPSICHORD. in his time, and in describing a grand concert that was made by the nuns of a convent at Ferrara, in 1598, on occasion of a double wedding between Philip the Third, King of Spain, with Margaret, Queen of Austria, and the Archduke Albert with the Infanta Isabella, the king's sister, he enumerates the several instruments that were employed,and points out their excellencies and defects. Among these the harpsichord is honoured with particular attention both as to its construction and use. Ottavio Einuccini's drama of Eurydice was set to music by Jacopo Peri, and performed at Florence in .1600, on occasion of the marriage of Mary of Medicis to Henry the Fourth of France. In Peri's preface to the printed copy of the music, he tells us that " behind the scenes. Signer Jacopo Corsi played the harpsichord ; Don Garzia Montalvo the chitarone or large guitar ; Messrs. Giovanni Battista dal Violino the lira grande ; and Messer Giovanni Lapi, a large lute." In the Oratorio entitled DelV Anima e del Corpo, performed in the oratory of the church of Santa Maria della Vallicella at Rome, in 1600, the clavicembalo or harpsichord formed one of the instruments of the orchestra ; and in Monteverde's opera of Orfeo, performed at the Court of Mantua in 1607, amongst the instruments used we read of " Duoi Gravicembani."* The "orchestra" of this period is well exhibited in , the following wood-cut, copied from a scarce work entitled, Festa,fatta in Roma, Alii 25 di Febraio 1634, e data in luce da Vitale Mascardi. Eome, 4to, 1634. The entire engraving represents one of those magnificent entertainments in which the cardinals and other dignitaries were so often wont to display the enormous riches of the church. The group of musicians appears at one corner. The " maestro " is seated at the harpsichord, by the side of which is the vocal choir. He is assisted by two instrumentalists ; one of whom is playing upon the viol da gamba, the other upon a large lute, or perhaps the " lira grande." * Hogarth, in his Memoirs of the Musical Drama, by two gravicembani, probably misprinted for clavicembali, io\. i, p. 37, edit. 1838, says, speaking of this opera, " Th or harpsichords." Genius of Music, who speaks the prologue, is accompanied THE HARPSICHORD. 79 For a long period, according to M. Fetis, the Italians did not avail themselves of the improvements made in the harpsichord, and continued to construct these instru- ments with two strings only to each note, and with a single key-board. The best manufacturers, at the beginning of the seventeenth century, were a Venetian priest named Zanetti, Crotone, and Farini. The latter conceived the idea of mounting his harpsichords entirely with catgut strings instead of wire, which gave them a more mellow and soft quality. To this kind of instrument he gave the name of Clavici- therium — the name of an older instrument, then out of date. Farini's example was followed shortly after by several German makers. About the year 1620, Rigoli, of Florence, invented the vertical harpsichord, taking the idea from the earlier clavicymbal, which has since been imitated in a variety of the pianoforte. Near the same period, Richard, a French artist, acquired great and merited reputation for the excellence of his harpsichords. He was the first who conceived the idea of substituting small slips of cloth in the place of the quill, for producing the sound ; by this means he succeeded in obtaining tones more agreeable, and yet without any diminution of power. Richard formed several distinguished artists, who necessarily perfected different details in the manufacture of the instrument. 80 THE HARPSICHORD. The need of improvement in the quality of the tone of the harpsichord, which had always been harsh and disagreeable to delicate ears, led artists to attempt to disguise at least a defect like this by artificial means. Instruments were accordingly constructed with more than twenty different modifications, to imitate the tones of the harp, the lute, the mandolin, the bassoon, the fiageolet, oboe, violin, and other instru- ments. The sounds discovered in the course of these experiments, and in which no analogy could be discovered to those of any other known instrument, were honoured with new and fantastic names, such as jeu celeste, angelique, Sfc. A good illustration of this point is afforded by the following hand-biU, copied from the original, which appeared about the middle of the eighteenth century ; " HARPSICHORD IMITATING FOURTEEN WIND AND CHORDED INSTRUMENTS. " The Sieur Vibbes, Professor of Music, and Teacher of the Harpsichord, from Paris, most respectfully acquaints the Nobility, Gentry, and Public, in general, that he is lately arrived in this Capital, with a most extraordinary Harpsi- chord, of a mechanism sufficiently simple, but so curious withal, as to deserve the attention of all connoisseurs, on account of the effects it produces, and its additional improvements. The very flattering reception he met with, on his first voyage here, from the Royal Society, and the most eminent artists, has encouraged him to give a new degree of perfection to that instrument, and offer it as a tribute of gratitude to this nation, whose suffrages he will be ever proud to deserve. He may be heard every day in the week, Sundays excepted, from twelve until three o'clock. To begin on this day, the 20th instant. No. 40, Suffolk street, Charing-cross. " Admittance, a crown each person. ' ' He is in possession of the certificate from the Royal Academy in Paris, which testifies, that his new-invented Harpsi- chord imitates in nature the fourteen following instruments : — The Lute, Harp, Harmonica, German Guitar, Italian Mandoline, Hautboy, Tabor and Pipe, Tabor and Galoubet of Provence, Sistrum, Bassoon, Clarinets, Martial Kettle Drums, and celestial Harmony. The latter produces the most pleasing sensation, and cannot be compared in its grateful sound to any instrument hitherto known. " The certificate may be seen, and an English translation of the same to be had of the inventor, as above." In order to produce these different effects, new rows of jacks were added, which were furnished with materials of the softest kind, and most conducive to expression. The performer could produce these different effects either together or separately, by means of springs acted upon by the knees, or by pedals : sometimes, in order to facilitate these combinations, a third key-board was added to the two former. And yet, with all this complication, the grand secret, the real shading of the piano and forte, was wanting still ; nothing better was devised for augmenting or diminishing THE HARPSICHORD. 81 the sound, than to put in motion different rows of jacks, so as to withdraw them from, or approximate them to, the strings at pleasure. The result of these various experiments led to the invention of the stops, as they were termed, of which there were three kinds : the forte stop, which raised the dampers ; the soft stop, which partly stopped the vibration of the strings ; and the huff stop, which interposed a layer of cloth or soft buff leather between the jacks and the strings. These stops seem to have been the origin of the pedals. They were used in the " middle age " of pianoforte-making as well as in the earlier harpsichords. About the middle of the eighteenth century, Godfrey Silbermann, of Freyberg, and Blanchet, of Paris*, made several very important improvements in the details of the harpsichord, and particularly in the key-board, to which they gave a lightness unknown in foriper instruments. These makers added new key-boards, and extended the compass, of a large number of instruments made by the Kuckers. Paschal Tasquin, " keeper of the musical instruments to the King of France," the celebrated pupil and successor of Blanchet, first used buff leather as a substitute for quill, in the year 1768. He also invented several ingenious pieces of mechanism in connection with the harpsichord, a detailed account of which may be seen in the Encyclopedie MHhodique ( Arts et\Metiers Mecaniques, torn, iv, pt. l.)f Schobert, an ingenious mechanic and an elegant composer of music, was the inventor of a harpsichord with a double bottom, in which was placed, above the first sounding-board, a range of strings of two octaves, of considerable size and length, to strengthen the bass. These strings were sounded by a piece of mechanism brought into action by a range of pedals. Harpsichords of this description were constructed by Silbermann of Strasburg, and by Perronard of Paris. * The family of the Blanchets are -well remembered f M. Trouflant, canon and organist of the cathedral at in France as celebrated clavier makers. rran9ois Etienne Nevers, addressed a letter to the Journal de Musigue, Blanchet flourished' in 1750. His grandson Armand (born 1773, on the inventions of M. Paschal Tasquin. See also 1763) succeeded to his business, and died in 1818. The thereportofBarondeDietricktotheAcademiedes Sciences, firm of Blanchet and Roller still occupy a prominent cited in the EncyclqpMie MHhodique, 1791, art. Clavecin, position among the pianoforte makers of Paris. M 82 THE HARPSICHORD. Wiegleb, " an organ and musical instrument maker " of Berlin, made harpsichords and spinets in 1724, in which the strings were sounded by brass or metal tongues, instead of the bristles or crow-quills commonly used.* This idea was revived some few years later, in 1788, by a maker named Hopkinson (an Englishman), resident at Paris. Godfrey Silbermann, of Freyberg, invented a piece of mechanism similar to that of the clavichord, which struck the string at its half length, by which the har- monic sounds were heard at the same time that the whole string was sounded ; the strings of this harpsichord were much longer than those in common use. This instru- ment was called the Clavecin d' Amour. There was also a double harpsichord, named by its inventor, Johann Stein of Augsberg, the Vis-d-vis harpsichord, because each of its extremities was furnished with a key-board, by which means two persons could play at the same time. But, perhaps, the most extraordinary invention of the time was that of Louis Bertrand Castel, a Jesuit of Montpellier. This worthy monk whose Physical Si/stem ranks among the best philosophical works of the early part of the last century, and whose Optics of Colours is still esteemed, studied vision and the nature of colours, as blended or contrasted with each other, till, his imagination getting the better of his understanding, he confounded the eye with the ear, and associated the harmony of tints with that of sounds. Infatuated with this idea, he invented what he called an Ocular Harpsichord, which was strung with coloured tapes instead of wires, and being placed in a dark room, when the keys were touched, the transparent tapes, which re- spectively corresponded with them, became visible ; and the various successions and combinations of colours, consequent to this operation, produced effects on the sight which his fancy assimilated to the impression made on the ear by melody and harmony f. * " Besides arming the tongues of the jacks with crow f This instrnment was publicly exhibited in London and raven quills, several other means were tried by which in 1757, as appears by a rare tract in the possession of the to produce a softer tone, and to be more durable. As the writer, entitled Explanation of the Ocular Harpsichord, quilling a harpsichord with three stops was nearly a day's upon shew to the Public. Invento e?,pritur docto geminata work, leather, ivory, and other elastic substances were tried ; Voluptas, affinisque Sono nascitur, ecce color. Am. but what they gained in sweetness, was lost in spirit." — London : Printed for S. Hooper and A. Morley at Burney, in iJees' C^cZop-ror decoration. Woollen Fairies. Baize ; green, blue^ and brown Upper surface of key-frame, cushions for hammers to fall on, to damp dead part of strings, &c. Cloth, various qualities.. For various parts of the action and in other places, to prevent jarring; also for dampers. Felt External covering for hammers. Leather. Bufialo Under covering of hammers — bass. Saddle Ditto ditto tenor and treble. Basil Calf Doeskin _ , ^Various parts of the action. Sheepskin Morocco Sole. Rings for pedal wires. 216 STATISTICS OF PIANOFORTES AND PIANOFORTE MANUFACTURING. Metal. Iron -. Steel I Metallic bracing, and in various small screws, springs, centres, pins, Brass j ^g_ ^(._ throughout the instrument. Gun-metal J Steel wire Strings. Steel spun wire , Lapped strings. Covered copper wire Ditto — lowest notes. Various, Ivory White keys. Black lead To smooth the rubbing surfaces of cloth or leather in the action. Glue (of a particular quality, made ] , „ . , y Woodwork throughout, expressly for this trade) Bees'wax, emery paper.glass paper, -v French polish, oil, putty pow- I Cleaning and finishing. der, spirits of wine, &c. &c. ... J The materials must all be of the best possible kinds. The timber especially, being the most important, must be selected of the soundest quality ; it requires to be thoroughly seasoned (a process often of several years), and must then be dried by artificial heat before it is worked for use, A similar degree of care must be taken in the selection and preparation of all the other materials, or the quality of the instru- ment will sufier. In comparing the French pianofortes exhibited at the Paris Exhibition of 1849, with the British instruments presented for exhibition in 1851, we observe one curious fact, which we must presume is to be ascribed to the fact that in this country the manu- facture is limited to a small number of great capitalists, while in France it is distributed among a much greater number of makers working on a smaller scale. With a manufacture upon less than half the scale, and without the stimulus offered by unlimited, or indeed any, foreign competition, there were in the Paris Exposition nearly ninety exhibitors ; while, with all the extraordinary excitement presented by the World's Fair, the Crystal Palace produced only forty native exhibitors. STATISTICS OF PIANOFORTES AND PIANOFORTE MANUFACTURING. 217 The following carefully prepared table shows the proportions of pianofortes upplied by the industry of different countries, and also the particular description of nstrument exhibited by each maker. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 ENGLAND. I. — LONDON. Addison Akerman, W. H Allison Allison, Ealph Broadwood and Sons Brinsmead, J Cadby, C Collard and CoUard Deacon Ennever and Steedman. . . . Erard, P. Greiner, J. E Harrison, J Harwar, J Holderness, C Hopkinson, J. and J. ... Hund, E. and Sou Hunt, F Jenkins, W. and Son Jones, J. C. and Co Kirkman and Son,? Lambert and Com], tny. . . . Lufif and Son Metzler, George Moore and Co Mott, J. H. E Oetzman and Plumb Peachy, George Eolfe, W. and Son SouthweU, W Stodart and Son Towns and Packer Wheatstone and Company Womum, E ^a 487 490 478 480 518 474 471 168 479 496 468 464 493a 483 500 486 477a 484 481 487 100 477 475 476 498 683 472 469 470 494 526 499 I 4 1 a 1 1 1 1 1 2 3 1 2 3 1 1 1 2 1 2 1 1 2 1 1 1 1 2 2 3 218 STATISTICS OF PIANOFORTES AND PIANOFORTE MANUFACTURING. II. PEOYINCIAL TOWWS. No, in the Cutalogue. 1 i 1 1 2 M'CuUoch Belfast. ./ Smith and Roberts Birminffham 483 491 489 488 550 493 1 1 3 4. 5 Dimoline, A Bristol Aggio, G. H Colchester Mathews, W Nottingham 2 1 1 6 WooUey, F 2 III. — COLOKIES. 1 2 Herberth and Co Montreal Phillips, J. ;B Halifax Total... 92 1 1 21 3 58 UNITED STATES. 1 2 Chickering, J Boston Gilbert and Co „ 458 435 438 59 374 90 1 1 1 1 1 2 1 1 3 Hews, G ,, 4 5 Meyer, Conrad Philadelphia Nunns and Clark New York 6 Pirsson, James „ 7 "Wood, James S „ Total... 2 9 AUSTRIA.' 1 2 Hoxa Yienna Pottie, J ,, 141a 140 141b 141 1 1 1 1 3 Schneider, J „ 4 Seuffert, E „ 1 5 Yiasky, J Prague Total... 4 1 BELGIUM. 1 2 3 Aerts, P. G Entwerp Berden, P. and C Brussels Deffaux „ 186 174 188 176 180 179 181 1 1 3 3 4 Jastrz^bski, P „ 3 5 Sternberg, L ,, 2 6 V erhasselt d'Oultrepont „ 1 7 Vogelsang, P. and J. . . „ 1 Total... 1 U STATISTICS OF PIANOFORTES AND PIANOFORTE MANUFACTURING. 2U DENMAEK. No. in the Catalogue. 1 1 i 1 2 Hornung. C. C Copenliagen Eiihms, H Altona Total... 30 .14 . 1 1 1 1 1 1 I'RANCE. I. PAEIS. * 1 Aueher and Son 404 1099 1172 476 477 497 1234 1268 1274 1633 633 1665 943 1687 1482 1482 1 s 2 1 1 2 2 2 3 4 Bord Collin Debain, A. C 2 2 5 Detis and Co 2 6 7 8 9 Domeny, L. E Erard,P , Eranclie, C ^ Herz.H 1 1 2 1 10 11 12 13 14 15 16 Jaulin, J Kleinjasper, J. E Mercier, S Montal, C , Van Overberg Pape, J.H Eoller and Blancbet 1 1 2 4 1 2 6 17 18 Scholtus Soufleto Total... 2 3 7 3 35 II. — PEOTINCES. 1 Herding Angers , . 335 747 131 1 1 2 3 Zeiger Lyons Cropet Toulouse Total,.. 1 2 1 4 SWITZEELAND. 1 2 3 HtLni and Hubert. . . . . . Zurich Kiitziug Berne Sprecher and Beer Zurich Total... 87 89 103 1 1 1 ! 3 F F 2 220 STATISTICS OF PIANOFORTES AND PIANOFORTE MANUFACTURING. GEEMANY (ZOLLVEEEIN), AND HAMBUEG. Ne. iu the Catalogue. 1 1 1 1 2 Dieudonn^ and Bladel . . . Stuttgart Dorner. P .. 20 21 22 23 668 25 709 25 80 71 695 848 486 487 73 13 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 3 LiDD. E. E .. 2 4 Schiedmaver and Son . . . . .. 1 5 6 7 8 9 10 11 12 13 Scheel,C Cassel Breitkopf and Hartel .... Leipzig Zeitter and Winkelmann . Brunswick Kiilimstj G Darmstadt Schott and Son. .* Mayence Westermann and Co Berlin Bessali4 H. P , . . Breslau Klems, J. B Dusseldorf Gebauhr Konisberg 1 1 14 15 Heitermayerj T Miinster Adam, G Wesel 1 16 17 Gurike, B Zoffen Schroder, C. H Hamburg Total... 14 3 7 HOLLAND. 1 Cuijpers, J. E. Hague 95 1 EUSSIA. 1 1 Licbtenthal, M.' , . ., St. Petersburg 172 2 SUMMAEY. .14 . 2 . 1 . 4 England and the Colonies 42 makers, exhibiting 21 grands, 3 squares, 53 cottages. Erance 21 Germany and Hamburg 17 United States 7 Belgium 7 Austria , 5 Holland and Switzerland 4 3 Denmark and Eussia 3 3 Total. 106 56 ..1. 19 . 39 , 7 . 14 . 1 . 1 . 1 116 STATISTICS OF PIAN0F0RTE3 AMD PIANOFORTE MANUFACTURING. 221 Mr. Pole, to whose labours we have been so largely indebted in the second part of our volume, speaking of the pianofortes in the Exhibition, has some very sensible remarks, which, as they immediately bear upon the portion of the subject before us, we beg to transfer to our pages. " Notwithstanding the great intelligence and care that are brought to bear on the manufacture of pianofortes, we doubt whether the aid of science has been called in to the extent that could be wished, to guide their construction. Arrangements are often seen which appear unwarranted by the principles of mechanics ; and, generally speaking, the engineering of the construction is not so well studied as it ought to be. But, in the application of the acoustical science, pianoforte-making is yet more behind hand. The theory of the production of tone, at least as regards its quality, is at present wrapt in mystery. Few persons seem to have any definite idea what are the essential conditions under which a good tone, in general, or still less, any particular quality of tone, can be ensured. A series of tentative experiments leads to certain methods of con- struction which are considered good ; and all possible care is then taken to avoid defects in the manufacture ; but the result is, after all, frequently due to some for- tuitous combination of circumstances, which cannot be foreseen. Hence arises the variety in the qualities of tone, not only of instruments by different makers of equally good repute, but also in those turned out from the same house, and made apparently in precisely the same manner. Nay, even in the same pianoforte, it frequently happens that the practised ear can detect considerable variations. Sometimes a certain portion of the scale may be far superior to the rest ; sometimes a few notes here and there may be deficient in resonance ; sometimes one note only in the whole instru- ment may be faulty : but the reason for these anomalies it is impossible to explain. " The general excellence of a pianoforte depends, however, not only on the design of its various parts, but also, as we have already stated, on the quality of the materials, and the amount of care bestowed on the workmanship. It is due principally to the great attention paid to these latter points by the chief London houses, that English pianoforte-making has obtained, and still retains, its high reputation. " If there is any point to which, in preference, future attention should more particularly be directed, we think it is the cheapening of the better classes of instru- 222 STATISTICS OF PIANOFORTES AND PIANOFORTE MANUFACTURING. ments. A hundred and twenty or thirty guineas for a grand is a price altogether beyond the reach of multitudes, who both need and know how to appreciate a good piano. And yet the tendency of late has been rather to increase than diminish the cost. We admit readily that a good pianoforte, made purposely to attain the highest possible grade of perfection, must always bear a high price ; but, at the same time, it is but reasonable that means should be found to bring a class of instruments, equal to the ordinary grand, within the reach of persons by whom it is now quite unat- tainable. The expediency of combining cheapness with excellence in quality has long been acknowledged and acted upon in almost every branch of manufacturing art, and indeed seems to be the ruling principle of commerce in the present day. It is beginning, though tardily, to extend itself to the pianoforte manufacture ; and we hope, for the sake of the art, that the time may soon come when its influence will be more general." PART III. THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. Music, poetry, painting, architecture, and sculpture, included by our aesthetic philosophers as one fine art, are united in the closest ties, and might be supposed to have always flourished in unison ; but a knowledge of the histories of the several arts show us that this was not the case. Although music was that art in the cycle which first revived in the early period of the middle ages, and is therefore entitled to be considered the eldest of the sisterhood, it at no period ever made the same advance as the other arts. The dogmas of the Grecian schoolmen surrounded music, and ages passed away before men dared shake off the fetters with which it was encircled. As regards the first music of the pianoforte class, and indeed all music uncon- nected with the church, we are indebted for it to that important body of men in the middle ages, — the troubadours and minstrels. " In all countries and in all ages the first and principal application of music has been uniformly to the purposes of religious worship ; and in order to provide a com- petent succession of persons capable of singing the different portions in the church service, and to guard it from corruptions, in consequence of the ignorance of those by whom it was sung, it was found necessary that music should form a part of the clerical education. It was therefore taught in the schools belonging to the monasteries, to such of the children of the neighbourhood as were sent thither for education ; the system of instruction in which appears to have consisted of learning the psalms, probably by heart, and acquiring the principles of music, singing, arithmetic, and grammar. By this method, boys were, from time to time, procured for the service of 224 THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. the choir, and a succession of singers secured to fill up such vacancies as might be occasioned by deaths ; for some of these boys, when their voices broke, perhaps betook themselves to the church as their profession, embraced the monastic habit and rule, and became ecclesiastical members of the foundation where they had been educated. Others, on the contrary, disliking the monastic restraint, and availing themselves of their musical education, applied to music as their profession, and were occasionally employed in the monasteries, to assist in the choir on saints' days and high festivals, when a more solemn service was performed, and a greater number of performers required. " In the intermediate space, these laymen subsisted by travelling about the court or palace of one prince or nobleman to that of another, to entertain the lord and his guests in the character of a minstrel, by singing legends of the saints in verse, historical ballads, romances in verse, and other vocal compositions, written and set to music by themselves, and which they also sung, accompanying themselves at the same time on some musical instrument. " Between the common ' violar' and the character of the minstrel there existed this wide difference, that, while the former might be justly ranked with the lowest order of the people, the latter had the benefit of such a regular education, as would have qualified him for a profession of comparative learning and elegance. In the schools of the monasteries, the minstrel had learnt something of the theoretical principles of music, the practical part of singing, and the elements of grammar ; including also, perhaps as much knowledge of poetry as was sufiicient for the com- position of a song or ballad. Persons already acquainted with the principles of music, could find little difficulty in acquiring sufficient skill to play, on the viol, the clavichord, or some other ' minstrel ' instrument, a simple melody ; and the whole of this together formed a sufficient body of theoretical science and practical skill, to enable them to compose and play a variety of simple tunes. Like the ecclesiastics, these men must have been disgusted with the monotony of the plain chant ; and that disposition to hilarity and merriment which they appear to have possessed, would naturally lead them to the composition of gay and lively melodies. These they no doubt produced by making variations on the church melodies ; a method known to those skilled in THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. 225 church music, by the name of Descant. Extending their skill still further, they at length formed melodies of more originality, and became in time the sole authors of the music, as well as of the words, of the compositions which they sung and played. " Thus qualified by their education to teach what, it must be confessed, none were likely better to understand, it is no matter of surprise, that the minstrels and monks should have been, for some centuries, the only teachers of music in Europe. Travelling from place to place, and from the court of one prince to that of another, as the minstrels particularly did, they had the opportunities of disseminating the prin- ciples of musical erudition ; and in proportion to the degree of elegance and politeness to which their auditors had arrived, would be the disposition of those who heard their performances, to cultivate and practise the arts of music and poetry. " In point of politeness and elegance of external behaviour, in gallantry towards the female sex, and in poetical compliments on their perfections, which were often set to music, the French have always professed to lead the way to the other nations of Europe ; and probably for this reason it was, that the first efforts towards raising these arts to the rank which they merited, and from which they had fallen during the ignorance and barbarity of the middle ages, appear to have been made in Provence and the kingdom of Navarre. When once the inclination had been excited, the means of accomplishment were not difficult, as itinerant minstrels might easily be procured to teach the principles ; and in this manner, no doubt, was that science obtained, which gave birth to the class of Provencal poets. " The time of their first appearance in the world has been stated, and apparently on the authorityof Crescentini, to have been in the tenth century; but this is believed to be much too early. The most authentic account of them, written by Le Monge des Isles d'Or, who lived about 1248, and Henry de Saint Cezari, who flourished about 1435, two members of their own body, carries it no farther back than the twelfth century ; the earliest writer whom it mentions being Geoffry Rudel, Sieur de Blieux in Provence, who, according to their own account, lived in 1161. " That the Provencal poets, who are also sometimes called Troubadours, were indebted for their instruction to the monks and minstrels, is perfectly clear ; because at that time when this class of men first arose, whether it were in the tenth, or with G G 226 THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. more probability the twelfth, century, the monks and the minstrels were the only teachers of music, and they alone understood the art."* From the time of the revival of the sciences in the fourteenth century, music also, as one of the number, was much encouraged ; and its influence was particularly manifest when, towards the end of the fifteenth century, the effects of printing (an invention assigned to the year 1440) began to make itself powerfully prominent. Choirs of music were instituted in Italy and other countries towards the close of the fifteenth century. Ferdinand I of Naples founded one about the year 1470 ; and three highly accomplished Belgians (Joannes Tinctor, Gulielmus Guarnerius, and Bernardus Hycaert) were contemporary teachers in that monarch's capital. Some- what later, Duke Sforza opened one at Milan, at the head of which was the highly celebrated Franchinus Gafurius, whose works were the first musical ones that issued- from the press after the invention of printing. It was in the fourteenth century that particular attention was first paid to the clavichord, and foremost among the musicians who cultivated it was Francesco Landini, called also Francesco Cieco, from his blindness, and Francesco degli Organi, from his. skill on the organ. He was descended from the illustrious Landini family, and his father was a celebrated painter. He excelled on many instruments, and was a poet of no mean eminence. He visited Venice in 1364, when several superb fetes were given in honor of the King of Cypres ; upon which occasion he was crowned with laurel. He died at Florence in 1390. Contemporary with Landini was Nicolo del Proposto, Jacopo di Bologna, and some others, who were not only skilful performers, but also distinguished for their compositions. Specimens of their vocal works are preserved in the Imperial Library at Paris. None of their organ or clavichord music having descended to our times, it is impossible to form any idea of its excellence. The Italian authors of the fifteenth century speak in flattering terms of their talents in this respect ; it was therefore, doubtless, highly creditable for the early stage of the art. * These excellent remarks, by the late J. S. Hawkins, duction to Stafford Smith's Musica Antiqua, and in Dr. F.S.A. are from an unpublished MS. in the author's Rimbault's Little Book of Songs and Ballads from An- possession. They have been partly reprinted in the Intro- dent Musich Books. THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. 227 The next great player on record was Conrad Paulmann, who was born blind at Nuremberg in the early part of the fifteenth century. He performed on the organ, clavichord, violin, guitar, flute, trumpet, and several other instruments. He was greatly honoured by the princes and nobles of his time, particularly by Albert IH, Duke of Bavaria, and the Emperor Frederick III. The latter presented him, on one occasion, with a sword with a golden blade, and a chain of the same material. He died at Munich in 1473, and was buried in the church of Notre Dame in that city On his tomb he is represented performing upon the organ. Antonio Squarcialupi, surnamed Antonio degli Organi, was also eminent in the same century. He was organist in the Cathedral of Florence, and lived in the reign of Lorenzo il Magnifico, about the year 1450. His pieces have not been printed ; but Doni informs us that he possessed more than ten volumes of tablatures for the organ, clavichord, and lute, composed by Antonio di Bologna (^Squarcialupi), SvXio di Modena, Francesco di Milano, and Giacomo da Busa. The reputation of Squarcialupi was such that, after his death, a bust to his honour was erected in the Cathedral of Florence, with an inscription, in which his merits were celebrated in very flattering terms. Among the most able performers on the clavichord of the sixteenth century, we may class Fattorini, Francesco Corteccia, Alessandro Striggio, and Claudio Merulo. The latter held the important posts of organist to the Duke of Ferrara and the Cathedral of Venice. The works of these masters consist in ricercari on the themes of madrigals or motetts, in variations on French or Italian songs, and in dances more or less ornamental. Some collections of these compositions have reached, us, and are preserved in MS. in libraries and private collections. Andrea Gabrielli was one of the most celebrated composers of the sixteenth century, and renowned for his compositions and performance on the organ and harp- sichord. He lived at Venice, and was one of the organists of the Cathedral of Saint Mark in that city. The number of other organists and players on the clavichord, harpsichord, and organ, who distinguished themselves at this epoch is very considerable. Among the most eminent we may cite Paul Hofi'haimer, born at Radstat in Stiria, and who was G G 2 228 THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. knighted by the Emperor Maximilian; Johann Buchner of Constance; Johann Kotter of Berne ; Conrad of Spire ; Schachinger, organist at Padua ; Johann von Cologne, in Saxony ; Melchier Neysidler, Valentine Greff, Enrico Rodesca da Faggia, of Turin ; Bindella of Treviso ; Vittoria of Bologna ; Giulio Cesare Barbetta of Padua ; Claudio di Correggio, Andrea de Canareggio, Paulo de Castello, Alessandro Milleville, «&;c. England was not behind its neighbours in the production of music for keyed- stringed-instruments ; and the sixteenth century — viz. from 1530 to 1570 — introduces us to the names of Hugh Aston, Alwood, Bedford, Shelbye, Newman, Heath, Farrant, Shepperd, Edwardes, Mundy, Carlpton, Taverner, Johnson, Dr. Tye, BHtheman, Tallis, &c. ; specimens of whose " virginal" music have descended to our times.* The improvements of the harpsichord, in the following century, could not fail to excite a corresponding degree of emulation in the performers and composers for this instrument, and to produce a beneficial effect upon their talent. The first book of instruction published on the art of performing on the harpsichord, &c., dates from the commencement of the seventeenth century ; it was the production of Geronimo Diruta, a member of the order of Friars Minor, who was born at Perugia, about the year 1580, and filled the situtiaon of organist in the principal church of Chioggia, a small town in the Venetian State. His work is entitled II Transilvano, dialogo sopra il vero modo di suonar organi e stromente da penna. Parte prima, Venezia, 1615, folio. The work is dedicated to a prince of Transylvania, who had been a pupil of the author, and to this circumstance it owes its title of U Transilvano. Besides the didactic part, which treats of the method of fingering keyed instruments, and contains * The volume containing the virginal music of these Mullineri, Johanne Hejrwoode teste." It was from this ■writers is a small oblong MS. in the original binding, on valuable and interesting MS. that Sir John Hawkins de- the sides of which are impressed, in a tooled border, H. R. rived the pieces for the Appendix to his History of Music. (Henricus Rex), the portcullis and other badges of Henry On one of the leaves is the memorandum — " J. S. Smith, VIII. It consists of Airs, Galliards, Voluntaries, Fan- Lent to Sir John Hawkins, 1774.." Upon the dispersion tasias. In Nomines, &c. written on a staff of 12, 8, 7, and of J. S. Smith's Library, it came into the Author's posses- 6 lines, by the composers whose names are given above, sion. The celebrated Virginal Book of Queen Elizabeth On the fly-leaf is the MS. note — " Sum Liber Thomse has already been described. THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. 229 a series of exercises for that purpose, bearing considerable analogy to those which still find a place in the greater part of modern books of instruction, we find a variety of toccate, and other pieces by Diruta, Claudio Merulo, Andrea Gabrieli, Luzaschi, Paulo Quagliati, Giuseppe Guami, and other celebrated composers. The second part of II Transihano was published at Venice in 1622, in the same form as the first. It is divided into four books ; the first treats of tablatura, or the art of writing music for the organ and other keyed instruments ; for the imperfect state of printing and engraving at this period rendered it necessary to make use of particular signs for representing notes and their comparative value. The second book relates to the rules of composition ; the third, to the church tones and their transposition ; and the fourth, to the mixed use of organ stops. A work of this kind is highly important as regards the history of the art ; for it may be viewed as a summary of the knowledge possessed by the artists of that remote period. It is to be regretted that copies of the work are of the greatest rarity. A great impetus was given to organ and harpsichord music in the early part of the seventeenth century by Girolamo Frescobaldi, organist of St. Peter's at Eome, and who was born at Ferrara, in 1591. His name was famous throughout Europe, and his works, which are still admired, have survived a multitude of other productions of that period. He was the scholar of Milleville, of Ferrara, and may be considered as the founder of the harpsichord school ; for, before his time, there was no difference between the music written for the clavichord, spinet, and harpsichord, and that composed for the organ. He was the first who wrote exclusively for the harpsichord, and his compositions were published under the title, Toccate d'intavolatura di Cembalo. Kome, 1615, 1628, 1637, &c., folio. It may be remarked that the term toccata was the common one employed in the earher part of the seventeenth century to designate pieces of music for keyed instruments. We agree with M. Fetis, who says, in his remarks upon Frescobaldi, " that true test of genius, expression, is perceptible in many of the compositions of this celebrated man, particularly in a song with variations under the name of La. Eomanesca. The character of melancholy which predominates in this piece, is, perhaps, one of the earhest examples in the monuments of art of the expressive style applied to instruments. As for the rest, the music of Frescobaldi 230 THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. abounds ynth. ornament, and with elaborate passages, which would not be without their difficulties even to the most skilful of modern pianistes." Frescobaldi formed several pupils, who carried into different parts of Europe the results of his excellent method of performance on the harpsichord, and which power- fully contributed to the rapid progress of this instrument. One of the most dis- tinguished among them was Froberger, a young German, who was sent to Eome by the Emperor Ferdinand III, to profit by the instructions of the great Italian organist. No distinction had hitherto been made in Germany between compositions for the organ, and those for other keyed instruments. Froberger, having completed his musical education under this celebrated master, travelled through the greater part of Europe, and excited admiration wherever he went. After encountering various romantic adventures, and running several risks of his life, he happily terminated his career in the court of the Emperor of Austria, where he held the post of imperial organist. His influence, with respect to the progress of the harpsichord in Germany, was equal to that of his countryman and contemporary, Johann von Kerl, in regard to the organ. Two of his works remain as monuments to attest the degree of perfection to which he had carried his art. The first is entitled Diverse curiose e rarissime Partite di Toccate, Eicercate, Caprici e Fantasie, Sgc^ ; per gli amatori di cembali, organi, e istrumenti. Munich, 1695, folio. . The second has for title. Diverse ingeniosissime, rarissime e non mai piu viste curiose Partite di Toccate, Canzone, JRicercate, Allemande, Correnti, Sarabande, e Gigue, di cembali, organi e istrumenti. Munich, 1714, folio. These works were printed some time after the author's death, and the pompous titles given them prove the high degree of estimation in which they were held. The residence of Froberger, at Paris, had a very important influence on the progress of the harpsichord among the French, about the middle of the seventeenth century. The most celebrated among the performers on this instrument, at this period, was Jacques Champion, son of Antoine Champion, who had been organist to Henry IV, and was the father of Andre Champion of Chambonnieres. So lively was the impression made upon the latter by the performance of Froberger, that he at once caught his manner and spirit. He changed his style, which before had been THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. 231 bad, and adopted the more large and noble manner of the Italians, of which his model was a perfect master. The six books of harpsichord pieces which Chambonnieres published at Paris in the beginning of the reign of Louis XIV, are proofs of his ability. These, like all the collections of that period, consist of a series of allemandes, gigues, and other dances, the harmony of which is pure, and the airs elegant and flowing. The principal difficulties of the harpsichord music of this period consisted in the obligation of playing four distinct parts. A profusion of shakes, beats, and other ornaments, compose the brilliant part of Chambonnieres' music. It will be interesting to extract here a few of the graces and embellishments in use at this period, which we are enabled to do from a copy of Les Pieces de Clavesin de Monsieur de Chambonnieres, Paris, 1670, now before us : Played. Cadence. Fincement. Port de Voix. i^^ JLJ^- Bouhle Cadence •i EEE Written. Coule. i^ Played. :E I i^ Harpegement. The elder Couperin (Louis) was introduced at Court by Froberger, about the year 1665. Hardelle, Eichard, La Barre, and, at a later period, D'Anglebart, Gautier, Buret, and Francois Couperin, were formed in the school of Chambonnieres, and enjoyed considerable reputation in their time. Francois Couperin, whose name we have just mentioned, was remarkable for his noble and brilliant style of performance, as well as for the facility with which he overcame difficulties hitherto unknown on his instrument. In Italy, several great writers for keyed instruments succeeded Frescobaldi. We may particularly point out Ercole Pasquino, Bernard Pasquino (the master of 232 THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. Gasparini), Zipoli, and Domenico Scarlatti of Naples. The latter was one of the most gifted of the early writers for keyed instruments, and his works are listened to with pleasure to this day. The great John Sebastian Bach was, as we have seen, one of the first artists who played the pianoforte, and brought it into vogue* ; but it was his son, Carl Philip Emanuel, who contributed the most to the success of the instrument, by his elegant and graceful style of touch, as well as by his delightful compositions. As M. Fetis remarks, " the sonatas, concertos, and fantasias, published by this excellent musician, do not abound in any very great difficulties. It is true that the greater part of modern pianists would consider the various ornamental and other passages of these compo- sitions as mere child's play ; but it is not less true that the essential object of the art is better felt than in that multitude of notes with which modern pianoforte music is overloaded. As for the rest, it can well be conceived that the first pianoforte school did not regard the surmounting of difficulties as the ultimate object of music, and that the gradual march of showy and elaborate execution is the result of, the necessity felt by the artist of distinguishing himself in proportion as ability becomes greater." Or, rather, as it has been remarked, the performer is now obliged to make up in rapidity of execution for want of invention and taste in the composition. The Bachs had their followers and imitators ; but they have long since been forgotten. Nevertheless they paved the way for the great schools of Mozart and Beethoven, Clementi and Dussek ; for the great names of Eies, Weber, Moscheles, Mendelssohn, and Bennett ; and for the more marvellous schools of Thalberg, Henselt, Chopin, and Liszt. * " Though the Trench taste for frippery, in place of awaiting in his tomb the moment when he should come solid science, and the Italian instinct for rhythmical and forth and assist in the recovery of his olden heritage : and easy melody, so o'erswept the European schools of instru- to-day he stands before us, vigorous, gigantic, and as un- mental music for a time, that even some among the family damaged by time as the youngest enthusiast who hastens of the grand old fuguist did not escape the infection, and to do him honour." This excellent remark is taken from his " Well-tempered Clavier" was forgotten for the flimsier a charming article on the Pianoforte Composers by H. F. works of HuUmandel, Schobert, and Paradies, — it was but Chorley, Esq. which appeared some few years ago in one for a time. The honest old organist was, after a period of of the monthly or quarterly magazines. We have the usurpation ,and famine, sought for and found — like the arlicle, but have unfortunately mislaid the reference, champions of the Swiss superstition — with grave patience THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. 233 These few remarks are intended only as introductions to the following selection of ancient pieces for keyed-stringed-instruments. For believing in Sir Joshua Reynolds's remark, that " art is best taught by examples," we have been at some pains to select only such pieces as will show the progress of what may be termed " pianoforte" playing at different epochs of the art. Most of the pieces are of the utmost rarity, and we have been careful to give them in all their original integrity. They comprise — 1. Gloria Tibi Trinitas William Blithemaa. (Gentleman and Organist of Queen Elizabeth's Chapel. His epitaph is given in Siow's Survey of London, edit. 1633, from -which it appears that he died in 1591.) From Thomas Mulliner's Booke for y° Virginalls, collated with another copy in Lady Neville's Virginal Book ; both MSS. in the possession of the author. 2. Sellenger's Round. . , William Byrd. (Gentleman and Organist of Edward the Sixth's Chapel; born about 1538, died July 4, 1623.) From Queen Elizabeth's Virginal Book in the Fitzwilliam Museum, Cam- bridge, collated with another copy in the Earl of Leicester's Virginal Book in the possession of the author. 3. The King's Hunting Jigg Dr. John Bull. (Born about the year 1563. He succeeded Blitheman as Organist of the Chapel Eoyal in 1591, and died March 12 or 13, 1628, at Antwerp.) From a MS. volume of Virginal Music, transcribed by Sir John Hawkins, in the possession of the author. 4. Les Buffons Dr. John Bull. From the same MS. 5. Courante Jewell = Dr. John Bull. From a Dutch MS. of Dr. Bull's compositions, written between 1621 and 1628, formerly in the library of Queen Caroline, Consort of George II. 6. Capriccio del Soggetto sopra I'Aria di Roggiero . . . , Girolamo Frescobaldi. (Organist of St. Peter's, at Rome. Born about 1591, died in 1640.) From Toccaie e partite d'intavoldtura di Cembalo. Rome, 1615. Folio. H H 234 THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. 7. Suite de Pieces H. Dumont. (Born at Liege in 1610, died in 1684. He was Chapel Master to Louis XIV.) From. Meslanges d 2, 3, 4, et 5 Parties,avec la hassC'Continuee, contenant pltisieurs Chansons, Motets, Magnificats, Preludes, Allemandes, Sfc. Paris, 1657. 4to. 8. Suite de Pieces Chambonnieres. (Andre Champion of Chambonnieres was born about 1610, and died in 1670.) From Les Pieces de Clavesin de Monsieur de Chambonniires. Paris, 1670. Oblong 4to. 9. Suite de Pieces Jean Baptiste LuUy. (Born at Florence in 1684 ; died at Paris on March 22nd, 1687.^ From Lessons for the Harpsichord or Spinnet. Printed hy Daniel Wright, next the Tun Tavern, corner of Brook Street, Holborn (1698). Ob. folio. 10. Prelude and Airs Henry Purcell. (Born in 1658, died in 1695.) From A Choice Collection of Lessons for the Harpsichord or Spinnet. Printed on Copper Plates for Mrs. Frances Purcell, Executrix of the Author. London, 1696. Small oblong. 11. Variationes super Cantilenam F. X. A. Murshhauser. (Born at Alsace in 1670 ; died at Munich in 1733.^ From Octi-tonium Novum Organicum, octo Tonis Ecclesiasticis, ad Psalmos, et Magnificat, adhiheri solitis, respondens. Augsburg, 1696. Ob. folio. 12. Sonata Jobann Kuhnau. (Born, at Geysing, on the frontiers of Bohemia, in 1667; and died at Leipzig in 1722.) From a MS. entitled Histoires tirees de la Bible, avec les explications, en six sonates. 1700. 13. Suite de Pieces John Mattheson, CBorn at Hamburg, September 28, 1681; died at the same place in 1764.^ 'From. Sonates pour le Clavecin. Hamburg, 1713. Folio. 14. Sonata in A minor Domenico Scarlatti. (Born at Naples in 1688 ; died at Madrid in 1757.) From a magnificently written MS. volume of pieces (mostly unpublished) in the possession of the author, entitled Lihro de XLIV Sonatas modernas, para THE EARLY COMPOSERS FOR INSTRUMENTS OF THE PIANOFORTE CLASS. 335 Clavicordio. Compuestas per il Senor D. Domingo Scarlatti, Cabaliero del Orden de Santiago, y Maestro de los Reyes Catolicos, D. Fernando el VI, y Dona Maria Barbara. 15. Sonata in G Domenico Scarlatti. From the same MS. 16. Suites de Pieces Francois Couperin. (Born in 1668; died in 1733.) From Pieces de Clavecin. Paris, 1713-19, Folio. 17. Capriccio , j. Seb. Bach. (Born in 1685 ; died in 1750.) From C. F. Becker's Hausmusik in Deuischland in dem 16, 17, und 18. Jahrhunderte. Leipzig, 1840. 4to. 18. Capriccio in G Handel. (Born in 1685 ; died in 1759.) From a beautiful MS. volume in the hand-writing of Smith ; said to have been written for the Princess Amelia. Many of the pieces (including the one now published for ihe first time) are unknown. 19. Fantaisie. , Theofilo Muffat. (Clavecin Master to the Imperial Family at Vienna, at the end of the seventeenth century.) From Componimenti musicali per il Cembalo. Vienna, 1727. Oblong folio. 20. Air o , Theofilo Muffat. From the same work. 21. Allemand Theofilo Muffat. From a MS. in the author's library. 22. Introduction and Toccata De Mondonville. (Born at Narbonne, December 24, 1715 ; died in 1773.) From a contemporary MS. presented to the author by the late J. B. Cramer. 23. Eondo in E flat Carl Philip EmanuelBach. (Born in 1714; died in 1788.) From Clavier Sonaten und Freye Fantasien nebst einigen Rondos furs Forte- piano, Sgc. Leipzig, 1787. Oblong folio. 24. Fantasia , C. P. E. Bach. 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A ^^ ^^ -g- -9- -w- -^ -J- -J- -r -J- ri ^-^=^ ^^^ i inn^ i^=F ^ ^ ?^ r-rr r r r ;* ;* * f ■ ^ ' 5Sf f mrtnr J=^ i ^i _ i_i J J J J ^^^ ^ ^^^^ f r ^^ ^^ f SE f fe S^# 4 A f- ^ ^ ^ J y- s V J ' 7 ^ -^-^ *-^ 7.^7 P rr^^^rr p=^ i ^^ ^^ i I f=f f r r ^ TT 1^ ^ il ^ 7 LTv =F^ ■# ^ IC ^ft p p J V ^ ^^ i^ ^ - -»- » y l # ^ p ^^ i^ ^^ p' i- -O- s S3: ~t^ -e>- -- ?^7.r^ ?&^ ^ ^m rmJ^ T 9. I^SI 33: :§: J^^' m r — r — ^ 33= 12,059 u:a s 1 35= M w 10. i 33: ~rv^ JT^^W^ m ISX TUTi-^i^^ "O" ^^/^?T" 3:5L ^ s ^s^ 33: -e>- 11. i S :S^ :g= -<&- ^S^ m f ^ f ^ ^tis-^^ ^ If ^ ^ - i^l ^ 3CS: 1 ^ ^^ ~TTr]rriJT^ ffl k^"^ ^^ l!^,059 2.V> 12. ^^^^ S^ L^y'Liar ^ ■ / ^ > ? ^ i s ^ ^ Ldd'fcL^La'M' I ^^^^S r f -JL - e- 0.0 ^ BSBB i ^ J J- li ); f J J J ^^ ^ JJ ^ J i# ' ~ri^mi d: ^ 13. o ir: 331 ^ 3=SC » t J- i ^ ^-^^ ^ /'[* I* , i ; ^ ^ ^3 i=ii uu ^ J- ^ ^ iy '. r r ccr- ^ 14. W f :^ 35: J. 1 A rt '-l-J=, s -eh- -j2-g — d — -^ r- — ^ - CN ■-• 1 r"H.,/.r^'^ -^^pP^.-^ 3' 1 t =5F^=^ — ^ ' ,'0 -1 ^ t ■ g> '- ^^^ — fc^ .^S:-. . / ~ CI ' . ■ — " , r-r-* 12,059 'CdURANTE JEWEL" 253 Dr. JOH N Bull. leas. i ±i ^m m s. . i ± S 1 E P ^•^ P ^ a -«r .jJ2_ J. 5 i ^ J a 1^,^^ i 2o4i ^^m ^ m 1 -^ m 4 ^ "r -^ -0- — 1*- A^ h^ ■- ^ la '—^ — ^ 1 1 ^ i i^ e i a. -Sl i -«r ^ 3c: ^ ^ ^ ^ 1 fe^ ii ^ «L I^A ^ i i 3: ^ 1" J i- :t ^ F=^ J ^ t»>: r ^ ISl "-T ^C^ J ^ i r T I " r ^ 4=1 i? ^ r ^ s^ ■^i^ s i.^ t^ Is^ s 35 W a^=^ ^::s fc JJ'^^* 1 3^ «^ ki^ ii y. ^ J. ^ ^ ^ ^ ^ i I I ^i: :;it:^ ^-^ ^ r - I ^ i ^ j- ^^ J: 4 J 3: X^-^ .^jfc ^ .is) ■12,059 ii.=>5 A- : ^^ A P i i. i ^ ^ m 1 ^ i ^ ^ ? ^^ i ^ i^ ^ ^ i m ^ i ^ ^^ i ^ p ^ p J.. ^^ ^ j^ ^==^ i E !• ■ ^ ^ ;#=^^ ^ »n*- **=F ^r^'rrrr m ^m A 1 by ^ J-. ^ • r ^ *= ^^ r ^ 1 ^ f ^ ¥ I m 1 i ^• i ij '4SG A P P ^ ^ E E i ^S f : ■ i # ^ ^ ;^ =55p J: i ,^ ^ ^ -«r P ^^ i: i E ^ ^ ^ ^^^^ J- IS ^ ^^ [^^ j=^ ^ ^=i ^ J — ^ « "p ^ ^ m -r-f- T^rrrr ^jt ^ m B F^^=F' P £ i j=^ J — ; ^ f M i=^ ^ [^^ f T ^ ^^ A K 2 ^=f -^ Liir^'i J- ^J I ^ r ^ j-^ 'c; ('40) l!iJ,0S9 257 CAPRICCIO DEL SOCGETTO SOPRA UARIA Dl ROCCIERO. GIROLAMO FRESCO'BALDI, 1616. {FRA JACOPIXO.) K? 6. ^ S 4- ^ S i ^ ^^ -o- mi $ #: i f r ^ ^^ ^ gr^y "^ ^ 3ct: ^Jl t t- '^ - ^ ^ -4S>- -SH ^ ^ ^ A: ^^ :?=?= J ^i J m -SSf :ss; # r # # i S ^ T=t ^ ^ ^ J J J ^ i ^ ,^ -©- f f ^ TTT J ^ J J J-J J ^ ^^ J^ ^ '^ ^ J 3s: W J J_J "^ /T\ (•='1' f'5H w T V bJ ^ ^ ^ ^ ^ "^ ^ -Mfl— ^ :22; r f p ' rr t ^ i i^ =S5= n ^ J. r ^ N, r^ J — , 7 j'l^^ r^ ji^ ^ ^ P L3 i^ tj T* T*^ ^ ^ — r r '^ r -221 -^ W 1 r 1 1^ ,i ^ P ^ r ^ :^ i ^ ^ ^^^ ^ :3: -ev- J J ^ ' ' ^ V=F^ 1_Z^ "^ o^ ^ ^^^P^ ^ -©- -©- 1V5?', 12,059 2.5 . .i ^m H J^=i ^ i. rn i ^ -<9 m .^o 3 P I ^ ^ =4- da/m^m i ^ S /r\ ^ -tS*- ^ ^ ■1= 5n l!t059 (^•■< ' 260 ^ F± W;! f r f i 4^ ^ g l# ?"nr ^ j^ n J. ^m A ■ •y-i r r f 3 i -^ 1 ijt i ^ 1 I ?c:e: J J i ^ ^ ^s i ^ i ^ 3: 1^ ^ ^ 1 -Ssu- -^ J J ^^ ^ P ' ^ ^ :^=^ ^ ^ ^ ^ ^ J ^ rrrP J J ^ JU. A ^^ -P ^ rrr 4=4 p t=^=^ ^^ i-jjiL :■' J ^^ w ^ ^ f ^ x^U ^ i_i ^ -a. = s T S ,^ f f -f— — cr ^ ^ T ^m. r ^f f^ i r ^# ^ JsU -4^ — ^ ^=f (24). 12.059> «6i -f-fj m m m. 33: f=r^ a ^m 3tW -«■ m 1 ^^ -L^Uii ^ ^ :i^ ^3.SS ^ S i ^ t ^ /g^ ^^ tf^frfrtr s -># ^ ''\f[ r.r- ^^ ^^ r ^B s ^ ^ ^ m isB r\ f^ m^M -e>- f==5t ^ S^ i ^ :it^ ^^irr, ^^ :» J^ JTI] ^ j-,^ ^ 1 J ^^ i ^^ J J- 3a: ■' o dbt J . J. J , J 4: J J t^ ., ^ • ^J m ^ ^ "f 1 ^ J3^.n7] ^ ^^ ^^ ^7^ ^^ fet« ^ _j ^ i ^ a m WT p #-" -i. i ^S ^F^ o» ^^^ -^ ^ ^ 3s: 12,069 (y.v) S2f>2 SUITE DE PIECES. ALLEMAXDE. H. DU MONT, 1657. K? 7. i m ^^ 5 ^ ^ fe^ ^ •* f. p*^^ *- ^^ ^^ f irt^r ,> r ' "^^ - ^ > iffl L." pi t^ -H*^. ^ ^ -©- nrv'^ ^ -r-r- ^ if ^ t==^e3 ^=?^ e= 3: jt.-,^^f ^ i 35 33; J ^ J3? fe ±z: -©- ' I ' I' r rftr ^' m W ^"T^ ^ ^ '^■^ rii- r r J ,# ^ Tv /^Jrr p ^t: ^^i-v J J J .rl- J J / J l i^f Pr k tel ^CD Jr;r i Y — -[^r,cr v--^ J- V m 1 .r- ^ ^^ ^^=iTF at^ ^^^^^^ -1 — r ^ ^ :i Vi :^ ""^5" ^ ^ > ^ > ^ ^ s :?f^ 3?=*: t^ ^^ ^ ^ P^ gjH-^j^jJvT^ r — ?- ^ -'■ v ^^ - T ^ f ^ Pf: ^ "^ '•>fr, ly Oi" 26'.J ALLEMAKIiE GRAVE. te ■^T ^ ">>(t . 8_ ^ -=& t» ^C5- '^ ^:J^ ^ -^ /^ ■1., J ^ ^^ i Jg^J .HJ .J.J-.^nH ^ i s ^ A ^ ^ -^ J J J- ^ r-T ^^=J f^ ^ fT^ ^•^J > 1 — T W^ r 33: ^^ ^ U ^ ^ .^c^r ^ 1 r^T ^ 1 ^ ^^M ^- .«r' c/ f m ^J. J^ ^ e #=^ -ra J i- ^^ 4 t ^ 1^ r ^fTn-Q ^ :P^r ^^ j- J=jf ^ jjj;i,j^'-l-^ ^;^^ i m m TT^^W ^ >• cT^ T^^ ^r^ -z^ ^ M T P ;^ ** J ^ ^ d: ^^ m ^ 32n is^ ^ y-f7 } ^^ s ^ # jii^i -^ ^u i:^ *'-r r- c; Ir r * ^ ^ ^ ^ Jr 1 ^-^ — i 1 J S *- A ^ i i 3: 5L ^ ^ ^ife ^^ ¥ ^ 1" ( ^ r-SI- ^ ;.AJ ^ J. ^ 12.059. IV!9< '4 '16 GjiLLIART)E. i ii* S ^mm i ± m <^ -i-w — r t£l r ^^^7^ i ;^^ i r ^m ^ ^ m ^ i -*-t^ ^ ^=T 1 ^^ J _ .JJf) J ^ "^ i ^ 'I fjT Q 'l ^ -j?iv^ ^ i XL M ^ ^ ^ # ^ jJ'C^C/Cii' REPRISE. ^S i « ;1 :^^ ^UJ ^ - ^ '• » "^l ^ .^^ i? ' 1 m 1— * =^ 3 ^g ^^ ^^ * w ^ ^ S3^ :^ j^J'TO i CP ^'J?: m3" m ^s i 35 #^f^:'^ji^h S ^ ^ ^ ^ A r ^^ ^ i , ; J r ^ ^^ 1^^ ?a^ ^ "i ): J ■ ^ t^ ^ ^ V^ -'^ • t^ ^ ^ ^m f ^ ^^ r^ r i 'xo) 12.059 ^ ^^ ^ 35: 26T ALLEMAX.be la pVXQVERQVB. I A. m J \ jj i J i=S S ^ W ^ 22: i £ 1^ '''*' ^ :? r'lir i ii i ;0 n\'^ -t— t- im =^5 c!c!Lr-r r i -«!?- i n^ s M f^^iT r- p i r=^pt: ^ 3 * rff? ^5 ^ ^^ ? i ■rrn j ■ - . jv.to j ^w r r cZa ^ ^ T ■pr ?r ^^ M ^ f)^ r ^ r r f 'p'^ ^^ i tt a' ^^ /s«. ^ ^ "^^ ;8«rf. 1 REPRISE. t ^m ^ J ^n,^ fr k ■Til ^ ^ J ^ T -^? ^ #^ pi yr f---f I -^ ^ ^^ ^^ ^ ^ ^ ^i- •>n ^^ J^ ^ i I pi i ^ # d ^ f4— ^ ^ ^frf'^ ^^=^ ff ^ E ^^ J^t^^ J 12,059 , T jJ vi^J -^? — ^ f ^ 1 (31' '^GH SUITE DE PIECES. JEAH BAPTISTE LULLY. ]670. ALLEMAXDS. X? :>. r. ,-■ " -, J> ' ^> tl '^^'^U{U . ^J . J .h ^^^ ^^fe i .i i a ^ ^, .^ ff '- J J. ^ ^J I n i^ S S r 'r c/L/ i 3 d — -^ 'f ^3 j- ^ ij- r a ^^ «: ^ i^ ^ ^ ^^ ^ II^J^!!^^- ^ r : ^)-.i'ir ^' » li »■ y V „r. f: r; jif i 5 feg^^^::jg 1 r 1 — ;-i2'' i2'v059 •- -M9 10 0- m f- ' f ^i S M i J J-p i ^ ^' f? f ^T~^" ^ i i x::^^ (, '.;., iJ i| j j =^ ff If — - f ' ^ f isEE^^ J: ■0-J---^-^ r-^aar— £ ^' s ^ ^ ^1 Jl i T^^ S ? ^ r .?if^i^i'p^.'i | '| ^ 5 ^ s ^ s^§ F -0-0- ^ If ?^ S=^ r^r T "r cJ-^"^ ^ ^ ^ 12 n.i« iJ70 sy.OM' MRE. ^_^^ * ^ ^ -■^ ' l)'{> ^ t m .0 M : > i ii r^ ^f H A ruf >Wr- i r i £ f-^ i ^ J ^m t^ ;-^-^ >r- l lr"^' \ P ^ ^ ^W ^ ^ S *L -»&■ [7 f--^pr- P i^j j i^j i. J ,^h ^ ^ : ^ ■U) :S- ^ ^ ^gr ^ J^ ij^ I* 1 ^ u^ H #-- E ^ ^ -^ ^ l'i,U59 i 3^^ ^S ±1 m ^ T r ;^^ r ^ -• rrfirri ^^ f^ ? i=i : ^ ^Tr I ffr ffr iV'tTI^'I rrf fi^ _j -^5r ^ ii g :^:^^ It^ I ^^^ ,« ^ ^ -^ ^=J: J - J ^ J - J ^ ^ ^ r ^ > -^« «F= 7 ^ ^^iffi i i ^ grXa ni' J " I* P 5 1 P ^ £ # 0- rrri'r^r ^ i i=^ £ ? :d= ;^=^ i #rf . M - l-rf-ff ^ ^ S ^^ '^ ^- i 1 /^ ft v- i e :i^ ^ P f f^^ •^f- ^ ^ ^ ^ ^ g p^E ¥^^ ^^ =^E^ <» ^ p A- I * [gr — 1 ^ £ ^ I — t^ ^ fryV *=bt :^ -^? — =^ ^ ^ ^ ^=Hta 12.059 ;;.! 272 i "^^ ^ i* 1 M ^ m ^^ J^ ■J J. _sv fc«: ^ ^^ T» :: — 0- m^m =£ ga i i <» ^ ' , #' ^ f'0 f Jr^ Ir ^^ t (# # S ^^ ^ -^?! —41- J: ^y-^ ,^=^'-^=T=r'= 1*- T#- 1 ^ ^ ^ — r — ' i — rr r ^ r 1 — j# ^^-I'^f — — - Uyi r- J J -^ — -r ' J r. ■ ^ ^ 1 ^- r r J - J 1 -ci, ■ • ;: ^^=^ J i J. i^a ^' k^ ^t\ r rr r ^ ' ^ ^ r r fS6) 1'i.059 >4B^^B^H '273 ff ' r ■^ -^ ^ 3£ „./^-^' A- LT f r- ^' ' r r .' r r i # r P^^ ^ f i '^^^ ata ^ r ^ ^ r i 1 s s i 3 9Mt»' f^ ?f ^ ^ S r r SARABAKB. t ^ ^J i^j. i' i * i^ i ^ ^ i J, J J- i *^ ' ' 'i g J J j ^a g 8 r p ^^E^^ ^=5kd i i -■^^-^^ P=^^^ p "F f r r # r i ^ A ' p r ^ i ^ ^- 12,059 , (a7; i h- [^ ■J If i ¥ T a J. i ? ^ ^ ^ J J, J^- r J J - I T==T A ^ (» ^i r ^ Rit= ^^ rrf ^^ 1 ^ r- ^ f y: ^ V^ -iJl 4. ^^ J J J J. -^ J-— ^Ji r ^--^^ ^ ^ ^ ? ^T^ ^ r V J. r 1— cr. J. J J J - — ~ r: :^±^ ^ ^ ^ ^^ ^ ^^ ^ ' ^ 1 gK^H^ J- — -^ i. # f J A 2 J: ^^iS ffi J.^ J'J ^^ p p r ' ^ * ^^ m :^ ^ w 'J^-^* trv ^^ J--r— -/] ^ 3^ ^E^ ^ ^ 31 T T-r-r^ rrr JIGG. GE - m jj irn ^ mLcr 5 iT* ■ ^ ^ *'— ^ r V r V gtE^ i r V ^' . - \' . V S i :ih) 12,059 2r.T m ^-^=^=f=^^ g ^ WUfaS^df UfiLraf r=^=±^ J^:^ ^.^ ^m r 1 :^fr'~~":^ • J.<- -J. . A- — :*!" § -^ ^ :^ '^ rp^n^mm m US Lifr'Cd' uA ^ ^ ' ^ -J. i^^- -J . .j-^j . ^ p^ 'V V ]Z_ 2i i r r r^r ^ ^^ w~^ M ^ ^ :§= ^^ ^ ^^^ J. :i.^ ff»r" n:r P it ^ r fr ^ :^=?g^ I 'CD'^lLr •cL^"lr[Xr:L' ^^ w mT f;rrr'-^ » r ■ r • ii ^^ feL_^ t.JTl'^'^^^ f'l^J^^J^^J ^ IJ-.^- *£: ^ ^ ^a i J ■ J- »■ FH ^$r-r- t^^^^ 5^ I^Ay I -^t ilr¥ ^ ^ ^ -J ^B -^ ' i . I tt-S !. I ^— — ^ 12.053 CJO) '^7 a /^;^ f'7:j7}^m . 1 ^: ^- ^ : i ^ as eI 4 ^ ^ ^ ^ ^ ^ ,«q=v^ .1^ ^ ^^a ^ ^=^^ 1 3f ■'?-^ :?t -^-¥- jT^Ji^j?:jg:^j?:j?]j?]jg ^ r=T r- r I r •);» f ., , r^ r f r i tf'dj'^'cU M. 0. J. J. J. J- j : 6 ; ^ g • m. m ^ ^^^ ^ \ij^[mu mi7]rrri m J. J J- J. tJ. J - r 7 1 ^' 1^ • r ' V ^ r [;r P^- LCr- I I r 1 «-^ r V t*' ^^ -^? — ^ j'JJTJJ r y ^^^^ -^ — ^ ^■{^ v^ f r y £ ^^ (4-Oj 12,053. i=r^^ m 7-jJ JJJ J • — ^ f r i « ■ } r t f I V- t^S^a ^iLnu ^ ^ ^ ^^fe .. ^- .. f -;:£fr^ ^ ^ ^^ — f- li:c^iLSiss ^mm i J- . J. J »■):« i^ : ^ : ^ =¥= I * • ^ ^ ;t3j dl'cniSJcu ^ y -^ g •■ « J- J- t j. J ^ ^^ ^ ^ 1^ ' 10 i :i ^^ LLf tJj ^ ^ 12,059 ■■M: 27s PRELUDE AND AIRS. HENRY PURCELL.Jfif»0. PRELUDE. .^rimnrri .VP 10. ^5^ "^^^ ^ I ^^^ j_>ji j_i j^ tf jig^ Jjj: ^ V^ JjjJjJJJ^ I ^ e Sj'Lj'Uj' 1^"i.iS 279 . r^n.-nn aEi^af ^ ^ ; u [ r^ J. ^^^^^^ ^ 0-. S S .^ — S"^ ^ J^ tMtMtf ^^ ^> ^' ULs Lp SJ B ^^ ^ ?if?=Z2 i g :ss: ^ ^ i i i i iii ^ -1 — ■ — r m^. . m P 1 X A^ ^ s ^ ^ w w ri i-i ^^ i i i S ^ i ^ £r^^ ^Q ^ ^^ 3 i S ^ =^' ^ ^^ /r /r g i ^-^ ^ :¥=^ 1 & ^^ S ^ 4^ L/ r • p i^ P ^ r i ^ ^ ia,q^9' i-w 'ZhO ALMAXD. m ^ 'I ■ n i i r- Pr- ;r P ^ i '1 S V V 1 ^ 33: ^ i :& ^^#=q # r (T m . f ^^ ^ 4 i i^ J - J J fife ^^ T ^ 1 ^ %i .a » ^ ^ i n i ., j-^j T~W n r Pf- GT ^^ ^ J- T j:i r -*■ § 35: i 3a: ^ ^ i ^ .i jj:3 -^i k ^ ^ a g i ^^ 1^ - r 41- l'-^ (i5'l ^3 r U im ^ i /r U\: v> r_^ ^ : -^ ^ J J P ^ i jT , J r /T^ ^ Mr r^ 4^-^ N m -^^=^- c? — T 3t r ^ -s= ^ J- f J. *N. ;g ^=^ ^-£ 3^ -^ — . / . . -« I* m i^^ p p ^^ m ^^ ^^ -J., ^j^j- M ^- m M4— ^ #• | >^^- ^ ty >^ ^-i i!Z: J ^ i ^ ixs: Ezs: I P 1 • ' ^ ^ ==r T - I-. aKI^- f" ^Pirr F^ji ^ s J J J ^ :s5= ? ^ m ^r. ., J '' M 1 L-^t^ ^ 33; ^a J ^' ^^, ^ ^ i :©: :* .^^ ^ 33= i.^ 33: ' -^ ■^ 12 059 \o 5^82 SARABAXT). g i t Ir i ^ ^ in w ^^=^ ^ ^BE ±: 5=J= J' i=^ r i *=^ ^ -M^-^ -^r— — — «r ^ i ^ i ^^ ##^ p r^rf f .^- — i 1 — ^ ^^ i i ^W ^ ^ <■ ?■ ^ i ^ ^ ^ ^ i ^ P ^ J^U itri J > ^^ J J- ^J i ^ i i^P^ -^-^ s ^ ^ ^r '^ f CEBELL. ^ i ^ ^ ^^ J: r J J 1 f r rrrr^- rr ISZ -^ar ^=^ f -^ ^^ ^ uxri :; ! ^ J ' "P ' g>^"t-[rtT j-^ r—^ r nj I \'\ 4:m'^'4 '^8S ^* ^ /r -fiv- m 1 J. i- f s -l#-r- -«_: e. P e: S ^y^ ^ ^ 4^^ g> ■ . i I — * i 1 r r <■ !: J ^ 22: ^ ' r r. J — ^ ^ r r jpt^ J ^^ ^^ E ^ J i i^i ff r j ^ i^v r ^ i=i -^s — »— ^ r m ^ ' » ^ 22: iUU i I to ^ :g rg: ^ ^ 12,05e 2R4. VARIATIONES SUPER CAMTILE N AlVI. (j) ^^ j / ^ i /r ^ F.. X. A. MURSHHAUSER, IHMft '/r , ■ h I I J ■ . U=^^ =s 3^ 3s: ^ T /r T 'P 11. ItWL I 1 A ^.M A- J}J: 4r ^ ^ ^ ^ ^ i i ^^ ^ A ^ m /7\ ^ ^^ fP -^3r- 4 =r r r ^ s m i ^ I ^ ^ 3S ^ ^ T VAR.I. ^» ^^ S w 7f W^^ J .J J ^ i^ J ^ ^ ^ P ^ ^ ^ ■^ T i ^ ^ ^ a ^ -1^ ^ ^ p p i ■1 -^ ai ^_^ J ^ i j^ rr\ ^ ^^ r ^ ^ ^ ^ 1 VAR. 2. 5=3 'H fffflY * ^ r ^m M ^s -j — ^ ^^ ^^ ^ r- pr ^ J S i ^ ?q5 i^ ^ T ^ rr\ ^piU mf ^ - i ■r i* -^ ^^\{:ss ^ ^ .4.)-: I :;n?9 ^85 YAR. 3. VAR. 4. P ^te m c^ i^J. ^\' a ^ i f /TTJ/S ^ ^ ^ # T p 1 ^ ^r ^^ ^rf ^ ^ ^ VAR. 5. i -^- , " ■" ^^=¥ ^ ;§i ff-^ fe fe -^: . ^ E 5 f • ^-r i ^ p atx:;^ ^ ^ PE^ * ^ ^^ ^ ^ ^ PS s ^ ]*^^— i ss^ ■H CiHtf r ^^ ^ :^ ^ ^rt| ^ P ^ s J * ' ■ 'J' J J I J^ s 1^1 -^fe- m m ^ 1.'.' ^f» F ^ T*^rii .5'i iiSO VAR. 6. g Sir zr= ^S ^ r #, r r I a _J ^ K ^ m^^ f ^ Cii; E^ ^ ^ m^m^ ^ S r^ito ji ^ ^ & J ' rj J. J^HTj} f ^ ol 12.0/J9 291 YAR. 7. i h- 3 fr 3 hr 3 tr 3 1 ususus h- tr. hr /r -^ J tr "__ jj J . J J ^ • JJ /r iT3JI3'^ ^ v^ 1 ^^ /r /r /r 3 ■0- # • > 0~~W. —^ m. m • ^ m . m • — ^ ^ ^^ ^^ J J 1 Ji i 1 i ^ ^l=?t /r . /r ■■ /r - /r /r /r y r/r iLs cxr ^ L^Ljj"" mmjT^ \ij l¥T V /r g i (T* 7 r ^T~^ T^ 12.039 iiU^t JOHANN KUHNAU, 1700. .V? fS. ^^ p f 0-0 — ^ I* <- »— ^ fe* =F — y- $=^ 1 '■ V mi V m -. . g ^ ^ eP ft ^^^ ^^ ^^ caj-LOr ^ i ^ i=±^ ^^ ^ ^ h ^^ SB c^ P -^» F V n\\m^[j tr CUj'UXT f ^ gnHn^ ^f^-ff^^^ P ^ ^ rr 77 ]J7:]L ^ , J J. J ' ^^^ S ^^^ -*-hS- V- s »« . 3^ U' ^ i ^'Je-^'"^ h Et i ^r^^ # r n r g F r -C'l'i ^f «=* s fcti ^^ fe [^ a ctiLfdj; V r -^ 1 / r'2.n53 2Hii ^^fw^^=i=H 1K==^ -^ i -TV ^^^^ ^W^ . Ir ^^ ^ iT-^ e ^^^' (^^^ [ ^^^^^ g p ^*£ ^s ^ffi ^^^^^m m tr^=n 3t ^ ]'i.059 o7 ? a 94 i X m m -J if^f— ^ Iv f^=-ff^ r: o , J ir=j5 ^ ^^ r'l" ■■'^cLrre^fl'a^ ^ ^* i i ..,j ,ffl^j?^^ 1^ ,^ ^ ^f^ "^ . .f??5J— i?^^ ^ ^m ^ p 12,059 295 $ ^^ ^ ^^i M r J -^ J^^P^ : w a Q: P s s ^^^ j^j ^ n J ^^s Lf T ^^ i ^ r^^ffi" r ^ 12.059 .r.9 ^ is b: y M =qFF P M J'v - hi' W mm 7 V h j ;b?°^ ^ j ^j^j^l ^m i»^ ^^^a.- ffiM ;p5 ^j5J^ -^^r] r] i ^ 3 bJ . i' P ^ ^^ fffff ^?^^ ^^ bSM: f - t;r ^ p ^ P ^ p ^ „ , F^^F^V^ . ^N^f^ ^^ jT Wi! S ^ J— .CSJ- ^ ^ ^^ N '^ ■ . .^ ^ 7 i i jfe^ tv i t^ 7 t P T7 j -n J e^ ^ ggSS i F/we. i m 6(> j?,05<» 2<)7 Adagio. ~^^^^T^ i 1^ ^^ P 1 ^^ 1 ^ ^ s=^ ^ ±^ i ?=g=^ ^ f^rffn 1 i ^m f ^ T i^ ^ u ^^J. ^ ^ ^ i g i .. • ■■ i ^ i r4— 4 ^ ^ * i ^1 ^ ^f=f= ^ rr r rfT rr r^ ^ m 35= S P ^ fT ^=^ $ ^ ^ J=^ .UU ^^ ^ ^ ffi=2 ^^ zsi ^ J V I^ ^TT rrf rr r § a?^ n r^ s ^^ X: ^ ^ «f ^ ffi ^ TT B rn g r^ ^ i r 5i ^ ftr ^ f=^ rr i ^ 1^ ^ i ^ J ^ ^ 4^ i ^=^ W A J ^ i 0^ ^^ ^^ ^ :3S ^^ 22=^= 3E I?.0_S9 6'/, '4^H i -\Hegro. A i ^ ^ 1 m ^ ^— ^ -<9- rr ri i P ^ ^ 35; F* i ^ U J. U H ^ ^ ^ ^=£ ^^: f^ ^ f^ r ^- 1 I ^^ i ^ ^ ^ ^ P ^ ^ -^ ^ i i ^ f 3Er3 i^ f=r rr T I ! fr r •)xl^ J J ^ i ji ^ 1 ^ i ^ s ^ ^ ^ m i^ ^ ^ ^ ^ ^=T T .^S O^ yn AAl J r _25l. § 3 ^ ? ^ fc^ ^ i ^ ^ f ^ 3 ^ ^?5£ r i^p « fed ^ ^ <• ^ '^^fTTT ^ ^ -J^ ^ ^ ^ ^ P r i f=r TT W ^^^- -«r -«!r i f j- ^^F=? ^ ^ :«: i i>. c. ^ r,-^ l-.\ni4 SUITE DE PIECES. 5!!9y snyiPHOJ^ry: Slow. ■jvP /J. i fe E ^ ^ '^• M^ * ^ P JOHN.MATTWESON. 1703. 5= ^i m F -<= — *■ :^::;z=: i ^ ^:JF'/ r.r r# ^ ^a^ (^ tS: 33C S ^ / ' 0' m f7\ ^ ^ WZZMUMUX AIR. /r /r /r .,^ JTi ■ !»• ,* r •, m' : , ! ^- ■— ^ "n r — -^^ — ■ l*J-^ — — ' — ' ' ' ^--T — ' m ^3: ^ ^ m Vft-f /r ' — ^-= — wf-- f f ^ \ 0' Mff. ^r-f- ^f ^f ^ f f irfrrriM /r ■<*):#■ f -=^ r ^ T f f f r *' ' —J, :. ■'7:iL4= 1 JJ J \l — 4=£= — ^ i ■I ■■ TT^^B WWW *--# ^D. ^ ^ ^ ^ IV o^'q (^jh aoo 4 ^ ^ i ^ ^ P ^^ ? ^ ^ * ^ i ^ ^ ^ ^S P -:i- IF Wl s i J i f^ ^ft^ ^ ^ P f m m ^ i fe ^ ^g ^ 7* # r # r & f ^ ^ i c\ ^ If m i 35 ^^ J ^ ¥ t;^ ^s:/ l.?\4,V) 301 i ^ 3 J ^ '■ 4-* ^^ ^ ALLEMAJ^n. V-,NI,. .rT^J ^ f t>^-^fr r^/^J-- i' L/'U'-L&'r ^s =f=# ^ ^2^ ^ :^=i^ =^=^ ^ ^p i t J . J J n^ J. A/n?ri i r r i'-^ r r. «- i J ^ ^ P ^ ^J iJ ^^ ^ i^ r La ^^ f IS 4^ E ^^ r r^ L'iT ^^ ^^ J— .r:n,r] si :st: i 3 €± ^ :4 :3 5r*T [^ 3: ¥— ^ 1 ^=^#^ * 1 >fii9 ^;.7 302 COVRAJ^T. N, > g S ^ :3S=Z i i ^ =^=F a^: ^^s ^ J 9-f_ t ^ ^ ^ ±^fa: 1^ ^ ^ " ^ ^ ^ ^■ ^ f f r ' 0f r ^ ^^^ m^ ^ ^■> r • [IS "■^ t^- ■^^ r r ^ 3^ ^ ^ i ii i ^ Ip ^ t^ J T -'•)^» r f a .j!2_ i- ^1t ^s p ^ i^;^ ^ ^^ ^ T~ S* 7^ s -^r-7^ 1" ^fe ^ S^ ^ T—XU ^ W g^ ^ ^ ^ m ^ ^ ?f r ^ 22= r P i gS -^i u;: 9- i A f ^ .na m f i:^ r ' r * 17 f f ■JL^ I I I I ^ — ^ ^ ^ «6 r?n5.9 " ■ • ^"-. • Jl i . fp J \/^ i^ J 1 /sf. -^ i -y— 7 ^ 5jP^i IB r=^ GJ ' T^ i y-i» ^ ^ ' ^ ■ 7 : f=f ^ SARABAXD. i. ^ J J J .J ^ F fT r 'f 1 'r rw=^ r ^ _s^ \ i ' r i -©- I ^ i ^ ^ ^ iS" O- ■^ S ISS ^ ^ -^- ^^ ^51 ^ -&■ ^ ^ e>- T r T ^r ^ ¥ 1 1 ^ r 3 S m ^ i ^ ^ 32E -t« :S= ^ J J . J i-4^-^ 1^ . o * ^ i^-r^ t^*— ^ :^^ 1 "r -©- ■1 V r ■ ^ Mi *=>: '^i e>- ^ j;s— ! T^ g ^=^ i ^ ^ ^^ 3srr=rEC #: a '^=f=f' iS» ©- 'S ^^ 33: ^ :& i l2,OS9 6 7 3f)4 3f)4 3f)4 i (S GIGG. ^W fc -^? ¥- E S ^ ^^'^^ #-T# S s s ^ w ^^ JL.M.-A. , \* 7 rr ^ ^ t^ ^ ^^ ^^ B J. i (P (P (| i^)' I ! " 1^ * ^ 1 J. J<-J ?^Tr" ^ ^ ^ i ^ SS i ^ F ^ ^ ^ rf 1 1[ j ■ ''^ P^ g^g ^E -U4-^ ^•^1 ^ r ?^ k W r 7 ^ ^ y-y — w- g tt y/. r V 5 * — *^ S rr ^^ i ^ ^ ^S ^ jj^^ ^ ^S 1 1 i i ^ P A. ^ ^= — ^ ^ — #^ ^^ryi ;i 6'^ 6'^ «^ la^-oss 3f). I .... /"n/j:: -4=^ cl/Cjlr ^S *^T E ^^P ^ ?: ^^ 2 ^^ J i r r^r p ^ ^S ^^ fl ^ ^ r ^ ^=^# T*^ ^^ ^^ ^^^ ^ ^ i^ ^ g »g?.^ ^ ^ ^^ ^ "^T t^ r r-tf r n r ' J_^^. s^ ^ ff0 i K Li/'riir ^E i 4 h ^ j^/^./t:jt] ^ ffl ft n ? E ■*•>•' f'-Tr f-/ i j^ ^^ ^- J ^ ^- J J^ ^=m\ 0. M ^^ ^ s e ^ s 4ffl f r ^ ^ m J i^j j^ a^ ^ J ^i. p ^^ ^E s ^ZIZ at* ^ J. J / c\ ^: a * m i=^ I i? 0.59 I "^J e>f> 806 SONATA, DOMENICO SCARLATTI, 1710. JVP 14. Allegro te=£ ^ ;y '^^ Uj isj- LLt c^t- & nxTuiU r t' ! p 1. H. /r ; ^ '^M^^=M^^ cxr% ^^ r==r ^^ ^ i ^ ^ 1 -w ^^^^4J^a mW j.=^ !d'dt''lrr ^^^^ 70 Ii.059 U. H, .'^07 $ 3 lit* ? ie=^ f ^ * -- ./>^r fr^ sof; LJ»d ?^ -1^ m" ^ r- N -M^f±- i & ^ *5; i "^ ' - '■ > rJ.^ ^^^^ f • r • r t. H. 5- ^• Tk^^r ^r !;! ^ :^£L* -' "r-^ ^ ^t^ 4U i» (^^ fflTp^^ i^ ^^ ^ r^T r^^ ^_j it s ^ i /^ ^-^ £rjrf. ,^||,j|rn^^J|rrryjn h. -rpg^;^- ' ^' ' i Ui g^ i - r- r ^- ■■■■,• I ]-^(i,5V^ £ ^ i i ^^ ^£ cv ^'-;:; i ' ^- s ^ ^ ^^ 1. H. i ?c:*= P ^ i L y J ^ qtc >^^V^^'^' CL- C!a' Gj' rj£; F=? l^ s =^-^ 3 ^ f t— f =:. 5t- >• ^ jruftQ" m^ii-Ji - i^ ii_^ __«. S=3« r=? 0Z ' 00 ^ ^ J- JJ.J ^ J » ■ ^ ilf: -^- ^ l^#F f ' 7 gEg f~^ i^ i n ^-4: ^e m ) *-*^ f .s r i# • . 7 gj: #^ a=? .tl j_J ^ J J ' ^ Jj.^ m r i- ^- ^ f tfg f giJ^ I r ^ *^-> i».8 ^'i: . i ^ ^ .'•jS.J.tQ 7i 3Ui SONATA. JV.*^ 13. J: DDMENICO SCARLATTI, 1710. ±1 fU ^ L.H. m £- }^.} l il P 9 9 ^d ^-J^^ I'l — rr V ^ ^ ri- ^^ -«-=^ a /r -# ^ 5 ^n i r^-f, ^^^ S 3:: ^ /r /r ^ L. H. 1 ^^^ ^ ^^ ^ J Ai p J A^ ^ XA fe^ .^ ^^ ^ f L. H. ^ r^ ^g g ^^ A A^, > ^.-^ 1 ^ ^ A^ W L. H. P f ^ 74 li,05!-. 311 /r ^ ^ :^#=g ^ ^ ^ \>. t=^ ^^ 4 P I g g S )0 ^ 0- ■.MZZW g ^ /r fci^ pfn ^ :J: 1:!tA. ±tJ. %*J\ , Jd/ 1^^ 1# 0—0- ^^ ^ ^ F b^ ■# — ^ r 0- m ±1. ^^ H -^h ^ i f^ ^ #ir ^ a • # j;?^ M 1. H. ac=:^ ^^^ h i i ^ ' ^ '^^^ a ^^TT ^y f^ .^ 1^ ^ ^^^ .M. A^ R S ^ r^ M=l ^ f ^ .^ i ^ p L. h; f 1 R. H. ^ I- H. }'>,r'59' 3ia i f^^'^ . # W M T=P 'r s *?^«w ^ ^ L.H. l. H. i ' hi: ^ ^ ^ T gaE ^ L.H. P 7 J. ^ n ^ it ^ i^^ 1. H. .^ J} ^ ^P 1^ SE=PE *^=5«: ^^^ i kJ u ;i ^ 5i; ^ i^ i^ «: s ^^ & a ^ M # -1*— ^ ^ M I'' ^ ^ 12.059 Sta ^^M (^^^ ■#-^ *&» s '^^ ^ f^ m J w ^^ ^ \1 \ :fc ^ ^ i^ ^^ ^ p^^ f P^ rf ^ F ^ i I () i g i .^-^ l.H. n «~-.t«<^ ^ =^E3 ^ ^ ^ ^ V0f\f ^ I..H. S ? tl± ti^ :*t=3t ■R £ ^X^ n. ^ ^^ i i ^ilrr r ^ L.H. P # f ^^J^^ ^ V i JLj^VV^J ^^^ ^ r — w Olr T^t^ S i^ ^ i K a I S ^ I ^ ^ 1 i ^^ jftfcE P ^ rr^ Tr^ 5^ IT r ^ JS?: E i g 18,05S Oli- r^ ^E^ W fci^ (> ? g :i, .^ I h ^' ^\^ L h r^ g ^^ r^ E pe^$ P ^ f ^^ ^ ^^ I ^^ ^ #^ *i ll^-^-T-1 r^ f ^' r^ ^E^ g P i l=?5 # ^^*JJJ ^^ :^ ^ :>=^ ^ 5 ^ ^tl=^ ^~^ ^ -10 — ^0-0-^- ZJ -fir—A fg bff ^ ^ ^ S i t±:^ ^ i ^ u ^ ^^ ^ ^^ ^ ^ i^ I I'-)-' rr r — '^^ m ^ hd-f ^ ' ^M]^JJ^ ^^^ ^ /r P^ ^^ :^ l2^_^ "T^ * f ' ^XT P ^ ^ ^ 3E:i &5 f E E m m £ ^ £ M0 *s ic^ ^^=«» i ^ i > — f- -0 ^ -^- 12,059 815 psi ^ I, r. — -^ ^ E v — ^ ^ »^ — *-y i - yh-^ ^ S 42t L. H. r**- JO ^^^B ,^ te ^ ^ V I f ^ z^ ^ ^ :^ Z^ ^^ (^ ^ ^ f '^ f ^*T^ S ^ S ^^ y— f: i t^ ^■*-'-fd J ^^W ^ ^S" ^^ CIj^ ^ r ^ i i P s ^ ^y^^ at*! ^<^ Efe ^ P L.H.— - J *- g^g^ » ? ^f^ ' ;^^ g ^; ^ ' ■7" f»frf\f 3^ ^te ^ -•^ 3C=t ^^^ •^ r 12,069 7,9 .^16 SUITE DE PIECES. ALLEMAXDE. FRANCOIS COUPERIN, 1713. X? 16. f \ i i^'^^^J^:M e ^M 2: W^^ ^^ ^^ w ff 'rf i I i --^ gro i ^ ^ ? i --/r ^ f^^^irr zT^^sa^f ^ ^^^P ^ >> MT ^ r'Tr^\ i ^^ ^>j^j^v ^^ ^ ^ 5^ p^ I =wF:r \V ff' isl c; — t fe V J'* zi ■cr ^ ac "^a-r— ^ md, ^^ 80 r 12,059 ;^' sn i r^^ /"-S ^ J '^:: ■— ^m ^ ■^ z~w. p P i ^ a ^ ^ ^ =g :4 s o> :£ ^fi ^ ^ =g ^ ^ "-? ? ^ .]2,dS» ',v ,, " 3?^ PREMIERE COVRAJ^TE. i ^ ^m ^ M\ £ g ^ ^ • V. ^ s2J ■y=M=3t:£=^ ^^ J^ i J *: ^ ^ ^^ f ^ 1 i. V ^ ^ ^ Pr --t r ^ ^ W^u '' V- "^ ■rrr lU- [ ^, 'l^rf^l JTXm ? V 'W. \U'"-\" f ^ > J J -^ JiB a h r r r t F ff ^^^^^§ /r >* r^''''-Wt:'' M- /7^-' Cv '^'"^- i s? S ^^ 1^^ » I it /^ fi Oi ^ ^ 1 i s a ^ S2 Efe :^ n ^ ^ ^^ ' d =>^?^ -yi^ . 1 rTj;/"! i: r r r r ' , ^ r ^ g ^ H2 12,05\9 319 Jr. ,iT\ 1st. ^ 8nd. '^"f^aT r r s i ^ i 'js^l _ i gr B' ' •\'! § = X 1 fT\ # f7\ S P P =^ r— T ^T SECOXDE COUR^JVTE. i g ?=fr hj J I h r — * " ^^-; ar— i=3^ I |^J|''^''V J- F ^ iU ^ ^ <^^ -<8r ^ ^ tr=^ j? -- ^ h Jr,OP^^> ^ I ;' .n n j^^ K ^'j r^LT-r ^^2 ^ y-y- M i=^=^ r J r i ^^ :i i ^ ^^ ^ r ^ 1 I /i >.J';j'"' ->J; .g ^ /st. -V H ^, ;?»rf. ^ PE 13 S5 Is fe ^ ^^ -r^V ^ f '• >r r ^ ^ : ii r r M r f^,059 88 ;3iio i =C¥f= :^ -'^^'C/f- ST d=^ ^=^ -i^ & ^ si f ^^ l^J^J f '^ ^ ^ ^rr^ g ^-^ "pvMp i ^^ r i ^^ i ■T ^ g ^^ ^y ^S a £ ^* ^ *^a i#— =- # # 1^ I i jfc^ ^ S; ia ^ as acSSt* ? r ,f1^ . J v.rT;y =^^^^=^ m s ^ p 1 ly #> y LT 5ii i E3 !^ ^ I m 1 t i rri r /sf. i;^ ^7zd. ^ i r ^^ ^ tS ^ ^ ^ .N ^ s ? ^ r ' r ^ r r I T T ^ s^ s^ TT^ F i *-* ^ Jd\>d^4^ J^ [\v ^ * mr]j . >J rr r g ^ "5"-- '^' ?»" .H4. 12,0,59 35il S^RABA^'BE. ^^ S ^^ —I \ ^ — k- te ..r "^ i i M ^ • -< !#■ J!#- .^ ^ ^1 r T ^^"■i'- ^ a:; i • • ^^ g^F^^ i S t* ^^4 nil U^ h^^ 3 f^ ^ ^ ^ E ^ wm # ^L£U' r ^ w^^^. ^ p^^^ ^ =F a ^ #■ ^ ^^^ & .b ^ 5* ^^ [m ^ ? ^ ^ s ^ ^^ * ^ ^-r- ^ ^ •^ /s*. V^ ^ f ^ CN t rrs ^ # g /7^ 12i059 .^ ^ 3S 8i> 35>*^ OIGUK. ■- ^ r-^f-f-r ^ ^ ^m :f:f: f.JL f.^ ^ ip^ m m ■^^^^^ E A > i. j-, i^ J ^=fe ^s § ■^ ^^# -ii ^-^ ^-1* ^^ P ^ *t. ^ g ^^ P . > ^ # ^^ 5^ y-^-^ ae> 12,059 323 N ^ m ^^ Trrn-^^ £ m e ^ ^ p^ V m ^ u •/ ,■ ^^p E £3-=^ic£ i ^ ^ s a m > — ^-^ ?= ^^^ /* r'/* i^ -/^ n ! i > ^^ 1 ^ f :S O ^ JtipDER\ATO. 12,059 ^ t* r^r-j- € ■ ^> J J ^ £^ ^G^XS ^1^ 'm d' V ^^ * ^ I ^ nj; ^^ - 7 ■■■ 7 ' ^ 9 ' r ^^^ ^ #r ^ f ^^ * .^ !v ^= i^ ^^^ r!>,. ^■"7'»'''^?"M=J P=5 - * p ■ p r - ^c^ rrs rw^' J ; i u j >^ a^=^ r f — r .^T iy^v v'! i fe ^E^ m ar ^ l> kH 12,Q59 ^ ui^ '^' ir^:^ W^""^ 4 ^ ^ *■ ■ * . \ < l T'l .i ^ ^ ^ ti S SC :j=^ -^? V- ^ ^^ r" fe-^^^ ^^ ..^:;JQ^ /r> 3t^ ^i^^^T^^ ^ ^ h ^ ^ ^^ i :i ! /I ^ . ^ JV J ;^ j J^ ^ -^^ — ^ o, ^^^ r [> [ i= ' ^' ^ ^T JVOJr THOPPO LEJ^TO '1^ 03«>. VMP ^^^^^^ ^ ty H-J7]-/ i fffirr]-.r~^ f BTP i w >:, r W f r r ^^^ — jg^ '-L-_j'-mj ^ -rl>5 ^ tali' - 3^ -C-/-^ a t|'|g 'IK Hr '.^ ^^ ^ T T i# n^T-,/^ yi^ ^ p -^f-f- ^ R jt^lj^ ' ^^ ^.1 iS ■. 5t ^^ t- ^ ^ ^m ffo 12 03^ 32'] 18,059 55- H AFFETTI'0^0 ^^ ^ SE -"f—^ ^ -vs 1- ^ i fe r v^ ^ ^ ^ ■0-r-^- ¥ J J J ^ » & ^ ^^ ^ ^ ^^ i:^ f i ^* 5 f^iTE ^ ^ ^^ ^ ^^^ ^ i g *=:it ^ F E? ^ J -«r ^ 1 V 1 rn 'f f^ m -^-^ #^- f-f ^ ^k^:. m ^ 5 ^ mm^ ^ ^ a <» ):, ^ g -bt i ^ ^ i -4- . 1- ^ ^ r": r. y M U P rTT # ^M #^ ^ ^^ i ^^J^ P i ■Y^^j f ^ ^ 3^ ^ SU:^ a^ .^^ Jl -f- E n ^^ T" ^^ S ffi i s ^ # * 'tt^- ^ l" ' §^ tr =5* ^ ^t-^ r ;§ .-..^ i 1= ^ i ^^ 1 ^^ ^ r ^ ^ ^^ ^^S^ [§^^ > J-^ g^ T5C ^ i: I I ^ i ^ ■^Ml^ ^ r 9a r I2.0.<.f • ; v 4 feJH s *^ ^ g V hj. h : 8 w c/ ^ *: ^ ^ i=^ i^ i f rr ^'r f T r-'p f 3B r ROXT)EAL\ 3i^ ^ it ^ te ^ ^ 5 ^ Szii J: -^J^^i ^tU^=JU i F^ i ^^ ^^ ^^ r 'c^Qi; w ^^ » ^^ s ^ C\ 1^.^' Couplet ^ ^ * ^- r^^ ^ J ^ ^ ■i^J-r^^J- <» ^:.- ?• F^ -M==U -hi) J.' -j^a ^ g E^ ^^ ^ S ^ ^ =^ ^ i ^ E^5 ;S ? ^ 1 ^J^ ^ i ^ ffl=iffi ^ ^^ ^ ^ ^-Jr^JT^J i I 2? Couplet. ^ D. C. i - ggfeg^ v% i ^^ ^ ■a ^Sss ^ s =p ^ ? i ]2;059, i33() 3T Couplet. i fk k J !» ^ S i .1^ -J, .M' ^ ^"Ml ^^ j-n /T ] £^ m PS i f^ ^^m -^ J i'J J' ^ i ^ -f^TrT^ ^ £ J-2' iT^-^^ J. i i J^' ^m w\i r ^p ^ ^ r ^pccj S « io' 7*^ J- J^J. ^^ ^ ^P #h J J. i D. C. ii: e ^^ W=^ M CQJV LEGGIEREZZA. ^ m at ^^^ ^^ .^^ ^* ;i f f E ^ ^W ^ ^ g ^ W^^ I ^ & m Q* ij,05i) 3«1 ^ ^P ^ s ^ ^^ firtr "yt-s [^ ^^ s T*- A TT-rf- t W ^ te vi ^ g ^ s ^ — ^^ ^ ^^m ^ ^^p ^^ ^^ 12,06.9 338 CAPRICCIO. Sopra la Lontananza del Fratre dilettissimo JBIOSO. Adagio. Jo. SEB. BAP^H, 1715. y? 17. $ flit> (1 <* ■' f^fH^^n^^ U^L^^tM" ^ ^ . * • • ^ J ^ ,. m T .4L £ f ' f F 1st emeSchmeichelei der Freunde,um densel'ben von seiner Reise abzuhalten. tr ^^ I ^;fj .^ '^m fj^fj^ w ■^ r, r ' ii? > ^ t£ f^rr^ 1*- ^ CJ" s ^ ^ ^b^ ^^ ^^= hfM;;> n^m^n ^^ 1 i s ^ M^^rSi 1 i ^ ^ ' " ' ^ r r ^ ^'U^U^d^m ^^^^p ^^^^ S=S=^ ^ :S ^^ ^ P ??=;«= ^ 5t ^ ^.r^^^?^^ j:^j':^.r^v^i [^ M T"^ ^ I ■ff^ fj y * ' ^ * f 'f ^ ' >•> jw h ^^ p m r-:3^ i ^ •^J^ i J-r] j QTf ^ ^ ^^ ^ 7^==T ^ r a ^ r r «^« :i33 9 AMaute con uioto. -it^ -j^ Ww^ U^r' 'J M 1 njXl. ^ Itit eine T'orsfvilung unterachiedlirher casuum, die ihm in der Fremde Konnten vorf alien { aH, ^1,^^7-/1 ^^m ^c^ i ij ,^ ^^ «=^ .r^:ir::--^ g U'Lf :.a m ^ F^j-" ;^i^ ^^'-n m s r ^c/cJ :/ s #"ibPJ: J >^. yjjj rjh.rj^^j j. ^-^^i-j - u" s J i.nj J jbj J CJ p f ,^,^iK i,iT3 J ■ ^ ^ s?= ^^5§ 7 — r — ^ W ^ ^ ^^ S m i a fe: ^ ^ 3t fa ^-H*- ^ -^^j^ ^ \ ^m ^ E^ ii* f i(r ^ iM 97 .334-' Adagio. ^^ ■bf /H,, ^m ■^««- W / U'l. ^^ Sr* ^^ :^ ^ ^ fe 1st ein allgemeines Lamento der Freunde. A^^ii 'nT]'Tr\ *• ^' /X y^r •/■■' J •i' I* V v < -y-FTTr^i^ i ^^ J J ' •' — 1 ]*— — f Uj. ^ — ^ ■ ViJl:^,.^ — p*. ,J , . . « *:.-l b) 1 r 1 P? — J! ^=^ ^^ ^s s a s s p * * 53^ s ^ ^ ^^ ^^ rT*- ^ y i' ^ "^ I ' r.^ i ^ ^ ^^ ^ # #a# b,^^ ^^ =3= ^>'ji, f Y- c? I ^^M :^=^ fe ^ s 1 f^j'fe J r E Wrt i gi w \>sr\ w^ <=\ ^^ ^ Y r Y S m •9S 12,059 3»^ k=^^ \ ^m -m-S- 1>1^T^ T*- ^ 'h*- ^S k ^ ^ ^ 1*^=rt^ ;:£ f4^^ f r!^, #^ u u S $ E W^'isrds ^^ :5:^ r ' r ^ bj^^I'l^ ll ^1« '1 1 *1^.1, ^ ^'i-"r J r ^ i ^ Andante. ^ ^ Ft^ fczzzS—ie ^$^ ^^ ^ ^ :*—-*- « -¥— * i ^S: frf^ '/'Ji'^J T '- ^ J J >- - y J ^ f- ^ P f r y ^ s fS- i fc^ :** 5 ^ „^,'" ^/Ti;? j n ^^ 5 ^ f -«? — ^ !>" # ^ r p^ ^^ *y ")'> ^ ^\ i i it > P fe ^ T" y''';'/;' / ^' p f f /T^ # F| > ft f 5^ I k'^ / i '1^ ^ X'iMvi ^ -SSf. <^^ 33 f> ARIA DEL POSTIGUOJ^E. 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"Wf- ^ f^ I ^=-^ ^ ^ ■'AV^ ^ S= K ^ f W^ FLGA AD I.MITATIOXK DI POSTA. , i 1^ :^ ;5 ^ 4r-y i 7-yv i-y-n s ^ :^5=^^ iiir Aon 12.059 337 ^ i J5 te 5t ^ ^ ^.,_v ^#^ ±=k SCZ F^ w-g7^.ni^ ts- jm^r^ f ^y ^j ^ j^j^Jt--^ ^=^^ ~^^J r\^ ^ 3^ ?j#y * •» r-rr r rr m U li -^ r r *f ^ ? jr-r~r m &^ if-^-^ r ^=^ ^ :i ^ ^ m i d J . r C^r^^^ :g3J-j ^.g^i ^Cj^ ^»" — t yr ^D:^' f-B^CJI liU^iC ^CL ' ^ /^ W y ^.^ ^ ^# ^r 'Q-f' 'S - a i ^ S y" Mj-^ ^ i ^ A^ — ^ M M. ^ iLU U!I] ~ m w m i s 3S w-w -^ l?.n59 101 338 A X J''^Il^l^lu m t=^=i^ tftrr- rS' i ^^]/i j'-*T., Jv^n .-iip^^ ■^O^t^^'^^-nj^^fe B^ m * ^ £B^ ^^ rr i P ^ Pr r r r ?i:^ ^ ^^ r^W^ P ^ jHiDMcn -^a^Cy Cj* ^ ^ s l" r ^^ t'Jj •'^fSJ^ y'-Cl^Cr ?^ \ n\ ^ P rm^ :^ s loa ^^f^ ^ ^ ^ -^-^ n ^ fffU^ '^ f^y ^m 339 ^' cfl/iLL' ff »s \fftm^ h^M ^^ ^J. J J r — A- Aif- "^n r f^> * y* ^ s ^^ f i i i'j — jj"jj'iij^ ^ ^ t^ ^ ■^ n Q^=nj=a^ r '•)'j ' r ^ ^ ^ ^,-r^j444^ i ^^ P ^ ^ ^ tv s r7^^r-Wr -rw ^ ^ ^ £^ '^M ^ 5'^'"^^- . ^ S • . >^J^^-CT 4^ ^ ' r J m ^r^::Lf w pp'j^imm S OT j^-JTij ];3 *— ^ — 0-if- u a a 't} i- aua^f ^ ^^' r s i»-#^ ^ ■^r^ 0' m' m "71 ^*rst s Tl. r ^ r f :2^ ^» * f ^a ^ I Q^ V : : b jgj ?!: 1" OSS ^r* — ^. tn*^ 340 CAPRICCIO, HANDEL, ItZO^ P ^ ^ M' 7fflj #r^ ^S ^2t^ FPF? jB *tf . H > , »- jJ E P P :».,rrr>r.J f-^LflW^a'-^ ''a'ifl"^'^ - ''0 < ^ J.i-^J r ^^^^ ^^ r - LT "r .^ r i ^ f J^JWnj: ^ ^W^ ^. ^ g^ ^ ^ f'mra^Lr ^ «^>^^ J , ^^ m^^^ g c^ddMS r ^ j^ ^^> ^ m ^ i fc^ mmMM J^JWJ^JTp ^P3i 3s ^M t-j ^ P' ' [^ 7 r^ ! ^,+^4^ — ^ g ^ See 12.05^ Sis jf~%jj7^ _ ^^ \ . ^^^^^^^^M ^'^*d ^^ ^^m tot J3^ ^ ^ P ^i^ * rf| f3 ^-^ ^ ^ ^^ is 10.7 :^4. FANTAJSJE., Vi^taice. TMfeOFILO WUPfAT, 1726. Xi' fS. P l jr ^'''' ' ^L["-'^^jr ifc /7\ i ^ I ig ff^ aii=t s fe S WWWW' V r- ? ^ ui/ ' - Cij^'- Ci^ -17 i-o« 1? 0=,'^ ^^ fS— r u Wf? r ipiw J.. = J . . ^r- ¥ — ^ a4 5 ^ 1^^ Wt^ ^ Adagio. ^^ ^ I f lie :::*r ?l^ m4^ r^jf^ ^ f^^.f^ r' e P^^? ^ i i 4 ^^ p I ' X — -r- \ m.=!,rr2 :t TT? m^J?^ f ^^ #-, I # r # M T f r r T i i ^ i r ■ r' " B^SS9 ESBS9 "I "r ' -r ^ F f m^^n^ ^ ^ -*' *■ ^ T i I2.0$» r U)?» 84-'7 f^n^^^^ ^ M ' m r ££^CJ'"P 1 ^^ ^^ ^^ t^^ ^ CT I ri,^,|-0-n^ ^7=f T ^^ i fr ^ P -^ P ' ^''-^ ^-£- 9HF^ S y p n r 'i< 7' J --J— ft - ^ E ^ ^ r^.f^r^.n ? ji] j?^. C5>^ I n ^ f7\ w rT\ ■>v. ■> I ^ ?r V ;^ ^ ,^ E^-^ >, ,_ -^^^ s^^ l-'-ngq 5:5- 111 .iA-H A 1 R. T. MUrPAT. xp so. # ^i f ^ rf r-J r , r r ^ S ^ ^ i i ^ ^tt ^ ^^ ^ A- :i /r -73- 1 ^m ZS3Z m^ "lar ii ^ ■'•4 i J ^ ^ — I- 'T ^ r ^ f ^- [^rt J: P ^^ < j;:i„.jj:^;: =?^^ -«F i ^ S ^ ^ i=^ 3: ^ i f ^ ^i -r i» T F i H^=^ ^^^ ^ J m ^a ^ ^S iS- uni^' &. ^ ^^^ p^ ^^ ,j 12,.059- 349 : [ g ^'j rnTT i7 s p 1 a i -* '■Tj^ ^ /r J.J'.rj i ,ii K j- s ^ W -^ ^ ^ I ^ r — ^ ^ i e 2 -r ^)--« i^ » ^ s i i r r r^j 3 :=2Z r r ^^ i ^LOLg i S ^L ^ P M t ^^ :^ jSl Ai .J ^^ ^ ?:q;^^ JJ..^l^^^^/^ ^^ ral ^ ^ ^^ . ^• -J=^ ^ i g ^ ^ ^^ .Sl f ^ jipF^ iJ i ' '0 ^E .i m ^ ■4 k- i P^^ to p 1 ^ ^^ ro - /v "S^ pa: T This Air is tbe a]rigi^al of Handel's Marrfe in Jartas Maccalia'us. 12.0Sfll. 4r>Q KP St. 3Ei PWf g -^^J r r r AtLEIVlAND, S^ T. MUFFAT. i 4 f. ^ J ^ BBSSB m ■^,r^l ?! /i^^ P Aj^^ J. 7 ^^ ^ f I r r r i^j J3J ^^ r r r r ■ S i^^ ^^^ ■M=^ ^^ ^^ ^^^ I^j; iH n m % ^ 43^J m \ r^^ i 1- fe f # a /73A n v^ « ^ i ^ ^^ # iT L^^I-^^W^ /r i ■- — ^ -if-^—Z ^ ^^^^^m i-^_A r ^ I'm ^0 m i J: ffij Lf ^P"P r F^ ^i^ ^ ^ ^ '• ^ i_^ i iJ ^ e ■vU ^ 1 iT, ^^ -te^ » , Li ,V r ^ ^ ^^ /r Lj-r gj:;,T ^ i ^ g cv -Sf-^ 12,059 351 INTRODUCTIOIM AIND TOCCATA I. J. DE MONDONVILLE, 1739. Grave. ^m is JV° k^. ^ ^»=» m 1 p 1 j'ji « — ^ F^ F ig r :^ ^ ri -"fe^fc ^ ^j=^ !^==te m M ^^ m M m T T i i^ F ^ F ^ ^ Si ^sfe ^ :^=^ ^ ^^ W r ^ ^ ^ p ^i^ ^^ -^^ — -^ ^ L. H. ^ ^ ^ cr P,r;3, „ nn ! /r ^ Tst^ "Y ;gnrf. ^^ ^^ Q^ r-r ir s ^ r V 1— ET ■gr i Allegro. ^S Vk ^ ii? ^ flV J2.059 :ih2 lP^\iPjJ%.'^ ^ f=^ jt^irr J P l?J???p2^) ^ ■n}i!^.^,m \ iw t! ^"t r ^^ ^^ ^ ^ i I, y ^ }—T-\ } ■J^ J ^ /HI ^ n''^jj jJdJ,;^ ^=^ ^ *^ ^ -^-^ F k^ .4? tt i f*^-^ — ^-^ mr^Lr'icj u-^Lr tr i . ng^-??^ 1 ^s "jr y ■jr ■»»- ii- p^rrrr ^& .^-^ p s s^ t3t^^ 12,059 L^ L.' U* ^ 5'^' U£^ ^ ^ i 7F J ^ J ^W ^ "^'Cj' LlI; Ito^glrc^^^ J j ii ^ - ^ ^^ -f f- f-, ^^P ^ ■^.'^i.n^,f? ^ L^ * ^"/^ ^f—ft^ ^ FPJ^pnjM ^ ^ J* I"*! 1^ S ^ ^ E -* *- ^ 354. Gijja Allegro E. H. 9* ift*^ y *^ ^ '^'UJUJ ^ ^ - 8-»- ur» 5=ift: 1" L. H. ■^ ^ X. H. af^j?^^ j-^ Efkr^'^ i r- 'f'fr r - y . ^ i :^ :^ i ^ !>i y ^ Ui'z^S ^ ^" ^^ ^^ ^^ ^ J . . .i [XstSS^^^^ 1 1 1 J c:/ cx^ BIT cjir C£/Gi;cjircir s^^ #-. — ^ 4 l^|> -y ' ^ ^ r ^' 1 , *_ ^ :!)''' ll; ci: l:; cP ££/cxrrT circjjr r V ^ J. / s ^ ' — ^ M- A -vV ^1^#.^ ^ ^ e ^»? ■"^—^ :^; 2? V if - V • J-' ai5^=S: ^ ^ . r 7 -?=— ^ l. H. .•r,5 rr^fcfc m 1- i- ^■ ^^ d sdj m Ttr—rw m ^^ s SI s -^ ^- ,/> II -I — '-» X,H I," w ^^P i- J. i 1. H. T*^ »*• r £ 1^ m S^ ^ . ' r 7 * — ^ . \- V i R. H. C. H. J^. ii F] JV m ^ B. H. _i r- ^ ^^ 'CLTCD'f ^ ^ R.fi. i L.H. R. H. L.H. R. H. L.H. R.H 0.., 4 i , --a R.H. L.H. ij L. H. ' f 1. H. r 7. s ^ ? -fe- R. H. K. H. B, H. i /x^JZ}i^v71^/JJ7T]/j^}73 5i^ •?|1|>- T s I.. H. f TBS— T :f W~T^ f ^ g i V I V ^^^f <*-T* m j^ *5>r X. H. . ^^-W ¥- t.H. , g^Cjj-^ g r^Ccr^- ^ ■# !i^ 12,059 ; 31)6 L.H. I t.H. , L.H. I i s L.H. J ^-«- 7 J 7 L. H. . 7 J- 7 7 y . ' > — -4 — * — - L. H. -m ■' ^ — ' — ' 2» -^ — — —0. _ — , ~ — ^ _^ !f ^ ■9- L. H. , L.H. I L.H. -^U-J ^ J 7 ^ 7j -^ ^ ^^ iXf^^ilSill ^pwp f'^g^ ^ ^ I.. H. R. H. STjjr)j.-} M. S ^rm X 7 ^ c^ci; r ' 7 s B ^ L. H. .•^ • y . ■ ^• ^- ^ ^ fcrp: f=zz:ze=^rzz=je. ^^ ^ r '■ ' 7 R? S ^ ^=^ Hr ?^ > • 5 5. Andantino. A'? ^,3. p ¥ ± f ^ i ?^ m RONDO, 5Z1 357 CARL PHILIP EMANUEL BACH,; 1766. m 3E2 ^ ^ ^ #■,,# ? 35; s: m h ten. h. I * — ^ -^^ fcEE^ ^ i // // f3 ^ ^e^ 5 iro. 0-^0- ^M^ ^:^?= ?C3C := ?^?j. ^ ^ i ^ i ^ i g yV J- m I F# ^ * fr 15 ^ -^ ^ r fen. 1?.05« ' a5H . g ^ 1 ^ r s i ffi ■^^ ^ « f uss^ ^ M M s ^ ^ ^ ^ i a ■*-^- — 0- T P a;^ P m ^ * — ^ ^ . tl: // •¥- tt =fe F '««• "^ t^// ■^-^ ^ P t-^ 1 "C • -rt- F "O ^ # ± i ^ y=^ ^^ ^f=^ ^ ■FT r rr * — ^-^ ff ff g ^ ^ ^ ^ tzss ^ ^ r f i?# lb e rr rkr^^ p Q" r b5t as i fej i ^ ^ ?E i w r ^cj^ fV =^ tv j^ ^f_P00 ten. ^ J2c=*e ffi i Irr^ i \i^ i b *. r . f i 0^ ^ 12.059 aso ffr^ J J^-,I-,H ^ ^^k -^^g^^i ^ ^ ^ ^ f~^ ^•^_,f »^ f i s ^ p ^^ ^ ^ ^ P ^ ^ s ^ i ^5^ ':h5? tj? ts? jff &. # i ^ ^m -«■ ^ 12=:?: ~7 -Si'-H*- F ■^ Vr::'^.;:^-^F^ r •7 ~7 I ^'^ ^ // 1 ^ ^ I 7 2:0- :i^ b g - \^ s B s ^ f irtdE 8fi() ^ hJTh' r ^ j^ r, 7 ^ p p CX3 ^-^ g P ^:^=?^ f Sic ^^t^"- ^ f P i? m r^ m 1 r^ ^^ / ^ ^ // ^^ ^ ^ kg - . , ■^- # y ^ I J hi e ^ ^ te T j\ // W^ V // 4^ te 3S ^ fe i pje. ^^t:^^ T*- - '#-,-#^'^ -#- h s #-^ w^ r p fe i / V ) V S m ^m ^ ^ ^ ^ ;z: ^^TO-"? r b^ i ^ ^ W ^^^^^ t f ^ 56l ^ ^M \ t d J\ii^ |]ijJ Jj ^ ^ 5^ /rra ■jrET] JiJ-ip JCT^ ^ i g ^ i a ^ ^ ^ ^ £ 'n ^^ 1^ ^ ^ ^- ^ £■ I A." i tMl ^ ?t i -^ -JJ' P tf ' ^ - ^s m wzw. idicze. KZK i 1^ 7 ^ 3 JsB ^N i» ^ ,j^>,. f ^ W •w — w ^ ■0-Z—0- #"- iff iT # £ i^( ■^"^K {^m VC r^ l^ i JS ^ L/ // £i? m p £ f w: ^ >-> I ¥=^ *-^ KliZ3EZZ ^e?i. ■J, f J^^j. /^ 1SJ.Q59, y i w m J^ ^ _ *^ ^- jt «... Q S fet I & ^^^ T rr a ^ '■■'■f J j't*" ^ ^ » fe J J: J' / m ^ l?1> .n''- ^ ^ /'/ill '6^^^=^^ ^ f -^ " ^=F=B \sy\ . — ^ ^ ■ ^ bo g^ ^ — iti -L— — ^ — H^ — # — . J -J -m VP i^ tJ/ia FANTA-SIA. JV.o H4. P^e^io di molto. C. p. E, BACH. :A f 5^ ^ #• ' ^ ' ^ 'pf r i~i /_ 3£ P *=;? t a 7 JJ ^ /» I*- ff ^ ^^ *-* V i ^ r •? ^ / =^^ m ^ ^^ / ^ p ^ -^ 1 ^ i 1 P I J7 n I . PT^ T^ia r r /* £4tK # =^ / "^ ' I'W r t=f^ ^^m i ? ^ ? ^ r_ y m m m V ^^ l2.S_« k^ ^ ^£ 7-^ =^=^»=^ y 7 r i ^l^Jli^T^ /r A- 3 r^nm p 'B' ■It ^ IS^TF (^ :c=:c 1 l^("A(y* / / h ^ »^ f ' r f. ^ zrr ^^ -^^ — =?- M a M K. m-'.-^'-w ^W J" J < -K^, ^ /^ ^^ ^ / ^ r Andante. P w ^^ ^^ J^ ^ E ■±. r . r J I J-J i-i^ I j^ ^ f r E r " r 7 ^1> ^ s ¥ ^ T 35 ^ if jbj ^ .^i^' ^ i -r^ J tJ — 7] B^ f^ J- ^ f / W ^ T=ri "US' nv ff' ^^ i ^ ^ ^ #-^ ^m ? ^ 3S J ^ 3 ^^-^ ^-^ ^ i t» ): < & P ^ ^ * i ti m a a / ? — <-t T -SV- V ^ ^ ^ f ^ P i ^ >-r>'^^i|f,)i^ ^ ^ E ^ fliT>r,fe s ^3 a ^ t^ ^.S | -^ r'^ p. m p ^ ^ / / ^s s a 0,0 HM. P m ■^ — — y- P £ _,S^ ^^ ^^ w 'f'fff I ■ I T^i^ i^f; ^ ^.i.fi ^ ^ m S" ;i ^ a s 1 li! p at »j^ »± ^ ^ ^ i Larglietto sostemrto. 2zg^ TSI .JCS2. m flS SJ^ jfr r^^ : S ;* '0 - n 0-0- 0-0 r i ^ 1*^ i e s * 4 » ^ ^ :^ & "if [jr ^r»ri ^ p-f^ / ^ ■I ^^ -r -9- -r -w ^- ^^ m'i Presto molto. ^A' , i, i Jig ^J i jn ■ SI m ^m #.. JLz. P E i a ^ & ^ PES r=7f ^ 0- '0 W 0. r=7W ^^ ^^ ^^ J ^ i ^ ^ ^ ? ^^ ^^ ^^^^T^ ^ ^ i =«^ "T V # / # ■ ^ r 7 Z' rr ^ fT 5^ ^ m f i V ■ 7 g ^ q^^^ ^ *'-»'■ ^ w p- .IvS r>05!? SfiH i ^ Mrm 9 . ^ i # '# # # i^ ' : ' ^ 11 sm -it-^-^ telJ^~vT ^ xi. ^^ 3J^ _1^_J V i ^^p ^ ^ M S . M .J L a #— ^ m ^m / m m t^ 4- ^ ¥■ ^ -A -l#- i^ ^^ g^^ 3 E -J. JJlJ J< » J li LULU ^ ^ y ^'^ » ^ ■ - ^M m m ^ m ^m u Ly f f _ f'T~0 W~W ^ fcS /op g a / FF / ^ ^ P -^^— y- f -S* — ¥- rrr nhJ"cx>^ r^f'f'^fr^rf^ ^ i9nj^ Messrs. CoUard's method of 179 ■ Lord Stanhope's method of. 179 • Erard's improved method oft for grand hori- zontal pianos 183 Sti-ings of Egyptian harps 9 ■ of the clavichord 30 thin wire, of the old pianofortes 178 — of one size and tension 180 gold and silver .,..'. 393 Strogers, Nicholas, composer for the virginals 59 Stumpff, Johann Andreas, musical instrument maker... 155 Summary of pianofortes in the Great Exhibition of 1851. 220 Swellinclj, J. P. composer for the virginals 59 T. Tabel, harpsichord maker 88 Table of pianofortes in the Great Exhibition of 1851 .,', 217 Tallis, his compositions for the virginals ..„ 59, 228 Taskin, Paschal, harpsichord maker of Paris .......' 81 Taverner, his compositions for the virginals 228 Taxis, Count, his *-(m«posi?i5f harpsichord 83, 84 Tension, equal, of strings 180 et aeg. Terpander adds several strings to the lyre 5 Testudo, a name for the lyre ,,.., 3 Thalberg, S. his Remairhs upon the Pianofortes in the Great Exhibition of 1851 .,.. 110, 159, 192 __^ „ his Description of Gluck'a pianoforte {note) 183 Theban lyre, drawing of , 5 harps, drawings of 8 TheoTlMlua, De Menaura Oymbalorum 40 Thorn, James, pianoforte maker 152, 158 Thompson, Simon, his improvements in the pianoforte.. 154 Tisdall, W. composer for the virginals ,,..„,..„, 69 Todd, Thomas, organ builder 153 Todini, Miohele, musical instrument maker 77, 400 Tomkins, Thomas, composer for the virginals , 59 Tortoise, the origin of the lyre 2 Towns and Packer, Messrs. pianoforte makers 217 Transposing harpsichords , 84 Transposing pianos , 204 et seq. Trentia, Abbe Gregorio, inventor of the TioUcemhalo ... 201 Trevisa, his translation of Bartholomeua , , 20 Trumpet Marine of the 16th and 17th centuries , 34 Troubadours .,, ;". 223 Trouflant, M. his letter on the inventions of M. Paschal Tasquin ijwti).., , , 81 Tschudi, Burkat or Burckhardt, the founder of the house of BroadWood and Sons .,, 88 Tuning explained , > 372 et seq. An Essay on the Theory and Practice of..,., 373, 379' Twining, Mr., Kuokers harpsichord in the possession of.. 74 Tye, Dr. his compositions for the virginals ,.,.. 228 Tympanum, or timpano, of the Italians 87 Page. U. Unachord instruments „, 18O Unger, John Frederick, inventor of a melographic piano 205, 408 Upright grand pianoforte 157 pianofortes, diagrams of the framing of. 169 V. Valle, Pietro della, his Diseourte on the Music of his own Time 67 Vander-Noodt, his Theatre for Vohiptuoua WorUlinga ... 56 Vensky, clavichord maker 47 Verhasselt, pianoforte maker 218 Verospi Palace at Rome, musical instruments in the. 77, 401 Vertical harpsichord 79 Viaslsy, J. pianoforte maker 218 Viator, an early pianoforte maker 181 Vienna Action 159, 192 Vincentino, Don Nicola, famous harpsichord made by. . 77 Violinc-iolie 203 Virbes, the Sieur, his " harpsichord imitating fourteen wind and chorded instruments " 80 Virginal or Virginals 48, 399 — — _ — etymology of the name 51 — ~ made "harp fashion" 53 — - — ~ Queen Elizabeth's 58 i . self-acting 64 ^ — — painted, Mary Queen of Soots' 75 Vis-a~vis harpsichord 82 Vittoria of Bologna, an early performer on the harpsi- chord, &c. , 228 Vogelsang, Messrs. pianoforte makers 218 W. "WaiCe, Ma Srut d" Angleterre 21, 36 Walesby, Mr, his trumpet marine 84 Walker, Adam, his Celestina 149, 158, 199 ■ - ■ ■ - — —Edward Lesley, patent taken out by 156 Wallace Pianoforte Company , 169 Walton, Humphrey, musical instrument maker ... 150, 157 Warren, Ambrose, his ronomeier 379 Warrock, Thomas, composer for the virginals 59 Webster's steel wire , , 183 Westermann and Co. pianoforte makers 220 Wheatstone, William, patent taken out by 153 ■ ^ . . . u. , - — ™ and Co. pianoforte makers 217 White, Thomas, virginal maker 399 Wiegleb, musical instrument maker 82 Wilder, Philip Van, Biographical notice of {note) 54 ~— ~ — — . ™. musical instruments in the charge of, on the death of Henry VIII 45, 53 Wilhelm, of Cassel, clavichord maker 47 Wilkinson, Sir J. Gardner 2, 3, 9, 13 Wire, steel and brass 183 Berlin 183 414 INDEX. Page. Wood, Father, the maker of the first pianoforte seen in England 130 Woodcroft, Professor, his Indexes to the Patents (note) 148 Wood, James S. pianoforte maker 218 Woods, George, improves musical instruments 152 Woods used in pianoforte manufacture 215 Woollen fabrics used in pianoforte manufacture 215 WooUey, F. pianoforte maker 218 WooUey, Thomas, pianoforte maker 165 Wolf, Robert, pianoforte maker 155 Workmen employed in the manufacture of pianofortes 213, et seq. Page. Wornum,Eobert, pianoforte maker.... 152, 158, 154, 156, 157, 180, 190, 191, 217, 402 Wrest pins • 1^8 Zanetti, a Venetian harpsichord maker 79 Zarlino, his spinet with quarter tones 68 Zeiger, pianoforte maker 219 Zeitter, Jacob Frederick, pianoforte maker 154, 191 Zeitter and Winkelmann, pianoforte makers 220 Zipoli, a writer of harpsichord music 282 Zump^, John, a celebrated pianoforte maker 182 INDEX TO THE SPECIMENS OF MUSIC. B. Bach, C. P. E. Rondo in E flat 357 Fantasia 363 Bach, J. S. Capriccio i 332 Blitheman, William, Gloria Tibi, Trinitas 237 Bull, Dr. John, The King's Hunting Jigg 245 LesBufTons 248 Courante Jewell 253 Byrd, William, Sellenger's Round 240 C. ChambomiiSres, Suite de Pieces 265 Couperin, Fran9ois, Suite de Pieces 316 D. Dumont, H. Suites de Pitees 262 F. Fi-escobaldi, Girolamo, Capriccio del Soggetto , sopra I'Aria di Roggiero 257 H. Handel, G. F. Capriccio in G 340 K. Kuhnau, Johann, Sonata 292 L. Lully, Jean Baptiste, Suite de Pieces 268 M. Mattheson, John, Suite de Pieces 299 Mondonville, De, Introduction and Toccata 351 Muffat, Teofllo, Fantaisie 344 Air 348 AUemand 350 Murshhauser, F. X. A. Variationes super Cantilenam... 284 P. Purcell, Henry, Prelude and Airs 278 S. Scarlatti, Domenico, Sonata in A minor 806 SonatainG 310 PRINTED BY J. MALLEII, 59, WAEDOUR STREET, LONDON. SUBSCRIPTION LIST. Allison, Ealph, Jun. Esq. 108, Wardour Street, Soho. Andre, Gustave, and Co. Philadelphia, U. S. 6 Copies. Andre, Wm. Esq. Islington. Andrews, Mr. Thomas, Music Warehouse, Guildford. Ashpitel, Arthur, Esq. F.S.A. Poet's Corner. Atkins, R. A. Esq. Organist of the Cathedral, St. Asaph. Augener and Co. Messrs. Newgate Street. Banister, Henry C. Esq. Professor at the Royal Academy of Music, Barry, Mr. W. 12, College Street, Belfast Beaumont, J. F. Esq. Whaddon, near Royston. Beevor, Charles, Esq. 41, Upper Harley Street. Bennett, W. Esq. Organist, Andover. Blackshaw, Edward, Esq. Professor of Music, 8, Lansdowne Terrace, South Lambeth. Browne, Mr. R. Music Warehouse, Lowestoft. Bunnett, E. Esq. Mus. Bac. Cantab. Assistant Organist of Norwich Cathedral, Upper Close, Norwich. Caldecutt, Thomas, Esq. Causton, W. S. Esq, Professor of Music, Woodbridge. Chappell, Wm. Esq. F.S.A. 3, Harley Place. Chippendale, A. Esq. 10, John Street, Adelphi. Clarke, Mr. Joseph, Musicseller, next Reynolds's Mill, Skirbeck, Boston. Cole, J. Parry, Arundel, Sussex. Collard and CoUard, Messrs. 16 and 17, Grosvenor Street, W- and 26 Cheapside. Cooper, Rev. Allen T. University Club, Suffolk Street, Pall Mall. Cooper, J. Thomas, Esq. F.R.A.S. 13, Canonbury Square, N. Corbett and Son, Messrs. Music Warehouse, 108 and 109, Georges Street, Limerick. 416 SUBSCRIPTION LIST, Cotton, Wm. Esq. Mus. Bac. Cantab. Organist of Trinity Church, Kentish Town. Cramer, J. B. Esq. Organist, Loughborough. Crossley, G. J. Esq. Professor of Music, Bowdon, near Manchester. Crowe, Richard, Esq. Professor of Vocal Music, Liverpool Collegiate Institution. Cruse, Edward, Esq. Organist of St. Barnabas' Church, Pimlico. Curtis, Lambert, Esq. St. Giles's, Norwich. Darken and Colsey, Messrs. Music Warehouse, London Street, Norwich. Dawes, Albert, Esq. -Organist of The Holy Trinity Church, Hastings. Dimoline, Mr. A. Music Warehouse, Bristol. Dixon, Wm. Esq. Organist, Grantham. Duncan, James, Esq. Professor of the Pianoforte, Perth, N. B. Dyer, J. P. Esq. Organist, Warminster. Emery, J. Jun. Esq. Professor of Music, High Street, Hanley. Ennever and Co. Messrs. Soho Square. Favarger, Rene, Esq. Field, Mr. George, Music Warehouse, Bath. 3 Copies. Foulkes, William, Esq. Organist, Whitchurch, Salop. Fowler, C. Esq. Professor of Music, Torquay. French, Thomas, Esq. 2 Copies. Gardner, C. Jun. Esq. Pimlico. Gilbert, Messrs. S. and T. Booksellers, 4, Copthall Buildings, City. Gilbert, Bennett, Esq. 13, Berners Street. Gilmore, Mr. George, Musicseller, Clones, Co. Tyrone. Glover, Professor, Royal Irish Institution, College Street, Dublin. Gordon, Sir Henry, Chelsea College. Gough, James, Esq. 37, Prospect Place, Hull, Yorkshire. Green, William, Esq. 1, Foley Place, Gloucester. Griffiths, George R. Esq. Organist, St. Paul's, Hammersmith. Grosvenor, S. Esq. Mus. Bac. Oxon. Organist, Dudley. SUBSCRIPTION LIST. 417 Hall, R. W. Esq. Professor of Music, Hull. Hamilton, Adams, and Co. Messrs. Paternoster Eow. 4 Copies. Hammond, Alfred W. Esq, Organist of St. Mary's, Lombard Street ; Fox Lodge, North Brixton. Harcourt, Mr. T. Music Warehouse, Rochester. Harraden, Messrs. S. and Co. 3, Chapel Place, Poultry. 3 Copies. Harris, Mr. Edwin, Bradford, Yorkshire, Harrison, John, Esq. Professor of Music, Deal. Hayden, Henry, Esq. Professor of Music, St. Leonard's. Haynes, Wm. Esq, Organist, Abbey and Trinity Churches, Malvern. Hoist, Matthias von, Esq. Professor of Music, Worcester. Hopkins, J. Esq. Organist, Rochester Hopkinson, Mr. James, Leeds. Hopkinson, Mr. John, Pianoforte Manufacturer, Regent Street, London. Howard, The Honourable Miss, Oatlands Park, Surrey. Howell, Miss, Professor of Music, Chippenham, Wilts. Huchtin, Madame Louise, Madison, Wisconsin, United States, America. Hyde, Major T. C. S. Twickenham, Middlesex. Inglis, Mr. James, Music Warehouse, Greenock. Jackson, Miss Monymia, Onslow Square, Bromptonia, London. Jackson, Mr. Musicseller, Bradford. Jacob, F. K. Esq. Professor of Music, St. Leonard's-on-Sea. Jewson, Frederick Bowen, Esq. London. Jewson, Mr. Musicseller, Stockton-on-Tees. Jones, Mr. C. 21, Soho Square. Jungenfeld, Anna Fraeulein von, Mayence. King, Mr. H. Bookseller, 8, Spring Street, Hyde Park. Kinkee, F. Esq. Organist and Choir-master, St. Paul's, Knightsbridge ; 38, Sloane St. Kippax, Mr. J. Retford. Kraus, Conrad, Esq. Architect, Mayence. Kurtz, A. G. Esq. Liverpool. 418 SUBSCRIPTION LIST. Longley, George, Esq. Organist of Fitzwilliam Street Church, Huddersfield. Marie Agnese, Mademoiselle la Scaur, de I'Ordre de Saint Vincent de Paul, a Metz. Marshall, James, Esq. Professor of Music, Full Street, Derby. Martin, J. U. Esq. Organist, East Dereham. Mason, Mr. Joseph, Music Warehouse, Glossop. 2 Copies. May, Miss, Professor of Music, Jersey. Meller, Mr. Professor of Music, Blackburn. Meller, Mr. Eichard, Huddersfield. Mellor, Mr. John H. Organist of Trinity Church, and Dealer in Pianofortes, Pittsburgh, ■ Pennsylvania, U. S. America. Mellor, Mr. Charles C. Organist of St. James's Church, Pittsburgh, Pennsylvania, tJ. S. America. Mellor, Mr. James, Dealer in Pianofortes, Wheeling, Virginia, U. S. America. Mellor, Mr. Joseph S. Teacher of the Pianoforte, Wheeling, Virginia, U. S. America-. Mellor, Mr. Levi, Pittsburgh, Pennsylvania, U. S. America. Mellor, Mr. Samuel C. Pittsburgh, Pennsylvania, U. S. America. Messiter, A. Esq. Organist, Worthing. Monk, W. H. Esq. Glebe Field Houses, Stoke Newington ; and King's College, Strand. Moore, Messrs. John and Henry, Pianoforte Manufacturers, 104, Bishopsgate Street, Within. Moore, Mr. J. General Music Repository, Huddersfield. Norbury, John^ Jun. Esq. 5, Finsbury Square. Norwood, Mr. Professor of Music, Preston. Nunn, R. Esq. Organist, Bury St. Edmunds. Oakeley, H. S. Esq. Ouseley, Sir Frederick A. Gore, Bart. M.A. Mus. Doc. Prsecentor of Hereford, and Professor of Music in the University of Oxford. Pearce, George, Esq. Pau, Basses-Pyrenees. Pech, Dr. James (e Coll. Nov. Oxon.), Pianist and Composer to the Countess of Darnley, St. Saviour's, Paddington. SUBSCRIPTION LIST. 419 Phillips, Messrs. George and Co. 1, Peninsular and Oriental Buildings, and 21, Bernard Street, Southampton. Pickering, Mr. T. Musicseller, Koyston. Pietsch, Mademoiselle Thadea, Mayence. Pringle, George, R. G. Esq. Professor of Music, Melbourne, Victoria. Prior, George, Esq. Professor of Music, .Wantage. Rhodes, Jeremiah, Esq. Organist, Pontefract. Rhodes, John, Esq. Organist and Director of the Choir, Parish Church, Croydon. Richards, Brinley, Esq. Member of the Royal Academy of Music, London. Robinson, GeorgQ, Esq. Professor of Music, Gainsborough. Roe, John, Esq. Pianoforte Tutor to the French Royal Families, Claremont; 52, Stanhope Street, N. W. Rogers, J. Esq. Organist, Doncaster. Russell, James, Esq. Mus. Bac. Oxon. Elford Barton, Topsham, Devon. Riist, R. Anderson, Esq. 4, Great Marlborough Street. Sjyjred Harmonic Society (The), Exeter Hall. Salaman, Charles, Esq. 36, Baker Street. Salter, Edward, Esq. Professor of Music, St. Andrews, Fife. Sapio, A. Esq. Professor of Music, Chester. Savory, Douglas, Esq. 22, Lower Lyon Street, New Town, Southampton. Schnegelsberg., — Esq. Chalcot Terrace, Primrose Hill. Schoelcher, Victor, Esq. Wellington Square, Chelsea. Shargool, Edwin, Esq. Organist, Stafford. Simms, E. Esq. Organist, Coventry. Simpkin, Marshall, and Co. Messrs. 6 Copies. Smith, Mr. Philip, Music Warehouse, Bristol. 3 Copies. Spark, Edward J. Esq. Bury, Lancashire. Steggall, Dr. 27, Grafton Square, Clapham. Stephens, Charles E. Esq. 2,»Howley Place, M^da Hill, W. Stephenson, Mr. Professor of Music, Bishopton, Ripon. Stirling, Miss, 1, Charlton Terrace, East India Road, Poplar. Stodart, Messrs. W. and Son, 1, Golden Square, W. 420 SUBSCRIPTION LIST. Stone, J. T. Esq. 40, Berners Street, W. Stonex, H. Esq. Organist, Great Yarmouth. Suggate, Mr. Musicseller, Lowestoft. Taylor, Edward, Esq Gresham College. Taylor, James, Esq. Professor of Music, Gloucester. Taylor, Mr. Musicseller, The Quay, Bristol. Thurnam, Edward, Esq. Professor of Music, Eeigate, Toms, C J. Esq. Professor of Music, Liverpool. Turner, Mr. James, Stockport. Turner, John, Esq. Professor of Music, Halifax. Vernon, Madame, Tunbridge Wells. Vincent, Charles J. Professor of Music, Sunderland. Walker, Mrs. 1, Scroop Terrace, Cambridge. Watts, Mr. J. Organist, Ormskirk. Weisbecker, Charles, Esq, 12, Connaught Terrace, Connaught Square. Wetter, Conrad, Esq. 67, Myddelton Square, London. Wetter, J. Esq. Architect, Mayence, Wetter, Miss Madelina, Mayence. Wetter-Taillefer, Madame, Savannah, Georgia, United States, America. Wheatley, Mr. W. K. Musicseller, Evesham. Wheeler, R. B. Esq. Organist of St. Ann's Church, Wandsworth. Winn, Mr. Thomas, Jun. Music Warehouse, Rochdale. Wood, Samuel, Esq. Professor of Music, Clitheroe. Woodward, Mr. Musicseller, Cheltenham. Wornum, A. N. Esq. Music Hall, Store Street, London. Wrenshall, W. Esq. 6, Sandon Terrace, Upper Duke Street, Liverpool. Wrighton, A. J. Esq. Dundee, N. B. Wrigley, Mr. F. Organist, Kettering • Wrigley, John, Esq. Professor of Music, Ardwick, Manchester. Yeomans, A. Esq. Professor of Music, Stourbridge. ADDENDA TO SUBSCRIPTION LIST [Omitted hy Oversight). Broadwood, Messrs. John and Sons, Eeid, John, Esq. William H. Callcott, Esq. the Mall, Kensington, Burkinyoung and Co. Messrs. Calcutta. The following Erratum has been kindly pointed out hy Mr. Robeet Stodaet. Page 140, line 9, instead of " John, William and Matthew Stodart," read " Matthew and William Stodart," omitting the name John.